gestalTao IV: anomalie, discrepanze, illusioni e impossibilità

Salvador Dalí, Mercado de esclavos con aparición del busto invisible de Voltaire, 1940; Salvador Dalí Museum, St. Petersburg, Florida
"to make the abnormal look normal and the normal look abnormal."

Il Tutto è qualcosa di più e di diverso della somma delle parti

La settima legge della Gestalt riguarda anche la discrepanza fra oggetto fenomenico e corrispondente oggetto fisico, ovvero gli "inganni" percettivi quali le illusioni, distorsioni, ambiguità e figure impossibili:

Stefano D'Amico, Tecniche della rappresentazione, Università di Macerata

Illusioni ottiche delle grandezze: Illusione di Müller-Lyer; i segmenti a destra sembrano
più lunghi di quelli a sinistra.

Illusioni ottiche delle grandezze: Illusione di Ponzo; i segmenti nella parte più stretta sembrano più lunghi.

Un'altro esempio di Illusione di Ponzo

Illusioni ottiche della forma: Illusione di Zöllner; le linee colorate sono parallele, ma non
appaiono tali.

Illusioni ottiche della forma: Illusione di Herring; le due linee orizzontali sono parallele, ma appaiono convesse al centro; la presenza sullo sfondo di raggi convergenti crea un effetto di distorsione.

Illusioni ottiche del movimento apparente: Illusione di Ouchi; fissando per qualche secondo il cerchio centrale a pattern verticali esso apparirà in movimento rispetto allo sfondo a pattern orizzontali.

Illusione di Poggendorff: Il segmento inferiore rosso è la continuazione del segmento superiore azzurro, ma nella figura a sinistra quasi tutti lo percepiscono allineato con il segmento nero o verde, ponendo quello azzurro più in alto. La spiegazione di questo fenomeno ottico è piuttosto complessa e dipende dal fatto che la presenza del rettangolo bianco provoca la separazione delle linee e fa sì che il segmento inferiore ed i segmenti superiori vengano percepiti su piani diversi.

Disco di Benham

Simultaneous Contrast Illusion: la barra orizzontale è tutta dello stesso colore.

Illusione ottica bistabile: Nobuyuki Kayahara, La ballerina girevole (The Spinning Dancer); se il piede che tocca il terreno è percepito come il piede sinistro la danzatrice sembra girare in senso orario (se vista dall'alto); se è percepito come il piede destro sembra girare in senso antiorario.

Il fondamento delle figure ambigue: Cubo di Necker

Figure ambigue: Figura di Boring

Figure ambigue.

Figure ambigue reversibili: Giuseppe Arcimboldi, Ortolano; Museo Civico "Ala Ponzone", Cremona.

Illusione prospettica in 3D: Stanza di Ames

Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marqués de Dalí de Pubol - Salvador Dalí
Gala Contemplating the Mediterranean Sea which at Twenty Meters Becomes the Portrait of Abraham Lincoln (Homage to Rothko), 1976.

Il fondamento delle figure impossibili: Cubo Impossibile

Un altro fondamentale delle figure impossibili: Triangolo di Penrose

M. C. Escher, Belvedere, 1958, litografia.
Oltre ad essere basato su un cubo impossibile il ragazzo seduto alla base dell'edificio ne tiene uno in mano.

M. C. Escher, Ascending and Descending, 1960, litografia.

M. C. Escher, Waterfall, 1961, litografia.

Uno tra i più famosi esempi di anamorfismo: Hans Holbein il Giovane, Ambasciatori, 1533, olio su tavola; National Gallery, London.

Anamorfismo: M. C. Escher, Balconata, 1945, litografia.

Prospettive multiple: M. C. Escher, Another World, 1947, incisione su legno.

Metaprospettive anamorfiche: Andrea Pozzo, affresco nel soffitto della Chiesa di Sant'Ignazio di Loyola in Campo Marzio a Roma, 1685.

gestalTao III: assenza e presenza

il Tao dei guardiani del faro

i. Eyewitness

Still waiting for my saviour,
storms tear me limb from limb;
my fingers feel like seaweed...
I'm so far out I'm too far in.
I am a lonely man...my solitude is true
my eyes have borne stark witness
and now my knights are numbered too.
I've
seen the smiles on dead hands--
the stars shine, but they're not for me.
I prophesy disaster and then I count the cost....
I shine but, shining, dying,
I know that I am almost lost.
On the table lies blank paper/my tower is built on stone/
I only have blunt scissors/I only have the bluntest home...
I've been the witness, and the seal of death
lingers in the molten wax that is my head.
When you see the skeletons of sailing-ship spars sinking low
You'll begin to wonder if the points of all the ancient myths
are solemnly directed straight at
you...

ii. Pictures/Lighthouse

(Eddies/rocks/ships/collision/remorse.)

iii. Eyewitness

No time now for contrition:
the time for that's long past.
The walls are thin as tissue
and if I talk I'll crack the glass.
So I only think on how it might have been,
locked in silent monologue, in silent scream
Anyway, I'm much too tired to speak
and, as the waves crash on the bleak
stones of the tower, I start to freak....
...and find that I am overcome...

iv. S.H.M.

'Unreal, unreal!' ghost helmsmen scream
and fall in through the sky,
not breaking through my seagull shrieks...
no breaks until I die:
the spectres scratch on window-slits--
hollowed faces, mindless grins
only intent on destroying what they've lost.
I craw the wall till steepness ends in the vertical fall;
my pail has sailed into the sea: no joking hopes at dawn.
White bone shine in the iron-jaw mask
lost mastheads pierce the freezing dark
and parallel my isolated tower....
no paraffin for the
flame
no harbour left to gain

v. The Presence of the Night/Kosmos Tours

'Alone, alone,' the ghosts all call,
pinpoint me in the light.
The only life I feel at all
is the presence of the night.
Would you cry if I died?
Would you cry if I died?
Would you catch the final words of mine?
Would you catch my words?
I know that there's no time
I know that there's no rhyme...
false signs find me
I don't want to hate,
I just want to grow;
why can't I let me
live and be free?..but I die very slowly alone.
I know no more ways,
I am so afraid,
myself won't let me
just be myself and so I am completely alone....
The maelstrom of my memory
is a vampire and it feeds on me
now, staggering madly, over the brink I
fall.

vi. (Custard's) Last Stand

Lighthouses might house the key
but can I reach the door?
I want to walk on the sea
so that I may better find ashore...
but how can I ever keep my feet dry?
I scan the horizon
I must keep my eyes on all parts of me.
Looking back on the years
it seems that I have lost
the way:
Like a dog in the night, I have run to a manger
...now I am the stranger I stay in.
All of the grief I have seen
leaves me chasing solitary peace;
but I hold experience in my head....
I'm too close to the light
I don't think I see right, for I blind me....

vii. The Clot Thickens

WHERE is the God that guides my hand?
HOW can the hands of others reach me?
WHEN will I find what I grope for?
WHO is going to teach me?
I am me/me are we/we can't see
any way out of here.
Crashing sea/atrophied history:
Chance has lost my Guinevere....
I don't want to be one wave in the water
But sea will drag me deep
One more haggard DROWNED MAN...
I can see the Lemmings coming, but I know I'm just a man;
Do I join or do I founder? Which can is the best I may?

viii. Land's End (Sineline)/We Go Now

Oceans drifting sideways, I am pulled into the spell;
I feel you around me...I know you well.
Stars slice horizons where the lines stand much too stark;
I feel I am drowning...hands stretch in the dark.
Camps of panoply and majesty, what is Freedom of Choice?
Where do I stand in the pageantry...whose is my voice?
It doesn't feel so very bad now: I think the end is the start.
Begin to feel very glad now:
ALL THINGS ARE A PART
ALL THINGS ARE APART
ALL THINGS ARE A PART.

Tao Paradoxico-Philosophicus 7-8

---

    Un dieu donne le feu     
     Pour faire l'enfer;      
      Un diable, le miel     
       Pour faire le ciel.      

---

TRACTATUS PARADOXICO-PHILOSOPHICUS

7	An observer observing itself: this leads to the following dilemma:
7.01	From a logical perspective, an observer may observe itself, either at the same location but at different instants (emergence of time), or at the same instant but at different locations (emergence of space).
7.1	An observer observing itself at the same instant and location (a paradoxical, unpredictable observer) reveals a paradox with no logical solution.
7.2	This observer offers a paradoxical context from where the same or other observers, adopting a logical perspective, may extract or deduce distinctions, and then more distinctions from those distinctions treated as new paradoxical contexts so that the world “out there” for these observers slowly emerges.
7.3	The logical observer: consider an observer that adopts only a logical perspective and hence only extracts or deduces distinctions from a paradoxical context and allowed by the logic chosen, such as considering other observers as paradoxical or logical.
7.4	The paradoxical observer: consider an observer that adopts a paradoxical and logical perspective and makes tentative distinctions in a paradoxical context considering all possibilities, such as considering other observers as paradoxical and logical.

---

8	Living organism: consider an organization that produces and maintains itself as an organizationally closed unity that defines its cognitive domain and that:
8.01	as a paradoxical observer interacts with, and makes tentative distinctions in its own paradoxical context (the living organism and its cognitive domain).
8.02	as a logical observer distinguishes itself from its own cognitive domain as a processor whose space and time emerge together with this same distinction and from which it extracts or deduces further distinctions.
8.1	A living organism, as a paradoxical observer, interacts with and tentatively distinguishes the self-producing organization of a living organism maintaining its organizational closure through a closed network of processes (tentative events in time) that produce components (tentative objects in space) and that continuously regenerate the network of processes.
8.2	A living organism, as a logical observer, may extract distinctions from a paradoxical context, but may not act as a paradoxical observer.
8.3	A living organism, as a paradoxical observer, may act as a paradoxical observer and as a logical observer.
8.4	A living organism, even without a nervous system, defines and supports its own cognitive domain and cognition.

Tractatus Paradoxico-Philosophicus

A Philosophical Approach to Education
Un Acercamiento Filosófico a la Educación
Une Approche Philosophique à l'Education
Eine Philosophische Annäherung an Bildung

Ricardo B. Uribe

Copyright © by a collaborating group of people including the author, editing consultants, translators, and printers. All rights reserved.

Tao Paradoxico-Philosophicus 5-6

Tao macchinoso

Rube Goldberg, Tovagliolo automatico

Il fumettista statunitense Rube Goldberg per molti anni disegnò delle strip comiche in cui inventò diverse decine di meccanismi sequenziali complicati composti da numerose parti ed estremamente elaborati e fantasiosi, conosciuti come macchine di Goldberg.

Mount Pleasant Cemetery, Hawthorne, Westchester County, New York, USA

gestalTao III: assenza e presenza

Paul Klee, Chemin principal et chemins secondaires, 1929, Museum Ludwig, Köln

Il Tutto è qualcosa di più e di diverso della somma delle parti

La settima legge della Gestalt assume differenti forme e tratta del rapporto fra la realtà fisica dell'oggetto e quella fenomenica percepita, riassunta come:

Stefano D'Amico, Tecniche della rappresentazione, Università di Macerata

7a Presenza dell'oggetto fisico in assenza dell'oggetto fenomenico: pur in presenza di un oggetto fisico la percezione non registra fenomeni. Il caso più semplice è quello di oggetti fisici che si presentano al difuori delle bande percettive visive e acustiche, come nell'infrarosso, ultravioletto o ultrasuoni. Nella percezione visiva altri esempi sono forniti dalle cosiddette figure nascoste o mascherate:

Bev Doolittle, The Forest has Eyes

Bev Doolittle, Spirit of the Grizly

Bev Doolittle, Pintos

Bev Doolittle, Camuflage

Michael Gardner, The Word

7b Presenza dell'oggetto fenomenico in assenza dell'oggetto fisico: presenza fenomenica in assenza di oggetti fisici. Oltre a esperienze come il silenzio e il buio il classico esempio è il triangolo di Kanizsa:

dove si percepiscono due triangoli equilateri bianchi sovrapposti, anche se nessuno dei due è effettivamente disegnato.

Wassily Kandinsky, Blue, 1927, MoMA - Museum of Modern Art, New York

Wassily Kandinsky, Macchia Nera I, 1912, The Russian Museum, St Petersburg

gestalTao II: destino - pregnanza - esperienza