Since language represents the physical conditions that have been subjected to the maximum transformation in the interests of social life — physical things which have lost their original quality in becoming social tools — it is appropriate that language should play a large part compared with other appliances.

our daily associations cannot be trusted to make clear to the young the part played in our activities by remote physical energies, and by invisible structures. Hence a special mode of social intercourse is instituted, the school, to care for such matters.

If the eye is constantly greeted by harmonious objects, having elegance of form and color, a standard of taste naturally grows up. The effect of a tawdry, unarranged, and over-decorated environment works for the deterioration of taste, just as meager and barren surroundings starve out the desire for beauty. Against such odds, conscious teaching can hardly do more than convey second-hand information as to what others think. Such taste never becomes spontaneous and personally engrained, but remains a labored reminder of what those think to whom one has been taught to look up.

Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.

The artist in realizing his own individuality reveals potentialities hitherto unrealized. The revelation is the inspiration of other individuals to make the potentialities real, for it is not sheer revolt against things as they are which stirs human endeavor to its depth, but vision of what might be and is not. Subordination of the artists to any special cause no matter how worthy does violence not only to the artist but to the living source of a new and better future.

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To regiment artists, to make them servants of some particular cause does violence to the very springs of artistic creation. But it does more than that. It betrays the very cause of a better future it would serve, for in its subjugation of the individuality of the artist it annihilates the source of that which is genuinely new. Where the regimentation is successful, it would cause the future to be but a rearrangement of the past.

The other conclusion is that art is the complement of science. Science as I have said is concerned wholly with relations, not with individuals. Art, on the other hand, is not only the disclosure of the individuality of the artist but also a manifestation of individuality as creative of the future, in an unprecedented response to conditions as they were in the past. Some artists in their vision of what might be, but is not, have been conscious rebels. But conscious protest and revolt is not the form which the labor of the artist in creation of the future must necessarily take. Discontent with things as they are is normally the expression of the vision of what may be and is not, art in being the manifestation of individuality is this prophetic vision.

The ground of democratic ideas and practices is faith in the potentialities of individuals, faith in the capacity for positive developments if proper conditions are provided. The weakness of the philosophy originally advanced to justify the democratic movement was that it took individuality to be something given ready-made, that is, in abstraction from time, instead of as a power to develop.

Freedom of thought and of expression are not mere rights to be claimed. They have their roots deep in the existence of individuals as developing careers in time. Their denial and abrogation is an abdication of individuality and a virtual rejection of time as opportunity.

Surrender of individuality by the many to someone who is taken to be a superindividual explains the retrograde movement of society. Dictatorships and totalitarian states, and belief in the inevitability of this or that result coming to pass are, strange as it may sound, ways of denying the reality of time and the creativeness of the individual.

Genuine time, if it exists as anything else except the measure of motions in space, is all one with the existence of individuals as individuals, with the creative, with the occurrence of unpredictable novelties. Everything that can be said contrary to this conclusion is but a reminder that an individual may lose his individuality, for individuals become imprisoned in routine and fall to the level of mechanisms. Genuine time then ceases to be an integral element of their being. Our behavior becomes predictable, because it is but an external rearrangement of what went before.

The mystery is that the world is at it is -- a mystery that is the source of all joy and all sorrow, of all hope and fear, and the source of development both creative and degenerative. The contingency of all into which time enters is the source of pathos, comedy, and tragedy.

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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.