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He then no longer regarded the Milky Way as the mere visual effect of an enormously extended stratum of stars, but as an actual aggregation, highly irregular in structure, made up of stellar clouds and groups and nodosities.
The result of observation and of the collected answers are summed up as follows: Those who possess great musical culture and this is by far more important taste or passion for music, generally have no visual images. If these arise, it is only momentarily, and by chance.
This is the interesting side of visual perception, that, owing to the vast complex of distinguishable sensations of light and colour of various qualities and intensities, together with the muscular sensations attending the varying positions of the organ, the eye is able to recognize at any instant a whole external world with its fundamental properties and relations.
In all the multiform facts of the world in the visual shapes of trees and mountains and clouds, in the events of the life of man, even in the very omnipotence of Death the insight of creative idealism can find the reflection of a beauty which its own thoughts first made. In this way mind asserts its subtle mastery over the thoughtless forces of Nature.
This something must be given in our experience somewhere, we must be able to perceive it under some circumstances or other, or it would never occur to us to recognize the visual experiences as signs, and we should never say that in being conscious of them in succession we are looking at the same tree.
The writers who advocated a "return to nature" spelled nature with a capital N and considered it usually as an anthropomorphic presence. Thus the setting was employed no longer merely to subserve the needs of action or to give a greater vividness of visual appeal, but was used rather to symbolize and represent the human emotions evoked in the characters at significant moments of the plot.
If sonorous undulations excited vibration in every resistant object of the environment they would undoubtedly come to arrange themselves in an order resembling the extensity suggested by Vision, though the slower rate of transmission of sound would detract from the practical simultaneity in the effect which, as we have seen, largely accounts for the perception of visual extensity.
One of the causes which leads to a lack of understanding of the chemical weapon is the fact that the results of chemical attack are not, like those of a huge assault, obvious to the mere visual observer. A period of months often elapsed during the war before the immediate effect of a gas attack was known.
Consequently the German naval programme is to send the Zeppelin a certain distance ahead of the battleship squadron. The dirigible from its coign of vantage would be able to sight a hostile squadron if it were within visual range and would communicate the fact to the commander of the fleet below.
He guessed Pellerin to be unconscious of visual detail, but sensitive to the happy blending of sensuous impressions: to the intimate spell of lamplight on books, and of a deep chair placed where one could watch the fire. The chair was there, and Bernald, facing it across the hearth, already saw it filled by Pellerin's lounging figure.
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