Sentences with phrase «mark of actuality»

Whitehead speaks of decision as the mark of actuality, because the occasion decides or cuts off the alternative possibilities of Integrating the past in order to become the one single actuality that it is.

It is the mark of actuality.

Not exact matches

Because matter, the fundamental substrate of actuality, does not yet constitute something self - sufficient, a «that - there» bearing the mark of an individual.

But the actuality of God in this sense, as unifying within himself all of history, necessarily marks the end of history as well.

God is different from both, and this difference can be marked by conceiving of God as the unified activity of the future, the self as the activity of the present, and the world as the totality of past actualities.

Charles Hartshorne holds that concrete reality is actuality and that actuality is definite or determinate.1 Does he mean only that definiteness or determinateness is a distinguishing mark of concrete reality?

In actuality, though, Juve's trip to Bologna is not only the final game before the two - week international break, it's a mark of what's down the road — the final stretch of the 2012 - 13 season.

In the line above, the cop in Chungking Express is ostensibly referring to the expiration dates on cans of pineapple, which he's using to mark the days since his girlfriend dumped him, but in actuality he's referring to that failed relationship, to his (somewhat) fleeting youth (he's approaching his 25th birthday) and to the deadline he has created for his girlfriend to reconsider and take him back.

The Puerto Rico - based artists have studied the ephemeral nature of collective drawing with monumental sticks of chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2015).