Sentences with phrase «creative evolution bergson»

I follow all these artists on Instagram and love seeing their creative evolution.

It's the preview of Salle's solo exhibition and he is due to present a talk on his works, which in this exhibition ranges from his signature large - scale compositions to smaller canvases, the latter of which represents his most recent creative evolution.

Revelation: Major Paintings by Jules Olitski at American University Museum walks the viewer through Olitski's creative evolution as an abstract artist, demonstrating the breadth of his experiments in light, color, texture, application and technique.

Unlike most private collections, it includes extensive groupings of seminal pieces by these 20th - century masters and traces their creative evolution through entire bodies of work.

The exhibition offers a representative survey of Pollock's figurative oeuvre, tracing his creative evolution from the mid-1930s to his early death in an accident in 1956.

Her love of the place, the people and their sheep have steered her creative evolution to the fascination with felting (creating a nonwoven fabric with the fibers of wool and silk by combining water, soap and agitation), and she has traveled the world to learn the art of felting.

[40] Also important in Bergson's philosophy was the idea of élan vital, the life force, which «brings about the creative evolution of everything.»

Guy Yanai «s 2015 work highlights his creative evolution and newfound confidence as an artist.

Revelation: Major Paintings by Jules Olitski at American University Museum walks the viewer through Olitski's creative evolution as an abstract artist, -LSB-.....]

Emerging from the city's famous laneways, Melbourne street art takes the next step in its creative evolution with the launch of a new art covered precinct — bringing a series of giant mural works to a long - forgotten pocket of the CBD.

González has taken the next step in his creative evolution by returning to the folksy roots of his early career while also building off of the rhythmic ventures of Junip.

Fred Pearce celebrates the optimistic view of ecologist Chris Thomas that we are entering a new age of creative evolution...

Creative Evolution, trans.

He enunciated more clearly than anyone how creative evolution of living organisms can not be understood if the elements composing them are conceived as individual entities that maintain exactly their identity throughout all the changes and interactions, as is the case with the parts of a machine.

The fourth is some form of creative evolution.

In Creative Evolution (1907), he refers to the «mutual penetration» of parts (CE 281).

This structure may be more central than such amorphous phrases as Whitehead's «creative advance» (PR 28/42), Bergson's «creative evolution,» or Samuel Alexander's «restlessness» of spatio - temporal «configuration» and reconfiguration» (PR 28/43).

In Creative Evolution he gives a more thorough analysis of the historical factors leading to Kantian relativism and the misunderstandings they involve.

Creative Evolution is an extrapolation of the mind - matter duality of Matter and Memory.

An Introduction to Metaphysics precedes Creative Evolution by four years.

This comes out clearly in both Time and Free Will and Creative Evolution where he says that to be a determinist is to hold, with Spinoza, that the future is logically contained in the present.

And Paul Weiss in his Nature and Man, a book strikingly like Bergson's Creative Evolution in the territory it covers and the positions it takes, introduces us early to the Bergsonian theory: «Things come to be.

The theory of differing breadths of duration, capable of extending over each other, and the notion of matter «which results from it, are further developed in Creative Evolution through reflections on thermodynamics.

Henri Bergson, Creative Evolution, auth.

I hope also, it will, by shedding further light on the place of mathematics in Bergson's universe, allow us to make sense of the otherwise murky «vitalism» of Creative Evolution, and of the possible heuristic value of Bergson's approach to biology.

The theory of matter developed in Creative Evolution is an exact inverse of the theory of life developed there.

That these concepts are present in Creative Evolution is a fact easily overlooked.

The theories of Creative Evolution thus become more comprehensible if viewed through the lenses of chronobiology.

Thus there appeared the philosophy of creative evolution, whose leading protagonist was Henri Bergson, a French biologist who had turned to philosophical writing.

The «proportionality» between consciousness and the durations of matter outlined in Matter and Memory is thus retained in Creative Evolution.

Bergson has a general concept of what he calls creative evolution.

Because of this creative evolution, to a real degree it is not possible to predict the future qualitatively, although there is certainly causation which can be discovered after the fact.

These references suggest Whitehead's familiarity with Creative Evolution and Bergson's other works, to be sure, but the ideas are not utilized in any sense remotely resembling an evolutionary cosmology, or suggesting any real influence of Bergson's own variation of «emergent» evolution (cf. PR xii / vii, 33 / 49, 82 / 126, 107 / 163, 114 / 174, 209 / 319, 220 / 336, 280 / 428, 321 / 489).

I should add that if I am off the mark in suggesting such common ground, then I recommend that Peirce's account brings into focus more sharply what the central tension must be in any metaphysics of creative evolution.

Science has given mankind an opportunity «to control and direct our future, our creative evolution....

According to Creative Evolution, the nervous system in higher organisms necessitates its support systems.

Peirce seems to believe this, too, since he views agape as spreading among the creatures who participate in creative evolution, and he speaks of the genius as one who acts agapastically as an individual rather than as a community.

Our objective is to reconstruct and explain the necessary conditions of individual free acts treated by Bergson, particularly in Matter and Memory and Creative Evolution.

I have tried to emphasize the reason agape is both relevant and essential in an account of creative evolution at the level of both the cosmic and the finite.

Hausman believes that Peirce's insight is restricted in the role of eros and agape in creative evolution, but he also suggests the fruitfulness of his insight.

Meland traces the growing influence of Whitehead's philosophy on the images of thought both in modernism as stimulated by Darwinian evolution, and changes in the post-Darwinian era ushered in by the creative evolution movement in physics.

Especially important were Henry Bergson, Creative Evolution (1907); Samuel Alexander, Space, Time and Deity (1920); C. Lloyd Morgan, Emergent Evolution (1923), Life, Mind and Spirit (1926]; Jan C. Smuts, Holism and Evolution (1926).

For Bergson, like many process thinkers (Peirce, James and Dewey come particularly to mind), the entire concept of «necessity» only makes sense when applied internally to abstractions the intellect has already devised.11 Of course, one can tell an evolutionary story about how the human intellect came to be a separable function of consciousness that emphasizes abstraction (indeed, that is what Bergson does in Creative Evolution), but if one were to say that the course of development described in that story had to occur (i.e., necessarily) as it did, then one would be very far from Bergson's view (CE 218, 236, 270).

See for example Creative Evolution, 40, where Bergson twice affirms that he intends to incorporate finalism into his view.

Life in its entirety, regarded as a creative evolution, is something analogous; it transcends finality, if we understand by finality the realization of an idea conceived or conceivable in advance.

Thus, in Creative Evolution Bergson develops a theory already proposed in Mailer and Memory; namely, that matter is (a term proposed by William James) «extensive.»

Without intelligence, it would have remained in the form of instinct...» (Creative Evolution, 178).

No one who has actually read Creative Evolution would say this, except perhaps Bertrand Russell, who was too literal minded to grasp the book at all.

Bergson, Creative Evolution, 201.

False propositions introduce novelty; they are central to creative emergence; they are the ransom for «creative evolution.»