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 idea of the élan vital is crucial for an understanding of Bergson’s metaphysical method, underpinning the way in which philosophy stands with other forms of creative activity as an endeavour of “self-overcoming,” the self or subject no longer being at the centre of thought, but understood rather as a product of the process of thinking. In placing a special emphasis on Bergson’s 1907 work, Creative Evolution, the present essay is both an acknowledgement and challenge to the shift from early (...) interpretations of Bergson in which comparisons were made with thinkers such as Schelling and Schopenhauer, to more recent engagements centred on the theories of perception and memory. The aim of this essay is to formulate a response to the marginalized status of Creative Evolution in the “perception-based” strands of Bergson scholarship, by emphasising how Bergson’s theories of memory and consciousness are a means for understanding his definition of evolutionary “creativity.” Bergson suggests that the analysis of consciousness or “will” can provide us with a way of thinking about this creative movement of life, which is not a concept of a “cause” or “origin” in the sense of a “state of nature” (substance, essence, or “being”), but rather the operation of pure tendency. (shrink)

Several Buddhist schools in India, China and Japan concentrate on the interrelationships between waking and dreaming consciousness. In Eastern philosophy, reality can be seen as a dream and an obscure 'reality beyond' can be considered as real. In spite of the overwhelming Platonic-Aristotelian-Freudian influence existent in Western culture, some Western thinkers and artists - Valéry, Baudelaire, and Schnitzler, for example - have been fascinated by a kind of 'simple presence' contained in dreams. I show that this has consequences for a (...) philosophy of space. According to the authors discussed, the dreamer and the player recognize that human space always means the entire cosmos. (shrink)

Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze.

_Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze._.

This article explores the thesis that novelty is central to a wide and diverse range of French philosophers in the twentieth century. Often these philosophers are seen on different sides of philosophic divides, but novelty brings them together. I will explore some of the fruitful areas for dialogue between French and process philosophy, particularly around the theme of novelty.

This article examines Henri Bergson’s conception of human rights in The Two Sources of Morality and Religion. I claim that he provides an original view of human rights. Rather than understand human rights primarily as an institution to protect all human beings from serious social, legal, and political abuse, Bergson conceives of them as a medium of personal transformation. In particular, I argue that for him the true potential of human rights is to initiate all human beings into a way (...) of life open to love and joy. (shrink)