This article examines social research on the relations between (young) women's bodies and images through Bergson's method of intuition, which suggests that the only way a thing can be known is through coinciding with the uniqueness of its becoming. I suggest that in this aim, intuition is, necessarily, an intimate research method. Rather than apply Bergson's argument to this area of social research, I examine the resonances between his philosophical method and the moves within social research to attend to the (...) performativity, creativity or inventiveness of research methods. With a focus on my own research, which explored the relations between 13 girls' bodies and images from a feminist-Deleuzian position, I argue here that the interconnected issues of becoming, uniqueness and coincidence that Bergson raises connect with concerns in social research about ontology, concepts and methods. In particular, I suggest that relationality is crucial to these connections. Drawing through the significance of relations, I argue that intimate, intuitive research is desirable because of the ethics that it opens up and enables; ethics intimate in attention to the becoming unique to the object at stake in research and in the attempt to coincide with this uniqueness. (shrink)

This essay explores the relation between repetition and thought in Bergson and Deleuze. In Bergson, this relation is seen in the method of intuition by which thought is made to think in time and in the ‘rhythms’ at work in how intuition is a contact with time or life, urging conceptual precision. This framework is used to clarify Deleuze's thought without image as that contingent encounter with the persistent forces of life that demand the perseverance of thought. Far from stressing (...) difference alone, both link the repetition in life to the unsettling persistence required to develop a truly new thought. (shrink)

"The last third of the twentieth century," Gerard Hauser writes, was marked by "a flurry of intellectual work aimed at theorizing rhetoric in new terms" (2001, 1). The year 1958 was key in this flurry, with five major works appearing on a rhetorically inflected philosophy and theory of argumentation: Hannah Arendt's The Human Condition (on the relationship between the vita contemplativa and vita activa); Michael Polanyi's Personal Knowledge (on the role of tacit knowledge, emotion, and commitment in science); Stephen Toulmin's (...) Uses of Argument (on the use of argument in nonformal contexts); Walter Ong's Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason (on the history of the .. (shrink)

In her paper “Creative Evolution and the Creation of Man,” one of the arguments Colebrook puts forth is that as a means of challenging the mechanistic and teleological conception of Darwinian evolution, creative evolution takes an antihumanist position by positing that there is an absence of end, thus “man” is able to create his own end. But in taking this position, Colebrook points out that creative evolution re-establishes the humanistic discourse on the human that it was attempting to challenge. To (...) elucidate Colebrook's argument, this paper draws on the work of Derrida to “play” with the notion of style in order to reflect on the ways in which philosophical deductive argumentation and reasoning constitute and perpetuate humanist and metaphysical discourses on the human, and the ends of “man.”. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)

The question of the nature of free will remains a perennial challenge for philosophy. The French philosopher Henri Bergson was one who sought to address this challenge. He argued that traditional conceptions of the free-will debate would not suffice. He suggested that both determinist and libertarian accounts fall foul of spatializing tendencies. Bergson's first major work, Time and Free Will, sought to ground his understanding of freedom, in contrast to traditional understandings, in the concept of duration. Bergson, however, actively resisted (...) attempts to define clearly freedom, which he believed ultimately leads to a spatializing of freedom. By attending to Bergson's concept of duration in Time and Free Will, and how this concept relates to freedom, it becomes possible to articulate a positive conception of freedom. This becomes important when arguing for the validity of Bergson's ideas in the current climate. Thus, a positive conception of freedom for Bergson can be “defined” as “the creation of the new within the flow of duration.” It is, however, not something that can be defined, but is something that can be located. (shrink)

This article proposes a different aesthetic state of Gilles Deleuze’s crystal-image defined as ‘psychedelic crystal’, a formation of the crystalline regime in light of the contemporary revival of scientific research exploring the healing potentialities of hallucinogenic drugs. The proposition of the psychedelic crystal occurs between Deleuze’s crystals of time, the therapeutic dimension of psychedelics, and Siegfried Kracauer’s concept of redemption (as salvation) through the cinematic medium. What lies in the middle of this encounter is a shared understanding of media – (...) films as media; drugs as media – as holding a curative influence: to resume an affirmative potentiality for life and to restore a belief in the (physical and psychical) world. The film-philosophical dimension of the psychedelic crystal, developed specifically through an engagement with Jan Kounen’s Blueberry (2004) as case study, sees cinema with the potential to reanimate our mental and physical reality, especially when in relation to traumatically repressed, dissociated or repeated memory formations – thus looking at certain film aesthetics as a mind-revealing, mind-expanding and mind-healing technology which can be considered as intrinsically entangled with the current revival of therapeutic practices of psychoactive substances. As a proposition, the psychedelic crystal discloses a potential dimension of the psychedelic frontier of healing which transversally embraces the transdisciplinary gamut of film-philosophy, film theory and psychedelic research. (shrink)

Felsefe, kümülatif yapısı ile ele alınmalıdır. Bu yüzden, bir filozofun düşünceleri anlaşılmak istendiğinde, o kendi çağındaki mevcut ve geçmiş teorilerden soyutlanmamalı ve bu kümülatif ve devamlılık arz eden yapı dikkate alınarak incelenmelidir. Bu bağlamda, Kant, Bergson ve İkbal’in zaman anlayışları, bazı uyumsuz noktalara sahip gibi anlaşılabilseler de, dikkatle incelendiğinde birbirleri arasında bir devamlılığın bulunduğu göze çarpar. Kant’ın zaman anlayışı, Kritik öncesi ve Kritik dönemi olmak üzere iki dönemde incelenebilir. Kritik öncesi döneminde Kant, zamanın insan zihninin dışında kendinde bir gerçekliğe ve (...) varlığa sahip olduğunu kabul eder. Fakat Kant, zamanı bütün duyuları önceleyen bir görü olarak anlamasının tohumlarını da hala Kritik öncesi dönemde iken eker. Bu doğrultuda, onun odağı özneyi merkeze alan bir tutuma doğru ilerler görünür. Kritik döneminde özne merkezci konumu daha da belirginleşir ve Kant, zamanın bütün dışsallıkları öncelediğini iddia eder. Ona göre zaman, duyulur bir görü olarak, eşyayı zihnin algılayabilmesi için eşzamanlılık ve ardışıklık içinde konumlandırır. Diğer taraftan Bergson, Kant’ı pek çok açıdan eleştirmekle beraber onun düşüncelerinden açık bir şekilde faydalanır. Bergson’un zaman anlayışı iki bileşenden oluşur: Salt süre ve homojen zaman. Salt süre, özne-merkezci olması bakımından üzerinde Kant’ın düşünce pratiğinin etkisinin görünür olduğu bir kavramsallaştırmadır. Bu, her bir bilincin, kişinin geçmiş ve şimdisini bir bütünde birleştirerek bireysel olarak sahip olduğu ve özünde heterojen, sırasız bir şekilde ardışık ve bölünemez zamandır. Homojen zaman ise sıralı ve eşzamanlı olması bakımından köklerini yine Kant’ta bulur. Homojen zaman, salt sürelerin uyum içinde çalışmasını sağlayan, bireyler için ortak zemini teşkil eden zamandır. Bu iki filozofun düşünceleri doğrultusunda İkbal’in zaman teorisi incelendiğinde, onun hem duyulabilir görünün bir formu olan Kant’ın zamanından hem de Bergson’un salt süresinden faydalandığı ortaya çıkar. İkbal, bu iki zaman anlayışını kullanarak İslam düşüncesinde İlahi Zaman’ı ve dolayısıyla da özgür iradeyi yeniden inşa eder. Salt süre ve yaratıcılık açısından, evrene yönelik mekanik bir anlayış Bergson ve İkbal tarafından reddedilir. Böylece İkbal, özgür iradenin Tanrı’nın salt süresi, yani İlahi Zaman, aracılığı ile yayılmasına ve tüm benliklere ait salt sürelere nüfuz etmesine izin verir. Biz, bu makale aracılığı ile, İkbal’in salt süre mefhumunu ve Tanrı’ya ait salt süre olarak İlahi Zaman’ı kullanarak özgür irade anlayışını yeniden inşa etmesinin köklerine gitmek niyetindeyiz. (shrink)

Deconstruction and duration are arguably the two most important theories of time to emerge from French philosophy in the twentieth century. Yet, despite the resurgence of interest in Bergson, scholars have ignored Derrida’s own discussions of Bergson, both positive and negative, throughout his career. This lack of attention obscures an important influence on Derrida’s early thought, and hampers our ability to understand the nature of Derrida’s relationship to fields such as new materialism, posthumanism, and affect studies, that frequently turn to (...) Bergson for inspiration. This paper addresses this gap by tracking Derrida’s readings of Bergson and comparing two related pairs of their concepts: duration and différance, and intuition and spacing. The paper concludes by arguing that Derrida’s critical engagement with Bergson leads to an anti-presentist model of life, which gains new relevance in the Anthropocene. (shrink)

In this paper, I trace the concept of ‘becomings’, most thoroughly articulated in the tenth plateau of A Thousand Plateaus, as it relates to the notion of the writer as sorcerer. More precisely, my aim is to articulate how it is that Deleuze and Guattari conceptualise the writer as really effecting what they understand as ‘becomings’. My thesis is that if the writer is a sorcerer, capable of enabling real becomings, it is because language itself, for Deleuze and Guattari, is (...) bodily and material, and the author, particularly the literary author, has the ability to disrupt language's representational domain of sense, causing language to hum with the intensive vitality that puts it in closest proximity to the body, from whence language emerges in the first place. We shall first look to Bergson and Spinoza, from whom Deleuze and Guattari abstract their intensive conception of the body in A Thousand Plateaus. From here we will outline the apparent progression of becomings in the tenth plateau. Finally, we will look to the Kafka book as outlining the material and affective capacities of literature. (shrink)

Se propone una lectura fenomenológica en torno al concepto bergsoniano de durée. Para esto, se revisa el registro y recepción de Bergson en la tradición fenomenológica. Al advertir la cercanía entre Bergson y la fenomenología, es analizable la durée fenomenológicamente. Es decir, la duración entendida como constitución de conciencia, de los objetos reales del mundo y de la relación entre la conciencia que aprehende y la experiencia aprehendida. Con ello, destaca el método de la intuición o simpatía intelectual en clave (...) de método de división, a la vez, la posibilidad de conocimiento objetivo y esencial respecto de la realidad. (shrink)

Contemporary debates on freedom traverse questions concerning metaphysics, the mind/body relationship, evolution, morality, and religion. Throughout his life, the French philosopher Henri Bergson dealt with these questions from the perspective of time, believing that spatializing these problems led to inadequate solutions. That freedom was a centralizing concern in his oeuvre can be demonstrated in the way he approached these questions in challenging determinism, materialism, mechanism, and finalism. Bergson studies, despite noting the importance of freedom for Bergson, have focussed on intuition (...) and duration as his seminal contributions. Bergson himself never thematized freedom in any specific way, but by working with a positive conception of freedom, as a creation of the new within the fiow of duration, freedom can be seen as a centralizing motif in his work. By clarifying the nature of freedom and its centrality, the ground can be cleared for a Bergsonian intervention into contemporary debates on freedom. (shrink)

Contents Preface - ix -/- I. Scientific fiction movies: is there any place for God?! 1. A brief introduction about the birth of science fiction - 15 2. Religious beliefs vs Science Fiction - 18 3. Is there any place for God?! - 20 -/- II. The Village (M. Night Shyamalan) and The Giver (Phillip Noyce) or why utopia is (im)possible 1. Some utopian notions. Remembering Thomas More - 29 2. The Village and The Giver. Some remarks on ideal societies (...) - 34 3. Notes about the possible and impossible of utopia - 39 -/- III. The limits of Zombies films are the limits of philosophy? 1. Are zombies real? From folklore to films - 46 2. The mind-body problem and the empty-minded zombies? - 54 3. The fallacy of the question. Zombies films and philosophy with no limit - 61 -/- IV. Lucy - why the brain cannot be a screen 1. Lucy and some other movies - The ten percent of the brain myth - 67 2. The enhancement of humanity -The pos-humanism after Nietzsche – 71 3. About the mind and the brain. Lucy or why the brain cannot be a screen – 74 -/- V. Viktor Navorski and Sir Alfred: the limits of consciousness at the border of chaos 1. About the terminal, Locke and Lipovetsky - 83 2. Being someone at a non-place - 87 3. Reality vs fiction. Merhan Karimi Nasseri as Sir Alfred - 89 -/- VI. Alienation and slavery from Precious or what we do not want to see 1. Cinema as a moment or the exclusive experience of feeling cinema - 97 2. Two movies, only one reality - 101 3. To conclude: the paradox of precious silence or what we don't want to see - 104 -/- VII. Philosophy of time and being in Alice through the looking glass 1. Some initial considerations on Alice - 113 2. The impossible and the possible in Alice’s time - 116 3. About time and subjectivity and subjectivity in time – 120 -/- References - cxxv. (shrink)

Emile Durkheim and Henri Bergson, two of the most important thinkers of early 20th-century France, give us different accounts of the relationship between habits, society and life. The article focuses on their use of embodied metaphors to illustrate how each thinker conceives of habit as a force of life. It argues that Durkheim uses the metaphor of ‘lifting’ to describe how social life creates habits capable of transcending bodily instinct. Bergson also recognizes the force of habits; he uses the language (...) of leaping to describe the kind of action required to transcend them. The article makes three claims. First, it argues that these metaphors are central to each thinker’s understanding of the means by which habits attach us to life. Second, they offer a means of revisiting, and explicating, Bergson’s tacit critique of Durkheim in his Two Sources of Morality and Religion. Third, they both symbolize processes of conversion that inform each thinker’s diagnosis of the moral challenges faced in modern social life. (shrink)

This article reconstructs Henri Bergson’s argument at the beginning of the second chapter of his Essai sur les données immédiates de la conscience for his view that every idea of number involves sp...

In this article, I draw attention to some important points of intersection in the work of Henri Bergson and Friedrich Nietzsche. In particular I focus on the overlapping nature of their naturalisms. This proves enlightening for an overall appreciation of their respective philosophical projects but also allows those projects to be inscribed within a broader set of naturalistic traditions to which I think they contribute in interesting ways. I begin by assessing how Bergson's and Nietzsche's general problematics are shaped by (...) the antinaturalistic character of their targets, more specifically the appeals to the immobile and the unconditional that they expose in their critical approaches. I move on to examine the core components of their naturalistic responses, highlighting how both thinkers extend introspective insights about the psyche and the body to make claims regarding broader activity patterns across nature and ground these new monistic continua in their concepts of rhythms and drives. Lastly; I draw out three important consequences on which these moves jointly converge, with particular emphasis on the “quantal” nature of the ontologies they outline. Moving beyond the comparative perspective, I conclude by using these points to situate Bergson and Nietzsche among three different lineages of naturalism: metaphysical antireductionist, and Epicurean. (shrink)

This thesis is about the crisis in representation that accompanies the attempt to account for lived experience, with particular reference to bodily pain in social science. The diagnosis of this problem of experience identifies epistemology as an inappropriate means of knowing that initiates a translational paradox unable to satisfy the simultaneous demands of making lived experience familiar in representational form yet retaining the foreignness of the original experience at the same time. This problem of simultaneity is not a problem, however, (...) if it is built into a way of knowing, something that escapes epistemological conditions of possibility with its either/or of singularities. To know in such ‘double vision’, or fractionally, characterises post-epistemological thinking. This thesis draws on a relatively underdeveloped method for practicing a fractional means of knowing from post- actor-network theory, that of the pinboard, and explores how it might be usefully applied to the problem of experience. The thesis constitutes an experiment in producing a social science account of the lived experience of chronic pain using this method as an alternative to conventional epistemological techniques that initiate the problem of experience. Through initial theoretical discussion, followed by reflection on its practical application involving the construction of fractional accounts of lived experience for five participants experiencing chronic pain, the pinboard is developed as a technique that seeks to maintain ‘double vision’ whilst inherently resisting attempts to resolve the juxtaposition it makes visible, enacting and engaging in an ontological politics with conventional methods of social analysis. This includes discussion of how the method might be transported from methodological knowledge spaces to effectively intervene on such conventional methods. (shrink)

Early 20th century philosopher Henri Bergson posited an initial push that propelled the diversity of life forward into a varied, novel future: The élan vital, a necessary force or impulse that animated life’s progress and development. His idea had largely been abandoned by mid-century. Even so, much of the conceptual and explanatory work this impulse targeted is yet in want of an explanation. In particular, Bergson’s derelict ideas on evolution addressed three areas that have once again become relevant in the (...) effort to unite evolutionary genetics, biological development, and ecological context : the purposeful nature of individual organisms and their parts; the integrative, holistic, non-linear emergent dynamics seen in evolutionary processes; and how genuine novelty emerges into the universe :422, 2016; Simondon et al. in On the mode of existence of technical objects. Univocal series, Univocal Publishing LLC, Minneapolis, 2017; Bang, in: Winther-Lindqvist, Bang, Valsiner Nothingness: philosophical insights into psychology, Transaction Publishers, Somerset, 2016; Moreno and Mossio in Biological autonomy: a philosophical and theoretical enquiry. History, philosophy and theory of the life sciences, Springer, Dordrecht, 2015). In this paper I argue that Bergson’s ideas may yet be relevant to these questions, and his work warrants a reexamination in light of current problems in evolutionary biology. This is not a call to ‘return’ to Bergson, nevertheless his notions about complexity suggest ways of looking at current biological problems in ways that offer a heuristic insight worth entertaining. Bergson’s Nobel Prize-winning book, Creative Evolution, provided a strikingly prescient early 20th century framework for understanding how Darwinian evolution acts as an engine for generating new forms, University Press of America, Lanham, Bergson 1911). (shrink)

ABSTRACTTime-consciousness has long been a focus of research in phenomenology and phenomenological psychology. We advance and extend this tradition of research by focusing on the character of temporal experience under conditions of mania. Symptom scales and diagnostic criteria for mania are peppered with temporally inflected language: increased rate of speech, racing thoughts, flight-of-ideas, hyperactivity. But what is the underlying structure of temporal experience in manic episodes? We tackle this question using a strategically hybrid approach. We recover and reconstruct three hypotheses (...) regarding manic temporality that were advanced and modeled by two pioneers of clinical phenomenology: Eugène Minkowski and Ludwig Binswanger. We then test, critique, and refine these hypotheses using heterophenomenological methods in an interview-based study of persons with a history of bipolar and a current diagnosis of acute mania. Our conclusions support a central hypothesis due to Minkowski... (shrink)

Physical processes manifest an objective order that science manages to discover. Commonly, it is considered that these processes obey the “laws of nature.” Bergson disputes this idea which ultimately constitutes a kind of Platonism. In contrast, he develops the idea that physical processes are a particular case of automatic behaviors. In this sense, they imply a motor memory immanent to matter, whose actions are triggered by some perceptions. This approach is obviously panpsychist. It gives matter a certain consciousness, even if (...) the latter is different in nature from our consciousness. In some respects, this approach is similar to contemporary panpsychism because it claims that the psychic is a fundamental characteristic of nature, causally active. But it is also original because it does not constitute a theory of the origin of mind in nature. (shrink)

The questions what the future will bring and if and how it is possible to anticipate coming events have intrigued human beings since the dawn of time. Over the course of the centuries human beings have found better and more sophisticated ways to calculate and predict certain prospective occurrences, for example earthquakes, thunderstorms et cetera. In the Europe of the nineteenth century this potential of rational sciences led to the idea that it would once be possible to anticipate everything that (...) will happen in the universe, going as far as that it should even become predictable how human beings will develop and which actions they will choose. The French philosopher Henri Bergson verbally fought against this kind of belief and developed a so-called process ontology, which claims that nothing in the universe is ever fixed. In fact everything that exists is an ongoing and evolutionary process without a fixed goal. And since—according to Bergson—our rational mind is solely capable of understanding and therefore predicting rigid entities but not processes, any belief in the complete predictability of the universe must be abandoned. Instead, we should focus on the possibilities of an open, spontaneous and creative future, which we will only then be able to understand, if we get more in touch with our so-called intuitive faculty, which is able to fathom a process in its processual state. (shrink)

There seems to be no connection between philosophy of humor and the philosophy of technology. In this paper, I want to make the case that there is. I will pursue a twofold goal in this paper: First, I will take an account from one of the seminal figures in the philosophy of humor, Henri Bergson, and bring out its merits for a philosophy of technology. Bergson has never been fully appreciated as a philosopher of technology. I will fill this gap (...) and show that Bergson’s account of the comic contains some interesting insights about our relation to technology. Second, I will show that humor and the comic open up a new perspective on technology that may facilitate new ways of thinking about our technological culture. (shrink)

What is the relation of an earlier being to a later such that given the earlier there is or will be a later? I call this the question of material continuation. To answer, I offer a review of several philosophers’ thoughts, including those of Zeno, Aristotle, Descartes, Bertrand Russell, Henri Bergson, and Alfred North Whitehead. While there is considerable variety among the ontological views of these philosophers, and indeed some direct opposition of both method and assertion, my review suggests that (...) material continuation may be explained by reference to a principle of continual creation. This principle is reflected in Aristotle's unmoved mover, in Descartes's account of God's activity in persistence, in Bergson's concept of la durée, and in Whitehead's principle of creativity. It disappears from view in objective methodologies first emerging in pre-Socratic thought, made rigorous by the development of science by the modern philosophers such as Descartes, and realized in the scientist philosophy of Russell. I include some consideration of whether the creative principle might be ideal or divine. (shrink)

This article offers a contribution to the history of scientific ideas by proposing an epistemological argument supporting the assumption made by Miller whereby Niels Bohr has been influenced by cubism when he developed his non-intuitive complementarity principle. More specifically, this essay will identify the Bergsonian durée as the conceptual bridge between Metzinger and Bohr. Beyond this conceptual link between the painter and the physicist, this paper aims to emphasize the key role played by art in the development of human knowledge.

The broad objective of this paper is to expound the model of temporal awareness as per Buddhaghosa and compare it with Bergson’s account of duration. As per Buddhaghosa, the notions of time, consciousness, and causation are inter-related. Accordingly, to understand the nature of temporal consciousness, it is required that a moment of consciousness is unpacked, its constituents analysed, and its structuring process penetrated, that is, how momentary mental events are related to each other in a way that leads to an (...) experience of succession and duration. The paper is divided into three sections. The aim of the first section is to show that mental events, for Buddhaghosa, are not discrete, independent entities but are dependently originated. The aspect of dependent origination is further illustrated through _paṭiccasamuppāda_ and _paṭṭhāna_. In the second section, the constitution of temporality as per Bergson is discussed. Henri Bergson too commit to the position that mental events, to start with, are not discrete, disconnected but rather are fused together in inter-penetrating causal relationships. So, the model of temporality of Bergson as the movement of fused consciousness states, as a heterogenous multiplicity as opposed to discrete multiplicity provides a helpful framework through which Buddhaghosa’s model of temporality can be interpreted. In the final section, Buddhaghosa’s model of time-consciousness is discussed by elucidating the structure of the momentary _citta_ (consciousness). Further, the tension that prevails between the momentary and the durational level aspect of consciousness and between simultaneity and succession is discussed vis-à-vis temporal awareness. For Buddhaghosa, a case is made for the experience of duration as fundamental to consciousness, but which is grounded in, rather than opposed to, moments of consciousness. It is posited that, in Buddhaghosa, there is a construction of temporal experience but one that is not opposed with the real duration; unlike in Bergson, where a distinction seems to be made between the ultimate reality of duration when contrasted with the construction or projection of continuity based upon moments of consciousness. (shrink)