Sentences with phrase «creative sense of»

I'm 4» 11» and I started this blog to help other girls & women of a similar size find style inspiration and confidence in their clothes Since I've been an atypical body type most of my life, I have a very creative sense of style that many people find inspiring.

I'm 4» 11» and I started this blog to help other girls & women of a similar size find style inspiration and confidence in their clothes Since I've been an atypical body type most of my life, I have a very creative sense of style that many people find inspiring.

Even so, their portions feature a surprisingly creative sense of adventure at times, and their existence makes the movie's last act possible.

I'm ambitious, enthusiastic, happy, healthy and fun to be with... plus you would find me intuitive and easy going with a creative sense of humor.

Not exact matches

This doesn't require a hefty budget, just a creative mind and sense of adventure.

The sometimes overwhelming desire for the sense of security provided by credible experts can come at the expense of creative growth.

This role — part strategist, creative director, technologist and teacher — is now recognized at the highest levels of management as it's squarely at the intersection between traditional marketing and the growing number of software tools used to make sense of companies» vast amounts of data.

(Not that evening people are life's losers: They're smarter and more creative, and have a better sense of humor, other studies have shown.)

But also be prepared for the enormous sense of fulfillment you receive in providing access to art education to students, families and communities, and in seeing children revel as their untapped creative capabilities come to light.

«Our sense is people leave some ideas on the table and stop prematurely, out of some sense they've exhausted the creative process,» says Loran Nordgren, an associate professor of management and organizations at Kellogg.

You could use a digital device but studies show us that activities using the tactile senses excite the creative regions of the brain, so a notebook and pen is better.

These perks are included because Fueled Collective aims to foster a genuine sense of camaraderie among creatives — the same vision that inspired the launch of the flagship Fueled Collective in New York City five years ago.

For a good brief sense of Florida's views on Ontario's creative class service economy, see Ontario in the Creative Age (Martin Prosperity Institute, 2009), the report that he and Roger Marticreative class service economy, see Ontario in the Creative Age (Martin Prosperity Institute, 2009), the report that he and Roger MartiCreative Age (Martin Prosperity Institute, 2009), the report that he and Roger Martin wrote.

It's hard to develop effective investor education campaigns in the context of misleading titles and regulations that make no sense, but we'll just have to get more creative in thinking about how to do that.

I sense, although you're much younger than me, we who follow Ray's comet are members of a big international creative club separated by less than one degree.

Concrescence, for example, takes place in a series of phases (p. 89); it involves sensed passage» (p. 91); it is the droplet of a reality which is «a creative process rhythmically alternating (p. 88).

Let us think of process philosophy as a method designed for use on such occasions, evoked by such disputes as an instrument of reasonable good sense and creative imagination, one that will serve to fix what had broken down and to get things running smoothly once again.

This, as we have seen, is in order to make sense of Man's intentional consciousness, creative behaviour and organic brain, as well as his destiny in Christ.

What is required by the criterion of human integrity is that occupations be so defined that manual work is also a rational pursuit and an opportunity for constructive imagination, that symbolic skills may be exercised in clear relation to material necessities and in the light of moral responsibilities, and that creative professional activities will be conducted with a vivid sense of the realities of nature and the canons of reason.

The organization of sense data into objects is the creative and distorting act of mind.

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?

The universe would make no sense if there were not some chief causative agency, some source of novelty, some final destiny, some creative and energizing activity striving for the accomplishment of great ends.

However, if one emphasized God's providing of individualized ideal aims for each occasion, God's love could be conceived in a creative sense, as his «active goodwill» toward each of his creatures.

In Whitehead, the sense of structured meaning in the creative flow or living situation is more marked, and thus less suspect of being a detour into mysticism.

It's why things make sense — the reason cause follows effect — the law of noncontradiction — the creative mind that accounts for why there is something rather than nothing.

The atomism of the autonomous self thus gives way to a sound sense of the community of being and the responsibility, as well as the opportunity, of being fulfilled within such a creative nexus.

In respect to the creative advance of the universe, then, or in respect to time in its metaphysical sense, superjects constitute the cumulative or disjunctive «many», whereas the causal objectifications of those superjects in later occasions constitute the reproduced or conjunctive «many».

In the second sense, the causal objectification within an occasion of its antecedent world may be construed as the cumulative character of time, or, in more systematic terms, of the creative advance of actuality.

In this light, the seen and the unseen universes of the plural existents were posited in two senses: i) In their primary objectification as the word kun (the creative command «Be»).

Study the creative wonders and the conclusion makes sense that none of this happened by accident.

According to Whitehead, only that which is subjectively real can act in the sense of self - creation, and only that which is self - creative is fully actual.

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.

Does the belief that the whole world of nature and history is the creative and redemptive venture of eternal Love make sense?

Recent papers on process thought and feminism have used the term «androgynous to depict the range of maleness / femaleness expressed in both humans and God.1 In a similar sense, «gynandrous» has been proposed.2 To be sure, the aim is to capture, by means of an appropriate term, the rich texture of human differences, that one is neither strictly «female» or «male» but a creative combination of the qualities historically assigned to both.

We could illustrate from stories like Walker Percy's Love in the Ruins that are apocalyptic in the narrow sense; these would raise the question, as old as Hebrew prophecy, of the paradoxical tension between threat of inevitable destruction and summons to new, creative action.

Creative action, we reiterate, is not limited to works of art in the usual sense Any subject or endeavor may be regarded as beautiful if its definition is broad enough.

Further, those who can not appreciate the profound aesthetic of an ironically - creative act that consists of self - destruction lack any sense of subtlety and irony, which is an indicator of a lack of intelligence.

Even if we consider the three major religious groups as ethnic traditions rather than religious in the narrow sense, their brightest and most creative intellectuals and artists have been absorbed into the general American intellectual and artistic community so as to deprive the communal groups of their natural cultural leaders.

It has almost been as if we humans, with our limitations and in our finitude, not to mention our obvious and tragic defection from right alignment with the divine intention for the world and for us, were to insist that until and unless we are given what we regard as due recognition and the security of our own survival in an individualistic sense, we shall refuse to take our place and play our part in the creative advance of the universe.

Instead of investing theological significance in a theory about how the mind intuits objects of sense data, or about the reality of the world external to consciousness, or about the extent to which the mind is creative in producing experience, Green focuses on the role of imagination, a term which refers in ordinary conversation to fantasy and illusion, but which also refers to discovery, illumination and reality.

For the latter not only is it the case, as Hartshorne would agree, that every finite individual owes its existence to the free creative activity of God, in the sense that apart from that creative activity that individual would not exist; in addition, it is wholly due to the free creative activity of God that anything other than Himself exists: it is contingent, and contingent on the will of God, that any created world at all exists.

This sense of distance and marginality had to be lived in creative tension with the real world.

A proposition «seeks truth» not for truth in itself, but because a true proposition is more likely to contribute to the interest and creative advance of the world, and in this sense be «successful.»

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, 270of «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, 270Of 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, 270of 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, 270of 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).

When another saintly Benedict did finally emerge, this time upon the Chair of Peter, his cultural analysis echoed that of MacIntyre: «I would say that normally it is the creative minorities that determine the future, and in this sense the Catholic Church must understand itself as a creative minority,» suggested Pope Benedict XVI during an in - flight papal press conference in 2009.

But along with the praise, Wilson offers insights about the reasons these books are powerful: Lewis's generosity toward the authors he discusses, the way he finds passages that make them seem interesting; his sense of «wonder and enjoyment» in all he reads; his willingness to take up the great themes that engaged his authors, to put to work in criticism his «creative intelligence.»

With respect to Neville's kind of claim, nevertheless, Reeves holds with Cobb that the Whiteheadian God is uniquely creative in the sense that his influence alone is universally effective and infinitely more powerful than that of other actual entities.94

Except in a negative sense this process of creative emergence lies beyond our ability to direct or to command.

This sense of creativity is often overlooked by those who inquire about the topic because most inquiries are concerned with generic traits and abilities common to all processes rather than with the conditions of processes which are peculiarly creative.

The idea that creative acts may be driven by love in the sense of eros should not seem surprising.