Gestalt Theory

A resolution must give “seeing it differently” a sense that makes it clear that it is seeing that one is doing differently and not something else that is going on at the same time. The Berlin school of gestalt psychology took the view that alongside the colors and shapes traditionally thought to compose the visual field was a similarly perceptible aspect of “organization”. Wittgenstein considers the possibility of a physiological explanation of aspect change. This chapter details the Wittgenstein's account that (...) it is worth making three general comments about what explaining a psychological concept involves, according to his later philosophy. It focuses on Wittgenstein's writings on sensory aspects and non-sensory aspects. Kant's proposal was that the intuition is of an a priori manifold; but perhaps what is more plausible is that the objects of synoptic vision are not themselves individuals but concepts. (shrink)

In this paper I argue that Wittgenstein's aim in the aspect-perception passages is to critically evaluate a specific hypothesis. The target hypothesis in these passages is the Gestalt psychologist Köhler's "isomorphism principle." According to this principle, there are neural correlates of conscious perceptual experience, and these neural correlates determine the content of our perceptual experiences. Wittgenstein's argument against the isomorphism principle comprises two steps. First, he diffuses the substantiveness of the principle by undermining an important assumption that underpins this principle, (...) namely, that there is a unitary concept of seeing. Next, Wittgenstein argues that some forms of aspect-perception involve recognitional capacities, the exercise of which is normatively constrained. The normative nature of aspect-perceiving plays a pivotal role in Wittgenstein's rejection of the isomorphism principle. Aside from the clear exegetical benefits gained from identifying the target hypothesis in the aspect-perception passages as the isomorphism principle, construing the remarks in the way suggested here is also philosophically interesting in its own right: it shows Wittgenstein engaging directly in the mind–body problem, construed as the problem of intentionality. (shrink)

The Cambridge History of Philosophy 1870-1945 comprises over sixty specially commissioned essays by experts on the philosophy of this period, and is designed to be accessible to non-specialists. The first part of the book traces the history of philosophy from its remarkable flowering in the 1870s through to the early years of the twentieth century. After a brief discussion of the impact of the First World War, the second part of the book describes further developments in philosophy in the first (...) half of the twentieth century. The essays concentrate on developments across the range of philosophical topics, from logic and metaphysics to political philosophy and philosophy of religion. This volume will be of critical importance not only to teachers and students of philosophy but also to scholars in neighbouring disciplines such as the history of science, the history of ideas, theology and the social sciences. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

The problem of amodal perception is the problem of how we represent features of perceived objects that are occluded or otherwise hidden from us. Bence Nanay (2010) has recently proposed that we amodally perceive an object's occluded features by imaginatively projecting them into the relevant regions of visual egocentric space. In this paper, I argue that amodal perception is not a single, unitary capacity. Drawing appropriate distinctions reveals amodal perception to be characterized not only by mental imagery, as Nanay suggests, (...) but also by genuinely visual representations as well as beliefs. I conclude with some brief remarks on the role of object-directed bodily action in conferring a sense of unseen presence on an object's occluded features. (shrink)

In this paper, I critically assess the enactive account of visual perception recently defended by Alva Noë (2004). I argue inter alia that the enactive account falsely identifies an object’s apparent shape with its 2D perspectival shape; that it mistakenly assimilates visual shape perception and volumetric object recognition; and that it seriously misrepresents the constitutive role of bodily action in visual awareness. I argue further that noticing an object’s perspectival shape involves a hybrid experience combining both perceptual and imaginative elements (...) – an act of what I call ‘make-perceive.’. (shrink)

Attempts to introduce Gestalt theory into the realm of visual neuroscience are discussed on both theoretical and experimental grounds. To define the framework in which these proposals can be defended, this paper outlines the characteristics of a standard model, which qualifies as a received view in the visual neurosciences, and of the research into natural images statistics. The objections to the standard model and the main questions of the natural images research are presented. On these grounds, this paper defends the (...) view that Gestalt psychology and experimental phenomenology provide a contribution to the research into perception by the construction of phenomenological models for an ecologically meaningful interpretation of the empirical evidence and the hypothetical constructs of the natural image research within the visual neuroscience. A formal framework for the phenomenological models is proposed, wherein Gestalt theoretical principles and empirical evidence are represented in terms of topological properties and relationships, which account for the order and structures that make the environment accessible to observers at a relevant behavioural level. It is finally argued that these models allow us to evaluate the principles and the empirical evidence of various natures which are integrated from different fields into the research into perception, and in particular into visual neurosciences. (shrink)

A dialogue between a figure and its background, illustrating that the perceptual conditions that determine which is which are not as clear as standard Gestalt theory dictates.

In his ontological works Kurt Grelling tries to give a rigorous analysis of the foundations of the so-called Gestalt-psychology. Gestalten are peculiar emergent qualities, ontologically dependent on their foundations, but nonetheless non reducible to them. Grelling shows that this concept, as used in psychology and ontology, is often ambiguous. He distinguishes two important meanings in which the word “Gestalt” is used: Gestalten as structural aspects available to transposition and Gestalten as causally self-regulating wholes. Gestalten in the first meaning are, according (...) to Grelling, “equivalence classes of correspondences”, while Gestalten as self-regulating wholes have more to do with relations of ontological dependence. Grelling’s clarification of the concept of Gestalt is doubtless an excellent piece of philosophical analysis, but at the end of the day it turns out that his analysis captures at best only a part of intuitions traditionally connected with the notion of Gestalt. (shrink)

What one finds intuitive changes--propositions initially found intuitive, counterintuitive, or neither intuitive nor counterintuitive can shift their status. In this paper I develop a puzzle about changes in what one finds intuitive: (1) Changes in what one finds intuitive partly consist in learning new facts; (2) If changes in what one finds intuitive partly consist in learning new facts, then these changes are changes in inferences not intuitions; (3) But changes in what one finds intuitive are changes in intuitions. I (...) argue that changes in what one finds intuitive are changes in the contents of one’s intuition experiences due to a form of restructuring familiar from the literature on problem solving, and that this provides grounds for denying step (2) in the puzzle. I consider and reject alternatives that target steps (1) or (3). And I explore the significance my view of changes in what one finds intuitive has for recent controversies about philosophical methodology. (shrink)

While much of Arne Naess’s ecosophy underscores the importance of understanding one’s ecological Self, his analyses of gestaltism are significant in that they center less on questions of the self than on questions of nature and what is other-than-human. Rather than the realization of a more expansive Self, gestalt ontology calls for a “gestalt shift” in our thinking about nature, one that allows for its intrinsic value to emerge clearly. Taking such a gestalt shift as a central task enables Naess (...) to avoid some common criticisms of his view. (shrink)

The intent of the article is to define merleau-ponty's place in the phenomenological tradition and, at the same time, to defend his standpoint, especially on those issues where his thought represents a departure from the tradition. although merleau-ponty espouses a form of the husserlian doctrine of the intentionality of consciousness, his understanding of intentionality differs in several fundamental respects from husserl's. the article attempts to show specifically where merleau-ponty's gestalt- theoretical orientation leads him to modify such basic aspects of husserl's (...) concept of intentionality as the noesis-noema distinction and the claim for atemporality of meaning. a critical comparison is drawn between merleau- ponty's concept of intentionality and that of aron gurwitsch. in a more positive vein, the article provides an extended exegesis of merleau-ponty's position on this central concept in phenomenology, and it also tries to relate the exposition of intentionality to merleau-ponty's thesis of the primacy of perception. finally, an attempt is made to reveal the ontological ramifications implicit in merleau-ponty's revisions to the doctrine of intentionality. (edited). (shrink)

Lehar's Gestalt Bubble model introduces a computational approach to holistic aspects of three-dimensional scene perception. The model as such has merit because it manages to translate certain Gestalt principles of perceptual organization into formal codes or algorithms. The mistake made in this target article is to present the model within the theoretical framework of the question of consciousness. As a scientific approach to the problem of consciousness, the Gestalt Bubble fails for several reasons. This commentary addresses three of these: (1) (...) the terminology surrounding the concept of consciousness is not rigorously defined; (2) it is not made evident that three-dimensional scene perception requires consciousness at all; and (3) it is not clearly explained by which mechanism(s) the “picture-in-the-head,” supposedly represented in the brain, would be made available to different levels of awareness or consciousness. Footnotes1 After Shakespeare, Macbeth. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization has remained (...) unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human brain has an astonishing (...) capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

We present select examples of how visual phenomena can serve as tools to uncoverbrain mechanisms. Specifically, receptive field organization is proposed as a Gestalt-like neural mechanism of perceptual organization. Appropriate phenomena, such as brightness and orientation contrast, subjective contours, filling-in, and aperture-viewed motion, allow for a quantitative comparison between receptive fields and their psychophysical counterparts, perceptive fields. Phenomenology might thus be extended from the study of perceptual qualities to their transphenomenal substrates, including memory functions. In conclusion, classic issues of Gestalt (...) psychology can now be related to modern. (shrink)

"First Published in 1999, Routledge is an imprint of Taylor & Francis, an informa company.".

The Gestalt psychologists adopted a set of positions on mind-body issues that seem like an odd mix. They sought to combine a version of naturalism and physiological reductionism with an insistence on the reality of the phenomenal and the attribution of meanings to objects as natural characteristics. After reviewing basic positions in contemporary philosophy of mind, we examine the Gestalt position, characterizing it m terms of phenomenal realism and programmatic reductionism. We then distinguish Gestalt philosophy of mind from instrumentalism and (...) computational functionalism, and examine Gestalt attributions of meaning and value to perceived objects. Finally, we consider a metatheoretical moral from Gestalt theory, which commends the search for commensurate description of mental phenomena and their physiological counterparts. (shrink)

The Doctrine of the Given The Myth of the Given A Methodological Problem To a convinced foundationalist, the project of establishing the existence of the ...

In this collection of papers and lecturers from the late Rainette Fantz, we witness firsthand the exhilarating possibilities inherent in the Gestalt therapy model. Frantz brings her background in theater to bear on her remarkable work as a therapy and teacher-work marked by delightful imagination, striking improvisation, and aesthetic beauty. The insights contained in these chapters illuminate everything from the intricacies of an opening session to the theoretical foundations of Gestalt dreamwork, and Frantz's candid style invites the reader to explore (...) with her the joys and sorrows of a career as a Gestalt therapist. (shrink)

This paper argues that whereas philosophical discussions of first-person methods often turn on the veridicality of first-person reports, more attention should be paid to the experimental circumstances under which the reports are generated, and to the purposes of designing such experiments. After pointing to the ‘constructedness’ of first-person reports in the science of perception, I raise questions about the criteria by which to judge whether the reports illuminate something about the nature of perception. I illustrate this point with a historical (...) debate between Gestalt psychologist and atomists, both of whom used first-person methods to investigate perception. (shrink)

: This paper investigates the way in which Rudolf Carnap drew on Gestalt psychological notions when defining the basic elements of his constitutional system. I argue that while Carnap's conceptualization of basic experience was compatible with ideas articulated by members of the Berlin/Frankfurt school of Gestalt psychology, his formal analysis of the relationship between two basic experiences ("recollection of similarity") was not. This is consistent, given that Carnap's aim was to provide a unified reconstruction of scientific knowledge, as opposed to (...) the mental processes by which we gain knowledge about the world. It is this last point that put him in marked contrast to some of the older epistemological literature, which he cited when pointing to the complex character of basic experience. While this literature had the explicit goal of overcoming metaphysical presuppositions by means of an analysis of consciousness, Carnap viewed these attempts as still carrying metaphysical baggage. By choosing the autopsychological basis, he expressed his intellectual depth to their antimetaphysical impetus. By insisting on the metaphysical neutrality of his system, he emphasized that he was carrying out a project in which they had not succeeded. (shrink)