argues: "Must the synergies be perceived/observed in order to qualify as emergent effects, as some theorists claim? Most emphatically not. The synergies associated with emergence are real and measurable, even if nobody is there to observe them." The low entropy of an ordered system can be viewed as an example of subjective emergence: the observer sees an ordered system by ignoring the underlying microstructure (i.e. movement of molecules or elementary particles) and concludes that the system has a low entropy. On the other hand, chaotic, unpredictable behaviour can also be seen as subjective emergent, while at a microscopic scale the movement of the constituent parts can be fully deterministic. In religion, art and humanities In religion, emergence grounds expressions of religious naturalism and syntheism in which a sense of the sacred is perceived in the workings of entirely naturalistic processes by which more complex forms arise or evolve from simpler forms. Examples are detailed in The Sacred Emergence of Nature by Ursula Goodenough & Terrence Deacon and Beyond Reductionism: Reinventing the Sacred by Stuart Kauffman, both from 2006, as well as Syntheism – Creating God in The Internet Age by Alexander Bard & Jan Söderqvist from 2014 and Emergentism: A Religion of Complexity for the Metamodern World by Brendan Graham Dempsey (2022). An early argument (1904–05) for the emergence of social formations, in part stemming from religion, can be found in Max Weber's most famous work, The Protestant Ethic and the Spirit of Capitalism. Recently, the emergence of a new social system is linked with the emergence of order from nonlinear relationships among multiple interacting units, where multiple interacting units are individual thoughts, consciousness, and actions. In art, emergence is used to explore the origins of novelty, creativity, and authorship. Some art/literary theorists (Wheeler, 2006; Alexander, 2011) have proposed alternatives to postmodern understandings of "authorship" using the complexity sciences and emergence theory. They contend that artistic selfhood and meaning are emergent, relatively objective phenomena. Michael J. Pearce has used emergence to describe the experience of works of art in relation to contemporary neuroscience. Practicing artist Leonel Moura, in turn, attributes to his "artbots" a real, if nonetheless rudimentary, creativity based on emergent principles. In literature and linguistics, the concept of emergence has been applied in the domain of stylometry to explain the interrelation between the syntactical structures of the text and the author style (Slautina, Marusenko, 2014). In international development,