Sentences with phrase «creative possibilities in»

He was and isn't the only late 20th / early 21st Century artist to see creative possibilities in the phenomenon of light; Wedgework V (1975), part of a series Turrell began in 1969, in which he caused light to fall across spaces so as to divide them diagonally, creating seemingly palpable planes and surfaces, was installed in the recent Light Show at London's Hayward Gallery alongside light - based works by a group of international artists that included Olafur Eliasson, Jenny Holzer and Dan Flavin.

This exhibition of Thorner's soft sculpture is relevant to a special local context, and is a reference for exploring the creative possibilities in Hong Kong.

Informative essays and numerous illustrations demonstrate how the editions are an independent, major part of Richter's oeuvre, offering the artist an opportunity to reach a larger audience while simultaneously exploring creative possibilities in diverse and experimental ways.Gerhard Richter (born 1932) fled from East to West Germany in 1961 and studied in Düsseldorf.

The creative possibilities in each situation differ from every other situation.

Some may think such creative possibility in interpretation is an aberration to be avoided.

Not exact matches

The same way a creative advertisement or guerrilla marketing campaign (which should be part of the entrepreneurial arsenal, even though the lion's share of budget should go toward direct response advertising that has trackable results) is meant to get your attention, so too is the initial schmooze with a prospect supposed to be worthy of the attention they have given you — exciting them at the possibilities you have shown them, and delivered in an educational and entertaining way that leaves them fascinated and wanting more.

With the possibility of a makeover in mind, we reached out to some of Canada's most creative bakeries to ask: What would you do if given the chance to revamp the Twinkie?

The more open you are to possibility, the more creative you become and the more expansive of a world you create for yourself to succeed in.

Sure, maybe other people have had a similar idea to yours, but how you make it work, convince others of its potential and get people to fall in love with its possibilities is an extremely creative process.

you believe in a narrow view of a god based on ancient fairy tales and that if you adhere to the teachings of a supposed son of god you will go to disneyland in the sky forever... which is damm ridiculous... I consider myself an atheist but I am aware of the possibility of a creative force which created the universe... but that god chatted with people 2000 years ago and brought out a book is childish and stoopid!

These visions arise out of the formed images and ideals of the person in interaction with the creative imagination that is capable of inventing novel possibilities.

This theory has clear systematic connections to the doctrine of propositions as «lures for feeling» which are linked with possibilities as «a line to creative emergence in the transcendent future.»

One of the creative process philosophers, Charles Hartshorne, states in the beginning of Man's Vision of God his conviction that «a magnificent intellectual content — far surpassing that of such systems as Thomism, Spinozism, German idealism, positivism (old or new) is implicit in the religious faith most briefly expressed in the three words, God is love».1 If this be true what is needed is not the discarding of metaphysics but the exploration of this new possibility in the doctrine of God's being.

Snyder puts it this way: «Creative fidelity means to bear with their plateaus, regressions, imperfectness in such a way that these are transformed into new possibilities.

According to Whitehead, the primordial order waits helplessly for creative events to embody in themselves the eternal objects which are presented to them as possibilities by this order.

In these circumstances the possibilities for creative novelty in the synthesis of feeling which constitutes the satisfaction of the concrescing actual entity are great indeeIn these circumstances the possibilities for creative novelty in the synthesis of feeling which constitutes the satisfaction of the concrescing actual entity are great indeein the synthesis of feeling which constitutes the satisfaction of the concrescing actual entity are great indeed.

Stephen Crites gives a strikingly similar analysis of divine creation as something to be understood in terms of creative possibilities.

However, the church leaders» (lay and professional) understanding of the principles of group dynamics and therapy can be immensely useful in helping groups realize their creative possibilities.

Jesus» unique response in every situation made possible new, creative opportunities that the Logos received from Jesus» actual actiondecisions and fed back into Jesus» life - possibilities.

An entity's value in relation to the whole of becoming creation is ever present (in God) and active, What God can do with one's becoming in relation to the possibilities for future becoming is continuously determined by the ongoing creative advance of the world.

Cobb at one point tells us that God's ultimate creative goal is to «introduce the possibility of a creative synthesis of the new with the old,» and Ogden tells us that «God's only aim or intention in exercising his power is the fullest possible self - creation of all his creatures» (PTT 107, FF 89).

with the totality of the possibilities God envisages for the world, Christ, its incarnation, is seen in the actualization of any radically new and creative possibilities derived from God.

We will know that we can not purge ourselves of the sin and guilt in which we are involved by the moral ambiguities of politics without also disavowing responsibility for creative possibilities of justice.6

This horizontal line moves from possibilities of actualization, as they are available for the actualization which will produce real entities, through the «creative nexus» (of which we shall speak in a moment), to the concrete occasions with which we are confronted in their presentational immediacy to us.

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 way.

Nevertheless, as we have seen, there is a small but growing number of scientists, both in physics and biology, who operate with a relational model, who see some correspondence between the constructs of the mind and reality itself, however inexact, and who also see the possibility of restoring the experience of meaning if the non-human natural world is perceived as dynamic, creative, full of life and purpose, whom process thinkers have engaged in conversation; together they have attempted to explore new visions of reality better suited for adaptation to the urgent needs of the contemporary world.

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.

As they achieve, in various degrees, the possibilities inherent in their basic stylistic premises, their creative contribution, to the development of humanity is not despised by God.

Against H. Richard's emphasis on human finitude and dependence, Reinhold's awareness of human freedom and the Christian's political responsibility seems better to acknowledge the creative and liberating possibilities of moral action and of God's work in history.

Growth groups can help both women and men discover the creative possibilities that lie in the profound changes ahead.

If, as Whitehead claims and as process thought in general would assert, the element of «decision» is found everywhere in the creative process, this should not be taken to mean that a quantum of energy, say, knowingly «decides» for this or that among the relevant possibilities that are «offered» to it.

We can say that, as primordial, God is the continuum of all possibilities, the treasure - house of potentiality to be applied to the creation; that, as consequent (or as affected by that creation), God is the recipient of all value of good achieved in the creative advance; and that, as superjective, God «pours back into the world» (as Whitehead once put it) that which has thus been received from it but is now harmonized within the divine life that is «the Harmony of harmonies.»

Altizer's probe of the possibility of a Catholic death - of - God theology is a real venture in creative ecumenical thinking.

Ours is a universe where purpose can operate if the entities that are created in its evolution are themselves responsive and creative toward each new possibility of cosmic evolution.

The romantic stage is similar to the prehension of data from the past and the lure of the possibilities of the future; the stage of precision parallels the stage of the creative synthesis of these data and possibilities; the stage of generalization resembles the final stage of the becoming of a momentary experience, the culmination of an actuality's drive toward fulfillment, or in Whitehead's word, satisfaction.

Prehension is a present creative act open on both ends, to the past on the one hand and to further possibilities or novelty on the other.8 Causal activity in nature shares in this polarity.

God opens to the occasion the possibility of creative novelty in its response to these forces.

As noted above, Whitehead's doctrines imply that a narrowing pessimistic attitude, a lack of faith in the possibility of creative advance, is evil, particularly by its obvious tendency to become a self - fulfilling prophecy.

The balance issues in his fundamental doctrine of creative process or evolution, which modulates between the notion of mere possibility (lacking directional influence or aim) and the notion of a rigorous directional determinism.

In this way the «no» to one's possibilities and freedom, the hamstringing of creative imagination, can receive divine sanction.

The possibilities which are presented are blessedness which comes from self - fulfillment and the acceptance by God of that self - fulfillment — all of this, of course, in relationship with others and not in any presumed human isolation of self hood — or the disintegration or failure which comes from self - destruction or rejection by God because there is nothing to be received by God in His consequent nature for the furthering of His purpose of good in the course of the process of creative advance.

Our proposal also entails a distinction between the Christ, that Word or creative possibility specifically addressed to the human situation and actualizable by a man, and the Logos, which is the totality of creative possibilities inherent in the primordial or nontemporal nature of God, actualizable by the diverse creatures appropriate to them, including intelligent living beings on other worlds.

On the contrary, it means that those events and occasions have so much entered into and so much become part of Deity in his consequent aspect — providing new possibilities for relationship, new opportunities for creative advance, new chances for the bringing into actuality of genuine and richer good --- that they are in some deep and real sense integral to the divine life itself.

Possibilities are creative influences in society.

Accordingly, Hartshorne defines metaphysics as «the search for necessary and categorial truth» and describes metaphysical truths as those which no experience can contradict and which any experience must illustrate.4 In a helpful article on this subject, Hartshorne elaborates: «Metaphysics, in an old phrase, explores «being qua being,» or reality qua reality, meaning by this, the strictly universal features of existential possibility, those which can not be unexemplified»; and he gives as an example of such a necessary truth the affirmation that «experience as creative process occurIn a helpful article on this subject, Hartshorne elaborates: «Metaphysics, in an old phrase, explores «being qua being,» or reality qua reality, meaning by this, the strictly universal features of existential possibility, those which can not be unexemplified»; and he gives as an example of such a necessary truth the affirmation that «experience as creative process occurin an old phrase, explores «being qua being,» or reality qua reality, meaning by this, the strictly universal features of existential possibility, those which can not be unexemplified»; and he gives as an example of such a necessary truth the affirmation that «experience as creative process occurs.

Accordingly, there is some validity to pessimism as one contemplates the real capacity of the human race to do evil and the possibility that mankind may precipitate incalculably tragic evil and suffering by its wrong decisions regarding destructive warfare and the population explosion.53 Given creative becoming as an everlastingly continuous process, Hartshorne declares that there will always be some evil in the world; but the amount of evil will always be at least partially determined by creative choices.

The «common good» means that, relative to every particular individual in a specific community or other particular individuals, the creative process offers relevant and novel possibilities for that individual's deepened and enriched fulfilment.

The only conceivable world that would be compatible with the notion of God is one in which there is a possibility of creative advance, of adventure with its inevitable risk of discord.

In simpler language, we may state that primordial objects in the universe (grounded in an ineffable reality) are causally transformed into a limited set of cosmological, biological and cultural entities, which at the same time, allows for an endless number of creative outcomes and novel possibilitieIn simpler language, we may state that primordial objects in the universe (grounded in an ineffable reality) are causally transformed into a limited set of cosmological, biological and cultural entities, which at the same time, allows for an endless number of creative outcomes and novel possibilitiein the universe (grounded in an ineffable reality) are causally transformed into a limited set of cosmological, biological and cultural entities, which at the same time, allows for an endless number of creative outcomes and novel possibilitiein an ineffable reality) are causally transformed into a limited set of cosmological, biological and cultural entities, which at the same time, allows for an endless number of creative outcomes and novel possibilities.

It is in the making — a creative process is afoot here, with a long evolutionary story behind us and unforeseeable possibilities ahead.