ThinkingFeelingDoing 10316119
ThinkingFeelingDoing 10316119
ThinkingFeelingDoing 10316119
TH I N K I N G ,
FE E LI N G ,
DO I N G
B
“
E
“
. W . S CRI PTU RE , PH D . . ( LE I PZ I G )
D i r e ct o r f th e
o P sy c h o log i c al Labo rat o ry in Yale Un iv e rsity .
FLOO D AN D V I N CE N T
i b: (dtbaut au qu a m ut urp 1mm
G z
M E A D V I LLE P E NN A
1 50 FI FT H AV E N E W Y O R K
.
1 89 7
”
4 5 9 a
MAY 1 8
‘
BJ
se as
T PRE FACE
‘
af
rai d that all this accu rate an d fin e w o rk in the lab o rat o ry w ill
”
scare aw ay t h e p u b lic ? Th is b o o k is t h e an sw e r . Yo u m y ,
de ar re ade r, an d I , hav e no t im e , i n cl in at io n ,
or m e an s to
spe n d ye ars in st u dyi n g lab o rato ry
t h e de tails O f th e p h ysi cal
o r t h e O b se rv at o ry ye t w e b o th e nj o y an ac co u n t o f t h e l at e st
,
sh o rt t ha at le arn o n l y o n e thin g w e ll w he th e r it b e
m an can ,
th e b e st m e t ho d o f dye i n g cam b ri c o r t h e m o st e f fic i e n t co n
stru c t io n O f l o co m o t iv e s Th e b o tan ist is q u i t e at h o m e w it h
.
so m e se ct io n O f m at h e m at ics b u t w o u l d b e j u st as aw k w ard
,
yo u an d fo r m e th e fin e r t he w o rk , t h e m o re n o ve l t h e in v e n
i
t o n, or t he m o re im p o rtan t t he disco v e ry, t he g re at e r t h e du ty
O f te ll in g it t o l li t t
th e p u b c in an gu ag e ha can b e u n de rst o o d .
l i i
Th e gre at e st O f p sycho o g sts, Wu n dt , has w r t t e n a se rie s Of
p ro du c e d a b o o k e xp lai n in g t h e m e t h o ds an d re su l t s o f t h e
n e w p syc h o l o gy This is m y re aso n fo r w ri t i n g o n e
. .
on p y
s c h o o l
gy ; I h a v e w ritt e n p l , e v e ry day E n gl ish an d
ain -
WAT C H I N G AN D T E S TI N G ; OR O BS E RV ATI O N
AN D E X PE R I M E NT
T I M E AN D A C TI O N
RE AC TI O N T I M E
-
TH I N K I N G- TIME
S T E A D I N E SS AN D CO N T R O L
PO WE R AN D WI LL
A TT E N T I O N
T O UC H
H O T AN D COL D
S M E L L AN D T AS T E
H E AR I N G
COL O R
COL O R S E N S IT I V E N E SS
S E E I N G WI T H O N E E YE
S E E I N G WI T H TWO E YE S
FE E LI N G
E MOTION
ME M O R Y
R H YT H M I C A C TI O N
SUGG E S TI O N AN D E X PE C TATI O N
MAT E R I A LI S M AN D S P I R I TUAL I SM I N PS Y
C H O LO G Y
XXI I . TH E N E W PS YC H O LO GY
LI S T O F I LLUS TRATI O N S .
FI GU R E .
I . An E xe rc ise in O b se rvatio n
An E xe rc ise in ! u ic k O b se rvatio n
Ap p arat u s fo r R e co rding T im e
A Sp e c im e n R e c o rd
Po sitio n Re ady fo r a Re co rd
M e asu ri n g the Sim u ltan e ity I n Actio ns O f a P
.
iano
p l aye r .
Re su lt O i t he E xp e ri m e nt
I n fl u e n c e O f Fat igu e o n Tapp i n g tim e -
I n th e R e acti o n ro o m-
Re act i o n ke y
-
Re actio n t o So u n d
Th e Pi st o l ke y
-
’
The R u n n e r s Ke y
’
Me asu rin g a Ru n n e r s R e act i o n tim e -
The To u ch - ke y
Re acti o n t o To u ch
A Re ac t io n t o Co ld
Re actio n t im e De cre ase s w ith Age
-
Th e V o i c e k e y
-
FI GU E
R .
A rran ge m e n t O f Cap su l e s f
o r S t e adi n e ss u n de r G u i d
an ce O f t h e E ye
A R e co rd O f Ste adin e ss
’
R e co rdin g a S p o rts m anUn ste adine ss
s
I nfl u e nc e O f P it ch o n t h e Po w e r O f G rasp
Dyn am o g raph
G rip O f th e H an d b y an H yste ri c al P e rso n .
Co l o rs
I n fl u e n ce O f M u sk
Fo c u s an d Fie ld O f Atte nt io n
Fat ig u ing Att e nt io n P re parat o ry t o H ypn o t ism
To u ch we igh ts fo r Fin din g th e Th re sho l d
-
’
A risto tl e s I ll u sio n
Lip I ll u sio n
List of I llu stration s . ix
FI GU E R . GE
PA
68 A H o t -spo t Map .
69 .
74 . Wh istl e fo r D e t e rm in in g t he H i ghe st Au di b l e T o ne .
N o t i c e ab l e D ifle re n c e
77 Th e T o ne t e ste r
-
78 .
ge
79 . Ap parat u s fo r Finding t h e M i ddl e To ne .
84 . T e
h C o l o r-w he e l
85 . Pu tt ing TWO Di sks To ge th e r
86 . TWO Di sks w ith Scale
87 . D iagram matic Arrange m e nt O f the Co l o rs
88 . Th e Co l o r c o n e - .
89 . Th e G rays
90 . Sp e ct ru m fro m a G rating
9 1 . Th e Co olr-t rian
g e l
92 M i xing Ye llo w an d B l u e
Ch il dre n hav e Fin e r E ye s fo r Co lo r as the y
.
93 . G ro w
O l de r .
'
98 . G re e n blind Pe rso n s
-
99 . O n e c o l o r Pe rso ns
-
I OO . Pe ri m e t e r fo r Me asu rI n g t h e Fi e l d O f Vi sio n
,
Pe ri m e t e r Chart fo r Co l o rs
x List f
o I llu stratio n s .
FI GU E
R .
Findi n g t he Bli n d S p o t
-
Th e Circl e is R e p lac e d b y t he Co l o rs
What w ill hap p e n n o w ?
Th e R e su lt
B
.
A P u z z l e r fo r th e lin Sp o t
d -
B l -S o t P re t e n ds t o R e ad
T e
h in d p
Te st fo r E ye S te adin e ss
-
a
.
What th e E ye Co nside rs t o b e E q u l Di n
sta ce s
A M i sp lac e d Line
A M i splac e d L in e
Th e I n t e rru pt e d Di stance
Th e Di sto rt e d S q u are s
A M isp lac e d Line
Th e E n large d Angl e
D isp lac e m e n t b y Incline d Line s
A Ti pp e d Li n e
B re ak ing Paralle l Li n e s
Tip p ing Paralle l Line s .
ro ss
lin e s .
I ll u si o n O f t h e Ye o m e n O f t h e G u ard
Shap e Of the S ky
The M o o n I llu si o n
B o o k S e e n w ith t h e R igh t E ye
B o o k S e e n w ith th e Le ft E ye
Th e R e al B o o k
Bo o k as Act u ally S e e n
Pu t t h e B ird I n th e Cage b y B in o c u lar Vis
io n .
Th e Prism S te re o sco p e
List of I llu stratio n s . xi
FI GU E
R . PA GE
The Bo o k Ste re o sco pe
Act io n O f th e B o o k St e re o sco p e
Tw o Li ke Pi c t u re s
Un li ke Pi ct u re s t o b e Co m b in e d
P ro m e the u s
The Cro ss
Cro sse dDisp ari ty
Uncro sse d D isp arity
Wdhat w e w o u ld E xp e c t w h e n Lo o ki n g at th e Farthe r
.
En
What w e w o u ld E xp e ct w h e n Lo o ki n g at th e N e are r
E nd
What w e w o u ld E xp e c t w he n Lo o k ing at th e M i ddle
What w e Actu ally S e e .
The Slant L i n e
Th e P yram idal Bo x
Th e Fu nn e ls
The Crystals
Th e M u lt i ple Star
Th e Co m p l icat e d Pyram i ds
Th e Th re ad Fi gu re
B ino c u lar Stri fe
B ino cu lar Lu ste r
’
A B i n o c u lar I ll u strati o n t o M il t o n s Paradi se L o st
Single Sym m e t ry H o ri z o ntal
,
Do u b le Sym m e try
Th re e fo ld Sym m e try
Fo u rfo ld Symme try .
, ,
i re cti o ns
Co m b inatio ns O f Sym m e t ry
Law Of Ple asi n g R e lati o ns O f th e Dim e nsi o ns Ofa
Re ctan gle .
Chan ge l
O f P u se as a R e su lt O f Ple asu re .
Chan ge O f P u lse as a R e su lt O f An ge r .
Chang e O f P u l se as a R e su lt O f Fri gh t
So rro w
Jy
o
xii List of I llu stratio n s .
FI GU E R .
GE
PA
1 76 . An ge r
1 77 . Fright .
1 78 . V e ry Do u btful
A Le af fro m Dai sy 8 Co p y b O
’
1 79 . Ok -
.
1 83 . Use o f th e Pun fo r M e m o ry P u rp o se s
De p e nde nce Of Ti e m e m o ry o n Age
m -
Th e E le ct ric S ho e .
J nn
o ha F ri e dri c h H e rb art 284
CHAPT E R I .
WAT CH I N G AN D T E S T I NG ; OR O BS E R V A TIO N AN D
E X PE R I M E NT .
E YE S and N O - E yes
j ourneyed together N E yes . O -
saw only what thrust itsel f upon him E yes was on the
watch fo r everything . E yes u sed the fu n dame n tal
me tho d of all kn o w le dg e o bse rvatio n o r w atch i ng
—
, .
t ivat e d an d alas
, , most o f the children still go to
schools o f the same kind There are proper ways O f
.
“
They say to themselves The public is interested in ,
”
process going on in a perfectly n atural w ay More .
’
mother M haS u sed D r Swindle s liver pills all her li fe
. .
q u estion F
. o r e xample so m ,e t hing chosen is n either
animal n o r m ineral it is therefore so the qu e stioner
, ,
“
b uckwh eat cak es
Th is e rror is o n e o f t h e m o st tro u blesom e o n es in read
’
in g printer s proo f; letters and words that h ave b een
omitted b y the co mpo sitor are unconsciously supplied by
Thin king ,
Feeling , D o ing .
F u n e re a l “
b
h a its ”
o fan ts. hab i ts o fants : I h ave n o tI ce d I n one o f my fo rm I
caria a sub terranean cemetery where I have seen some ,
near the gate face the wind and assume a rampant pos
, ,
”
allowed them full liberty O f action .
“ ”
Bu t that they sported an d played that t he o thers .
,
”
kept watch u pon them lik e chaperones and n o w and ,
’—
again did homage to them b y saluting all this is due
“ ”
m ust o f course b e
, princesses to the other ants as
,
“
I f instead o f the n ame
, queen the m ature fem ale ant ,
“ ”
had b een called by the still b etter term mother we ,
An e xpe ri m e n t
tell the story o fwhat he was doing then tell it yourself .
the nest and did not put them b ack till they were full y
de veloped They too w e re received in a friendly man
.
, ,
“
termines the friendliness o f the ants .
daily .
”
ask mother who has had b oys o f he r own to tell
, ,
Wat hing
c an d Te sti ng .
lows .
”
“
A group o f m erry boys would n o t my account o f
t he very same f acts b e di fferent ?
I shall warn yo u against only o n e e rro r m ore that o f A ot h ,
n e r so u rc e
y o u hav e profited b y it .
Thin king , Fe e ling , D o i ng .
Fig . 1 . An E x e rc ise in Ob se rv at io n .
3. ac e a o o n a e t
E xe rc I se I l l room Le t each person go in and walk once around
.
scribe not only the fashion and qu ality o f the stu ffs b ut ,
have o ften wondered at the two who did not turn around ,
Th e arm-
c h air labor and t o wait Fo r several thousand years psy
l gy
.
p syc ho o .
T he adve n t o f
I t is to the introduction o f experiment that we owe our
e xpe rimen t .
electric cars and lights our bridges and tall b uildings
,
,
Watching an d Te sting .
Va ry ly on on e ci rcu mstan ce at a
wi sh to ti me . I f you
’
fi nd ho w strong a child s memory is at di fferent times o f
the day you should not m ake the morning test with
,
con fuses the means with the thing the tools with the ,
Ci ne .
CHAPT E R I I .
T I M E AN D A CT I O N .
Willing . an d its your hand move ? AS long as you had n o will to move
I
’
l
it it remained st ill ; b ut when you willed t o move it it
, ,
not solve Apparently the will and the act occur at the
.
mercury whereby
,
an electric circuit is
closed This elec
.
Fig .
4 . A S pe cime n Reco rd .
’
the multitude o f o s an d decim al points let u s introduce
the S ign 2 to in dicate hundredths o f a second just as ,
I ts l
so u t io n . must h ave t w o keys t wo sp ark coils
-
, ,
Fig 7 R
. lt f t h E x arrangement is S hown in Fig 6
e su o e . .
p e im t i Fig 6
r en Th
n
igh t h a d ( p p d t i W he n the fi ngers move t wo sparks
. .
r n u er o s ,
f d
iii: it a i ghgt)
ec
e o ve fl y through th e paper and t wo white
.
corded .
i
t c a b le to provide smoked drums spark coils etc fo r
,
-
, .
,
o ccasion the act o fat least o n e h and is later tha n the will .
’
l e ss than I o r 1 00 23 ; an d since
o u r own experience —
, ,
Thin king , Fe e ling , D o i ng .
curare the act does not follow at all ; in some diseases the
act is much b ehind time But fo r m any practical pur
.
Tongue 7 2 .
Jaw I I 2
.
Foot 1 I
V
second ) .
F at ig
ue . The rapidity o f tapping decreases with fatigue Fig . .
the lower the line the faster t he tap the straight hori
z o n t al line corresponds to a t ap -time o f 1 5 2 and the
t he
tapping is rather irregular but it ,
is on the whole very
rapid o n e t a
, p time b eing only 1 1 3 -
. The tapping soon
Fig .
9 . I n fl u e nce of M en tal Activ it y o n Tapp ing-t ime .
regular it is .
taps is at 1 0 a m . at 1 2 m
.
, at 2 .
,
p m
. .
, at 4 p m . at 6 p m
.
, . .
,
t he person e xp e ri
m e n te d upon these
years were spent in
pub lic S chool work
with a daily pro
gram b eginning at
8 a I n and closing . .
.
at 4 p m with an . . .
,
f
Measurements o tappi g time o n o n e hundred New
n -
p g
. . n
on Are
children are very
S low the boys at each age tap much faster t han the girls .
'
t aps .
R E A CT I ON— TI M E .
'
dian file as if ab out t o march ; each o n e places his right
hand on the head ( or shoulder ) o f the person in front .
t han d
o f this file we will cal l the experime n ter ; in his lef
38
R e actio n Time .
39
eel
f a sudden pressure from the hand o n your head you ,
Fig . 1 3. Ch ain-rea ct io n .
3
case the reaction time would be 1 1: second or o 3
-
,
.
3
.
ference a mounted t o
'
N o t t he f
au lt o f conclu sio n w as fi nally reached that e ach person had a
t h e star
.
Th e iso lat ed
ro o m
rid o fall distraction the .
person e x p e r i m e n t e d
u po n is put in a queer
so n locks himsel f in he ,
has no communication
w ith the outside world
except by telephone .
all d isturban ces o ftouch can be made small by com fortable H °W it fee l
s
Th e re are so -ca e d ll q al it
u at iv e sc ie n c e s t h at h av e n o m e t h o ds o f m e as
k
cie t y t o t a e t h e ir p ac esl .
Thi n king , Fe e ling , D o ing .
dI st u rban ce .
sio n all over the darkness in front ; beauti ful b lue rings
with purple centers grow and grow and burst only t o start ,
us to get darkness .
M o re re l iabl e
Be it as it may the results are far more reliable t han
,
l
re s u t s .
those obtained in ordinary laboratories and under ordi
n ary conditions o f distraction b y the rattle o f the
streets the banging o f college clocks the b uzzing o f
, ,
An l
e x p an at io n .
It must not be thought that the invention o f this room
is an imputation on my part against the attentive powers
’
o f humanity It is simply a fact t o w hich w e must all
.
,
, ,
lead t o the post at the top and to the mov able slide .
Fig . 16 . React io n t o S o un d .
resu tsl .
required fo r the re
action is a very im
portant factor The .
‘
’
starter s p i s t o l i s
fired and the racers
are o f f b ut the m an
,
have gained a re
Fig 7 Th P i t l k y 1 e s o - e
sp e c t ab le f
raction o f . . .
’
an electric contact is put on the end o fthe starter s pistol .
t o l causes
the wing to fly
back and break an
e l e c t r i c circuit thus ,
making a record A .
’
runner s key o f the
kind shown in Fig 1 8 .
The r e a c t i o n
React io n -
t im e time to touch can
to t o u ch .
I
‘
be found by using
an i n stru m en t
shown in Fi 2
g 0 . .
Fig 20 .Th T h k y
e o uc - e
.
The flexible C0 n .
Fi g . 21 . Re actio n t o T o u ch .
To e xperiment o n t he re
actio t ime f
n - o r temp erature
s e n s a t i o n s a metal b all is
React io n -time flash instead o fthe telephone The intensity o fthe light .
t o lig h t .
has a very great influence A very weak ligh t might .
person .
q u i c k e r than re
action time and so -
Childre n become
steadily quicker as
React io n -t ime they gro w o l d e r .
m Ch '
ld m '
. .
TH I NKI NG - TI M E .
short word 5 2 , .
mined .
al
det i s ; a three cornered figure is as simple as a color
-
P oo r .
m w d g v y j p k fb l i g h rx t o v a n e s o z
m w p q v y k b d j r l o n i g h u a t t s x z c e
dp q m y k n w o g v x h b j l i a t u z r s c fe
’
person s reaction time fo r a single tone w here he knows
-
,
Re su lts
. we know the discrimination time and reaction time fo r
- -
up to 40 3 fo r ten fingers .
'
“
scribed o u page 39 Nex t time says the e xp e ri
.
,
menter ,
“
each o f you will receiv e a slight push o n t he
h ead either forward or b ackward You are to send t he .
”
push along in the same way .
“ “
o ut house an d yo u say street .
in the r e c o r d i n g
room an d a some
w h at simil ar one in
t he exp eri m e n t
ro om Th e ex
.
rim e n t e r s h o u t s
p e
s om e w ord e g , . .
,
“ ”
g l as s . This
c auses the thin plate
“ ”
first thinks o f e g water This m akes a similar
, . .
, .
record The total time b etween the two record s less the
.
t ion time
-
.
“
The associations m ay be o fv ariou s kinds I n free F “ w ith
.
re e
“
In a forced association the subject is allowed to as
Fo rce d sociate only objects bearing certain relations to the object
aS S OC I at I O fl .
be associated .
figures ,
to 2 2 3 simple multiplication o f two figures ,
2 5 3 to 3 5 3 .
j udgment . I n f
act many o f the ,
f
orced associations are
really abb reviated logical j udgments S uppose it to b e .
“ ” “ ”
given root asso ciated tree ; th is is simply a prae
,
’
The first movement o f the fencer s foil broke the
circuit again at the small disk maki n g a record o f ,
S e co nd e x p e ri
In the second experiment the flag foil w as moved in -
m e nt .
various direction s The point o f the foil rested against
.
Th e results were
1 Simple reaction time : E chve rria 1 727 W illiam s-
.
R , ,
l
esu ts .
’
S haw 2 3 2 O Co n n o r 26 2
, , .
W illiams 5 7 ,
’
verria 30 27 S haw 3 6 27 O Co n n o r 36 3
, , , .
them .
( where a f
e w ment a l elements are involved ) than a
Th in king , Fee ling , D o ing .
rapidity .
3
. W hen once the mind is m ade up to execute a
movement fencers are far quicker in the actual e x e c u
,
4
. As the ment al process b ecomes more complicated the ,
5
. The general conclusion seems to be that fencin g
does not develop mental quickness more th an scientific
pursuits but it does develop to a high degree the rapid
,
Fig . 27
. Apparat u s fo r M easu ring Rap idit y of T h ght a
ou nd Actio n .
sparks on the time line The time between the first and
- .
between the second an d the third gives the time req u ired
fo r the fist to travel the di stance between the two sticks .
the boys and girls are equally quick the di fferences gen ,
to in dicate that fo r
the more involved
mental processes the
girls are quicker but ,
I hesitate to admit
such a libel on my
own sex .
Irving said t h a t
Americans worship
only one god the ,
Almighty D o l l a r .
H e w as w r o n g ;
there is a mightier
one the Moloch o f
,
Time .
5 l l ° 1 c re n ’
independent v a r i
able is the only f
,
orce over which we can gain no control .
’
b e carried at the sword s point o f a quick antagon ist .
Val u e o ft im e .
sometimes make all the difference b etween success and
failure
. E very thought we think eve ry act we perform , ,
takes time A man who can think and act in one hal f
.
’ ”
lightfully told in M ark Twain s K ing Arthur I f it .
7 .
1 3 . 89 ‘
1 4»
’
79
’
S I 1 5» 57
1 6. ’
4. 54
1 8.
’
3. 49
2, 1 9 , 4 8 3
’
1 , 22, 43
39
3
,
2 6 2 5 2 There 5
w a
,s a simil
3
ar
,
g ain .
Wh e re t he gai
n
Was the gain due to general gain in mental rapidity ?
li es .
times were 66 79 6 6 6 3 5 6 6 3 6
3
3 54
,
3
,
3
,
3
,
3
,
3
,
3
,
3
.
i
and action time can be seen in the records fo r ap dity
- r
N OW were it possible f
, o r an operator to transmit sixty
second .
Ch am lo h ip
p
ns
minute which is about 2 33 v ib rat ip n s o f the key per
, re c o rc
S TE A D I N E S S AN D CO N T R O L .
S TE A D I NE S S o fa
ction may be steadiness o f position
o r steadiness o f movement I n position the impul ses to
.
Fig 31. . T ki g a R
a n e co rd o fS t e adine ss.
toh ave some method o f reco rding every part o f the act . Ai r t ransm is
5I
Th i s 15 found i n the p rI n CI ple o f ai r transm i ssi on .
will pass along the tube to the other cap sule where it ,
will b ulge the rubber top and will make the other lever
move upward When the lever is released the spring
.
,
Fig .
32
. A rran g l
e m e n t o f Cap su e s fo r St e adin ess u n de r G u idance o f t h e E ye .
S t e adin ess o f
Let us now take some particular problem such as t he ,
t h e arm.
steadiness o fthe arm guided b y the eye The arrange
, .
S teadin ess an d Con tro l
Fig .
33 . A Rec o rd o f S t e adin es s .
Fig .
34 . Reco rdin g a S po rt sman
’
s U n st e adin e ss .
Thin king , Fee ling , D o ing .
A
’
sp rt sm an s
ing a gun The sportsman takes his position stand
.
,
o
i
st e ad n e ss .
ing with gu n aimed at the target A thread hangs dow n
,
.
be applie d to a
study o f a l m o s t
every position taken
b y t h e body By .
S hown in Fig 35 a .
,
record o fthe fl u ct u
ation in height can
be made .
Person s inclined
T re m bl i g o f
n to loss o f c o n t r o l
t h e h an d .
is well to test t he
Fig 35 S t adi
. . i S t a di g
e n ess n n n .
s t e a d i n e s s o f t he
hand in child ren A very convenient method o f stu dy
.
T re m bl i g o f
n By a tongue cap sule as in Fig 3 7 we are able t o
-
, .
,
the t o n g ue
t e ll ho w still the tongue c an be held I f it should b e
.
’
t h e scalpel tremble in a surgeon s hand so that a serious
Fig .
36 .
tI eif
S t u yil
I a f
T
m .
re m bl in g o f Fig .
ff
ifies d lii s
s n t lI e S t e ad
0 r‘g u e
mm
the sheet were two dots I OO apart lengthwise o f the ,
Resu lts .
In the first sets the b oys sat squ arely in front o f the
desk holding the pencils in the usual way grasped near
, ,
an d vertic al than f
°
o r 45 and This is what we
might expect as a result o f the law that the eye moves
more easily upward downward right and left ( i e ver
, , , . .
,
E l
xp anat ion
side position is more favorable than the facing position
.
in o n e sweep
°
. I n drawing the 4 5 line the arm is just
as free in the facing as in t he right side position and we
-
'
'
°
3 5
2 line f
orms an exception to the adv antages o f the
far grip and is much less regul ar th an the others is evi ,
ga g
u e’
flat block o f hard rubb er supported vertically b y a rod .
mm i
5 n diameter Th e edges o f the circles are flush
.
connected with the metal plate and from the other pole ,
contact o f the point with the plate will cause the b ell t o
ring .
Fig .
39
. M easu rin g S t eadin ess an d A tt en t io n .
ran as follows : 6 1 64 6 5 75 74 75 8 2 79 78 8 8
, , , , , , , , , .
u l t rials
ce ssf showin g an in crease o f twen t y -fiv e per
,
cent wit hout practice in the time duri n g which the right
hand had gained as Shown by the figures above This .
“
curious process I have ventured to call cross edu
-
”
cation .
Ki g
n de r art e n Let u s notice in passing how much these experiments
wo r k
resemble the cork work b ead work perforating and
.
- -
, , ,
classes .
Fig .
40
. l
Resu t o fE du c at in g Att e n t io n t o the Arm .
M e th o d o fe x
A means fo r studying the accuracy o f singing a tone .
pe rim e n t .
and ke eping it is found in the gas capsule and mirror
,
-
Fi
( g 4 )
. 1 divided into two parts b y a thin rubber mem
brane A gas pipe leads to one p art and a sm all b urner
.
Fig .
41 . T es tin g S teadi n ess g g
in S in in . Th e Uniso n .
Fig 42 S in in g g th e Fig .
43 S in in g g th e F lg 44 S in in g th e
O
. . . .
g
.
Fig .
45 . S in in g g th F e o u rt h . Fig .
46 . S in in g g t h T hi d e r .
PO WE R AN D WI LL .
blow yet feared lest the well known power o f his arm
,
-
Wh th t t ik h im lif l t t h a t h
e er o s r e e ess o e e r
At f ll h im w it h a m a d bl w
o nce , o r e e s u re o ,
amount o fexertion .
collar that when the stop extends across the frame the ,
error o f_ 5 8 .
I
n i t ifi w k a d i
sc e n i il iz d
c or t i t h g am i t h
n n c v it f w igh t
e c o u n r es e r s e un o e .
twenty grams on a weight o f 200 grams he will make ,
Fig .
48 . D ec re ase I
o f nacc u racy o f W eigh t-j u dgme n ts in S c hoo l Ch ildre n
o fS u ccessiv e Ages .
pear the same as the standard used and those that appear
di fferent The amount o f difference that passes unno
.
O n looking at the scale the records are read and the dif
ference n oted Here are some I have obtain ed The
. .
A F jan itor
.
, ounces
M S woman
W S girl 3§ years
. .
, ,
.
,
I . 2
gold worker must hit with just the right intensity The
- .
'
the first day with the left hand singly and then
with the right hand ten times each The records
, .
'
Thus the left hand had gained six pounds or more than ,
’
body else But Sandow s strength varies continu ally
.
,
’
o n e plays the giants motive from the Rheingold my
p lan at io n
m ajor an d the minor but the more recent O pinion is that
.
D orian is a tone be
low the Phrygian .
T h e D o r i a n is
neither too high nor
too low and ex ,
e c‘ c
presses a m a n l y
Fig 49 I fl n fP it h th P w
u e n ce o fG a p
c on e o er o r s
. .
character .
I fl
n u e n ce o f
It might be suggested that the special melodies associ
p it c h .
ated with each scal e m ay hav e had much to do with the
case Nevertheless it h as b een proven that the pitch
.
Fig .
50 . D ynamo g ap h
r .
’
49 shows the number o f pounds f
o r one person s h and
grip as the scale was run up on the pi ano .
5 1 .
Fig .
51 . Reco rd o fS t ro n g est Grip o ft h e l
H an d b y an H yst e rica Pe rso n .
ur mg S i e nc e .
to physicians .
I fl n u en ce
The colors also afle ct the squeeze Wlt h some persons l , c o o rs,
Tkin ki ng , Fee ling , D o i ng .
'
Fig 54
. . I n fl u en ce o k
fM us .
fla f
g ii if
;
s o (
on t c t io i v
F1g
'
k e fle cts
54 shows the e f
fect o f
'
Lo o in g at D ifl e r . .
zfi gzgfi gg
f
'
if
‘ fs
g musk on the power o f a tired person .
d; r ’ re
Tobacco has a stimulating effect .
A TT E N TIO N .
AT TE N t io n !
W hy do you suppose such a co m
mand is necessary to a company o f soldiers o r a class o f
b oys ? W ould they n o t do as well without attention ?
O f course not ; an inattentive or unexpec tan t company
o f soldiers w ill s t art to march in utter disorder or will
, , ,
nally you pay so little heed to them that you are un able
at the end o f a walk to tell what you have j ust seen b y
the way This fact is expressed by saying that at first
.
89
Tkin king , Fee ling ,
D o ing .
same time you are receiv ing touch impre ssions from the
book in your hand and from the clothes you wear you
hear the wagons on the street or the howling o fthe wind
an d the rustling o f the trees you s m ell the roses that
your hostess h as placed on the table N o w that I have .
.
, , , ,
Fig 55 Foc a d F i ld
us n f Att ti
e o en on.
glass is adjusted so
. .
You can keep the objects quiet in the room b ut you can
not keep your thoughts still The mental condition .
“ ”
separate objects By the word object then we will
.
, ,
E xpe rimen ts
. E xperiments are made by exposing pictures lette rs , ,
ground glass .
letters .
’
details are often so isolated in the child s mind that he
will draw parts entirely sep arated from one another .
This is the case with the child that drew an oblong an d
into attention .
l
cho o g sts i are deeply to blam e — as I am included in the
Law l
o f u te n
pose is the law of i n tensity o r brig htne ss according to ,
sit y.
'
’
The druggist s b right light forces you to notice him .
’
rooster s crow and the college yell are all fo r the pur
,
in a dingy vessel .
ence has shown that the students working at those tab les
keep their glassware cleaner an d do their c hemical work
with more c are than those who work at the ordinary
wooden tables .
Law o l ing
ffe r- . Th e th ird law I shall call th e law offee ling ; it can b e
stated in t his way The deg re e of atten tio n paid to an
ob j e ct d ep e n ds o n the i n te ns ig f
ro the f ee li ng a rou se d .
”
b urned child dreads the fire it is equ ally true that a
burned ch ild watche s the stove The very name o f .
the tallest o n e.
’
It was this same e sp rit ae co rps that Bonaparte knew
ho w to arouse Bis marck and Moltke won the Franco
.
our attention .
o fwriting headlines .
and the brick .We can also understand why The [Ve zo
Yo rk [Je rald put large glass windo ws in its publication
building .
impels Farmer B ’
s wi f e to learn just how m any eggs
’
are laid by her neighbors hens that m akes Robbie pull,
’
t ention p aid to Stockton s The Lady or the Tiger
is to be found here .
m ade .
Fo rward march
-
, delivered as one expression the ,
p n dc
attention paid to the commands Although the men are
.
’
o ften seemed as though the muscles obeyed the captain s
’
orders without waiting fo r the man s own .
’
the friend pulled Clay s coat b ut he continued to ,
well kno w n fact that we can forget griefs p ains even the
-
, ,
a forcible drama .
“ ”
cluded under the term o f fixed ideas The acute .
process consists es
se n t ially o fa f atigu e
o f attention It is .
g e n e r al l y c a l l e d
H yp no t iz ing .
h ypnotizi ng .
The name s e e m s
j ustified as t he re ,
su lt in g condition re
The m e a ns e m
p l o y e d are c l o s e
copies o fwell know n -
methods o f avoid
ing s l e e p l e s s n e s s .
Steady gazing at t he
ceiling the tick o fa ,
Fig 56 F at ig i g At t e t ion P pa at ry t
. . u n n re watch under the pil
r o o
H yp ti m
no s
lo w the hum o f a
.
’
ing o fthe mill the stroking o f the inval id s b row— thes e
,
TO UC H .
so,
an d you f eel
nothing Then I try the next heavier an d so on till
.
, ,
weight thus 1 m
, etc up to m m
, .
,
.
m
back o fforearm and hand ; 3 8 fo r inner side o fforearm
m8 f
5 o r nose hip chin , , ,
m
and abdomen ; 5 ! r to
on inner surface
o ffingers ; an d 1 000 g
m
,
o n heel an d n ails .
-
.
“
in motion be slowly touched to the skin it tickles , .
”
able tickle This peculiar form o f pressure can be
.
produces a tickle .
Fig .
59 . An E xpe rime n t in Ti kl i g
c n .
j e c,t such a s a e
f ather or the finger be held ligh tly ,
the hand .
Expe rimen t .
The exp erimen t can b e made wi th a pair o f beam
balances The hand supp o rted b y a blo ck or cushion
.
, ,
is placed de un th e al
sc e pan so that when the scal e is
r -
same rate o 5 f r 2
,
8 w ill be 1 5 8 or 6 0 per cent
, n o t 3 0 8
, .
starting p ressure .
'
grams F o r.a st nd rd
a a o f 2 00 8 the di f
ference o f5 8 w ill
not be felt at all The threshold will be more nearly
.
20 3 .
t he f
ollo w ing table
8 1 2 5 10 20 50 1 00 200
D 25 57 80 100
3 1 a sl a a. 1 a. a. a. a.
1
1 .
’
or1 s per cent .
'
the facts .
sp ace .
Proceed in this w ay
till he feels the t w o
points d i s t i n c t l y
.
N ow s ta r t w i t h a
Fig 6 Th C o mp l t E t h i m t
some w hat g r e a t e r . 2 . e e e s es o e er
.
Tongue 1
mm
Lips ( skin )
Cheek big toe 1 1
mm
,
Forehead
Back o f hand m m
3 1
Leg m m
.
4 0
Neck mm
54 .
’
can be measured directly by W eber s compass any one
with a pair o f dividers can try the experiment o n him
self
.
fo r ten minutes
then on t r y i n g
again on the lef t
arm the threshold
will be found to
be less .
The fi 11 e n e s s
o f distinction f or
Fig 63 T t i g a Ch ild i d a fS k i pa
. . es n
’
s e- o n s
a c c u r
ce
a t.
e w a y .
The person ex
p e rim e n t e d upon clos e s h is e yes S ome one
. touches
him with a p e n cil po in t and he mov es another pencil to
f
can teach her child even b e fore it can talk to put its
, ,
’
o f the child s finger into something b lack e g soot , . .
, ,
’
t rat e d by what is known as A ri stotle s
e x p e ri m e n t The m iddle finger is
.
sm all object when inse rted between the two will appear
, ,
S m o o t lm ess
Th e d i s t a n c e s
an d m u g h m s'
apart o f the v ar1o u s
points th at we feel
are what we know
under the n ames o f
Fig 66 S pace as E t imat d by a Too th unde r
s e
s m o o t h n e s s a n d
T reatme t n .
roughness A b il .
“
rough, because very intense an d limited sensations
from t he sh arp s and are mingled with smoother ones
and gaps Velvet when felt backward has a peculi ar
.
, ,
’
baby s ch e c ks can be contrasted with the skin o f the
inhabitants o f Brobdingnag .
H O T AN D C OL D .
1 16
H ot an d Co ld .
t ion into a tin pie pl ate Now press the hand ( palm or
-
.
pressed .
Fig 68 A R W
. .
some blue in k a pointed metal pencil ( or ,
Warm the pencil in the hot water and find the hot spots
in the same way Mark them on the cast in red ink
.
.
Separate the cast from the pie -plate make a plush frame
fo r it and hang it up in your art gallery
,
Those o fyou .
Fig . 69 . Fi
ndin g l
t he H o t an d Co d S po ts .
m ade .
spot and let some one tap it with a fine wooden point
it will feel cold Thrust a needle into it ; it w ill feel no
.
pain .
An e xp e rimen t .
b y the extreme end you you rsel f put your finger about
h al f w ay down the handle The bowl o f the spoo n is
.
I f the lamp shines too hotly on your hand you can put ,
quite warm or even pain fully hot When the heat was .
At l
a v e ry s o w Although a frog j umps readily when put in warm
rat e .
water yet a frog can be boiled without a movement if
, ,
F i
( g 7 ) . 0 the w ater w as he ated at the r ate o f 0 00 2 C .
°
’’
( Tziziw o f a degree Fa hrenheit ) per second the f
rog
never moved and at the end o f two and one h al f hours
w as f ound dead He had evidently been boiled without
.
noticing it .
Why h o w t a l l
,
you h a v e g r o w n
s i n c e I l a s t s aw
you exclaims the
Fig 7 B ili g a F w it h t H i K w i g it
V l S l t O I Who h as not
o n ro ou s n
w itha E t m l y Sl w
' . 0. no .
N S at o ens to n n x re e o
Rat “ Ch a g
s e e n R o b b i e fo r e n e
“ ”
three months D o you really think so ? asks the
.
“
mother . I had n o t noticed it The visitor had kept .
’
in mind Robbie s picture as she last saw him an d the ,
’
o ne s hand The cold o n e w ill seem much heavier
.
,
S M E LL AN D TA S TE .
IN I of
the antiquity o f language we have n o
S P TE
No names f
or
names fo r smells Whe n we notice an odor we n ame it
.
,
l
sme l s .
the jasmine type lily o fthe valley and ylang ylang the
,
-
amber seed the fruity type pear apple pine apple and , , ,
-
,
quince .
act o me t e r
O f .
Fig 71
. . Olfa t
c o m e t e r, o r S me ll m
- e asu re r .
Any other not too odorous liquid may take the place
o f th e camphor solution Inside this tube is a smaller .
one on the end o fwhich is a piece o frubber tubing A .
The end o fthe smaller tube is pushed to the end o f E xpe rim nt e .
’
not a very accurate one o f the person s threshold o f
,
smell .
’
but I can t tell what it is a sensation is there it is ,
mans do .
Tw o se nses o f
ll
sm e . same time it is but natural to expect that we cannot at
,
S 11 c h experimen ts E xp e rimen t .
Fl a
v o rs du e to
The great diversity o f fl avors o f objects is due m ainly
sm e ll .
to smell When a cold in the head inj ures the ability to
.
considered to b e like me al .
ss c on
When all smells and touch and temperature sensa ft a t o s es .
taste .
ing one drop each time till a taste is noticed The num
, .
acid,
per cent salt 2 per cent ; sodium carbonate
, ,
per cent .
tastes although they and the smells enter into the flavors
,
o f things .
So a d u rn ess n
brought out clearly in a series o f experiments We b e t h . o uc .
Ta t
s e an d It is a curious but uninvestigated fact that tempera
t e m pe rat u re
ture likewise has an influence
.
H E A R I NG .
—
most sounds are either tones or noises according to the
point o f vie w A jumble o f piano tones is a noise
.
- .
( )1 pitch, ( )
2 intensity ( 3) duration,
.
in duration .
1 33
Th in king , Fee ling , D o ing .
pleased ?
Lo w e st t o n e .
To produce tones lower than the
tones o f the musical instruments
gigantic tuning forks over a yard -
u eib l Tm
e'
a short time weak puffs are heard in
addition to the tone each pu f
,
f corresponding to a single
movement o f the prongs Finally the tone disappears
.
persons however h a v e b e e n
, ,
h i h e st t o n e .
that they can hear nothing others can hear barely some ,
Lim it e d ran e g In some person s the upper limit o f pitch is very low .
g
o f h i h t o n es .
!
Th e nde d that t he su cce ssive o c tav e s o f t he
re ade r is re m i
scal e are indic at e d b y sm all fig u re s Thu s C C C C C -2 -1 0 I 2
.
, , , ,
’
e tc indicat e t he su cc e ssiv e C s o f t h e scale
.
,
C is m iddl e C I
.
The o t h e r n o t e s are t re at e d l ik e w i se .
that it w as not until he w as twenty fiv e years o fag e that
-
fe c t o f hearing
. When put to the test in a room where
a l arge number o fcan ary birds were singing very loudly ,
ing w as perfect .
but could not find one that heard it Nearly all the lit .
I fl
n u e n ce of Curiou sly enough the height to which we can hear
i n t e n su y
depe n ds o n t he
.
st r e n g t h o f the
o f speci ally m a d e
e x p e r i m e n t s are
shown in Fig 75 . .
The figures at t h e
bottom indicate the
r e l a t i v e inten sities
o f the bl ast o f the
whistle ; t h u s t h e
strongest tone used ,
2 50 w as fiv e times ,
as strong as 5 0 the ,
p d t
en en on n ens .
P it ch is
Between the upper an d lower limits o f pitch the tones
i
c o n t n u o us .
do not advance by steps as in the piano but continu
o u sly as in tuning a violin string In other words there .
,
is an un b roken range o f tone except in a fe w defective ,
'
p im
ex er ti g en n
seri es a dozen or more common tun i ng forks all al i ke are
.
the two prongs o fthe second fork and sound them again , .
”
u wow u w o w u
- etc This peculiar c fle c t is called a
- - -
, .
example a convenient se t is th at o fA
, 4 35 as a st and I
needed to pro vide fo r all ears from the finest to the coars
e st When the series is complete the standard is com
.
,
pared with each in succession in the same w ay as with
the adj ustable fork until the just noticeably di fferent fork
is fo u nd
.
, .
The weights are started at the points where the two forks
give the same tone I n successive experiments the
.
Th e T o n e-t e st e r
.
e i
v id d b y the eye into th rty seconds o fa tone
- .
I ts u se .
To make the experiment the po inter is placed at A ,
repeated starting ,
till a difle re n ce is
heard In a similar .
I n exper i m e n t s
E x pe rimen t s o n made on a num b er o f
l l
sch o o c h i dre n .
N e w Haven school
children t he accu
r a c y in detecting
d l fl e re n c e s w as
Fig 78 E in H e arin
rro r D e c rease s w ith Ag e
fi fO 11 n d
to I n cre ase
. .
smaller the number the lower the irregular line and the
,
’
more acute the child s car .
, ,
an d B
2
Such observers can distinguish over
”
di fferent tones within the octave B to B ‘
.
E xt re me cases.
On the other hand it is not uncommon to meet per
,
Fig 79
. . Apparatu s fo r Finding the M iddle T o ne .
’
be C 2 5 6 vi b rations and C vibrations the
1
5 1 2 ,
’ ’
C the middle will b e about C 8 4 0 and n o t
’
C 5 1 2 .
tones ?
The first requirement is a tone whose intensity can b e
Ap parat us .
E xp e riment .
g ives a fi gure f
o r the dea f
ness o f the person .
Fig . 80
. E ve rybo dy is S o mew h at D eaf . Fin din g
the T l I
h re sh o d o f n t ensity.
s ide noises .
Th e bl e ssin g of
We are fortunately all deaf E very mo v ing or
, , .
.
,
readily given .
'
Fig 81 Meth od fI di
o n cat in
I
I nt
IN
n sit y i; n o t es
I
Lo u dest b y
D
Bl kac
i fiy ‘vht it
. .
, ,
‘v est e.
.
,
the tone
the hooks o n the stems o fthe notes except in the case N tati , o on fo r
d mm u '
.
-
chair let some one hold your head firmly so that you
cannot turn it P ut your finger tightly in one ear and
.
that you cannot reason the matter out your an swers are ,
generally wrong .
Open b oth ears but keep the eyes closed Now you .
u dg m e n t w it h
t h e ars . c an tell me j ust where the so u nd is You d raw u n c o n .
,
sc io u sly an in f
, erence from the relative intensity o f the
two sounds from the two c ars But whenever I snap the .
C OLO R .
those who are red blind or green blind see the world in
- -
'
only where there are the eye and the mind to transform
th ese vibrations .
1 53
Th in king ,
Fe e ling , D o ing .
Fig . 84 . Th e Co l o r-w h e e l .
To put two disks o f the same size together they are C l -di k , o or s s .
e r .
and the violet disk are placed together the whole space ,
disks when still show hal fred and h alfviolet the com
, , ,
reverse .
syst e m .
Suppose you have started with red then you will find ,
H u e , sh ade ,
t i nt . say five reds alike except f
,
o r their whitenes s or dark
ness . Call them red light red very light red dark , , ,
red very dark red The bright red itsel f we will call a
, .
all the tints above in smaller letters and all the shades
below Suppose that you find two tints passing o ff
.
For the sh ades you have dark red and very dark
'
LLR .
But w ith purplish red you are only one step from red ,
and the only way to b ring it next to red is to cut the
scheme o u t and bend it around into a cylinder .
Fig . 87
. g ammat i A
D ia r c rran g e me n t o f th e Co lo rs .
zag lines you can b ring all the points together at the top
and at the b ottom You will then have a double
.
subdi v isions .
The s h a d e s a r e
we aker colo rs Hold .
S hades are
k l
w e a e r co o rs . red and a shade O f
red squarely to the
light Keeping the
.
s h a d e i n fu l l light ,
degree o f darkness it
will match the sh ade .
P l a c e a red and a
b l a c k disk on the
color top and grad -
u ally ch ange t h e i r
proportions The red .
p a s s e s th rough all
s h a d e s into black .
s i m p l y decreased in
Th C l -
e o o r c o ne .
inten sity .
white .
Take the same piece o f paper into the su n light It is What is w hit ? .
e
Whit e . g
Li h t G ray . M e diu m G ray . D ark G ray . Bl kac .
FI G . 89 . Th e G rays .
”
Wh at is known as the absolute white is the light
“
S t an dard w h it e .
Co l o re d g
rays .
I f we mix the colors with gray we get colored grays .
or b rowns .
Th e b igh te st
r
Th e brightest hues to be
l
c o o rs i n n at u re .
Fig 9 S p t m f m a G at i g
0 e c ru ro r n
o f sunlight fall s on this grat
. . .
’
raph e r s l antern is a very pure red The red browns .
b eautiful red .
t u rt iu m is a ch aracteristic orange .
G re e n .
Green is represented by the emerald green among
paints The greens o fplants hardly approach the pure
.
green Apple leaves are nearly o fthe same hue but they
.
,
’
ultramarine A peacock s neck toward sunset is a very
.
Vi l
o et .
One o fthe b est examples o f a pure violet is the color
o fthe flower o fsome varietie s o flobeli a The best time .
light from the sun is mostly violet the red and other ,
F to G violet G to end, .
Re d . Ye llo w .
Pp y Nast u rt iu m D an de io n , l
Ca p
o
i al F l l
, ,
r n o w e r, C h rysan t h e m u m , Le m o n Li y,
T l ip
u T u ll T l
u ip ,
,
Ce lo sm , Az a e a, P
ri m ro se ,
G e ran iu m , M arigo ld M ari o d, gl
l
,
S a v ia . E sc h o lt z l a . N
ast u rt iu m .
Vi o le t .
Lar kp s u r, H e li
o t ro p e ,
C fl w
o rno e r, Pa n sy ,
F g tM
or e - e -N o t , H yacin t h ,
L b li
o e a, Cro c u s ,
Fla V b
x, e r e n a,
C ta a en St k u re . oc s .
” “ ” “ ”
are cadet blue crushed strawb erry bab y blue
, , ,
“ ” ” ’
zulu ashes o f roses
, elephant s b reath , ,
’ ” ” ”
calves liver cerise gluten torea dor
, , , ,
”
ei ffel etc I leave it to my readers to guess what
, .
c o o rs .
5 D ,
20 W ; then since the cloth covers
, a whole circle ,
I oox = 3o R + 4 s O + 5 D 20 W .
S o she spins the little top on the goods and adjusts the
disks till she gets the proper brown Now the man c an .
4 6 d There fore
.
5 4 x 1 7 R 45 G, I O V
+ 28 W i H
--
W
i fd which gives
, a definite color equation f
o r th e color
o f the
p aper .
is a pure violet re
gion these are two
fundamental colors .
'
the curve dra wn within it .
take any two colors all the colors that can b e produced
,
take spectral violet and spectral red all the purples will ,
B lu e Gre e n .
W h ite
g ll
.
Li h t ye o w
g g
.
Li h t ree n .
Gre en .
O ran g e .
re e n .
B lu e g r e e n .
B lu e .
b
Co m in at io n
gives a very di fferent result from the combination o f the p l gm e n ts .
blue the light portions with yellow and the central por
, ,
”3 ga l\ll e ll w
an( l j3ii
ln
° . 1 ii
gray h as a very slight greenish tinge
o
.
them are together the b lue keeps out the red orange
, , ,
paints send back mainly those from the red end Both .
send b ack some green W hen they are mixed the blue
.
,
paint absorb s all the red end and the yellow ab sorbs all
the blue end leaving only green to be sent back
, .
C OLO R SE N S ITI V E N E S S .
WE AR E f
requently
called upon to distinguish small
difle re n c e s in color ho w accurately c an we do it ?
The color top furnishes one method o f answering the
-
blue with a large mass o fred ? The little red d isk is placed
in the center o f the top it rem ains unchange d during
the experiment The l arge red and blue disks are placed
.
99
The red mu st cover 1 1315 or nine times as much as the
,
A c co rdin gt o It has
been proven that the sensitiveness to color dif
ag e
fe re n c e s increases with the age o f school c h ildren The
.
o ference
f di f that could b e j ust detected The greater .
boys .
Fig .
93 . l
Ch i dren h ave Fi n er E yes fo r C o lo r as th e y G ro w Olde r .
trast
. The effect o fthe influence o fa color is to spread
E f
fe ct o f con the complementary color in its neighborhood We h ave .
t rast .
the complaint was made that the pattern s were not black
those on the red cloth were pl ainly greenish those on ,
contrast .
e c t ive co
De f l or
When we started the subject o f color we agreed t o ,
i g
se e n .
talk fo r the m ajority an d to attend to persons de fective
in color seeing a fterwards Some o f you m ay hav e al
- .
'
tw o smaller disks w and a , ,
cent o f the males and almost all the females They are .
so c alled
- beca use
the colors they se e
can be produced b y
c o m b i n at i o n s o f
t h r e e fundamental
colors red green , , ,
i 9 Th - l P P po fl i ft h and V
ro I O I Ct s o e
Fl g gam tal c p m t lp sp t m g l
n
. . re e co
o o rs
r e rso s.
e e c ru
o
0 01 8 .
T e t w o CO I O I
un en
h - '
b r i g h t e r than the
f alse greens .
T h e green -bl in d
“
assassi nate m as h? ggfgfi $ ;
s
”
d ;
1
110
is called yellow bu t is lighter than the other and gree
n
w ith t h ree-
co l or
men tal re d color The colors he sees are all composed o f
.
gray ( or white ) b e
in g ab out the middle
o fthe line . All the Fi 98 G -bl i d P P op o t i
re e n ft h
g
. . n e rso ns r r o ns o e
dam tal C l i t h S pe t m C l
.
un en o o rs
c o l o r s toward red n e c ru o o rs .
’
One case is related o f an architect s assistan t who did
n o t understand in the least w hat w as meant b y color ; he
t he p lans o f b uild
in gs b ut w as gu ided
b y the n ame o n the
p ai n
. t One o f the
c l e r k s o n c e p ur
p o se ly scraped o f
f
t h e n ames and he Fi 99 O l P P op o t i ft h ne c o o r
g; dam tal C l i t h S p t m C l
. er
so n s. r r on o e
un en o or n e e c ru o o rs
u s e d th e c o lo rs
.
than the wood H is frien d told him that the plaster was
.
the plaster came out much darker than the oaken tim b ers .
f
The phenomena o color bli n dness are best studied Th w
-
e o e
w d
““
with the color top b ut as the use o f the top requires a
-
,
3
R esults . The light green skein is laid be fore the person tested
and he is told to pick o u t o fthe heap all colors that are li k e
it Nothing more is to b e said names o f colors must
.
Lan t e rn t e st .
A lantern with colored glasses is sometim e s employed .
Re d an d g ree n
The matter o f color blindness has b een b rought into
-
g l
si n a s .
notice b y the use o f red an d green lights as signals o n
“ ”
railways and b oats Red means . danger ; green
”
means all right on the railway On the water red is .
Co lo r S e nsztzven e ss .
fo r
. To my surprise the th ird o fli ce r called o u t to the
’
m an at the wheel Port which he w as about t o do
,
‘
, ,
An o th e r case .
A similar account is given by Capt Heasley o fLiver .
,
“
pool : After passing through the Straits o f Gibraltar ,
i
t ts ic f f
productions o his ellow men he would h ave felt
-
in at io n to his f
amily In S pite o f the trouble aroused it
.
,
SE E I N G W IT H ON E E YE .
w it h o n e e ye .
we se e consists o f patches o f color arrang ed in wonder
fully complicated form s It is our duty to determin e
.
P o in t o fre ga d
r .
The first fact that strikes us is th at we are loo k ing at
“ ”
some p articular point This is the point o f regard
. .
1 80
im e n t e rplaces a small piece o f white paper on the end
o f a knitting needle or a stick and starting b ehind the
-
,
recorded rapidly b y
means o f perime
t ers. One form is
t hat shown in Fig .
1 00. The s m a l l
p iece o f paper is
m o v e d out along
t h e curved arm in
o n e direction till the
a rm is p l a c e d i n
v arious p ositions
a n d the experiment
is repeated . The
number o f degrees
is read o f feach time Fig P im t f M a i g th Fi ld
1 00 er e e r, or e su r n e e
f Vi i
. .
o s on .
an d is m arked o n a
c hart . A line drawn through these points indicates the
b oundary o f the field o f vision An average eye will
.
m ao
’
1 , o et ; 2, 3, G ree n ; 4 , Re d ; 5 , ran e ; ,
ue .
in Fig 1 0 1 . .
Fi lde o f v isio n
Curiou sly enough the field o f vision with children is
,
in c hild re n .
’
W ith the left eye shut hold the b ook at arm s length
,
The letters are also seen indirectly Bring the book slowly.
H o w t o fin d i t
toward you keeping the e ye fixed o n the cross Sud
, .
.
Fig . 1 02
.
t ain e d .
P zzl-i g t h
u n e Let us however try to puzzle the blind -spot A
bl i d p t
n s o
, , .
. .
Fig 1 03 P u tt in g a Wh it C ircl
e e on Fig . 1 04 . Th e C ircl e is R e p lace d by
Bl i t h e Co lo rs
. .
the n d-
S po t . .
the white circle fall on the blind spot The card will ap - .
pear as in Fig 1 0 4 . .
p a r e n tl
y b een remov ed .
.
1 . uzz er or
i
move o u r point o fregard at will .
n
w it h l e tt e rs . ye t , if yo u l k
oo st e adi l y at
t h e c ro ss ( w ith the l e ft e ye
c l o se d) an d l
p ace t h e bo o k
at s u c h a distan ce t hat th e black do t
disapp e ars, i . e falls o n th e b li n d-sp o t ,
yo u w i ll fi n d t hat l
t h e e tt e rs ima in e d b y g
blin d-spo t are o n n de fin ite marks
t he ly i .
Fig . 1 08 . Th e Bl in d-S po t P re te ds t o Re ad n .
Placing a dot on the paper in the same way dra w a , App a re nt and
square around it By turning the square sidewise you
.
W e sq u a re ;
this b ook u p s i d e
dow n W hat do
.
upward 1t has a “ t a w S n
Loo k ing at the edge o fthe room you will notice that ,
hy ?
at them from one side o f the
eye they seem to be leaning dangerously over the
,
ll
i u sio ns of D istances are j udged b y the di fficulty in traversing
dist an ce .
B
Fig . 1 1 2. i ll usio n o f t h e i n t e rru p ted D istan ce .
distan ce .
mo v e m e n t .
is harder to walk on a
straight and narrow p ath
than to go as you please ;
I! you may go p e r fe c t l y
o
straight anyway b ut with ,
Fig 411W h i h i t h t
c at s e co n 1n u 1o n
f a ? Wh y ? no d i rect i ng l i ne you are
. .
I nfl unc e eof
f
relation o f the numb er o cross lines to
- li
c ross- n es
5 356, fax
2
17 5 too long an d B appears too tall f
o r the
“
3
t beo Wh y ?
e.
same reason .
0 “ g l
a
B C
Fig . 1 1 7. Th e D isto rt e d S q uares .
S mall th i n
gs It is a general law o f mental life that small things are
an d b ig t h ig
n s.
Fig . 1 19
. Th e E n la g d A gl
r e n e . Fig . 1 20 . l
D isp ace m e n t b y I li
nc n ed Lin es .
Fig . 1 27 . E l
x p an a
t 1o n of Fig 1 25
We
. .
e st imat e by
areas .
Frg . 1 26 . i ll u sio n o ft h e C rin o l in e .
S ee i ng w ith On e Ey e .
also Fig 1 23
. .
differen t.
G irl Ap pe ars
mistaken attentio n co m e in t o play
, .
50
e
8 h 0 rt .
Thin ki ng , Fee ling , D o ing .
attention .
’
Roger de Co v e rle y s o bse r
v ation ; h O W WO ll ld yo u ex "
Fig 3 A O
. 1 0. ha gi g C
n i ve r n n o rn ce ,
S tai way ? 3
plain his mistake ? See Fig 1 3 1
r
. .
Up to this point not hing has b een said about the depth
or distance o f objects Is the world o f one eye a flat .
surface
On entering into a strange house with one eye band
aged it is di fficult to obtain an accurate idea o f the dis
tance o f objects The whole place seems almost flat
. .
n als
,
persons tracks etc c an
, ,
.
,
.
Thin king , Fee ling , D o ing .
S h ape o f th e Fo r this reas on th e sky does not appear like the inner
sk y.
seen b y the eye as the same in both cases but the moo n ,
S h ades an d
Another means o fj udging distance is found in shades
s h ado w s .
and shadows With one eye closed and with the back
.
’
c ourse, o n a clear winter s day .
There are al so ill u sions o f both si z e and distance due A iat i sso c on .
Thin king , Fee ling , D o ing .
S had o ws .
A tall object casts a longer shadow than a shorte r
one D uring the greater part o f the day the shadows
.
e g
. the L ake o f Como assume an o v erwhelming as
.
, ,
”
sn ake stories .
CHAPT E R XV .
SE E I N G W IT H T W O E YE S .
from the world as seen with the right eye the world as
seen with both eyes is again a di fferent matter .
point o fview .
behind the p aper the two middle dots will come together
, .
Fig - 3a “a 37 1
1
these outside pictures all that is
needed is to place a strip o f paper from the nose to the
middle point betw een the two dots This makes it e v i .
relaxed and the bird goes into the cage without di ffi culty .
B
Fig . 1 38. Pu t t h e Bird in t h e Cage b y B in oc u lar V isio n .
the right .
T h e p risms are It is desirable that the prisms should at the same time
l l
a so e nse s
b e lenses fo r t h e follo w ing reason In experimenting
.
.
,
with the two dots it will have b een noticed that when t he
gaze was directed to a point b eyond th e m they were
see n b lurre d around the edges There are very fe w .
people who can make each eye look straight forward and
yet see near objects distinctly W h en looking at dis .
tant obj ects their eyes are far sighted fo r n ear objects
-
.
As it is n e cessary
t o have the st e reo
s c o p i c p i c t u r es
near at hand and
yet have the lines
o f regard parallel ,
is c o r r e c t e d by
lenses The tw o .
e n se s.
A nother method is to
cut o ff the e n d o f the .
the prisms cause them to fall exactly on the same spot l ik p 'm e c e s'
,
W hen the two pictures are not alike t hey make a com mb m g a
fi i g pi t
, n n .
e c u re s.
Fig . 1 42 . Tw o Li k Pi t e c u res.
Fig . 1 43 . U l ike P i
n ct u re s t o b e Co m in e d b .
Fig . 1 44 . P ro m e t h e u s .
Fig . 1 45 . Th e C ro ss .
S e e ing w ith Tw o Ey es .
Fig 47 . 1 .
Now hold a single pencil with one end poi n ting to the Pro du ct ion of
Fu nda me ntal
The fu ndamen tal law o f b inocular relief is t h is Tw o
law O f re li f
e
'
p ec t k
w h e n Lo o in at t h e pee t Wh en Lo o in at th e
F
art h e r E n N
e are r E n
i n to ;
f if
a re lie p ic tu re is su ch
e ach
as w ou ld be seen by
the correspondi ng ey e si ng ly .
18 fl
squ ares are at the regular d i stance apart the p o mt o f re
g ard is f
ound in t h e sma ll end o f the b o x T h e large .
q ares are too far apart and are not crossed this end
s u
th e outside o f the bo x .
Thin ki ng , Fee ling , D o ing .
I f the
outer squ ares are drawn so as to be seen in
crossed disparity the larger end o f the square is
,
lam“ °
circles fo r each pair are at the proper distance apart and
unite to form the base at the point o f regard The .
S e e i ng w ith Tw o Ey e s
. 20 9
middle one being a flat disk the fourth b eing short and
,
wi se pointed.
1 55 ,
1 56 1 57 The dia
, .
and perspective .
.
In add ition to the e f
u fe ct o frelie fwhich we gai n
g
i
by stereoscopic v i s i o n
there are several other
important results o f two
eyed s e e i n g A m o n g
them are ( 1 ) binocular
stri fe 2 ) binocular luster
, ,
Bi l
n o c u ar st rif
e .
Binocul ar strife is pro
du ce d when the two dif
fe re n t views are separately
presented to the two eyes .
in di f ferent directions
wh at happens when they
are combined with the
stereoscope ? One o fthe
rings is filled with shading
S e e ing w ith Tw o Ey es . 21 1
Fig . 1 59 . l
Bin oc u ar S t rif
e .
O rdinary l u st e r
. Binocular luster or polish is so called fro m the re
, ,
j e ct s n ear it are f
ollowe d
V
k by changes in the re fle c
o
o
B tion A polished door
,
.
o kno s
b di ffers from an u n
L
polished o n e b y partially
i
e
s
p e
t
r
t
appearance o f e ffects o f
s
u
a
i
su rrrounding objects .
f
n
B
receives
i
an impressio n o
A a white crystal and the
space is covered by a
di fferen t color fo r the tw o
eyes Th e result is a
.
Bi no c la
u r can
Binocular contrast is so called b ecause the resul t o f a
“as“
b inocular stri fe depe n ds somewhat o n the surroundings .
S e e i ng w ith Tw o Ey e s
. 21 3
an d b inocular stri f
e We do get them b ut in the
.
, ,
F E E LI N G .
”
ties o ffeeling just as the many rainbow colors can be
,
“ ”
called qualities o fcolor but there is no necessity fo r
,
doing so .
i n dif
fe re n t ex
Some o four experience s arouse no feeling they are
p e ri e n c e s .
indi fferent We do not care whether our neighbor wears
.
quinine is revolting .
v an c in
g culture an d age they ha v e to a l arge extent dis
E st h e t ics o f
There are some person s known as gou rmets who
, ,
t ast e .
devote themselves to a study o f pleasing combinations
o f tastes an d smells . The fine feeling o f the French in .
beans .
”
sets o f spectrum tablets inflicte d o n A merican school
children the dull gray red is such a disagreeab le color
that the children persistently avoid it until the teacher
succeeds in producing the desired de formity in the color
feelings .
’
forms out o f science s colors and we h ave all the glories
’
o f the fields the flowers are n ature s colors Art takes .
’ ’
nature s flowers and puts poetry s meaning into them .
’
Flowers as sym b ols o fli fe light and love are art s colors
, ,
.
ter than a light green and a dark blue because red and ,
ange with dark blue or d ark orange with b right b lue etc , .
periods o fart .
“
Ruskin s ays : The modern color enthusiasts who i n sist
that all colors must b e dull and dirty are just like people
who eat slate -pencil and chalk and assure everyb ody that
they are nicer an d purer than strawberries and plums .
H o r z o n ta . er c .
most preferred D o u b l e s y m
.
Pi 68 P f t b t
e r ec ’ u
gim ie S ym m t y actual square is shorten ed we dislike it
1
e r
b ti m
o
i
n l re c o '
rec ta gl
n e .
ing than b efore unless there is a certai n relation b etween
,
X to b e successively lengthened in
'
the directio n X Care ful e xp e ri .
E st h e t ics of
W e h ave now reached the b order land betwee n psy -
fo rm .
Fig . 1 70 . Th e Law o Pl
f e asin g R lat i
e o n s o ft h e D ime nsio n s o fa Rec tan gl e .
. .
,
invariably accompanied by
actual sensations from parts o f
the b ody These sensations
.
u se s
They also sho w a determ i nate R it fPl a
. 1 1 . n e o
( Th d esu o e su re . e rec o r
iz e d
References to this locali zation o f the se n sations
.
’
There is really good re aso n fo r thi s rela t io n o f the
Th e h a t
e r s re
’
lat i
on t f
o ee l i g
n .
heart s activity to the state
of f eeling ; fo r the heart
nerves are those most easily
excited b y changes in our
feelings E very excitation
.
E M O TIO N .
act e rist ic f
orm in eac h particular emotion .
f i
y gn and qu alitatively modi ying
f the initi al eeling
f
and ( always supposing that the emotion is distinct and
well defined ) a fin al feeling o f greater o r less duration
, ,
226
E mo ti o n .
t wee n f
eeling and emotion con sists in the second stage
— the '
least relaxes the muscles slows the heart beat and con
, ,
-
,
“
emotions are sometimes termed passions The n ame Pa i .
ss o n s .
may b e gloomy as t o
o ur f ate in the world
and depressed ab out
a loss we have su f
fe re d o r we m ay b e
,
gl o om y o r de
pressed wi thout an y
e x t e r n a l reason ,
simpl y b ecause o u r
Fig 74 S 1 w o rro
mood will have it so
. . .
Joy like
, sorro w assumes , di f
ferent forms according t o
inharmonious i m
p ression . Like and
dislike are the most
general forms o fo b
j e c t iv e emotion cor
responding to j o y
and sorrow on the
p ersonal side They
.
fu r t h e r imply a
m o v e m e n t to o r
;
from the o bj e c t
what we like attracts
us ; what we dislike
repels us .And this
movement finds its
Fig ”5 J Y
e xpression in the ' ° °
i n dif
fe re n ce .
The two opposite processes o f
charm and repulsio n find a meeting
point in indi fference Indi fference .
Fig 76 A g 1 n er
Repugn ance is as much sensation as
. . .
t in gu ishab le f
rom sensation by their connection with a
train o f strongly emotion al ideas W hen we feel j oy or .
fu l experience which m a
y be re solved into a number o f
ideas I f we are mourning the death o f a friend our
.
,
will not attain to an y degree o fclearn ess but all are held ,
xam p l fro m
It is prob ably memory again which determines th e l E
co o rs .
e
its use Purple has b een the royal color since time b e
.
the future .
E x p ec t at io n .
The most general o f these emotions o f the future
is expectation In it we outrun in impressions o f
.
the present and anticip ate those which the future will
.
expectation to surprise .
terrifying occurrence It .
b e c o m e s consternation
when the o c c u r r e n c e
physically paralyzes the
individual ex pe riencing it ;
and it is called t e r r o r
when he stands amazed
before the event Con .
Fig 77 F igh t
1 r
st e rn at io n is therefore
. . .
, ,
the more subj ective side o ffright and terror its objective ,
We have there f
ore the three emotions o f con f
used
Three m ti
e o o ns , , ,
E g “ a d mm
o n
ally present to some degree in the corresponding
“y;
emotions even when the causes o f these are wholly
,
T h i i th dig ifi d w d f b d
s s e n e or or o re n ess .
”
Tedium therefore has a certain affinity to e xpectation
, , ,
ofagr e e m en t a n d
c o n t r a d i c t i o n are
somewhat di fferent .
D ou b t ,
which we b
Do u t .
can consider as an
oscillatory feeling is ,
c isio n
. W hen we are undecided we are in contradiction
with ourselves as to which o f di fferent roads we shall
follow o r which o f di f
, ferent actions we shall choose .
M E M O RY .
239
Thin king , Fee ling , D o i ng .
ing clock at hand some one can tell you the time ) with
, ,
the eyes still closed draw a second line which you j udge
equal to the first Tear o ff the sheet as b e fore After
. .
3, 2 3 ,
1 where
, indicates
, that the secon d
line was too long and that it was too short .
an increasing uncertainty .
_ ‘
1 1 e or _ r 1 mm
. .
10
mm
or 1 ! a
age u n c e r t a i n t y in
creases in a definite
rel ation to the time .
I n learning to write
by means o f a copy
book the eye gets the
Fig 79 A L aff m D ai y C p y-bo k
’
mental image an d then ,
. 1 . e ro s s o o .
p e a t e d and
, so on The average change
. and the aver
age uncertainty are calculated as b efore .
C ross-me mo ry .
The very curious fact o f cross -education has b een no
ticed on pages 75 8 3 and 1 1 2 there is also a cross
, ,
memory .
remembered w i t h
the other .
A most curious
S ymme t rica l fact ab out this cross
me mo ry
_
.
p memory is that t h e
m m y e r
ments is symm e t
'
shorter in t h e sym
metrical movement
_ Di
.
t C -m m rec ro ss e or
y
The ave rage u n ce r
.
M e m o ry fo r
Memory fo r tones can b e measured in a sim ilar way t o
t o n es .
that employed on pages 1 39 1 40 in determining the least , ,
The e x p e r i m e n t s
descri b ed o n pages
1 43 1 4 4 are to b e ,
The results o f an
Re su lts investigation o f this
Fig 8 Law fF g t ti g T
.
. 1 2. o or e n o ne s
.
c omplete .
’
af ter playing on a friend s butter fiddle ( as he called -
p e rat u re , , . s ;
,
Per cent o f
k
4 2 5 6 67 66 7 2 75 79
relearning
At first there is a rapid loss more than half during t he
,
Co n c re t e case s .
Statistical experiments require an immense amount o f
labor and seldom lead to satisfactory results when em
,
in history .
'
g o o d p u n is an
msth e t ically ridicu
lous contradiction
a b ad o n e is in
tensely irritating b ut
is rid iculous ridicu
lo u sn e ss If yo u .
a bad o n e t o o ( Y o u all
, kno w the
. horri d o n e t i) whic h
I refer ) .
ate couplet was rhymed with the day The same method .
is employed in some aids to learning history Those .
in memory
Vi l k ig g
e ec i l k ig kl i ro ss , V e ec e n ,
D K p f m b i d m H ak
er o i u ss e e e n se n .
Da i w i b im M
'
h ifl r n sc d h i
en r e on e nsc e n
D i k ig ti b E b bi ’ ”
re ec er s r se n e n.
The chief words when transl ated into Latin give the
n ames required .
“ ”
story a b out P unch Brothers etc will remember a
, , .
,
and Rebellion .
S e c o n d law .
To retain things in memo ry they should generally b e
repeated a number o f times With a very intense first
.
“
It is not t o o strong to say that learning b y rote is
absolute impossibility We remember the connectio n
.
Tw o m e t h o ds .
The methods o fdoing this may be described as vo lu n
tary and involuntary In the voluntary method the in
.
“ “ ”
teach to Alexande r Teachers o fm e m o ry culture
.
-
,
associations .
im e n ts o n s c h o o l
childre n a tone w as
sounded fo r two se c
o u ds the n i t w a s
,
RH YT H M I C AC TIO N .
’ ”
dain in Moliere s Le Bourgeois Gentilhomme who ,
od
e .
.
Resu l ts .
The characte r o f the results is indicated in Fig 1 8 7 . .
86 1 . n
mat i S h
ne u a d
g a walki ng match a m an i s ruled o u t
oes n -
R di g D
e co r m n ru .
M A R K TI M E ! Le ft right ,
M a k i g t im
,
r n e.
le ft right etc
, ,
The drum .
b e a t s rub a dub du b a n d
- - -
Fig 88 Th E l t i S h 1 e ec r c o e.
Yes e x actly in time Ser
. .
.
,
’
A foot key is fastened o n o n e O f the sergeant s heels
-
and the wires are led t o the spark coil j ust as in the case -
,
’
o f the pi ano player Fi
( g
-
The serge ant s case is not .
The dots are made by the sparks at the moment the heel
touches the floor .
be so lively as another .
I rre g la
uw r
When the sergeant saw his record it worried him into ,
tarde d ac t io n .
making an e ffort at being on time H is second record .
w as like Fig 1 90 . .
nervous an d excitable .
re s“ ‘5 '
With a fine measure o r even by the eye alone we can, ,
divide the interval into ten parts each o fwhich will mean ,
3,
l
ally in educ tiona psychology
a — I propose to call it the
index o f in accuracy .
“
Now let u s find the index o f irregularity or as , ,
I n de x o rre
u larit y between the number i n the i ndex o f i n accuracy i n th i s ,
figures 2 3 1 ,
2 0 o ,
I ,
I , As you w ill n otice no
, , , , .
,
-
.
w ay ( Figs 1 94 1 95 ) .
,
37 4,
1 39 4
, 0 4 0 ,4 0 4 1 8
3 4
,
1 The aver
, age time
, ,o fa
, .
2 60 , D o i ng .
Pig . 1 95
'
Tak i n g an O ’
rch est ra Leade r s
'
Rec o rd w it h th e E l ec t ric Bat on
b wk
S d us
4 1 H Th e in d O f ifregu
lari t y is I f
f
'
42 o
t
37 »
c
41 H
39 H
40 O
40 O
40 O
41 H
38 o
t
41 H
R hy thm ic Actio n .
N ow let us take ano the r orchestra leader whose record An irre g lau r
fe e t
. A successful musician o f an y kind should know
Thin ki ng , Fe e li ng , D o i ng .
with the spark coil so that when the metal ends are struck
-
Fig . 1 96 . Tak i g a R
n e co rd w it h E l e c t ric D um b Bells .
p e c t at io n
. I n extreme cases the act o fwill m ay be so
S U G G E S TIO N AN D E X PE C T A TIO N .
’
E ighto clock has just st ruck my wife an d children
are by my side I have spent one o f those pleasant
.
man can be .
“
Shall I con ess to you reader
f ? And why not ? fo r
,
’
career eight o clock w as the moment when I must ap
,
su c cess .
264
S ugg e stion an d E xpe ctatio n .
”
that continually occurs to me when the clock strikes ?
The e ffect o f suggestion what has not been included Vag
—
u e u se o f
th t em
under this term l According to some o fthe hypnotismus e '
“
psychologists all mental li fe from the simpl e s t im
,
u re d we can cause
Fig 97 P d i g a H all i at i fWa m t h
,
1 . ro uc n n uc n on o r
a person by walking
. .
executed under my
directions by one o f
my pupils but it is ,
p e a r fi r s t in t h e
20 25 OO O 0000
Studies from the
00000 0 0
Yale Psychological
Laboratory .
70 75 0
Th e su gg est io n Here is a series Fig 98 Bl k f M a i g th E fl t f
. 1 . oc s or e su r n e
'
ec o
b lo c k s a S gg ti fS iz u es on o e.
o f round bl o c ks
.
p im t er en
b lock pick out that one o f the series which appears o f ‘
scales find the medium one that weighs exactly the same
as the large one Then compare them b y li fting ; n oth
.
Fig . 1 99. D e p e n de n c e o ft h e fe c t
Ef o fS u gg est io n o n Age an d Sex .
o n se x .
and girls show that at all ages the girls were more su s
,
The f
act ors that produce such a deceptio n j udg of
no illusion .
son and then you guy him fo r his stupidity But this
, .
that they weigh j ust the same the pound o f lead is much
,
muscular suggestion .
by g est u re
The orator and the actor m ake use o fexpressions and
;
gestures inte n ded to arous e similar impulses in their
hearers and consequently to make their ideas more
e ffective .
bl e
i rre sist i E very idea o fa mov ement brings an impulse to move
su gg est i o n s .
v idu als who cannot keep a secret The very reading and .
’
o f the starter s reac t ion -time while the other runners are
,
gg t ibil ity su es .
g es t in
g T
. h e reaks
f o f hypnotis m are performed b y
. f
suggestion The ith cures and the miraculous e ffects
a -
g
S u g e st ive ex In expecting an event we have some thought in mind
pe ct at i o n .
fi nger to b e moved .
and IV .
Pa ag
ss e o fa
st ar. Suppose that we have t o determine the time o f the
passage o f a star at some distance from the pole across
the meridian We may employ an old astronomical
.
the star .
o f space traversed .
i=
=
a b
Fig . 200 . Ac t u a lP o sit io ns o ft h e S ta r at the P l
e n du u m- e at sb .
a c b d
c a d b
Fig . 20 2 . S u p po se d P o sit io ns w ith A u dito ry A tt e n t io n .
MA T E R I A LI S M AN D S P R I IT UA LI S M IN PS Y C H OLO G Y .
etc etc
.
,
.
’
Nowadays it is just as absurd to speak o f anybo dy s
’
system o f psychology as to speak o f anybody s system
o f chemistry There is one science o f chemistry t o
.
“
The earliest psychology is materialism The soul is .
who first freed the soul from the body whereby he made ,
Th wh l
e w k ha
o e b t a l at d a d p bl i h d
or s d
e enth t it l
r ns e n u s e un er e e,
L t i H m a a d A im al P y h l gy
e c u res n u n n n s c o o .
”
276
Mate ri alism an d Sp i ri tu alism i n P sycho logy . 2 77
eral conclusion that the soul brings forth all organic form
j ust as the artist forms the block o f m arble Li f
e and .
soul were fo r him the same even the plant had a soul .
.
,
Lat e r p i
s it al
r u The later spiritualism adv anced b ut little b eyond th is
l sm '
theory o f D escartes Its last great representative w as
.
facts o fmental life from the idea o f a simple soul and its
relations to other b eings proved fruitless His effort s .
seventeenth century .
“
F o r materi ali sm all f acts o f thinking feeling an d
ma t ia l
, ,
Late r er
is m.
doing are products o f certain organs in the nervous sys
tem Any observation o f the facts o f mind is valueless
.
Mate rialism an d Sp i ritu alism in P sy cho logy . 2 79
chemistry o f anger .
.
,
We can .
”
we have had mental physiologies even from thos e ,
an d . 28 I
”
o fexperience .
itself .
TH E N E W PS Y C H OLO G Y .
may say that all the facts as we know them are mental
, ,
many o f the present day sits at his desk and writes vol
,
“ ”
th at the world might ask Well what o f it ? Sup , ,
T h e philosopher ,
b
H e r art .
psychologist and cd ,
u c at o r Herbart
,
was ,
born in 1 776 He be .
c a m e professor o f
philosophy at GOt
tingen l ater he suc
c e e de d K ant as pro
fe sso r o f philosophy
in K On igsb e rg where ,
he died in 1 8 4 1 He .
eye .
’
write volumes full o f what Locke said what H amilton s ,
.
,
a
Wi th a force proporti onal to Of course , the Alg b ai e r c f l
ol y .
t/ a-l- b
draw conclusions in
regard to bodily proc
esses . M any n ames
might b e mentioned
in this connection b ut ,
T h i s distinguished
p hysiol ogist a n d
physicist w ro t e a semi
Fig 4 G ta T h d F h
. 20 . us v eo or ec ner
.
psychological treatise
on Sensations o f Touch and t he Internal Feelings ,
F ec h n e r .
Fechner ( 1 80 1 1 88 7) w as the founder o fexperimental
—
“
der Psychoph ysik and Revision der H auptpunkte der
‘
”
Psychophysik S o much o f Fe c hn e r is embodied in
.
work that it is u se
less to attempt more
th an to indicate his
m a i n services I .
o f new methods o f
H e l m h lt z
o .
A greater than Fe chn e r w as to come M athematician .
,
pushed fu rther .
st ru c t o r in physiol
where in 1 8 63 he
“
p u b lis h e d his Lec
tures on Human and
Animal P s y c h o l
ogy ( 2 d edition
I n 1 864 he
was made assistan t
professor o f physi
ology In i 8 66 he
.
“
publ ish e d The
P h y s i c a l A xioms
an d their Relations
to the Principles o f
”
Causality .I n 1 8 74
he p u b l i s h e d t h e Fig. 6 Wil he l m W dt
20 . un .
“
Outlines o f Phys
io lo gical Psychology (4 t h edition In the same
year he was called to Zurich as professor o f philosophy
Thi n ki ng , Fee ling , D o i ng .
“ ”
sections o fphilosophy Logic ( 1 880 1 8 8 3 2d edition, ,
“ ” “
E ssays E thics ( 1 8 8 6 2 d edition ,
”
System o f Philosophy The pro
du ct io n s o f the Institute fo r E xperimental Psychology at
”
Leipzig are published in his Ph ilosophical Studies .
“ ”
produced such monstrosities as mental physiology ,
”
physiology o f mind etc It speaks o f the di fferent
, .
'
known languages .
These men are ardent and valu able friends o four science .
T h latta
s
g
re e s
i
es o f three stages o f metaphysical speculation the doubly
p e cu on .
era the
,
m at h e mat ic o -metaphysical
speculation o f Her
b art and his followers and the anatomico metaphysical
,
-
Ph il° S ° Ph Y °
one the other scien ces have freed themselves ; the lin
geri n g clutch o fphilosophy on psychology is a last hop e
The N e w P sycho logy .
“
begging fo r recognition under such terms as ration al
psychology ( as though the p sycholog y o f fact were
irrational theoretical psychology speculative ,
psychology etc
, Philosophy in modern times has
.
m at ics an d astronomy
, E very scienti st every man
.
, ,
work .
Fig . 209
. Wo rksho p in t h e Yale Laborato ry.
Yale .
from the German laboratories in having an organized
system o f courses whereby the college stud e nt recei v es
,
j e c ts
.
The N EW P sycho logy .
do so .
A c t io n , 28 , 226. At t e n t io n , 89 ; f o c us , 90 ; in sta i it y, 91 bl
A ddit io n , t im e o f, 54 . e x t e n t , 9 1 ; in c h i dren , 92 ; f o rc in l g,
Adj u stab l e f
or k , 1 39 ; p it c h - i e, 1 1
pp 4 . n e ss, 93 ; law o f in t e nsit y , 94 law
A dv e rt isin g , 93 , 24 7 . o ff l g
e e in , 96 ; law o f e x p ec t at ion ,
E st h e sio me t e r, 1 1 0, 1 1 1 . 97 ; law o f c h an
99 ; dise ases , g e,
E st h e t ic e mo t io n s, 234 . 1 01 ; f g
u e , 1 0 1 ; h yp n o t ism , 1 02
at i
E st h e t ic s , see F li g ee n . fec t o n m e n ta
ef u ic n e ss , 99 l q k
Ag e . fe c t o n
ef h igh t t es o n e , 1 36 ; see ef
fec t on ast ro n o m i al c rec o rds ,
ll
Air, i u sio n , 1 97 . A v e ra g e c h an g e , 240.
l
A arm , 234 . Ave r ag e u n ce rtain ty, 24 1 .
A ll it at i
er o n , 249. Av e rsio n , 229.
A lp h ab t e , se e Le tt e rs . Bato n , 259.
An gie , ll
i u sio n , 1 89 . Big n ess fo r att en t ion , 93 .
l
An im a p syc h o o y, 1 8 , 278 lg . Bil e , 224.
l
An im a s, sme , 1 27 h earin ll g , 1 37. Bin au ra l , see E ars .
A n t ip at hy , 230 . Bi l
n o c u ar c o n t rast , 21 2.
An t s , 1 8. Bin o c u la l t r u s e r, 21 2 .
tl ll Bi la i i
’
A risto e s i u s io n , 1 1 3 . r v s on, 1
no cu 99 .
n es s o f
, 69 . Bl i d- p t 83
n s o , 1 .
A rt
’
l
s c o o rs , 21 8 . Bl 6ue , 1 2.
297
298
B o x e r, 59 . Co mp ass , 1 1 0.
ch i ld re n . Co n c e n t rat io n o f t ho ugh t , 1 01 .
B air A n , see n at o m y . Co n e o f co lo rs 1 57 , .
B i gp i
u rn n - o n t o f at t e n t io n
, 90 . Co n st e rnat io n , 234 .
C hagrin 230 , . Co n t ro l 67 , .
C hain re act io n 38 5 2
-
, , . Co u rage 224 , .
C he m ist ry o f m in d 279 , . l
D a to n , 1 79 .
C h o ice -t im e 5 1 , . 1 35 ; co l o r se n se , 1 72.
Ch ro n o me t e r 256 , . De j ec t io n ,
228 .
t ho u gh t , 62 . Th resh o ld .
Co il 31 51 55 1 46 256
. . . . . D ia g ram o f c o o rs, 1 57. l
Co ld react io n to 47
, , . D if
fe re n ce , l e ast n o t ic e a bl e , 1 08 , 1 39,
Co ld spo ts 1 1 7 , . 1 70 .
Co lo r 1 53 , . D irec t me mo ry , 243 .
Co lo r-bl indn e ss 1 73 1 82 , , . g
D isa ree a e , se e D is i bl lk e .
C l o orf
ee li g n s, 21 7 . 60 .
C l o o r p e ri m e t ry , 1 82 . se e a so l Co l o r-t o p .
C l
o o r, re co g n it io n -t im e , 1 49 in fl u e nce lk
D is i e, 96, 21 4 .
t io n , 23 1 . D issat isf
ac t io n , 230 .
Co l o r-t riangl e , 1 66 .
42 .
l -w ak
Co o r e n ess 1 76 , . D iv ide rs, 1 10 .
l wh l
Co o r- e e 1 54 , . D o g , t im e o f t ho u gh t , 60 .
l
C o o re dg y
a s 1 60 r , . Do u ble co n sc io u s ess n , 265 , 283 .
C o o rs fu n dam en tal 1 65
l , , . D o u bl e im age s 204 , .
g
D raw in -divide rs , 1 1 0 . Faith- 6 c u re , 2 .
D u rat io n , n o tat io n f
o r, 1 48 , 1 5 1 .
D yn am o me t e r, 79 . Fechn e r s law , ’
see We b ’
er s law .
E ars , t w o , 1 52 . F li g
ee n , ; an d e m o t io n , 226
21 4 .
E du c at io n o f rap idity, 22 , 63 , 65 ; of F li g
ee n u se d f o r at t rac t in attent ion , g
”
st e adin es s, 74 ; cro ss, 75 , 83 ; of 96 .
at t e n t ion , 76 ; o fpo w e r, 82 ; o fs ki n, F g 55
e n cin , .
Ef fo rt , 236 . F ba h 8
eue r c , 2 1.
E if l
fe t o w e r, 96 . Fi ld fatt t i 9
e o en o n, 0.
l
E ec t ri c ato n , 259 b . Fi l d f i i 8
e o v s o n , 1 0.
1 98 . Flag f il 55 -o
, .
En gl i h p s sych o o l gy , 284. F la d
v o rs t m ll 8 ue o s e , 12 .
En j o ym e n t , 236 . Fl w p t m 6
o e r s e c ru , 1 2.
F fat t t i
o cu s o 9 en on , 0 .
E rro r, 1 6 . F il 55
o , .
-re adin
E rro r in p ro o f g , 17 . F t-k y 55
oo e , 2 .
E rro r o f t h e senses, 21 . F k l t i 8 43 46 ; mi
or , e ec r c , 2 , , 1 rro r,
20 . t i abl
no diff ce 4 ; f e e ren ce , 1 0 or
E xp e c t at io n an d att e n t io n , 97 an d F g 7
ro , 10 , 1 21 .
p e rim e n ts, 26, 265 ; need of, 28 . F u n dame n ta law o fo bse rvat io n , 1 5 l .
E xt e n t o f att e n t io n ,
91 . Gal il e i, 25 .
Fa il it y 36
c , 2 . Game o ft w e n ty u est ion s, 1 7 q .
Fa lt y-p y h l
cu s c o o gy, 285 . Games , 57, 82 .
Fail 37
u re , 2 . Gas-c ap su l e, 76 .
300 I n de x .
Gio tt o s t o w e r 96
’
, . I n de x o fin acc u rac y, 258 .
Gram 80
'
, . I n difl e re n ce , 21 4 , 230 .
G rap h ic c h ro n o me te r 256 , . I di t i t i i
n s nc v s o n , 1 80 .
Grap hic m e t h o d 28 29 30 , , , , 43 , 68 , 86 , I fi it y f l
n n o co o rs, 1 5 7, 1 65 .
253 . I h ibit y 7
n or , 22 .
Gree n 1 62 , .
p e n de n t o n u an t it y , 1 30 ; in au q
G ree n -bl in dn ess 1 74 , . e n ce o n g
h i h e st to n e , 1 38 o ft o n es ,
G u ido A re t in o 1 48 , . no t ic e a bl e ,
see Th resh o ld .
l
H ai r- in es , 272 . I t l at i
n e rn a se ns
3 o n s, 22 .
ll
H a , G S t an e y , 293 . l . I t pt d pa ill i
n e rru e s ce , u s o n , 1 1 4 , 1 88 .
ll
H a u c in at io n , 266 . I g la it y i d f 58
rre u r , n ex o , 2 .
H an d-c ap su l e, 70 .
Jan de M e u rs, 1 48 .
H an d , st e adin e ss o f, 70 .
Jo y 88 225 228
, , , .
H e g l 76
e , 2 , 28 1 . Ju st n o t ice abl e see Le ast n o t ic eabl e , .
H b
e r art , 94 , 278 , 284 . Ka n t , 284 .
H e rin g , 1 54 . lg
K e y, t e e rap h , 3 1 , 43 ; re act io n , 43
g
H i h p it c h , 1 33 . l l ’
m u t ip e , 43 ; p isto , 45 ; ru nn e r s , l
g
H i h est t o n e , 1 35 ; de pe n den t on in 45 ; t o u c h , 4
6 ; five - no e d, 51 ; k bb
t e n sit y , 1 38 . v o ice , 53 ; fo o t , 255 ; o rc h est ra
l
H i arit y, 228 . l ’
e ade r s , 259 .
H o l mg re n , 1 75 . Ki n de r art e n , g 76 , 1 54 .
H o p e , 233 . K n o w ed e , l g m e t h o d o f ac q u irin g , 15 ;
H ot, react io n t o , 47 ; ho t an d co ld , t h res h o ds l of,
1 25 .
H ot sp o t s, 1 1 7. Lamp an d sp o o n , 1 20 .
H u be r ,
20 . Lan g g ua e, rap idit y in , 64 ; in th e
H u e , 1 56. p ri n t e ry , 65 .
H u m e , 28 5 . Lan t e rn t est , 1 76 .
H un g e r, 21 5 . Lat in t yp e , 50 .
H yp n o t ism , 26 , 1 02 , 265 . b
Law , o f o se rv at io n , 1 5 ; o f att e n t io n ,
I dea , me n o fo n e , 1 0 1 fi xe d , 1 01 .
93 o f c h an g e, 1 08 ; of beau t y ,
I n de x .
30 1
, 1 08 ; in .
l
co o r, 1 70 . M i lt o n 2 1 2 , .
o ld. 279»
l
co o rs , 1 56 . M o u t h-k e y, se e V o ice -k e y .
g
Li ht , rea ct io n to , 48 . M o ve me n t ste adin ess o f 71
, , ; me mo ry
L ik e an d dis i lk e, 96, 2 1 4. fo r, 240 ; su gg est io n , 270 .
ll
Lip i u sio n , 1 1 3 . M o z art 245 , .
Liv e r, 225 . M u lt ip le k e y, 43 .
lz
Lo ca i at io n , 224 . M u lt ip l icatio n -t ime , 54 .
L k 8 85
oc e , 2 2, 2 . M u sc l e s in fl u e nce d b y fee lin g
, and
L gi al m ti
o c e o o ns , 235 . e mo t io n , 225 , 227 .
L gi al j dgm
o c u e nt, 5 . M u sc u l ar act iv it y 2 1 5 , .
L f m ll
o ss o s e , 1 28 . M u sc u l ar t ime 55 58 , , .
Lu bbo c k , 20 . M usical l
sca e , 1 34 .
Lu st e r, 21 2 . M usk ,
g ’
M a ic ian s t rain in , 22, 23 g . Nat u re b righ tes t co l o rs in 1 60
, , .
g
M a n esium o x ide , 1 59 .
Natu re s co l o rs 21 8
’
, .
M ap o fh o t an d c o d spo ts, 1 1 7 l .
Natu re s sp e c t ru m 1 6 1
’
, .
M ario t t e , 1 83 .
N e w H av e n m e asu re m en t s, s e e S ch oo l
k T
M ar e r, se e ime -mar e r k .
c hi dre n l .
k g
M ar in t im e , 255 .
N e w p syc h o lo gy, 28 2 .
g l
M at chin co o rs , 1 63 . N e wt o n , 1 63 .
l
Mate ria ism , 276 , 280 .
N o -E ye s , 15 .
M au ds e y, 292 l . p o w e r, 87 ; an d to n e , 1 33 .
M axw e , 1 54, 1 63 ll . N ll
o se i u sio n , 1 13 .
M o ry 25 239 ; c ro ss 242
e m ,
”
, , .
Obl it e rat io n , m e mo ry, 25 1
law o fin .
M e mo ry an d e mo t io n 23 1 , . Ob se rv at io n , 1 5 ; co n t rast e d w it h e x
35 Od o rs , g ro u p s o f
, 1 24 ; a t e rn at io n o l f,
l
M en ta ph ysio l gy
o , 280 .
1 27 .
30 2 I n de x .
Olfa c t o m et e r, 1 24 . P i mat i p t
rs c s e c ru m , 1 6 1 .
Oag
r n e, 1 61 . P p t i al ity
ro or on o fdif
fe ren ces, 1 10 .
O h t a l ad 59
rc es r e e r, 2 . P y h i al a
s c c res e rc h , 26 .
Pai t P igm t
n s , se e en s . P y h l gy 76
s c o o , 2 , 282 .
Pa adi L t
r se os ,
21 2 . P g il i t 5 9
u s , .
Pa all l l i ill i 9
r e n e s, us o n , 1 0 . P l u se , 22
3 4 , 22 , 225 .
Pa g f ta 7
ssa e o s r, 2 2 . Pu n , 248 .
Pa sis o n s , 22
7 . P zzl 98 49
u e, ,
2 .
P il p im t g ip 73
en c ex er en s o n r , .
! kua l -bl i d
e rs, c o o r n n ess, 1 78 .
P fm
er u 4 e s, 1 2 . ! al itat i
u xp im t ve e er e n s , 25 .
P im t 8
er e e r, 1 1 .
! al it t i
u i a 4 v e sc e n c es , 1 .
P al q at i
e rso n 4 7 e u on , 0, 2 2 .
! u an t itat iv e e x p e rim e n t s, 26 .
P l p id 97
e rso n a r e, .
! u ic k b o se rv at io n , 22, 23 .
Phil p h y 9
o so , 2 2. Rag 23 e , 0.
Ph y i al p im t 6
s c ex er e n s, 2 . Rain bo w co lo rs 1 61 1 69 21 7 , , , .
Ph y i f l igh t 53 8
s cs o , 1 , 2 2 . Rale igh e rro r o f t h e se nse s 21
, , .
P h y i l gy f m i d 79 9
s o o o n , 2 , 2 0 . Rap idit y in o b s e r v a t i o n 23 ;
. in
P ia p l y im lta ity i 3
no- a e r, S u ne n, 1 . tho u gh t an d act io n , 62, 63 ; in
P ia p layi g 3 6
no - n , 1 , 2 1 . e mo t io n , 235 .
Pigm t 57 64 67 ; f dam
e n s, 1 , 1 , 1 un l Rat
e n ta e o f c h an g e , 1 07, 1 20 , 1 43 .
1 69 . React io n in raci g 45 n , .
Pil t 76
o ,
1 . Re act io n -k e y 43 , .
P i t l k y 45
s o - e , . React io n-ro o m 41 , .
Pit h 33 ; a g
c , 1 r n e of
, 1 34 n o tat io n , Re act io t im e 38 99 n- , , .
1 48 infl u e n c e on po w e r, 1 86 . Re act io n to so u n d 44 ; , t o t o u c h , 46
Pit h p ip 4
c - e, 1 1 . to co ld
47 ; t o h o t , 47 ; t o i h t ,
, lg
Plat 76 o , 2 . 48 ; de p e n den c e o n ag e , 48 ; p h o
Pl ta o onG km i ree u s c, 85 .
’
t o g rap h e r s ap p icat io n , 48 l .
P m t i h 53
ne u a c s oe , 2 . Readin g 5 64 ; bl in d spo t 1 85
, 0, -
, .
P i t f ga d 8
o n o re r , 1 0 , 1 85 . Re co gn itio n t h resh o ld o f 1 26 , , .
P d fl d a d p
oun o ea n o und o ff
e at h e rs, Re co g it io n-t im e 49
n , .
dep e n de n c e o n m e n t a l c o n di t io n , Re d, 1 61 .
83 ; l
re at io n to p h ys ica l e x e rc ise , bl
Re d- in dn es s, 1 74 , 1 82 .
84 ; in flu e n ce of m u sic , 85 ; in fl u Re gard p o in t o f 1 80 1 85
, , , .
e n ce of p it c h , 86 ; in fl u e n ce o f Re id 285 , .
n o ise s , 87 ; in flu e n c e o f c o o rs , l 87 Re l ie f 205 , .
in fl u e n ce s o f sme ll , 88 ; m e m o ry Re l ig io u s e mo t io n s 234 , .
fo r, 242 . Re p u gn an ce 230 , .
P a ti
r c ce , in fl u e n ce o n st e adin e ss, 73 Re p u lsio 229 n, .
P j re u dic e , 76 .
Rh ym e 248 , .
P id p
r e, e rso n a l , 97 . Rh yt h m ic act io n 253 , .
Pim 6
rs , 1 1 . Ridic u l o u sn ess 248 , .
Pim t
rs s e reo sc o p e , 20 1 . Ro be rt H o u din -
,
I n de x .
3 3
0
Ro u ghn ess 1 1 4 , . Sp l
e c t ru m c o o rs , 1 6 1 , 2 1 6 , 2 1 8 .
R u n r s k e y 45
n
’
e , . S pe ct ru m g at i g r n , 1 60 .
S at i fa ti s 3 c o n , 2 2. Sp i it al i m 76 r u s , 2 .
S al i m i
c e 34n S p t ma t di
us c, 1 f 69. or s n , s ea n ess o , .
S h ll i g 84
c e n , 2 Sp t h t. l d 7 b l i d 83 o , o , co , 11 n , 1 .
S h l h il d
c oo tap p i g 36 ; f
c at ig Sp i g
re n , al dy am m t 79 n , ue, rn -sc e n o e e r, .
36 ; a ti t im re48 ; t im f di
c Sq z 8 86
on- e, e o s u ee e, 0, .
imi ati
cr a d h i n6 m l S ta da d w h it 59
on n c o ce , 1 u sc e n r e, 1 .
8 h a i g f 4
se n se , l S ta da d f l 6
1 e rn o , 1 2 co o r n r so c o o r, 1 1.
it i
se ns 7 gg t i 67 S ta di g t adi
v en ess , 1 i 7 1 su es on, 2 . n n , s e n ess n, 0.
S i a d
c e n ce i it y 98 n S ta pa ag
cu r os f4 7 , . r, ss e o , 0 , 2 2.
S i
’
l 8
c e n ce s c o o rs, 21 S tati t i a dm a m t 4 . s cs n e su re en , 1 .
S i t ifi p
c en it i fl c q i k S tati t i
u rsu m m y 45
s, n u en c e o n u c s cs o n e or , 2 .
g
S i h t , disc ri min at io n-
t im e , 5 1 . S t e reo sco p e , 20 1 .
g
S i m a, 30 . S to p-w at c h , 38 , 256 .
l
S im u tan eo us act s, 31 . g l
S t rai h t in e , draw in g , 71 .
g g
S in in , accu rac y o f, 76 ; in t e rva s , 78 l . S t re n gth a nd wi ll , 84 .
z
S i e an d distan c e , 1 95 ; an d su gg es b in o c u lar 21 0
S t rife , , .
S ky , sh ap e o f, 1 96 .
p ract ice , 83 .
S m ll 3 e , 12 . S u ccess , 237 .
S m ll i fl
e , n u enc e o n p o w e r, 88 . Sugg est i i it y , 271 bl .
S m ll m a
e - e su re r, 1 24 . S gg
u e st io n , 1 0 1 , 264 .
S m ll e 4 e r, 1 2 . S gg
u est io n b l o c ks , 266 .
S n app e r so u n de r, 1 52 . S ym m e t ry , 220 .
S o rt in g l co o rs, 1 55 . T app i g n ,
at i
34 ; f g
in , 34 ; in u e n c e
ue fl
S o u n d, re ac t io n t o , 44 ; se e H earin g . of m e n ta l act iv ity, 35 ; in fl u e n c e
S o u n de r, sn ap pe r, 1 5 2. o ft ime , 35 ; in fl u e n ce o f ag e , 36
S p ace , t o u ch , 1 10 ; au dit o ry, 1 52 p ro du ce s se n sat io n s o f h o t an d
v isu a l , 1 80 , 1 85 , 1 86 . l
co d, 1 1 9 .
S p an an d su gg est io n , 269 . Ta t s e, 1 27 ; an d t o u c h , 1 31 , 21 6 ; an d
S pa k r -co il,
3 1 , 5 1 , 55 , 256 . t e mpe rat u re , 1 3 2 , 21 6 ; an d f
e e lin g ,
l
S pe c t ra -c u rve , 1 66 . 21 6 .
3 4
0 I n de x .
T e e l g ap h k y 3
r e , 1. T a lat i t im f 54
r ns on, e o , .
T e e l g aph ap idity
r e r, r o f, 65 . T i gf k
un n F k -o r
, see or .
T e e l p h 43 53 46o ne , , , 1 . Tw t y q t i
en 7 u es o n s, 1 .
T l p 4 7
e esco e, 0 , 2 2. Tw - l o co o r
p 74 e rso n s, 1 .
T e mp e rat u re , se e H o t, Co ld . Typ 5 e. 0.
tast e , 21 6 . Uly 8
sse s, 0.
T e rro r, 22
4 34 , 2 . U tai ty a ag 4
n ce r n , ve r e, 2 1.
T t 5
e s s, 2 . U i addit i
n co n sc o u s 7 o n s, 1 .
Th i k i g-tim 49 ;
n n e, dec rease d b y c ivi U d di p a it y
n c ro sse 5 s r , 20 .
liz at io n , 62 . U ai
ne s n ess , 2
34 .
T hi t rs , 21 5 . U t tw t h i
n rus ft h or n ess o e senses , 21 .
T h gh tou , t ime of
, 49 ; e mo t io n , 226 , Vi l t 6
o e , 1 2.
235 . Vi i di t i t a d i di ti t
s on , s nc n n s nc , 1 80
Th ght-t a f
ou r n s e re n c e , 26. f ld f 8 ; bi
ie la 99
o , 1 0 nocu r, 1 .
Th - l pree c o o r e rso n s , 1 73 . V i -k y 53
o ce e , .
T h h ld 3
res o , 10 , 1 24 , 1 25 , 1 27, 1 29, 1 30 , V l ta y W ill
o un r , se e .
Th resho ld o f dif
fe re n c e , see Le ast Watch ing 232 ; se e Obse rvatio n
, .
T i kl
c e , 1 04 . Wearin ess 230 , .
T im a e n d ac t io n , 27. We be r 287 , .
Time o f t ho u h t , se e hin in -t im e g T k g . Wh it e 1 59 21 6
, , .
, .
g g
sin in , 76 ; an d no ise , 1 33 ; n o t a Wo me n as o bse rve rs 23 , .
t io n , 1 36 , 1 5 0 ; u d m en t , 1 43 j g . Wo n de r 99 233 , , .
T o n es , 1 33 ; l o w est , 1 34 g
; h i h est , 1 35 ; Wo rds reco gn it io n-t ime 49
, , .
l g
fee in , 223 ; m e mo ry fo r, 244 . Wo rld se e n w ith o n e e ye 1 80 ;
, , w it h
T on e s, disc rim in at io n -t ime , 5 1 . two e ye s, 1 99 ; in t h re e diffe re n t
To n e t est e r, 1 4 1 . w ays, 1 99 .
T g on u e , st e adin ess o f
, 70 . Wo rsted t est 1 75 , .
T o u ch , ; an d t e mpe rat u re ,
1 03 1 21 Y e ll o w 1 61 , .
an d taste , 1 31 , 2 1 6 .