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Every quality may, indeed, be so arranged in a definite continuity that it is possible to
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OUTLINES OF PSYCHOLOGY
24
pass uninterruptedly from a given point to any other points in the same quality. But the
various continuities of different qualities, which we may call systems of quality, exhibit
differences both in the variety of possible gradations, and in the number of directions of
gradation. In these two respects, we may distinguish, on the one hand, homogeneous and
complex, on [p. 32] the other one-dimensional, two-dimensional, and many-dimensional
systems of quality. Within a homogeneous system, only such small differences are
possible that generally there has never arisen any practical need of distinguishing them by
different names. Thus, we distinguish only low quality of pressure, hot, cold, or pain,
only one feeling of attention or of activity, although, in intensity, each of these qualities
may have many different grades. It is not to be inferred from this fact that in each of these
systems there is really only one quality. The truth is that in these cases the number of
different qualities is merely very limited; if we were to represent it geometrically, it
would probably never reduce entirely to a single point. Thus, for example, sensations of
pressure from different regions of the skin show, beyond question, small qualitative
differences which are great enough to let us distinguish clearly any point of the skin from
another at some distance from it. Such differences, however, as arise from contact with a
sharp or dull, a rough or smooth body, are not to be reckoned as different qualities. They
always depend on a large number of simultaneous sensations, and without the various
combinations of these sensations into composite psychical compounds, the impressions
mentioned would be impossible.
Complex systems of quality differ from those we have been discussing, in that they
embrace a large number of clearly distinguishable elements between which all possible
intermediate forms exist. In this class we must include the tonal system and color-system,
the systems of smells and tastes, and among the affective systems those which form the
subjective complements of these sensational systems, such as the systems of tonal
feelings, color-feelings, etc. It is probable also that many systems of feelings belong here,
which are objectively connected with composite impressions, but as [p. 33] feelings are
simple in character, such are the various feelings of harmony or discord that correspond
to the different combinations of tones.
The differences in the number of dimensions have been determined with certainty only in
the case of certain sensational systems. Thus, the tonal system is one-dimensional. The
ordinary color-system, which includes the colors and their transitional qualities to white,
is two-dimensional; while the complete system of light-sensations, which includes also
the dark color-tones and the transitional qualities to black, is three-dimensional.
6. In the relations discussed thus far, sensational and affective elements in general agree.
They differ, on the other hand, in certain essential attributes which are connected with the
immediate relations of sensations to objects and of feelings to the subject.
1) When varied in a single dimension, sensational elements exhibit pure qualitative
differences, which are always in the same direction until they reach the possible limits of
variation, where they become maximal differences. Thus, in the color-system, red and
green, blue and yellow, or in the tonal system, the lowest and highest audible tones, are
the maximal, and at the ,same time purely qualitative, differences. Every affective
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OUTLINES OF PSYCHOLOGY
25
element, on the contrary, when continuously varied in the suitable direction of quality,
passes gradually into a feeling of opposite quality. This is most obvious in the case of the
affective elements regularly connected with certain sensational elements, as, for example,
tonal feelings or color-feelings. As sensations a high and low-tone are differences that
approach more or less the maximal differences of tonal sensation; the corresponding tonal
feelings are opposites. In general, then, sensational qualities are limited by maximal
differences, affective qualities by maximal opposites. Between these opposites [p. 34] is a
middle zone, where the feeling is not noticeable it all. It is, however, frequently
impossible to demonstrate this indifference-zone, because, while certain simple feelings
disappear, other affective qualities remain, or new ones even may arise. The latter case
appears especially when the transition of the feeling into the indifference-zone depends
on a change in sensations. Thus, in the middle of the musical scale, those feelings
disappear which correspond to the high and low tones, but the middle tones have still
other, independent affective qualities which do not disappear with these opposites. This is
to be explained by the fact that a feeling which corresponds to a certain sensational [ Pobierz całość w formacie PDF ]