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Looking epistemologically, it's obvious that the rational intellect is analytical, fragmenting, sequentially linear, syllogistic, and favours deductive reasoning. Intuition, on the other hand, is consistently described as a more holistic, mosaic, "big picture," insight-oriented intellect favoring inductive reasoning.link

Una parte destacable de las conclusiones es que la intuición no sólo se puede mejorar, sino que además se puede aprender a desarrollarla. Curioso observar cómo este artículo se dedica a "diseccionar" la intuición de un modo analítico, haciéndolo desde un punto de vista completamente racional y científico, tomando parámetros e intentando objetivar la subjetividad misma. Una manera de querer introducir dentro de un sistema aquello que por propia definición sale del mismo...

El pensamiento oriental, en cambio, con sus artes tradicionales desarrolla y promueve el pensamiento intuitivo, cuya característica fundamental es el hecho de su carácter simbólico y por tanto no polar. El concepto es completamente coherente con todo el sistema filosófico que lo soporta. Es el pensamiento innato de todo ser humano. El hecho de que la intuición trabaje con símbolos y que estos tengan una multiplicidad de significados simultáneos propone las nociones de complementariedad y no exclusión que rompen la estructura polar del pensamiento racional. Por ello la intuición es capaz de trascender las paradojas e ir más allá de las barreras lógicas que plantea el esquema Newtoniano. La intuición tiene un caracter integrador y conciliador de extremos mientras que el pensamiento lineal analítico racional tiende a diseccionar y marcar delimitaciones que ayuden a tomar puntos de referencia a partir de los cuales establecer el movimiento del razonamiento.

Aquí va parte del artículo sobre anatomía de la intuición:

The input skills that are part of intuition include:

o perceptual closure on insufficient time. This is the skill of subliminal effect, knowing what something is after minimal exposure to it. You don't have time to see it properly-but you see it just the same. You may see something for 1/25 of a second without even being aware, but you can report what you have seen.

o perceptual closure on insufficient definition. In this, you can identify what something is even though it is obscured by lack of clarity. It is knowing what the image is behind the "snow" on your television screen. You know what you are looking at without having all of the information.

o perceptual recognition. This is the ability to find Waldo, for example. Waldo is a great test of intuitive capacity.

o positive perceptual discrimination, which rests on the ability to distinguish one thing from another. Several items are flashed before you and you are asked what you see.

o negative perceptual discrimination tests your ability to recognize what wasn't flashed before you. "Which of these items didn't you see?"

o synthesis, or "Gestalt" insight, which is the ability to see the forest through the tress. You see elements but have to put various items together in your mind's eye to construct a whole.

o time flow estimation, or protension, which measures your ability to quickly register time, to know how long something took to get to a certain point. Intuits don't watch the clock to have a three-minute egg.

o retrieving of memory, or "quick memory." You take in a whole complex scene and yet remember specific details of it. I test it by flashing a very crowded scene of Picadilly Circus-you see a very busy image. And then you're asked four questions about it that require you to retrieve specific information. What time was it? How many satellites did the BBC building have? What animals did you see? It's an intuitive memory because you have to perceive it whole, in less than seven seconds, and extract information you are probably not even aware you are taking in.

o passive imagination, which is the ability to generate images spontaneously. You are shown a black background, with nothing on it, and asked how many images come to mind. Also a background of white, of blue, and of yellow. It is a pristine measure of imagination, the pure production of images.

o psycho-osmosis, a word I invented for knowing the unknown. This skill enables you to recognize a dinosaur egg without ever having seen one before. "I didn't know I knew this," you are likely to say. This skill suggests some sort of collective memory bank of the species, because you couldn't have known on your own and no one ever taught you. Such a skill is necessary for surviving the flood that's coming. No one teaches you, there's no writing, but you survive anyway. Otherwise you drown.

While the input skills are passive, or static, the output skills must be activated by some event. These skills include:

o active imagination, the kind stimulated by pictures such as the Rorschach test, but differently directed for my purposes. I present an image of a snake. I am looking just for how many images come to mind.

o anticipation, or foresight, which is the ability to know what happens next. When is the horse going to fall down? When is the skater going to leap off the ice?

o optimal timing of intervention, which is the sense of when the time is ripe for something new. This skill is famous for making entrepreneurs rich. It is knowing when to buy the stock, when to sell it. On the battlefield, it's knowing when to attack. Or when to run. This is a skill intrinsic to survival and success.

o the hunch, or seeing the solution to a problem before you have it. This skill kicks off every major scientific discovery or work of art.

o the choice of best method, which is the crux of demonstrating rationally the truth of a hunch-knowing the right method to prove something or to create something. Michelangelo wanted to paint the Sistine Chapel ceiling, but how was he going to do it? By lying on his back on a ladder for seven years.

o the choice of best application of a discovery, which is the secret of innovative technologists and industrialists. Alexander Fleming, for example, not only had to see what the penicillin was doing in the petri dish-destroying the microbes-but to visualize that it could cure diseases by being formulated into a pill. It took another scientist to see the application, and a reasonably long time. Very rarely does the inventor apply the discovery. That's for the technologist.

o the hindsight that uses empathy and identification in order to divine the cause of things; this is the ability to put oneself in the place of another or to identify so closely with a person or object of the past as to come to understand its laws of operation. Historians apply this power to explain the past. Three Nobelists that I know of Jonas Salk, Barbara McClintock, and Albert Einstein-immersed themselves so deeply in their objects of study-viruses, genes, and a beam of light, respectively that they empathized and identified themselves with them! I had watched Fleming identifying with the microbes that were destroyed with penicillin. This allows them to apprehend the causes of things. You see a picture of a valley. It is devastated; all the trees are gone. You should be able to tell it wasn't a fire. It was volcano-burnt.

o associative and dissociative matching, which I call synthesis of cognitions. You look at a picture and know which elements are appropriate, which are not. These are the kinds of skill good detectives and graphologists have.

o seeing the meaning of things, a skill of seeing a symbol-a cross, a crown-and understanding its meaning.

Zona primaria: pensamiento lineal

Fecha de modificación: 19/10/2005 05:48
Fecha de creación: 13/07/2005 18:58
Compilador: Celia Gradín
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