Paul Klee and experimental embryology

保罗·克利（Paul Klee，1879-1940）将他的作品创作过程视为形式的形态发生（韦尔登）。本研究试图说明克利的诗学思想是基于世纪之交在那不勒斯海洋生物站工作的新活力主义者汉斯·德里施在海胆胚胎实验中发现的胚胎学发展。另一方面，克利的绘画不仅呈现了视觉上的如画般的模仿，而且呈现了触觉上的可塑性拟像。恩斯特·韦伯（Ernst Weber）和德国医生引入了测量敏感性的新方法，建立了实验心理学。在韦伯关于触觉的著作《味觉》（Der Tastsinn，1846年）中，温度和动觉（即触觉敏感性）被研究，并提供了多种敏感性模式的范例。保罗·克利证明了艺术可以作为一种触觉形式。

Paul Klee(1879-1940) saw his making process of work as morphological genesis (Werden) of form. This research is an attempt to show that Klee's poietics is rooted in the embryological development owing to entelechy which the neo-vitalist Hans Driesch, working in Naples at the Marine Biological Station at the turn of the century, found from his experiments on the sea urchin embryo.On the other hand, a Klee painting does present not only a visual picturesque mimesis, but also a haptic plastic simulacrum. Ernst Weber and German physicians introduced new methods of measuring sensitivity, establishing the experimental psychology. In Weber's book on touch Der Tastsinn(1846) temperature and kinaesthetic, i.e. haptic sensitivity were examined and offered a paradigm of multiple modalities of sensitivity. Paul Klee demonstrates that art can function as a haptic modality.