464 ANNALS NEW YORK ACADEMY OF SCIENCES 



there appears quite as vast a difference of sort between visual, auditory 

 and other "external" sensations. (2) Distinction between external and 

 internal elements. This affords no better criterion. The hedonic tone of a 

 visual sensation, for example, has just as definite a physical basis as its 

 brightness or color characters. Organic conditions are less clear-cut than 

 external stimuli, but difference in degree of clearness is no reason for divid- 

 ing experience into two elemental sorts. Moreover, a distinction based on 

 source should recognize activity experience also. The speaker prefers the 

 terms external, organic and kinesthetic sensations to a more radical division 

 into sensations, feelings and activity experiences. (3) Different genetic roles 

 of presentation and affection. "External" sensations lead more readily 

 to thought and "knowledge about" things than internal. But this is due 

 to the relative vagueness of the latter. Definite, vivid experiences lead to 

 perception, judgment, reasoning; indefinite, vague experiences lead to noth- 

 ing beyond themselves. Yet any experience, even of discomfort or well- 

 beins, mav at times become focused in attention and form the basis of a 

 judgment. The distinction between presentative and affective is, therefore, 

 not really based on the nature of stimuli. Intellectual experience is the 

 result of a distinctive mental function which acts (in favorable circum- 

 stances) on sensory experiences of any sort. The three claims for a radical 

 dichotomy of experience are thus found to be unsatisfactory. All simple 

 experience is essentially one in nature. 



Mr. Brown, in his paper, said that a large number of graphic records of 

 the voice had been made the basis of the report. The material embraced 

 nonsense verses and t}^ical verses of English poetry. The former failed 

 to show any differences of teinpo between the four common rhythms, and 

 the differences of internal time relations of the feet were not found to be 

 those usually accepted. Syllables in trochees are nearly equal in length, 

 but the accented is shorter. The accented syllable of the dactyl is not 

 longer than the corresponding short syllable of the anapest. If two short 

 syllables are taken as ecjuivalent to one, no sharp line can be drawn between 

 two-syllable and three-syllable rhythms in respect to time. In lines of 

 poetry the conventional alternation of long and short syllables is frequently 

 reversed, leaving the time structure chaotic. The feet approximate ecjuality 

 only in the very simplest verse. There is no regular connection between 

 accent and duration. None of the three-syllable rhythms took the form 

 given by the dactyl in nonsense verse. The general conclusion was that the 

 ear is incompetent to judge, and that the impression of temporal regularity 

 in verse is strictly illusory. 



Mr. Hollingworth described an instrument designed to record simul- 

 taneously and graphically the extent, duration and force of a rectilinear 



