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Updated: May 4, 2025
When we have thus chosen suitable subjects, observation shows from the start sufficiently distinct varieties, different orientations of the imagination depending on intellectual causes, such as the predominance of visual or acoustic or tactile-motor images making for mechanical invention; or dependent on emotional causes, that is, of character, according as the latter is timid, joyous, exuberant, retired, healthy, sickly, etc.
For the painter, on the other hand, images have a very high precision of details, and what he sees beneath the words or in real objects are analyzed facts, positive elements of perception and movement." The rôle of tactile-motor images is not insignificant.
It is even conceivable, if not exactly likely, that certain operators may have learned to think directly, so far as the purely conscious part of the process of thought is concerned, in terms of the tick-auditory symbolism or, if they happen to have a strong natural bent toward motor symbolism, in terms of the correlated tactile-motor symbolism developed in the sending of telegraphic messages.
In order to more fully understand the plastic imagination, let us take up its principal manifestations. First, the arts dealing with form, where its necessity is evident. The sculptor, painter, architect, must have visual and tactile-motor images; it is the material in which their creations are wrapped up.
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