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Both result from movements, not of individual representations, but of fused representational masses well past their point of equilibrium (SW VI: 75; cf. Weiss 1928: 89).
as the evolution of representational masses from childhood to adulthood.
They form sequences and series, which, in turn, get interwoven with each other, forming stable groupings called representational masses.
We see here a special case of apperception as an interaction among conflicting representational masses, in which one representational group is not only "noticed" but evaluated by another, held to what (from its perspective) is perceived as an alien claim.
(SW VI: 169) Now Herbart believes that his account of apperception will reveal the substantial "I" to be but an illusion generated by the interplay among differential representational masses (SW VI: 141).
On Herbart's theory, such cases of failing to arrest or "fix" a representational evolution may be explained by the absence of representational masses sufficiently articulated and strengthened, not just into "concepts", but into clear judgments formed out of these concepts, which are called "maxims" (SW VI: 146).
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Simply put, "apperception" is Herbart's term for the assimilation of one representation or representational mass into another.
As we saw in Section 3.7.2, this is just to say that we need a representational mass called a "concept" in order to recognize a new representation as an instance of it, and thus in the full sense to perceive it at all.
Instead, they now become interwoven into a new representational mass with "a new total-force" (SW VI: 141).
A lot of my work is very representational.
Lazzell's Cuboid paintings and drawings of nudes, done in Paris in the 20's, are handled with animation, and her strong representational drawings of hills in West Virginia and backyards in Provincetown show a fine sense of rhythmical massing.
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