Eternal Objects and
​ the Dynamics of Process

Exploring Whitehead's Philosophy of Pure Potentialities

One of the most controversial features of Whitehead's philosophy is his proposal that pure and timeless potentialities, known as eternal objects, are part of the makeup of the universe. These potentialities are real, but they are not more real than the actual entities of the universe: the individualized moments of experience and the nexūs, or public matters of fact, that they form. The nexūs are the physical objects of the universe: solids, liquids, gases, plasma, and otherwise. The actual entities and the nexūs are the agents of history. The potentialities do not act; they have a magnetic attraction—they can "lure"—but they cannot make things happen.
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Still, these potentialities are crucial. The actual world gains in dynamism by actualizing them. Process is the actualization of potentialities, or, to put it another way, it is the activity of potentials becoming actual - an activity that Whitehead calls "ingression." There would be no process at all were there not potentialities to be actualized. In essence, process is the actualization of potentialities. Process is ingression.
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An often unnoticed aspect of ingression, articulated in Process and Reality, is that these potentialities come in two kinds: (1) mathematical entities, which serve as potentials for objective relations between entities in the universe, and (2) potentials for subjective emotions, such as anger and love. The idea that eternal objects encompass both the objective and subjective sides of life has many applications in ordinary life, unifying insights from the sciences and the humanities, and informing understandings of ethics. The purpose of this page is to introduce Whitehead's idea of eternal objects, provide some examples, and demonstrate their special relevance to the objective and subjective dimensions of human life.  

​​Eternal Objects in Whitehead's Philosophy

Examples of Eternal Objects

In Whitehead’s philosophy, the concept of eternal objects plays a pivotal role in understanding how the abstract realm of potentialities interacts with the concrete world of experience. Eternal objects are pure potentialities that can be actualized in various contexts. and that exist as real potentials apart from their actualizations. To grasp their significance, it is helpful to first consider some examples.
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1. Colors: The color red, blue, or green are eternal objects. These colors exist as abstract possibilities that can be realized in physical objects, such as a red apple, a blue sky, or a green leaf.
2. Shapes: Geometric forms like circles, squares, or triangles are also eternal objects. These shapes exist as pure potentialities that can manifest in various physical contexts, like the design of a circular table or the outline of a triangular road sign.
3. Mathematical Relationships: Concepts such as the ratio of a circle's circumference to its diameter (π), the Pythagorean theorem, or the idea of symmetry are eternal objects. These mathematical forms are realized in countless ways, from architectural designs to the structure of molecules.
4. Emotions: Emotions like joy, anger, or sadness are examples of eternal objects of the subjective species. These emotions exist as potential experiences that can be felt by individuals in response to various life situations.
5. Musical Notes: The pitch of a musical note, such as middle C, or the intervals between notes, like a perfect fifth, are eternal objects. These are abstract potentialities that can be realized in the performance of music.
6. Patterns: Recurring patterns in nature, such as the Fibonacci sequence, are eternal objects. These patterns can be observed in various natural phenomena, such as the arrangement of leaves on a stem or the spirals of a seashell.
7. Abstract Concepts: Ideas such as justice, beauty, or equality are sometimes considered eternal objects. However, it is important to note that in Process and Reality, Whitehead does not explicitly categorize such ideals as eternal objects, leading some to think that eternal objects are, in themselves, non-normative or non-ethical, such as patterns and emotions. Despite this, in other writings, Whitehead emphasizes the importance of such ideals, leading some interpreters to argue that eternal objects could indeed include these abstract concepts.

The Nature of Eternal Objects

Eternal objects, as illustrated by the examples above, are not physical entities but rather abstract forms, qualities, or possibilities that exist independently of time and space. They are "eternal" not in the sense that they endure forever in a temporal sequence, but in that they are timeless—existing outside the realm of physical time and space. This timelessness allows them to be pure potentialities, always available to be realized in the actual world.

It is important to note that eternal objects are not "spiritual" entities in any traditional sense. They do not belong to a supernatural realm but are instead abstract potentials that can manifest in various ways within the natural world. For example, the color red as an eternal object is neither a physical object nor a spiritual entity; it is a potential quality that can be realized in countless physical objects, from roses to sunsets.

Two Kinds of Eternal Objects

In Whitehead's philosophy, as noted above, eternal objects are divided into two kinds: those of the objective species and those of the subjective species. Eternal objects of the objective species refer to potential forms or structures that can be realized in the physical world. These include mathematical entities, geometric shapes, and other abstract patterns that can manifest as relationships between actual entities in the universe. For example, the potential for a particular spatial arrangement or numerical relationship exists as an eternal object of the objective species. On the other hand, eternal objects of the subjective species pertain to potentialities for subjective experiences or emotions. These include feelings like anger, love, joy, or sadness, which can be actualized in the inner life of sentient beings. While objective species provide the blueprint for physical forms and relationships, subjective species offer the potential for emotional and experiential dimensions of existence, highlighting the interconnectedness of the physical and emotional aspects of reality in Whitehead's thought.

The Public World and the Private World

With his notion of two types of eternal objects, Whitehead seeks to affirm the incurable objectivity of the world, whereby actual entities, as subjects, encounter other actual entities, likewise subjects, that are objective to them; and, at the same time, he seeks to affirm the privacy of each subject as having emotions, pleasures, pains, likes, and dislikes of its own. In his words:

"The solidarity of the world rests upon the incurable objectivity of this species of eternal objects. A member of this species inevitably introduces into the immediate subject other actualities...This is a real physical fact, with its physical consequences. Eternal objects of the objective species are the mathematical Platonic forms. They concern the world as a medium...A member of the subjective species is, in its primary character, an element in the definiteness of the subjective form of a feeling. It is a determinate way in which a feeling can feel. It is an emotion, or an intensity, or an adversion, or an aversion, or a pleasure, or a pain. It defines the subjective form of feeling of one actual entity." (Process and Reality)

Real but not Actual

One of the key insights of Whitehead’s philosophy is that eternal objects do not possess a higher or greater reality than the actual world. They exist as possibilities, and their realization depends on the self-creativity of actual entities. This means that eternal objects are not more real than the world and, importantly, they are not agents, they do not have feelings —they are part of the world’s potential that can be actualized in specific circumstances.

For instance, the concept of symmetry is an eternal object that exists as a potential pattern. It becomes real when it is manifested in a particular context, such as the design of a building or the structure of a snowflake. However, the concept of symmetry itself does not possess a reality greater than the snowflake or the building; it is simply one of many potential forms that can be realized in the actual world.

Ingression: The Actualization of Eternal Objects

In Whitehead’s philosophy, the process by which eternal objects enter into the actual world is known as "ingression." When an eternal object is realized in a particular context, it is said to ingress into that context. For example, when the color red appears in a rose, it is an instance of the eternal object "red" ingressing into the physical world.

However, eternal objects are not reducible to their ingressions. The color red, for example, can ingress into countless different contexts, such as a sunset, a stop sign, or a flag. Each of these is an instance of the eternal object red being actualized, but the potential for red to manifest in other contexts remains. This means that while eternal objects are made real through ingression, they remain abstract potentials that can be actualized in a variety of ways.

Objective and Subjective Realms

Finally, it is important to understand the distinction between the objective and subjective functions of eternal objects in Whitehead’s philosophy. When an eternal object is actualized, it becomes part of the objective datum of an experience—meaning it contributes to the content of what is experienced. For example, the redness of a rose is part of the objective content of the experience of seeing the rose.

However, the eternal object is not part of the subjective form of that experience, which refers to the emotional and perceptual way in which the experience is felt by the experiencing entity. The subjective form itself is an actualization of an eternal object of the subjective species, such as an emotion or mood. The subjective form is shaped by how the experience is prehended or "felt," which includes the influence of eternal objects but is not identical to them.

God and Eternal Objects

As pure potentials lacking agency and feeling, eternal objects cannot exist without being perceived or envisioned. This raises the question, where are eternal objects when they are not perceived or envisioned by an actuality in the finite universe? Whitehead proposes that there is a cosmic mind, God, in whose mind they are perceived. He speaks of this as the "primordial nature of God," distinguishing this side of God from two other natures: the "consequent nature of God," which feels the feelings of all actualities, and the "superjective nature of God," which presents relevant potentialities for actualization by finite actualities. He proposes as well that God orders or coordinates the eternal objects relative to the needs and situations of the universe, such that some are felt by finite actualities as more relevant than others. This gives rise to the idea, important to many process theologians, that God supplies fresh possibilities or "initial aims" relative to each circumstance. This is God as a guide to the universe or a cosmic "lure."

Conclusion
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Eternal objects, as pure potentialities, play a fundamental role in Whitehead’s philosophy, bridging the gap between the abstract realm of possibilities and the concrete world of actual experience. They are not physical or spiritual entities, nor are they more real than the world itself. Instead, they exist as timeless potentials that can be realized through the process of ingression, entering into the fabric of reality in diverse and meaningful ways. Through this framework, Whitehead provides a unique perspective on the interplay between the abstract and the concrete, emphasizing the creative and dynamic nature of the universe.
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​Applications

Applying Whitehead's Idea of Two Types of Eternal Objects

​1. Art and Aesthetic Experience
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• Objective Species: The objective species of eternal objects in art include shapes, colors, and forms. For example, the use of geometric patterns or color schemes in a painting represents the objective species.
• Subjective Species: The subjective species in this context involve the emotions and moods evoked by the artwork, such as the feelings of serenity, excitement, or melancholy that a viewer might experience.
• Interplay: Both species are crucial in art. The objective elements (like color and form) provide the structure and visual impact, while the subjective elements (emotions and moods) determine how the artwork is perceived and appreciated by the viewer. A painting might use calming blues and structured lines (objective species) to evoke a sense of peace and order (subjective species).

2. Music Composition and Performance

• Objective Species: In music, the objective species include musical notes, scales, and rhythms. For instance, the C major scale or a 4/4 time signature are examples of objective species in music.
• Subjective Species: The subjective species involve the emotional tone or atmosphere created by the music, such as joy, sorrow, or tension, as well as the individual performer’s interpretation of the piece.
• Interplay: Both species are essential in music. The objective aspects provide the framework (notes, scales, rhythm), while the subjective aspects (emotional expression, interpretation) bring the music to life, making each performance unique. A symphony might employ certain harmonies (objective species) to evoke feelings of triumph or despair (subjective species) in the audience.

3. Literature and Reader Response

• Objective Species: In literature, the objective species might include the structure of the narrative, language, and symbolism. For example, the metaphorical use of a storm to represent internal conflict is an objective species.
• Subjective Species: The subjective species are the emotions, thoughts, and interpretations that the reader experiences while engaging with the text, such as empathy with a character or the sense of suspense created by the plot.
• Interplay: Both species are vital in literature. The objective elements provide the literary tools and techniques (structure, symbolism), while the subjective elements determine how the reader experiences and interprets the story. A novel might use a specific narrative style (objective species) to elicit a deep emotional response (subjective species) from its readers, such as sadness or inspiration.

4. Architecture and Human Experience

• Objective Species: In architecture, the objective species include the physical structure, proportions, and materials used in a building, such as the symmetry of a facade or the use of marble.
• Subjective Species: The subjective species involve the feelings and atmosphere that the space creates for its inhabitants, such as a sense of openness, security, or grandeur.
• Interplay: In architecture, both species are significant. The objective elements create the tangible structure (proportions, materials), while the subjective elements shape how people feel within the space. For example, a cathedral might use soaring arches and stained glass (objective species) to inspire awe and reverence (subjective species) in its visitors.

​5. Ethics and Moral Decision-Making

• Objective Species: In ethics, the objective species could include moral principles, rules, or duties, such as the concept of justice or the duty to tell the truth.
• Subjective Species: The subjective species involve the personal emotions, intentions, and motivations that influence an individual’s moral decisions, such as compassion, guilt, or a sense of duty.
• Interplay: Both species are crucial in ethical decision-making. The objective aspects provide the moral guidelines or principles (like justice), while the subjective aspects influence how these principles are applied in real-life situations. For instance, a person might be guided by the principle of fairness (objective species) but also motivated by a personal sense of empathy (subjective species) when resolving a conflict.

6. Environmental Design and Human Interaction with Nature

• Objective Species: In environmental design, the objective species include the physical layout of landscapes, the choice of plant species, and the arrangement of natural elements like water features or walking paths.
• Subjective Species: The subjective species involve the emotional and psychological responses elicited by these environments, such as a sense of peace, connection to nature, or stimulation.
• Interplay: In environmental design, both species are significant. The objective elements shape the physical environment (layout, plants), while the subjective elements determine how individuals interact with and feel about the space. A park might be designed with winding paths and diverse plant life (objective species) to create a feeling of relaxation and escape from urban life (subjective species).

Quotes from Whitehead in Process and Reality
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"The functioning of an eternal object in the self-creation of an actual entity is the ‘ingression’ of the eternal object in the actual entity."

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"The definite ingression into a particular actual entity is not to be conceived as the sheer evocation of that eternal object from ‘not-being’ into ‘being’; it is the evocation of determination out of indetermination. Potentiality becomes reality; and yet retains its message of alternatives which the actual entity has avoided. In the constitution of an actual entity:—whatever component is red, might have been green; and whatever component is loved might have been coldly esteemed."

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"The solidarity of the world rests upon the incurable objectivity of this species of eternal objects. A member of this species inevitably introduces into the immediate subject other actualities...This is a real physical fact, with its physical consequences. Eternal objects of the objective species are the mathematical Platonic forms. They concern the world as a medium...A member of the subjective species is, in its primary character, an element in the definiteness of the subjective form of a feeling. It is a determinate way in which a feeling can feel. It is an emotion, or an intensity, or an adversion, or an aversion, or a pleasure, or a pain. It defines the subjective form of feeling of one actual entity."
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