Sentences with phrase «as a novelty for»

It's like the majority of anime based games, which are created as a novelty for fans more so than standalone projects.

The short answer is that the book industry, like all publishing industries, has been slow to embrace change: While ebooks now comprise 30 percent of book sales, per the Book Industry Study Group's most recent report, they were long seen as a novelty for early adopters.

As a novelty for eco lodges, the Amazon Villa offers a little luxury in the Amazon Rainforest.

As a novelty for rainforest lodges, the Cristalino Lodge has a floating deck you can enjoy with rocking chairs, hammocks, parasols, and tables.

ACHIEVEMENTS • Won the Biggest Cake Competition in 2009 by being part of a team of pastry chefs who baked a 72 lb chocolate cake • Introduced a creamy flaky pastry as a novelty for Hyatt patrons

Not exact matches

Despite its small footprint, Eatsa has garnered outsized buzz for the novelty of how its restaurants sell and deliver customers their food: Diners place their orders and pay on iPads, then pick up their meal in cubbyholes with doors doubling as digital screens displaying order numbers.

They see themselves as old - fashioned and neighborly and have little need for novelty, adventure, style or material goods.

She described compiling a list of round objects — from watermelons to beach balls to basketballs — to paint on her pregnant belly for a series of novelty photos to present to her husband as a gift.

As chains like Red Robin compete for ever - dwindling market share and sales, novelty and higher - margin items like boozy milkshakes might be what sets one chain apart from another.

Entrepreneur magazine reports a rising interest in luxury or novelty products for men, such as bacon - flavored toothpicks and men's shapewear.

Originally crowd funding was a bit of a novelty for funding a business, but this Forbes article states it will pass venture capital as a way to finance a business.

Too many businesses are guilty of using hashtags as a novelty — whether by using a trending hashtag for irrelevant purposes, or overusing to the point of exhaustion.

What started as a novelty has become the norm, with a vast number of ICOs now earmarking a portion of their tokens for free distribution.

Augmented reality has for too long been dismissed as a gimmick in the marketing industry, a novelty worth trialling but not something to include as part...

On the contrary, given the presumption of a collective agency for the cell as a unified field of activity, it makes excellent sense to account for the stability of the field in terms of societies of inanimate actual occasions with their ongoing transmission of fixed patterns and for the vitality of the field in terms of the nexus of living occasions with their higher degree of novelty and originality.

To pick out just three: that which Deleuze theorizes as «the virtual» bears a certain similarity to Whiteheadian pure potentiality; likewise, the elements of the virtual, namely, what Deleuze calls «Ideas,» play a role comparable to that attributed to eternal objects; finally, the factor in the Deleuzean system which corresponds most closely to Whitehead's notion of creativity — that ultimate principle by which the production of novelty is to be thought — goes, for Deleuze, under the name of «productive difference,» or «Difference in itself?»

As such, in the Deleuzean chaosmos, many factors (many features of God and of his various roles, both traditional and Whiteheadian) putatively necessary for the production of novelty are eliminated.

He wishes to associate novelty with men in history and stability with natural beauty, yet he never indicates how the latter can be without content and still serve as a model for society.

Necessarily unintelligible insofar as the very conditions for the production of novelty (viz. disjunctive syntheses of incompossibles) entail that intensive (potential) differences will always already be cancelled within the novel extensities and qualities in which they are actualized --(through the conjunctive syntheses of compossibles; in Whitehead's terms: through a demand for «balanced complexity» — the integration of incompatibilities into realizable contrasts, cf. PR 278).

But if, as Deleuze insists, that factor he calls «difference in itself» creates the requisite conditions for novelty, then the disjunction involved will be a genuinely affirmative synthesis within which «divergence is no longer a principle of exclusion, and disjunction no longer a means of separation.

Needless to say, as we have seen previously, the capacity for novelty is minimal, even negligible, in many actualities, thus, presumably, their responses are more in accord with the divine call than those of more complex creatures; the greater the degree of complexity, the greater the capacity to misuse freedom and refuse or diverge from God's call.

In the liturgy as well as in other departments of the Church's life there are regrettable excrescences and an arbitrary desire for novelties which must be repressed courageously and charitably.

Heidegger seems to me obviously correct in regarding modernity's nihilism as the fruition of seeds sown in pagan soil; and Nietzsche also correct to call attention to Christianity's shocking — and, for the antique order of noble values, irreparably catastrophic — novelty; but neither grasped why he was correct.

If there be any divine warrant for a church (in this day), there is a divine warrant for a Creed, as a test of union, a bond of fellowship, a fence against error, and a shield against that spirit of restless inspiration, which esteems every novelty an improvement....

The wise grammarian, then, accepts verbal novelties that are useful, such as a coinage for a new phenomenon (Gwynne wouldn't object to selfie).

As Rorty has put it more recently, «whatever good the ideas of «objectivity» and transcendence» have done for our culture can be attained equally well by the idea of a community which strives after both intersubjective agreement and novelty — a democratic, progressive, pluralist community of the sort of which Dewey dreamt» (ORT 13).

Habitual patterns of response, such as getting dressed, riding a bicycle, using a typewriter, so painfully and self - consciously learned at the time, become quite unconscious.37 A centralized nervous system or its close analogue may be the necessary basis for consciousness, but consciousness itself is the inner concomitant of the presence of some novelty which has not yet faded into the background through incessant repetition.

5 This is a remarkable anticipation of Whitehead's view in Process and Reality that God's primordial ordering of the world's possibilities (the eternal objects) is the ultimate source of novelty in an emergent universe, except that Thornton understands these possibilities to be everlasting rather than timeless.6 This reification of what for Whitehead is purely possible, needing concrete embodiment in the actual world, leads Thornton to conceive of the eternal order as absolutely actual in its unchangeableness, identical with God.

As we then said, such moments have their «importance» in that they illuminate what has gone before, are in themselves a kind of concentration of what is actually present, and provide new opportunities and possibilities both for understanding (which is the «subjective» side) and for that emergence of novelty in concrete experience (which guarantees «objectivity») which is the occasion for further creative advance as the process continues on its waAs we then said, such moments have their «importance» in that they illuminate what has gone before, are in themselves a kind of concentration of what is actually present, and provide new opportunities and possibilities both for understanding (which is the «subjective» side) and for that emergence of novelty in concrete experience (which guarantees «objectivity») which is the occasion for further creative advance as the process continues on its waas the process continues on its way.

Change, to keep the church alive in the 21st century (in the UK at least where churchgoing is about as normal as ferret juggling) needs to be far, far more radical than that, and based on an assessment of what real people's real needs are, rather than a thirst for novelty.

Vast numbers of people think that the fact of a relatively settled order of nature, along with the scientific interpretation of change and the description of the inner dynamics of human personality (and much else as well), has ruled out once and for all genuine novelty and made change nothing more than the reshuffling of bits of matter - in - motion.

Yet, for process thinkers, an important value, the virtue of creativity, is the zest for novelty and adventure — characteristics of life itself, particularly in the more complex forms, such as animals with central nervous systems.

Adventure, in the technical meaning given to it by process thought, is the search for ever more intense versions of ordered novelty.15 The theme of the cosmos as adventure now lies at the center of scientific thought.

The primary characteristics of any self - creative beings — and we must suppose that this holds pre-eminently for human beings — are freedom, transience, and novel purpose... The denial of rationality as the primary character of experience involves the denial of principles as external sources of order and thus entails the consequence that each aesthetic event will constitute its own source of order and novelty.

As to the question «what» it is evident that for Whitehead the whole burden of the answer rests upon the notion of creativity, in both of its «functions,» namely, as principle of unification and as principle of novelty The basic feature of reality is its creativity, and that creativity is always a particular way of bringing together the given multiplicity The way this is done explains why these actualities are the way they arAs to the question «what» it is evident that for Whitehead the whole burden of the answer rests upon the notion of creativity, in both of its «functions,» namely, as principle of unification and as principle of novelty The basic feature of reality is its creativity, and that creativity is always a particular way of bringing together the given multiplicity The way this is done explains why these actualities are the way they aras principle of unification and as principle of novelty The basic feature of reality is its creativity, and that creativity is always a particular way of bringing together the given multiplicity The way this is done explains why these actualities are the way they aras principle of novelty The basic feature of reality is its creativity, and that creativity is always a particular way of bringing together the given multiplicity The way this is done explains why these actualities are the way they are.

But in this case I believe that Whitehead is correct in stressing the need for endurance as well as novelty, order as well as spontaneity, partial determination from the past together with free creativity in the present, as essential for value - intensity.

Novelty, freedom, spontaneity are secondary vis - à - vis ongoingness: there has to be novel concrescence in order for there to be freedom, spontaneity or novelty What has to be explained is becoming, which for Whitehead means: «the creative advance of nature» (as he puts it in the earlier works), or «the creative advance into novelty» (as he puts it latNovelty, freedom, spontaneity are secondary vis - à - vis ongoingness: there has to be novel concrescence in order for there to be freedom, spontaneity or novelty What has to be explained is becoming, which for Whitehead means: «the creative advance of nature» (as he puts it in the earlier works), or «the creative advance into novelty» (as he puts it latnovelty What has to be explained is becoming, which for Whitehead means: «the creative advance of nature» (as he puts it in the earlier works), or «the creative advance into novelty» (as he puts it latnovelty» (as he puts it later on).

(Recall our Whiteheadian definition of adventure as the quest for more and more intense versions of ordered novelty.)

For the emergence of new forms not only requires the «mental pole» as the «organ of novelty.»

Nonetheless, although novelty is a necessary condition to achieve value, it can also produce evil should it introduce a chaos that can not be creatively formed into a higher order, for as Whitehead did clearly state: «The novelty may promote or destroy order; it may be good or bad» (PR 284).

It is a necessary response if civilized society is to remain civilized, for, as Whitehead suggests, freedom to tolerate novelty «haunts the higher civilizations» (AI 280).

For example, we need stability, but also creativity; order as well as novelty, permanence balanced by change, endurance as well as life.

For the principle of order to which we have alluded is also understood here as the ultimate source of novelty.

For the most part the experiential occasions (such as those in the inorganic world) are only minimally affected by the reservoir of novelty.

The best way forward, it seems to me, is to ask whether there is a way of presenting the metaphysical argument for a principle of cosmic order in such a way as simultaneously to satisfy our legitimate requirements for novelty and adventure.

They insist that while God is partly responsible for much of what we call evil (meaning, I assume, that the reality of a persuasive God as source of novelty is a necessary condition of the world's creative advance), this does not mean that God is morally indictable.

The novelty of the international human rights regime - as it was established after 1945 - was the articulation of the age old struggle for the recognition of human dignity into a catalog of legal rights.

For in understanding God as the source of novelty we have apparently made God responsible for the fact of evFor in understanding God as the source of novelty we have apparently made God responsible for the fact of evfor the fact of evil.

But such congruity is possible only if this principle of order is at the same time understood as a constant source of novelty as well.5 For it is in the influx of novelty into our universe that those deviations from order, regularity and tranquillity that we loosely refer to as «chance» occurrences take place.

They do not see it as a fixed entity, already made and finished; for them the creation is a directed movement in which novelty occurs, in which the unexpected may and indeed often does happen, and in which great ends are in process of achievement.