Henri Bergson

The book discusses a civilization approach to philosophy of history. Hegel's idea about "Reason in history" is exemplified as "Reason in civilization" to be justified ontologically the civilization approach in the works of Toynbee, Huntington, etc. together with the conception of "long run": the "longue duree" (the long term) of the French Annales School.

In this work I propose a theory of evolution as a process of unfolding. This theory is based on four logically concatenated principles. The principle of evolutionary order establishes that the more complex cannot be generated from the simpler. The principle of origin establishes that there must be a maximum complexity that originates the others by logical deduction. Finally, the principle of unfolding and the principle of actualization guarantee the development of the evolutionary process from the simplest to the most (...) complex. These logical principles determine the existence of a virtual ideological matrix that contains the sequence of the preformed and folded morphogenetic fields. In this manner, the evolutionary process consists of the sequential unfolding and actualization of these fields, which is motorized by a process of teleologization carried out by the opening consciousness of the forms included in the fields of the ideological matrix. This theory leads to a radical change of perspective regarding the materialist worldview, and places life at the center of the evolutionary process as an activity carried out by a consciousness that seeks to fulfill a purpose by actualizing its own potentialities. (shrink)

Is life a simple result of a conjunction of physico-chemical processes? Can be reduced to a mere juxtaposition of spatially determined events? What epistemology or world-view allows us to comprehend it? Aristotle built a novel philosophical system in which nature is a dynamical totality which is in constant movement. Life is a manifestation of it, and is formed and governed by the psyche. Psyche is the organizational principle of the different biological levels: nutritive, perceptive and intelective. Driesch's crucial experiment provided (...) empirical proof of the principle of life, which he called entelechy. Entelechy is an intensive manifoldness and cannot be comprehended by the usual extensive parameters. The entelechian's own ambiance is duration. This allows the reintroduction of the concept of teleology in the sphere of the living, understood not as a final cause, but as an order born from desire and leading to action. (shrink)

Conceived as a fundamentally critical quantity, (the) deviation (clinamen, Abweichung) does not mark mere variation or a purely additional factor. To see it and to acknowledge it therefore means a political work and repeated effort that must be started again and again. -/- Once more, voices are being raised for a final claim to truth and power that in no way correspond to the growing complexity of social conditions. In view of this problem, a figure of thought is needed which (...) can oppose identity-based thinking with an uninterrupted shift. In this sense, Maja Bogumila Hoffmann develops the concept of deviation - by means of reconstructing certain historical philosophies - into a figure that creates difference and is relevant to the present, one that allows the articulation of the unanticipated events of alteration, without drawing from nothing or anticipating teleologically. Additionally supplemented by the absurd play "Meta-Pipton" the philosophical text is both complemented and interrupted by the drama, in order to interrupt it itself, so that something can become something new. (shrink)

Freud had read Bergson’s 1900 book Laughter when he composed his own book on jokes, and, even prior to his development of the concept of the super-ego, Freud had criticized Bergson for not following up his insights into the linkage between comedy and childhood experiences. Freud thus chides Bergson for failing to pursue a line of inquiry that would confirm the ultimately tragic underpinnings of comedy. Wise to this clever and even mischievous little suggestion, Bergson’s book can be read as (...) an account of comedy that might avoid the perennial temptation of yoking it to tragedy. Bergson approaches the problem of comedy in its concreteness, in its liveliness, and follows the various paths of its unfolding. What results is an analysis that shares some similarities with Freud’s investigations but that also eliminates the theoretical prejudices that guide Freud’s reflections. The comic spirit is, first of all, “undefinable.” A strange way to begin an essay on the subject except that, for Bergson, this designation is not a strictly negative one: “we shall not aim at imprisoning the comic spirit within a definition. We regard it, above all, as a living thing. However trivial it may be, we shall treat it with the respect due to life. We shall confine ourselves to watching it grow and expand.” In a deliberate departure from the sort of circumscription that characterizes the style of Aristotle’s Poetics – as well as its progeny – Bergson’s strategy is an indefinite one appropriate to the particular complexity of the subject. The text of the investigation will then share its subject’s style – it will dramatize rather than describe the comic – in order to give an account that is suited to the nature of the comic: it will be neither a joke nor a tragedy. Bergson’s book is of an essential different kind than Freud’s: its focus is upon the motivation or forces that bring laughter and the comic situation into existence. Freud’s analysis ultimately moves in a circle, discovering the tragic principles of its investigation in its conclusion, because it fails to begin with the question closer to the vital complex of which humour and the comic are a part: what advantage does comedy procure for life? (shrink)

The present essay argues that Bergson’s account of the comic can only be fully appreciated when read in conjunction with his later metaphysical exposition of the élan vital in Creative Evolution and then by the account of fabulation that Bergson only elaborates fully three decades later in The Two Sources of Morality and Religion. The more substantive account of the élan vital ultimately shows that, in Laughter, Bergson misses his own point: laughter does not simply serve as a means for (...) correcting human behavior but is rather the élan vital’s vital summons, the demand of life itself, that human beings challenge their obligations, question their societal forms, and thereby create new and, for Bergson, more ideal forms of life and community. (shrink)

Though scholarship has explored Karin Costelloe-Stephen’s contributions to the history of psychoanalysis, as well as her relations to the Bloomsbury Group, her philosophical work has been almost completely ignored. This paper will examine her debate with Bertrand Russell over his criticism of Bergson. Costelloe-Stephen had employed the terminology of early analytic philosophy in presenting a number of arguments in defence of Bergson’s views. Costelloe-Stephen would object, among other things, to Russell’s use of an experiment which, as she points out, was (...) first conducted by Carl Stumpf. Russell appeals to Stumpf's experiment in his attempt to prove that sense data are terms in logical relations, a thesis presupposed by the project of logical analysis outlined in Our Knowledge of the External World. A reformulated version of Costelloe-Stephen's argument put forth by this paper shows that Russell's argument fails to provide adequate proof for his thesis. Further modifications of the argument can also address a reconstruction (based on contemporary reports) of Russell's reply to Costelloe-Stephen. In his reply, Russell would use, already in 1914, the term ‘analytic philosophy’ in contrasting his and Moore’s approach to a continental one, exemplified by Bergson and Costelloe-Stephen. (shrink)

The history of the writing of philosophy could be seen as divided between two tendencies. One tendency involves a constant reconfiguration of the literary and stylistic elements involved in the way philosophy is written. Examples include most texts in the philosophical canon, from Plato's dialogues, or Aristotle's lecture notes, to Marcus Aurelius's diary, Augustine's confessions, the pseudepigrapha of the Areopagite, Anselm's prayer, Montaigne's essays, Descartes's meditations, Kierkegaard's play with pseudonymy, or Wittgenstein's "remarks."1 In such texts, we find a self-reflective attitude (...) toward the writing of philosophy, where the medium and the message become intriguingly interconnected. On the other hand, a... (shrink)

In 1911, Bergson visited Britain for a number of lectures which led to his increasing popularity. Russell personally encountered Bergson during his lecture at University College London on the 28th of October, and on the 30th of October Bergson attended one of Russell’s lectures. Russell went on to write a number of critical articles on Bergson, contributing to the hundreds of publications on Bergson which ensued following these lectures. Russell’s critical writings have been seen as part of a history of (...) controversies between so-called ‘Continental’ and ‘Analytic’ philosophers in the twentieth century. Yet Russell’s engagement with Bergson’s thought comes as a response to a particular British form of Bergsonism and is involved with the wider phenomenon of the British import of Bergsonism (by figures connected in different ways to Russell, such as Hulme, Wildon Carr or Eliot). Though this may challenge the view of Russell and Bergson as enacting an early version of the ‘Analytic’-‘Continental’ divide, there are however some particular characterisations of Bergson by Russell which contribute to the subsequent formation of the ‘rotten scene’ (Glendinning 2006: 69) of the divide in the second half of the twentieth century. (shrink)

We provide a new perspective on the relation between the space of description of an object and the appearance of novelties. One of the aims of this perspective is to facilitate the interaction between mathematics and historical sciences. The definition of novelties is paradoxical: if one can define in advance the possibles, then they are not genuinely new. By analyzing the situation in set theory, we show that defining generic (i.e., shared) and specific (i.e., individual) properties of elements of a (...) set are radically different notions. As a result, generic and specific definitions of possibilities cannot be conflated. We argue that genuinely stating possibilities requires that their meaning has to be made explicit. For example, in physics, properties playing theoretical roles are generic; then, generic reasoning is sufficient to define possibilities. By contrast, in music, we argue that specific properties matter, and generic definitions become insufficient. Then, the notion of new possibilities becomes relevant and irreducible. In biology, among other examples, the generic definition of the space of DNA sequences is insufficient to state phenotypic possibilities even if we assume complete genetic determinism. The generic properties of this space are relevant for sequencing or DNA duplication, but they are inadequate to understand phenotypes. We develop a strong concept of biological novelties which justifies the notion of new possibilities and is more robust than the notion of changing description spaces. These biological novelties are not generic outcomes from an initial situation. They are specific and this specificity is associated with biological functions, that is to say, with a specific causal structure. Thus, we think that in contrast with physics, the concept of new possibilities is necessary for biology. (shrink)

The first section of this article focuses on the treatment of “time travel” in science-fiction literature and film as presented in the secondary literature in that field. The first anthology I will consider has a metaphysical focus, including (a) relating the time travel of science fiction to the banal time travel of all living beings, as we move inexorably toward the future; and (b) arguing for the filmstrip as the ultimate metaphor for time. The second anthology I will consider has (...) a more political focus, arguing that the “special effects” form of science-fiction films, rather than the visual or narrative content of science-fiction-films, is truly imaginative and futural. The second section of this article ties together a variety of concepts and insights between time-travel cinema and Deleuze’s Cinema 1, suggesting (among other things) that (c) time-traveling characters in cinema function as a redoubled phenomenon of the “mobile sections” of Bergsonian duration (in reference to Henri Bergson), and (d) time-travel cinema vividly illustrates the imagistic nature of the entire world. (shrink)

I attend to the temporal schema of open/closed by examining its elaboration in Bergson's philosophy and critically parsing the possibilities for its destabilization. Though Bergson wrote in a colonial context, this context barely receives acknowledgement in his work. This obscures the uncomfortable resonances between Bergson's late work, The Two Sources of Morality and Religion, and the temporal narratives that justify French colonialism. Given Bergson's uptake by philosophers, such as Gilles Deleuze, and by contemporary feminist and political theorists (especially “new materialists”), (...) a critical re-examination is called for. The Two Sources not only introduces a new dichotomy into Bergsonian philosophy—that of open/closed—it puts an end to the movement of duration by defining its possibilities as goals already given in advance. By turning the tools of Bergsonian critique onto The Two Sources, I propose an alternative to the open/closed—that of the “half-open”—creating in this way the conditions for decolonizing duration. (shrink)

The main goal of Henri Bergson’s philosophy of nature is to offer a dynamic understanding of living phenomena. It is in this context that we main­tain that the author left us a “bio-philosophy,” that is, an interpretation which, by adopting a positive model of biology as a cognitive paradigm, describes the essential character of living activity as time or duration. Bergson’s posi­tive metaphysics, which brings science to the metaphysical field and provides an inner perspective of the vital principle, consolidated itself (...) in the study of evolutionary theories like Darwinism. However, the specificity of the perspective Bergson presents to us lies in the fact that he positions himself as a philosopher and not as a scientist: he does not seek a merely scientific explanation of reality, but an integral vision that allows us to give scientific evolution a metaphysical reading. Thus, when Bergson upholds the insufficiency of pure Darwinism, and proposes a true evolutionism, it is because he thinks that the only way to understand the evolutionary nature of life is by overcoming a strictly mechanistic perspective. For Bergson, such an interpretation results from the artificial way in which our intellectual functions deconstruct reality and lead to an incomplete and fragmented reading of the evolution of organisms. As a philosopher he seeks an explanatory level which, being scientifically based, is not restricted to the physico-chemical limits of reality. For that reason, Bergson claims that the inner cause of evolution is an activity where growth and division occur as a natural result of the divergence of life’s tendencies. (shrink)

When summarizing the findings of his 1896 Matter and Memory, Bergson claims: “That every reality has... a relation with consciousness—this is what we concede to idealism.” Yet Bergson’s 1896 text presents the theory of “pure perception,” which, since it accounts for perception according to the brain’s mechanical transmissions, apparently leaves no room for subjective consciousness. Bergson’s theory of pure perception would appear to render his idealistic concession absurd. In this paper, I attempt to defend Bergson’s idealistic concession. I argue that (...) Bergson’s account of cerebral transmissions at the level of pure perception necessarily entails a theory of temporality, an appeal to a theory of time-consciousness that justifies his idealistic concession. (shrink)

Se estudia la evolución de la idea de conciencia en las obras de Bergson Essai sur les données immédiates de la conscience, Matiére et mémoire, L'évolution créatrice -, partiendo de una exploración del sentido de la cuestión contexto filosófico y analizando las variaciones y enriquecimientos, explícitos o subyacentes, de la idea de conciencia a medida que avanza en su pensamiento llega a la conclusión de que la idea de conciencia se va desplazando desde un sentido más bien cognoscitivo hacia la (...) coincidencia con la idea de vida humana. (shrink)

This essay attempts to reflect on Bergson’s contribution to the reversal of Platonism. Heidegger, of course, had set the standard for reversing Platonism. Thus the question posed in this essay, following Heidegger, is: does Bergson manage not only to reverse Platonism but also to twist free of it. The answer presented here is that Bergson does twist free, which explains Deleuze’s persistent appropriations of Bergsonian thought. Memory in Bergson turns out to be not a memory of an idea, or even (...) of the good, which is one, but a memory of multiplicity. Therefore Bergson’s memory is really, from a Platonistic standpoint, forgetfulness or, even, a counter-memory. (shrink)

En este trabajo se emprende una comparación de algunos elementos centrales de las filosofías de H. Bergson y J. Ortega y Gasset. Tras analizar sus coincidencias y divergencias estableceremos su común pertenencia a una línea de desarrollo de la metafísica europea que arranca de la crítica al kantismo.

The development of a metaphysics of actuality is reconstructed from Plato through Bergson to capitalize on Bergson's suggestion that mind and matter can be understood as inversions of each other, or as respectively a centering and an extending of forms. This view avoids the pitfalls of reductive monism and disjunctive dualism: it is dyadic (cognizant at once of mind-matter difference and of the unity of reality), symmetrical (not apt to close off prematurely our reckoning with complexity and change, on either (...) side), and correlational (able to track relations of form, energy, and sequence between mental and material items). (shrink)

L’enjeu de Matière et mémoire de Bergson consiste à repenser le dualisme classique de l’âme et du corps pour en exposer un terme médiateur satisfaisant. Bergson souhaite ainsi mettre en échec à la fois l’idéalisme de type berkeleyen pour qui la réalité se ramène absolument à la subjectivité percevante et le réalisme de Descartes pour lequel l’objet se réduit à de la pure matière étendue. S’il faut repenser les termes du dualisme c’est aussi parce que les données du problème doivent (...) être modifiées. Ce n’est pas la perspective cartésienne d’un dualisme de substances composé d’une âme inétendue et d’un corps étendu qui intéresse surtout Bergson. Aussi longtemps qu’on en reste au critère spatial pour définir les termes du dualisme, ceux-ci ne pourront jamais être adéquatement rapprochés. C’est au niveau du temps et plus précisément de la durée, c’est-à-dire de la continuité indivisible du réel où passé et présent se confondent et dont l’intuition nous donne l’accès, que le dualisme pourra trouver une forme d’unité. (shrink)

The Nobel laureate discusses not only how and why he became a philosopher but also his conception of philosophy as a field distinct from science and literature. A source of inspiration for physicists as well as philosophers, Bergson's essays declare the emphasis of intuition over intellect.

In his two volumes on Intuitive Thought Professor Edouard Le Roy continues his idealistic interpretation of spiritual creativity, and turns from its ‘products’ manifested in biological and human evolution to consider its most intimate character, as it is ‘lived through’ or directly experienced in intuitive and inventive thinking. The whole plan and its execution are determined by two characteristic themes of Bergsonism—intuition and the dynamical schema—though these are repensès in a quite original way. “Intuitive thought” and “metaphysical thought,” M. Le (...) Roy affirms in the preface, are “one and the same”; the latter is condemned only by those who misconceive the former. So by correcting misunderstandings he seeks to. (shrink)