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Part I. Starting with a critique of gestalt theory in relation to the understanding of form creation in Art, Anton Ehrenzweig introduces a psychology of perception fundamentally different from surface perception. Depth vision is gestalt-free. In contrast to traditional art, modern art dispenses with the surface gestalt and lays bare the automatic creations of our depth mind. It seems that our culture quite generally values the surface mind but little, looks for deeper insight beyond the limits of our rationality. Even in science, creative thinking begins with a state of 'fluid vision', from which later, rational ideas emerge. Not only creative thinking, but all creative activity consists of a fluid, gestalt-free vision out of which emerge definite form ideas which can be grasped by the surface mind. The origin of æsthetic feeling is traced back to a primeval sexual crisis, which might also be the origin of the sexual form play of the depth mind and its conversion into the æsthetic experience. The breakdown of rationality in our time allows the unconscious form play to come forward again and disintegrate the surface gestalt.
Part II. The distressing effect of gestalt-free perception may be avoided by transmuting it into a stylized ornamental pattern. Ehrenzweig discusses the theories of Nietzsche and compares Dionysus with the id of psychoanalysis and Apollo with the superego. Aesthetic pleasure serves to keep attention fixed on the surface gestalt by appealing to the all-powerful pleasure principle. Without it one could not explain the permanent success of secondary elaboration into style. According to the author's theory of dynamics, the æsthetic feeling could be formed only to destroy Dionysian emotion, which is probably sexual excitement elicited by the sight of the mate. The example of different tendencies in the interrelation of clothing and style is extensively used. Fashion becomes 'old