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"In the case of verbal reasoning, we cannot failto make discontinuous movements, for the need to choose only between two extremeprovisions Yes or no, not allowing anything between a third or medium"(Ibid. P. 59). In the case of graphical thinking -- "you mustto use just those continuous movements, which are so carefullyexcluded from use of verbal thinking" (ibid.) - If you think about it this difference lies probably in the presence/absence"dictionary" in the linguistic sense. When he is, then we will inevitablyto work with discontinuous values. If not, then any ideawe will seem continuous. But in the first case, the vocabulary inthe result of the thinking of the recipient of the information, processing this discontinuous series,re-enters the continuous representation. When done appropriatepsycholinguistic experiments, it was discovered that the personremembers not, say, the syntactic structure of the sentence, and the veryinformation, that is, as a result, it remains continuous performance. In General, the power of language Ya Linzbach saw in ambiguity. Thisfundamentally correct conclusion (immediately reminded Yu. M. Lotman) is stillcontrary to the book's subtitle: "Experience the exact of linguistics". But apparently the real stuff isstronger and subtitle, and time of publication of the book (1916), andYa Linzbach just comes to insightful conclusions: "In various placesand at various times have always been different languages, as differentartistic, non-scientific image system, and in this ambiguity,constantly changing, is life language. In view of said developmentschemes and their combinations necessary to refer to those or other concepts,is not the task of science, and the arts, and addressing emerging issuesshould be provided not only scientists, but artists. Field of activitythe artist is precisely the ambiguity and the element of this activity --limitless freedom and independence from any ordera certain uniquely" (Ibid.P. 94).
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