. The æsthetic attitude. Fig. 27.—Portrait of a YoungWoman, by a pnpil of Botticelli,Kaiser Friedrich Museum, Berlin. Fig. 28.—Portrait of a YoungWoman, by an artist called Amicodi Sandro, Pitti Gallery, Fig. 29.—Vision of St. Ursula, by Carpaccio,Academy, Venice. ATTENTION A UNIFYING PROCESS 159 music simultaneously. Although there are timeswhen we seem to attend to two totally differentsituations at once, as when we listen to two differ-ent conversations, it is probable that an alterna-tion of attention is here involved. It is also pos-sible under certain conditions for one group
. The æsthetic attitude. Fig. 27.—Portrait of a YoungWoman, by a pnpil of Botticelli,Kaiser Friedrich Museum, Berlin. Fig. 28.—Portrait of a YoungWoman, by an artist called Amicodi Sandro, Pitti Gallery, Fig. 29.—Vision of St. Ursula, by Carpaccio,Academy, Venice. ATTENTION A UNIFYING PROCESS 159 music simultaneously. Although there are timeswhen we seem to attend to two totally differentsituations at once, as when we listen to two differ-ent conversations, it is probable that an alterna-tion of attention is here involved. It is also pos-sible under certain conditions for one group ofmuscles to assume one attitude, and another set adifferent one at the same time, as in automaticwriting, where the hand writes while the voice car-ries on an unrelated conversation; but the individ-ual is conscious of only one of these acts at a we are confronted with a multiplicity ofobjects we observe in ourselves a high degree ofrestlessness. There is a searching among the ob-jects for some resemblance, some means by whichthey can be related one to another. In the con-templation of the stars, we may for the moment beemotionally stirred by their distance and number,and, because of the lack o
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Keywords: ., bookcentury1900, bookdecade1920, bookidstheticattit, bookyear1920
