To the extent that one fails to take seriously Hartshorne's particular understanding of experience
as creative synthesis or his demand that one constantly confront the question of God, one can not do justice to his ethical system.
His understanding of all reality
as creative synthesis demands a multiplicity of truly free entities.
One can not do justice to Charles Hartshorne's ethical system without taking seriously his particular understanding of experience
as creative synthesis and his demand that one constantly confront the question of God.
The mathematical procedure, as distinct from the content of Principia Mathematica, provides an interesting insight into the workings of Whitehead's thought
as creative synthesis.
Not exact matches
In the preface to
Creative Synthesis and Philosophic Method, Hartshorne celebrates «our English inheritance of critical caution and concern for clarity»; he seeks to learn more from Leibniz, «the most lucid metaphysician in the early modern period,»
as well
as from Bergson, Peirce, James, Dewey, and Whitehead, «five philosophers of process of great genius and immense knowledge of the intellectual and spiritual resources of this century.
The claim that «necessarily,
creative experience occurs» presupposes
as necessary all the statements which describe what
creative synthesis is.
In such books
as Beyond Humanism, Man's Vision of God, A Natural Theology for Our Time,
Creative Synthesis and Philosophic Method, and The Logic of Perfection, Hartshorne has been indefatigable in the presentation of this «di - polar» position.
We have already noted the conflict which runs through most of Christian thought between the biblical vision of God
as the
creative and redemptive actor in the history of his creation, and the metaphysical doctrine inherited from the
synthesis of the Christian faith with neo-platonic philosophy which conceives God
as the impassible, non-temporal absolute.
In his review article of Hartshorne's
Creative Synthesis and Philosophic Method (PS 2:49 - 67), Robert Neville remarks that «one of Hartshorne's most important contributions» has been his concern to deal «with problems
as formulated by public discussion, usually that of analytical philosophers.»
The agreement between black power and neoclassical philosophies can, therefore, be symbolized by transforming the black power slogan — «Power to the People» — into a more neoclassical formulation —
Creative Synthesis to the People; and, conversely, the philosophy of creative synthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower the
Creative Synthesis to the People; and, conversely, the philosophy of creative synthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower th
Synthesis to the People; and, conversely, the philosophy of
creative synthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower the
creative synthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower th
synthesis may be understood
as a metaphysical affirmation of the social ethical imperative to empower the people.
For Hartshorne, to be actual at all is to be an instance of
creative synthesis, and this means to have power to be partially determinative of self and others,
as well
as to have the capacity to be partly determined by other selves.
New
creative energies are released in one's life and relationships
as synthesis occurs around this spiritual center.
Wieman variously referred to God with such terms
as Growth,
Creative Synthesis, Creativity,
Creative Event and
Creative Interchange, for much the same reasons
as Kaplan.
Someday we may be able to write a history of twentieth - century theology in the United States in which the many
creative strands of Christian thinking during the period are displayed
as shared sources for the emerging
synthesis.
In Hartshorne's earlier discussions (
Creative Synthesis 271 - 72 and «Metaphysical and Empirical» 183), the zeros were interpreted
as nonexistence (cf. Viney, «The Varieties of Theism» 212 - 13).
«God
as Composer - Director and Enjoyer, and in a Sense Player, of the Cosmic Drama» dates to 1987; the six arguments of
Creative Synthesis are mentioned and two are summarized.
Thus we hold that
creative synthesis,
as such, is then not subject to localization, and thus without contradicting the current laws of physics God is free to participate in the
creative process across the entire universe, because God's contact with the world is not mediated by scientific abstraction and is therefore not subject to the restrictions of a local, postprojective theory.
Old structures of existence must give way in
creative synthesis to new ones, because,
as alive, we experience novelty in the actual world.
Process
As an Accumulating of Feelings or
Creative Syntheses, Represented along with Charles Peirce's Three Metaphysical Categones
As Modes of Time
Thus the
creative advance, taken
as a
synthesis between the «old» and the «new,» must first of all be envisioned «conceptually» if,
as a consequence of this mediation, it is to be realized «physically.»
Walker concludes that black power can be seen
as part of a
creative synthesis that operates within the whole social process to transform the reality of ethnic suffering and free the oppressed from bondage.
These are based on critical,
creative and conceptual thinking,
as well
as the top two levels of Bloom's Taxonomy —
synthesis and evaluation.
In this approach pedagogy is flipped so that the skills, processes and understanding of the
creative or artistic inquiry become the teaching focus, emphasising such things
as creativity, imagination, critical analysis, empathy, experimentation,
synthesis, and voice.
The new model is a
synthesis of style,
creative flair, passion and cutting - edge technology, characteristics for which Italy
as a nation is well - known.
Research is a
creative endeavor; custom term papers writing
as well
as custom research papers writing present a
synthesis of what the investigator has read, observed, though, and mentally ordered into new patterns rather than a mere compilation of other men's work.
Having experience with sound design and audio post-production through various projects for companies including Cedar Fair, 3D Live, and Comhear,
as well
as teaching advanced
synthesis and sound design classes at the Art Institute of California, Daniel has been able to not only hone his skills but develop new
creative tools to assist him in his artistic endeavors.
It's
as if the mineral quality of the paint, the pigment, has been carefully weighed and allotted to each area, and could be accounted for, tabulated,
as a mineral just
as much
as it could be considered a form or even part of a representation... Just
as the picture balances paint's physicality with its depictive utility, it achieves a
synthesis between seemingly opposed ideas of
creative work: it attracts without beckoning; it presents a woman who turns to us but does not need our presence for her self - definition, who is naked but not sexualized, and for whom
creative expression comes through a medium of repetitive work.»