For Wilhelm Salber, everyday life was "the greatest". On the basis of more than 1,500 in-depth interviews, he set out to explore everyday life as we find it. His assessment:
"The everyday life of the soul is strange, comical, grotesque, paradoxical, uncanny... a vast machinery that oscillates between 'common' material and artistic design."
On the basis of Salber's book "Der Alltag ist nicht grau", published in 1989, and many other of his investigations, we present everyday forms of life on this website at loose intervals. We had begun with waking up in the morning. Now we present the psychology of looking out the window.

Set design from the film "Rear Window" by Alfred Hitchcock

"Nothing is inside, nothing is outside, for what is inside is outside." (J.W. Goethe)

In his last years, Wilhelm Salber sometimes referred to the "disengagement culture", which determines our time and is getting on in years, as the "Babel world of the superhuman". Worldwide journeys, acceleration of processes on all levels, the search for eternal youth and never-ending growth seem to want to prove that there are no limits to the undertakings of mankind. Once the seven-league boots have picked up speed, things along the way dissolve into a grey murmur. They become "trivialities" for which there is no time, to which no attention is paid. The shutdown of economic life during the Corona crisis now makes these trivialities visible again. In the deceleration of life they emerge as small but indispensable figures of the soul. Morphological everyday psychology believes that the soul cannot survive without the banal and seemingly insignificant things of everyday life. Even if it storms to new shores in unrestrained drive, it must still survive through everyday life. Even top managers and celebrities sometimes bite into an apple, start dreaming over a cup of coffee and discover undreamt-of sides of themselves in gossip about others. The soul would freeze if it could not go through such transformations. With its everyday psychology, Wilhelm Salber has given the nothingness of everyday life back the meaning it deserves.

Thus, even the inconspicuous view out of the window is more than concentration or curiosity. Salber saw the undertakings we pursue in our houses as pictures. They are often overloaded with tasks and duties. The kitchen must be tidied up before the others come home. The protocol, the report should be finished so that one can turn to other tasks. In this situation, the view outside brings out something else and thus initiates a meaningful re-centering. What is that squirrel over there doing, watching me? That man down there on the street seems to have swallowed a stick. Strange how life takes shape! The pressurized, spiritual enterprise is carried on by what the world sees, by what others do and don't do. A different picture breaks open and it is as if being tied down by tasks and duties loosens up in this way. It becomes obvious: during the activity in the house, some things were probably included, which can now be expressed by a view wandering outside. The transition is sometimes a jumping transition, sometimes a kind of two-track transition develops for some time. A directionality can also emerge in the world, in which, paradoxically, one closes one's eyes.

Looking out of the window, the images that until then unified the events are lost. But only to find other images that take the lead for a few moments. Sometimes one gets into a context in this way, which drives the continuation of the events into completely different areas or into extended reveries. A change of place takes place, which gives the outside a place inside. As the mental images get lost in the 'outside', the transformations continue 'inside'. Perhaps the work in the room was disturbed by something that tried to turn itself out but found no clue. The other and the others in the street, the reflections of sunlight and the wind in the trees give our faltering production processes dynamics and colour.

The view outside can, in another turn, become a lurking, a greed and a sticking with the other. Then looking out of the window gets something of 'almighty' action. Being determined by the work in the house, turns into an urge to determine others: the 'evil eye' is considered to be one that has effects.

Text after W. Salber (1989): Everyday life is not grey (p. 88 f.) and W. Salber (2015): "... And what is nothing?" (anders - Journal of Psychological Morphology, 48-53)