  Its proponents intend the Overlap Model to capture not just the structure of a sequences of tones, but of entire streams of consciousness. If the Overlap theorists are right, such streams are composed of successions of stream-phases which overlap by sharing common parts, in the manner of C-D-E-F. However, on close scrutiny the description just given of the structure of even this simple sequence turns out to be inadequate. By supposing that SPX exists, in addition to SP1 and SP2 we capture an experienced transition (or specious present) which actually exists, but which gets ignored by the Discrete Block model. But does Figure 11 include all the experienced transitions which exist in the case of C-D-E-F? Given the continuous character of our experience, probably not: for just as D-E is experienced as an extended whole, so to is the tone-pattern running from the mid-point in C to the mid-point in E, or from the three-quarter point in D to the three-quarter point in F, and so on for many (many) other cases. These ‘omitted transitions’ are easily accommodated by the Overlap Model, as illustrated in Figure 12. This new example is still unrealistically simplistic, for once again only a single sensory modality is represented, in the form of a visual experience of a bouncing ball, but it in one key respect it is less artificial.