Wilhelm worringer abstraction and empathy download

  1. Abstraction and Empathy: A Contribution to the Psychology of Style
  2. Worringer - Abstraction and Empathy
  3. Gothic as Leaf, Gothic as Crystal: John Ruskin and Wilhelm Worringer
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[Abstraktion und Einfiihlung. English]. Abstraction and empathy: a contribution to the psychology of style I by. Wilhelm Worringer ; translated by Michael Bullock. Abstraction and Empathy a Contribution to the Psychology of Style. Translated by Download options Wilhelm Worringer - - Routledge and Kegan Paul. Our investigations proceed from the presupposition that the work of art, as an autonomous organism, stands beside nature on equal terms and, in it.

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Wilhelm Worringer Abstraction And Empathy Download

Worringer - Abstraction and Empathy - Download as PDF File .pdf), Text File .txt ) or read online. modern art [Wilhelm Worringer] Egyptian Art(billpercompzulbe.ml). Abstraction and Empathy: A Contribution to the Psychology of Style [Wilhelm Worringer] on Get your Kindle here, or download a FREE Kindle Reading App. Published in , this doctoral dissertation of Wilhelm Worringer soon became. Cover of: Abstraktion und Einfühlung | Wilhelm Worringer Abstraction and Empathy: A Contribution to the Psychology of Style (Elephant Paperbacks).

Form actualises itself from a matter that oscillates between these two movements of attraction and repulsion. Polarized matter is the conjunction or disjunction of elements; layers of matter attract or reject each other. Through intensification matter grows infinitely, from simple to complex structures, the way light and shadow produce infinite shades Goethe For Goethe, matter and spirit presuppose each other because, while matter extends into space, the spirit perceives this extension as attraction or repulsion. The body too, can be thought of as an addition of organs or as the perception of a purposeful vital feeling. The attraction or repulsion of architectural forms depends on whether they affirm or deny this vital feeling. On the one hand, gravity and horizontal structures decrease the vital feeling because they draw the body downward. This is experienced when the body breathes slowly and the blood circulates with difficulty. On the other hand, the vertical body is balanced and maintains the vital feeling at a regular level of tension. In their case, the tectonic structure was analogous to the bodily structure.

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AE 19— I, ed. Witterborn; London: Lund Humphries, , pp. Martineau Paris: Klincksieck, , p. Chapple, H. Schulte and A. Its Archimedian point is situated at one pole of human artistic feeling alone.

Abstraction and Empathy: A Contribution to the Psychology of Style

It will only assume the shape of a comprehensive aesthetic system when it has united with the lines that lead from the opposite pole. Just as the urge to empathy as a pre-assumption of aesthetic experience finds its gratification in the beauty of the organic, so the urge to abstraction finds its beauty in the life-denying inorganic, in the crystalline or, in general terms, in all abstract law and necessity.

We shall endeavour to cast light upon the antithetic relation of empathy and abstraction, by first characterizing the concept of empathy in a few broad strokes.

The simplest formula that expresses this kind of aesthetic experience runs: Aesthetic enjoyment is objectified self-enjoyment. To enjoy aesthetically means to enjoy myself in a sensuous object diverse from myself, to empathize myself into it.

And life is energy, inner working, striving and accomplishing. In a word, life is activity. But activity is that in which I experience an expenditure of energy. By its nature, this activity is an activity of the will.

It is endeavour or volition in motion.

Worringer - Abstraction and Empathy

It would be a history of the feeling about the world and, as such, would stand alongside the history of religion as its equal. By the feeling about the world I mean the psychic state in which, at any given time, mankind found itself in relation to the cosmos, in relation to the phenomena of the external world.

This psychic state is disclosed in the quality of psychic needs, i. Thus the various gradations of the feeling about the world can be gauged from the stylistic evolution of art, as well as from the theogony of the peoples.

Gothic as Leaf, Gothic as Crystal: John Ruskin and Wilhelm Worringer

Every style represented the maximum bestowal of happiness for the humanity that created it. Spatial depth is felt as a threatening field where a conglomerate of changing sensations intimidates the psyche. The modulations of space occasion a psychic tension that can only be released by reducing the depth of space to rigid geometric forms.

Hence, an affective disturbance of subjectivity explains the geometric lines of the primitive ornaments or the infinite multiplication of crystalline shapes in the late Gothic ribbed vaults.

The abstract line of the Gothic art confronts the subject with a sensation that disturbs organic life.

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As Georg Simmel points out, the perception of a violin can cause such an intensity in the expressionist painter that the image of the violin does not conform to the perception of the same object Simmel 15— The process of designing forms draws the contours of affective subjectivity. Generically, a design oscillates between the desire to emulate organic movement and the instinctive anxiety to reduce space to crystalline shapes on the plane. Hence, images are not adequate copies of nature but rather of the vital forces inherent in nature.

On the other hand, the notion of abstraction explains images as the result of a disquietude that is not exclusive to the primitive man.

To the contrary, the same anxiety characterises the modern subjectivity, which is under threat in the hyper-rationalised society. In the context of the city, modern man is under the constant pressure of interchangeable and anonymous relations. Before Simmel, Otto Wagner prescribed the design strategies for an architecture that complies with the needs of the modern man The purification of the world from heterogeneous sensations and its metamorphosis into abstract forms also distinguishes the modern sense of space.

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