Sentences with phrase «of creative evolution»

Fred Pearce celebrates the optimistic view of ecologist Chris Thomas that we are entering a new age of creative evolution...

The fourth is some form of creative 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.

The theories of Creative Evolution thus become more comprehensible if viewed through the lenses of chronobiology.

Thus there appeared the philosophy of creative evolution, whose leading protagonist was Henri Bergson, a French biologist who had turned to philosophical writing.

Because of this creative evolution, to a real degree it is not possible to predict the future qualitatively, although there is certainly causation which can be discovered after the fact.

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.

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.

Mankind is a masterpiece of 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 important.

Whoever wants to replace the Creator's realization of this plan by a totally autonomous evolution, inevitably either ascribes some mythic creative power to evolution, or else abandons any attempt at rational understanding and explains everything as the blind play of arbitrary chance.

This is Whitehead's way of expressing his conviction that with respect to all - encompassing creativity, evolution is itself the creative process that is supported by entities arising within it.

Far from evolution being random and open ended, the cosmos is a vast, ordered equation which unfolds according to a specific purpose under the creative concursus of the Mind of God.

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).

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.

We are forgetting that one third of Americans embrace evolution as God's creative tool (theistic evolutionists).

For example, how do we see the creative and redemptive love of God through the perspective of the age - long development of the immense universe, only a speck of which we inhabit, and of the evolution of sentient and rational life on this earth through thousands and millions of years?

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.

Finally, modern process philosophers like Bergson and Whitehead focus upon the process of coming to be (or genesis, creativity, creative evolution, becoming) and find this to be a universal feature of the world process.

As evidence he cites a few pages from Creative Evolution saying that «Bergson repudiates the notion of disorder, and divides order into two kinds, vital and geometrical.

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.

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).

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 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.

There are parallels here with the role of evolution, which also appears to take creative power out of God's hands and yet is a part of God's creation.

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.

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.

If a process is creative, then, the subject contributes out of itself to the evolution of its process.

The feature of evolution which points toward the need for agape is creative growth, that is, the presence of spontaneity and the introduction of unpredictable, intelligible novelty into the process of evolution.

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.

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.

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.

We do not deny or circumscribe the Creator, because we hold he has created the self - acting originating human mind, which has almost a creative gift; much less then do we deny or circumscribe His power, if we hold that He gave matter such laws as by their blind instrumentality moulded and constructed through innumerable ages the world as we see it... Mr Darwin's theory need not then be atheistical, be it true or not; it may simply be suggesting a larger idea of Divine Prescience and Skill... At first sight I do not see that «the accidental evolution or organic beings» is inconsistent with divine design - It is accidental to us, not to God.»

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.

«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.

Amen.The thing is too many people from both sides try to disprove the other, Scientist (well some) will say there is no God Ala Hawkings here and then some believers will say that evolution or anything pertaining to science that they don't understand is false.I don't believe that science and God are mutually exclusive.For me personally science helps to explain a lot of things regarding creation, almost like giving me a window into how creative God is.I believe that God uses science to show us how awesome he is.To me science does not disprove Gods existence it actually reaffirms it on a human logic level, for me.You may disagree, that's fine, but this is just how I see it.

Creative development, like the evolution of life, can be based only upon soundly poised structure, otherwise the mutation will be a decadence.

Bergson has a general concept of what he calls creative evolution.

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

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

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.

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.

Creative Evolution is an extrapolation of the mind - matter duality of Matter and Memory.

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