exceptionalism. Auxier argues that one hundred percent of human problems can be solved without violence and that the use of violence never genuinely solves any human problem. Aesthetics Auxier holds that aesthetic feeling is the basis for both meaning and symbol creation. He defends a view of images that draws from Bergson's account in Matter and Memory (1898). The movement of images is prior to the experience of them by localized, temporal centers of action (including human selves). A prehended feeling (or fundamental relation) is responded to by other feeling, each creating a fleeting presentational space that arrests the encounter of images. Through the creation of increasingly deep presentational spaces, images accrue histories of feelings and responses, building intensive histories of achievement. In the higher phases of this process, with intensities within intensities many times embedded in increasingly complex and temporally delicate spaces of presentation, reversions of feeling begin to create leaps between and among spatialized repositories of past feeling. To traverse these spaces, immediate encounters with possibility must be tapped to give form to a relation across primal presentational spaces. The active over-determination of images, their restriction within a unified space, is a condition for these leaps among base images (this is Auxier's interpretation of Cassirer's basis phenomena, joined to a Whiteheadian theory of symbolic reference). The over-determination of an image comes at the cost of “error” in Whitehead's sense of the word, which is the cost of transmuting temporal processes into spatial relations. The process of active thinking in human beings is a process of error by over-determination of images. The formation of symbols from fundamental feeling is the process of determination, but it can be carried out without full conceptualization. Symbols are fundamentally open and infinitely interpretable. Concepts are always erroneous over-determinations of feeling carried out as a condition of conforming the symbols to the requirements of reflection. Symbols are made into signs and signs are the basic units of reflective activity. The creative arrangement of signs follows a kind of reflective intuition (Bergson) or secondary reflection (Gabriel Marcel) that provides a feeling of creative power that is basic to the creation of art. Auxier rejects the idea that genuine art can be created without reflection. The experience of aesthetic space in reflective intuition is also the basis of the human recognition of beauty in nature. The feeling is, as Kant described, one of feeling as if