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Fechner's term of the 'threshold, which has played such a part in the psychology of perception, is only one way of naming the quantitative discreteness in the change of all our sensible experiences. They come to us in drops. Time itself comes in drops.
Similarly Bergson answers the intellectualist conundrums by pointing back to our various finite sensational experiences and saying, 'Lo, even thus; even so are these other problems solved livingly. When you have broken the reality into concepts you never can reconstruct it in its wholeness. Out of no amount of discreteness can you manufacture the concrete.
If they did follow, the aesthetic experience would be fundamentally different from every other type; it would be totally atomic and discrete, instead of fluid and continuous like the rest. But its apparent discreteness is due to a failure to distinguish between the silent, unobtrusive working of comparison and the more obvious and self-conscious working.
All our sensible experiences, as we get them immediately, do thus change by discrete pulses of perception, each of which keeps us saying 'more, more, more, or 'less, less, less, as the definite increments or diminutions make themselves felt. The discreteness is still more obvious when, instead of old things changing, they cease, or when altogether new things come.
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