____________________________________
Douglas R. Hofstadter, I am a strange loop, 2007
p.93
Eventually it dawned on me that there wasn't any marble in there at all, but that there was something that felt for all the world exactly like a marble to this old marble hand.
[[p.93]]
p.93
It was an epiphenomenon caused by the fact that, for each envelope, at the vertex of the “V” made by its flap, there is a triple layer of paper as well as a thin layer of glue. An unintended consequence of this innocent design decision is that when you squeeze down on a hundred such envelopes all precisely aligned with each other, you can't compress that little zone as much as the other zones ── it resists compression. The hardness that you feel at your fingertips has an uncanny resemblance to a more familiar (dare I say “a more real”?) hardness.
p.93
In other words, an epiphenomenon could be said to be a large-scale ‘’illusion‘’ created by the collusion of many small and indisputably non-illusory events.
pp.93-94
p.95
And yet, it's undeniable that the phrase “it felt just like a marble” gets across my experience far more clearly to my readers than if I had written, “I experienced the collective effect of the precise alignment of a hundred triple layers of paper and hundred layers of glue.” It is only because I called it a “marble” that you have a clear impression of how it felt to me.
p.95
And thus there is something to be gained by not rejecting the term “marble”, even if there is no ‘’real‘’ marble in the box. There is something that feels remarkably ‘’like‘’ a marble, and that fact is crucial to my portraying and to your grasping of the situation,
Douglas R. Hofstadter, I am a strange loop, 2007
____________________________________
── “Only through their union [understanding and senses] can knowledge arise.”
── Perceptions are portraits, not photographs, and their form reveals the artist's hand every bit as much as it reflects the things portrayed.
──
──
Daniel Gilbert, Stumbling on happiness, 2006 [ ]
p.85
But in 1781 a reclusive German professor named Immanuel Kant broke loose, knocked over the screen in the corner of the room, and exposed the brain as a humbug of the highest order. Kant's new theory of idealism claimed that our perceptions are not the result of a physiological process by which our eyes somehow transmit an image of the world into our brains, but rather, they are the result of a psychological process that combines what our eyes see with what we already think, feel, know, want, and believe, and then used this combination of sensory information and preexisting knowledge to construct our perception of reality.
p.85
“The understanding can intuit nothing, the senses can think nothing”, Kant wrote. “Only through their union can knowledge arise.”16
p.85
Kant argued that a person's perception of a floating head is constructed from the person's knowledge of a floating head, memory of floating heads, belief in floating heads, need for floating heads, and sometimes──but not always──from the actual presence of a floating head itself. Perceptions are portraits, not photographs, and their form reveals the artist's hand every bit as much as it reflects the things portrayed.
(Stumbling on happiness / by Daniel Gilbert.--1st ed., 1. happiness., BF575.H27G55 2016, 158--dc22, 2016, )
____________________________________
Siddhartha Mukherjee, The emperor of all maladies, 2010 [ ]
p.303
In the end, a mammogram or a Pap smear is a portrait of cancer in its infancy. Like any portrait, it is drawn in the hopes that it might capture something essential about the subject - its psyche, its inner being, its future, its behavior. “All photographs are accurate,” the artist Richard Avedon liked to say, “[but] none of them is the truth.”
(The emperor of all maladies : a biography of cancer, Siddhartha Mukherjee, 2010, )
____________________________________
That selection process is perception. “I am a very big believer”, Hofstadter told me, “that the core processes of cognition are very, very tightly related to perception.”
── Kevin Kelly, 1994,
from the book, Out of Control,
p.18, filename: ooc-mf.pdf
Kevin Kelly, out of control, 1994 [ ]
p.18
“Memory”, says cognitive scientist Douglas Hofstadter, “is highly reconstructive. Retrieval from memory involves selecting out of a vast field of things what's important and what is not important, emphasizing the important stuff, downplaying the unimportant.” That selection process is perception. “I am a very big believer”, Hofstadter told me, “that the core processes of cognition are very, very tightly related to perception.”
(Kevin Kelly, out of control, 1994, filename: ooc-mf.pdf )
____________________________________
── Wolfgang Metzger’s main argument, drawn from Gestalt theory, is that the objects we perceive in visual experience are not the objects themselves but perceptual effigies of those objects constructed by our brain according to natural rules.
──
──
──
Laws of Seeing
Wolfgang Metzger
Translated by Lothar Spillmann
http://www.lothar-spillmann.de/Lothar_Spillmann/Curriculum_Vitae_files/flyer.pdf
This classic work in vision science, written by a leading figure in Germany’s Gestalt movement in psychology and first published in 1936, addresses topics that remain of major interest to vision researchers today. Wolfgang Metzger’s main argument, drawn from Gestalt theory, is that the objects we perceive in visual experience are not the objects themselves but perceptual effigies of those objects constructed by our brain according to natural rules. Gestalt concepts are currently being increasingly integrated into mainstream neuroscience by researchers proposing network processing beyond the classical receptive field. Metzger’s discussion of such topics as ambiguous figures, hidden forms, camouflage, shadows and depth, and three-dimensional representations in paintings will interest anyone working in the field of vision and perception, including psychologists, biologists, neurophysiologists, and researchers in computational vision — and artists, designers, and philosophers. Each chapter is accompanied by compelling visual demonstrations of the phenomena described; the book includes 194 illustrations, drawn from visual science, art, and everyday experience, that invite readers to verify Metzger’s observations for themselves. Today’s researchers may find themselves pondering the intriguing question of what effect Metzger’s theories might have had on vision research if Laws of Seeing and its treasure trove of perceptual
Wolfgang Metzger (1899-1979) was a central figure in the Gestalt movement within psychology in Germany. He was Director of the Psychological Institute at the University of Münster.
____________________________________
Douglas R. Hofstadter, I am a strange loop, 2007
p.93
Eventually it dawned on me that there wasn't any marble in there at all, but that there was something that felt for all the world exactly like a marble to this old marble hand.
[[p.93]]
p.93
It was an epiphenomenon caused by the fact that, for each envelope, at the vertex of the “V” made by its flap, there is a triple layer of paper as well as a thin layer of glue. An unintended consequence of this innocent design decision is that when you squeeze down on a hundred such envelopes all precisely aligned with each other, you can't compress that little zone as much as the other zones ── it resists compression. The hardness that you feel at your fingertips has an uncanny resemblance to a more familiar (dare I say “a more real”?) hardness.
p.93
In other words, an epiphenomenon could be said to be a large-scale ‘’illusion‘’ created by the collusion of many small and indisputably non-illusory events.
pp.93-94
p.95
And yet, it's undeniable that the phrase “it felt just like a marble” gets across my experience far more clearly to my readers than if I had written, “I experienced the collective effect of the precise alignment of a hundred triple layers of paper and hundred layers of glue.” It is only because I called it a “marble” that you have a clear impression of how it felt to me.
p.95
And thus there is something to be gained by not rejecting the term “marble”, even if there is no ‘’real‘’ marble in the box. There is something that feels remarkably ‘’like‘’ a marble, and that fact is crucial to my portraying and to your grasping of the situation,
Douglas R. Hofstadter, I am a strange loop, 2007
____________________________________
── “Only through their union [understanding and senses] can knowledge arise.”
── Perceptions are portraits, not photographs, and their form reveals the artist's hand every bit as much as it reflects the things portrayed.
──
──
Daniel Gilbert, Stumbling on happiness, 2006 [ ]
p.85
But in 1781 a reclusive German professor named Immanuel Kant broke loose, knocked over the screen in the corner of the room, and exposed the brain as a humbug of the highest order. Kant's new theory of idealism claimed that our perceptions are not the result of a physiological process by which our eyes somehow transmit an image of the world into our brains, but rather, they are the result of a psychological process that combines what our eyes see with what we already think, feel, know, want, and believe, and then used this combination of sensory information and preexisting knowledge to construct our perception of reality.
p.85
“The understanding can intuit nothing, the senses can think nothing”, Kant wrote. “Only through their union can knowledge arise.”16
p.85
Kant argued that a person's perception of a floating head is constructed from the person's knowledge of a floating head, memory of floating heads, belief in floating heads, need for floating heads, and sometimes──but not always──from the actual presence of a floating head itself. Perceptions are portraits, not photographs, and their form reveals the artist's hand every bit as much as it reflects the things portrayed.
(Stumbling on happiness / by Daniel Gilbert.--1st ed., 1. happiness., BF575.H27G55 2016, 158--dc22, 2016, )
____________________________________
Siddhartha Mukherjee, The emperor of all maladies, 2010 [ ]
p.303
In the end, a mammogram or a Pap smear is a portrait of cancer in its infancy. Like any portrait, it is drawn in the hopes that it might capture something essential about the subject - its psyche, its inner being, its future, its behavior. “All photographs are accurate,” the artist Richard Avedon liked to say, “[but] none of them is the truth.”
(The emperor of all maladies : a biography of cancer, Siddhartha Mukherjee, 2010, )
____________________________________
That selection process is perception. “I am a very big believer”, Hofstadter told me, “that the core processes of cognition are very, very tightly related to perception.”
── Kevin Kelly, 1994,
from the book, Out of Control,
p.18, filename: ooc-mf.pdf
Kevin Kelly, out of control, 1994 [ ]
p.18
“Memory”, says cognitive scientist Douglas Hofstadter, “is highly reconstructive. Retrieval from memory involves selecting out of a vast field of things what's important and what is not important, emphasizing the important stuff, downplaying the unimportant.” That selection process is perception. “I am a very big believer”, Hofstadter told me, “that the core processes of cognition are very, very tightly related to perception.”
(Kevin Kelly, out of control, 1994, filename: ooc-mf.pdf )
____________________________________
── Wolfgang Metzger’s main argument, drawn from Gestalt theory, is that the objects we perceive in visual experience are not the objects themselves but perceptual effigies of those objects constructed by our brain according to natural rules.
──
──
──
Laws of Seeing
Wolfgang Metzger
Translated by Lothar Spillmann
http://www.lothar-spillmann.de/Lothar_Spillmann/Curriculum_Vitae_files/flyer.pdf
This classic work in vision science, written by a leading figure in Germany’s Gestalt movement in psychology and first published in 1936, addresses topics that remain of major interest to vision researchers today. Wolfgang Metzger’s main argument, drawn from Gestalt theory, is that the objects we perceive in visual experience are not the objects themselves but perceptual effigies of those objects constructed by our brain according to natural rules. Gestalt concepts are currently being increasingly integrated into mainstream neuroscience by researchers proposing network processing beyond the classical receptive field. Metzger’s discussion of such topics as ambiguous figures, hidden forms, camouflage, shadows and depth, and three-dimensional representations in paintings will interest anyone working in the field of vision and perception, including psychologists, biologists, neurophysiologists, and researchers in computational vision — and artists, designers, and philosophers. Each chapter is accompanied by compelling visual demonstrations of the phenomena described; the book includes 194 illustrations, drawn from visual science, art, and everyday experience, that invite readers to verify Metzger’s observations for themselves. Today’s researchers may find themselves pondering the intriguing question of what effect Metzger’s theories might have had on vision research if Laws of Seeing and its treasure trove of perceptual
Wolfgang Metzger (1899-1979) was a central figure in the Gestalt movement within psychology in Germany. He was Director of the Psychological Institute at the University of Münster.
____________________________________
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