[13] is the expressive function. It expresses the two sides of the encounter of subject and object, of the cultural creativity. For example a painting: it expresses the life power of the encountered reality. For instance, if a tree is painted, the inner life power of this astonishing reality which we call a tree; not astonishing for our daily life, but astonishing for the artistic view, which not only the artist but every human being has sometimes, when he looks at the greatness and the miraculous character of a tree. This is expressed in a great painting. It is different from the cognitive perception, which describes scientifically the relations this tree has to its own causes, to its surroundings, to its effects, etc. It sees something else, it sees the power-of-being in a tree, and therefore it doesn’t need to be naturalistic or photographical: it EXPRESSES. And therefore in some way all great art is "expressionistic," although this word has been used for a special style. On the other hand the other side of expression is the way in which the artistic mind RECEIVES this life power. And not everybody receives this in the same way. Nobody does. And all the great artistic styles and their individual representatives express their reception of the life power of reality in a different way, according to their special style. We can make this duality of expression (expressing the object--its life power; and expressing the subject--its receptive power) in dividing the arts. Perhaps of all the arts the visual arts express most adequately the life power of things, while music expresses ALSO life power, but more predominantly the subjective element. But there is no alternative-- either subjective or objective--both are always present, but the emphasis is always different. Artistic, aesthetic elements^a--elements of expressive power--are present in all other functions, IN all language. Therefore the early language is often at least as poetic, as scientific, and as technical. It has all three elements in itself. And even the creation of GOOD tools is an artistic creation besides being a technical one. So these three functions permeate each other. And this is especially true of the historical vision of reality and the philosophical perception of it. Every historian is in some way an artist, and a philosopher without artistic intuition is not a philosopher--a craftsman perhaps, but not more than this. On the other hand--and this is an important statement which is much discussed--, there are cognitive elements in every artistic creation. Artistic creations reveal levels of reality. Take a novel: the classical novels, e.g., Dostoievsky, have revealed more of the psychological nature than perhaps any academic psychologist ever did. It is interesting to see how today