Sentences with phrase «creative synthesis of»

Focusing and Expressive Arts Institute offers training in Focusing - Oriented Arts Therapies (FOATs) which is a creative synthesis of Eugene Gendlin's Focusing with art / expressive arts therapy.

[I] t is only through learning communities of the type proposed for A.E.S.S. that we can achieve «whole system» environmental education and the creative synthesis of new knowledge that promotes a healthier Earth.

It is persuasion that introduces the possibility of creative synthesis of the new with the old which is the mark of healthy development or growth.

The grass - roots theologian is regularly called on to translate the language of theology, a task involving a creative synthesis of the art and science of theology.

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.

An excellent treatment, a model of the relational vision in the creative synthesis of process and feminist thought, mythology, and depth psychology, is Keller, Catherine, From a Broken Web: Separation, Sexism, and Self (Boston: Beacon Press, 1986).

Postmodernism is not a call back to the premodern but a creative synthesis of the best of the modern, premodern and new concepts in the forefront of holistic thinking.

The Liberation of Life is a creative synthesis of contemporary developments in the natural sciences and process thought that is mutually transformative, the very model of what the process - relational vision is all about.

Among the major distinctive contributions of Mordecai M. Kaplan (1881 - 1983) to twentieth - century religious thought is his creative synthesis of modern Jewish nationalism with spiritual naturalism, religious humanism, and process theology.

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).

The major distinctive contributions of Mordecai M. Kaplan (1881 - 1983) to twentieth - century religious thought is his creative synthesis of modern Jewish nationalism with spiritual naturalism, religious humanism, and process theology.

The problem raised by any literal reading of the Category of the Ultimate may be put this way: how can an actual occasion be at once the creative synthesis of and a novel addition to the many occasions of its correlative universe?

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.

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.

It prehends both the eternal objects and the temporal entities in its past in terms of this aim, and in successive phases of its own becoming it fashions a new creative Synthesis which is itself.

It is the acknowledgment of particularity that makes it possible to think of a creative synthesis emerging from their vigorous and honest interactions.

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.

For Hua - yen, therefore, there is no room for creative synthesis, the many can not become one and are increased by one, for whatever is has achieved is «complete ontological cohesiveness and solidarity, but at the expense of creative advance, emergent newness and the production of novelty» (p. 71).

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 theCreative 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 thSynthesis to the People; and, conversely, the philosophy of creative synthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower thecreative synthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower thsynthesis may be understood as a metaphysical affirmation of the social ethical imperative to empower the people.

Thus, the sorts of entities involved in the creative advance, the what and how of each process of synthesis, and the other metaphysical constraints governing each such process, are respectively rendered explicit in the Categories of Existence, of Explanation, and of Obligation.

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.

But even this limitation does not suffice to explain the creative fact of a synthesis of actualities conforming to a standard; there needs to be a limitation of antecedent selection, the ordering of possibilities of actuality and value by God (SMW 256, cf. UW 100f).

Martin, R. M., «On Hartshorne's «Creative Synthesis» and Event Logic,» Southern Journal of Philosophy 9, 4 (Winter, 1971), 399 - 410.

Crosby, D. A., Abstract of «On Hartshorne's «Creative Synthesis» and Event Logic» by R. M. Martin, Process Studies 2, 4 (Winter, 1972), 331 - 332.

We will soon see that more recently he gave a negative answer to the first of these questions in Creative Synthesis and Philosophic Method.

Since they are directly experienced to be novel unifying syntheses of multiplex data, conscious events are free and creative, not merely mechanistically determined.

Review of Creative Synthesis and Philosophic Method (hereafter CSPM), Inquirer, London, Feb. 13, 1971, 6.

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

Continue reading «Experience and Philosophy: A Review of Hartshorne's Creative Synthesis and Philosophic Method ``

Still, the idea of «God» is the one most frequently invoked by process thinkers to account for the general trajectory» of creative synthesis.

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.

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.

My big mistake, which a more mathematical person would have avoided, has been that my arrangement of a full table of the options in Creative Synthesis, the only book of mine that has it at all, is mathematically inelegant, which considerably reduces its power.

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.

This method of creative synthesis has two particularly important features for the future.

Old structures of existence must give way in creative synthesis to new ones, because, as alive, we experience novelty in the actual world.

«It is to trust that the outcome of allowing the tension of the old and the new to be felt can be a creative synthesis which can not be predetermined or planned» (LL 131).

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.

His understanding of all reality as creative synthesis demands a multiplicity of truly free entities.

I've developed six of them in my book Creative Synthesis and Philosophic Method.

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.

In Creative Synthesis and Philosophic Method Charles Hartshorne demonstrates that his is among the few.1 Of course, completeness in a philosophy is relative to what the philosophy says it should contain.

For the categories to be illustrated with each new divine feeling, there must obviously be those efficient causes (or there must have been others in place of them) to provide the content for the new creative synthesis; that all preceding efficient causes, divine and subdivine, will always have been required to provide that content will be argued below.

Let us begin by reformulating the ultimate issue in Hartshorne's terms through a sketch of his metaphysics derived largely from his Creative Synthesis and Philosophic Method.

Process As an Accumulating of Feelings or Creative Syntheses, Represented along with Charles Peirce's Three Metaphysical Categones As Modes of Time

See, for instance, Whitehead's RM; Hartshorne's Creative Synthesis and Philosophic Method (La Salle, Ill.: Open Court, 1970); John B. Cobb, Jr.'s «Buddhist Emptiness and the Christian Cod,» Journal of the American Academy of Religion 45/1 (March, 1977), 11 - 26; and Christ in a Pluralistic Age (Philadelphia: Westminster, 1975); for several critical dialogues on this issue, see John Cobb's Theology in Process, edited by David Ray Griffin and Thomas J. J. Altizer (Philadelphia: Westminster, 1977).

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.»