complex concepts achieve an aesthetic synthesis, productive of the occasion as an experience for its own sake. This associated hierarchy is the shape, or pattern, or form, of the occasion in so far as the occasion is constituted of what enters into its full realisation.
Some confusion of thought has been caused by the fact that abstraction from possibility runs in the opposite direction to an abstraction from actuality, so far as degree of abstractness is concerned. For evidently in describing an actual occasion α, we are nearer to the total concrete fact when we describe α by predicating of it some member of its associated hierarchy, which is of a high grade of complexity. We have then said more about α. Thus, with a high grade of complexity we gain in approach to the full concreteness of α, and with a low grade we lose in this approach. Accordingly the simple eternal objects represent the extreme of abstraction from an actual occasion; whereas simple eternal objects represent the minimum of abstraction from the realm of possibility. It will, I think, be found that, when a high degree of abstraction is spoken of, abstraction from the realm of possibility is what is usually meant — in other words, an elaborate logical construction.
So far I have merely been considering an actual occasion on the side of its full concreteness. It is this side of the occasion in virtue of which it is an event in nature. But a natural event, in this sense of the term, is only an abstraction from a complete actual occasion. A complete occasion includes that which in cognitive experience takes the form of memory, anticipation, imagination, and thought. These elements in an experient occasion are also modes of inclusion
