Sentences with phrase «in creative synthesis»

Both topics are the subjects of chapters in my Creative Synthesis and Philosophic Method.

My table of ultimate contrasts (in Creative Synthesis and Philosophic Method) is supposed to throw light on the matter.

«The Aesthetic Matrix of Value,» in Creative Synthesis and Philosophic Method.

I have dealt with this once more in Creative Synthesis and Philosophic Method (Chapter XII).

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.

In Creative Synthesis and Philosophical Method Charles Hartshorne writes: God «Can not absolutely conceal himself from any creature, for the omnipresent can never be more than relatively inaccessible» (CSPM 156, italics added.

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).

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

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.

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

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 centurIn 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 centurin 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» positioIn 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» positioin 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.

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.

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.»

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.

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.

New creative energies are released in one's life and relationships as synthesis occurs around this spiritual center.

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.

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.

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).

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.

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.

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.

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

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.

The second serious question concerns the claim made throughout Creative Synthesis and Philosophic Method that something abstract can be contained in something concrete.

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.

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).

According to Hartshorne, no amount of explanation in terms of efficient causality can account for the precise eventual character of a new creative synthesis; such historical explanations are valuable only in explaining the general outline and predictability of the future and the necessity of each new feeling having had its own specific causal

My six theistic arguments are said to form a system stronger than its separate parts, and the chapter in which I expound them is imbedded in a book (Creative Synthesis and Philosophic Method) which attempts to give the Wider context for them.

Well, according to Nobo, it is sufficient for any actual entity to be «any complete synthesis of all the existential data available for the creative activity of an experiencing subject» in order to be a superject (GEI 178).

31As is evinced by the following quotations from Nobo: «Moreover, each completed stage in the supersessional development of God's consequent nature is causally objectifiable because it constitutes a complete physical synthesis produced by the consequent creative activity out of all the attained actualities already in existence relative to the beginning of that stage of the divine development (PR 523 - 524)»; its continuation: «In this account, the primordial nature and each already completed stage of the consequent nature represent each a specific, or relative, satisfaction of the divine concrescencin the supersessional development of God's consequent nature is causally objectifiable because it constitutes a complete physical synthesis produced by the consequent creative activity out of all the attained actualities already in existence relative to the beginning of that stage of the divine development (PR 523 - 524)»; its continuation: «In this account, the primordial nature and each already completed stage of the consequent nature represent each a specific, or relative, satisfaction of the divine concrescencin existence relative to the beginning of that stage of the divine development (PR 523 - 524)»; its continuation: «In this account, the primordial nature and each already completed stage of the consequent nature represent each a specific, or relative, satisfaction of the divine concrescencIn this account, the primordial nature and each already completed stage of the consequent nature represent each a specific, or relative, satisfaction of the divine concrescence.

The English poet and essayist Matthew Arnold speaks about such historic moments of creative arousal in literature in his 1865 essay «The Function of Criticism at the Pres - ent Time»: «The grand work of literary genius,» says Arnold, «is a work of synthesis and exposition,... its gift lies in the faculty of being happily inspired by a certain intellectual and spiritual atmosphere, by a certain order of ideas, when it finds itself in them; of dealing divinely with these ideas....

If we want our students to do well with this creative skill, we need to model the thinking of synthesis in a low - stakes, scaffolding activity that they can translate into a more academic pursuit.

In this approach pedagogy is flipped so that the skills, processes and understanding of the creative or artistic inquiry become the teaching focus, emphasising such things as creativity, imagination, critical analysis, empathy, experimentation, synthesis, and voice.

Having experience with sound design and audio post-production through various projects for companies including Cedar Fair, 3D Live, and Comhear, as well as teaching advanced synthesis and sound design classes at the Art Institute of California, Daniel has been able to not only hone his skills but develop new creative tools to assist him in his artistic endeavors.

The remarkable sense of creative urgency, radical cross-fertilization, and synthesis within the visual arts — and the aspirations among the Russian avant - garde to affect unprecedented sociopolitical transformation — wielded an influence on art production in the 20th century that reverberates throughout the course of modern history.

Programming throughout Fall 2012 and Spring 2013 showcases the Carpenter Center's vibrant history in diverse and creative ways that highlight the uniqueness of the building and its contributions to the artistic life of the University while celebrating Le Corbusier's inventive synthesis of art and architecture.

Her work is often dialectical, placing contradictions within a creative synthesis, preferring to focus our attention on the liminal areas in between the deadlock of incompatible meanings.

Over the past 10 years I've been working in international advertising & event agencies developing the synthesis between pure marketing and the creative perspective and expression.

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.