The word ‘decision’ does not here imply conscious judgment, though in some ‘decisions’ consciousness will be a factor. The word is used in its root sense of a ‘cutting off.’ The ontological principle declares that every decision is referable to one or more actual entities, because in separation from actual entities there is nothing, merely nonentity—‘The rest is silence.’..But ‘decision’ cannot be construed as a casual adjunct of an actual entity. It constitutes the very meaning of actuality. An actual entity arises from decisions for it, and by its very existence provides decisions for other actual entities which supersede
Whitehead, Alfred North. Process and Reality (Gifford Lectures Delivered in the University of Edinburgh During the Session 1927-28) (p. 43). Free Press. Kindle Edition.
Co-Creativity, Improvisation, and Polydrama: A Cosmic Ensemble
Some Key Ideas
Cosmic Improvisation: The universe is an ongoing, improvisational event where every actual entity, from stars to molecules, participates momentarily in the cosmic drama, responding creatively to past influences and shaping future possibilities.
Momentary Decision-Making: Each actual entity’s essence lies in a single moment of decision. This moment defines how the entity integrates its relationships and contributes to the universe’s continuous process of becoming.
Relational Process: Reality is not static but composed of momentary acts of becoming. Every decision shapes the interconnected web of relationships that influences the next moment’s creative act.
God as Lure and Receptacle: God has a dual role in the cosmic play: as the lure for new possibilities (eros) and as the empathic receptacle of all that happens, weaving each event into a meaningful whole.
Enduring Patterns: While individual events perish, the patterns they form endure, creating the relational framework—like atoms, ecosystems, and cultures—that gives the universe its continuity.
Polydrama of the Universe: The universe unfolds like a multi-genre cosmic performance, embracing a diversity of experiences—tragedy, comedy, and everything in between—reflecting the multiplicity of life.
Freedom and Responsibility: Entities have the freedom to improvise their response to God’s lure, but with this freedom comes the responsibility to contribute to a just, sustainable, and compassionate world.
Life as Improvisation: Humans, like other entities, participate in this improvisational cosmic drama, shaping communities and ecosystems through creative decisions that honor the interconnectedness of all life.
Diverse Cosmic Narratives: The universe’s story is not monolithic but full of contrasts, where diverse experiences coexist, influencing the evolving polydrama of reality.
Moral and Spiritual Task: Our role in the cosmic improvisation involves forming communities of justice, empathy, and sustainability, co-creating alongside God to meet the needs of our shared world.
Further Discussion
The Universe as an Improvisational Theatrical Event
One of the closest analogies I know to Whitehead’s vision of the cosmos is that of a vast, almost fathomless theatrical event—a cosmic play unfolding through improvisation, where each actual entity is a character in the drama, but its only “scene” is its single moment of existence. This moment is not a dress rehearsal and the entity is not play-acting, although there may well be an element of spontaneity, of playfulness, in its momentary existence. Still, the moment is its one and only life. These actual entities are not enduring objects; they are transient participants, each having their brief moment on stage before passing away, replaced by new entities that continue the improvisational flow.
At the heart of each actual entity, its very essence, is an act of decision. This decision is the defining moment of the entity’s existence—how it responds to the influences from past events, how it shapes itself in the present, and how it contributes to the unfolding of the future. Every actual entity, whether it is as vast as a star or as minute as a molecule, is a momentary act of becoming, deciding how to incorporate and respond to the web of relationships that surround it.
In Whitehead’s process philosophy, reality is composed of these momentary acts of decision. Planets and stars, atoms and molecules, and, on our small planet (and likely on many more), living beings such as plants and animals, all participate in this cosmic improvisation, each contributing their part to the larger performance. They do so as actual entities in their own right or as nexuses, which are aggregates of actual entities. A planet is a nexus, a solar system is a nexus, a galaxy is a nexus, and, on our planet, rocks and rivers, trees and stars are nexuses. God, in this metaphor, is both a participant and an inspirer, offering new possibilities for each entity’s decision, yet never forcing a particular outcome. The play remains open, evolving with each new act of creation.
While individual events—the decisions of actual entities—are fleeting and perish, what endures are the patterns of events, not the events themselves. These patterns, some of which are nexuses or "societies" of events, carry forward the influences of past decisions and create the structures that give the universe its continuity. These patterns exist in the form of atoms, ecosystems, cultures, and stars, providing the relational framework for new events to arise, make their own decisions, and continue the cosmic story.
In this ongoing theatrical event, the universe is not a collection of static objects but a continuous process of creative becoming, where each fleeting moment adds to the larger narrative. The decisions made by actual entities are the driving force behind the evolution of the cosmos, shaping the patterns that endure while allowing for new possibilities to emerge.
Whitehead’s vision highlights the relational nature of existence—how every act of decision is informed by the past and contributes to the future. The universe is always in the process of becoming, an ever-evolving performance shaped by the creative acts of countless fleeting moments.
This improvisational cosmos reminds us that life itself is a series of creative decisions, each moment an opportunity to shape the future and contribute to the ongoing drama of existence. The cosmos is a place where freedom, novelty, and relationship are at the core of every act, where the patterns of reality endure, but the entities themselves are momentary, participating for a brief instant in the grand, unfolding play of the universe.
The Universe as a Polydrama
Is the play a tragedy, a comedy, a tragi-comedy? In different parts of the universe, it may indeed have the tone of one or the other—or perhaps something still different. The universe, in Whitehead’s vision, is not confined to a single genre. It is a polydrama, a cosmic performance that embraces a multitude of tones, moods, and narratives.
In some moments and places, the unfolding of events may feel like a tragedy, where loss, suffering, and grief dominate the stage. In other moments, it may be a comedy, filled with the joy of unexpected possibilities, playful improvisations, and lightness. Elsewhere, the play may be a tragi-comedy, blending elements of both joy and sorrow, where beauty and pain intermingle.
This polydramatic nature reflects the relational and dynamic character of the universe itself. As actual entities make their momentary decisions, the tone of the drama shifts accordingly, influenced by the interweaving of countless acts of becoming. Just as life on Earth can be filled with humor, tragedy, and everything in between, so too is the universe a stage for a vast diversity of experiences and expressions.
The play of the cosmos is not monolithic; it is alive with multiplicity, ever-changing as new entities arise and new patterns form. In some corners of the universe, the drama may unfold as serene and peaceful, in others as chaotic and violent, and in still others as harmonious or discordant. The universe is a polydrama, where no single story, tone, or genre can capture the full breadth of its creative process.
This suggests a vision of reality where diversity is essential, and where the richness of existence comes from the interplay of many different kinds of experiences. The cosmos, like an endlessly unfolding improvisational play, contains moments of tragedy, comedy, tension, resolution, and everything in between. It is this ever-shifting, multi-tonal drama that makes the universe a dynamic and creative process.
God and the Polydrama
In Whitehead’s vision of the universe, God plays a twofold role: as the cosmic lure for creative becoming and as the empathic receptacle for all that transpires. This dual aspect of God’s nature—both as the initial aim within each actual entity and as the consequent nature—highlights God’s dynamic relationship with the unfolding universe.
God, as the cosmic lure for becoming, offers each actual entity its unique initial aim—a pull toward a specific possibility of fulfillment that maximizes both the entity’s potential and its contribution to the larger whole. This lure does not compel or dictate; it presents options, inviting the entity to choose its path in light of the influences of the past and the possibilities of the future. This is God’s eros, a loving desire for the world to flourish through new and creative possibilities.
Yet, the universe is not only driven by the forward momentum of becoming—it is also received, witnessed, and embraced by God in what Whitehead calls the consequent nature. As events unfold, God takes in all that occurs with deep empathy, receiving both the joys and sufferings of creation. God’s consequent nature reflects a divine compassion, the willingness to embrace all experiences without exclusion, holding them in a desire to harmonize and integrate them into a meaningful, ongoing whole. This process of harmonization is not a simplistic erasure of difference but a weaving of contrasts and tensions into a more profound beauty—a Harmony of Harmonies that can embrace even tragedy and loss.
In this way, God is both the source of novelty, offering fresh possibilities for each new act of creation, and the great receiver of all that is, endlessly responsive to the evolving universe. In the polydrama of existence, where different tones and genres—tragedy, comedy, and everything in between—play out, God is both the inspirer of new acts and the empathic presence who weaves each act into the larger cosmic narrative.
God’s presence as both lure and receptacle emphasizes the relational nature of existence: each entity, moment by moment, participates in the divine call toward novelty while also contributing its experience to the divine memory, where nothing is lost and everything is held with empathy. This twofold role suggests that, while the universe is marked by fleeting moments of decision, the divine reception of these moments ensures that they are preserved, transformed, and harmonized into the ongoing, improvisational story of the cosmos.
Life on Earth and the Polydrama
As participants in the cosmic polydrama, we, as earthlings, are called to improvise into existence communities that reflect justice, sustainability, and compassion. This is not a dress rehearsal; the choices we make have real and lasting consequences. As characters in this unfolding play, we are not play-acting—our actions matter, shaping the world we live in and the future of all beings who share this planet.
In this improvisational cosmos, we are given the freedom to create and respond, but with that freedom comes a profound responsibility. Our calling is to form communities where every being—human and non-human alike—is treated with respect, dignity, and care. This means cultivating relationships that honor the intrinsic worth of all life, from the smallest creature to the largest ecosystem, recognizing that we are interconnected in ways that require mutual support and understanding.
A just community is one where the needs of all are considered, where no one is left behind, and where the vulnerable and marginalized are uplifted. A sustainable community is one that exists in harmony with the natural world, preserving its resources and nurturing the Earth’s capacity to sustain life for future generations. A compassionate community is one where empathy guides our actions, where the suffering of others is met with care, and where love and kindness shape the way we live together.
Our improvisation, therefore, is not just a matter of responding to immediate circumstances; it is a moral and spiritual task, one that calls us to imagine and create a world in which every living being can thrive. We are not alone in this endeavor. The cosmic lure of God, as described in process thought, invites us toward these possibilities—toward the creation of just, sustainable, and compassionate communities. It is up to us to accept this invitation and to improvise creatively and responsibly, in response to the needs of our time.
In the polydrama of life on Earth, each of us is called to play our part, contributing to the larger narrative of planetary well-being. We do so not in isolation, but in community—with humans, animals, plants, and the ecosystems that sustain us. This improvisation is both a privilege and a challenge, as it requires us to respond to the suffering, beauty, and complexity of the world with creativity, empathy, and care. Our shared future depends on how well we improvise this next act.
Social Therapeutics and Performance Activism
Transformative practices that align with the improvisational nature of the cosmos, encouraging individuals and communities to actively participate in shaping their collective futures. These approaches draw from the idea that life is an ongoing process of becoming, where creativity and collaboration are essential for personal and social growth.
Social Therapeutics: This is an approach rooted in the idea that human development happens through relational, performative action. It emphasizes collective engagement, where people interact creatively to overcome personal, social, and systemic barriers. In this framework, therapeutic growth is not an isolated, individual process but a communal one, much like the improvisational interactions of actual entities in Whitehead's cosmos. An example is the work of the East Side Institute in New York, where "developmental therapy" helps individuals work together through role-playing, storytelling, and improvisation to develop new capacities and break free from limiting social roles. This mirrors how actual entities continuously respond to their relational environment in creative ways.
Performance Activism: Performance activism takes the principles of social therapeutics into the public sphere, using creative performances—often theatrical or improvisational—as a way to inspire social change. This activism, like Whitehead’s improvisational cosmos, is dynamic and relational. Through public performances, workshops, and collaborative art projects, activists invite people to engage with social issues in imaginative, interactive ways. Augusto Boal’s Theatre of the Oppressed is a key example, where audiences become "spect-actors" and participate in the performance to explore alternative responses to real-world oppression. This activism challenges the status quo, creating a space where new possibilities can emerge, much like how each actual entity in the cosmos improvises new realities with each decision.
The Role of Improvisation: Both social therapeutics and performance activism emphasize the importance of improvisation—responding to the world’s challenges creatively and collaboratively, without a fixed script. This reflects the improvisational fabric of existence in Whitehead’s metaphysics, where each moment of becoming is an open-ended act of creation influenced by past relationships and future possibilities.
Creating New Forms of Community: These practices aim to foster communities where people from diverse backgrounds collaborate to create more just, compassionate, and sustainable ways of living. Just as each actual entity’s decision shapes the future of the cosmos, social therapeutics and performance activism help individuals and communities imagine and build new social structures that are more inclusive, equitable, and life-affirming.
In essence, social therapeutics and performance activism embody the improvisational nature of the universe, promoting the idea that we are not passive observers but active participants in shaping our world through creative, relational engagement. These approaches encourage us to respond to life's challenges with empathy, creativity, and collaboration, just as actual entities in Whitehead's universe constantly create and respond to new possibilities.