In the beginning of the discussion, when the analogy between visual and auditory rhythm was felt so strongly in a certain type of subject, they had expressed themselves as if the object which they called the unit of the repeated series were the active stimulated part of the experience, while the alternate space was the rest-phase, valuable only as a period of repose or blankness before the object was again encountered. But in this case, although they felt they were putting no attention or emphasis on this space, in reality they were keenly alive to what was hung in it, even preferring more "hindrance" in the way of strings than less, which suggested that the alternate space was of more value than they were conscious of. (Some of this increase in pleasure was of course due to the increased actual distance between the double strings, but some also to the extra string.) The introspection on this question as to which part of the rhythm was actually the rest-phase (if there were any such) was difficult for them all. They felt they spent more _time_ on the major element; that was what they looked for and found pleasure in meeting again. One said, "The unit is what I look for; as soon as I have it the pleasure ends and I want to move on again. The pleasure does not consist in resting on it after it is found, but in knowing I am going to meet it again, and in doing so." As to the alternate spaces, he could only say he was not consciously interested in them, he took them for granted, but knew he should feel it, if they were changed. His feeling for them was wholly negative. The other temporal subjects agreed essentially with this. The alternate figures had to be passed, but passing them was only of importance as it helped or hindered the perceiving of the major elements. All agreed that any change was noticed and felt irritating at once, although they could not understand how it should, since so little attention was paid them normally. One subject felt the alternating strings only as obstacles between the doubles, and demanded an actual, empty rest-period between any repeated units. When asked if it were really the rest-period _between_ elements or _on_ them, he said he felt there was a complete discharge of attention on the major units, and an attempted one on the minor or alternate units, and the attempted ones became confused. These introspections would point to the fact that alternate minor spaces while affording rest for the attention were periods of activity of some other kind. The fact that no one could say _what_ kind, and yet insisted on the feeling of its being important and distinctive, and moreover repudiated the idea of change in a minor space even more than in a major--this seemed to show that there was a value in the alternate spaces quite aside from attention, but fully as distinct in its own way.