Psychology - Robert S. Woodworth (trending books to read TXT) 📗

did not feel the same, you would have to acknowledge that it did feel the same, except that it was felt in a different place. In other words, you would not be able to identify the exact data on which your perception of cutaneous position is based. Science has done no better, but has simply given the name of "local sign" to the unanalyzed sensory datum that gives a knowledge of the point stimulated.

In handling an object, as also in walking and many other movements, the cutaneous and kinesthetic senses are stimulated together, and between them furnish data for the perception of many spatial facts, such as the shape of an object examined by the hand. The spherical shape is certainly better perceived by this combination of tactile and kinesthetic {441} sensations than by vision, and the same is probably true of many similar spatial facts. That is, when we see a round ball, the visual stimulus is a substitute for the tactile and cutaneous stimuli that originally had most to do with arousing this perception.

In part by this route of the substitute stimulus, the sense of vision comes to arouse almost all sorts of spatial perceptions. Of itself, the retina has "local sign" since we can tell where in the field of view a seen object is, i.e., in what direction it is from us. This visual perception of location is so much more exact than the cutaneous or kinesthetic that it cannot possibly be derived from them; and the same is true of the visual perception of difference in length, which is one of the most accurate forms of perception. The retina must of itself afford very complete stimuli for the perception of location and size, as far as these are confined to the two dimensions, up-down and right-left. But, when you stop to think, it seems impossible that the retina should afford any data for perceiving distance in the front-back dimension.

The retina is a screen, and the stimulus that it gets from the world outside is like a picture cast upon a screen. The picture has the right-left and up-down dimensions, but no front-back dimension. How, then, does it come about, as it certainly does, that we perceive by aid of the eye the distance of objects from us, and the solidity and relief of objects? This problem in visual perception has received much attention and been carried to a satisfactory solution.

Consider, first, what stimuli indicative of distance and relief could affect a single motionless eye. The picture on the retina could then be duplicated by a painter on canvas, and the signs of distance available would be the same in the two cases. The painter uses foreshortening, making a man in the picture small in proportion to his distance away; {442} and in the same way, when any familiar object casts a small picture on the retina, we perceive the object, not as diminished in size, but as far away. The painter colors his near hills green, his distant ones blue, and washes out all detail in the latter--"aërial perspective", he calls this. His distant hill peeks from behind his nearer one, being partially covered by it. His shadows fall in a way to indicate the relief of the landscape. These signs of distance also affect the single resting eye and are responded to by appropriate spatial perceptions.

Now let the single eye move, with the head, from side to side: an index of the distance of objects is thus obtained, additional to all the painter has at his disposal, for the distant objects in the field of view now seem to move with the eye, while the nearer objects slide in the opposite direction. How much this sign is ordinarily made use of in perceiving distance is not known; it is believed not to be used very much, and yet it is the most delicate of all the signs of distance. The reason why it may not be much used by two-eyed people is that another index almost as delicate and handier to use is afforded by binocular vision.

When both eyes are open, we have a sign of distance that the painter does not use, though it is used in stereoscope slides. The right and left eyes get somewhat different views of the same solid object, the right eye seeing a little further around the object to the right, and the left eye to the left. The disparity between the two retinal images, due to the different angles at which they view the object, is greatest when the object is close at hand, and diminishes to practically zero when it is a few hundred feet away. This disparity between the two retinal images is responded to by perception of the distance and relief of the object.

It will be recalled [Footnote: See pp. 253-254.] that when two utterly inconsistent {443} views are presented to the two eyes, as a red field to one and a green field to the other, the visual apparatus balks and refuses to see more than one at a time--the binocular rivalry phenomenon. But when the disparate views are such as are presented to the two eyes by the same solid object, the visual apparatus (following the law of combination) responds to the double stimulation by getting a single view of an object in three dimensions.

Esthetic Perception

Beauty, humor, pathos and sublimity can be perceived by the senses, though we might debate a long time over the question whether these characteristics are really objective, or merely our own feelings aroused by the objects, and then projected into them. However that may be, there is no doubt that the ability to make these responses is something that can be trained, and that some people are blind and deaf to beauty and humor that other people clearly perceive. Many a one fails to see the point of a joke, or is unable to find any humor in the situation, which are clearly perceived by another. Many a one sees only a sign of rain in a great bank of clouds, only a weary climb in the looming mountain.

"A primrose by the river's brim
A yellow primrose was to him.
And it was nothing more."

It would not be quite fair to describe such a one as lacking in feeling; he probably has, on sufficient stimulus, the same feelings as another man, and it would be more exact to say that he is lacking in perception of certain qualities and relations. He probably tends, by nature and training, to practical rather than esthetic perception. To see any {444} beauty in a new style of music or painting, or to sense the humor in a new form of humorous writing, you need to be initiated, to be trained in observing the precise qualities and relations that are depended on for the esthetic effect. A complex situation presents almost an unlimited range of facts that may be perceived; no one perceives them all, and which he shall perceive depends on his nature and training, as well as on his attitude or mental set at the moment when the situation is presented.

Psychology has not by any means been idle in this field of esthetics; it has developed experimental methods for determining the preferences of individuals and of social groups. But it must be confessed that the results offer little that can be succinctly summarized.

One curious result is that even the very simplest objects can produce an esthetic effect. You would scarcely suppose, for example, that a mere rectangle could produce any esthetic effect, or that it would make any difference what exact proportions the rectangle possessed; and yet it is found that some rectangles are preferred to others, and that the popular choice falls upon what the art theorists have long known as the "golden section", a rectangle with a width about sixty-two per cent, of its length. Also, however much you may like symmetry, you would scarcely suppose that it could make much difference where, on a horizontal line, a little cross line should be erected; and yet nearly every one, on being tested, will agree that the middle is the best point. These are merely a couple of sample results from the numerous studies in this field.

Social Perception

By the senses we perceive the motives and intentions of other people, their sincerity, goodness, intelligence, and {445} many other traits. We see them angry or bored, amused, full of energy. To be sure, none of these human characteristics is directly and fully sensed, but that is the case also with many characteristics of inanimate objects which, nevertheless, we perceive by aid of the senses. We perceive anger or sincerity in much the same way that we perceive moisture or smoothness by the eye. To experience the anger of another person is a complex experience, but a single element from this experience may come to serve as the sign of the whole condition. A good share of the child's undirected education consists in learning to perceive the intentions and characteristics of other people by aid of little signs. He learns to read the signs of the weather in the family circle, and he learns in some measure to be a judge of men.

I once saw an instructive little incident, in which an older boy suddenly grabbed the cap from a little boy's head, and held it out to the driver of a passing automobile, as if giving it to him. The man saw the joke, and drove on laughing, but the little boy took it seriously and was quite worried for fear the man would carry off his cap. An older child would have "seen into" the situation readily; he could not have been teased in that way. Many social situations which are "all Greek" to a little child are understood readily by an older person.

It would be very valuable if psychology could succeed in analyzing out the signs by which such a trait as intelligence or "will power" is perceived, so as to reduce such perception to a science; but it is very doubtful if this can be done. Some persons who probably have themselves a keen perception of such traits have put forward systems, based upon the shape of the face, etc. They probably think they perceive human traits according to their systems, but the systems fail in other hands, and are undoubtedly {446} fallacious. No good judge of character really goes by the shape of the face; he goes by little behavior signs which he has not analyzed out, and therefore cannot explain to another person.

You can tell very little regarding a person's intelligence from his photograph. This has now been pretty well established. Photographs of persons of various degrees of intelligence are placed before those who are reputed to be good judges, and their estimates compared with the test ratings, and there is no correspondence. You might just as well look at the back of the photograph as at the front.

Even with the person before you, you are likely to commit great errors. This sort of incident has happened. A young woman is brought before the court for delinquency, and the psychologist who has tested her testifies that she is of low intelligence. But the young woman is good-looking and graceful in her speech and manners, and so impresses the judge that he dismisses as "absurd" the notion of her being feeble-minded. He sets her free, on which she promptly gets into trouble again. Apparently the only way to perceive intelligence is to see a person in action, preferably under standard conditions, where his performance can be measured; that is to say, in an intelligence test.

Errors of Perception

The grocer needs to be assured of the accuracy of his scales, and the chemist of the high accuracy of his chemical balance; the surveyor needs to know about the errors that may creep into the process of measuring the