 It should be noted that according to Husserl the complete noema of a perceptual experience contains an additional element, to be distinguished from the intentional content, notably its “thetic” or “positing” character, i.e., its quality. Moreover, the manner in which the perceptual object (if any) presents (or would present) itself includes the sensual matter or “hýle” underlying the respective perceptual experience. Typical examples of hýle include sense impressions (i.e., sensory experiences), as opposed to the perceptual experiences based upon them. Thus, to take Jastrow’s/Wittgenstein’s duck-rabbit head as an example, the perception of a duck-head may be founded in the same sense impressions or hýle as the perception of a rabbit-head (cf. Føllesdal 1988, pp. 108f). (For Husserl all remaining intuitive acts involve something analogous (in a sense needing further explanation) to hýle, which he labels as their “intuitive representational content”. In the case of acts of phantasy, he refers to the intuitive representational content as “phantasma”.) Husserl regards sense impressions as non-intentional (and thus non-conceptual) in nature. It is only the intentional content of a perceptual experience that “forms” its underlying hýle so as to yield the perception of an object (for critical discussion see Hopp 2011, esp. sec. 7.3). Husserl compares this process of intentional “forming” of sensual matter to the interpretation of a linguistic expression, but this comparison should not mislead us to conclude that he subscribes to a sense-datum theory of perception (see Section 2 above, headword: mental image theory). Rather, his view on perception is best characterized as a sophisticated version of direct (i.e., non-representationalist) realism.