Experimental psychology and its bearing upon culture . igures do not,to any appreciable extent, invite theeye to rest, or to balance of move-ment. Figure 50 is a copy of a photo-graphic record taken in the way de-scribed on page 238. An outline likethat in Fig. 51 was placed before anobserver, with instructions to look atthe figure in a natural way, nothingof course being said in this caseabout following the line. No bal-ance of eye-movements is eye roves quite irregularly oversuch a figure, and yet, in spite ofthe way-wardnessof theseorganicmotions, the absolute reg-ularity of the
Experimental psychology and its bearing upon culture . igures do not,to any appreciable extent, invite theeye to rest, or to balance of move-ment. Figure 50 is a copy of a photo-graphic record taken in the way de-scribed on page 238. An outline likethat in Fig. 51 was placed before anobserver, with instructions to look atthe figure in a natural way, nothingof course being said in this caseabout following the line. No bal-ance of eye-movements is eye roves quite irregularly oversuch a figure, and yet, in spite ofthe way-wardnessof theseorganicmotions, the absolute reg-ularity of the externalform itself is fully eye-movement theoryhere again finds no sup-port in the facts. Thesatisfaction, as in the caseof single lines, does notlie in the muscular sensa-tions aroused, but in our appreciation of the character of the form a pleasure of form, and not of sense merely. Fig. 50. —Recordof the eyescourse in look-ing at Fig. 51freely with noattempt to fol-low the is the begin-ning, £ the endof the Fig. si. It The Enjoyment of Sensations 243 But passing from symmetry with its equality of Pleasure andparts, distinct mathematical proportions are found ^*h;^^*i- ^ r r cal ratios. imbedded in other experiences which give us aestheticpleasure. The musical tones, for instance, which Musical har-make a harmonious union are those which stand to ^°^each other in a very simple arithmetical ratio. Inthe harmony of the octave, the upper tone has twicethe number of vibrations of the lower; in the har-monious interval of the fifth {c-g), the ratio ofvibrations of the two tones is as 2:3; in the fourth{c-f) the relation is that of 3:4; in the third (c-e),4:5, and so on; while the more complicated ratios,as that of 12:13, affect us as discords. No such law has been found in the case of pairs Colorof colors which harmonize. Colors have their rates ^^™°y-of vibration; but some colors whose rates wouldmake as simple a mathematical ratio as
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectpsychol, bookyear1903
