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Gestalt Approach

Ever wonder how you can know that a melody played in one key is the same melody when it is played in another key, even though all the notes are different? This and related questions, such as how you segment a scene into figure and background, have been the subject of a branch of psychology called the Gestalt school since the beginning of the 20th century. The Gestalt approach to perception of considering how the mind organizes meaningless, elemental stimuli into meaningful global perceptions originated when Christian von Ehrenfels (1859–1932) published his pivotal paper “Über Gestaltqualitäten” (On the Qualities of Form) in 1890. This work postulated the radical view that “the whole is greater than the sum of its parts.” What von Ehrenfels meant by this now-classic phrase was an extension of an earlier view postulated by philosopher Immanuel Kant (1724–1804). Kant held that the mind's representation of reality requires active processing of sensory information. Kant called our mind's representation of reality the phenomenal world, but reality itself the nominal world. That is, we perceive the phenomenal world only by filtering the outside world, which Kant called the noumenal world, through our minds. The noumenal world consists of “things in themselves” and can never be experienced directly, whereas the phenomenal world is created by adding intuitions and conceptions to our sensory impressions. Thus, von Ehrenfels's Gestaltqualitäten cannot be explained by merely associating elementary sensations, but require mental interaction with sensations.

Although there is no direct English counterpart for the German word gestalt, commonly employed terms are configuration, holistic, form, structure, and pattern. Gestalt describes a configuration or form that is unified. The notion that the mind actively organizes elemental stimuli from the outside world was in direct opposition to the Structuralist philosophy put forward most directly by Wilhelm Wundt (1832–1920) and championed in the United States by his student Edward Titchener (1867–1927). Structuralism postulated that all psychological facts consist of unrelated inert atoms that could only be combined by associations. They used introspection to support their claim that consciousness was composed of mechanistic associations of stimulus elements without any underlying meaning gluing them together. So, that an apple would be described as “red,” “round,” “hard,” or “sweet,” Wundt and Titchener essentially imagined psychology as a science, much like physics or chemistry, in which consciousness is a collection of identifiable parts such as the elements on a periodic table that can be separated and studied. In contrast, the Gestalt approach focused on phenomenology; that is, the study of the meaningful, intact experience not analyzed or reduced to elemental parts. A square has a unity and identity that cannot be fully appreciated by its description as four straight lines connected by right angles.

Wertheimer's Apparent Motion Phenomenon

Having taken several courses from von Ehrenfels, Max Wertheimer (1880–1943) formally founded the Gestalt approach to perception in 1912 in Experimentelle Studien über das Sehen von Bewegungen (Experimental Studies on the Perception of Movements), which focused on apparent rather than real motion. Wertheimer showed how two discrete lights flashed at two different locations at different times could appear to be one light that moved from the first to the second location if the spacing and timing between the stimuli were appropriately configured. He found that if the time between flashes was 200 milliseconds or longer, the observer perceived two lights flashing on and off successively, which was the case. If the interval between flashes was 30 milliseconds or less, both lights appeared to be on simultaneously. However, if the interval between flashes was about 60 milliseconds, one light seemed to be moving from one position to the other. This is how a theater marquee makes lights appear to move simply by flashing them on and off sequentially. This result was significant because an observer perceives neither two separate elements nor two local events, as the Structuralists would have predicted. They assumed a necessary one-to-one correspondence between perception and sensory stimulation. Instead, motion is seen where none exists. The whole pattern differs from, and supersedes analysis of, summation of the parts. Similarly, what came to be known as space-form and time-form are used by Ernst Mach (1838–1916) in The Analysis of Sensations (1885) to show how a melody differs from the elements that compose it. For example, transposition to a different key changes all the individual notes, yet the clear identity of the melody remains, and it remains if we change its tempo. The Gestalt school argued that we perceive our world through meaningful patterns or unified wholes.

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