The bare character of mere responsive re-enaction con- stituting the original physical feeling in its first phase, is enriched in the second phase by the valuation accruing from integration with the conceptual correlate. In this way, the dipolar character of concrescent experience pro- vides in the physical pole for the objective side of experi- ence, derivative from an external actual world, and provides in the mental pole for the subjective side of experience, derivative from the subjective conceptual valuations correlate to the physical feelings. The mental operations have a double office. They achieve, in the immediate subject, the subjective aim of that subject as to the satisfaction to be obtained from its own initial data. In this way the decision derived from the actual world, which is the efficient cause, is completed by the decision embodied in the subjective aim which is the final cause. Secondly, the physical purposes of a subject by their valuations determine the relative efficiency of the various feelings to enter into the objectifications of that subject in the creative advance beyond itself. In this function, the mental operations determine their subject in its character of an efficient cause. Thus the mental pole is the link whereby the creativity is endowed with the double character of final causation, and efficient causation. The mental pole is constituted by the deci- sions in virtue of which matters of fact enter into the character of the creativity. It has no necessary connec- tion with consciousness; though, where there is origina- tion of intellectual feelings, consciousness does in fact enter into the subjective forms.
The second species of physical purposes is due to the
origination of reversions in the mental pole. It is due
to this second species that vibration and rhythm have a
424 Process and Reality
dominating importance in the physical world. Reversions
are the conceptions which arise by reason of the lure of
contrast, as a condition for intensity of experience. This
lure is expressible as a categoreal condition.
Categoreal Condition VIII. The Category of Subjec-
tive Intensity. The subject aim, whereby there is origi-
nation of conceptual feeling, is intensity of feeling
(a) in the immediate subject, and (8) in the relevant
future.
We first note (i) that intensity of feeling due to any
realized ingression of an eternal object is heightened
when that eternal object is one element in a realized con-
trast between eternal objects, and (11) that two or more
contrasts may be incompatible for joint ingression, or
may jointly enter into a higher contrast.
It follows that balanced complexity is the outcome of
this final category of subjective aim. Here ‘complexity’
means the realization of contrasts, of contrasts of con-
trasts, and so on; and ‘balance’ means the absence of
attenuations due to the elimination of contrasts which
some elements in the pattern would introduce and other
elements inhibit.
Thus there is the urge towards the realization of the maximum number of eternal objects subject to the restraint that they must be under conditions of contrast. But this limitation to ‘conditions of contrast’ is the de- mand for ‘balance.’ For ‘balance’ here means that no realized eternal object shall eliminate potential contrasts between other realized eternal objects. Such eliminations attenuate the intensities of feeling derivable from the ingressions of the various elements of the pattern. Thus so far as the immediate present subject is concerned, the origination of conceptual valuation according to Cate- gory IV is devoted to such a disposition of emphasis as to maximize the integral intensity derivable from the most favourable balance. The subjective aim is the selec- tion of the balance amid the given materials. But one element in the immediate feelings of the concrescent
Higher Phases of Experience 425
subject is comprised of the anticipatory feelings of the transcendent future in its relation to immediate fact. This is the feeling of the objective immortality inherent in the nature of actuality. Such anticipatory feelings involve realization of the relevance of eternal objects as decided in the primordial nature of God. In so far as these feelings in the higher organisms rise to important intensities there are effective feelings of the more remote alternative possibilities. Such feelings are the conceptual feelings which arise in accordance with the Category of Reversion (Category IV).
But there must be ‘balance,’ and ‘balance’ is the ad- justment of identities and diversities for the introduction of contrast with the avoidance of inhibitions by incom- patibilities. Thus this secondary phase, involving the future, introduces reversion and is subject to this final category. Each reverted conceptual feeling had its datum largely identical with that of its correlate primary feeling of the same pole. In this way, readiness for syn- thesis is promoted. But the introduction of contrast is obtained by the differences, or reversions, in some ele- ments of the complex data. The category expresses the rule that what is identical, and what is reverted, are determined by the aim at a favourable balance. The reversion is due to the aim at complexity as one condition for intensity.
When this reverted conceptual feeling acquires a rela- tively high intensity of upward valuation in its subjective form, the resulting integration of physical feeling, pri- mary conceptual feeling, and secondary conceptual feel- ing, produces a more complex physical purpose than in the former case when the reverted conceptual feeling was negligible. There is now the physical feeling as valued by its integration with the primary conceptual feeling, the integration with the contrasted secondary conceptual feeling, the heightening of the scale of subjective intensity by the introduction of conceptual contrast, and the con- centration of this heightened intensity upon the reverted
426 Process and Reality
feeling in virtue of its being the novel factor introducing the contrast. The physical purpose thus provides the creativity with a complex character, which is governed (1) by the category of conceptual reversion, in virtue of which the secondary conceptual feeling arises, (i1) by the category of transmutation, in virtue of which conceptual feeling can be transmitted as physical feeling, (iii) by the category of subjective harmony, in virtue of which the subjective forms of the two conceptual feelings are adjusted to procure the subjective aim, and (iv) by the category of subjective intensity, in virtue of which the aim is determined to the attainment of balanced intensity from feelings integrated in virtue of near-identity, and contrasted in virtue of reversions.
Thus in the successive occasions of an enduring object in which the inheritance is governed by this complex physical purpose, the reverted conceptual feeling is trans- mitted into the next occasion as physical feeling, and the pattern of the original physical feeling now reappears as the datum in the reverted conceptual feeling. Thus along the route of the life-history there is a chain of con- trasts in the physical feelings of the successive occasions. This chain is inherited as a vivid contrast of physical feelings, and in each occasion there is the physical feel- ing with its primary valuation in contrast with the reverted conceptual feeling.
Thus an enduring object gains the enhanced intensity of feeling arising from contrast between inheritance and novel effect, and also gains the enhanced intensity arising from the combined inheritance of its stable rhythmic character throughout its life-history. It has the weight of repetition, the intensity of contrast, and the balance between the two factors of the contrast. In this way the association of endurance with rhythm and physical vibra- tion are to be explained. They arise out of the conditions for intensity and stability. The subjective aim is seeking width with its contrasts, within the unity of a general design. An intense experience is an aesthetic fact, and
Higher Phases of Experience 427
its categoreal conditions are to be generalized from aesthetic laws in particular arts.
The categoreal conditions, appealed to above, can be summarized thus: *
“1. The novel consequent must be graded in relevance
so as to preserve some identity of character with the
ground.
2. The novel consequent must be graded in relevance
so as to preserve some contrast with the ground in respect
to that same identity of character.
These two principles are derived from the doctrine that
an actual fact is a fact of aesthetic experience. All
aesthetic experience is feeling arising out of the realiza-
tion of contrast under identity.”
In the expansion of this account which has been given
here, a third principle has been added, that new forms
enter into positive realizations first as conceptual experi-
ence, and are then transmuted into physical experience.
But conceptual experience does not in itself involve
consciousness; its essence is valuation.
Between physical purposes and the conscious purposes introduced by the intellectual feelings there lie the prop- ositional feelings which have not acquired consciousness in their subjective forms by association with intellectual feelings. Such propositional feelings mark a stage of existence intermediate between the purely physical stage and the stage of conscious intellectual operations. The propositions are lures for feelings, and give to feelings a definiteness of enjoyment and purpose which is absent in the blank evaluation .of physical feeling into physical purpose. In this blank evaluation we have merely the determination of the comparative creative efficacies of the component feelings of actual entities. In a proposi- tional feeling there is the ‘hold up’—or, in its original sense, the epoch—of the valuation of the predicative pat- tern in its relevance to the definite logical subjects which are otherwise felt as definite elements in experience.
*Cf. my Religion in the Making, Ch. III.
428 Process and Reality
There is the arrest of the emotional pattern round this sheer fact as a possibility, with the corresponding gain in distinctness of its relevance to the future. The particular possibility for the transcendent creativity—in the sense of its advance from subject to subject—this particular possibility has been picked out, held up, and clothed with emotion. The stage of existence in which propositional feelings are important, apart from intellectual feelings, may be identified with Bergson’s stage of pure and in- stinctive intuition. There are thus three stages, the stage of pure physical purpose, the stage of pure instinc- tive intuition, and the stage of intellectual feelings. But these stages are not sharply distinguished. There are stages in which there are propositional feelings with every degree of importance or of unimportance; there are stages in which there are intellectual feelings with every degree of importance or of unimportance. Also even in a higher stage, there are whole recesses of feeling which in the final satisfaction acquire merely the characteristics of their own proper stage, physical or propositional.
PART IV THE THEORY OF EXTENSION
Cuarter I. CoorpINATH DIVISION
Ik;
Il. . Points, Regions, Loci; Irrelevance of Dimensions.
Genetic Division is Division of the Concrescence, Coordinate Division is Division of the Concrete; Physical Time Arises in the Coordinate Analysis of the Satisfaction; Genetic Process not the Temporal Succession; Spatial and Temporal Elements in the Extensive Quantum; The Quantum is the Extensive Region; Coordinate Divisibility; Subjective Unity Indivisible; Subjective Forms arise from Subjective Aim; World as a Medium, Extensively Divisible; Indecision as to Selected Quantum.
Coordinate Divisions and Feelings; Mental Pole Incurably
One; Subjective Forms of Coordinate Divisions Depend on
Mental Pole, Inexplicable Otherwise; A Coordinate Division
is a Contrast, A Proposition, False, but Useful Matrix.
Coordinate Division, the World as an Indefinite Multiplicity; Extensive Order, Routes of Transmission; External Exten- sive Relationships, Internal Extensive Division, One Basic Scheme; Pseudo Sub-organisms, Pseudo Super-organisms, Professor de Laguna’s ‘Extensive Connection.’
Extensive Connection is the Systematic Scheme Underlying Transmission of Feelings and Perspective; Regulative Con- ditions; Descartes; Grades of Extensive Conditions, Dimen- sions.
Bifurcation of Nature; Publicity and Privacy.
. Classification of Eternal Objects; Mathematical Forms, Sensa. . Elimination of the Experient Subject, Concrescent Immediacy.
Cuapter IJ. ExTensIvE CONNECTION Extensive Connection, General Description.
. Assumptions, i.e. Postulates, ie. Axioms and Propositions for
a Deductive System. Extensive Abstraction, Geometrical Elements, Points, Segments.
CuHapter III. Frat Locr
ite
TI:
Il.
Ill.
Euclid’s Definition of ‘Straight Line.’
Weakness of Euclidean Definition; Straight Line as Shortest
Distance, Dependence on Measurement; New Definition of
Straight Lines, Ovals.
. Definition of Straight Lines, Flat Loci, Dimensions. . Contiguity. . Recapitulation.
CuaptTer [V. STRAINS
. Definition of a Strain, Feelings involving Flat Loci among the
Forms of Definiteness of their Objective Data; ‘Seat’ of a
Strain; Strains and Physical Behaviour; Electromagnetic
Occasions Involve Strains.
Presentational Immediacy Involves Strains; Withness of the Body, Projection, Focal Region; Transmission of Bodily Strains, Transmutation, Ultimate Percipient, Emphasis; Projection of the Sensa, Causal Efficacy Transmuted in Presentational Immediacy; Massive Simplification; Types of Energy; Hume; Symbolic Transference, Physical Purpose.
Elimination of Irrelevancies, Massive Attention to Systematic
Crder; Design of Contrasts; Importance of Contemporary
Independence; Advantage to Enduring Objects.
. Structural Systems, Discarding Individual Variations; Physi-
cal Matter Involves Strain-loci.
The Various Loci Involved; Causal Past, Causal Future, Con-
temporaries, Durations, Part of a Duration, Future of a
Duration, Presented Duration, Strain-Locus,
CuHaptTer V. MEASUREMENT
Identification of Strain-Loci with Durations only Approximate; Definitions Compared; Seat of Strain, Projectors; Strain- Loci and Presentational Immediacy.