In such a situation as this, imagery may function on the side of _stimulus_ when, taking its cue from the stimuli which are actually present, and which grow out of the strain and friction, it represents the missing conditions of action sufficiently to direct a search for them. It projects a map, so to speak, in which the fragmentary conditions immediately present to sense-perception may find their bearings, or in which in some way the missing members may be discovered. A familiar instance of this would be the experience one sometimes has in trying to recall the forgotten name of an acquaintance. The images of scenes associated with the acquaintance, of various letters and sounds of words associated with his name, which may be called to mind, do not function so much as direct stimuli as they do as intermediate or indirect stimuli. It is a case of casting about for the image that will function as a direct stimulus in bringing an acquired but temporarily lost adjustment into play. Image functions on the side of _response_, on the side of developing new habits, new forms of adjustment, in so far as the conditions of action which it represents, or projects, are not the actual conditions of action, either because they are so inaccessible as to demand development of new habits for purposes of attaining them, or else because, though actually present, they stimulate relatively uncontrolled æsthetic or emotional responses, whose very expression, however, may be translated into a demand for more adequate, intelligent, controlled habits or adjustments. The conscious projection of the unattained, even of the unattainable, not only marks a certain degree of attainment, but is the initiation of further development. Here we see again that a stimulus is a condition of action in both senses of the ambiguity of the word "condition." It is both a state or condition of activity, and an initiation or condition of further activity. As an indirect stimulus growing out of a problematic situation imagery necessarily brings in more or less irrelevant material. If I may be permitted the paradox, imagery would not be relevant if it did not bring in the irrelevant. The novelty of the situation makes it impossible to say in advance what will be relevant. Hence the demand for range and play of imagery. It is only the successful adjustment finally hit upon and worked out that is the test of the relevancy of the imagery which anticipated it. Even this test may be unfair, since it is likely to discount the value of imagery which is now ruled out, but which may have been indispensable in turning up the proper cues in the course of the process of reflection and experiment.