“The attentive synthesis of any particular letter or figure takes an appreciable time, of the order of 100ms…If a whole row of letters is to be identified, they must be synthesized one at a time… To "identify" generally means to name, and hence to synthesize not only a visual object but a linguistic-auditory one… Hence the span of apprehension is limited to what can be synthesized, and then verbally stored.”
Source: Cognitive Psychology, 1967, p. 103; As cited in: A.H.C. Van der Heijden (1996)
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Ulric Neisser 10
American psychologist 1928–2012Related quotes

1914 - 1916, Pittura e scultura futuriste' Milan, 1914
Quote, 1907 from Denis' text 'Synthetism'; as cited in Theories of Modern Art: A Source Book by Artists and Critics, Herschel Browning Chipp, Peter Selz - 1968, p. 105
1890 - 1920

The Aquarian Conspiracy (1980), Chapter Six, Liberating Knowledge: News from the Frontiers of Science

Letter to A.S. Suvorin (October 27, 1888)
Letters
Hitchins (1998. p. 195) cited in: Peter Stasinopoulos (2009) Whole System Design: An Integrated Approach to Sustainable Engineering. p. 27
Source: Mathematics without Apologies: Portrait of a Problematic Vocation, 2015, p. 26

"Culture High and Dry" (1984), p. 14
The Culture We Deserve (1989)
Context: Scholarship has yielded to the irresistible pull that science exerts on our minds by its self-confidence and the promise of certified knowledge. But, to repeat, the objects of culture are not analyzable, not graspable by the geometric mind. Great works of art are great by virtue of being syntheses of the world; they qualify as art by fusing form and contents into an indivisible whole; what they offer is not "discourse about," nor a cipher to be decoded, but a prolonged incitement to finesse. So it is paradoxical that our way of introducing young minds to such works should be the way of scholarship.

Source: Consilience: The Unity of Knowledge (1998), p. 294.