Sentences with phrase «in creative evolution»

Emerging from the city's famous laneways, Melbourne street art takes the next step in its creative evolution with the launch of a new art covered precinct — bringing a series of giant mural works to a long - forgotten pocket of the CBD.

González has taken the next step in his creative evolution by returning to the folksy roots of his early career while also building off of the rhythmic ventures of Junip.

In Creative Evolution (1907), he refers to the «mutual penetration» of parts (CE 281).

In Creative Evolution he gives a more thorough analysis of the historical factors leading to Kantian relativism and the misunderstandings they involve.

The theory of differing breadths of duration, capable of extending over each other, and the notion of matter «which results from it, are further developed in Creative Evolution through reflections on thermodynamics.

The theory of matter developed in Creative Evolution is an exact inverse of the theory of life developed there.

That these concepts are present in Creative Evolution is a fact easily overlooked.

The «proportionality» between consciousness and the durations of matter outlined in Matter and Memory is thus retained in Creative Evolution.

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.

Hausman believes that Peirce's insight is restricted in the role of eros and agape in creative evolution, but he also suggests the fruitfulness of his insight.

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, 270).

Thus, in Creative Evolution Bergson develops a theory already proposed in Mailer and Memory; namely, that matter is (a term proposed by William James) «extensive.»

However, if one examines what Whitehead says on this matter in Process and Reality, one finds something rather near to Bergson's expressed view in Creative Evolution.

Not exact matches

Porcini spoke at the World Innovation Forum in New York today about the evolution of «design thinking,» a form of creative problem solving.

In other words, those happen because those are natural firsts, those happen naturally because of evolution but can you create those kind of important moments in your life and it really comes down to creating doing new things, always creating — you have to be a little more creative when you get older to create those new things but those are the things you think about which I think are quite importanIn other words, those happen because those are natural firsts, those happen naturally because of evolution but can you create those kind of important moments in your life and it really comes down to creating doing new things, always creating — you have to be a little more creative when you get older to create those new things but those are the things you think about which I think are quite importanin your life and it really comes down to creating doing new things, always creating — you have to be a little more creative when you get older to create those new things but those are the things you think about which I think are quite important.

Where we part company is in our belief that evolution without chance does not imply, in a creationist sense, that «God's creative action... was not a one - off event» - in other words that God continually intervened to create new species.

The change that has come about in theologies that partake of creative and emergent evolution can be described in this way: since mechanism is no longer the base of their evolutionary thinking, idealism is no longer essential as a strategy of thought in resolving the tension between science and faith.

He was vulnerable at many points, as we are now able to see; for the art of thinking forward, as we live forward, 13 or of perceiving holistically, or relationally, not only was as yet undeveloped but hardly acknowledged as being legitimate in Western thought during Bergson's earlier years when he wrote Creative Evolution (1911).

Hence, for God to create is the same as for him to evolve, to mature, to unite to himself; evolution is God's creative action expressed in time.

There is yet a further aspect to be noted in contrasting creative evolution, as it has taken form within the newer ethos, with evolutionism in its Darwinian and modernistic meaning.

The contrast between Darwinian evolution and the creative or emergent evolution of recent years may be sharpened if we look more closely at the decisive notions which are seen to be formative in each case.

Behind these works and underlying their organismic philosophy were Bergson's Creative Evolution, which had made a deep impression on Wieman, and the radical empirical writings of William James, especially Pluralistic Universe and Essays in Radical Empiricism.

The attempts of such seers as Teilhard de Chardin to set the whole story of evolution in the light of the continually creative love of God have, I believe, despite their obvious deficiencies, much to offer us.

Without intelligence, it would have remained in the form of instinct...» (Creative Evolution, 178).

Life in its entirety, regarded as a creative evolution, is something analogous; it transcends finality, if we understand by finality the realization of an idea conceived or conceivable in advance.

In order for the world to be independent of God and to possess its own existence, or to undergo a genuine self - transcendence in evolution, its creative ground would in some way make itself absent from that world instead of overwhelming it with divine presencIn order for the world to be independent of God and to possess its own existence, or to undergo a genuine self - transcendence in evolution, its creative ground would in some way make itself absent from that world instead of overwhelming it with divine presencin evolution, its creative ground would in some way make itself absent from that world instead of overwhelming it with divine presencin some way make itself absent from that world instead of overwhelming it with divine presence.

Meland traces the growing influence of Whitehead's philosophy on the images of thought both in modernism as stimulated by Darwinian evolution, and changes in the post-Darwinian era ushered in by the creative evolution movement in physics.

I have tried to emphasize the reason agape is both relevant and essential in an account of creative evolution at the level of both the cosmic and the finite.

First, further development of the proposal that agape functions in evolution, and specifically in finite creative processes, would provide a general framework within which distinctively creative processes can be related to other processes.

Our objective is to reconstruct and explain the necessary conditions of individual free acts treated by Bergson, particularly in Matter and Memory and Creative Evolution.

According to Creative Evolution, the nervous system in higher organisms necessitates its support systems.

While it is conceivable that the physical being of man might have developed through evolution, according to physical laws charted and explained by science, it is not conceivable that man in his total being could exist without a creative act by some transcendent agency, the God of the Bible being the prime suspect.

How can Christians affirm with I John 4:119 that we love because God first loved us and think it religiously unimportant that the world's evolution is grounded in creative, responsive love?

I should add that if I am off the mark in suggesting such common ground, then I recommend that Peirce's account brings into focus more sharply what the central tension must be in any metaphysics of creative evolution.

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.

These references suggest Whitehead's familiarity with Creative Evolution and Bergson's other works, to be sure, but the ideas are not utilized in any sense remotely resembling an evolutionary cosmology, or suggesting any real influence of Bergson's own variation of «emergent» evolution (cf. PR xii / vii, 33 / 49, 82 / 126, 107 / 163, 114 / 174, 209 / 319, 220 / 336, 280 / 428, 32Evolution and Bergson's other works, to be sure, but the ideas are not utilized in any sense remotely resembling an evolutionary cosmology, or suggesting any real influence of Bergson's own variation of «emergent» evolution (cf. PR xii / vii, 33 / 49, 82 / 126, 107 / 163, 114 / 174, 209 / 319, 220 / 336, 280 / 428, 32evolution (cf. PR xii / vii, 33 / 49, 82 / 126, 107 / 163, 114 / 174, 209 / 319, 220 / 336, 280 / 428, 321 / 489).

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.

With each creative advance, be it in cosmic evolution or in an individual life, God becomes different.

«24 And yet it must be admitted that in maximizing the qualitative aesthetic intensity of the cosmos its creative ground must be held responsible for at least some of the chaos that accompanies evolution.

I hope also, it will, by shedding further light on the place of mathematics in Bergson's universe, allow us to make sense of the otherwise murky «vitalism» of Creative Evolution, and of the possible heuristic value of Bergson's approach to biology.

We might try to supplement what we can objectively observe about this «creative force» but it is likely that any further observations about the existence of a God is purely speculative and is subject to little, if any, respect at this stage in our evolution.

And Paul Weiss in his Nature and Man, a book strikingly like Bergson's Creative Evolution in the territory it covers and the positions it takes, introduces us early to the Bergsonian theory: «Things come to be.

This comes out clearly in both Time and Free Will and Creative Evolution where he says that to be a determinist is to hold, with Spinoza, that the future is logically contained in the present.

In Creative Mind, he writes of a «real evolution» which is «entirely modified within» an «internal modification» (CM 20).

But human experience has a continuity in origin from the feelings that constituted the being of the first mammals, the reptiles from which they evolved and all individual entities prior to them in the evolutionary sequence going back to the physicists» initially featureless universe — hence Whitehead's proposition that the cosmic evolution of the universe «is a creative advance into novelty» (PR 222).

In Teilhard's view of evolution, the particular consciousness or mind proper to each organism develops in a purposeful and progressive way until a multiplicity of factors, all included in the creative action of God, causes it to «boil over» into the self - conscious reflection which is humanitIn Teilhard's view of evolution, the particular consciousness or mind proper to each organism develops in a purposeful and progressive way until a multiplicity of factors, all included in the creative action of God, causes it to «boil over» into the self - conscious reflection which is humanitin a purposeful and progressive way until a multiplicity of factors, all included in the creative action of God, causes it to «boil over» into the self - conscious reflection which is humanitin the creative action of God, causes it to «boil over» into the self - conscious reflection which is humanity.

In this sense every step in the evolution of a new organism (be it an increase or decrease in complexity) is in Whitehead's terminology «a creative advance into novelty» (PR 222In this sense every step in the evolution of a new organism (be it an increase or decrease in complexity) is in Whitehead's terminology «a creative advance into novelty» (PR 222in the evolution of a new organism (be it an increase or decrease in complexity) is in Whitehead's terminology «a creative advance into novelty» (PR 222in complexity) is in Whitehead's terminology «a creative advance into novelty» (PR 222in Whitehead's terminology «a creative advance into novelty» (PR 222).

Bella Towse, Creative Strategist at Bulletproof, discusses the evolution of the free - from market, and what brands should be doing to stand out in an increasingly saturated market.

The etch also suggests H. erectus was integrating different domains of knowledge — thought to be a key stage in the evolution of our creative minds.

«I'd like people to accept evolution and randomness as the ultimate creative force in our universe.»