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Updated: May 25, 2025
Even enemies are not lacking in sympathy with each other when an appeal is made to deep feelings and experiences common to both. The feeling of interest, which we have emphasized so much, is chiefly, if not wholly, dependent upon apperceptive conditions.
In certain cases, the erroneous apperceptions are observed to form a series of approximations to the correct apprehension of one of the stimulus-ideas at a time. In other cases, the apperceptive errors may take the form of a blended reaction to two or more cues, more or less perfectly achieved.
The mechanical organization of external nature is thus the source of apperceptive forms in the mind. Did not sensation, by a constant repetition of certain sequences, and a recurring exactitude of mathematical relations, keep our fancy clear and fresh, we should fall into an imaginative lethargy.
The value apperceptive methods have is of course largely representative, in that they serve more or less aptly to dominate the order of events and to guide action; but quite apart from this practical value, expressions possess a character of their own, a sort of vegetative life, as languages possess euphony.
When the process of reaching a conclusion takes much time, when conflict or contradiction have to be removed or adjusted, when reflection and reasoning are necessary, the will is of great importance in giving coherency and steadiness to the apperceptive effort. A conscious effort at apperception, therefore, may include many elements, sense perceptions, ideas recalled, feeling, will.
Is there not, we may ask, some ideal form of discourse in which apperceptive life could be engaged with all its volume and transmuting power, and in which at the same time no misrepresentation should be involved? Transmutation is not erroneous when it is intentional; misrepresentation does not please for being false, but only because truth would be more congenial if it resembled such a fiction.
Impatience of such control as reality must always exercise over representation may drive painting back to a simpler function. When a designer, following his own automatic impulse, conventionalises a form, he makes a legitimate exchange, substituting fidelity to his apperceptive instincts for fidelity to his external impressions.
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