prevalent theory, but is, I believe, the historical form of the bifurcation theory in so far as it is derived from philosophy. I shall call it the theory of psychic additions.
This theory of psychic additions is a sound common-sense theory which lays immense stress on the obvious reality of time, space, solidity and inertia, but distrusts the minor artistic additions of colour, warmth and sound.
The theory is the outcome of common-sense in retreat. It arose in an epoch when the transmission theories of science were being elaborated. For example, colour is the result of a transmission from the material object to the perceiver’s eye; and what is thus transmitted is not colour. Thus colour is not part of the reality of the material object. Similarly for the same reason sounds evaporate from nature. Also warmth is due to the transfer of something which is not temperature. Thus we are left with spatio-temporal positions, and what I may term the ‘pushiness’ of the body. This lands us to eighteenth and nineteenth century materialism, namely, the belief that what is real in nature is matter, in time and in space and with inertia.
Evidently a distinction in quality has been presupposed separating off some perceptions due to touch from other perceptions. These touch-perceptions are perceptions of the real inertia, whereas the other perceptions are psychic additions which must be explained on the causal theory. This distinction is the product of an epoch in which physical science has got ahead of medical pathology and of physiology. Perceptions of push are just as much the outcome of transmission as are perceptions of colour. When colour is perceived the nerves of the body are excited in one way and transmit their message towards the brain, and when push is perceived
