(4) The physiologico-motor.
(5) The process of perception.''
It is not our task to examine the first four elements. In order
<p 198>
clearly to understand the variety of perception, we have to deal
with the last only. I once tried to explain this by means of the
phenomenon of instantaneous photographs (cinematographs). If
we examine one such representing an instant in some quick
movement, we will assert that we never could have perceived
it in the movement itself. This indicates that our vision is
slower than that of the photographic apparatus, and hence, that
we do not apprehend the smallest particular conditions, but that
we each time unconsciously compound a group of the smallest
conditions and construct in that way the so-called instantaneous
impressions. If we are to compound a great series of instantaneous
impressions in one galloping step, we must have condensed and
compounded a number of them in order to get the image that we
see with our eyes as instantaneous. We may therefore say that the
least instantaneous image we ever see with our eyes contains many
parts which only the photographic apparatus can grasp. Suppose
we call these particular instances a, b, c, d, e, f, g, h, i, j, k, l, m;
it is self-evident that the manner of their composition must vary
with each individual. One man may compound his elements in
groups of three: a, b, c,--d, e, f,--g, h, i, etc.; another may proceed
in dyads: a, b,--c, d,--e, f,--g, h,--etc.; a third may have seen
an unobservable instant later, but constructs his image like the first
man: b, c, d,--l, m, n, etc.; a fourth works slowly and rather inaccurately,
getting: a, c, d,--f, h, i,--etc. Such variations multiply,
and when various observers of the same event describe it
they do it according to their different characteristics. And the
differences may be tremendous. Substitute numerals for letters and
the thing becomes clear. The relative slowness of our apprehension
of visual elements has the other consequence that we interpolate
objects in the lacun<ae> of vision _*according to our expectations_. The best
example of this sort of thing would be the perception of assault and
battery. When ten people in an inn see how A raises a beer glass
against B's head, five expect: ``Now he'll pound him,'' and five
others: ``Now he'll throw it.'' If the glass has reached B's head
none of the ten observers have seen how it reached there, but the
first five take their oath that A pounded B with the glass, and the
other five that he threw it at B's head. And all ten have really
seen it, so firmly are they convinced of the correctness of their swift
judgment of expectation. Now, before we treat the witness to
some reproach like untruth, inattention, silliness, or something
equally nice, _*we_ had better consider whether his story is not true,
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and whether the difficulty might not really lie in the imperfection
of our own sensory processes. This involves partly what Liebmann
has called ``anthropocentric vision,'' i. e., seeing with man as the
center of things. Liebmann further asserts, ``that we see things
only in perspective sizes, i. e., only from an angle of vision varying
with their approach, withdrawal and change of position, but in no
sense as definite cubical, linear, or surface sizes. The apparent size