I
1. Each of the three groups of children, each made of 10 members of 7 years of age, was ordered to draw respectively any one of the three kinds of right triangular prisms A, B, C. The prisms have equally right triangles of common size, each side 5cm., but have respectively different height, 2.5cm., 5cm., and 35cm.. The subjects were ordered to observe them from such a spot that the upper triangles and the both siderectangles could be seen almost on the same condition. (Fig. I)
2. The results were as follows:-
As for the flat triangle prism A, only the upper triangle was shown in drawing. The greater the heights were, the more the side rectangles tended to be shown, till we recognized a few of them who sometimes neglected to show the side rectangles. (Table I)
3. This tendency indicates that in the structure of object we find the parts of little and much existential values. In general, by considering that the structure of object is the totality of the parts having some such gradients of existential values, we are enabled to describe phenomena more really than in the description in the view of the mere ‘figure-ground-gestalt’, which was given birth to because of its being fitted for the phenomenal description of simple geometric figures. Such a phenomenal being the author call ‘hierarchy-gestalt’ for a while.
II
1. In order to make research of the hierarchy in the structure of perceived object, the ‘elimination method’ was employed. In this method, subjects are ordered to eliminate the parts one after another from that of the least importance. In such a research, this method is, he believes, more fitted than all others.
2. As to the experiment by human figures, the following two experiments materials weve used: the one being the human figure (A) of paper, separable by cutting into four parts, head, arms, legs, and trunk, while the other the human figure (B), made of paper head and all other members of match-sticks. Ten psychologists were used as subjects. In this experiment, arms and legs were made to eliminate by the pair. (Fig. IV)
3. From the viewpoint of possibility, it was found that the trunk was eliminated first while the head last. As for arms and legs the difference in possibility was scarcely perceived. (Table 3, 5, 7)
4, When we consider that faces have the highest environmental value of all members of the human figure, we can easily understand by reason the predominance of the head and the negligence of the trunk. It is thus considered that the essence of perception is found in our grasp of those of high pragmatic value in the perceptive field out of distributed stimuli. At least as one of the conditions of forming hierarchy, it is believed necessary that we should consider from the view point of the environmental value in such a meaning.

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Der Stärke-Akzent entsteht 1) durch eine objektive Zusammensetzung von Lauten, und 2) durch eine subjektive Art des Hörens. Es ist notwendig das Erstere z um verstehen über das Letztere Klarheit zu gewinnen. In diesem kleinen Aufsatz betrachte ich das Erstere hauptsächlich als eine Vorbereitung zum Zweiten.
Drei Dinge sind bestimmend für den Stärke-Akzent: 1) Die Klangstärke des Vokals selbst; was das anbelangt, klingt in der Japanischen Sprache das “a” am stärksten, das “i” und “u” sind am schwächsten betont. Durch diesen Umstand wird der Stärke-Akzent des Wortes am meisten bestimmt. 2) Das Wort besitzt auch einen Höhe-Akzent, welcher zum Stärke-Akzent in Beziehung steht; der Höne-Akzent stimmt oft mit dem Stärke-Akzent überein. Das ist der nächst-wichtige Umstand. 3) Es ist eine Neigung vorhanden, den Anfang des Wortes stärker zu betonen und es gegen das Ende hin abklingen zu lassen. Auch diesen Umstand ist nicht ausser Acht zu lassen. Unter diesen drei Punkten ist der erste derjenige, der die Qualität des Stärke-Akzentes bestimmt; der zweite und dritte Punkt wirkt bei der Wertvergleichung der Stärke in quantitativer Hinsicht mit. So z. B. verhält sich im Wort “ayu” die Lautstärke von “a” und “u” ungefähr wie 1, 00 zu 0, 21., im Wort “kuwa” die Lautstärke von “u” und “a” wie 0, 69 zu 1, 00 Das trifft nicht nur in der japanischen Sprache zu, sondern soil sich auch im Englischen ähnlich verhalten.
Meine Untersuchung befasst sich hauptsächlich mit zweisilbigen Wörtern, je meter Silben ein. Wort hat, desto komplizierter wird die Sache naturgemäsz; aber ich glaube doch, dass obige Erklärung auch pier anwendbar ist.
Zur Illustration habe ich Beispiele von japanischen und englischen Gedichten, durch die betreffenden Dichter selbst vorgetragen, beigegeben. Diese dienen nicht nur als Beispiele für oben Gesagtes, sondern sollen uns überhaupt beim genauen Studium des Gedichtes als solchem helfen.
Meine Ausführungen beziehen sich auf den objektiven Charakter des Akzentes, die subjektive Lautempfindung ist eine Frage für sich. Über die Lautstärke gibt es das Gesetz von Weber-Fechner und das Gesetz von Merkel. Aber diese Gesetze behandeln den Laut als etwas ganz Einfaches; ob sich diese Gesetze auch auf so komplizierte Laute, wie es die Wörter: sind, anwenden lassen, ist noch eine schwierige Frage, zu deren Lösung noch viele besondere Versuche notwendig sind. Diese Abhandlung soll ja nur erst eine vorbereitende Arbeit dazeu sein. Die benutzte Literatur soil später angegeben werdden.

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By the method which is used in “Demonstrative term-theory, ” I analized the conditions of the composition of poem in “Mannyo, ” “Kokin” and “Shikokin”. And I came to the followinghi the 4 theses.
1) In the sentences of poems in “Mannyo”, I see a lot of personal pronouns, especially the first person “wa” In comparison with “Mannyo”, there is few “wa” in “kokin” and a “Shin-Kokin”.
The fact means that the behavioral field in “Mannyo” keeps up the social framework more firmly than in “Kokin” and “Shinkokin”, because, according to the “Demonstrative term-theory”, the function of personal pronoun is the orientation of the human relation among members in the speaking situation.
2) In “Mannyo” there are various kinds of words which indicate persons in daily life, but in “kokin” and “Shinkokin” these words are a fow.
And in “Mannyo” dear hearts are described in the definite and concrete words “imo (wife), tsmna (wife), se (husband)”. But in “kokin” and “Shinkokin” they are indicated in an abstract and aroundabout way, in such a word as “hito” which means people or another.
That shows the daily and concrete character of poems in “Mannyo”, and the abstractness and fancifullullness of poems in “Kokin” and “Shinkokin”.
3) In the possesive case expressions of the firs person “waga-------”, such words as “waga se (myt husband), waga tsuma (my wife), wagimo (my wife)” appear most frequently in “Mannyo”, and in “Kokin” and “Shinkokin” “waga mi (myself), waga koi (my love)”.
E. Cassirer already refered to the relation between a man's selfconsciousness and the possesive case expression of the first person pronoun.
The selfconsciousness of poet in “mannyo” is the one in the daily social life, but in “Kokin” and “Shinkokin” it is the reflective and abstract one
4) In the sentences of poems in “Mannyo”, there are a lot of such terms as “ko, kono and kaku, kakaru, ” the near name of terms of “ko-so-a-do” ystem, but in “Kokin” and “Shinkokin” these tesrms are rare. And in “Shinkokin” the middle name, “se” appears very f regnently.
The function of the words of “ko-so-a-do” system primarily is the orientation of things and events in the speaking situation. But the middle name, “sa” in “Shinkokin”, plays another function. It is the setting of the context in sentences.
Like this, in “Mannyo” and in “Shinkokin” different arts of the construction of sentence are developod.

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When one sensory stimulus is given to a subject in a drowsy state, images of other objects associated with it often appear. These images sometimes have forms and calours, and sometimes are devoid of forms, only lights and colours being present. This phenomenon resembles the experience of colour-hearing, and is supposed by Bachen to be a new type of synaesthesia. As these images disappear when they are observed attentively, a passive attitude is necessary. The character of images of this kind is such that elements of forms and colours of various objects have been disjointed and connect with each other in different ralationships which construct new images. These images appear easily with strong stimuli.
The images of this sort can also be experimentally aroused by post-hypnotic suggestion. After we experimented on a lot of subjects, it was confirmed that a situation like the one stated above was also true in post-hypnotic hallucinations. Namely, stimulus figures were broken into elements, and each appeared as a distinct image. And when two recalling stimuli were given at the same time the images corresponding with each stimulus overlapped. (Fig 3. A. in Japanese text). In the latter case, if one stimulus was strengthened only the image correspsnding with it increased in intensity. When the distance of each stimulus being varied or the position changed up and down, the distance and the position of the images were accordingly changed. Thus by changing the conditions of the stimuli, visual images of various characters and forms could be aroused at will.
Based on the observed facts stated adove, we set up the integration theory of the mind. In the cerebral cortex we assume an image center, pathways between each image center and a unifying synergic center, which are formed through integration. When the activity of the unifying synergic center is weakend, lower centers become active and the appearence of images becomes more frequent. Thus, the phenomena mentioned above can be explained on the psycho-physiological basis.

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1. Problem
It has been shown by many experiments that time and space are closely related to each other in our perception. The psychological dependence of space upon time is a well known phenomenon and Helson (1930) called it the Tau effect. On 1935 two Japanese investigators, Abe M. and Abe S., obtained in their studies the converse of the Tau-effect respectively. The latter called this psychological dependence of time upon space the S-effect. In 1941 Suto Y. clarified that the crucial determinant of apparent time interval was the physical space but the apparent one, exposing three light stimuli in succession at each apex of the Müller-Lyer figure. Recently Abe M. (1948) and the author (1950) confirmed it, using different methods from Suto's in their respective researches.
But up to the present time all investigations on the S-effect have been confined in vision. The present study was designed to investigate the S-effect in tactual space.
2. Method
Three momentary pressure stimuli (B₁, B₂, and B₃) were presented in succession upon the forearms of Ss who kept their eyes closed during experiment. While the spatial distance between B₁ and B₂(=SN) was kept constant, that between B₂ and B₃(=Sv) was varied in different series of experiments. Two temporal intervals Ss had to compare were, in general, the following.
Normal time (tN)=BZ₁(or BZ₂)+PN, and variable time (tV)=BZ₂(or BZ₃)+Pv, where BZ₁, BZ₂, and BZ₃ are equal resting periods of B₁, B₂, and B₃ upon the skin respectively. PN is the constant pause between B₁ and B₂, and Pv is the variable pause between B₂ and B₃. All experiments were done with both orders of B₁→B₂→B₃ and B₃→B₂→B₁
3. Experiments
I Experiments on the S-effect
The purpose of the following experiments was to investigate whether the S-effect took place upon the skin or not. Only a forearm was used. Tables 1-3 show the following facts.
If Sv was longer (shorter) than SN, tV appeared longer (shorter) than tN.
If Sv was equal to SN, tV appeared approximately equal to tN.
So it was confirmed that the S-effect took place upon the skin
II The illusion of tactual space and the temporal perception
The purpose of the following experiments was to see what kind of space was crucial in determining apparent time inteval upon the skin. Both forearms were placed as in Fig. 4. If Ss closed their eyes, B₂ B₃(=SV) appeared longer than B₁ B₂(=SN), even though SV was physically shorter than SN. Such a illusion had been shown by Madlung's experiment (1934). Tables 5-7 show the following results:
If physically SV was equal to SN, while apparently SV was longer than SN, then tV appeared longer than tN (Exp. 1).
If physically SV was shorter than SN, while apparently SV was longer than SN, then tV appeared longer than tN (Exp. 3).
If physically SV was shorter than SN, while apparently SV was approximately equal to SN, then tV appeared approximately equal to tN (Exp. 6).
If physically SV was longer than SN, while apparently SV was shorter than SN, then tV appeared shorter than tN (Exp. 7).
These results lead the author to the assumption that apparent time interval does not correspond to the physical space, but to the apparent one. This assumption will be justified by the results of Exps. 8-10.
If physically SV was equal to SN and apparently also SV was approximately equal to SN, tV appeared approximately equal to tN (Exp. 8, cf. Fig. 5).
Since physical distances in Exp. 8 were ecual to those in Exp. 1, and besides, the stimulated loci remained nearly same in both experiments, the discrepancy between both results must be

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