Sentences with phrase «creative acts as»

they say necessity is the mother of invention, but I think boredom can spur some fabulous creative acts as well.

To what extent is the conception of a «dipolar God» an interim solution on the way towards a more adequate understanding of God's creative act as noncoercive, empowering, praxis?

His particular relevance to each creative act as it arises from its own conditioned standpoint in the world, constitutes him the initial «object of desire» establishing the initial phase of each subjective aim.»

Apart from the biblical obsessions, Aronofsky here again restages the creative act as trauma, down to the sadistic consumption of a muse figure.

Titled «Ubiquity,» the exhibition frames the creative act as a phenomenon that exists in an eternal now, as if a work of art is always beginning, always in process and always completing.

By disrupting the mundanity of daily existence he promotes the creative act as an integral and dynamic part of 21st century life.

Not exact matches

By bringing together people of different backgrounds, you gain the ability to escape a single group's echo chamber and avoid errors caused by groupthink; the power to act as a connector or translator between different circles; and the immense creative potential of combining ideas from different fields.

«In other words, whoever committed this act was trying to be «creative» and based it off the old, incorrect and often - taken - as - fact fairy tale of underworld cement shoes.»

Such platforms act as open forums for employees to post and write about their business ideas and creative musings.

Unfortunately, we often view the act of being intentionally creative as frivolous since we may not see instant results.

It's an act that should be as close to automatic as you can make it — until creative work becomes a necessary part of the equation.

Instead of viewing creation as a one - time act in the beginning, one could focus on the ongoing creative work of God.

We do not think of His acting as an occasional intervention coming from the outside, but rather as the transcendent creative activity of God who alone makes it possible for our world to «hold together» and to rise, in accordance with His plan, step by step higher, so that really new things appear in it and finally man appears in it.

He lays great emphasis on the decisiveness and uniqueness of both, as divine acts which are Creative in themselves.

Holloway considers this point quite directly and says that before the Fall, a couple would have had sexual intercourse as «an act of religion [by its reference to God] as well as an act of love [by its desire to share in God's creative work]».

In what sense do we regard the Cross as an act creative in itself, as an opus operatum whose agent in the loneliness of his total rejection achieved something new, radically affected the scheme of things entire, established in respect of the relations of men and women to God a new foundation?

It is never taught as the physical background to newer and wider interpretations of the creative act of God, and of the implications of theology.

He says that any event can become a special act of God «insofar as it is received by someone as a symbol of God's creative and redemptive action.

As lover of the world, God treasures the outcome of each creative act.

On the other hand, Jesus» ascent through the resurrection and new immortal life truly re-enacts the miracle of the primordial act of the actualization of existents in a sort of «upward» or «backward» sense — that is just as creative aspect of Jesus who brought humanity into being through «the Spirit or the Thought», the word kun — out of the recesses of the darkness of non-being [SN], his return through resurrection, potentially leads humanity back to the state of uns in him.

One way to reconcile the difficulty is to allow that persons act through influencing the self - creation of actual occasions, to allow that a person is grounded in an astronomically large number of occasions as objectified in comparison to the single occasion on the cutting edge of the creative advance through which a person lives, endures, acts.

Evolutionary theory seems to think of the creative process as a prolonged, impersonal lottery rather than the «mighty act» of an omnipotent God.

In the first place, he acts as a free agent, fulfilling his unique purposes as a creative self.

It suggests that the latter should more properly be called «special - creationism», for what it really teaches is that every life - form is made by a special act of creation, and it counsels Christians not «to present God's creative design as if he were granddad in the potting shed with components on a shelf, a workbench and a pencil behind his ear!»

In either case, the arrival of man — as distinguished from merely his carcass — necessarily involved a creative act and a power outside the realm of material nature where scientific knowledge is sovereign.

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.

This response was continuous, although the resurrection marked the crisis in its development — the moment when loyalty to the person reached its climax and when faith in the meaning of the event as an act of God became for the first time clear and sure — but at every stage this response was a constituent and creative element in the event itself, and the event had not fully happened until this response of faith had been fully made.

To think of God as acting in dynamic relation to His creatures not merely as one actor among many, but as the universal creative power which sustains all things, and without which they could neither be nor act, is true to what our best knowledge of the world tells us.

creation, as the CCC describes it, the angels were to have much more than a supervisory role, and that when some of them fell he did not remove their power to influence the evolutionary or transformative creative process, anymore than when we act badly he removes our power to affect the historical process.

My question is this: Is our gospel accompanied with just as gratuitous, generous, creative and beautiful acts as Mary's?

For Man, by the act of «noospherically» concentrating himself upon himself, not only becomes reflectively aware of the ontological current on which he is borne, but also gains control of certain of the springs of energy which dictate this advance: above all, collective springs, in so far as he consciously realizes the value, biological efficiency and creative nature of social organization; but also individual springs m as much as, through the collective work of science, he feels himself to be on the verge of acquiring the power of physicochemical control of the operations of heredity and morphogenesis in the depths of his own being.

Here, too, consciousness functioned as conformation to the given as much as, or more than, as a constructive agent, for reasoning was discovery of what was there in the forms rather than a creative act.

There is certainly no room in this modern world view for a unique eschatological act as distinct from that creative action which may be considered to be present in everything.

The enhancement of the divine life in its consequent aspect has opened up new possibilities of relationship with the creation and has also provided new material through which God may act upon creative potentiality, thus bringing to pass that emergence of novelty which is so genuine an element in our experience and (as our observation informs us) of the world at large.

To hear in it a call is to accept the creative tension between what is and what might yet be, between the life we live as human beings in this world and the life to which Jesus summons us — without supposing that it is possible to resolve the tension in a single act or single moment.

Resurrection is the entry into a new moral order that is constituted as a terrestrial reality by the creative act of God, and therefore it is something that happens to individual human beings.

Every decision is a response to a lure or solicitation; that is how God effectively «acts» in a creative process from which he is nowhere absent, by permitting things to «make themselves» as decisions are undertaken that «decide» the degree and kind of actualization that will occur.

We do not deny or circumscribe the Creator, because we hold he has created the self - acting originating human mind, which has almost a creative gift; much less then do we deny or circumscribe His power, if we hold that He gave matter such laws as by their blind instrumentality moulded and constructed through innumerable ages the world as we see it... Mr Darwin's theory need not then be atheistical, be it true or not; it may simply be suggesting a larger idea of Divine Prescience and Skill... At first sight I do not see that «the accidental evolution or organic beings» is inconsistent with divine design - It is accidental to us, not to God.»

In harmony with his general philosophical principles Humboldt regards language, the single word as well as connected speech, as an act, «a truly creative act of the mind.»

His infinity explains the infinity in created individuals insofar as His creative act makes everything.

It is the essence of God to move the world toward new possibilities, and his being is «complete» only as an infinite series of creative acts, each of which enriches, modifies, and shapes the whole society of being.

Interpretation and listening, as well as formation, are creative acts of construal.

Thus in the final analysis we must assent to an ultimate triunity of principles defining the divine life: the divine creative act nontemporally generating the primordial nature, from which proceeds the consequent nature as implicated in the Whiteheadian «categoreal conditions» established by the primordial envisagement.

As the text itself is a responsive, assertive, creative act, so the interpretation of the text is also a responsive, assertive, creative act.

Ultimately, as he states, the God creative enough «to make the entire observable universe in a dense dot of pure energy is incomprehensible, beyond human imagining,» but still «we can see the consequences of this unimaginably powerful creative act: a universe congenial to the ultimate formation of life, life giving rise to intelligence that can ask questions science can not answer.

The story is a precisely ordered piece, with each of its six creative acts rounded out with the same refrain: and there was evening, and there was morning, one day, a second day, a third day, etc. (in ancient Israel as in the practice of Judaism now the course of a day is marked from evening to evening).

Self - sprung prayers, on the other hand, she views as genuine evidence of a willed act to commune with God, relying upon individual creative and expressive abilities.

Within it there were obligations and responsibilities as well as joys; all were centered in the creative act of God and the blessing of God upon the union formed under his sight and in his name.

If each person is created in the image of the creator God then the creative act itself, as Pope John Paul II suggested in his Letter to Artists of 1999, assumes a greater significance than is usually given to it in English curricula.

The importance of this presentation is that God creates the world out of love and keeps it in being as an act of love, and that this creative act is, as it were, focussed through Christ as the very mind of God, the Logos, as described in the Gospel of John and as foreshadowed in Wisdom literature in the Old Testament.