在回答“我们感知到什么”时，与其说我们是在回答知觉的对象，不如说是在提供我们关于对象的知觉认识：我们可以把对象感知为不同的东西，描述为不同的东西。
When we answer the question 'what do you perceive?', we are giving the knowledge of perceptions rather than only objects of perceptions. We could perceive or describe the objects as different things.
在人们的视觉区域中的各个部分并不是同等重要的，在一个特定的式样中，人们把知觉对象中的某一部分选择出来，视为图形，而把其余部分当作底面或背景。
The area of visual parts are not equally important, in a particular style, people take part in a selection object of consciousness, as the rest, and graphics as bottom or background.
众所周知，眼动对知觉形成起到了机能性作用，它能够帮助人们迅速准确地获得对视觉对象的整体知觉。
It is known to all that eye movements play a functional role in visual perception, it can help people quickly and accurately acquire to the whole consciousness of vision objects.
由于视觉主体与视觉对象这两组关系之间的互动，才有被我们的视知觉所把握的形式效应。
Just because of the interaction between vision subject and vision object, we obtain formal effect held by our vision perception.
同样，经验中还呈现许多前后相续的变化的知觉和地位接近的对象的知觉，但是经验并不提供必然性的联系。
Similarly, mere experience affords perceptions of changes succeeding each other and of objects in juxtaposition; but it presents no necessary connection.
杜夫海纳的深度分别表现为审美对象的深度、审美知觉的深度，以及二者的关系。
The depth of Dufrenne respectively expresses the depth of object and subject, and the connection between them.
它是现象学研究方向过渡到审美经验的重要成果，比其前辈更重视以审美知觉和审美对象为主要内容的现象学理论构建。
Its an important outcome caused by the transition from the study of the phenomenal science to the aesthetical consciousness and the aesthetical object more than his predecessor.
格式塔(完形)原理认为，人们知觉到的形不是客观地模仿，而是当点睛看到每个对象是知觉的建构活动。
Gestalt principle believes that the shape that people perceive is not an objective imitation, but a construction when they see the object.
音乐作品通过具有感知能力的欣赏者的知觉感知成为审美对象。
In music appreciation, music works become the object of aesthetic perception.
音乐作品通过具有感知能力的欣赏者的知觉感知成为审美对象。
In music appreciation, music works become the object of aesthetic perception.
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