The Legacy of Max Wertheimer and Gestalt Psychology Author(S): D
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Introspecting in the Twentieth Century Maja Spener (University of Birmingham)
Introspecting in the Twentieth Century Maja Spener (University of Birmingham) Forthcoming in Philosophy of Mind in the Twentieth and Twenty-First Centuries, A. Kind (ed.), Routledge. This version of the paper is only a draft. For quotation please consult the published version. Introspection in the 20th century is a vast topic. Discussions involving introspection figured in the relatively new discipline of experimental psychology, as well as in various debates in philosophy of mind and epistemology. Introspection has been a focus of interest as a method of investigation and as a psychological and epistemic capacity itself. Over the course of the century, these theoretical interests did not always connect well, although they have intersected and influenced each other at different points. But there is no helpful sense in which one might talk of ‘the history’ of introspection in the 20th century if by that one means a straight line of development across ten or so decades of psychological and philosophical theorizing with, and about, introspection. Instead, there is a criss-crossing pattern of various storylines and what I shall do here is track a couple of different strands in the overall pattern to the exclusion of many others.1 In particular, I shall concentrate on philosophers’ and psychologists’ use of introspection, and the discussions surrounding such use. A story we are often told is that during the late 19th century and the beginning of the 20th century, experimental psychology was synonymous with introspectionism, exemplified by the work of Wilhelm Wundt and E. B. Titchener. According to the story, these early psychologists took the subject-matter of psychology to be conscious states only and their main method of investigation was introspection. -
Social Objects(1)
Social Objects(1) Barry Smith Department of Philosophy, Center for Cognitive Science, and National Center for Geographic Information and Analysis University at Buffalo [email protected] 1. Introduction 1.1 Two Dogmas of Reductionism Two persistent tendencies have made themselves felt in the course of philosophical history. On the one hand is the Ockhamite tendency, the tendency to embrace one or other of a small repertoire of simplified ontologies, for example atomism or monism, together with a view according to which more complicated entities are to be ‘reduced’ by one or other means to the favoured class of simples. On the other hand is Cartesianism, the tendency to embrace one or other foundationalist doctrine in epistemology, or in other words to prize episteme at the expense of doxa. The two tendencies reinforce each other mutually. Thus foundationalism tilts the attention of philosophers in the direction of ontological simples, for it is held that in relation to the latter knowledge secure against doubt is more easily attainable. Philosophers are thus shielded from any concern with the complex mesoscopic (medium-sized, middle-range, human-scale) objects of our everyday environment and of the social world, since the latter is, after all, a realm of mere opinion, not worthy of the attention of those striving after rigour. Austrian philosophers have been marked no less than philosophers in other traditions by both of these tendencies. Brentano, especially, was an avowed foundationalist, a proponent of psychological immanentism, and in his later philosophizing he embraced an ontology according to which all objects must belong to the single category of thing or substance. -
Neuroaesthetics of Art Vision: an Experimental Approach to the Sense of Beauty
Cl n l of i ica a l T rn r u ia o l s J ISSN: 2167-0870 Journal of Clinical Trials Research Article Neuroaesthetics of Art Vision: An Experimental Approach to the Sense of Beauty Maddalena Coccagna1, PietroAvanzini2, Mariagrazia Portera4, Giovanni Vecchiato2, Maddalena Fabbri Destro2, AlessandroVittorio Sironi3,9, Fabrizio Salvi8, Andrea Gatti5, Filippo Domenicali5, Raffaella Folgieri3,6, Annalisa Banzi3, Caselli Elisabetta1, Luca Lanzoni1, Volta Antonella1, Matteo Bisi1, Silvia Cesari1, Arianna Vivarelli1, Giorgio Balboni Pier1, Giuseppe Santangelo Camillo1, Giovanni Sassu7, Sante Mazzacane1* 1Department of CIAS Interdepartmental Research Center, University of Ferrara, Ferrara, Italy;2Department of CNR Neuroscience Institute, Parma, Italy;3Department of CESPEB Neuroaesthetics Laboratory, University Bicocca, Milan, Italy;4Department of Letters and Philosophy, University of Florence, Italy;5Department of Humanistic Studies, University of Ferrara, Ferrara, Italy;6Department of Philosophy Piero Martinetti, University La Statale, Milan, Italy;7Department of Musei Arte Antica, Ferrara, Italy;8Department of Neurological Sciences, Bellaria Hospital, Bologna, Italy;9Department of Centre of the history of Biomedical Thought, University Bicocca, Milan, Italy ABSTRACT Objective: NEVArt research aims to study the correlation between a set of neurophysiological/emotional reactions and the level of aesthetic appreciation of around 500 experimental subjects, during the observation of 18 different paintings from the XVI-XVIII century, in a real museum context. Methods: Several bio-signals have been recorded to evaluate the participants’ reactions during the observation of paintings. Among them: (a) neurovegetative, motor and emotional biosignals were recorded using wearable tools for EEG (electroencephalogram), ECG (electrocardiogram) and EDA (electrodermal activity); (b) gaze pattern during the observation of art works, while (c) data of the participants (age, gender, education, familiarity with art, etc.) and their explicit judgments about paintings have been obtained. -
One Man Against the Nazis— Wolfgang Kohler
One Man Against the Nazis— Wolfgang Kohler MARY HENLE New School for Social Research ABSTRACT: This is the story of Wolfgang Kohler's papers, both theoretical and experimental, many courageous struggle against the Nazi authorities to try of them in perception but also in other fields. His to save the Psychological Institute of the University translation of his book, Gestalt Psychology, into of Berlin. The period covered is 1933 to August 1935. German was published in 1933. Lewin's early The account is based on contemporary letters and papers on perception and on association appeared, other documents, mainly heretofore unpublished, many and then the long and influential series, published of them translated from the German. Eyewitness re- ports that could be checked are also used. with his students, on Handlungs- und Affektpsy- chologie. In the 1920s and early 1930s, psychology was Among the students at the institute, I will men- flourishing at the Psychological Institute of Berlin tion only a few, mainly names we know today. University under the direction of Wolfgang Kohler. Rudolf Arnheim and later Werner Wolff worked in There was truly an all-star cast of characters. In the field of expression; Metzger's work on visual addition to the director, Max Wertheimer had perception was under way, including the work on been there from about 1916 until 1929, when he the Ganzjeld. Gottschaldt's studies on the influ- left to accept the chair at Frankfurt. Kurt ence of past experience on visual form perception Lewin, too, came to Berlin after World War I came out of the institute; his figures are still in and remained until his resignation in 1933. -
Comptes Rendus / Book Reviews
COMPTES RENDUS / BOOK REVIEWS Robin D. Rollinger, Austrian Phenomenology: Brentano, Husserl, Meinong, and Others on Mind and Object. Frankfurt: Ontos Verlag, 2008; 326 pages. ISBN: 978-3868380057. Review by Kimberly Baltzer-Jaray, Independent Scholar. Nietzsche was not alone in his skepticism and contempt for systematic philosophy, the stuff Hegel and Kant were made of; in fact on this point he could be called the voice of a generation and a timely man. Many academics in the mid to late 19th century felt a sort of ill will towards phi- losophy, especially given the leaps and bounds happening in science. Philosophy seemed less rigorous, impractical and out of touch with the modern era: who needed to contemplate God, freedom, and immortality when scientists were in their labs or in the field actively discovering laws of energy, plant cells, electromagnetism, radiation and evolution? Meta- physics and epistemology just couldn’t compete with physics and biol- ogy. However, several philosophers in Austria thought they could make philosophy more scientific and definitively show the academic commu- nity that philosophy was not to be retired like a relic of the past, but rather could hold her own as a discipline. One of the most notable groups of philosophers to attempt such a defence of philosophy was the School of Brentano, named after its leader, Franz Brentano, and which included his pupils Carl Stumpf, Anton Marty, Edmund Husserl, Kasimir Twardowski and Christian von Ehrenfels. This is where Rollinger’s book begins. Rollinger’s volume is a collection of revised, previously pub- lished papers. It is a comprehensive and insightful book, a necessity for anyone studying the Austrian philosophical tradition, or the early phe- nomenological movement under Husserl (Munich and Göttingen circles respectively). -
WHAT IS GESTALT THERAPY Violet Oaklander, Ph.D
WHAT IS GESTALT THERAPY Violet Oaklander, Ph.D. Basically, Gestalt therapy is a process-oriented mode of therapy that focuses attention on the healthy, integrated functioning of the total organism comprised of the senses, the body, the emotions and the intellect. It was originally developed by Frederick (Fritz) and Laura Perls in the 1940’s and has at its base principles from psychoanalytic theory, Gestalt psychology, various humanistic theories, as well as aspects of phenomenology, existentialism and Reichian body therapy. From these sources, and others, a large body of theoretical concepts and principles have evolved underlying the practice of Gestalt therapy. A major focus is to help clients become aware of what they are doing, how they are doing it, and how they can change themselves, and at the same time, to learn to accept and value themselves. It focuses more on process than content ( though content may be used as examples of one’s process.) What is directly perceived, felt and experienced is considered more relevant than explanations and interpretations. A famous misconception is that Gestalt therapy is the empty chair technique. It is not uncommon to hear someone say, “I use Gestalt therapy all the time,” referring to this technique. It would seem ludicrous to think that I, for example, trained to be a Gestalt therapist for more than three years at the Los Angeles Gestalt Therapy Institute to learn this technique and nothing else. Moreover, there exist at this time scores of books and articles discussing the principles and concepts of Gestalt therapy. Because of the extensive, comprehensive nature of this therapy, a short summary as this could not describe the basic concepts involved. -
Gestalt Therapy Allen Richard Barlow University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1983 The derivation of a psychological theory: Gestalt therapy Allen Richard Barlow University of Wollongong Recommended Citation Barlow, Allen Richard, The derivation of a psychological theory: Gestalt therapy, Doctor of Philosophy thesis, Department of Psychology, University of Wollongong, 1983. http://ro.uow.edu.au/theses/1685 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE DERIVATION OF A PSYCHOLOGICAL THEORY : GESTALT THERAPY A thesis submitted in fulfilment of the requirements for the award of the degree of » DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by ALLEN RICHARD BARLOW, B.A. (Hons.l) DEPARTMENT OF PSYCHOLOGY (1983) -i- TABLE OF CONTENTS Page List of Tables xiv Acknowledgements xv xvi Abstract xvii CHAPTER 1: Introduction 1.1 The aim of this dissertation 1 1.2 Principles of Gestalt therapy 7 CHAPTER 2: Sigmund Freud and psychoanalysis 2.1 Biography 12 2.2 Difficulties in comparing Freud's and Perls' works 13 2. 3 Freud ' s influence on Perls 16 2.4 Structure of the personality 20 2.4.1 Relationship between the three subsystems 22 2.5 Conscious/unconscious 24 2.6 Instincts 28 2. 7 Defence mechanism; 30 2.7.1 Regression 31 2.7.2 Repression 32 2.7.3 Reaction-formation 33 2.7.4 Introj ection 34 2.7.5 Proj ection , 35 2.7.6 Turning against the self (retroflection) 36 2.7.7 Rationalization 37 2.7.8 Denial 37 2.7.9 Identification 38 2. -
GESTALT THEORY an International Multidisciplinary Journal Journal of the Society for Gestalt Theory and Its Applications (GTA)
GESTALT THEORY An International Multidisciplinary Journal Journal of the Society for Gestalt Theory and its Applications (GTA) Volume 43 • Number 1 • March 2021 Editorial Gerhard Stemberger Psychotherapy: The Challenge and Power of Consistency This issue of Gestalt Theory presents coherently compiled some essential basic concepts of Gestalt Theoretical Psychotherapy for the first time in English and thus beyond the German-speaking circle1. A side effect of such a systematic pre- sentation might be that it also helps to avoid the frequent confusion with Gestalt therapy, which has a similar sounding name, but most of its forms differ substan- tially in its basic concepts. A brief history of Gestalt theoretical psychotherapy is given at the end of this introductory article. In view of the elementary role of cognitive processes for human experience and behavior, the first paper in this issue highlights the epistemological orientation of Gestalt Theoretical Psychotherapy, which underlies all sub-concepts of the meth- od from personality theory to praxeology: “Critical Realism: The Epistemic Posi- tion of Gestalt Theoretical Psychotherapy,” by Katharina Sternek. The second contribution of Bernadette Lindorfer’ deals with a core component of personality theory in Gestalt Theoretical Psychotherapy: “Personality Theory in Gestalt Theoretical Psychotherapy: Kurt Lewin’s Field Theory and his Theory of Systems in Tension Revisited”. This contribution is complemented by a critical synopsis of the views on ego and self in Gestalt theory and their heuristic poten- tial for psychotherapy: “Ego and Self in Gestalt theory” (G. Stemberger). 1 Up to now, there have only been scattered publications on individual aspects from the field of Gestalt The- oretical Psychotherapy in English: H.-.J. -
Vygotsky's Stage Theory: the Psychology of Art and the Actor
Mind, Culture, and Activity, 18: 319–341, 2011 Copyright © Regents of the University of California on behalf of the Laboratory of Comparative Human Cognition ISSN 1074-9039 print / 1532-7884 online DOI: 10.1080/10749039.2010.518300 Vygotsky’s Stage Theory1: The Psychology of Art and the Actor under the Direction of Perezhivanie Peter Smagorinsky The University of Georgia This article reviews Vygotsky’s writings on arts (particularly logocentric art including the theater) and emotions, drawing on his initial exploration in ThePsychologyofArtand his final considerations set forth in a set of essays, treatises, and lectures produced in the last years of his life. The review of The Psychology of Art includes attention to the limits of his analysis, the mixed Marxist legacy that is evident in the book, the cultural blinders that affect his vision of the relative value of differ- ent artistic productions, the content of what he elsewhere refers to his “tedious investigations” into extant views, and the gist of what he considers to be the essence of art. Attention to his late work falls into two areas: Emotion in formal drama and emotion in everyday drama, each of which involves perezhivanie, roughly but incompletely characterized as emotional experience. The article concludes with an effort to situate Vygotsky’s writing on art and emotion both within his broader effort to artic- ulate a comprehensive developmental psychology of socially, culturally, and historically grounded individuals and social groups, and within scholarship that has extended and questioned his work as his influence has expanded beyond the clinics of Soviet Moscow. In this article I attempt to bridge work undertaken by L. -
Arnheim Was Spread Upon the Permanent Records of the Faculty
At a meeting of the FACULTY OF ARTS AND SCIENCES on March 10, 2009, the following tribute to the life and service of the late Rudolf Arnheim was spread upon the permanent records of the Faculty. RUDOLF ARNHEIM BORN: July 15, 1904 DIED: June 9, 2007 Rudolf Arnheim, Professor of the Psychology of Art, Emeritus, in the Department of Visual and Environmental Studies, experienced the culture and history of the twentieth century deeply and profoundly. A towering figure in the field of visual studies, Arnheim was born in an age when many remembered life without telephones. During his long and prodigiously productive scholarly life, Arnheim would witness the emergence of cinema, radio, and television. He was among the first theorists to write in significant ways about these new media of the twentieth century. A pioneer in the psychology of art with path-breaking books on visual perception and artistic creativity, Arnheim was also among the first to recognize the importance of film as a major art form. The first of his fourteen books, Film as Art (1932), is still taught in university courses throughout the world. His most influential work, Art and Visual Perception: A Psychology of the Creative Eye, was published in 1954 and enlarged and revised in 1974. It has been translated into fourteen languages and is acknowledged to be one of the most influential art books of the last century. Known as Rudi to his many friends, Arnheim was born in 1904. In this year, Frank Lloyd Wright designed the Martin House in Buffalo, NY; Paul Cézanne painted Mont Sainte- Victoire; and the first motion picture house opened in Pittsburgh, PA. -
Kurt Lewin and Experimental Psychology in the Interwar Period
'55#466'21 @744)1%71%"#5("#0'5!"#5 2!6243&')2523&'#F4D3&')DG !& ( ) E @7#4)'1 921 11 #4)'1B #4 4 5'"#16"#4 70 2)"6E 1'9#45'6 6@7#4)'1C 42$D4D 1E #1"4'() #46@ #4#(1"#4 &')2523&'5!(7)6 6 C 42$D'!&#)#")#B & 76!&6#4C PD 42$D4D 84%#1#11 QD 42$D4D'6!&#))D 5& #46#'"'%60SD'QIPR Forward I would like to express my gratitude to Professor Dr. Jürgen Renn, Director of the Max Planck Institute for the History of Science, who supported my pre-doctoral research from the early ideation, through all of its ups and downs until the final line of the disputatio at the Humboldt University of Berlin. Beyond that, the Institute enabled my research project by granting me a PhD scholarship and providing a fruitful work environment, while the well-organized MPIWG library offered me the opportunity to assemble the majority of the material for this book. I am obliged to Professor Dr. Mitchell Ash for his commentaries and insights from his vast knowledge in the history of psychology, as well as for being part of my PhD committee de- spite the geographical distance. I would like to also thank Dr. Alexandre Métraux for advising me on questions related to Lewin’s philosophy of science. Moreover, I am highly indebted to Dr. Massimilano Badino for his scholarly advice, but even more so for his friendship and moral support whenever I needed it. In addition to that, he en- couraged and prepared me to present my work in a variety of international conferences. -
An Integrative Look at the Psychology of Creative Writing
P1: PjU CUUS563-21 cuus563 ISBN: 978 0 521 88164 7 Top: 0.3764in Gutter: 0.87828in March 13, 2009 3:5 21 Putting the Parts Together: An Integrative Look at the PsychologyofCreativeWriting scott barry kaufman and james c. kaufman As should be evident from reading this book, the psychology of creative writing is complex and multifaceted, and there are many different levels in which it may be investigated. We decided to focus on five levels in this book. There is much overlap, however, among these five levels, and an understanding of one level typically increases our understanding of one or more other levels. Therefore, we would argue that a more complete understanding of the psychology of creative writing could be gained by the investigation of each of the five levels and their interactions. What are these levels? At one level, this book tries to further our understanding of the psychology of the creative writer. What are creative writers like? Are there characteristics that differentiate them from other types of writers? From professionals in other fields? At the second level is the actual text. How can an understanding of the printed word help elucidate the psychology of creative writing? The third level is about the process. What is the creative writing process? Are there certain processes that lead to more success in creative writing? At the fourth level is the development of creative writing as well as the development of the creative writer. How can creative writing be improved? How can the actual creative writing process help people cope with stress, traumatic events, or even mental illness? And finally, at the fifth level is the teaching of creative writing in schools and workshops.