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The Morphology of Impulses

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The Morphology of Impulses

At this level of our exposition, we understand “forms” as phenomena of perception or of representation. The morphology of impulses studies forms as structures that are translated and transformed by the psychophysical apparatus in its work of responding to stimuli.

Different forms can be obtained from one same object, depending on which channels of sensation are used, the perspective from which said object is perceived, and the type of structuring effected by the consciousness. Each level of consciousness sets down its own formal ambit; each level proceeds as an ambit (with its characteristic structure), linked to forms that are also characteristic. The forms that emerge in the consciousness are real structuring compensations in front of the stimulus. The form is the object of the act of structuring compensation. The stimulus is converted into form when the consciousness structures it from its level of work. Thus, one same stimulus is translated into different forms, according to the structuring responses from different levels of consciousness. The different levels fulfill the function of structurally compensating the world.

Color has great psychological importance, but even as it serves the weighing of forms, it does not modify their essence.

To comprehend the origin and meaning of forms, it is important to distinguish between sensation, perception and representation.

Functions of Internal Representation

1. To fix the perception as memory.

2. To transform what is perceived according to the needs of the consciousness.

3. To translate internal impulses into perceptible levels.

Functions of External Representation

1. To abstract the essential to give order. (symbol).

2. To express abstractions as conventions in order to operate in the world (sign).

3. To make concrete that which is abstract in order to remember it (allegory).

Characteristics of the Sign, the Allegory and the Symbol

The sign is conventional, operative, associative and sometimes figurative; at times non-figurative. The allegory is centrifugal, multiplicative, associative, epochal and figurative. The symbol is centripetal, synthetic, non-associative, non-epochal and non-figurative.

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