About heterogeneous isomorphic spaces

Heterogeneous isomorphism We are often exposed to a variety of symbols in real life, each of which represents an image and can convey a graphic message. Which symbol is closer to the image we want to express in graphic creativity? How do I pick and combine symbols?

What kind of novel effect does displacement and friction between two symbols have? This requires us to pay attention to observe and constantly collect various image symbols in our lives, organize them, and then transform them into the design language we need, so as to promote the generation of new symbols. "Heterogeneous isomorphism" follows this principle, which uses the shape of one element to destroy or graft another element, so that there is a conflict and connection between the two, so as to produce a new visual form, weaken the role of form and emphasize the existence of meaning.

Heterogeneity is the carrier "thing, me", and isomorphism is the bridge, which is "unity". Therefore, in order to connect two or more elements into one to form a new and more meaningful element, we must discover and grasp the isomorphic characteristics between these elements, examine the objects with a broader perspective and all-round observation, associate their visual effects in various states, and skillfully apply the isomorphism principle to design.

Heterogeneous isomorphism is a shorthand for the correspondence and communication between the different emotional experiences of the subject that can be caused by various formal structures; In layman's terms, it is to find the common ground between two different substances and integrate them, so as to find a new community that can express the author's emotions.

"Heterogeneous isomorphism" is the theoretical core of "Gestalt" psychology, and the representative of this school of thought is the modern American psychologist Rudolf Arnheim. Reconstructing the ontology of art and interpreting art in terms of form rather than socio-cultural relations is an important trend of modern Western aesthetics, but the methods used by different schools of thought are different, Susan Lange uses physiology (life sciences) and Arnheim uses psychology. Gestalt psychology believes that there is a correspondence between the existence of external things, the organization of human visual perception and human emotions, and the form of visual art, and once the mode of action of these "forces" in different fields reaches a structural level, it is possible to provoke aesthetic experience, which is "heterogeneous isomorphism".

It is precisely under the effect of this "heterogeneous isomorphism" that people can directly feel the properties of "vitality", "life", "movement" and "balance" in the form of external things and works of art. In his most important theoretical work, Art and Visual Perception (1954), Arnheim made a great deal of analysis of the structure of visual perception and used it as the basis for the analysis of plastic arts, fully expounding his theory of "heterogeneous isomorphism".

The theory of "heterogeneous isomorphism" comprehensively uses the methods of modern scientific system theory, holism, cosmology, anthropology, physical field theory and psychological experiments to explain human aesthetic experience and explain the basic principles of art from a new perspective, which has its merits. It attempts to transcend the opposition between subject and object, emotion and external object in traditional Western aesthetics, and establish an "isomorphism" between different fields. However, it ignores or ignores the influence and constraints of social historical and practical factors on people's emotional and aesthetic activities, and ignores or ignores the decisive role of human social practice and cognitive activities on people's psychological and even physiological development.

Therefore, it uses purely psychological and anthropological methods to explain the complex human spiritual phenomenon of "man" and "art", and as a result, it can neither say the relationship between art and man's aesthetic experience, but even reduce man to the primitive status of animals, and cannot distinguish the difference between "human" and "non-human", because psychologists do not understand that "the form of the five senses is the product of all previous world history".