Die traditionelle Erkenntnistheorie geht hinsichtlich ihres Verständnisses von Erkenntnis vom heuristischen Kurzschluss des Inhalts mit dem Gegenstand der Erkenntnis. Diesem Kurzschluss korrespondiert die Idee von Wahrhei im Sinne einer irgendwie gearteten Übereinstimmung zwischen Inhalt und Gegenstand der Erkenntnis. Das Problem das daraus entsteht ist die Frage der Überprüfbarkeit dieser Übereinstimmung, die einen transzendenten Standpunkt voraussetzen würde, der mangels Existenz zu einem reinen Fluchtpunkt der Reflexion wird. Der Standpunkt der Reflexion entspricht der Einnahme eines transzendenten Standpunkts, der dennoch im erkennenden Subjekt (...) verankert ist. Die Frage der Übereinstimmung wird so zu einer Frage der Gewissheit. Diese führt zu einem zweiten, diesmal theoretischen Kurzschluss, nämlich der Verquickung der eigentlichen Frage einer Theorie des Phänomens Erkenntnis, der Frage nach der Genese (bzw. Generierung) des Inhalts der Erkenntnis, mit der Frage der Gewissheit dieses Inhalts. Diese Verquickung führt schließlich zur Frage, welche (per definitionem subjektiven) Elemente des Erkenntnisvorgangs Gewissheit verbürgen können, und somit zu einer weiteren, dritten, nämlich methodischen Kurzschluss durch die Definition der (in Wahrheit holistischen) Erkenntnissituation im Sinne eines Subjekt-Objekt-Gegensatzes und den damit verbundenen Ausschluss des Wissens der empirischen Naturwissenschaften aus der Erkenntnisreflexion. Ziel dieser kurzen Arbeit (die die Einleitung zu einer kürzlich erschienen Publikation mit dem Titel: 'Rehabilitation der reinen Vernunft' darstellt), ist es, im Wege der Rückabwicklung dieser Kurzschlüsse in umgekehrter Reihenfolge zu einem adäquaten Verständnis des Phänomens Erkenntnis zu finden, also ausgehend von der affirmativen Kenntnisnahme des Holismus der realen Erkenntnissituation, der subjektive Gewissheit als vernünftiges Erkenntnisziel von vornherein ausschließt. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

Both Kant and Dilthey distinguish between cognition and knowledge, but they do so differently in accordance with their respective theoretical interests. Kant’s primary cognitive interest is in the natural sciences, and from this perspective the status of psychology is questioned because its phenomena are not mathematically measurable. Dilthey, by contrast, reconceives psychology as a human science.For Kant, knowledge is conceptual cognition that has attained certainty by being part of a rational system. Dilthey also links knowledge with certainty; however, he derives (...) the latter from life-experience rather than from reason. Dilthey’s psychology begins with the self-certainty of lived experience and life-knowledge, but this turns out to fall short of cognitive understanding. In the final analysis, both Kant and Dilthey move beyond psychology to arrive at self-understanding. Because of his doubts about introspection, Kant replaces psychology with a pragmatic anthropology to provide a communal framework for self-understanding. Dilthey supplements psychology with other human sciences as part of a project of anthropological reflection.Author Keywords: Anthropology; Cognition; Dilthey; Kant; Knowledge; Psychology. (shrink)

Excerpt from Über die Echtheit der Platonischen Briefe Der erste Aufenthalt Platos in Syrakus fällt, wie sich mit Hilfe einer bisher übersehenen Angabe seines Biographen Olympiodor feststellen läfst, in den Frühsommer des Jahres 388. Damals war Plato, der nach dem Zeugnis seines Schülers Hermodor 427 geboren ist, in der Tat beinahe 40 Jahre alt Das anfänglich gute Verhältnis zum älteren Dionys konnte bei der Ver schiedenheit der Charaktere nicht lange bestehen; schon um die Mitte des Sommers 388, zur Zeit der (...) olympischen Spiele, finden wir Plato wieder in Hellas. Nach einer bekannten Erzählung hatte nämlich der Tyrann den smrtanischen Gesandten Pullis veranlafst, ihn auf seinem Schiffe mitzunehmen und in Ägina aus Land zu setzen, damit er dort als Kriegsgefangener fest genommen und auf dem Sklavenmarkt verkauft würde. Es wäre nämlich gerade Krieg zwischen Athen und Ägina gewesen (bis Sein Gastfreund Anniceris von Cyrene sei zufällig hinzu gekommen und habe ihn losgekauft Ausdrücklich bemerkt Olympiodor zu dieser Erzählung, Anniceris sei mit einem Viergespann nach Hellas gekommen, um an den olympischen Spielen Demnach fällt Platos erste sizilische Reise in das Olympiadenjahr 388. Die chronologische Zuverlässigkeit des Briefes tritt am deutlichsten darin hervor, dafs nun seine An gabe, Plato sei damals beinahe 40 Jahre alt gewesen, gerade mit der bestbezeugten Angabe über sein Geburtsjahr übereinstimmt. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (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)

Excerpt from Les Grands Courants de la Pensée Contemporaine Pour les anciens, pour un Platon ou un Aristote, la nature était capable du div1n, et plus ou moins divine elle-mème. L'esprit pouvait donc, pour vivre sa vie, s'appuyer sur elle ou l'appeler à lui. Toute son ambi tion, d'ailleurs, était d'y retrouver et d'y contempler le règne des lois rationnelles et éternelles, auquel lui mème participait directement. Mais, avec le christia nisme, la nature a changé de face. Elle n'est plus (...) qu'une chose inerte, tout extérieure à l'esprit, qui l'a créée en nilzilo. Et la science moderne est, sur ce point, en remarquable accord avec la religion judéo-chré tienne. Elle fait de la nature un mécanisme brut, où le jeu éternellement identique de forces matérielles, données et immuables, engendre, à lui seul, tous les phénomènes, sans que, dans leur cours, il vait jamais place pour une pensée dirigeante. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Ausgehend vom Gegensatz ^absolut-relativ' wird im ersten Abschnitt sprachliche Relativität versus Absolutheit anhand von P. Ungers Analyse semantischer Relativität und der Unterscheidung invariantischer und kontextualer Analyse behandelt. Im zweiten Abschnitt wird das Relativismusproblem in bezug auf psychologische (und soziologische) Relativität diskutiert und in der Gruppe der ersteren Wittgenstein, Kripke und Putnam erwähnt und deren Argumente über die Unmöglichkeit privater innerer Gegenstände zur Widerlegung subjektiver Relativität herangezogen. Sodann wird gezeigt, daß das analoge Argument zugunsten eines Relativismus auf soziokulturellem Gebiet auftritt. Rahmenrelativität (...) scheint demnach unvermeidbar. Ein Absolutheitsanspruch des Relativismus selbst bleibt unerfüllbar. (shrink)

1. Bd. Die politische Philosophie des Altertums.