The tones are experienced in a sequence – D is heard first, then E – but they are not experienced as a sequence – or to put it another way, these tones form a succession of experiences, but there is no experience of succession.
To employ the usual terminology, a succession of experiences is one thing, an experience of succession is quite another.
But this does not follow, for the familiar reason that a succession of experiences does not automatically constitute an experience of succession.
James here berates Helmholtz for failing to recognize that a mere succession of experiences does not add up to an experience of succession, and then goes on to endorse a Retentional account of where the difference between the two lies: the earlier and later parts of a succession must be experienced together and simultaneously in order to be experienced as a succession.
A poem is a succession of experiences, and no two readers have the same experience.
Although it may not be quite so obvious, the model of temporal consciousness proposed by the Cinematic realist also creates nothing more than mere succession of experiences.
Beauvoir herself has often been (mis)read in a way analogous to her (mis)reading of psychoanalysis, as proferring a determinate succession of experiences for women, rather than describing socially extant processes.
For a sequence of contents to be experienced as a succession, they must be experienced together, and to be experienced together they need to be diachronically co-conscious.
However, in the field, colloidal suspensions flow through a small number of preferential flow paths, and the soil experiences succession of rainfalls, interrupted by dry periods.
If first P1 opens their eyes momentarily before closing them again, followed immediately by P2, then by P3, all the way to P10, then we have a succession of ten experiences, each revealing the on-court action at a particular moment.
