There is some further reason why the æsthetic sense impressions are those which are genetically most recent, in imagination the most capable of clear and persistent revival, pertaining mainly to the distance receptors, informing us of objects which may be socially shared, and capable of systematic and organized description. It seems that this reason is simply that the main thing about an æsthetic presentation, arrangement, or composition is, after all, its intellectual content, its “message.” The artist desires, above all, to eliminate our own immediate and instinctive reactions to his materials. In so far as he is an artist, he is not satisfied with presenting to us a pleasing array of sense materials. His main concern is in communicating to his observers some situation, some theme, some state of affairs, some meaning, some purely relational fact. Such emotions as are stirred in us he does not wish to come from his mere materials, but from his own manipulation of them, from the form or pattern which he gives them, from the meaning which he thereby conveys to us. The true artist, in other words, is neither a chemist, nor an athlete, nor a technician of any sort whatsoever, but a philosopher. Stout makes a similar comment when he says: “The distinction between what we call the higher and lower senses rests on this contrast between the intrinsic impressiveness of sensations and their value for perceptual consciousness.... The relatively higher senses deserve this title in proportion as they are more delicately discriminative and more capable of being combined in successive and simultaneous groups and series, while preserving their distinctive differences. On the other hand, each several sensation is proportionately less important through its own intensity and pleasant or painful character. Any direct effect produced by its own intrinsic intensity and affective tone would interfere with its value as a vehicle of meaning—as an indication of something beyond its own existence. Thus, as perceptual consciousness becomes relatively more prominent and important, sensation is more delicately differentiated, more definitely restricted, less intense, and less strongly toned in the way of pleasure and pain.”