THE CONTENT-QUALITIES 75 



not susceptible of intuition, we have only to remember that 

 while our eye ran along the band of the spectrum, we noticed 

 at certain points that a new colour-mixture appeared. This 

 turning-point in the colour-sequence we transformed into the 

 turning-point in a line in space. 



Our attention, at first focussed on the red-yellow colour- 

 mixture, was suddenly compelled to turn to the mixture of 

 yellow with green. Even in ordinary speech we speak of our 

 attention, " taking a new direction." By drawing a line 

 which suddenly takes a new direction, we give a concrete 

 form to the expression. 



In both instances, a change occurs in the process of atten- 

 tion. This yields us the common denominator that permits 

 us to reproduce in the form of an event familiar to the eye one 

 that is of quite another kind. 



We were employing the same method when we converted 

 time-beats into a series of strokes set side by side, and thereby 

 transformed time into space. Our attention was able to keep / 

 the change of content quite separate from the nature of the 

 content, and to give this change a concrete expression by 

 transference into spatial relations. 



It is therefore to the process of attention itself that we 

 have recourse when we give a spatial shape to the forms of 

 relationship of the central qualities. In order to reproduce 

 in concrete form the relationship-form of musical sounds, 

 we shall employ a seven-sided pillar, and on its edges we 

 shall arrange all the sounds in a spiral, so that those that differ 

 by an octave lie below one another. On the faces we shall 

 place the transitional half-tones and quarter-tones. 



As the relationship-form of the qualities of smell, Henning 

 suggests a prism. For the other content-qualities, figures in 

 one plane will suffice. 



The particular procedure in every case depends on the 

 same principle : the turning-points at which our attention 



