"Sing, O Goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans." In these opening lines of the Iliad, Homer invokes the Muse. For Homer the act of creating poetry is a divine gift, one that derives from an otherworldly source and is not ultimately reducible to this world. This conception of human creativity as a divine gift pervaded the ancient world, and was also evident among the Hebrews. In Exodus, for instance, we read that (...) God filled the two artisans Bezaleel and Aholiab with wisdom so that they might complete the work of the tabernacle. (shrink)

The ‘messianic’ is one of philosophy’s most appropriated religious terms, yet one apparently now bereft of its historical religious particularity. This essay thus explores a genealogical approach to the ‘messianic’ which might prove helpful in uncovering the reasons for this transformation from the theological to the philosophical, and what role, if any, theology still has in determining the meaning and usage of this term. Accordingly, this essay traces the term through the work of Walter Benjamin, Jacques Derrida and Giorgio Agamben. (...) This development is made against the backdrop of another religious term which indirectly pervades the work of all three authors: the canon. The canonical is a term which lingers on the margins of these messianic discourses and needs to be explored further in the context of this work in order to provide a fitting foil to these otherwise ‘purely philosophical’ developments of the messianic. The necessity for invoking the canonical form will become clear as this analysis is extended to the work of Agamben in order to determine how canons remain an unstated factor in his attempt to eradicate all representation from a just ethical paradigm. In this attempt to articulate a model of understanding that goes beyond the universal/particular divide, he will in fact advance a movement from particularity to particularity which can be profoundly read as a genuine paradigm for articulating a theological principle of creation. Thus, this essay intends to point toward two related conclusions: first, that the triad of canon-creation-representation might be understood as a necessity for cultural intelligibility, yet one that must also be seen in relation to its messianic-redemptive-unrepresented elements; and, second, that even this epistemological framework can be undone through a bid to end all representations which nonetheless allows us to return to a more profound realization of creation. (shrink)

An attempt to give a comprehensive scientific account of the creative process. Humor, scientific discovery and art are all understood as dependent upon the act of "bisociation," the spontaneous intersecting of two or more previously unrelated frames of reference or "matrices." The first half of the book propounds this theory; the second half attempts to give its physical and psychological underpinnings. Though he fails to give any definite answer to how and why the bisociative act takes place, Koestler's erudition, insights (...) and considerable skill as a writer are impressive.—S. C. H. (shrink)

The first issue concerns what can be meant by the "newness" or "originality" which Koestler attributes to the products of creative acts. One of the purposes of this paper will be to discriminate several distinct but incompatible meanings which Koestler associates with the newness in created objects. The second issue concerns whether Koestler's thesis commits him to a form of determinism or indeterminism with respect to human creative activity. The third issue raises the question whether his thesis is intended as (...) an explanatory hypothesis or as an elaborate description of common features in creative activities. This question, of course, relates directly to the initial query about the standards of understanding which are appropriate to creative acts. And it points to the last issue which concerns the metaphysical implications of the thesis. It will be my aim to argue that a development of the metaphysics implicit in the thesis would provide a more comprehensive theory that could meet at least some of the difficulties the theory raises. (shrink)

Csikszentmihalyi (1999: 314) argues that 'creativity is a process that can be observed only at the intersection where individuals, domains, and fields intersect'. This article discusses the relationship between creativity and interdisciplinarity in science. It is specifically concerned with interdisciplinary collaboration, interrogating the processes that contribute to the collaborative creation of original ideas and the practices that enable creative integration of diverse domains. It draws on results from a novel real-world experiment in which small interdisciplinary groups of graduate students (...) were tasked with producing an innovative scientific research problem and an integrative research proposal. Results show that while bisociative thinking assists in the creation of original research problems, both disciplinary skills and an interdisciplinary disposition are core to the integration of creative research proposals. Extrapolating from the results of this experiment, the article discusses the feasibility of preparing students for such work and the implications for universities and other intellectual centers. (shrink)

ABSTRACT This discussion considers a literary genealogy that examines Zora Neale Hurston as a predecessor to Joseph Beam and Essex Hemphill, prefiguring their need for a process through which multiply-marginalized communities might create images that more accurately reflect their existence, and considers contemporary poets Danez Smith and Timothy DuWhite as inhabitants of the legacy that they left behind. Focusing primarily on how these artists invoke—and often revise and subvert—the biblical creation narrative within their own narratives of self-creation and (...) image- making, this discussion is also concerned with these writers' articulation of love that is deemed unnatural due to its defiance of heteropatriarchal and cultural norms. These works, when read alongside and in dialogue with one another, collectively assert that love, defined as natural and divinely approved, functions as a challenge to restrictive ideologies and a tool of affirmation for themselves and their communities. (shrink)

We introduce an explicit definition for “hidden correlations” on individual entities in a compound system: when one individual entity is measured, this induces a well-defined transition of the “proper state” of the other individual entities. We prove that every compound quantum system described in the tensor product of a finite number of Hilbert spaces can be uniquely represented as a collection of individual entities between which there exist such hidden correlations. We investigate the significance of these hidden correlation representations within (...) Aerts' creation-discovery approach and in particular their compatibility with the hidden measurement formalism. This leads us to the introduction of the notions of “soft” and “hard” “acts of creation” and to the observation that our approach can be seen as a theory of individuals when it is compared to the standard quantum theory. (shrink)

This book explores the phenomenon of creativity and creation from a psychoanalytic point of view, focusing on understanding the psycho-emotional dynamics underlying the artistic creative activities, such as theatre, literature, and painting. Throughout, Delgado considers these works of art through a Bionian, Kleinian and Freudian lens. He uses three major psychoanalytic models of the creative process, two of them classic: the first, Freudian, based on the theory of conflict between impulse and defense, the result of the effort to manage (...) an excessive drive activity, and in which the concept of sublimation is central; the second, Kleinian, based on the attachment theory, in which creative effort corresponds to an attempt to repair the damage done to the object or to the self; and the third, more recent, affiliated with the more expanded attachment relationship theory, based on W. Bion's theory of thinking, and emphasising the continent's capacity for psyche and the oscillation between schizo-paranoid and depressive positions. With illustrations throughout, this book will be vital reading for anyone interested in the intersection of creativity, the Arts, and psychoanalysis. (shrink)

RESUMO: O objetivo deste artigo é indagar de que maneira a filosofia pode ser compreendida como um ato de resistência. Deleuze introduz essa tese, ao aproximar a filosofia da arte, porquanto ambas são atos de criação. Nesse sentido, o método filosófico de Bergson - a intuição - já indica um tipo de atividade filosófica que se caracteriza, antes de tudo, pela criação de conceitos. Ora, como é que um conceito filosófico pode constituir um ato de resistência? Para responder a essa (...) questão, retomamos uma análise sobre a relação entre o método de intuição e a criação artística, seguida da interpretação deleuziana acerca do que significa ter uma ideia. Contudo, a passagem da ideia ao ato de resistência exige uma transposição do plano teórico para o plano concreto. Com esse intuito, focalizamos um exemplo sugerido pela filosofia de Bergson: a ideia de um possível retorno à vida simples. Isso nos permitirá avaliar até que ponto uma ideia filosófica pode ser confrontada com a realidade no mundo atual e, nesse sentido, entendida como um ato de resistência. ABSTRACT: The aim of this article is to ask how philosophy can be understood as an act of resistance. Deleuze introduces this thesis approaching philosophy to art, because both of them are acts of creation. In this sense, the philosophical method of Bergson - intuition - already indicates a kind of philosophical activity which is characterized above all by the creation of concepts. So how could a philosophical concept be an act of resistance? To answer this question, we return to an analysis of the relationship between intuition method and artistic creation, forward by Deleuze’s interpretation of what it means to have an idea. However, the passage from idea to the act of resistance requires a transposition of the theoretical field to the concrete field. With this purpose, we focus on an example suggested by the philosophy of Bergson: the idea of a possible return to the simple life. This will allow us to evaluate the extent to which an idea can be confronted with the reality in today’s world and, accordingly, be understood as an act of resistance. (shrink)

The starting point of this article is the observation that the emergence of the Anthropocene rehabilitates the need for philosophical reflections on the ontology of technology. In particular, if technological innovations on an ontic level of beings in the world are created, but these innovations at the same time _create_ the Anthropocene World at an ontological level, this raises the question how World creation has to be understood. We first identify four problems with the traditional concept of creation: (...) the anthropocentric, ontic and outcome orientation of traditional concepts of creation, as well as its orientation of material fabrication. We subsequently develop a progressive concept of World creation with four characteristics that move beyond the traditional conceptuality: (1) a materialistic concept of creation that accounts for (2) the ontogenetic process and (3) the ontic and ontological nature of creation, and (4) is conceptualized as semantic creation of the World in which we live and act. (shrink)

This article is devoted to consideration of the main principles of the concept elaborated by the famous English scientist and Christian theologian J. Polkinghorne and directed to formation more accurate idea of Creator and creation. The basic ideas of this concept: the necessity to theology a rational approach to comprehension not only of nature and peculiarities of the universe but also of its Creator; an importance of co-ordination of the modern Christian doctrine of creation with the scientific picture (...) of the world; the great significance of natural theology for solving propounded tasks; our universe is a complex, developing by interaction of chance and law, but at the same time well-ordered and interrelated structure; human being is a part of this structure; the act of creation is a continuing process; God express Himself through His creation; Creator is simultaneously immanent and transcendent to His creation; Creator’s actions are dependent only on His free will; Creator is not impersonal, but rational, loving and suffering; Creator presented universe with an ability to self-development and human being with free will; realization of this self-development is accompanied by unpredictable consequences which are unknown not only for man, but for Creator also; God only of His own free will realized a self-limitation of His omnipotence because He loves human beings; one of our main tasks is to learn how to use our superior value - our freedom. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Acts of Askēsis, Scenes of PoiēsisThe Dramatic Phenomenology of Another Violence in a Muslim Painter-PoetNauman Naqvi (bio)[End Page 50]The Divinity is beautiful and loves beauty. Cultivate the ethos of the Divinity. Askēsis is my glory, and all askēsis is from me.— Hadith of the Prophet Muhammad, Sahih al-Bukhari>> Introduction: Presenting the Drama of the Gnostic Ontology of Violence in IslamIn current discourse on violence in Islam, the fundamental importance (...) of the Prophetic distinction—a distinction iterated in a number of hadith, or speech-events of the Prophet Muhammad—between the greater, inner jihad, against the ego (al-jihad al-akbar), and the lesser, outward jihad, against oppression and animosity (al-jihad al-asghar), has often been cited. Even so, an originary measure of the significance of this exemplary distinction—abyssal in its simplicity, disclosing as it does the divinity proper to the divinely ordained imperative of jihad (such disclosure of divinity being the very task and telos of the Prophetic speech-event, its very eventfulness (hadatha)—has hardly been taken or heeded.It has not, to begin with, been explored that both forms strikingly share the violent word, jihad: in Arabic, forceful effort or struggle. It is as if the reality and intensity of these two radically different forms of force are adequated a priori in the Prophetic speech-event—if anything, it is the former, the inner jihad, that has the greater reality, the more violent, imperative intensity. With their difference a matter of degree and quality, the two are at once intimately related and violently real, linguistically leaving us little space for the distinction between the metaphoric and the literal in this demanding economy, language, and ontology of violence.1The line that has been drawn between the two forms of violence in the Prophetic speech-event is not ontological per se—it is the axis of the stage of their dramatic encounter, the battle line of their distinction. This axis, this vertical battle line of distinction, is the strait, but upwardly infinite, dramaturgical space wherein is enacted the gnostic ontology of violence in Islam. It is the axial line of force emanating from Islam’s extraordinary emphasis on the radical purification of one’s intention, one’s very intentionality (i.e., the purification not just of the springing ground of one’s comportment, but of the anterior ground where one receives and apprehends the real as such), in a quest for the demanding Divinity that would hurl the Islamic subject both inside and outside itself in its own endless search and infinite encounter. It is the battle line of distinction that races through the world stage of Islam’s arts, knowledges, and practices—the auratic line of force pulsating through the fields of its charismatic inheritance of generous visions, discourses, and gestures. Indeed, it is the piercing erotic arrow of divine love and mercy that is the subtle motus animi continuus of Islam’s graceful works of poiēsis.For the violent task of askēsis assigned by the great imperative of inner jihad is closely related both to the imperative of beauty in Islam—where the effects of askēsis: virtue and virtuosity, are densely, passionately cathected and imbricated with the beautiful2 by [End Page 51] virtue of the latter’s manifestation of divinity—as well as to the imperative of knowledge, wherein theory and praxis are united in askēsis.3Beauty and its creation—the act of poiēsis —are also, then, violently real, as are knowledge and its effects, since together they all have a kenotically violent askēsis as the condition and telos of their possibility, as the very ground(s) of their emergence and potentiality. Thus, the significance of the greater jihad is (again) to be read potentially, in the entire range of the arts, gestures, habits, and letters of Islam, its artifacts and bodies, where generous, kenotic, sacrificial logics are on display, not just in the lesser archive of jihad (in acts of greater jihad on far bygone battlefields), but in the epic world-panorama of the acts and scenes of askēsis and poiēsis that are... (shrink)

How important is the first sentence of an article or book? We all know it is very important, at least when it comes to the level of interest a piece of writing will generate in the reader. A dull, lifeless first paragraph sets a boring tone for the whole piece—a tone that is difficult to change later on, no matter how interesting the topic may be. But why should the first sentence or paragraph be any more signif­icant than the others? (...) Is there anything about what comes first in life that makes it somehow more meaningful—or perhaps, meaningful in a different way—than other , subsequent events? This, in its broadest sense, is the question of initia­tion. (shrink)

Through the analysis of modes, man and the concept of intellectus in Spinoza's philosophy, the author shows that creation is reduced to the concept of cognitive activity of intellectus. The essence of intellectus is to bridge the gap between the modality and substance of reality, and a specific, given modal possibility, expressed in desire, which signals the gap, manifested through affects. For Spinoza, creation shifts from the sphere of the will to the sphere of the action of intellectus. (...) Thus, creation is a creative act that combines what should be and what is in reality. Therefore, every action of the intellect is presented as a modusof God. The author concludes that in Spinoza's philosophy, God is an eternal creation of himself, an eternal self-modification through his modal states. (shrink)

I defend the claim that Avicenna explains the creation of the universe in terms of emanation modeled on Neoplatonic emanation by exploring Avicenna’s account of creation by emanation in detail. I address what appears to be an obvious problem for the application of this model to creation—namely, that creation as emanation seems to be non-voluntary and has been understood to be non-voluntary by several prominent interpreters. I explore how Avicenna contends that God emanates voluntarily and non-necessarily. (...) Avicenna is able to make this claim because of his distinction between an action done of natural necessity, done voluntarily, and done with an intention. I then address whether this means that God creates freely—without any constraint whatsoever—and I conclude that God is not free not to create because God has an immutable will and has already acted to create. While God is not under any initial compulsion to create, from the fact that the universe now exists, God cannot act otherwise than to create. (shrink)

It is well known that Leibniz's advances metaphysical, logical and moral reasons why monads possess their own force of action; but what is not well known is that he also advances an account of the divine creative act in explicit support of force-endowed monads. This paper's goal is to highlight and critically examine this doctrine of creation, and to contrast it with the doctrine of creation underlying the occasionalist denial that substances possess their own force of action.

One of the central ideas of Slavoj Žižek’s recent work is that liberation never occurs without some form of sacrifice. As he puts it, “liberation hurts.” Through its account of the intertwined lives of two magicians competing to outdo each other, Christopher Nolan’s The Prestige explores this idea by emphasizing the necessary role that sacrifice and loss play in the act of artistic creation and in all production of the new. By doing so, it points toward an alternative form (...) of temporality that takes the repetition of loss rather than the idea of the future as its organizing principle. While cinema as an art form tends to prioritize the forward movement of time with a focus on the future, Nolan’s film undermines this idea of time by showing how the focus on the future inevitably leads back to sacrifice and loss rather than escaping it. (shrink)

Summary Verbs of creation (create, make, paint) are not transparent. The object created does not exist during the event time but only thereafter. We may call this type of opacity temporal opacity. I is to be distinguished from modal opacity, which is found in verbs like owe or seek. (Dowty, 1979) offers two analyses of creation verbs. One analysis predicts that no object of the sort created exists before the time of the creation. The other analysis says (...) that the object exists throughout the act of creation. I investigate three theories: Theory I says that no object of the sort created and which is caused by the very act of creation exists before the creation. In this theory, verbs of creation must embed a property. Theory II can regard the indefinite object of a creation verb as a quantifier and gives it wide scope with respect to the verb. The theory has to make sure that the objects quantified over exist only after the event. While Theory I and II start from the assumption that the extension of all nouns depend on time, Theory III says that Individual Level predicates do not depend on time. This ontology will enable us to treat verbs of creation as first order relations. The theory will entail that a picture does not mean the same as there is a picture. The paper discusses various approaches to the problem: Krifka, Parsons, Landman, Kratzer and Zucchi. (shrink)

This chapter moves from the most fundamental parts of Aquinas’s metaphysics to Aquinas’s thought about the created world, and especially the way in which things in the created world are able to act as beings in their own right, without altering their dependence on the creator. The result is an account of the causality of creatures that does not impugn their connection to the more basic causality of the Deity and that allows this part of Aquinas’s account to be compatible (...) with accounts of causality in modern science. (shrink)

Science has demonstrated that the universe creates itself through its own history. This history is the result of a probabilistic process, not a deterministic execution of a plan. Science has also documented that human beings are a result of this universal, probabilistic process of general evolution. At first sight, these results seem to contradict Christian teaching. According to the Bible, history is essentially the history of salvation. Human beings therefore are not an “accident of nature” but special creations to be (...) saved. With deeper theological probing, it becomes clearer, however, that creation must create itself. The Christian God is the loving God who enters into a loving relationship with human beings if they desire to reciprocate. If creation could not create itself, human beings could not be free. Without freedom to ignore or reject God's love, the central act of the Christian God, the drama of salvation, would become a parody played by marionettes in the hands of a supernatural manipulator. Christians should welcome the fundamental insight brought forth by science that the universe, including human beings, created itself through its own history. This article will try to show that this scientific insistence is required and confirmed by the intrinsic character of the orthodox, Judeo‐Christian concept of God. That nature has to create itself, including human beings, secures human freedom and with it, the responsibility for human actions. From this perspective one might better understand the Bible in the light of God's revelation through the book of nature. (shrink)

As evidence of the unintended consequences of industrial farm animal production continues to mount, it is becoming increasingly clear that, far from being a trivial matter of personal preference, eating is an activity that has deep moral and spiritual significance. Surprising as it may sound, the simple question of what to eat can prompt Christians daily to live out their spiritual vision of Shalom for all creatures--to bear witness to the marginalization of the poor, the exploitation of the oppressed, the (...) suffering of the innocent, and the degradation of the natural world, and to participate in the reconciliation of these ills through intentional acts of love, justice, mercy, and good stewardship. The aim of this work is to understand the cultivation of more intentional "compassionate eating" habits as a form of engaged Christian discipleship that responds to a wide array of practical, moral, and spiritual problems affecting all aspects of creation--human, animal, and environmental. The guiding suggestion is that compassionate eating is a spiritual discipline that offers a symbolically significant and practically effective way to live in faithful anticipation of the "peaceable kingdom" described in Judeo-Christian creation and redemption narratives. (shrink)

The meaning of the noun 'creation', and the verb 'to create', range from the traditional theological idea of God creating ex nihilo to a more recent sense of the process of artistic conception. This collection of thirteen essays, written by scholars of music, literature, the visual arts, and theology, explores the complicated relationship between medieval rituals and theology, and the development of an idea of human artistic creation, which came to the fore in the sixteenth century. The volume (...) concentrates on the period from the Carolingians to the Counter-Reformation but also includes some twentieth-century musicians. Each essay is dedicated to a particular topic concerned with ritual or artistic beginnings, inventions, harmony and disharmony, as well as representations or celebrations of creation. Central themes include the interplay of the ideas of God as creator, of God acting and recreating in medieval liturgy, of God as artist - the deus artifex of the Pythagorean cosmology, which was occasionally referred to as recently as the early nineteenth century -and, finally, of the homo creator, a concept in which man reflected (and eventually replaced) God in his artistic creativity. This book therefore features new, significant, individual contributions from a range of scholarly disciplines, but, taken as a whole, it also constitutes a complex interdisciplinary study, with large-scale historical constructions. (shrink)

Francis’ view of nature has been seen as positive in an ecological sense even by those who are for the most part critical of Christianity’s attitude to nature, such as Lynn White, Jr. I argue that one element of Francis’ uniqueness was that he saw the diversity of life as an expression of God’s creativity and benevolence and attempted to carry out that vision in ethical behavior. Much of what has been written about him has precedents in traditional hagiography, but (...) there remains an unmistakable impression of originality. It has been noted that Francis insisted on the goodness of creation, used terms of family relationship to refer to creatures other than human, and preached to them. However, another element has escaped notice: his emphasis on the presence of God in the diversity of created entities and his desire that humans should rejoice in this diversity and glorify God for it and with it. His devotion did not immediately dissolve multiplicity into oneness, but glorified God in each created being and delighted in their individuality. He advocated that praise be expressed by acting in ways consistent with respect for created diversity, not only by observing a strict rule of abstaining from harm to living beings, but also in positive treatment of all creatures. Nature took its meaning not from its serviceability to mankind, but from its expression of the multiple forms of God’s benevolent presence. (shrink)

This account is on the connection between the quest of meaning and the Christian belief from the perspective of Creation. First the most important notions are discussed. Meaning is related to the experience of the conditions of existence: time and space. The question of meaning is summarized by: Who am I within the contours of the existence which forces itself upon me in the shape of time and space? This question belongs to human beings and is as old as (...) human consciousness. It becomes more manifest when we find ourselves in borderline situations. The meaning we attach to such situations is partly determined by the frame of reference one has at its disposal, the perspective, the system of cognitions and feelings which causes us to view reality in a certain way. We talk about a religious perspective when the discrepancies and even absurdities of everything we experience find a point of connection in the end. It is characterized by the conviction that the life the individual leads is a fragment in a larger connection which has its roots in Creation. When we want to sum up the Christian meaning of our existence, we have to look for that meaning within the notion of Creation. Belief in Creation is the very core of all kinds of validation activity emanating from the Christian spatio-temporal orientation. From the perspective of Creation, the world presents itself as a fabric in which separate creatures are connected. According to this viewpoint there are two acting alternatives which make the faithful experience of space and time concrete and communicative: the experience of hospitality and the experience of being fellow-travellers. Christian faith has a rich tradition in both fields, as much in the practical as formal dimensions of its creed. In this account the belief in Creation is used as the point of departure to indicate how meaning may be given concrete form. Exercising hospitality is related to the ordering of space; the experience of being fellow-travellers is related to the ordering of time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deleuze, Bergson, Merleau-Ponty: The Logics and Pragmatics of Creation, Affective Life, and Perception by Dorothea E. OlkowskiElodie BoublilOLKOWSKI, Dorothea E. Deleuze, Bergson, Merleau-Ponty: The Logics and Pragmatics of Creation, Affective Life, and Perception. Bloomington: Indiana University Press, 2021. 180 pp. Cloth, $63.00; paper, $28.00[End Page 152]Dorothea E. Olkowski's latest book carefully examines "the relationship between the creation of ideas and their actualization in relation to (...) semiology, logic and the cosmos in the philosophies of Deleuze, Bergson, and Merleau-Ponty." However, this work is neither an extensive or historical account of Deleuze's, Bergson's, and Merleau-Ponty's philosophies, nor an attempt to homogenize their views on space, time, or perception. Instead, it subtly compares their differences and similarities to move beyond metaphysical dualism, and fruitfully rethinks the relations between formal logic and ontology. Indeed, the author aims to draw a "theory of form," based on the logic of sensation, ultimately designed "to take the place of a theory of the real, of material physical forces."Chapter 1 retraces the history of postmodernist claims and their philosophical legacy. Olkowski explains that postmodernism is not first and foremost a political worldview or a debunking of objectivity in natural sciences. Instead, "it begins as a formal system or series of formal systems." Olkowski explores how Deleuze draws on the knowledge of modern science and logic (Bolzano, Cavaillès) and on Bergson's critical analysis of it to elaborate his logic of sensation. Bergson's conception of affectivity impacted Deleuze's and Merleau-Ponty's theories of corporeality and sensation, and their understanding of perception. Bergson's concept of "body image" specifically influenced Deleuze's elaboration of the concept of "movement-image," through which he tried to overcome the dichotomy set up by mind–body dualism.Chapter 2 focuses on Deleuze and Guattari's critique of logic as an attempt to find a third way between idealism and materialism and to overcome the disconnection between formal logic and lived experience. It reviews their critique of Euclidean geometry, their objections to formal logic as set out by Frege and Russell, and their assessment of phenomenology in order to eventually show Deleuze's affinity with Peirce's pragmatist approach. Then, the author aims to determine if Deleuze's attempt could be compatible with the phenomenology of Merleau-Ponty and Bergson's understanding of quality and multiplicity.Chapter 3 focuses on Bergson. Recalling the controversy with Russell, Einstein, and Langevin, Olkowski refers to Merleau-Ponty's defense of Bergson's concept of intuition to prove the accuracy of his reflection on creative forces and pure duration. As she explains, "[T]he intent here is to clarify the relations between these different aspects of Bergson's thought and draw out how Deleuze makes use of these structures derived from Bergson's philosophy." This leads her to explore, more specifically, how Deleuze reworks the concept of "multiplicity" along the lines of Bergson's analysis of the élan vital.In chapter 4 the author focuses on Deleuze's work on cinema to deepen the philosophical correlation between Bergson's concepts, Deleuze's analysis, and the influences of Merleau-Ponty and Pierce. It aims to rethink the relation between movement and time, notably through the notions of time-image and movement-image. Olkowski notably showcases Deleuze's concept of destiny, "which is the pure power of time that [End Page 153] overflows all possible reaction. It defeats, immobilizes, and petrifies figures in their own affectivity; it sends them to their fate, destroying conventions along the way. For Merleau-Ponty, as for Bergson, acts are still possible in a network of temporal relations so that motion and time are destiny but differently than for Deleuze."Chapter 5 addresses the Phenomenology of Perception and how Merleau-Ponty provides an opportunity to rethink perception. In this book and his Courses on Nature, Merleau-Ponty "does not dismiss either position—that of objective science or that of the natural attitude—but argues that although each contains an element of truth, it is perception and only perception that allows us to bridge the gap between physical reality and behavior/comportment." Deleuze will depart from... (shrink)

The difference between Hermann Cohen’s systematic philosophy and his philosophy of religion can be determined via the logical “Judgment of Contradiction,” viewed as an “Authority of Annihilation.” In Cohen’s Logic of Pure Knowledge the “Judgment of Contradiction” acts as a “means of protection” against “falsifications” that may have arisen on the pathway through the previous judgments of “origin” and “identity.” Cohen thematizes these operations in his Religion of Reason Out of the Sources of Judaism, too. However, there they do not (...) form the grounding for natural science but rather for the knowledge of nature as creation in a strict correlation to God’s uniqueness. Any admixture between God and nature is the falseness that must be excluded via the “Authority of Annihilation.” The Being of God places the world over against the possibility of its own radical Non-Being. Yet at the same time, a second mode of Negation, a relative Nothing providing continuity for the world’s being-there, grounded in the “Logic of Origin,” retains its validity. In Cohen’s view a Creation “in the beginning” stands side by side with a continuous “renewal of the world”. (shrink)

Inspiring and empowering, this journey behind the scenes of humanity's greatest creations reveals the surprising way we make something new. What do Thomas Jefferson's ice cream recipe, Coca Cola, and Chanel No. 5 have in common? They all depended on a nineteenth-century African boy who, with a single pinch, solved one of nature's great riddles and gave birth to the multimillion-dollar vanilla industry. Kevin Ashton opens his book with the fascinating story of the young slave who launched a flavor revolution (...) to show that invention and creation come in unexpected shapes and sizes. From the crystallographer's laboratory where the secrets of DNA were first revealed by a long-forgotten woman, to the electromagnetic chamber where the stealth bomber was born on a 25-cent bet, Ashton weaves tales of humanity's greatest creations to unpack the surprising true process of discovery. Drawing on the Amish and the iPhone, Kandinsky and cans of Coke, Lockheed, South Park, and the Wright brothers--who set out to "fly a horse"--he showcases the seemingly unremarkable individuals, gradual steps, multiple failures, and countless ordinary--and usually uncredited--acts that led to our most astounding breakthroughs. Creators, he shows, apply everyday, ordinary thinking that we are all capable of in particular ways, taking thousands of small steps, working in an endless loop of problem and solution. He explores why innovators meet resistance and how they overcome it, why most organizations stifle creative people, and how the most creative organizations work. In a passionate and profound narrative that amazes and inspires, Ashton's book sheds new light on how "new" comes to be. (shrink)

The standard form of act-consequentialism requires us to perform the action with the best consequences; it allows choice between moral options only on those rare occasions when several actions produce equally good results. This paper argues for moral options and thus against act-consequentialism. The argument turns on the insight that some valuable things cannot exist unless our moral system allows options. One such thing is the opportunity for individuals to enact plans for their life from among alternatives. Because planning one’s (...) life has value, and because it requires moral options, a world governed by a moral system that admits of options is better than one governed by act-consequentialism. The paper argues that these facts entail that morality admits of a significant number of moral options; act-consequentialism is false. (shrink)

Aquinas held that the metaphysical consideration of beings as being consists in the consideration of being as created, i.e., the consideration of things in their complete reality, and the reduction of this complete reality to its complete cause. When existence displaces form as the primary sense of being, the thing’s act of existing is conceived of as ‘formal’ with respect to its essence. Consequently, the primary object of metaphysical consideration becomes the complete entity, a composite of essence and existence, and (...) the primary sense of being becomes the subsistence of the complete entity. In Aquinas’s creationist discourse, the term supposit denotes the concept of the entitative whole or complete entity. What this concept of the supposit adds to the Aristotelian conception of the concrete individual derives from the contingency of existence in every being beyond the first being. The subject of a nature and of categorical accidents is now also conceived of as the subject of a received act of existing. Aquinas reduces the distinctions of finite entities to their possession of acts of existing that are diverse absolutely, in virtue of a ‘privation’ of the fullness of existence, just as Aristotle reduces formal contrariety to the possession or ‘privation’ of differences that are diverse absolutely. And as Plato traced the negations constitutive of formal contrariety to a correlative participation between being and otherness, Aquinas analogously traced the distinctions of finite entities to a transcendental duality between participated existence and receiving essence. The necessary participation of each of these principles of finite being in divine and infinite existence constitutes the ultimate metaphysical reduction and horizon of a creationist metaphysics. (shrink)

The human subject in as much as he knows transforms the sensitive and concrete (the thing perceived) into abstract (an image of the thing perceived), the abstract into an idea (imaginative representation of the thing abstracted), and ideas into contents of conscience (meanings). The last step in the creation of meanings, something being executed in the speech act, consists in fixing the construct mentally created thus making it objectified meanings in the conscience of speakers. The interchange amongst the different (...) steps in the creation of meaning manifests lógos, the state lived by speakers in their interior when speaking, created and developed in words and because of words. (shrink)

:Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. From Dreyer's The Passion of Joan of Arc to Pasolini's Mamma Roma to Tarkovsky's Sacrifice to many of Ozu's films to Kar Wai Wong's In the Mood for Love or to Lars von Trier's Breaking the Waves and Bruno Dumont's La Vie de Jésus, to give just a few examples, sacrifice has nourished, informed and shaped filmmaking. Sacrifice is a (...) fundamental human act, and cinema has always, in some way or another, danced around it. Yet that's not all. In a world like ours from which the gods have mostly withdrawn, but people haven't stopped feeling the need to believe, in an important sense film has taken over the myth-factory. It's on screen that the post-Christian grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Our contemporaries may no longer be church-goers, but they go to the movies religiously. And the sacrificial theme makes.. (shrink)

The paper presents George Steiner’s view of the right conditions for the contemplation of art. The position has been presented as motivated by a certain concept of artistic creation and the reception of art.Steiner’s vision of art finds its legitimacy in a belief which describes the linguistic activity of man as one which is at the same time creative and conditioned by external discourses. In this view both the speaking subject and the subject of an artistic activity are motivated (...) by a desire to become independent from an impartial discourse of mind. An artist is someone who opposes the past and present forms of expression in an attempt to incarnate a sense which in the light of the established forms of discourse appears inexpressible. The key point of Steiner's concept is his argumentation in favor of the ambiguity of dividing the human activity into the original and the derived. An artist, a recipient of art or a theorist do not have the tools which could point at the divide.The analysis sets out to make an outline of Steiner’s rendition of the problem of interpretation and development o art. The originality of the position on the issue results from attributing a major significance to interpretative errors for the survival and the constant appeal of art. The process of interpretation is also described as one which yields to no theoretical taxonomy. According to Steiner, a recipient of art disposes of no tools that would warrant access to a transcendental sense of a work of art. Therefore, it ought to be ascertained that a reliable act of reception is one which does not pursue agreement with its object. The recipient must remain detached from the work of art. Paradoxically, only thanks to such an attitude can they make art part of their experience. (shrink)

Why was Eve created? In De Genesi ad litteram, Augustine notoriously gives the answer that it was only causa pariendi, “for the sake of childbearing.” Other late antique interpreters of Genesis emphasize the purpose of conjugal union and domesticity. But a fuller reading of Augustine’s thoughts on the subject reveals the moment between the creation of Eve and the fall as pregnant with extraordinary possibility. This moment, of indeterminate length—for humans had not yet fallen into time—provides an opportunity for (...) Augustine to unleash his theological imagination. This lecture is about paradise. It eschews the customary focus on Adam’s paradisal desire to think about Eve’s beginning. Augustine uses this beginning to emphasize the importance of sociality, and of marriage as its most perfect realization. He takes the quotidian miracle of childbirth as our closest intimation of God’s act of creation. And he imagines new meanings for the trinity of Villanova’s motto: ueritas, unitas, and caritas. (shrink)