Context and question: It must be emphasized, however, that an entity is not merely a sum of its relations, but also a valuation of them and reaction to them. For Whitehead, creativity is the absolute principle of existence, and every entity (whether it is a human being, a tree, or an electron) has some degree of novelty in how it responds to other entities, and is not fully determined by causal or mechanistic laws. Of course, most entities do not have consciousness. As a human being's actions cannot always be predicted, the same can be said of where a tree's roots will grow, or how an electron will move, or whether it will rain tomorrow. Moreover, inability to predict an electron's movement (for instance) is not due to faulty understanding or inadequate technology; rather, the fundamental creativity/freedom of all entities means that there will always remain phenomena that are unpredictable.
Most entities do not have what?
Answer: consciousness
Context and question: Book 7 (beginning the Iliadic half) opens with an address to the muse and recounts Aeneas' arrival in Italy and betrothal to Lavinia, daughter of King Latinus. Lavinia had already been promised to Turnus, the king of the Rutulians, who is roused to war by the Fury Allecto, and Amata Lavinia's mother. In Book 8, Aeneas allies with King Evander, who occupies the future site of Rome, and is given new armor and a shield depicting Roman history. Book 9 records an assault by Nisus and Euryalus on the Rutulians, Book 10, the death of Evander's young son Pallas, and 11 the death of the Volscian warrior princess Camilla and the decision to settle the war with a duel between Aeneas and Turnus. The Aeneid ends in Book 12 with the taking of Latinus' city, the death of Amata, and Aeneas' defeat and killing of Turnus, whose pleas for mercy are spurned. The final book ends with the image of Turnus' soul lamenting as it flees to the underworld.
How old was Pallas when he died?
Answer: unanswerable
Context and question: The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
Chopin's nocturnes were more structured than who?
Answer:
Field