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Artificial intelligence (AI) can create works deceptively resembling paintings, graphics, or photographs. This article examines how to treat these works, and under what circumstances, if any, they should be understood as art. The focus is placed on the work itself in the l'art-pour-l'art -tradition, on the reception, on the skills involved in the creation, and on the authors themselves. Besides looking at literary sources touching on the aforementioned aspects, the evaluation considers the perspective of people with an affinity for art through in-depth interviews. Most interviewees revised their initial reaction after learning that the works were AI generated, being more skeptical about their status as art. It then becomes obvious that the role of the artist is undergoing change. The confrontation with the artificial brings the human creator into the foreground and makes them inseparable from the work. The new technical-cultural situation leads to a new, more contextual evaluation of art. [ABSTRACT FROM AUTHOR]

This review article explores two recent works on Paul Ricœur, A Companion to Ricoeur's The Symbolism of Evil, edited by Scott Davidson, and Ricœur at the Limits of Philosophy: God, Creation, and Evil by Barnabas Aspray. Both works focus on Ricœur's early works, before the 'hermeneutical turn'. In this review, I show how both works demonstrate Ricœur's applicability to contemporary theological thought, especially concerning the symbols of creation and evil. Ultimately, both works show the depth and complexity of Ricœur's early work and his continued importance for understanding how the symbols of creation, existence, finitude and God are deep and multifaceted. [ABSTRACT FROM AUTHOR]

The paper offers a critical perspective on some modern studies of Plotinus’ doctrine of Love, which interpret his Eros as more than a guide, leading the soul to the intelligible world and above, to the first Principle, or directing its gaze to the sensible world. They consider Love to be the driving force behind generation from the One and even identify it with the One itself, basing most of their arguments on rare instances of Eros’ appearance at levels above the soul and using an emphatically erotic terminology that is alien to Plotinus. [ABSTRACT FROM AUTHOR]

Avicenna holds that since God has existed from all eternity and is immutable and impassible, he cannot come to have an attribute or feature that he has not had from all eternity. He also claims for the simultaneous causation. A puzzle arises when we consider God's creating this world. If God is immutable and impassible, then his attributes associated with his creating this world are unchanging. So, God must have been creating the world from all eternity. But then God's creative act, one might object, seems to be no different from a matter of natural necessity. This is a threat to divine freedom, for God would then have no choice concerning his creative action. Anthony Ruffus and Jon McGinnis argue that this puzzle can be solved in such a way that Avicenna can consistently affirm divine freedom along with divine simplicity. They suggest that Naṣīr al-Dīn Ṭūsī's interpretation might help to show that it is false that Avicenna's God cannot choose absolutely. For it is still open to him to choose either to create eternally or to refrain from creating anything at all. Ruffus and McGinnis argue that since creating or not creating anything at all do not correspond to two distinct concepts, Avicenna's account of divine simplicity, which denies any multiplicity in divine mind, is safeguarded along with divine freedom. I claim that God's omnirationality requiring that he always acts for reasons is a serious threat to such an interpretation. [ABSTRACT FROM AUTHOR]

The Kingdom of Kongo is notable for its conversion to Christianity in the late fifteenth century and as continuing as a Christian country for the rest of its independent existence. Its conversion and the propagation and maintenance are widely believed to be the work of foreign missionaries, disrupted by a nationalist reconception of Christian history by D Beatriz Kimpa Vita, a prophetess possessed by Saint Anthony in 1704. New documentary discoveries force a new understanding of this process, placing emphasis on the reworking of the Creation and Nativity as taking place in Kongo, not with D Beatriz' possessed statements in the eighteenth century, but in the sixteenth century at the hands of Kongolese intellectuals and school masters reworking European written source material, such as the Black Madonna at the church of Our Lady of Guadalupe, and maps of the Garden of Eden. [ABSTRACT FROM AUTHOR]

In his commentary on Psalm 118(LXX):73a, "Your hands made me and fashioned me" (Tract.118Ps. 10.1–8), Hilary of Poitiers provides a unique perspective on the creation of humanity and on its exceptional dignity. I will examine key aspects of Hilary's exegesis of this verse, namely, the identification of the hands of God, the interpretation of the two verbs "made" and "fashioned", and the connections with Genesis 1:26 and 2:7. I will also compare Hilary's interpretation of Ps 118:73a to the views expressed by other authors such as Theophilus, Irenaeus, Origen, Tertullian, Ambrose, and Didymus, with the purpose of contextualising Hilary's novel understanding of human dignity within the larger framework of Early Christian interpretations of Genesis. [ABSTRACT FROM AUTHOR]

The doctrine of creation is a teaching shared across many faith traditions that requires urgent interdisciplinary attention today. Joanna Leidenhag's book Minding Creation considers how the philosophy of panpsychism might be beneficial to the Christian articulation of creation. This article is an overview of the book, in order to contextualize the four responses and author's reply that follows. [ABSTRACT FROM AUTHOR]

In this article, I reply to four responses published in this journal to my book Minding Creation: Theological Panpsychism and the Doctrine of Creation. Two of these responses, by Christa L. McKirland and Eugene Fuimaono, and by Tim Miller and Thomas Jay Oord, are largely appreciative and propose future engagement with theological anthropology, indigenous perspectives, process metaphysics, and the doctrine of the incarnation. The other two responses, by Andrei Buckareff and Philip Goff, offer critical engagement on arguments I made regarding the relationship between panpsychism, naturalism, and theism. [ABSTRACT FROM AUTHOR]

Many recent studies support the idea that creativity is partially or totally “domain-general.” Certain individuals may exhibit greater creativity than the average, whatever the domain. More precisely, certain general factors (e.g., genetic factors, creative personality) could significantly impact creativity. This systematic review aims to evaluate this latter assertion. All empirical papers using at least two creative performance tasks in two domains were selected (n = 36). Results show that some participants succeed in creative tasks in several different domains, but only in experiments where specific prior knowledge is not controlled and tasks are artificial. Furthermore, certain studies conflate the function, which is domain-general, with its functioning, which may not necessarily be domain-general. For these reasons, the results appear less robust (no control for confounding factors) and less representative (creative tasks are not academically, socially, or professionally realistic). Therefore, it seems premature to recommend the integration of general creative skills into school or training programs, as well as the selection of students or employees with a presumed “creative profile.” [ABSTRACT FROM AUTHOR]

Haiku is the world's shortest form of poetry, describing nature and ordinary everyday life. Previous studies and quotes from professional haiku poets suggest that haiku can foster self‐transcendent emotions, such as gratitude and awe. This study compares how those who did and did not create at least one haiku in the past month experience self‐transcendent emotions. A total of 192 haiku writers and 177 non‐writers responded to scales related to self‐transcendent emotions, such as gratitude for serenity, gratitude trait, and trait awe. The results of the Bayesian implementation of Generalized Linear Mixed models revealed that haiku writing increased the frequency of gratitude for serenity and awe, rather than general gratitude. These effects persisted even after controlling for interest in art and educational level, indicating that haiku writing has unique characteristics, including encouragement of attention to nature and a different perspective on daily life. Even in the absence of special events, a change in perspective toward everyday life occurs through creating haiku, and people appreciate and feel awe toward ordinary, everyday things. These novel findings contribute to the study of creativity and emotion. [ABSTRACT FROM AUTHOR]

In the last seven to eight years, there have been three disruptions at once: Digital Disruption, Millennial Disruption, and Pandemic Disruption. Relevant to the three disruptions which are also accompanied by changes in consumer behavior, the freight forwarding industry in Indonesia needs to transform from services product to services ecosystem. This can provide value to stakeholders in the freight forwarding industry in particular and the logistics industry in general, including transportation service providers (land, sea, air, train), warehousing, stevedoring, heavy equipment rental, custom clearance handling, banking, digital payment services, quarantine services, and the customers themselves. This study aims to gain a deeper and more understanding of Service Quality, Brand Image, and Price, in the creation of a services ecosystem in Indonesian Freight Forwarding Companies to build an orchestration of the stakeholders in the Logistics Industry. [ABSTRACT FROM AUTHOR]

The purpose of the article is to provide one of the possible religiological interpretations of the theme of human dominion over nature, which is found in the Biblical text about creation in Genesis 1:1–2:3. The main thesis of the article is that the Biblical commandment to rule can be understood in the context of the sacralization of the profane. For this purpose, the article mostly relies on the theory of the sacred developed by Mircea Eliade and partly on Jan Assmann's thoughts on the totality of monotheism. Based on this, the article observes that biblical dominion can be seen on three horizons, which are primarily existential and concern man's religious experience. These are the horizon of the sacred, the horizon of the mythical and the horizon of the totality. The latter is particularly characteristic of the monotheistic perception of dominion and manifests itself as an uncompromising consecration of time, space and beings. These processes are often carried out through the biblical language of conflict, which can also take on violent meanings. Therefore, the article initially presents complex and often controversial nature of the concept of dominion on the example of ecological criticism, which accuses Genesis of an anthropocentric abuse of nature. Nevertheless, violent and exploitative rule is not the core of monotheism. This is discussed in the rest of the article, which is dedicated to Eliade and Assmann's religiological thought and shows that the goal of a religious person is to bring himself and all of creation closer to their transcendental origin. The biblical engagement with dominion is therefore not anthropocentric, but theocentric, and does not have as its motive economic or political totalitarianism, but rather the total sanctification of the world according to the paradigmatic model of the creation myth.

In Terry Pratchett and Neil Gaiman’s 1990 comic novel Good Omens, names act as important signifiers of role and function; the act of naming can be an expression of power so strong and significant that it can literally shape reality. Here, I propose a reading of Good Omens that explores human agency through the process of naming. Focusing on the character of Adam Young, who is himself named after the first human described in Genesis, I examine how Good Omens intersects with the cultural inheritance of the Bible, and specifically with literary and popular cultural engagements with Genesis and Revelation. Approaching the novel primarily via its literary and cinematic intertexts, I position Adam Young as a literary construct who in turn names and shapes other beings out of material from his own mental library. Like his namesake, in Genesis to whom God delegated the naming of the animals, I consider how the Adam of Good Omens uses naming to define the world around him and in doing so, asserts his humanity over his supernatural origins.

The article deals with the aspect of the interrelationship between two related artistic fields under the “rhythmic” aspect – painting and music. This connection has been present in artistic manifestations since the beginning of human civilization and had a magical-religious character. Interest in musical aesthetics increases in the medieval period, but especially in the Renaissance when the arts gain a dominant role in society. The socio-political and religious changes in society in the century XVII-XVIII, impose an alert and dynamic rhythm, an increased interest in all spheres of artistic culture, including fine art and music. The musical component persists in plastic creation and in the century XIX-XX, in different styles or artistic currents. A particular predilection for musical subjects is observed in the representatives of romanticism and symbolism, visual artists making a “leap” from the sphere of the real, mundane world to mystical-fantastic or cosmic dimensions. The return of the artistic vision in everyday life is evident in subjects with human figures singing, dancing, etc. in realism, impressionism, post-impressionism, fauvism, etc. A special plastic formula of the musical component in painting is present in the creation of abstractionists, expressionists who “see” musical sounds in color. In the Romanian-Bessarabian space, the musical theme is found in various thematic works, of a static nature, but with a generally relatively low frequency.

This article concerns the question of whether St. Thomas Aquinas can be considered a young Earth creationist. This question breaks down to three different though interrelated issues: Aquinas’s view on the origin of species, his position on the length of the six days of creation (whether they were natural days or other periods of time) and his views on the age of the earth. Each of the topics is addressed separately in the subsequent sections. The article attempts to establish Thomas’s views by his explicit statements as well as what he implies in some fragments. The conclusion presents Aquinas as a creationist with an open-ended view of the timescale of the creative events and the age of the universe.

The article investigates the artistic representations of man as a creative being, related to divinity as an absolute creator, in the poetic texts of some contemporary Bessarabian authors, exponents of various generations (Emilian Galaicu-Păun, Nicolae Popa, Vasile Romanciuc, Silvia Goteanschii, Ana Donțu). It is traced how, from one generation to another, the idea of creation and the visions of man as a creative individuality transform with the changes that occur in society, influencing the human relationship with the Great Creator. The texts from the ars poetica category create a new myth about the process of individuation, the artistic becoming, the purpose of the artist (poet) in the world and that of poetry, the diversity of the relationship between the creator and the receiver; the poetry after 2000 illustrates the human creation interposed between me and you, between man and God.

The Christian mystical tradition approaches the apocalyptic as praxis – a way of living that renounces the world as it is, lives proleptically into a counter-world of God's reign and practices indifferent freedom in the meantime to love God and neighbour. Although concerns about the ethical viability of such a disposition have merit, this essay demonstrates its constructive possibility through recourse to two archives: the writings of Evagrius of Pontus and the witness of Francis of Assisi. By recovering a scriptural distinction between world and creation, and by emphasising the posture of holy indifference, apocalyptic praxis offers a resource and guide. [ABSTRACT FROM AUTHOR]

The recent test translation of Te Paipera Tapu (the Bible in the Māori language) has aroused considerable debate for its use in Genesis 1 of the names of atua Māori (Māori divine beings). These names of atua have been used instead of names of features of the natural world, which stands in contrast to the use of other kupu Māori (Māori words) in the earlier translation and its revisions. In this paper, I outline relevant members of the Māori pantheon and of some ancient Near Eastern pantheons, which are not identical. I then discuss the Hebrew text of Genesis 1 in its ancient literary context, making proposals about the use of the names of atua Māori in translations. [ABSTRACT FROM AUTHOR]

While the debate on God's eternity as timeless and/or temporal is a fascinating topic in itself, especially in philosophical theology, the discussion of time and temporality has a hermeneutical systematic potential for the articulation of Christian theology. In this article, I explore the hermeneutical systematic dimensions of time and timelessness for Christian theology in Augustine's Confessions (Book XI) in dialogue with contemporary articulations of divine timelessness and temporality, as delineated by Allan Padgett and William Craig. The study identifies how timelessness and temporality are hermeneutically and systematically shaped and serve as presuppositions for related concepts in anthropological and cosmological approaches that inform different views about the relationship of God with His creatures. [ABSTRACT FROM AUTHOR]

In this article, I uncover a point of contact between Cornelio Fabro's philosophical theology and Søren Kierkegaard's theological anthropology. I survey how Fabro's metaphysical account of the human person as a created 'synthesis' between the infinite and finite, also invites a soteriological account of the call of Christian discipleship. My wider argument is that Fabro unearthed a structural feature in Kierkegaard's theological approach to free creation from nothing, human subjectivity, suffering, and freedom that mapped on to Fabro's philosophical theology of participation. In doing so, Fabro recovered the missing metaphysical and soteriological elements of Kierkegaard's theological emphasis on the task and goal of selfhood beyond the atheistic existentialist stereotypes of God-denial, acosmic individualism, and self-annihilation. Often construed as polar opposites, I claim that Thomistic philosophy and Kierkegaard's existential approach can be juxtaposed fruitfully as sharing an important point of departure with free creation from nothing. In short, Fabro's creative link between Kierkegaard and Thomas Aquinas affords a unique theological development in post-Kantian approaches to the topic of existential freedom. [ABSTRACT FROM AUTHOR]

This paper sets out Joseph Ratzinger's Christocentric theology of creation as a counter to the increasingly popular naturalist movement anti-natalism. Paradoxically, anti-natalism is parasitic on the doctrine of creation and yet, at the same time, denies creation, for, as Ratzinger argues, the doctrine of creation affirms both the human person and the natural world within which she lives; creation is necessary for self-acceptance. Furthermore, creation and redemption go together. It is with and through the human person, not without, that the natural world is brought to its proper end. [ABSTRACT FROM AUTHOR]

Although biblical scholars are increasingly turning their attention to the question of God's body, few clarify how precisely this "body" complicates the long-held claim that God is immaterial. The present article addresses this oversight by attending to the ways in which biblical accounts of God's body intersect with wider tradents of thought on materiality and immateriality, including, above all, the recent cross-disciplinary "turn" known as new materialism. The article begins by discussing what biblical scholars mean when they say "God's body" and how biblical theophanies in particular complicate the belief that God is immaterial. It then discusses new materialism and how key emphases in this scholarly shift similarly complicate the belief in God's immateriality. Third and finally, the article returns to biblical theophanies by reading these accounts through a new materialist lens, focusing in particular on God's manifestations in material, nonhuman forms. In the end, I suggest not only that biblical theophanies problematize traditional ways of conceiving God within the history of biblical interpretation but also that new materialism can better enable us to see how these accounts portray the relationship between God and embodied materialities. [ABSTRACT FROM AUTHOR]

The study of the creation-theme in the Didache is a research desideratum. This article examines translations and commentaries to determine the Greek words that refer to this theme and how these can be interpreted in terms of creation-theology. This preliminary set of creation-terminological lexemes will be refined by further analysis to gain an overall impression of the Didache's creation-theology. In the creation-ethical outlook, the question about how the Didache envisions creation continuing in the future is addressed, which is discussed in light of contemporary challenges. The Didache has neither a specific ecological interest nor a general devaluation of the present creation. It does, however, have eco-theological potential. [ABSTRACT FROM AUTHOR]

John 1:19–51 provides a bridge from the prologue (1:1–18) into the body of the narrative and the inauguration of Jesus's public ministry at a wedding feast (2:1–12). The primary theme underlying these opening days has long been debated. Further, do the days articulated by the regular temporal markers tally to six or seven? The evangelist presents the prologue in a chiasm that turns on the pivot of v. 12b. The opening and closing elements correspond to one another (creation imagery in vv. 1–5; revelation imagery in vv. 16–18), but the latter has been fundamentally affected by the pivot: the incarnation of the Word of God and the human response to it. Moreover, as a prologue, its structure and content profoundly affect what follows. Based upon these foundations, this essay argues that themes of both creation and revelation are interwoven and interactive across these early passages. [ABSTRACT FROM AUTHOR]

Music is a deeply entrenched human phenomenon. In this article, I argue that its evolutionary origins are intrinsically intertwined with the incremental anatomical, cognitive, social, and technological evolution of the hominin lineage. I propose an account of the evolution of Plio-Pleistocene hominins, focusing on traits that would be later implicated in music making. Such traits can be conceived as comprising the musicality mosaic or the multifaceted foundations of musicality. I then articulate and defend an account of protomusical behaviour, drawing theoretical licence from the social brain framework of Robin Dunbar and colleagues, as well as the evolutionary framework for human culture and cooperation developed by Kim Sterelny. The role of gene-culture co-evolution and niche construction is brought to the fore in articulating the evolutionary account. Finally, I defend the view that music subsequently developed via processes of social learning and cumulative culture. [ABSTRACT FROM AUTHOR]

The question of how God works is one which many struggle with. While this is especially true in the case of the issue of creation with respect to Genesis 1, it really is a broader issue relating to any intervention of God into the physical realm, especially with regard to human affairs. While readers of this journal generally assume that God can intervene in the space-time continuum, this study begins with a reminder of why the Christian view is that He can. It observes that these interventions are given a generic name of 'miracles,' and then reviews the nature of miracles focusing on examples of Biblical descriptions of events that are presented specifically as miracles by the Biblical author. This is followed by an evaluation of the terminology used in Genesis 1 to describe the original creation event and why Biblically speaking it must be viewed as miraculous. [ABSTRACT FROM AUTHOR]

Many Judeo-Christians have seen environmental concerns as a way of renewing the contemporary relevance of the doctrine of Creation. This article argues that, set against the decline of Christianity in the Western world, modern environmentalism is a rival, not an ally, to Judeo-Christianity. While its basic thought patterns replicate five key religious motifs—the existence of the sacred, sin and repentance, prophetic warning, the wisdom of sacrifice, and expression of faith through symbolic action—these are humanistic alternatives to the same motifs in Judeo-Christianity. The article concludes with a brief analysis of the deficiencies of environmentalism as a religion. [ABSTRACT FROM AUTHOR]

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Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The research aims to study the genetic cloning objectively. It is found, through what is mentioned in the Holy Quran, that people is unable to create, as challenged by the Almighty Creator, glory is to Him. In fact, cloning is not creation, but rather a kind of changing Allah’s creation, but it is forbidden. Cloning is a process in which a genetically identical copy of a cell, tissue or living organism is produced from genetic material. This happens naturally in organisms such as bacteria, insects, or plants, where reproduction happens without mating. The newly created copy is termed as a “clone”. The Scottish sheep “Dolly” is considered the most famous example. Cloning also refers to the process of applying a nuclear transfer technique to somatic cells. The research comes to the following findings: 1) Cloning is not considered creation; creation and creativity belong to Almighty Allah alone. 2) Admitting the falsehood of the suspicion of the creation. 3. Genetic cloning is viewed as a part of Allah’s creation and is considered to make significant risks across various aspects, thus doing it is religiously prohibited. Research methodology: a definitional approach and an inductive analysis. [ABSTRACT FROM AUTHOR]

Au fur et à mesure de son extension à l'ensemble des champs disciplinaires, le concept de crise a perdu en intelligibilité. La psychiatrie n'échappe pas à ce phénomène par les différentes réalités que l'emploi de ce concept recouvre. Aussi, notre présente étude vise à s'intéresser à ce qu'il en est de la crise psychique et à clarifier ce dont elle témoigne pour chaque sujet au travers de ses manifestations dont l'hétérogénéité ne peut que saisir le clinicien. Afin de cerner au plus près notre objet qu'est le notion de crise psychique, nous proposerons en premier lieu une étude étymologique et historique du concept de crise, puis, en nous appuyant sur un référentiel psychanalytique enrichi d'apports philosophiques, phénoménologiques en particulier, nous analyserons en quoi toute crise psychique est réaction critique à une rencontre avec un réel faisant discontinuité, événement pour un sujet. Nous poserons alors que le bouleversement intime dont est cause le phénomène de crise psychique, par le déchirement des représentations du sujet qu'elle suscite, tire origine de son mode d'inscription singulier dans le langage par lequel il se maintient au monde. Soutenu par une présence soignante, le sujet en crise sera alors accompagné dans une décision à prendre ayant pour fin de créer un nouveau mode d'être vivable faisant suite à la chute de ses anciennes assises. Nous soutenons ainsi que toute crise psychique révèle l'être à lui-même. Toutefois, cette épiphanie n'est pas sans risque et c'est pourquoi un accompagnement soignant prend là, plus que jamais, toute son importance. À rebours des pratiques actuelles celui-ci veillera donc à ne pas entraver la crise psychique lorsqu'elle s'annonce, mais bien plutôt à soutenir la création originale et subjective susceptible d'en émaner. Soutien à l'émergence d'une nouvelle façon d'être au monde ainsi que l'aide ultérieure à la mise en récit dynamique par le sujet de la crise traversée par lui, tels nous paraissent être les préalables éthiques à toute prise en soins de la crise psychique. As the concept of crisis has permeated all disciplinary fields, it has become less intelligible. This phenomenon is also valid in psychiatry, on account of the usage of the concept in relation with different realities. Thus, our present case study takes interest in what the psychic crisis is, so as to clarify how it appears for individual subjects through its various manifestations, whose heterogeneity has an undeniable clinical interest. In an attempt to provide a granular definition of the psychic crisis, we will first put forth a historical and etymological study. Then, based on a system of psychoanalytical references supplied with contributions from philosophy and particularly from phenomenology, we will address in what way any psychic crisis comes as a critical reaction to an encounter with the real, which appears as a discontinuity, an event for the subject. We theorize that the internal disruption caused by the psychic crisis phenomenon, which tears apart the subject's representations, stems from its unique operating mode by means of the language use to interact with the surrounding world. The subject going through a crisis, and accompanied by health care professionals, will be guided to a decision that aims at creating a new livable mode following the downfall of their former objective certainty. Hence, we believe any psychic crisis unravels the subject as a being to themselves. However, such an epiphany is not harmless, which is why the health care professional plays an even greater role in this instance. Running counter to current practices, the health care professional must not hinder the psychic crisis when it arises, but, instead, make space for any uniquely subjective creation that is likely to come forth. We advocate for the emergence of a new mode of being, of dealing with the world, while facilitating the subject's fashioning of their own dynamic narrative, of the crisis they are going through. We believe, indeed, that such are the ethical prerequisites of care, with regard to the psychic crisis. [ABSTRACT FROM AUTHOR]

The official position of the Church of England (CofE) regarding human sexuality affirms a heteronormative ideal of human relationship that finds fulfilment in marriage with an orientation towards procreation. Official publications by the CofE justify the male/female partnership in several ways, but it is the recurring appeal to human biology that is of interest in this paper. This paper will critique a natural law approach in which prescriptive statements are derived from biology to justify heterosexual relationships. This paper will pay attention to Issues in Human Sexuality (1991) because of the status afforded to it by the CofE; it was essentially used as an official statement on human sexuality; ordinands have been asked to abide by its theology; and because its theology is explicitly affirmed in subsequent CofE documents. Although Issues has been superseded and the CofE is in a new phase of debate, claims about biology remain. [ABSTRACT FROM AUTHOR]

Our participation in the XIX Argentine Congress of Therapeutic Accompaniment (AT) organized by the Argentine TA Association (AATRA) at the Faculty of Psychology of the National University of Mar del Plata (UNMDP) motivated a shared writing task in which we propose to think creatively about the about the function of the therapeutic companion (at) as an agent of health and change, through reference and the theoreticalclinical assembly regarding the problems of a girl who, in her transition through puberty, called us to the review of an approach that recreated the importance of interdisciplinary work. The creativity (Winnicott, 1996) of a multi-referential framework (Bálsamo, 2022) allowed us to think about a living space and professional determinations when therapeutically accompanying the emotional development of the girl mentioned as a patient and accompanied In our record of the AT and its meaning, protecting the conditions of right to the psychic process, to the instance of changing and growing, strongly refers us to a place of production of a subjectivity with ample space for the subjectifying (Frison, 2023). It is a position that ethically leads us towards a desire that privileges the singular in listening. A transitionality (Winnicott, 1996) that implies a maintenance in continuity of offering expression to the being, promoting the event and emancipation (Bálsamo, 2022). The presence, his observation and listening available in the exercise of his practice, his place in the interdisciplinary team, make the importance of the function of the at. [ABSTRACT FROM AUTHOR]

During the period of the Republic of China, the traditional Chinese cheongsam successfully completed the modernization transformation with the methods of “Westernized Chinese style” and “integration of the East and the West”, and became the only “living fossil” of the successful transformation in the 5,000 years of traditional Chinese clothing history. In the context of “carrying forward the excellent traditional culture of China and enhancing cultural self-confidence”, in-depth research on the cheongsam of the Republic of China may point out the direction for today’s fashion designers in inheriting and innovating traditional clothing culture. The cheongsam of the Republic of China is a “transitional form” in the development sequence of the cheongsam. This paper used the methods of literature research, physical research and interviews with folk artists to sort out and summarize the development of cheongsams through four main periods: Manchu’s cheongsam, Shanghai style cheongsam, Taiwan and Hong Kong cheongsam and contemporary fashion cheongsam. Specifically, the development of the Shanghai style cheongsam of the Republic of China experienced the evolution of different shapes such as the inverted large-sleeve cheongsam, the tailored cheongsam and the “typical cheongsam of the Republic of China” in the mature stage. On this basis, the paper defined the “Shanghai style cheongsam of the Republic of China” as the typical cheongsam of the Republic of China in the mature stage after the revolution in the 1930s and 1940s. The Shanghai style cheongsam of the Republic of China is convenient, beautiful and economical, showing the characteristics of seeking novelty and difference. The overall style is simple and elegant, subtle and soft, and matches well with both Chinese and Western clothing. By observing and recording the cutting process of a typical Shanghai style cheongsam of the Republic of China, the paper tried to make a painstaking examination from the size and cutting method of traditional clothing philosophy, and explored the traditional creation concept and traditional Chinese aesthetic of the typical Shanghai style cheongsam through the phenomena. The study pointed out that the cutting method of the Shanghai style cheongsam in the Republic of China maintained the traditional Chinese plane cutting, did not make plates in advance, and was generally carried out by the way of laying materials on the board and cutting while sewing. The technical difficulty lies in how to solve the problem of “covering the front” caused by “digging the front”. This paper shows the most commonly used “off-warp cutting method” of the Shanghai style cheongsam of the Republic of China, and restores the traditional way of inch picking, the techniques of “front stealing”, the shrinking of “pleats”, blocking, ironing and collar making. This paper interprets the creative concepts of “applying art according to materials” and “carrying Tao with skills” and the costume-making ideals of “integrality, seamless clothing, and material saving”, and reveals the aesthetic characteristics of “beauty of shape”, “beauty of artisan” and “beauty of workmanship” of cheongsam craft from the aspects of structure, molding and techniques, in order to provide reference for further research on the excellent Chinese costume culture. [ABSTRACT FROM AUTHOR]

I argue that the classical doctrine of the eternal processions (CDEP) is inconsistent with the doctrine of creation ex nihilo (DCEN). More specifically, I argue that the metaphysical entailments of each doctrine are inconsistent with one another. According to the CDEP, God must be atemporal and immutable to avoid entailing some sort of ontological subordination obtaining between the Son and Spirit to the Father. On classical understandings of immutability, and thus atemporality, God experiences no change whatsoever, be that change intrinsic or extrinsic. According to the DCEN, there is a state of affairs in which God exists without the universe, and there exists a state of affairs in which God exists with the universe, entailing – at minimum that God extrinsically changes. As a result, the CDEP and the DCEN are inconsistent with one another and cannot both be affirmed within the same coherent theological system. One of the two, or both, should be rejected. [ABSTRACT FROM AUTHOR]

There are several proposals regarding the origin of the universe and the inhabited earth, the most prominent being Biblical creationism and naturalistic evolutionism. Biblical creationism proposes that the reality around us was created supernaturally by a personal and transcendent Being, who first shaped an earth that was disordered and then filled it with all kinds of life; At the end of the process, he created the human being to represent him visibly in the government or administration of other things. On the other hand, naturalistic evolutionism proposes that the reality that surrounds us is the product of a process in which, without any type of supernatural intervention, natural laws, acting on matter over time and at random, gave rise in a way gradually to the universe, to the inhabited earth and to organisms. Which of the two fits more with the evidence and the reality that surrounds us? Although it is true that trying to explain the origin of both have limitations, the reality is that Biblical creationism is not only more consistent with the evidence, but also with social reality. Furthermore, it is easier to explain how the creationist model harmonizes with the apparent difficulties or contradictions. [ABSTRACT FROM AUTHOR]

In this article, we propose a reflection on the place of spontaneous creation in the therapeutic care of adolescents presenting a first episode of psychotic decompensation. Based on the clinical case of Emilio, 13 years old, and the examination of the productions produced during interviews, the act of creation is considered as a self-therapeutic attempt to adapt the world. The theoretical-clinical analysis of the transferential productions and positioning of the subject points to the possibility of emergence, at the initiative of the adolescent, of a place of address allowing this passage from an almost delusional private scenario to an authentic creation addressed to another becoming a witness to the authorship of the creation initiated by the subject. Therefore, the act of creation as addressed can be thought of as a possible compensatory elaboration coming to mask the deleterious effects of the lack of symbolic inscription of the psychotic adolescent. The act of compensatory creation, by generating a possible identity, even purely functional and stereotypical, for the subject thus allows the psychotic adolescent to once again enter into a bond with the other in a more peaceful manner. [ABSTRACT FROM AUTHOR]

The history and origin of zouglou creations show that when texts are considered together as a group and in relation to the conditions of their production, they require the listener or reader to be part of an inner circle, which at the level of the communication process means they must contribute to creating the texts' meanings by using codes that guarantee their cohesion and coherence beyond any superficial interpretation. This article thus aims to decode the literary issues brought about through these processes by exploring what these processes say about the communities and groups that adopt them (here, Ivorian students). This article examines the mechanisms by which spoken campus "language" is able to convey the meaning of thought through the organisation and materialisation of information already present in the mind of each individual and informed listener or reader. [ABSTRACT FROM AUTHOR]

L'histoire et la genèse des productions l'auront montré, l'ensemble des textes zouglou, considérés en relation avec leurs conditions de production, s'adressent à un cercle fermé et, en termes de communication, requièrent du destinataire qu'il contribue à élaborer la signification du texte en usant de clés qui en garantissent la cohésion et la cohérence, au-delà de ce qui peut être donné à voir en apparence. Ce sont les enjeux littéraires de ces procédures que cet article entend décrypter ce qu'elles disent des communautés et groupes qui les adoptent (ici les étudiants ivoiriens). L'idée est de procéder à l'examen des mécanismes par lesquelles la « langue » parlée sur les campus parvient à établir une signification de pensée par l'agencement et l'actualisation d'éléments déjà présents à l'esprit du seul récepteur avisé. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Thomas Ward explicates and defends a version of divine exemplarism called Containment Exemplarism to make good on the claim that God is a 'totally original artist'. According to Containment Exemplarism, (i) God ex nihilo creates according to divine ideas, (ii) divine ideas are about an aspect or part of God, and (iii) God has the ideas he has by knowing himself. Containment Exemplarism, we are told, secures the rationality and creativity of the divine creative act. I argue, first, that Ward's God is not a totally original artist since, on Containment Exemplarism, God does not act creatively in creating. Theistic Activism, the view that God makes up the ideas he has, can secure the creativity of the divine creative act. I argue, second, that Ward's argument against the rationality of God making stuff up fails. Thus, there is one version of divine exemplarism that satisfies key desiderata for divine creation. [ABSTRACT FROM AUTHOR]

In a time where approximately one-third of the world’s population identify as Christian, while the percentage of individuals rejecting the idea of a divine being remains relatively low, it is striking that proponents of the latter category attempt to silence research and findings from the former group. A recent example of this is the reaction to four articles published in 2023 in the Tydskrif vir Geesteswetenskappe (Journal of Humanities). These articles discuss recent scientific research, indicating highly intelligent and precise design in both macrocosm and microcosm, leading researchers to logically conclude that there must be a designer who cannot be a part of the cosmos itself. This conclusion causes significant discomfort among atheistically inclined thinkers, as evidenced by the fierce response to these articles. It appears that there is even pressure on academic journals to employ censorship and refrain from publishing such research. This article is a reaction to such criticism. Spangenberg (2023) takes issue with the assumption of the researchers of the four articles that humans are rational beings, by emphasising the irrationality of certain human behaviour. He has a significant problem with the researchers’ suggestion that the order found in nature and humans’ rational thinking abilities cannot be seen as coincidental but are ordained by God. He also attempts to create a contradiction between a merciful God and a God who punishes sin. But all these arguments can be dismissed based on basic logic. Spangenberg accuses the authors of misinformation when discussing Genesis. Referring to Genesis 1:26, he asserts that when God says, “let us make man,” it implies multiple gods. Spangenberg’s idea of polytheism in Genesis is further emphasised by his reference to the garden in Genesis 2 as the garden of gods, because it was located in the east. According to him, that would have referred to the place where heaven and earth meet, allowing gods residing in heaven to enter the earth. This conclusion based on the garden’s eastern location resembles a slippery slope form of reasoning. Even when considering only the Pentateuch, the introduction of the so-called assembly of gods and garden of gods in Genesis 1 and 2 by Spangenberg cannot be considered a plausible interpretation. The focus in the Pentateuch, as in the rest of the Bible, is on the fact that God must be known and acknowledged as the only God, contrary to the pagan nations’ concept of multiple gods. Spangenberg based his ideas on the documentary hypothesis – a theory that claims that the first five books of the Bible emerged over a long period of time and that they are a compilation of various and contradictory documents. He uses this to discredit the research in the four articles, despite the fact that even supporters of the documentary hypothesis admit to problems in this hypothesis. Contemporary research suggests that it is crucial to consider the truth claims of the Pentateuch itself and move away from hypothetical source documents. Arguments by people such as Spangenberg, that authors who do not accept this document hypothesis or give reference to it should be censured, cannot bear any weight. In fact, recent research returns to the idea that the Pentateuch is a single work, written according to a plan and largely composed by one author. By accepting its unity and inspiration, as millions of Christians do, valuable insights can be gained, for instance by considering why specific names for God are used in particular contexts. Conversely, viewing it as merely different sources does not yield fruitful research. In a further attempt to discredit the four scientific articles in the TGW, Spangenberg points to the negative way in which the church had supposedly dealt with Galileo Galilei’s heliocentric research some centuries ago. Contrary to Spangenberg’s assertion, the reality is that Galileo’s affair did not start as a conflict between science and the church. The church had initially encouraged Galileo to continue his work. It was particularly natural scientists who, partly justifiable and partly not, raised issues concerning the results of his research. As evidenced by the authors of the four articles mentioned above, it was especially Christian thinkers who had developed scientific knowledge throughout many centuries; moreover, they had established and funded several universities where research could be done. Upon examining the four articles opposed by Spangenberg and others, it becomes clear how crucial it is that science and its results should not be suppressed. The articles discuss research in natural sciences and cosmology that delves into the cause and fine-tuning of the universe, as well as the precision of cosmic constants that make life possible. Additionally, they explore the origins of encoded information within DNA, and its role in life itself. It is unacceptable to reject experimental observations and derived theories based on a negative view of Christian beliefs beforehand. Scientific inquiry necessitates an unbiased and openminded approach, demonstrating the courage to interpret data honestly, in order to reach the most probable conclusion. [ABSTRACT FROM AUTHOR]

This article aims to explore the creative processes in the pictorial work of Jean-Michel Basquiat (1960–1988). Considered as one of the greatest modern artists, Basquiat's partly tragic trajectory raises questions about his capacity for sublimation of not only Eros but also Thanatos drives. Based on interviews, testimonies, and writings, our method consists first in analyzing Basquiat's biography which, through his subjective experience, questions the difference between creativity and creation. Our results show how a triple trauma Basquiat suffered in his childhood fueled his sublimatory dynamics. These traumatizing events – the death of his older brother, his own near fatal accident, and his mother's mental illness – induced Basquiat to create new solutions in his outstanding art to unite creative and destructive impulses. An in-depth analysis of his pictorial style provides strong evidence for this assumption. In conclusion, we discuss the relevance of psychoanalysis in exploring the lesson that artists and their creative processes can teach us. How do their participation in their unconscious, their personal history, and trauma support or hinder their process of sublimation? [ABSTRACT FROM AUTHOR]

In recent years, medicine has been increasingly described as "Baconian", in reference to the scientific methodology laid out by Francis Bacon (1561–1626), who, in criticizing Aristotle's natural philosophy, called for cultivating useful knowledge in order to eradicate disease and extend human life by attenuating aging. Contemporary medicine is often described as "Baconian" insofar as it is devoted to the relief of suffering and the expansion of choice. These two features continue to exert pressure on medicine to expand understandings of both suffering and wellness. Recent attempts to reclassify human aging as a disease, for instance, bear witness to the Baconian impulse. In this article, I discuss and critique the religious origins of Bacon's call for a new kind of practical rationality in service of improving humanity, showing that they were deeply theological and considerably informed by events recorded in the biblical book of Genesis. I will also argue that the theological nature of Bacon's program, while theocentric in nature, suffers from inattention to Christology, which challenges Bacon's theology and the Baconian Project. Attending to Christological concerns modifies Bacon's approach to bioethics, which recognizes both the fallenness of creation and the power of medicine to address the human condition, especially human aging. [ABSTRACT FROM AUTHOR]

The ecological crisis is a sign of the times, demanding adequate understanding, appropriate interpretation, and pastoral action in light of the Christian faith. Scholarly discourse on the ecological crisis continues to inspire partnership and collaborative actions in Africa. Sometimes, these efforts have yielded significant results, though amid uncharted territories. Scholars appeal for humans to embrace a mutually enhancing relationship with creation to build a common home for all creatures. A suitable and sustainable ecological vision that supports a communitarian approach to resolving the ecological crisis is Thomas Berry's cosmology. Berry's cosmological vision reclaims a creation theology that fosters a mutual relationship between humans and other creatures. Humans are beings in communion and beings in relationships created by God and thus from a common origin and moving toward a common destiny. This cosmological presupposition of Berry aligns with the ecological vision of Pope Francis in his encyclical Laudato Si'. The Pope calls humanity to a new cosmic relationship that would foster interdependency of the ecosystem and respect the intrinsic value of every creature. Given the unprecedented ecological challenges, humans have a unique role as intelligent beings toward other creatures, for future generations and the common good of the earth. This human responsibility toward the earth can be realized through an ecological ethics that fosters interdependence, interconnection, and mutuality in the human–earth relationship. Berry's insights and Catholic ecological teachings merit consideration for African Catholicism. [ABSTRACT FROM AUTHOR]

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This Special Issue originated from the symposium and doctoral seminar Differing Bodyminds – Choreographing New Pathways, held in Leuven (Belgium) a few years ago. Rather than merely documenting the event, our goal is to extend the discussions and practices initiated there into a broader debate on how crip theory can reshape choreographic discourses and practices. As we argue, 'cripping choreography' is more than identifying disability dance or critiquing ableist structures; it involves developing a theoretical, phenomenological and performative lens for creating and analysing dance. This lens is rooted in historical and contemporary practices of non-compliant and anti-assimilationist disability-making, doing and knowing, which explicitly position disability as a desirable aspect of our world. Our collection, while building on previous thinking about disability dance and art, aims to reorient the focus from mere representation and inclusion to transformation and creation. It seeks to explore the creative potential of crip choreography poietics, celebrating often ignored and suppressed methods for crip world-making, while also explicitly attending to hopelessness, failure, 'unlearning' (Dind, 89 in this issue), 'non-docile dysdance' (Watson, 133 in this issue) and 'wimping out' (Melkumova-Reynolds, 17 in this issue). All authors in this issue, therefore, engage with this non-utopian perspective: What if we were to cultivate crip's complexity, carefully tending to the cracks endemic to crip theory, practice, identity and community? How can we hold space for the complexity of crip world-making – its tensions, its failures, its competing priorities, its joys – as it manifests in dance-making processes and aesthetics? [ABSTRACT FROM AUTHOR]