As opposed to the fact, that does not involve the intervention of human will, the act itself and the necessarily required in this regard only man fulfills acts.
As opposed to the power line terminology aristotélicatomista, the act is what really occurs while power is only a possibility or virtuality, as it is seen in the classic example of the tree and the seed. The tree is the act which was in power in the seed. Following this concept, we would say that Being in whom there is nothing in power, Being who is pure act, is God. Man instead is a continuous evolution, an existence that occurs in a display of power that gradually go or not, updating.
The act when it is opposed to state, It is seen in the manner of a jump. A passage from the position of passivity to acts.
The birth model conceived by Moreno as its operational methodology, it is an act with exposed philosophical senses.
In the psychology of Brentano, the act is investigated as an intentional act and underlined as such. Is the intentional act that offers its specific content. This psychology emphasizes the act of feeling, to imagine, want, rather than the content of those acts, sensations, the images, the dear things, etc.
In the theory of acts and experiences of Husserl, the act is defined as: the direction of consciousness (intentional) to objects, both the transcendent world, as the immanent sphere.
The acts are classified by Husserl in:
a)objectifying and currently acts
b)potentially objectifying acts.
The former are, according to this philosopher, acts to objects and the latter are directly addressed are those that indirectly address them.
Husserl divides the acts that go directly to objects in:
1) Speakers or positional
and those who are indirectly addressed in:
3) imperatives and
In this phenomenological classification, Positional currently objectifying acts are those that are based on the certainty of the existence of the object to which they are addressed.
These also positional type objectifying acts are as Husserl:
Perceptions of transcendent address, including these modes also their retention or primary memory and sensible expectation or prototensión, and positional essential modes of intuition and emotional intuition (This last statement in the form of terminology Scheler).
Moreover currently neutral type objectifying acts are the acts of:
a) imagination or acts of neutral singular direction (see Husserl, “Ideas I” paragraphs 112 a 114 and Sartre, “imaginary” 194) Y
b) significance, which it is the universally neutral direction as the objects are nominal propositions, Declarative concepts and propositions.
The phenomenological classification as thoroughly worked acts by Husserl is extremely useful, as theoretical foundation en Psychodrama Morenian, to be applied to the phenomenological study of the founding acts for both the understanding of the processes of change in the evolutionary psychodrama to the explication of acts of transformation processes of integration catharsis (See catharsis integration)
The act as representation, according J.P.. Sartre (Being and Nothingness) It is given an object to consciousness.
It thus refers to acts of knowledge on the perceive, judge, enunciate, etc.
However act in mind the direction of movement and in this case the act is identified with an action (see action).
Anyway, the act always says a dialectical relationship transit, whether an ideal transit, as in the case of knowledge, or an actual transit, and in the actual action of praxis.
For the representation, ie in the case of signifier and signified, both are radically acts in the sense of an unveiling of the given gnoseológico.
Moreno considers the passage of intrauterine life to independent living as the first creative act and describes his work as the first spontaneous choice between life and death.
The creative and founding act of birth for each human being begins a sequence of events that must occur during the course of a lifetime.
The succession of many creative acts existential settle for a particular individual.
Just as the creative act of the human birth should not be seen, según Moreno, as the mere fact of being thrown into the world or as a terrifying leap, but as a passage that takes place with the help of the other and in conjunction with natural auxiliary I, all creative act, from there, it should be understood as an act that unites us to the other, an act of meeting.
Example: in the scenic figure of a struggle, You can cut the dramatic act of a lunge.