This paper seeks to highlight the importance of spatial cognition in Bergson’s Données immédiates by engaging with Robert Watt’s reconstruction of Bergson’s argument that every idea of number involves the idea of space. We focus on the second stage of Watt’s reconstruction, where Bergson argues that only space can provide the distinction required for our counting of otherwise identical items. Watt bases his reconstruction on a premise regarding the possibility that identical objects, in the absence of spatial distinction, might remain (...) identical across different “temporal locations”. Our paper raises the prospect that Bergson is committed to a stronger thesis, namely one implying that identical objects would necessarily remain indistinguishable without the intervention of space. The paper thus concludes by emphasizing the indispensability of space for knowledge according to Bergson. (shrink)

Este ha sido el mundo infantil – imposible y contradictorio – que sentimos habitar en este escrito, en esta escritura. En ese mundo, como ahora, el inicio y el final coinciden. En ese mundo, que Heráclito llamaría aión, es la infancia la que gobierna. Un gobierno infantil. Por lo tanto, es tiempo de callarnos. De estarnos sin tanta luz y sin tantas palabras. Para dormir y soñar. Es tiempo de terminar. O de comenzar. Los y las lectores infantiles (no) tienen (...) la palabra. Nosotros ya (no) la tenemos… (¡hipo!). (shrink)

Audification, sonification, musification, auditory display — audio realisation of non-audio data is itself phenomenological, it is as Heidegger states: “to let that which shows itself to be seen from itself in the very way in which it shows itself from itself,” and it is precisely when the phenomena is “uncovered” that questions begin to form with regards to the process of sonification’s status within creative arts practice. Rigour of method within a sonification facilitates a realisation that is prescript: method as (...) composition, instruction as notation and adherence as realisation. Whilst finding congruence with algorithmic composition, within musical praxis sonification is isolated. Internality of the subsequently realised sound or music is not only absent, realised sound or music as perceivable externality can be described as functional so far as it contains data, in which case the qualities of a sonification are arguably “cheesecake”. Qualitative compositional decisions — for example, wherein sound or music that exists first as heard within internal consciousness is brought forth as perceivable externality, or wherein sonic intention is met through definition and completion of algorithmic construct — are discounted in favour of integrity of process toward quantifiable outcome. This is to say: sonification is an objective creative praxis; success of a sonification is quantifiable, it is measured against representational accuracy. However, as a music practitioner, I seek to embed my practice within quantifiable accuracy of sonification only to subsequently liberate qualitative compositional decisions. Within this paper it is not intended to conclude sonification as quantifiable, as applied science, rather: through practice-informed phenomenological investigation, the qualities within sonification practice are sought. As consequence of investigative sonification practice, temporality is given specific address, and interrogation of compositional miniatures is referenced in order to critically and reflectively evaluate temporality as of essence to music’s inherent qualitative attributes, whilst simultaneously considering the substantial difference in existential and temporal status between audio and corporeal spatial occupancy in terms of their homogeneity. Subsequently, the paper is indicative of a requirement for further study of sonification within creative music practice, and it speculates as to the affect upon composition as consequence of orientation of sonified objects within the same spatial environment, thus: sonification of occupant corporeal spatial occupancies, or, phrased simply: the compositional potential of multiple sonifications. (shrink)

What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like (...) to do this through a re-weaving of words and ideas to propose a new fabric for understanding the relation of art, landscape, and perceiver. The threads I want to combine are four: art, environment, landscape, and knowing in the sense of appreciation. I hope to show how the loose-knit texture they form can be spread over a particular landscape in such a way that the landscape will fill the fabric and the fabric integrate the landscape. I realize that I may have over-worked my metaphor, so I shall leave it now, but I hope that it can serve as a guiding image for the relation and application of the ideas I shall be working with. (shrink)

Bergson's views on communication can be deduced from his theory of selfhood, in which he identifies the human self as heterogeneous duration a complex process that can only be adequately understood from within, when we intuit our own inner life. Another person, accessing us from outside, inevitably distorts and misunderstands our nature because duration is incommunicable. Does Bergsonism assert the failure of communication in principle? No, if we develop Bergson's theory further and identify the process of communication as heterogeneous duration. (...) As such, it is intuited from within by its participants who engage with each other in the process of dealing with the same object. They intuit the process of which they are part and thus intuit each other's involvement in it as well. To appreciate the importance of this implicit mutual communicative engagement we only need to imagine an empty airport with just one passenger or a deserted pleasure beach.Bergson does not have a theory of communication per se but his views on communication can be extracted from his ontology and epistemology. These views may account for some apparent failures of communication conflicts, loneliness, hostility and Bergson uses them to suggest a way out towards better and more harmonious intersubjective relations.Bergson claims that we misunderstand reality in general and each other in particular. Instead of trying to grasp human nature directly in intuition we analyse its being and create a distorted view of one another. If we were able to conceive the human self as it is, we would see it as duration and might be able to reach the state of an open society where people's love towards one another is ontologically backed up by their openness towards each other's being.However, the Bergsonian theory of duration and intuition, promising to resolve the difficulties of communication, reasserts these difficulties metaphysically. The idea of duration entails the impossibility of accessing it from outside, as the genuine view of it is only possible from within. This paper, instead of trying to salvage a model of communication where people strive to intuit each other's uniqueness, locates intuition in the very act of communication. Bergson himself finds intuition in artistic creation where the artist and spectators communicate by intuiting a common object without learning any personal details about each other. We find that communication is itself duration and that the communicating participants are heterogeneous elements of that duration. As such they are subservient to the act of communication that displays features of autonomous existence. Our model of communication, although accepting the impenetrability of one's person for a complete cognitive penetration from outside, allows for the partial fusion of minds engaged in the same act of communication and negotiating the same subject matter. (shrink)

The object of this paper is to show why recent research in the psychology of deductive and probabilistic reasoning does not have.

Having as point of reference the works of Henri Bergson and, from these, the relationship of the identity between freedom and creation, free action and creative action, the purpose of this paper is to bring to light some questions about the function of method to a philosophy which faces the art, the artist and the artistic activity as examples of which the knowledge of the real and of the true are possible, and for this reason, take it as paradigms of (...) the own philosophy. In other words, it interest to give some steps to the direction of the investigations concerning what want and what can a philosophy which has a profound affinities with art and, beyond this, search to understand it in its essence, in its principles, and reveal its nature.Tendo como ponto de referência o pensamento de Henri Bergson e, a partir dele, a relação de identidade entre liberdade e criação, ação livre e ação criadora, este trabalho tem como propósito levantar algumas questões relativas à função do método em relação a uma filosofia que encara a arte, o artista e a atividade artística como exemplos de que o conhecimento acerca do real e do verdadeiro é possível e, justamente em virtude disso, os toma como paradigmas da própria filosofia. Em outros termos, interessa aqui dar alguns passos no sentido da investigação acerca do que quer e o que pode uma filosofia que guarda profundas afinidades com a arte e que, além disso, busca entendê-la em sua essência, compreendê-la em seus princípios e revelar a sua natureza. (shrink)

Tässä artikkelissa käsittelen Henri Bergsonin (1859–1941) intuition käsitettä ja sen suhdetta hänen filosofiseen menetelmäänsä. Bergsonin on nähty tarkoittavan intuitiolla yhtäältä filosofian metodia ja toisaalta tiettyä älyyn verrattavaa filosofialle ainutlaatuista tiedon muotoa. Esitän, että Bergsonille intuitio on samanaikaisesti näitä molempia. Se on todellisuuden ajattelemista kestona, sisäistä jatkuvuuttamme muistuttavana liikkeenä. Intuitiossa tavoitetaan todellisuuden luonne sikäli kuin se on läsnä myös meissä itsessämme tällaisena jatkuvuutena. Metodologisesti se on todellisuuden tarkastelua ajallisuuden ja muutoksen perspektiivistä. Tiedon muotona se on välitöntä ymmärrystä tarkastelun kohteesta itsestään.

Appearing in English for the first time, this book comprises two of Ortega’s most important works, ¿Qué es conocimiento? and the essay “Ideas y creencias.” This is Ortega’s attempt to systematically present the foundations of his metaphysics of human life and, on that basis, to provide a radical philosophical account of knowledge. In so doing, he criticizes idealism and overcomes it. Accordingly, this book goes well beyond a treatise on epistemology; in fact, as understood in modern philosophy, this discipline and (...) its questions are shown to be derivative and, in that sense, they are transcended here by Ortega’s systematic effort. -/- Written during the time of his maturity, these works are representative of his fruitful and radical period. Both ¿Qué es conocimiento? and “Ideas y creencias” are equally decisive not only for the understanding and radical completion of Ortega’s work, but also for their relevance to the work of continental philosophers during the same period and for years to come (e.g., Husserl, Jaspers, Heidegger, Sartre, and others). (shrink)

Using the work of philosopher Henri Bergson to examine the nature of movement and memory, this article contributes to recent research on the role of the body in learning mathematics. Our aim in this paper is to introduce the ideas of Bergson and to show how these ideas shed light on mathematics classroom activity. Bergson’s monist philosophy provides a framework for understanding the materiality of both bodies and mathematical concepts. We discuss two case studies of classrooms to show how the (...) mathematical concepts of number and function are themselves mobile and full of potentiality, open to deformation and the remapping of the possible. Bergson helps us look differently at mathematical activity in the classroom, not as a closed set of distinct interacting bodies groping after abstract concepts, but as a dynamic relational assemblage. (shrink)

Émile Meyerson (1859–1933) is an epistemologist, in the French meaning of the term: he himself introduced the word in French as a synonymous for “philo- sophy of science” in his major book of 1908 Identity and Reality. First educated as a chemist, Meyerson discovered philosophy while reading Auguste Comte’s Cours de philosophie positive. However, he strongly rejected Comte’s positivism: metaphysics, he said, penetrates science and even common sense; men, whether they are scien- tists or not, are interested in finding a (...) cause behind the stream of phenomena. This anti-positivism is justified in so far as Meyerson used the same method and pursued the same goal as Comte: the philosopher must practice an “a posteriori analysis of the products of thought”, so as to determine the laws of human mind. Consequently, Meyerson’s work is not a mere philosophy of science, it is more than an “épistémolo- gie” in the French sense. Its ambition is to reach the intellectual basis of all thought. The philosopher can resort to the resources of metaphysics to reach the psychologi- cal foundations of humanity, when he reflects on the historical products of thought. He establishes the transcendent or metaphysical logic involved in the process of thought. Meyerson’s work consequently deserves the name its author eventually gave to it in his posthumous Essais: a “philosophy of intellect”. But is such a philoso- phy wide enough to embrace the meaning of all the products of human thought? It seems that Meyerson was embarrassed and limited by his very starting point, namely Comte’s system. I argue that scientific or common conceptions may need more than the anti-positivist claim of the preservation of one substance behind phenomena. Truth to tell, men generally tend to identify a large and rich configuration of causes or substances. Only such architectonics can give an idea of what people mean by invoking their “vision of the world”. (shrink)

Tässä tutkielmassa käsittelen Henri Bergsonin (1859–1941) teoksessa L’évolution créatrice (1907) esittelemää analogiaa elämän ja tietoisuuden välillä. Analogian taustalla on tarve aidolle elämän ja muutoksen filosofialle. Bergsonin mukaan filosofian historiassa muutosta on tarkasteltu siihen soveltumattomilla käsitteellisillä välineillä. Tämän vuoksi on kehitettävä uusi filosofinen metodi. Tässä tutkielmassa esitän, että tietoisuuden ja elämän välinen analogia on korvaamaton osa tätä uutta metodia. Bergsonin metodissa analogia tai ”analogiapäättely” (raisonnement par analogie) osoittautuu tärkeäksi välineeksi, jonka pohjalta filosofinen ”sisäinen tieto” ja ymmärrys metafyysisistä tärkeistä aiheista kuten liikkeestä (...) ja muutoksesta mahdollistuu. Tässä tutkielmassa avaan Bergsonin metodia ja hänen käsitystään filosofisen tiedon luonteesta. Taustoitan teoksen L’évolution créatrice sisällöllisiä ja metodologisia lähtökohtia sekä tutkielman puitteita. Tarkastelen minkälaiset tulokulmat ja tarkastelukeinot Bergsonin mukaan soveltuvat elämän filosofiseen tarkasteluun ja millaiset eivät. Lisäksi rekonstruioin myös mallin Bergsonin metodista, jonka lähtökohtana on ennen kaikkea analogia. Tämä mallin pohjalta tarkastelen tietoisuuden ja elämän analogiaa teoksessa L’évolution creatrice. Tarkastelu tapahtuu lähiluvun, Bergsonin ajatusten rekonstruoinnin ja käsitteiden vertailun avulla. Tutkielma osoittaa, että tämä teoksesta löytyvä analogia vastaa Bergsonin analogiaoäättelyyn liittyvää analogiaa. (shrink)