Suggestions of a processual orientation in Collingwood’s thought can be found in certain places in his corpus, but Collingwood is not generally known as a process philosopher. This is likely because the Libellus de Generatione, in which he develops a process-oriented ontology, has long been unavailable and thought lost. While a copy was found and is housed in the Bodleian Library, it was only made publicly available in 2019. This chapter explicates the process ontology developed in the Libellus and contextualizes it in relation to Collingwood’s wider corpus and to early twentieth-century process philosophy. Drawing on Sandra Rosenthal, I argue that Collingwood’s understanding of process is closer to Bergson’s than Whitehead’s, especially in ways that allow for genuine novelty and creation, and in its implications for the metaphysics of time. I then discuss implications of this process ontology for the view of Collingwood as an idealist and for other areas of his philosophy. Finally, I consider whether attributing a processual ontology to Collingwood is in tension with his own view of “metaphysics without ontology.”

In this chapter the author provides a summary of Colin Wilson’s new existentialism as distinguished from historical existential philosophies. Wilson’s “Outsider” becomes a prototype for freedom, in a heroic and individualistic vein. Next, the author examines Wilson’s emphasis on self-preoccupation and consciousness as a symptom of existentialism in general. Using the work of important Black existentialists, the author offers a relational rather than an individualist interpretation of new existentialism. By being concerned with social justice, the chapter utilizes what are known as pedagogies of discomfort and calls for critical action. In the third section, the chapter presents Whitehead’s rhythms of learning and radical empiricism of “style” as an alternative to Wilson’s outsider, who advances a mistaken Husserlian interpretation of Whitehead’s philosophy. Whitehead, alternatively, holds that experience is richer than consciousness achieved and accrued. Finally, in the last section, the author offers new existentialism’s revolutionary vision for a new university.

A study of Elliott Carter’s aesthetics including the divided ensemble, his use of conceits, his engagement with eighteenth- and nineteenth-century music, and the influences of Alfred North Whitehead, Nadia Boulanger, Sergei Eisenstein, Marcel Proust, and modernist lyric poetry.