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But the new generation believes that it has made a discovery in reverting to sensations rather than thought, to the naive reproduction of retinal and muscular impressions, as if this were the end of the matter. The self-conscious, self-defending side of the new poetic impulse may soon pass, as it did in the case of Wordsworth and of Victor Hugo.
Obviously the retinal processes are constant for the two interpretations of magnitude and the ambiguity is due to the concomitant factor of convergence. The conditions necessary to decrease the real size of an object while still maintaining an unaltered image are produced without artificial means.
These considerations help us to explain the coalescence of the retinal impressions and its limits, the fusion of partial tones, and so on. It is plain that this fusion of sensations, whatever its exact conditions may be, gives rise to error or wrong interpretation of the sense-impression.
"This is Ihjel. Retinal pattern 490-BJ4-67 which is also the code that is supposed to get me through your blockade. Do you want to check that pattern?" "There will be no need, thank you. If you will turn on your recorder I have a message relayed to you from Prime-four." "Recording and out," Ihjel said. "Damn! Trouble already, and four days to blowup. Prime-four is our headquarters on Dis.
Atrophy of the nerve fibers follows death of retinal neurons, but atrophy of some of the nerve fibers may be, and probably is, due to the pressure and traction exerted upon them at the margin of the disc. It is probable that too much importance has been given to this mode of interference with the nerve fibers.
And so powerful is the tendency to interpret this impression as one of solidity, that even though we are aware of the presence of the stereoscopic apparatus, we cannot help seeing the two drawings as a single solid object. In the case of more remote objects, there is no dissimilarity of the retinal pictures or feelings of convergence to assist the eye in determining distance.
*Visual Perceptions.*—"Seeing" is very largely the mental interpretation of the primary sensations and the conditions under which they occur. For example, our ability to see objects in their natural positions when their images are inverted on the retina is explained by the fact that we are not conscious of the retinal image, but of the mind’s interpretation of it through experience.
"I begin to understand," said Mary Gage. "That covers what seemed to happen." "It covers it precisely, for that is precisely what did happen. It was not cataract. I knew, or thought I knew, that it was not from retinal scars due to inflammation in the back of the eye. It was just a filling up of the opening of the eye.
That is to say, in the case of all distant objects, in the perception of which the dissimilarity of the retinal pictures and the feeling of convergence take no part, we have to interpret solidity, and relations of nearer and further, by such signs as linear perspective and cast shadow.
These are kept soaked in a colored fluid called the retinal purple, which changes under the influence of light, somewhat in the same way that the film on a photographic plate does, thus forming pictures, which are translated by the rods and cones and telegraphed along the fibres of the optic nerve to the brain.
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