Quotes About Creation

G. W. Leibniz, codiscoverer of calculus and a towering intellect of eighteenth-century Europe, wrote: "The first question which should rightly be asked is: Why is there something rather than nothing?"[1] In other words, why does anything at all exist? This, for Leibniz, is the most basic question that anyone can ask. Like me, Leibniz came to the conclusion that the answer is to be found, not in the universe of created things, but in God. God

Whatever begins to exist has a cause; the universe began to exist; therefore, the universe has a cause"). Second

The only way an actual infinite could come to exist in the real world would be by being created all at once, simply in an instant. It would be a hopeless undertaking to try to form it by adding one member after another.

Ghazali frames his argument simply: "Every being which begins has a cause for its beginning; now the world is a being which begins; therefore, it possesses a cause for its beginning.

Even though we may not like it, concludes Davies, we must say on the basis of the thermodynamic properties of the universe that the universe's energy was somehow simply "put in" at the creation as an initial condition.118 Prior to the creation, says Davies, the universe simply did not exist.

Why didn't God make the world sooner? In the early fifth century AD, Augustine of Hippo answered that God did not make the universe at a point in time, but "simultaneously with time." That is, he believed God had created space and time together. Modern cosmologists have come to agree that he was right about space and time, and therefore it is meaningless to ask why the big bang didn't happen earlier than it did.

No solo las Escrituras implican fuertemente la creación ex nihilo, sino que la evidencia empírica de un comienzo absoluto del universo parece tener ramificaciones teológicas trascendentales

The first question which should rightly be asked is: Why is there something rather than nothing?"[1]

En lugar de simplemente gobernar la creación, Dios también se relaciona con ella íntimamente, sin oprimirla ni militarizarla, sin aplastar la libertad humana

Antes de crear el mundo, Dios conocía todos los mundos lógicamente posibles que podía crear, poblados por todos los individuos lógicamente posibles que podía crear

Just as a sycamore thrusts out leaves, so this universe thrusts out humanity. Our individuality is mere illusion and we remain, all of us, always, part of the great tree of creation, just as it remains part of us. These are the truths I learned, my child, alongside Magee in Number 24 General Hospital, Étaples, and which I pass on, now, to you.

Take thy plastic spade, It is thy pencil; take thy seeds, thy plants, They are thy colours.

Imagine this design assignment: Design something that makes oxygen, sequesters carbon, fixes nitrogen, distills water, makes complex sugars and foods, changes colors with the seasons, and self-replicates. and then why don't we knock that down and write on it?

For the mystic what is how. For the craftsman how is what. For the artist what and how are one.

Taming the matter is the basic thing for creating visual art.

Universe consists of frozen light.

On the other hand, he did make a big step towards the practical creation of a Turing machine by proposing that the binary system should be used, once again based on the kind of punchcards

Man, made after God's image, was a nobler creation than twinkling sparks in the sky, or than the larger and more useful lamp of the moon.

Bad design is the default mode, since it takes the least effort to create.

We don't make music - it makes us.

There's something about music that encourages people to want to know more about the person that made it, and where it was recorded, what year it was done, what they were listening to, and all this kind of stuff. There's something that invites all this obsessive behavior.

The making of music is profoundly affected by the market.

Johannes Kepler published his book Harmonices Mundi in 1619. In it he proposed that it was the Creator who "decorated" the whole world, using mathematical and musical harmonic proportions. The spiritual and the physical are united.

The performing musician was now expected to write and create for two very different spaces: the live venue, and the device that could play a recording or receive a transmission. Socially and acoustically, these spaces were worlds apart. But the compositions were expected to be the same!