Gestalt Theory

ISSNs: 0170-057X, 2519-5808

21 found

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  1.  1
    Vittorio Benussi, the Gustav Mahler of Psychology.Mauro Antonelli - 2022 - Gestalt Theory 44 (3):243-262.
    Summary The paper celebrates the person and work of Vittorio Benussi, a forgotten genius of psychology. In particular, it addresses the two most important scientific projects that Benussi developed during his time in Graz and Padua, respectively: the psychology of perception and the psychology of emotions and the unconscious. It highlights the originality and topicality of Benussi’s work and emphasizes its proximity to the latest trends in these research fields.
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  2.  8
    The Experimental Phenomenology of Perception. A Collective Reflection on the Present and Future of this Approach.Roberto Burro & Ivana Bianchi - 2022 - Gestalt Theory 44 (3):279-288.
    Summary The paper presents the result of a collective reflection inspired by the individual suggestions of 30 researchers working in different research areas. They are all familiar with the Experimental Phenomenology of Perception, and are aware of the importance that this approach might represent nowadays in their specific research field. The picture that emerges from this ‘mosaic’ stimulates us to consider the potential future developments of this approach if we accept that we need to push its borders beyond the traditional (...)
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  3.  5
    Gestalt road to Necker cube perception.Shelia Guberman - 2022 - Gestalt Theory 44 (3):289-302.
    The study of cases of illusory or unstable perception of some visual stimuli allows exploration of the psychology of perception of the surrounding world. The wired construction known as “Necker cube” is one such stimulus: it can be perceived as a cube whose front face is seen higher than the back face or vice versa. The switch can occur intentionally or spontaneously. The investigations were focused on switching parameters, relation of the switching to eye position, pre-history, and environment. Here we (...)
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  4.  3
    Gestalt Theory and Socioeconomic Analyses.Gisela Kubon-Gilke - 2022 - Gestalt Theory 44 (3):303-316.
    Summary The analysis of social and economic phenomena has a long Gestalt-theoretical tradition but is currently seen rather as a niche subject. In this article, recent important approaches are presented that explicitly or implicitly refer to Gestalt-theoretical considerations. The particular relevance of narratives is pointed out. In addition, further analytical challenges are discussed.
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  5.  3
    Thinking on Reality: Metzger and the Rejection of the “Eleatic Postulate”1.Riccardo Luccio - 2022 - Gestalt Theory 44 (3):263-278.
    In 1940, Wolfgang Metzger began a profound reflection on the meaning of the phenomenological approach to Gestalt psychology, which had its starting point in the rejection of what he called the “Eleatic” or “Eleatic–Rationalistic Postulate,” that is, the notion that, in his opinion, had dominated Western scientific and philosophical thought of the past centuries, according to which any assertion about the state of things that could lead to self-contradictory conclusions had to be considered unfounded. On the basis of this rejection (...)
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  6.  3
    Report of the 22nd Scientific Conference of the Society for Gestalt Theory and its Applications in Trieste (2022).Serena Mingolo - 2022 - Gestalt Theory 44 (3):317-321.
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  7.  2
    Laudatio for Gerhard Stemberger on the Occasion of the Award of the Honorary Membership of the GTA.Marianne Soff - 2022 - Gestalt Theory 44 (3):205-212.
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  8.  95
    On Perceiving Abs nces.Achille C. Varzi - 2022 - Gestalt Theory 44 (3):213-242.
    Can we really perceive absences, i.e., missing things? Sartre tells us that when he arrived late for his appointment at the café, he saw the absence of his friend Pierre. Is that really what he saw? Where was it, exactly? Why didn’t Sartre see the absence of other people who were not there? Why did other people who were there not see the absence of Pierre? The perception of absences gives rise to a host of conundrums and is constantly on (...)
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  9.  7
    Synaesthetic Interactions between Sounds and Colour Afterimages: Revisiting Werner and Zietz’s Approach.Tiziano Agostini, Serena Cattaruzza, Walter Coppola, Marco Prenassi & Giulia Parovel - 2022 - Gestalt Theory 44 (1-2):161-174.
    We ran a pilot experiment to explore, using a new psychophysical method, the hypothesis proposed by Zietz and Werner in the ’30s, that a sound presented simultaneously with an afterimage can change its phenomenal appearance in non-synaesthetes. The method we adopted is able to directly collect and visualise the apparent changes in intensity of the afterimages, by recording observers’ interactions with a physical feedback mechanism, without referring to verbal descriptions. These first findings support some of the most meaningful observations reported (...)
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  10.  5
    Lightness Contrast Spatially Propagates on Perceptually Unified Elements.Tiziano Agostini, Fabrizio Sors, Mauro Murgia, Alessandro Soranzo & Alessandra Galmonte - 2022 - Gestalt Theory 44 (1-2):79-96.
    In 1993, Agostini and Proffitt showed that perceptual belongingness causes simultaneous lightness contrast to be seen in configurations in which the inducing elements are not adjacent to the target. The aim of the present research was to measure the strength of belongingness in determining the contrast phenomenon when the numbers of the inducing and induced elements and their relative positions are manipulated in Agostini-and-Proffitt-type configurations. In the first experiment, by using a forced choice paradigm, naïve observers indicated which gray disks (...)
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  11.  3
    The Combined Effect of Motion and Lightness Contrast on Anomalous Transparency.Olga Daneyko, Daniele Zavagno & Rossana Actis-Grosso - 2022 - Gestalt Theory 44 (1-2):147-160.
    Summary We report an effect of anomalous transparency that is similar to other phantom effects. In an experiment aimed at testing the combined role of motion of the occluding surface and lightness contrast and polarity on the perception of anomalous transparency, we found that transparency is perceived only with low contrast, and enhanced when the occluding surface is moving. A tentative explanation is suggested, based on simultaneous lightness contrast as a segregation factor and on motion as an integration factor, and (...)
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  12.  8
    Gestalt Theory and the Network of Traditional Hypotheses.Alan L. Gilchrist - 2022 - Gestalt Theory 44 (1-2):97-116.
    Summary Since at least the time of Helmholtz, the process of visual perception has been regarded as a two-stage affair consisting of an initial sensory stage corresponding to the proximal stimulus and a subsequent cognitive stage corresponding to the distal object. This construction amounts to an awkward mind body dualism wherein part of perception is done by the body and the other part is done by the mind. Gestalt theory rejected both raw sensations and their cognitive interpretation, offering a single (...)
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  13.  10
    Colour, Pattern, Space and Time in Art Perception: Two Case Studies.Christopher Linden, Stefanie De Winter & Johan Wagemans - 2022 - Gestalt Theory 44 (1-2):7-26.
    Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch explores ways to (...)
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  14. Wolfgang Metzger: Schöpferische Freiheit. Gestalttheorie des Lebendigen. Herausgegeben von Marianne Soff und Gerhard Stemberger, mit einem Geleitwort von Jürgen Kriz. Wien: Verlag Krammer 2022, dritte Auflage. ISBN-13: 978 3 901811 80 7. [REVIEW]Hellmuth Metz-Göckel - 2022 - Gestalt Theory 44 (1-2):201-204.
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  15.  10
    Space and Scale in Medieval Painting Reflects Imagination and Perception.Robert Pepperell, Alistair Burleigh & Nicole Ruta - 2022 - Gestalt Theory 44 (1-2):61-78.
    Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. (...)
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  16.  4
    A Computational Model of Human Colour Vision for Film Restoration.Alessandro Rizzi, Luca Armellin, Beatrice Sarti & Alice Plutino - 2022 - Gestalt Theory 44 (1-2):175-182.
    Even today, film restoration is a challenge, because it involves multidisciplinary competences: from analogue film inspection and conservation to digitisation and image enhancement. In this context, thanks to the high manageability of digital files, the film restoration workflow often follows a digitisation step, which presents many approximations and issues that are often ignored. In this work, we propose an alternative approach to the issues commonly encountered in film restoration aiming at restoring the original colour appearance, through models of human colour (...)
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  17.  3
    Another Ambiguous Expression by Leonardo da Vinci.Alessandro Soranzo - 2022 - Gestalt Theory 44 (1-2):41-60.
    The Mona Lisa is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry demonstrated that a similar ambiguity can be perceived also in La Bella Principessa, another portrait credited to Leonardo da Vinci by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the perceived level (...)
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  18. Editorial: Color and Space in Perception and Art.Branka Spehar & Tiziano Agostini - 2022 - Gestalt Theory 44 (1-2):1-6.
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  19.  3
    Amodal Completion of Color.Dejan Todorović - 2022 - Gestalt Theory 44 (1-2):117-146.
    Summary Amodal completion involves the impression of existence and properties of visually occluded parts of objects. One aspect of this phenomenon that has been somewhat neglected is the amodal completion of color, which involves the impression that amodally completed surfaces have a particular color. In this paper, this aspect is investigated by constructing a large number of displays with identical target figures embedded in systematically varying contexts, to find out which contexts are conducive for amodal completion of color and which (...)
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  20.  29
    The Space of Colour and the Colour of Space.Andrea van Doorn & Jan Koenderink - 2022 - Gestalt Theory 44 (1-2):27-40.
    Summary In the visual arts, the constructions of the spatial and chromatic structures of pictures can hardly be separated from each other. The phenomenological approach from the perspective of the arts provides an independent and worthwhile approach to the topic of colour and space. We address some matters of composition in design and, to some extent, in naturalistic painting. The phenomenological approach from the perspective of the arts reveals various topics that invite further investigation by the means of generic vision (...)
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  21.  2
    The Politics of Physiognomic Perception.Ian Verstegen - 2022 - Gestalt Theory 44 (1-2):183-200.
    Summary This article stages a confrontation between latent nominalist attitudes about inherent expression in perception—physiognomy—and new affective modes. In a classic analysis, Gombrich warned of the lack of veridicality of physiognomic perception, a sentiment endorsed by postmodern theories. At the same time, affect theory affirms a level of directly available intensities. Using the example of Rudolf Arnheim, it can be seen that the two are really specular opposites of each other, each merely valorizing different poles of the affect-cognition scale. Arnheim’s (...)
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