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REFERENCES
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access to The American Journal of Psychology
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THE PSYCHOLOGY OF GESTALT1
TABLE OF CONTENTS
(I6) The Effect of Configurations upon After-Images .............. 25
(17) The Influence of Form upon Color .......................... 27
(I8) Auditory Configurations ................................... 29
(19) Tactile Configurations ..................................... 33
(20) The Problem of Relations and the Psychophysical Judgmen
(21) Configurational Aspects of Response Patterns ................ 42
(22) Recognition, Learning, Memory and Reproduction ........... 46
(23) Configurationism and the Higher Thought Processes.......... 53
(24) Contributions to the Psychology of the Abnormal............ 56
(25) General Implications of Gestalttheorie ........................ 58
25
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26 HELSON
2H. Frank, Ueber die Beeinflussung von Nachbildern durch die Ge-
stalteigenschaften der Projektionsflache, Psych. Forsch., 4, 1923, 33-42.
3W. Fuchs, Experimentelle Untersuchungen fiber das simultane Hin-
tereinandersehen auf derselben Sehrichtung, Z. f. Psych., 91, I922, 201 ff.
Katz, Die Erscheinungsweisen der Farben. Z. f. Psych., Erganz. Bd., 7,
I9II.
4W. Fuchs, Experimentelle Untersuchungen fiber di
Farben unter dem Einfluss von Gestalten ("Angleichung
Z. f. Psych., 92, 1923, 288 ff.
6W. Fuchs, Psychologische Analysen hirnpathologischer
von Untersuchungen Hirnverletzter; Untersuchungen u
Hemianopiker und Hemiamblyopiker, Z. f. Psych., 83,
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PSYCHOLOGY OF GESTALT 27
6H. Rothschild, Ueber den Einfluss der Gestalt auf das negative Nach-
bild ruhender visueller Figuren, Arch. f. Ophthalmol., 112, I923, I-128.
7See reference in Note 4.
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28 HELSON
tister. The E will appear either (I) in two parts, of which one part is more
blue or gray than the other while the second part is orange, or (2) as a
complete letter whose color is orange while the part surrounding it is a
shaded orange. The experiments showed that even though certain
parts may differ from the rest in color; the greater part will influence the
rest; the color of the larger part determines the color, of the whole. But
the color of the larger part is itself more or less changed. If any part of
the figure is attended to, it keeps its own color, it is necessary for the con-
figuration as a whole to be perceived if it is to assume a uniform color.
These facts show, says Fuchs, that a configuration is a unitary surface
consisting only of a single piece.
Even though the smaller part is different in color from the rest it may
possess greater intensity or impressiveness, and it will thus compensate
or overcompensate for the predominance of the color of the larger part.
Under these conditions the color of the whole will be a mixture of the two
or will even lie wholly in the direction of the color of the smaller part. The
color of the smaller part may exert a greater influence over the whole than
its size warrants, if it forms the crucial part (Schwerpunkt) of the config-
uration. If a configuration has several important points of reference, the
crucial point may be shifted from one to another. Thus the letter E has
at least two crucial parts, the lower horizontal line and the vertical line.
Some interesting facts emerge when the E is broken up in different ways.
We may summarize these facts as follows: the color of the other parts in-
fluences to some extent the color of the critical part; the color of the criti-
cal part deviates more or less by assimilation of the color of the other
parts; the mutual assimilation-effects of the parts are so much the greater,
the more or the better the perception of the total configuration. The
limiting case would be that in which every surface should be of the same
color as each of its parts. Assimilation would therefore arise as a result
of configurational perception, not as the result of the assimilative tendency
of neighboring retinal fields by diffusion.8
Under proper conditions, a configuration may arise from separate ele-
ments. If five yellow circles, separated by a small interval and forming
the outline of a square with a spot in the center, are observed and if a
shadow has been thrown on the middle circle, it will appear like the rest in
color, sometimes as shaded and at other times not. If the first, second and
fourth are perceived as a square, then the middle one (the third) appears
darker than the rest. If the first and second are in a single configuration
and the third is made a part of it, then even though it is a darker shade of
yellow than the first two it will appear like them in color, but as opposed
to the fourth and fifth the first three appear to be a grayish yellow.
Fuchs found that geometrically simple figures need not be psychologi-
cally simple. The triangle is a figure in question; although it is geometri-
cally simple it is difficult to get configurational effects from it psychologi-
cally. Factors of simplicity have yet, Fuchs admits, to be investigated
more fully. The square and the circle are geometrical figures which lend
themselves to configurational effects very easily, as we found above.
Some interesting effects were found in the following arrangement: nine
circles were arranged to form a square, the four outer being of a blue-green
color, the four inner being yellow, and the center one a mixture of the other
colors. It is here possible to see simultaneously a blue-green square and a
yellow cross within it. In this case the middle circle is yellow. If one sees
a blue-green cross, tilted toward the left, and a yellow square, also tilted,
the middle circle is blue-green. If one perceives all nine circles as a single
configuration, they take on the same color, which will be either yellow or
8Fuchs, op. cit. (Note 4), 264-265. For Exner's theory of retinal
diffusion see Pfliger's Arch., 73, I898, I77 ff.
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PSYCHOLOGY OF GESTALT 29
gray. The same thing holds true of the after-image; here the
will take on the color of the figure to which it belongs. In
the configuration determines the quality of its parts.
Assimilative effects within configurations were also obser
ent kinds of assimilation may take place; assimilation may
a contrast color and the color of its surroundings. An exa
first type is found in the following simple experiment: if tw
out of the same gray are laid respectively on a white and
and the whole is covered with a piece of gauze paper, the tw
different in color if perceived independently; but if both ar
a unitary structure their difference in color vanishes, appar
mutual assimilation has taken place between them. Wundt
of this phenomenon rested on the assumption that the orig
phenomenon is compensated by a mutual associative effec
explanation is correct, associational factors are not in qu
unseren Ergebnissen kommt aber eine Assoziation nicht in Fr
unter der Wirkung der Gesamtgestalt der aus beiden Kreuze
bindungsbalken sich ergebenden Figur tritt positive Farband
Aenderung der Wahrnehmungsinhalte ein."'0
Assimilation between the contrast colors and colors of the su
took place between black squares intersticed with white narr
squares and lines tend to assimilate to the surrounding colors
figure or another is grasped; if the white lines are fixated,
protrude from the rest, gray spots will appear on them du
rounding black squares. Color assimilation takes place be
configurations possess a strong coherence-grade and the colors
ually into one another. Experiments in contrast and assimila
ena show that with the same stimuli it is possible to get ass
contrast effects by changing the perception of the configurat
Benary, Gelb and Granit have found that contrast effects ar
according as the contrasting parts belong to the figure or to
It may be said that the work of these men consists in get
approximation to the factors influencing the quality within th
tion itself.
Benary places two gray patches on a black cross in such f
the one is within the black field of the cross and the other for
ground.1' The latter actually is surrounded by more black than
and should therefore, according to summative theories, appear
the other by contrast. But the gray in the cross actually app
Brightness therefore depends upon whether the field to be
part of the figure or ground, whether it is part of a configur
But there are other factors working against the figural effec
gray forming a part of the figure is not always the lighter. Th
tional factors may work against one another in so many dif
that it is at present impossible to draw definite conclusions
sults of all the work so far reported.
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30 HELSON
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PSYCHOLOGY OF GESTALT 3I
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32 HELSON
one sense modality to another and the unitary effects arising from the
fusion of sense data from different modalities are inexplicable on any
atomistic-associationistic theories. Some common materials and pro-
cesses must be at the basis of such phenomena. The configurationists have
attempted to frame a set of hypotheses to account for the common denom-
inator in the various sense modalities; but as yet the field is an open one,
and challenges investigation and new ideas.
The figure-ground properties of visual fields find an analogy in hearing.
Sounds arise from a background of stillness or a diffuse acoustic plenum.
The sharp outline, solidity, and definite localization of diotic sounds cor-
respond to the figure. Monotic sounds are less objective, more unstable
and less predominating than diotic. The effectiveness of a sound is greater
when heard with two ears than when heard with one, even though both
are of the same intensity.16 Diotic hearing is the result of the formation
of strong configuration, in K6hler's sense.17 The transition from strong
to weak configurations follows this general law of hearing: diotic hearing
changes into monotic when the stimulus becomes in any respect less unified.
This change must be due to a change in central physiological processes
which have, in time, become weak configurations. The strongest central
configurations arise from a stimulus in the median plane, and are the more
effective, the higher the frequency of the stimulus, the more pronounced
its wave-form, the louder it sounds, and the shorter time it lasts. Monotic
hearing, on the other hand, mediates the perception of distance in sound;
for the nearer a sound seems to be (with certain exceptions), the more
closely it approximates to monotic hearing. Attributes of distance, like
"near" and "far," are as basic phenomenological qualities of sound as
the so-called primary qualities, because the soft sound is always judged
as far, the loud sound as near, while soft near sounds are confused with
harsh, sharp far sounds.
So far we have been dealing only with non-temporal auditory
configurations perceived in a specious present. Such phenomena
may be called static or stationary, after Kohler, because there
is no such experience of a change in time as there is, e.g., in a
melody, which is a temporal structure.'8 When, therefore, the
components change in time and the time intervals affect the
components (cf. allegro and andante tempos), we say there are
dynamic, temporal configurations. The rate of change may
exercise a marked effect upon the phenomenal structure: it is
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PSYCHOLOGY OF GESTALT 33
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36 HELSON
26For the original sources of the various points made in this and the
following five paragraphs see: K. Koffka, Psychologie der Wahrnehmung,
Die Geisteswissenschaften, Part 29, I913, 712-716, and 796ff; W. Kohler,
Zur Theorie des Sukzessivvergleichs und der Zeitfehler, Psych. Forsch.,
4, I923, II5-I76.
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PSYCHOLOGY OF GESTALT 37
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PSYCHOLOGY OF GESTALT 39
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40 HELSON
stimuli and their paired character and not to single sensations.30 The old
psychophysical view, therefore, that we are judging single sensations when
making psychophysical judgments, is false; the judgment concerns the
relata and their relation. In other words, while it is possible to collect
quantitative data concerning the magnitude of experiences in various
regions of the scale, the real meaning of the differential threshold is to be
found in the light it throws on the problem of relations and das Zueinander
of stimuli and their effect upon phenomenal fields.
Some of the configurational experimentation bearing upon the paired
or structure-function effects of stimuli upon differential thresholds is
worthy of note at this point.
Ge]b and Granit investigated the color limen for a gray field when it
appeared as part of a figure and when it formed part of the ground, the
intensity remaining in each case the same.31 The figure field was chosen
both when it was darker and when it was lighter than the ground field.
The fields were illuminated in part by lights of various colors, and the
limens were determined for each. The results confirm previous findings
concerning the fact that the color limen is higher for brighter fields than
it is for darker. More important is the fact that the limen is different for
a field when it is figure from what it is when the field is giound, even though
its brightness value is unchanged. The limen for the figure field is greater
than that for the ground field. The difference between limens for figure
and ground is so much the greater, the greater the difference between
figure and ground. In general it may therefore be said that the figure
inhibits the perception of colors since its limen is greater.
Koffka had already pointed out that the color limen does not depend
merely upon the brightness of the gray with which the color is mixed but
also upon the total structure consisting of the tested field and its surround-
ing fields.32 The greater the structure-difference between the brightness of
the field tested and its background, the higher is the color limen and the
more difficult is it to form a color structure. Gelb and Granit's results
rest upon differences arising from figure-and-ground, not from differences
in brightness, primarily because the brightness structure in their experiments
remained the same.
These authors reject contrast effects and attention as explanations of
their results. While it is true that a figure makes itself more impressive
and that attentive factors are more favorable to the figure, still its limen
is the higher. They believe that "distraction" worked equally against
figure and ground, so that this cannot either be the causal factor in the
situation. The explanation must be sought, they assert, in the funda-
mental distinction between figure and ground. The greater energy-density
of the figure and its more concrete psychological characters go hand in
hand with psychophysical processes that are opposed to any change. This
is only a special case of the tendency of a figure to become and remain a
simple, univocal, precise configuration, homogeneous throughout, resisting
change. It must be remembered, however, that the results of these ex-
periments cannot be generalized to include all figures, e. g., figures lacking
clearness.
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PSYCHOLOGY OF GESTALT 4I
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50 HELSON
51K. Lewin, Das Problem der Willensmessung und das Grundgesetz der
Assoziation, Psych. Forsch., I, I922, 191-302; 2, I922, 65-I4I. Ach's work
will be found in his Ueber der Willensakt und das Temperament, I9I0.
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PSYCHOLOGY OF GESTALT 5I
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66Cf. the argument of the next Section, where the results of experimen-
tation with pathological subjects are quoted. An application to the prob-
lems of mental testing and intelligence will be found in Naive Physik by
0. Lipmann and H. Bogen, Leipzig, I923.
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