The book Psychology industrial Efficiency by Hugo Munsterberg, which was published in 1913, is considered a classic in the field of Industrial Psychology. The book is organized into 3 main sections which concentrate on different areas of industrial productivity, particularly in environments where people work for others to create. The key areas covered include: Detecting Workers Suited to the Task: This section concentrates on locating individuals psychologically and mentally prepared for particular jobs. It reviews scientific vocational guidance and experimental (...) psychology in selecting the most appropriate individuals for various roles. Productive Conditions: The second part relates to creating productive working conditions which are optimum. The study investigates the adaptation of psychical and technical conditions, movement effectiveness, and the consequences of monotony, attention, exhaustion, social and physical factors on working power. Effectively Using Effort: The concluding chapter talks about the most efficient use of the efforts of workers. It contains research into economic demands, how advertisements impact individuals and buying and selling methods. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

RESUMENEl presente trabajo trata de exponer el trasfondo (neo)kantiano de la filosofía del cine de Hugo Munsterberg. Nuestro autor, reputado psicólogo experimental y profesor de Harvard, elaboró en 1916 una obra que está considerada la primera manifestación sistemática de la filosofía del cine: The photoplay: a psychological study. Nos centraremos en este libro y lo pondremos en relación con otros textos de Munsterberg en los que su teoría estética aparece. Por otro lado, y sin perder de vista la (...) intención de rescatar los aspectos kantianos de su posición, intentaremos ofrecer un contexto teórico e intelectual de las motivaciones y temáticas de nuestro autor. PALABRAS CLAVEFILOSOFÍA DEL CINE; TEORÍA DEL CINE; MUNSTERBERG; KANTISMO; ESTÉTICA; COGNITIVISMOABSTRACTThis paper aims to explain the Kantian background of Hugo Munsterberg’s philosophy of film. Our author, who was a renowned experimental psychologist and professor at Harvard, in 1916 produced a work that is considered the first systematic manifestation of film theory: The photoplay: a psychological study. We will focus on this book but also we’ll relate it to other Munsterberg’s texts in which his aesthetic theory appears. On the other hand, we will try to offer a theoretical and intellectual context in order to contextualize all his motivations and themes. KEY WORDSPHILOSOPHY OF FILM; THEORY OF FILM; MUNSTERBERG; KANTIANISM; AESTHETICS; COGNITIVISM. (shrink)

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

For historians of psychology, Hugo Münsterberg is best remembered as William James’ successor as director of the Harvard Psychological Laboratory and a pioneer of applied psychology. By contrast, f...

According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for (...) example, psychological instruments were often deemed too intimidating for a public unfamiliar with the inner workings of experimental science. Similarly, when psychotechnical means were employed by big business in screening job candidates, ethical red flags were raised about this new alliance between science and capital. This tension was particularly evident in Münsterberg's collaboration with the Paramount Pictures Corporation in 1916. In translating psychological tests into short experimental films, Münsterberg not only envisioned a new mass medium for the dissemination of psychotechnics, but a means by which to initiate the masses into the culture of experimental psychology. (shrink)