[Writersguild] it, " that is with what you are looking at. Or again lis

[Oberloh Lieder]

 but we will call them _lines),_ and
the lines are measured only by consecutive eye movements, then the act
of comparison evidently includes the co-operation, however
infinitesimally brief,
of _memory._ The two halves of
this Chippendale chair-back exist simultaneously in front of my eyes,
but I cannot take

stock simultaneously of the lengths and orientation of the curves to the
right and the curves of the left. I must hold over the image of one
half, and unite it, somewhere in what we call "the mind"--with
the other; nay, I must do this even with the separate curves
constituting the patterns each of which is measured by a sweep of the
glance, even as I should measure them successively by applying a tape
and then remembering and comparing their various lengths,
although the ocular process may stand to the tape-process as a minute of
our time to several hundreds of years. This comes to saying that the
perception of visible shapes, even like that of audible ones, takes
place _in time,_
and requires therefore the co-operation

of _memory._ Now memory, paradoxical as it may sound, practically
implies

_expectation:_ the use of the past, to so speak,

is to become that visionary thing we call

the _future._ Hence, while we are measuring

the extension and direction of one line,
we are not only _remembering_ the extent and direction
of another previously measured line, but we are also _expecting_ a
similar, or somewhat similar, act of measurement of the _next_ line;
even as in "following a melody"
we not only remember the preceding tone, but _expect_ the succeeding
ones. Such interplay of present, past and future is requisite for every
kind of _meaning,_ f
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