There can be no movement toward a consummating close unless there is a progressive massing of values, a cumulative effect. This result cannot exist without conservation of the import of what has gone before. Moreover, to secure the needed continuity, the accumulated experience must be such as to create suspense and anticipation of resolution. Accumulation is at the same time preparation, as with each phase of the growth of a living embryo. Only that is carried on which is led to; otherwise there is arrest and a break. For this reason consummation is relative; instead of occurring once for all at a given point, it is recurrent. The final end is anticipated by rhythmic pauses, while that end is final only in an external way. For as we turn from reading a poem or novel or seeing a picture the effect presses forward in further experiences, even if only subconsciously.

What happens in the movement of art is emergence of new materials of experience demanding expression, and therefore involving in their expression new forms and techniques.

Well both original seizure and subsequent critical discrimination have equal claims, each to its own complete development and must not be forgotten that direct and unreasoned impression comes first. There is such occasions something of the quality of the wind that bloweth where it listeth. Sometimes it comes and sometimes it does not, even in the presence of the same object. It cannot be forced and when it does not arrive it is not wise to seek to recover by direct action the first fine rapture.

Naturalism is a word of many meetings in philosophy as well as in art. like most isms - classicism and romanticism, idealism and realism in art - it's has become an emotional term, a war cry of partisans.

Because rhythm is a universal scheme of existence, underlying all realization of order in change, it pervades all the arts, literary, musical, plastic and architectural, as well as the dance. Since man succeeds only as he adapts his behavior to the order of nature, his achievements and victories, as they ensue upon resistance and struggle, become the matrix of all esthetic subject-matter; in some sense they constitute the common pattern of art, the ultimate conditions of form. Their cumulative orders of succession become without express intent the means by which man commemorates and celebrates the most intense and full moments of his experience. Underneath the rhythm of every art and every work of art there lies, as a substratum in the depths of the subconsciousness, the basic pattern of the relations of the live creature to his environment.

The true antithesis of nature is not art but arbitrary conceit, fantasy, and stereotyped convention.

Equally there is no rhythm when variations are not placed. There is a wealth of suggestions in the phrase "takes place". The change not only comes but it belongs; it had its definite place in a larger whole.

In most cases the esthetic objection to doses of morals and of economic or political propaganda in works of art will be found upon analysis to reside in the over-weighing of certain values at the expense of others until, except for those in a similar stare of one-sides enthusiasm, weariness rather than refreshment sets in.

Because energy is not restrained by other elements that are at once antagonistic and cooperative, action proceeds by jerks and spasms. There is discontinuity.

No work of art can be instantaneously perceived because there is the no opportunity for conservation and increase in tension, and hence none for that release and unfolding which gives volume to a work of art.

Interest only becomes one-sided and morbid only when it ceases to be frank, and becomes sly and furtive.

Artist and perceiver alike begin with what may be called a total seizure, an inclusive qualitative whole not yet articulated, not distinguished into members.

Even at the outset, the total and massive quality has its uniqueness; even when vague and undefined, it is just that which it is and not anything else. If the perception continues, discrimination inevitably sets in. Attention must move, and as it moves, parts, members, emerge from the background. And if attention moves in a unified direction instead of wandering, it is controlled by the pervading qualitative unity; attention is controlled by it because it operates within it.

Coleridge said that every work of art must have about it something not understood to obtain its full effect.

In ordinary visual perception, we see by means of light; we distinguish by means of reflected and refracted colors. But in ordinary perception, this medium of color is mixed, adulterated. While we see, we also hear; we feel pressures, and heat and cold. In a painting, color renders the scene without these alloys and impurities. They are part of the dross that is squeezed out and left behind in an act of intensified expression. The medium becomes color alone, and since color alone must now carry the qualities of movement, touch, sound, etc., that are present physically on their own account in ordinary vision, the expressiveness and energy of color are enhanced.

All the cases in which means and ends are external to one another are non-esthetic.

In all ranges of experience, externality of means defines the mechanical.

The color is of the object and the object in all its qualities is expressed through color. For it is objects that glows- gems and sunlight; and it is objects that are splendid- crowns, robes, sunlight. Except as they express objects, through being the significant color-quality of materials of ordinary experience, colors effect only transient excitations.

To look at a work of art in order to see how well certain rules are observed and canons conformed to impoverished perception. But to strive to note the ways in which certain conditions are fulfilled, such as the organic means by which the media is made to express and carry definite parts, or how the problem of adequate individualization is solved, sharpens esthetic perception and enriches its content.

There is another significant involution of time and movement in space. It is constituted not only by directional tendencies-up and down for example-but by mutual approaches and retreatings. Near and far, close and distant, are qualities of pregnant, often tragic, import-that is, as they are experienced, not just stated by measurement of science. They signify loosening and tightening, expanding and contracting, separating and compacting, soaring and drooping, rising and falling; the dispersive, scattering, and the hovering and brooding, unsubstantial lightness and massive blow. Such actions and reaction are the very stuff out if which the objects and events we experience are made.

Works of art express space as opportunity for movement and action.

The recurrence of relations-not of elements-in different contexts, which constitutes transposition is qualitative and hence directly experienced in perception.

The three qualities of space and time reciprocally affect and qualify one another in experience. Space is inane save as occupied with active volumes. Pauses are holes when they do not accentuate masses and define figures as individuals. Extension sprawls and finally benumbs if it does not interact with place so as to assume intelligible distribution. Mass is nothing fixed. It contracts and expands, asserts and yields, according to its relations to other spatial and enduring things.... these are then the common properties of the matter of arts because there are general conditions without which an experience is not possible. As we saw earlier, the basic condition is felt relationship between doing and undergoing as the organism and environment interact.

Position expresses the poised readiness of the live creature to meet the impact of surrounding forces, to meet so as to endure and persist, to extend or expand through undergoing the very forces that, apart from its response, are indifferent and hostile. Through going out into the environment, position unfolds into volume; through the pressure of environment, mass is retracted into energy of position, and space remains, when matter is contracted, as an opportunity for further action.

The difference between the artificial and the artful in the artistic lies on the surface in the former there is a split between what is overly done and what is intended. The appearance is one of cordiality; the intent is that of gaining favor. Whenever this split between what is done and its purpose exists, there is insincerity, a trick, a simulation of an act that intrinsically has another effect. When the natural and the cultivated blend into one, acts of social intercourse are works of art. The animating impulsion of genial friendship and the deed performed completely coincide without intrusion of ulterior motive. Awkwardness may prevent adequacy of expression.

If one examines the reason why certain works of art offend us, one is likely to find that the cause is that there is no personally felt emotion guiding the selecting the assembling of the materials presented. We derive the impression that the artist, say the author of a novel, is trying to regulate by conscious intent the nature of the emotion aroused. We are irritated by a feeling that he is manipulating materials to secure an effect decided upon in advance. The facets of the work, the variety so indispensable to it, are held together by some external force. The movement of the parts and the conclusion disclose no logical necessity. The author, not the subject matter, is the arbiter.

We cannot grasp any idea, any organ of meditation, we cannot possess it in full force, until we have felt and sensed it, as much so as if it were an odor or a color.

When there is genuine artistry in scientific inquiry and philosophic speculation, a thinker proceeds neither by rule nor yet blindly, but by means of meaning that exist immediately as feelings having qualitative color.

Form may then be defined as the operation of forces that carry the experience of an event, object, scene, and situation to its own integral fulfillment.

There are two kinds of means. One kind is external to that which is accomplished; the other kind is taken up into the consequences and remains immanent in them. There are ends which are merely welcome cessations and there are ends that are fulfillments of what went before. The toil of the laborer is too often an antecedent to the wage he receives, as consumption of gasoline is merely a means to transportation. The means cease to act when the "end" is reached; one would be glad, as a rule, to get the result without having to employ the means. They are but the scaffolding.

Movement in direct experience is alteration in the qualities of objects, and space as experienced is an aspect of this qualitative change. Up and down, back and front, to and fro, this side and that- or right and left- here and there, feel differently. The reason they do is that they are not static points in something itself static, but objects in movement, qualitative changes of value. For "back" is short for backwards and front for forwards. So with velocity. Mathematically there are no such things as fast and slow. They mark simply greater and less on a number scale. As experienced they are qualitatively as unlike as noise and silence, heat and cold, black and white. To be forced to wait a long time for an important event to happen is a length very different from that measured by the movements of the hands of a clock. It is something qualitative.

Every thinker puts some portion of an apparently stable world in peril and no one can wholly predict what will emerge in its place.

A philosophy has no private store of knowledge or methods for attaining truth, so it has no private access to good. As it accepts knowledge and principles from those competent in science and inquiry, it accepts the goods that are diffused in human experience. It has no Mosaic or Pauline authority of revelation entrusted to it. But it has the authority of intelligence, of criticism of these common and natural goods.

As we shall see later, the most important factor in the training of good mental habits consists in acquiring the attitude of suspended conclusion, and in mastering the various methods of searching for new materials to corroborate or to refute the first suggestions that occur. To maintain the state of doubt and to carry on systematic and protracted inquiry ― these are the essentials of thinking.

It is a familiar and significant saying that a problem well-put is half-solved.

... classic philosophy maintained that change, and consequently time, are marks of inferior reality, holding that true and ultimate reality is immutable and eternal. Human reasons, all too human, have given birth to the idea that over and beyond the lower realm of things that shift like the sands on the seashore there is the kingdom of the unchanging, of the complete, the perfect. The grounds for the belief are couched in the technical language of philosophy, but the grounds for the cause is the heart's desire for surcease from change, struggle, and uncertainty. The eternal and immutable is the consummation of mortal man's quest for certainty.

The rise of new science in the seventeenth century laid hold upon general culture in the next century. The enlightenment... testified to the widespread belief that at last light had dawned, that dissipation of ignorance, superstition, and bigotry was at hand, and the triumph of reason was assured -- for reason was counterpart in man of the laws of nature which science was disclosing. The reign of law in the natural world was to be followed by the reign of law in human affairs.

In the late eighteenth and the greater part of the nineteenth centuries appeared the first marked cultural shift in the attitude taken toward change. Under the names of indefinite perfectibility, progress, and evolution, the movement of things in the universe itself and of the universe as a whole began to take on a beneficent instead of hateful aspect.

This new philosophy, however, was far from giving the temporal an inherent position and function in the constitution of things. Change was acting on the side of man but only because of fixed laws which governed the changes that take place. There was hope in change just because the laws that govern it do not change.

The intellect is at home in that which is fixed only because it is done and over with, for intellect is itself just as much a deposit of past life as is the matter to which it is congenial. Intuition alone articulates in the forward thrust of life and alone lays hold of reality.

The animating purpose of James was, on the other hand, primarily moral and artistic. It is expressed in his phrase, "block universe," employed as a term of adverse criticism. Mechanism and idealism were abhorrent to him because they both hold to a closed universe in which there is no room for novelty and adventure. Both sacrifice individuality and all the values, moral and aesthetic, which hang upon individuality; for according to absolute idealism, as to mechanistic materialism, the individual is simply a part determined by the whole of which he is a part. Only a philosophy of pluralism, of genuine indetermination, and of change which is real and intrinsic gives significance to individuality. It alone justifies struggle in creative activity and gives opportunity for the emergence of the genuinely new.

When we come to inanimate elements, the prevailing view has been that time and sequential change are entirely foreign to their nature. According to this view they do not have careers; they simply change their relations is space. We have only to think of the classic conception of atoms. The Newtonian atom, for example, moved and was moved, thus changing its position in space, but it was unchangeable in its own being. ... In itself it was like a God, the same yesterday, today, and forever.

The discovery that mass changes with velocity, a discovery made when minute bodies came under consideration, finally forced surrender of the notion that mass is a fixed and inalienable possession of ultimate elements or individuals, so that time is now considered to be their fourth dimension.

The revolution in scientific ideas just mentioned is primarily logical. It is due to recognition that the very method of physical science, with its primary standard units of mass, space, and time, is concerned with measurements of relations of change, not with individuals as such.

This idea is that laws which purport to be statements of what actually occurs are statistical in character as distinct from so-called dynamic laws that are abstract and mathematical, and disguised definitions. Recognition of the statistical nature of physical laws was first effected in the case of gases when it became evident that generalizations regarding the behavior of swarms of molecules were not descriptions or predictions of the behavior of any individual particle. A single molecule is not and cannot be a gas. It is consequently absurd to suppose that a scientific law is about the elementary constituents of a gas. It is a statement of what happens when a large number of such constituents interact with one another under certain conditions.

The application of scientific formulations of the principle of probability statistically determined is thus a logical corollary of the principle already stated, that the subject matter of scientific findings is relational, not individual. It is for this reason that it is safe to predict the ultimate triumph of the statistical doctrine.

Classical science was based upon the belief that it is possible to formulate both the position and velocity at one time of any given particle. It followed that knowledge of the position and velocity of a given number of particles would enable the future behavior of the whole collection to be accurately predicted. The principle of Heisenberg is that given the determination of position, its velocity can be stated only as of a certain order of probability, while if its velocity is determined the correlative factor of position can be stated only as of a certain order of probability. Both cannot be determined at once, from which it follows necessarily that the future of the whole collection cannot possibly be foretold except in terms of some order of probability.

The utmost possible regarding an individual is a statement as to some order of probability about the future. Heisenberg's principle has been seized upon as a basis for wild statements to the effect that the doctrine of arbitrary free will and totally uncaused activity are now scientifically substantiated. Its actual force and significance is generalization of the idea that the individual is a temporal career whose future cannot logically be deduced from its past.

Individuality, conceived as a temporal development involves uncertainty, indeterminacy, or contingency. Individuality is the source of whatever is unpredictable in the world.

But the individual butterfly or earthquake remains just the unique existence which it is. We forget in explaining its occurrence that it is only the occurrence that is explained, not the thing itself.