1. Outline the chapter. 2. The rating of images belonging under different senses. Try to call up the images prescribed below, and rate each image according to the following scale:

3. . . . The image is practically the same as a sensation, as bright, full, incisive, and, in short, possessed of genuine sensory quality.
2. . . . The image has a moderate degree of sensory quality.
1. . . . The image has only faint traces of sensory quality.
0. . . . No sensory image is called up, though there was a recall of the fact mentioned.
Call up visual images of: a friend's face, a sun flower, a white house among trees, your own signature written in ink.
Call up auditory images of: the sound of your friend's voice, a familiar song, an automobile horn, the mewing of a cat.
Call up olfactory images of: the odor of coffee, of new-mown hay, of tar, of cheese.
Call up gustatory images of: sugar, salt, bitter, acid.
Call up cutaneous images of: the feel of velvet, a lump of ice, a pencil held against the tip of your nose, a pin pricking your finger.
Call up kinesthetic imagery of: lifting a heavy weight, reaching up to a high shelf, opening your mouth wide, kicking a ball.
Call up organic imagery of: feeling hungry, feeling thirsty, feeling nausea, feeling buoyant.
In case of which sense do you get the most lifelike imagery, and in case of which sense the least. By finding the average rating given to the images of each sense, you can arrange the senses in order, from the one in which your imagery rates highest to the one in which it rates lowest. It may be best to try more cases before reaching a final decision on this matter.

3. Verbal imagery. When you think of a word, do you have a visual, auditory, or kinesthetic image of it--or how does it come?
4. In reading, notice how much imagery of objects, persons, scenes, sounds, etc., occurs spontaneously.
5. Analysis of a revery. Take any object as your starting point, and let your mind wander from that wherever it will for a minute. {387} Then review and record the series of thoughts, and try to discover the linkages between them.
6. Free association experiment. Respond to each one of a list of disconnected words by saying the first word suggested by it. Use the following list: city, war, bird, potato, day, ocean, insect, mountain, tree, roof.
7. Controlled association, (a) Use the same list of stimulus words as above, but respond to each by a word meaning the opposite or at least something contrasting, (b) Repeat, naming a part of the object designated by each of these same words, (c) Repeat again, naming an instance or variety of each of the objects named. Did you find wrong responses coming up, or did the mental set exclude them altogether?
8. Write on a sheet of paper ten pairs of one-place numbers, each pair in a little column with a line drawn below, as in addition or multiplication examples. See how long it takes you to add, and again how long it takes to multiply all ten. Which task took the longer, and why? Did you notice any interference, such as thinking of a sum when you were "set" for products?
9. Free association test for students of psychology. Respond to each of the following stimulus words by the first word suggested by it of a psychological character:

conditioned
objective
gregarious
delayed
correlation
fear
negative
end-brush
mastery
rat
pyramidal
submission
stimulus
semicircular
feeling-tone
substitute
kinesthetic
primary
axon
advantage
tension
synapse
field
blend
autonomic
quotient
rod
retention
limit
fovea
nonsense
apraxia
saturated
higher
thalamus
red-green
paired
organic
complementary
economy
tendency
after
exploration
preparatory
basilar
recency
native
fluctuation
curve
endocrine
dot
perseveration
expressive
Binet
synesthesia
James-Lange
frontal
facilitation
flexion
overlapping{388}