This paper discusses the theories underlying Walter Gropius’ conception of science. Starting with “Is There a Science of Design?” written by Gropius in 1947, the influences of Ganzheitspsychologie and the New Look on Perception are traced. In particular, the contribution of Earl C. Kelley is analyzed. Subsequently, Gropius’ phenomenological approach, insights on expressive qualities, and the relationship between man- environment are discussed. Finally, the influences of Gestalt theory and spiritualistic psychology on Gropius’s conception of science and perception are outlined.

"Galileo on the Distinction between Primary and Secondary Qualities (I). A Superessentialist Argument" Galileo’s distinction between primary and secondary qualities has hitherto been examined almost exclusively from a contextual, historical perspective. This paper, the first of two planned, aims to fill this gap by providing a systematic, theoretical analysis of his principal argument for the distinction, as advanced in "The Assayer". I begin with a reconstruction of the key steps in the argument, and then proceed to identify and discuss the (...) epistemological and ontological presuppositions underpinning it. I argue that the most crucial and original assumption behind Galileo’s reasoning is the superessentialist principle, implying the mutual conditionality of the essentiality and reality of a material body’s properties. An in-depth analysis of the assumptions underlying Galileo’s reasoning paves the way for further examination of the most controversial aspect of his theory, that is, the ontological status of the secondary qualities. This issue will be addressed in the second forthcoming paper. (shrink)

Summary The present paper introduces the theoretical conceptualization of perceptual communication through expressive qualities. Initially, the difference with respect to the modality of perceptual communication mediated by signs is analyzed. Conversely, the theory of expressive qualities reflects the psychological conception of direct perception: any assumption of a cognitive stage of representation is excluded. Perceptual communication immediately expresses the specific character of the structural essence of the object. The structural essence is well studied by the perceptual paradigms of Experimental Phenomenology. Plurivocity, (...) the case in which the same objects can share many expressive characters, is also considered. (shrink)