Henri Bergson

Even of that, I cannot elaborate. He joined the Irgun National Military Organization as a youth, joined its headquarters as a teenager, and went abroad on a mission at the age of 22, from which he returned a decade later, after his chief political activity was over. I cannot describe all that now. I will sum it up briefly. His life work had two great achievements and two heartbreaking failures. The struggle to rescue the Jews of Europe during the Holocaust (...) and the Declaration of Israel’s Independence were both his achievements and his failures. (shrink)

This paper asks how perception becomes racializing and seeks the means for its critical interruption. My aim is not only to understand the recalcitrant and limitative temporal structure of racializing habits of seeing, but also to uncover the possibilities within perception for a critical awareness and destabilization of this structure. Reading Henri Bergson and Maurice Merleau-Ponty in dialogue with Frantz Fanon, Iris Marion Young and race-critical feminism, I locate in hesitation the phenomenological moment where habits of seeing can be internally (...) fractured. Hesitation, I claim, makes visible the exclusionary logic of racializing and objectifying perception, countering its affective closure and opening it to critical transformation. (shrink)

In this essay, I draw on Henri Bergson and Maurice Merleau-Ponty to interrogate what philosophy is and how it can continue to think. Though my answer is not reducible to the views of either philosopher, what joins them is an attempt to elaborate philosophy as a different way of seeing. In this light, I propose a view of philosophy as prosthesis—as a means and a way for seeing differently. Rather than a simple tool, philosophy as prosthesis is a transformative supplement, (...) one that our bodily perception calls for and wherein that perception is recast. Rather than a fixed or assured view, this prosthesis holds open the interval in which thinking can take place. Philosophy, I argue, must wait. It sees and thinks hesitatingly, for the temporality it inscribes is not a foreseeable development but the unfolding of life as tendency, as that which creates its own possibility as it comes into existence. (shrink)

Introduction: -/- Walking, illegally, down main Montreal thoroughfares with students in nightly demonstrations, with neighbors whom I barely knew before, banging pots and pans, and with tens, if not hundreds, of thousands of people on every 22nd of the month since March—this was unimaginable a year ago.1 Unimaginable that the collective and heterogeneous body, which is the “manif [demonstration]”, could feel so much like home, despite its internal differences. Unimaginable that this mutual dependence on one another could enable not only (...) collective protection from traffic and police but the affective strength and audacity to take back the street—a mutual dependence that includes the masked demonstrators ready to help when gassed by police. Unimaginable too that we would be breaking the law daily,2 that blocking traffic and seeing the city from the center of the street would become habit, and that as the “printemps érable” becomes summer, we would be investing our time in neighborhood assemblies, in weaving social bonds, and in sustaining and deepening the mobilization. -/- I say these actions were unimaginable not merely because the context that motivated the enlargement of the student movement into a popular struggle combines a number of unique features. Nor were they simply unimaginable because the Quebec I previously knew was marred by the Islamophobia and cultural racism made visible during the reasonable accommodation debates, a society whose mapping excluded me and for whose sake it would have been difficult to protest.3 Rather, I say these actions were unimaginable because the possibility of this popular and inclusive mobilization had not yet been created. It is this possibility that the Quebec student movement has created, I argue, not only in quantitative terms by engaging so many, but at the level of lived subjectivities and intercorporeal solidarity. The evolution of the movement should be understood, then, both as a swelling of its popular base and as an intensification and qualitative transformation of ways of life. (shrink)

Drawing on Merleau-Ponty’s “Eye and Mind” and Bergson’s Matière et mémoire and “La perception du changement,” I ask what resources are available in vision for interrupting objectifying habits of seeing. While both Bergson and Merleau-Ponty locate the possibility of seeing differently in the figure of the painter, I develop by means of their texts, and in dialogue with Iris Marion Young’s work, a more general phenomenology of hesitation that grounds what I am calling “critical-ethical vision.” Hesitation, I argue, stems from (...) affect and leads to critical memory. In hesitation, the seeming coincidence between my habits of seeing and the visible is decentered, revealing these habits and their social reference as the constitutive horizon of my field of vision. Hesitation, then, provides the phenomenological moment within which vision may become at once critically watchful, destabilizing its objectifying habits, and ethically responsive, recollecting its affective grounds. The critical and the ethical are here inseparable. Critically, this vision is an awareness of the structures of invisibility, diacritical and habitual, social and historical, to which my vision owes—dimensions which institute particular ways of seeing and being as norm while eliding others. Ethically, this is the recognition of how seeing is already seeing with others—others whose affective influence is operative within vision, even as their existence is reductively represented or denied. (shrink)

Drawing on Merleau-Ponty’s “Eye and Mind” and Bergson’s Matière et mémoire and “La perception du changement,” I ask what resources are available in vision for interrupting objectifying habits of seeing. While both Bergson and Merleau-Ponty locate the possibility of seeing differently in the figure of the painter, I develop by means of their texts, and in dialogue with Iris Marion Young’s work, a more general phenomenology of hesitation that grounds what I am calling “critical-ethical vision.” Hesitation, I argue, stems from (...) affect and leads to critical memory. In hesitation, the seeming coincidence between my habits of seeing and the visible is decentered, revealing these habits and their social reference as the constitutive horizon of my field of vision. Hesitation, then, provides the phenomenological moment within which vision may become at once critically watchful, destabilizing its objectifying habits, and ethically responsive, recollecting its affective grounds. The critical and the ethical are here inseparable. Critically, this vision is an awareness of the structures of invisibility, diacritical and habitual, social and historical, to which my vision owes—dimensions which institute particular ways of seeing and being as norm while eliding others. Ethically, this is the recognition of how seeing is already seeing with others—others whose affective influence is operative within vision, even as their existence is reductively represented or denied. (shrink)

Borrowing conceptual tools from Bergson, this essay asks after the shift in the temporality of life from Merleau-Ponty’s Phénoménologie de la perception to his later works. Although the Phénoménologie conceives life in terms of the field of presence of bodily action, later texts point to a life of invisible and immemorial dimensionality. By reconsidering Bergson, but also thereby revising his reading of Husserl, Merleau-Ponty develops a nonserial theory of time in the later works, one that acknowledges the verticality and irreducibility (...) of the past. Life in the flesh relies on unconsciousness or forgetting, on an invisibility that structures its passage. (shrink)

Borrowing conceptual tools from Bergson, this essay asks after the shift in the temporality of life from Merleau-Ponty’s Phénoménologie de la perception to his later works. Although the Phénoménologie conceives life in terms of the field of presence of bodily action, later texts point to a life of invisible and immemorial dimensionality. By reconsidering Bergson, but also thereby revising his reading of Husserl, Merleau-Ponty develops a nonserial theory of time in the later works, one that acknowledges the verticality and irreducibility (...) of the past. Life in the flesh relies on unconsciousness or forgetting, on an invisibility that structures its passage. (shrink)

Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and Memory? Far from representing (...) the simple afterimage of a present perception, the “virtual image” carries multiple senses. Contracting the immediate past for the present, or expanding virtually to hold the whole of memory (and even the whole of the universe), the virtual image can form a bridge between the present and the non-representational past. This non-representational account of memory sheds light not only on the structure of time for Bergson, but also on his concepts of pure memory and virtuality. The rereading of memory also opens the way for Bergsonian intuition to play an intersubjective role; intuition becomes a means for navigating the resonances and dissonances that can be felt between different rhythms of becoming or planes of memory, which constitute different subjects. (shrink)

Following the 1988 publication of Bergsonism by Gilles Deleuze, many contemporary critics such as Leonard Lawlor and Paul Douglass have re-contextualized Bergson within poststructuralism. In so doing, Bergsonian theory enables us to readdress questions associated with concepts of temporality and their relation to language. In considering this re-appropriation, Suzanne Guerlac in Thinking in Time: an introduction to Henri Bergson (2006), asks why Bergson has never been considered in relation to Derrida, given that the two philosophers share fundamental concerns about time (...) and writing. Following Derrida’s critique of Husserl in La Voix et le phénomène (1967), it is perhaps the case that many critics categorize Bergson as a phenomenologist. However, I aim to develop the argument that Guerlac instigates and show that Derrida’s critique of Husserl in fact establishes a close proximity with Bergson’s view that Western metaphysics suppresses time as durée . I will show how both Bergson and Derrida operate with the understanding of a particular rupture in the full presence of the present, an expansion of consciousness as a ‘now’ to include a constant deferral to memory. While this overlap establishes an affinity, I conclude by showing that it simultaneously marks a point of diffraction with regard to how both seek to methodologically embody such a concept of time. (shrink)

Henri Bergson and William James were great admirers of each other, and James seemed to think he got valuable ideas from Bergson. But early critics were right to see in Bergson the antithesis of pragmatism. Unfolding this antithesis is a convenient way to study important concepts and innovations in Bergson's philosophy. I concentrate on his ideas of duration and intuition, and show how they prove the necessity of going beyond pragmatism. The reason is because knowledge itself goes beyond the utilitarian (...) limitations in which pragmatism confines it. Knowledge is more than utility, more than adaptation, more than pragmatism, because our cognitive powers prove capable of more than any naturally selected service to survival. (shrink)

Liang Shuming once applied the concept of intuition to characterize Chinese culture as a whole. Later, he not only replaced the theoretical position of intuition with the concept of reason, but discarded the term for intuition itself. This essay will answer three questions related to this academic riddle. (1) What does intuition mean to both Bergson and Liang? (2) What does the Chinese cultural heritage contribute to the formation of Liang's intuition? (3) What is the relationship between Liang's intuition and (...) reason? (shrink)

In this essay I focus on the text Creative Evolution and show that although Bergson intended to make a contribution to the science of biology and to the philosophy of life, the primary aim of the text is to show the need for a fundamental reformation of philosophy. Bergson wants to show how, through an appreciation of the evolution of life, philosophy can expand our perception of the universe. I examine in detail the two essential claims he makes in the (...) text: first, that we have to see the theory of knowledge and the theory of life as deeply related; second, that there is a need to “think beyond the human condition” or human state. Indeed, Bergson conceives philosophy as the discipline that “raises us above the human condition” and makes the effort to “surpass” it. This reveals itself to be something of an extraordinary endeavour since it means bringing the human intellect into rapport with other kinds of consciousness. Moreover, if we do not place our thinking about the nature, character, and limits of knowledge within the context of the evolution of life then we risk uncritically accepting the concepts that have been placed at our disposal. It means we think within pre-existing frames. We need, then, to ask two questions: first, how has the human intellect evolved?, and second, how can we enlarge and go beyond the frames of knowledge available to us? (shrink)

In this essay I examine the contribution a philosophy of life is able to make to our understanding of morality, including our appreciation of its evolution or development and its future. I focus on two contributions, namely, those of Jean-Marie Guyau and Henri Bergson. In the case of Guyau I show that he pioneers the naturalistic study of morality through a conception of life; for him the moral progress of humanity is bound up with an increasing sociability, involving both the (...) intensification of life and its expansion. In the case of Bergson I show that he also pioneers a novel naturalistic appreciation of morality, one that is keen to demonstrate morality’s two sources and so as to give us a firm grasp of the chances of a moral progress on the part of humanity. I suggest that of the two appreciations of morality Bergson’s is the richer since it contains a set of critical reflections on humanity’s condition that is lacking in Guyau. I conclude by suggesting that Bergson’s idea that modern humanity is confronted with the decision whether it wishes to continue living or not has lost none of its relevance today. (shrink)

Informed by the philosophy of the virtual, Keith Ansell Pearson offers up one of the most lucid and original works on the central philosophical questions. He asks that if our basic concepts on what it means to be human are wrong then, what is this to mean for our ideas of time, being, consciousness? A critical examination ensues, one informed by a multitude of responses to a large number of philosophers. Under discussion is the mathematical limits as found in Russell, (...) questions on Relativity, Kant's notion of judgement, Popper, Dennett, Dawkins and Proust. He brings into the rapport the concepts of Bergson and their explosive insights into the idea of time. (shrink)

In this article, I consider the relevance of Bergson's theory of durée for an understanding of sculpture by focusing on the work of three canonical artists in the history of twentieth-century modernism: the French Cubist Raymond Duchamp-Villon, the Italian Futurist Umberto Boccioni, and the London-based Vorticist Henri Gaudier-Brzeska. While these sculptors produced widely divergent aesthetic forms, I argue that they all endorsed Bergson's notion of durée as a spontaneous process of qualitative differentiation. These artists reconfigured their medium in terms of (...) Bergson's process philosophy, whether in the guise of an artists? generative imagination (Duchamp-Villon), representations of the human body as a living center of indetermination (Boccioni), or the act of direct carving as an intuitive response to a sculptor's chosen material (Gaudier-Brzeska). These Bergsonian paradigms enable us to reassess Jack Burnham's evaluation of Bergson's impact in his seminal text Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (1968). Finally, by drawing on recent discussions of cybernetic and new media art, I will highlight the limitations of Burnham's categorical dismissal of Bergsonism as an outmoded metaphysics, irrelevant to newer conceptions of ?sculpture as system.? (shrink)

My study is the first to investigate the relevance of the writings of the French philosopher Henri Bergson for an understanding of the Fauvist and Cubist movements in France before World War I. By interrelating two movements that, on the basis of stylistic analysis, are traditionally opposed, I elucidate their shared aesthetic roots and the profound impact of Bergson on early modernism in Europe, in its philosophical and, more surprisingly, social implications. ;Chapter one illustrates the degree to which Gleizes's and (...) Metzinger's Du Cubisme represented the definitive formulation of a Bergsonian theory of Cubism, grounded in the interpretation of Bergson developed by the Symbolist writer Tancrede de Visan. Chapters two and three bring to light a group of Paris-based British Fauvists who called themselves Rhythmists and founded the magazine Rhythm to promote their Bergsonian interpretation of Fauvism. I chart the Rhythm group's attempts to measure themselves against the Puteaux Cubists, and the shared Bergsonian principles underpinning the aesthetic views of both circles. Chapters four and five discuss the Cubist- and Rhythmist-related criticism found principally in the journals l'Art Libre, Montjoie!, Poeme et Drame, and Cahiers des poetes. Those writings are considered in the context of a widely political debate between Bergson's Symbolist apologists and members of the right-wing Action Francaise. By relating this criticism to the propagation of Gallic nationalism within Cubist and Fauve circles, I am able to show how both groups countered the racial nationalism of the Action Francaise with an equally reactionary racial theory. To a great extent, that criticism is couched in Bergsonian terms, in the guise of an opposition between an organic and geometrical order, with aesthetic as well as political implications. (shrink)

Bergson's views on time are supported by the time operator qualifying complex systems with a concept of time that is essentially difierent from the clock time used to register the events. Irreversibility, unpredictability, and innovation characterize complex systems in contrast with the reversibility, predictability and lack of novelties of the regular motions of integrable systems. The idea for this work came from our teacher Ilya Prigogine who pointed out repeatedly that the time operator actually incorporates Bergson's views on time. We (...) construct a time operator which incorporates Bergson's intuitive views on durations, indeterminism, innovations and irreversibility and the significance of events in terms of inno- vation and aging. In addition, Bergson emphasized that the signif- icance of durations depends on consciousness and memory, a discussion beyond the proposed time operator. Moreover we discuss the relation of Bergson's time with the internal time concepts of Husserl and Heidegger. (shrink)

SPANISH: 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. ENGLISH: In this paper a comparison of some central elements of the philosophies of H.Bergson and J. Ortega and Gasset is tried. After analyzing their coincidences and divergences we will establish their (...) common ownership to a line of development of the european metaphysics that starts up from the critic to the kantismo. (shrink)

The concept of memory rests at the heart of Bersgon’s theory of consciousness. His theory of memory is the novelty in the history of philosophy. It is not an affirmation either of the metaphysical conceptions (versions à la Platonism) where “all knowledge is recollection”, nor of empiricist psychology possibly traceble back to Aristotle, where, briefly speaking, the faculty of memory depends on the general perceptual capacity. Contrary to the majority of the philosophical and psychological theories of his epoch, Bergson assigns (...) memory the most important role in the intellectual process, denying the characteristic of passivity (from greek word pathos meaning kind of affection) attached to it, instead concerning with the creative, productive and vital power of memory rather than merely its retentive and recalling capacity. (shrink)