 It was at this point that Condillac’s thesis that sensing does not entail being conscious of all that one senses came to the fore. We would think that if colours are extended and different colours are simultaneously seen without being blended, then there must be edges between them, and shapes outlined by those edges. Condillac accepted that this would in fact be the case. But he denied that his “statue” would necessarily have to be aware of this fact. The “statue” would need some reason to turn its attention to the boundaries between colours, to identify the various parts of those boundaries, and to notice what shape they constitute. But if it only considered colour sensations to be its own states of being, and took pleasure or pain only in their chromatic qualities and not in their shapes (a rather large presumption that Condillac seems not to have realized making), it would have no reason to notice that colours have shapes or even that they have particular locations relative to one another. Consequently, even though it would experience colours as being extended and outside of one another, it would not notice that the array of simultaneously present colour sensations forms an unbroken continuum. It would experience its coloured self merely as an aggregate of distinct extensions, vaguely perceived as not having any definite boundaries or shapes, and not recognized as having any locations relative to one another. Consequently, it would have no developed concept of space (Treatise I.xi.8–9).