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JOHANN WOLFGANG VON GOETHE AS CREATIVE SYNTHESIS

Goethe as an intellectual
 
        "Mankind is the greatest and greatest tool for himself and for himself, as long as he uses his mental sensibility, and the fact that the experiments are isolated from man is the greatest catastrophe of physics. It is quite obvious that the means of artificial means are approaching by limiting and proving that the power of nature is sufficient. " Goethe
 
Johann Wolfgang von Goethe (1749-1832), Poet, Playwright, Thinker, Statesman and Natural Researcher; Poetry, drama, story, autobiography, aesthetics, art and literary theory, as well as natural sciences, 140 works left behind. Goethe, the most important pioneer and representative of the period of, Storm and Enthusiasm Less (Sturm und Drang), found his philosophical foundations and resources at Spinoza, Leibniz, Lessing and Herder. In 1774, eri Pain of the Young Werther ’with his work has gained a great reputation all over Europe. From 1790 on, he became the most important representative of Weimar Classical, concentrating on the ancient culture, in content and form, jointly and alternately with Friedrich Schiller. When its value began to decline after his death, Goethe was crowned in 1871 with the German national identity in the German Royal. To this day, Goethe is considered to be the most important German literature.
 
One characteristic that makes Goethe different in world history is his work on color. His work Farbenlehre, which he published in 1810, opposed Newton's theory of color and developed his own color theory. E The eye is created by light and the inner light emerges to meet the external light ”, says Goethe; it considered only yellow and blue as the basic color, and accordingly formed a color circle and triangle. By this, he showed his ontological approach by developing the universe of nature in his intellectual space and by removing the best formal, color and vital dialectics from nature to himself. Goethe, influenced by the ancient Ionion School, thought that things with similar nature could recognize each other. In this sense, he claimed that the eye was formed by light, and that nature manifested itself in colors through the sense of seeing. He said that no one could oppose the direct relationship of light and eye, but it would be difficult to think that they were both the same.
 
While Goethe was interested in colors as the instant human experience, Newton was interested in colors as an abstract physical phenomenon. On an experimental material basis, one has to stand beside Newton's results. But Goethe's view addresses the instant structure of human experience. Goethe, a pacifist, believed in living organisms that there was a izm life force Bir that was not subject to physical laws. Goethe represents part of the romantic response to classical mechanics and modern science. This comparison between Goethe and Newton reveals a modern humanist critique of the science that abstract explanations of science deny the vital core of human experience. Quantum theory and its sciences are the main examples of such abstract explanations. Science does not deny the reality of your instant world experience; starts there. But it doesn't stay there, because the basis of understanding our experience is not sensory experience. Science shows us a conceptual order that supports the world of sensory experience, a cosmic law that can be discovered by experimentation and known to the human mind. Like the integrity of science, the integrity of our experience is conceptual, not sensory. This is the difference between Newton and Goethe. Newton sought universal concepts in the form of physical laws, while Goethe sought the integrity of nature in an instant experience.
 
     "The methodless wordlessness, the idle method to empty blank; unmoved subject leads to exhausting knowledge, an empty deception, without a subject"
Goethe
 
 
Goethe realized the lack of a valid artistic color theory that takes into account the aesthetics and harmony of colors as a result of the relationship he developed with many painters he met during his Italian voyage. When he returns to Weimar, he decides to deal intensively on his own work. In ler Zur Farbenlehre kez (Goethe), Goethe portrays Newton's view of a prism for the first time in 1791 to apply Newton's color experiments. But because Goethe rejected the empirical methods of physicists and always placed the relationship of human nature with the integrity of nature at the center of his thought, he incorporated himself into the experimental order as observer. He puts the prism in front of the eyes, not in the sun's rays: beyaz I was amazed at how the white wall looked through the wall, as it used to be, but when I struck a darkness on it, a slightly more sharp color “, From this observation, the dominant light that followed Newton - Adopts the view of the opposition against color theory, which will last for all his life. In Newton 1704, the di Opticks zaman article revealed that light was composed of seven spectral colors (red, orange, yellow, green, blue, navy blue, purple), which became visible when a light beam passed through a prism. The source of color formation was light. Goethe has declared that the current physical theory is unacceptable. His false conviction was in the darkness of the colors. Goethe did not adopt the assumption of un all-ready basic rays of color, ’as he contradicted the üyle completely ready-made color rays temel for contradicting the’ dynamic design type em to the emergence of phenomena as opposed to opponents. From this productive contradiction, he developed his own color knowledge as the phenomenology of sensibly mutable color contexts. He made optical advances and collected material and carried out his research with an unusual intensity for a poet. Thus Goethe ’despised the research in the dark rooms. His starting point was not physicists' objective method knowledge, but sensory experimentation and observations of nature. Poetic depictions of infallible depictions, experimental layout drawings and natural experiences stand side by side in Goethe's work. Ir In Zur Farbenlehre, he tries to overcome the multidisciplinary divergence between experimental science, philosophy and the theory of art, on the basis of his own view of nature. However, the fact that research schemes are not accepted and echoed in the natural sciences will hurt him for the rest of his life.
 
In 1791, eler Beyträge zur Optik ’was published as the introduction of Goethe's extensive investigations. Here, Goethe was giving priority to color phenomena, as they saw from the prism. At this stage, he discovered the spectrum of coasts, the colored edges of the intersection of light and dark sections, and the legality contained therein. According to Goethe, this confirms the polarity phenomenon (Urphänomen) in the colors that he divides into hot and cold complementary colors according to the basic principle of light and shadow. He published his masterpiece lar Zur Farbenlehre m in 1808/1810 after twenty years of research. This work is equipped with 16 inserts with 16 colored paintings, drawn by their hands, including test results, color phenomena, and prismatic experiment designs. Goethe calls upon readers to conduct experiments with a prism based on the izm optical paper game yap added in 27 small tables.
 
In the first didactic section of Zur Farbenlehre, he considers color perception as a physiological, physical and spiritual event, and by his experiments with black and white images and colored surrogates, and by the relative and successive contrast observed previously, he discovers that color perception is intrinsically determined by the eye. Obtain new and important information from the work on colored shadows. According to Goethe, the main color of yellow was formed by the blurring of white light, and in the case of darkness, the second main color, blue, appeared. They constituted the main opposition, the polarity. Goethe also proposed a systematic of color changes in chemical reactions with a theory of chemical colors. He develops the six-part color ring, which is the most important result of his experiments with prism, by means of treatment (steigerung) through two primary colors, gradually developing ğı often red purple, which we call the renk gray color renk for the sake of high honor. Particularly in terms of the aesthetics of art, the aesthetics of the color of the sensory-moral effect of color is examined at the end of this section. The second part of Zur Farbenlehre divides into an angry pencil fight against Newton's optics. In its third and historical chapter, which is the largest in scope, it deals with the philosophical history of color from Plato to the day. His aim here is to justify himself by placing his theories in a historical context.
 
Although the color theory was rejected by the scientific world, especially the famous painters Philipp Otto Runge, Johannes Itten, Paul Klee, Vasiliy Kandinskiy, as well as the basis of Color Psychology has formed.
 
Goethe as a synesthesia
 
We all think it is a real world where we can perceive our senses outside. A world in which we can see, hear, touch, smell and taste ğ Moreover, we believe that the image of the world in our minds is a complete reflection of that reality. If the physical world has a red apple and we also have a red apple in our minds, we think that we really perceive reality correctly. He is red and red, and red. But images in our minds don't always match those in the real world. Our senses are the doors that deliver data from the outside world to our consciousness. Hearing, sight, sniffing, taste, touch, feeling of time. However, some of these senses have filters in physiological meanings. These filters are similar to the fact that our atmosphere does not pass all the rays coming from the sun and allows for some selective permeable permits. In the same way as your eye perceives only the visible spectrum, not the whole part of the electromagnetic spectrum. This area creates a very small area within the spectrum. A similar range is also available for our hearing. The brain increases the limitation rate by controlling the input of the physical world and the receptors at certain rates. The warnings collected from our senses are useless by the relay station and the amount of invalid information is reduced to the brain.
 
Synesthesia (Sensation Binary) is an involuntary experience consisting of a combination of Greek syn and aesthesis. It can be expressed as unified senses and empathy. Synesthesia is a vigorous and powerful sensory experience resulting from involuntary condensation. Only very few people experience synesthesia on a daily basis. While some are considered by the researchers as a special symptom of non-language thinking, others are considered as a disease, abnormality or miracle, a mystical human ability. There are also those who consider synesthesia as a social and cultural phenomenon rather than a biological event. There are many forms of synesthesia. When the person perceives the letters in the most frequently viewed form, they experience them as colors. Each letter is perceived as a different color for each person. These people, if they start to experience this experience in early childhood, think of sineztezy as a normal normal day. Most of the synesthesiologists experience a great surprise when they learn that they do not experience the same experiences as part of other people's perceptual experiences. Because by then, everyone accepted himself as perceived.
Most synesthesiologists experience linguistic or musical synesthesia. In the letter-color synesthesia, the identity of the letters determines the identity of the colors. The intensity of the sound for the spoken letters does not influence the conjugations of the pronounced type letters. In voice-color synesthesia, people often see colors in front of their eyes and vary in colors by changing the pitch of the sound. Eyesight can be completely filled with colors.
 
He was a synesthesiologist at Goethe. She was most interested in how we really see color and light, the world and how we created delusions. For him, this would all be learned not by the physics of Newton, but by explaining the unknown functions of the brain. He summarized this with the promise that özet visual delusion is a neurological reality Bunu. Goethe cared for Zur Farbenlehre so much that he kept his poetic works equal. Iğ Years later, Hermann von Helmholtz (1892) was interested in the continuity of color and claimed that the continuity of the color of his object provided his classification. For him, the continuity of color was a subjective example of the visual continuity in the general sense, the way to create a stable and meaningful visual world through chaotic sentiment.
 
If synesthesia is real, what is the reality that people we normally experience by experiencing? If the first person is experiencing what he perceives as the subjective perceived reality (letter-color) and learns from a second person (objective) that this experience is different from normal, that is, what is the subjective reality we perceive with our brains? Why isn't the subjective reality of all of us the same? What if we all perceive the universe as a synesthesia, and it is true that he saw Goethe!
 
Mehmet Arslan, who is not a synesthetist, has taken us to color journey with the eyes of Goethe; it also indicates that the image may be able to select other types of images. The fact that Goethe's colors match in other geographies emphasizes the universality of art and opens new windows in our world of perception as a photo reader.
 
Kemal ÇİFÇİ
Sociologist
December 2010 Öveçler-Ankara
 

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