human interest requires first abstraction from the original, and then animation of what has been abstracted. We cannot be much interested in, or much moved by, the things we do not see. Of public affairs each of us sees very little, and therefore, they remain dull and unappetizing, until somebody, with the makings of an artist, has translated them into a moving picture. Thus the abstraction, imposed upon our knowledge of reality by all the limitations of our access and of our prejudices, is compensated. Not being omnipresent and omniscient we cannot see much of what we have to think and talk about. Being flesh and blood we will not feed on words and names and gray theory. Being artists of a sort we paint pictures, stage dramas and draw cartoons out of the abstractions.
Or, if possible, we find gifted men who can visualize for us. For people are not all endowed to the same degree with the pictorial faculty. Yet one may, I imagine, assert with Bergson that the practical intelligence is most closely adapted to spatial qualities.[1] A "clear" thinker is almost always a good visualizer. But for that same reason, because he is "cinematographic," he is often by that much external and insensitive. For the people who have intuition, which is probably another name for musical or muscular perception, often appreciate the quality of an event and the inwardness of an act far better than the visualizer. They have more understanding when the crucial element is a desire that is never crudely overt, and appears on the surface only in a veiled
- ↑ Creative Evolution, Chs. III, IV.
