The effectiveness of a bright light or of a moving object in arresting attention in external perception is well understood. And the general testimony of the subjects in this experiment shows that it required some effort, during the exposure, to give an equal share of attention to the moving and the resting object. Table IV., however, which contains the record of the observations in the white-gray series, shows that we cannot carry over, unmodified, into the field of ideation all the laws that obtain in the field of perception. The result of the experiment, accordingly, could not be predicted with certainty. But the course of ideation, in this case, seems to follow the same general tendency as the course of perception: the resting object labors under a great disadvantage. And if there is any force in the claim that diversity and complexity in an object, with the relatively greater subjective activity which they imply, tend to hold the attention to the ideated object about which this activity is employed, the result could hardly be other than it is. There can be no question of the presence of a strong motor element where the object attended to moves, and where the movement is imaged no less than the qualities of the object. In fact, the object and its movement were sometimes sharply distinguished. According to one subject, 'the image was rather the image of the motion than of the object moving.' Again: 'The introspection was disturbed by the idea of motion; I did not get a clear image of the moving object; imaged the motion rather than the object.' And a subject, who on one occasion vainly searched the ideational field for sixty seconds to find an object, reports: 'I had a feeling of something going up and down, but no object.' Clearly an important addition was made to the active processes implied in the ideation of a resting object, and it would be singular if this added activity carried with it no corresponding advantage in the ideational rivalry. In one case the ideas of rest and of movement were curiously associated in the same introspective act. "The figure which moved," says the subject, "was imaged as stationary, and yet the idea of movement was distinctly present."