It is interesting Peirce is using the example of melody for his third, synthetic kind of consciousness – and also as a metaphor for other syntheses like thought, in Robert’s quote.
Here, there is an interesting parallel to the earliest gestalt theorists in Europe around the same time – Stumpf, Ehrenfels – also taking the melody as the prime example of gestalts. Only later, gestaltists turned to visual examples. Best Frederik PS Dear John – I tried to email you at s...@bestweb.net<mailto:s...@bestweb.net>, but it bounces back – is there another address where I can reach you? Fra: John Sowa <s...@bestweb.net> Svar til: John Sowa <s...@bestweb.net> Dato: søndag den 31. januar 2021 kl. 04.46 Til: Robert Marty <robertmarty...@gmail.com> Cc: Auke van Breemen <a.bree...@upcmail.nl>, Cornelis de Waal <cdw...@iupui.edu>, Gary Richmond <gary.richm...@gmail.com>, Jon Alan Schmidt <jonalanschm...@gmail.com>, Peirce List <peirce-l@list.iupui.edu>, "ahti-veikko.pietari...@taltech.ee" <ahti-veikko.pietari...@taltech.ee>, "francesco.belluc...@unibo.it" <francesco.belluc...@unibo.it>, "martin.irv...@georgetown.edu" <martin.irv...@georgetown.edu> Emne: Re: [PEIRCE-L] Existential Graphs in 1911 Robert, Thanks for finding that quotation: > Thought is a thread of melody running through the succession of our > sensations” (CP 5.395) Now that you mention it, I recall reading that some time ago. It must have been lurking somewhere in my mind, but well beneath the conscious level. In any case, it's very appropriate. The connection to sensations emphasizes the relation to Bill's term "embodied experience". It is also related to my point that the total context is more important than particular words. That doesn't mean that words are irrelevant, but they can be highly misleading when taken out of context. John
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