Showing posts with label Henri Bergson. Show all posts
Showing posts with label Henri Bergson. Show all posts

Wednesday, July 21, 2021

Bergson on intuition and intelligence - summary

Bergson distinguishes between “intelligence” and “intuition” . Intelligence is regulated on matter, that is to say, it allows knowledge, Intelligence is the faculty that certain living beings (human beings) have. to act on matter through tools and to know certain objects through their relationships, so above all through space. "

Intuition, on the other hand, is regulated over time. Analysis operates on the still while intuition is placed in mobility or, which amounts to the same thing, in duration. Therein lies the clear line of demarcation between intuition and analysis . It transcends the closed frameworks that intelligence creates in order to appropriate the world, and seeks within life a source of knowledge. Bergson thus opens the way to a new metaphysics, by affirming that the real, in its origin, is knowable. “It is in the experience, sensitive, temporal, immediate, that there must be intuition or not at all. But if intuition is given, it then delivers the characters of a reality, without any relativity due to our senses or our knowledge,metaphysics  : the criterion of duration is then the intrinsic guarantee of the metaphysical scope of intuition. It is on this point that Bergson is opposed to Kant , by bringing back within the "matter" of "sensitive intuition" its form (time), the very concepts of understanding (with intuition of matter based intelligence), and especially the great metaphysical experiences of the self, the world and of God, inaccessible to the philosopher as such, experience mystical 39 . "

Definition of intuition: Bergson defines it as "the sympathy by which one transports oneself to the interior of an object to coincide with what is unique and consequently inexpressible".

Intuition is not opposed to the intelligence. If intuition is different from intelligence, it is not opposed to it. Intuition is only possible after a long intellectual effort, like a synthetic re-entry of data analyzed by intelligence. Moreover, intuition can only be communicated with the help of intelligence. This is why philosophy is indeed, in its mode of exposition, a reasoning.

Summary: Time and Free Will / Henri Bergson

Time and Free Will is a work by the French philosopher Henri Bergson published in 1889. The work is mainly devoted to the idea of duration , a key concept in Bergsonian thought. Duration escapes consciousness, which itself passes through a multiplicity of states.


Preface and Chapter I: "From the intensity of psychological states" 

The example of the artwork 

Before discussing the authors who according to him confuse duration and space with harmful consequences on the way of conceiving interior life, he is interested in grace and art, in particular dance. : “If grace prefers curves to broken lines, it is because the curved line changes direction at any time, but each new direction was indicated in the one that preceded it. The perception of an ease of movement therefore merges here in the pleasure of stopping, in a way, the march of time, and of holding the future in the present. A third element occurs when the graceful movements obey a rhythm, and the music accompanies them. Is that the pace and extent, allowing us to provide even better movements of the artist, we do believe that once we are masters. Arnaud Bouaniche explains why the grace just mentioned in connection with music and dance, or, more generally, art announces what Bergson will call duration . The grace or art, he said further "monopolizes our whole soul  ." This invasion of the soul by emotion, writes Arnaud Bouhaniche, “in contact with the work of art is important: it is based on the criterion through which the experience of duration will be manifested throughout the Essay , that of a total change in our being (…) We can therefore see, from now on, that there is a privileged link between art and duration, and this will be the case for all of Bergson's work … ”


Refutation of positivist theories on the sensations 

Bergson quotes here various theorists like Alexander Bain whose theory of an activity stored in the muscles feeds the belief of a psychic state likely to increase in the extent. Or Wilhelm Wundt for whom a paralytic very clearly perceives the effort he deploys by activating (in the brain), a limb that he no longer has would be the proof that there would be a psychic force independent of expression. body, a theory that will "in the sense of belief of common sense in a continuation of the intensive to extensive, psychic to the extended 6 ." On p.  44-52 of the Essay , Bergson undertakes an analysis of the law of. This law establishes that there is a constant relationship between the amount of excitation necessary to vary a sensation and that necessary to trigger it. What Bergson disputes is not this law but the transformation that Gustav Theodor Fechner proposes of this law, a transformation known as the Weber-Fechner Law which establishes "an equation which relates the quantity of sensation to the corresponding excitement. This passage is illegitimate according to Bergson, because it involves treating sensations like quantities 7 . "Whether it is the psychophysicist Fechner or the Belgian philosopher Joseph Delboeuf, these two authors commit the same error: "all psychophysics is condemned by its very origin to turn in a vicious circle, because the theoretical postulate on which it rests condemns it to an experimental verification and it can only be verified experimentally if the we first admit our postulate ", this postulate being the assimilation of quantity to quality or the assimilation of quality to quantity, in short the expression of the sensations of the interior life in terms which refer to others. realities, namely objects perceived in space and external to each other.


Chapter II: “On the multiplicity of states of consciousness. The idea of ​​duration ” 

Definition of duration 

What then is duration? “Pure duration is the form that the succession of our states of consciousness takes when our ego allows itself to live, when it refrains from establishing a separation between the present state and the previous states. It does not need, for that, to be completely absorbed in the sensation or the idea which passes, because then, on the contrary, it would cease to last. He does not need to forget the previous states either: it suffices that by remembering these states he does not juxtapose them with the current state as a point to another point, but organizes them with him, as he does. happens when we remember, melted together so to speak, the notes of a melody 8. "

Bergson having "admitted that homogeneous space is a form of our sensibility ", he considers that Kant missed the experience of duration because of the undue parallel which he established between time and space, confusing "the true duration and its symbol".

Chapter III: “On the organization of states of consciousness. Freedom. " 

The object of this chapter of Time and Free Will is to apply to the problem of freedom, the method that Bergson followed when he analyzes the notions of time, of intensity of states of consciousness as well as to further clarify the notion of duration which brought up the notion of subject or "me" and, to come back to the question of freedom, to see how we can say that this subject is at the origin of acts that we can say free . Bergson intends to send back to back the "dynamism" which "starts from the idea of ​​voluntary activity, provided by consciousness, and gradually arrives at the representation of inertia by gradually emptying this idea: he therefore conceives without difficulty a free force on one side, and on the other a matter governed by laws ”. As for the mechanism, … ”Now according to Bergson, admitting the determinism of matter, dynamism is no less deterministic than determinism proper and this is what he wants to demonstrate.

The criticism of determinism and free act  and Psychological determinism 

Here the criticism is shorter. It is simply a question of showing as it was done in chapter I and chapter II that the thesis of a determination of the states of consciousness one by the other, rests on a spatialized representation of consciousness as an assembly of distinct states while they merge into each other, which is the very definition of duration. Spatialized or even symbolic. For Bergson, “The image is an adequate representation of reality; the symbol brings about a correspondence of two elements of a heterogeneous nature. The line on the map is an "image" of the advance of the army, because it has traveled through space; the branches of a decision tree, however, are a "symbol," because when I choose, I will not pass by a path and forks, but by temporal states.

Matter and Memory by Henri Bergson - good Summary

Matter and Memory is a work by Henri Bergson dealing with the question of memory and more particularly with the problem of the relationship between body and mind . It was first published in 1896 in Paris. 
It constitutes an analysis of the classic problem of the union of soul and body. Its subtitle is Essay on the Relationship of Body to Spirit . In this context, the analysis of memory is a means to resolve this problem of the soul and the body. Matter and Memory is written in reaction to the book Diseases of memory by Théodule Ribotpublished in 1881. The latter maintains that the science of the brain proves that the memory is lodged in a part of the nervous system. The memory would be localized in the brain, it would therefore be material. Bergson is opposed to this reduction of mind to matter. He considers memory to be deeply spiritual. The brain is content to direct the memory towards the present action. The brain inserts memories into the present for action. The brain has a practical function. The body is the center of the action. Brain damage does not damage memory, nor does it damage memory. These lesions disrupt the practical function of the brain. Memories cannot be embodied. They still exist, but they are powerless. Indeed, the brain no longer fulfills its function, so we cannot use these memories.

Different forms of memory 

Bergson in Matter and Memory distinguishes two forms of memory:

- Memory-habit  : it replays the past, it repeats it. It is not recognized as past. It uses what has been learned from past action for present action. It is automatic. It is inscribed in the body, it is useful. Bergson takes the example of the lesson learned by heart: when I learn a lesson in verse, I recite it without thinking mechanically. This lesson has a certain duration when I recite it. This duration is regular. We can relate this memory to a know-how or, as its name suggests, to habit. “  It is habit informed by memory rather than memory itself.  » In Matter and memory .

- Pure memory or memory-memory: it records the past in the form of “memory-image. It represents the past. The past is recognized as the past. It is contemplative and theoretical, it is free. It is deeply spiritual. It's real memory. Bergson takes the example of remembering the learning of the lesson learned by rote. It is a dated fact that I cannot recreate. Pure memory or recollection memory lets you know that the lesson was learned in the past and that it is not "innate." "

Metaphysical consequences 

In his philosophy, Bergson accuses metaphysics of posing problems badly. Moreover, it is guilty of putting subsidiary or secondary problems before main problems. Bergson does not create the problems he poses. But he creates the way he poses them. Thus, each of its four main books addresses a specific problem. Descartes' problem in his definition of the soul and the body: these are two substances that have different attributes. His mistake is to define them as substances or “res. He doesn't distinguish them enough.

Bergson really distinguishes the soul and the body. Unlike the classical philosophy of Descartes, this distinction is not based on spatiality but on temporality . The soul is the place of the past and the body is the place of the present. The soul or spirit is always anchored in the past. She is not in the present. She contemplates the present by being lodged in the past. To be aware of something is to see it from the past, therefore in the light of the past. When we are content to react to a stimulusoutside, we are not aware of what we are doing. We are in the place of the body, that is to say in the present. All awareness involves a pause between stimulus and reaction. In this in-between, we become aware (knowing that the mind is anchored in the past). One becomes aware by being in the past and in the light of the past, with a view to an appropriate reaction in the near future. The articulation of time: past, present and future is made by the union of the soul and the body. The deeper the mind is in the past, the more we become aware. The more we are in automatism, the more we are in the present, in the time of the body. We are never more than one or the other. But we can be more in one or more in the other. Real attention requires acting with your whole body and soul. According to Bergson, the "impulsive person" suspends his consciousness and is in an automatism. She does not think. Thus, the problem of causality as free or determined is trained. It will be treated inCreative Evolution .

Short Summary&Overview: Two Sources of Morality and Religion / Bergson

The Two Sources of Morality and Religion is a work by French philosopher Henri Bergson published in 1932 .

This is the last work of the philosopher. His reflection on morality led him to discuss the sociological approaches of his time ( Émile Durkheim , Lucien Lévy-Bruhl ) with particular emphasis on the concept of obligation which he placed at the heart of interindividual relations.

He poses the still famous distinction between "open society" and "closed society" (which will be taken up from another perspective by the epistemologist Karl R. Popper ). The last chapter of Two Sources of Morality and Religion  sets out the author's vision for the future and contains the famous passage on the "supplement of soul" which the body would be waiting for, following the extraordinary possibilities conferred on it by the technique. This reflection is placed under the sign of the mechanical / mystical duality:

“So let us not limit ourselves to saying, as we did above, that mysticism calls mechanics. Let us add that the enlarged body expects a supplement of soul, and that the mechanics would require a mystique. The origins of this mechanism are perhaps more mystical than one would think; it will not regain its true direction, it will render services proportionate to its power, only if the humanity which it has bent still more towards the earth manages through it to straighten itself up, and to look at the sky. "

And this look at "heaven" announces the concluding sentence (which has remained as famous as the "soul supplement"), on "the essential function of the universe, which is a machine for making gods." Because, from start to finish, the central question is that of the mysticism which deifies beings.

Henri Bergson's Creative Evolution - Short Summary and explanation

Creative Evolution is a philosophical workwritten by Henri Bergson in 1907 . In this book, Bergson develops the idea of ​​a "permanent creation of novelty" by nature.


Bergson debates the finalist explanation and the mechanistic explanation of evolution , respectively defended by traditional metaphysics (inherited from Leibniz and, before him, from Aristotle and emphasizing final causes , or goals) and by modern science (inherited from Descartes and emphasizing "efficient causes" ,  scientific "  causality ").

Bergson shows that these two visions, which are often opposed, actually amount to the same in the treatment of evolution. They consist in supposing that everything is given from the start, in advance: either with the aim which one imagines pursued, from the beginning, "in spirit" by nature , or in the whole of the starting material parameters or in the presence - from which one could deduce exactly what has not yet happened.


The vital momentum - Elan Vital

To the two preceding positions, Bergson opposes his own concept of élan vital or “vital impetus”  : there is no plan “already foreseen” - of actually foreseen as in the case of finalism, nor of simply predictable as in the case of mechanism. The idea is that evolution is unpredictable, that "the world goes on an adventure," that it "ceaselessly invents itself" without the path it traces behind itself preexisting the journey, in a way. one way or another.


Additional summaries of Bergson:

Time and Free Will 
Matter and memory 
Laughter 
The two sources of morality and religion 
Bergson on intuition and intelligence

Thursday, February 4, 2021

Bergson / Laughter - good summary

What does laughter mean? Henri Bergson begins his work on laughter with this simple question. Its intention is to analyze the things that make us laugh, in order to find out why and how they make us laugh.

Bergson limits his field of analysis with three remarks on comedy and laughter:

- Laughter is necessarily human: we laugh at people or things they do, never objects in themselves

- Laughter is purely cerebral: being able to laugh requires a detached attitude, an emotional distance from the object that triggers the laughter

- Laughter has a social function: ” To understand laughter, we have to put it back in its natural environment, which is society, and above all, we have to determine its usefulness, which is social. This will be the guiding idea of ​​all our investigations. Laughter must meet certain requirements of living together. It must have social significance ”( quote from Bergson )

What is the comic?

Logical relationships don't by themselves make us laugh, there is a process that begins with observing an absurdity and ends with laughing at it. Unlike some (Freud in particular, who linked jokes to the unconscious), Bergson does not want to give a psychological or psychoanalytic explanation for laughter. Bergson instead explains laughter in functionalist terms: laughter is a "social gesture", a function with a specific utility in society. In the last chapter, Bergson makes the following remark:

” As the opposing electricities attract and accumulate between the two plates of the capacitor from which the spark will presently light up, so laughter brings people together, attraction and repulsion, followed by a complete loss of balance, in short, by that electrification of the soul known as passion. If man gave in to the impulse of his natural feelings, these outbursts of violent feelings would be the ordinary rule of life. But utility demands that these overflows must be anticipated and avoided. Man must live in society, and therefore submit to rules ”

Society is the product of a kind of evolution: the history of humanity seems to lead towards a more peaceful social life, dominated by the control of our anti-social reflexes. The drama is to let us see inside ourselves, what we would be without society, our hidden nature. La Comédie thus serves society by highlighting our antisocial tendencies and inviting us to laugh at them, which encourages us to correct them.

The social function of laughter

" Something mechanical in something living " This is how Bergson defines the comic. This is the main thesis of the work in a compact and abstract form. The argument is difficult to summarize, let's try to simplify it.

Laughter serves as a remedy. It is one of the institutions that allow people to live in society. While there are different types of antisocial traits and behavior, we only laugh at some of them. We laugh at people when they behave in a way that looks like a simple mechanism. Usually we expect people to observe what is going on around them and to adapt their behavior accordingly. When someone deviates from this principle, we laugh at him. Laughter sounds like a call to social order: “ Its function is to intimidate by humiliating .”

In the last chapter, Bergson writes about the character comedy in the theater. Laughter is incompatible with sympathy, so the comic writer must prevent viewers from feeling sympathy for the characters. There are three things that are required to achieve this goal. First the laughable line. Second, the trait must be expressed through gestures instead of actions. Third, and to sum up, the comic character behaves automatically, distractedly. The fault in him is like a switch that external circumstances can set off. So what's the most laughable character trait? The vanity :

“ There probably isn't a more superficial or deeper flaw. The wounds he receives are never very serious, yet they are rarely healed. It is hardly a vice, and yet all vices are drawn into its orbit and, as they become more refined and artificial. It is even more natural, more universally innate than selfishness, for selfishness can be conquered by nature, while only by reflection do we get the best of vanity . ”

Laughter, the unthought of man

From an ethical standpoint, laughter is hardly innocent. The criteria he uses to choose his victims are not moral criteria. Laughter is “ quite simply the result of a mechanism set up in us by nature or, what is almost the same thing, by our knowledge of social life. He doesn't have time to watch where he hits ” . And sometimes the blows he delivers are painful.


Additional summaries of Bergson:

Time and Free Will 
Matter and memory 
Creative evolution 
The two sources of morality and religion 

Henri Bergson - Summary of main ideas

Hostile to materialist positivism, Henri  Bergson, French vitalist philosopher,  made a return to the immediate data of consciousness, to a pure and qualitative "duration", one of Bergson's central concepts.

Bergson's intuition:

Bergson's influence was considerable. At the end of the 19th century and during the first half of the 20th century, he questioned both intellectualist philosophies, which claimed to access reality through the exercise of intelligence, and “scientist” solutions, according to which only valid knowledge would be that provided by the sciences.

Now, how can intelligence make us grasp reality?

- It is in the mold of the action that it was cast.

- It does not originally designate a purely speculative faculty, but an active power.

- Considered in what appears to be the first step, it consists in making artificial objects and varying their manufacture.

-          Homo Faber ( man fabricator) before being Homo Sapiens (wise man), the human being first tried to dominate nature and to make it serve its uses.

Intelligence therefore enables action to be foreseen and usefully organized.

- But when a philosopher proposes to penetrate the Absolute (which is perfect in that he is perfectly what he is, which does not depend on any relative symbol), should he not take another path? and try to refrain from methods and approaches essentially adapted to the world of action? (ex: analysis , operation bringing the object back to elements already known, recomposition ...)

- Science is based on intelligence and has applied calculation and measurement processes to matter.

- In doing so, she built useful diagrams and continued into practice, but she did not go beyond the sphere of the relative.

- It has built scientific laws , that is to say constant relations between sizes which vary, without obviously penetrating the Absolute.

By what way can we hope to reach the Absolute?

- We must repudiate not only intelligence, but language , which is intimately linked to it.

- Instrument of intelligence, language represents a set of verbal signs noting things that their most common and most banal aspect, signs fixing and freezing what changes and varies.

- Linguistic signs are just labels stuck on things.

- Words designate genres, general ideas corresponding to a group of beings with common characteristics. They can neither express the real objective nor our deep psyche: like intelligence, they are instruments of action.

Consequently, does not seeing it of immediacy have a privilege over those of the concept, of discourse and of discursive intelligence?

- By an immediate, direct mode of knowledge, by a sympathy making us coincide with what the object has of unique and inexpressible, in a word by an intuition , we penetrate the deep being of the real.

- Intuition represents a return to oneself and to what we authentically are, a return taking place without intermediaries.

Bergson and the interior life: duration, freedom, memory

It is the inner life that intuition will first allow us to discover. And, in fact, intuitive knowledge allows us to rediscover pure duration , the form that our states of consciousness take when our ego allows itself to be lived, when it refrains from establishing a separation between the present state and the previous states.

- Fluid unfolding, pure heterogeneity, qualitative fusion, duration represents the very stuff of our self.

- An uninterrupted, flexible and qualitative becoming, this is what a metaphysical investigation based on intuition reveals to us.

However, this qualitative development is always unpredictable. For the fundamental self, the self revealed to us by the "immediate data of consciousness", is freedom.

- If the superficial self , the part of our psyche modeled by conventions and society, very often amounts to a series of automatism, our authentic interior life, our duration, are in depth, freedom .

When are we free?

- When we go beyond the superficial crust of the linguistic sign, of the words, of the social, when our acts emanate from our entire personality and express it.

- Freedom is experienced through contact with our deep self, through a real agreement with it.

- It is then the ego below which rises to the surface. Freedom is one with the outpouring of the deep self.

Finally, our interior life is memory. Here takes place the famous distinction of the two memories.

- There is a memory-habit , made up of automatisms and motor mechanisms: when I learn a text by heart, I perform and repeat a certain number of known gestures; memory-habit designates a real bodily mechanism.

- As opposed to these automatisms, pure memory is that of my story: the past then survives in me, in the form of pure, unalterable memories, independent of the body. Pure memory contains our past and it represents our authentic spiritual essence.

Bergson and the vital momentum:

Intuition opens us, not only to our spiritual dynamism, but also to the duration of the universe and to the great breath of life.

Just as our inner experience is made up of duration and qualitative changes, just as it is woven by constantly developing threads, so reality is becoming and evolution.

But how to understand this evolution?

-          Bergson rejects both the doctrines and postulates mechanistic of Darwin that the teleology .

- In the first case (mechanism), the psycho-chemical explanation is supposed to suffice, but the mechanism is blind to the thrust of the living, to time, to dynamism. With the mechanism, everything is given and the impetus of life is put on hold.

- But the finalist doctrine (which refers to an intention and a plan which is actualized within life), also puts time and creative becoming in parentheses: it too, as if everything were given initially, by advanced. A preformed intention would explain everything.

Consequently, it is the idea of ​​an original impetus which is offered to us, the living species having diverged from this impetus.

-          The vital impulse indicates an unpredictable creative process, a current crossing the bodies which it organizes.

- Thus, this original impulse of creation invents increasingly complex forms.

- To understand the essence of this vital impulse, let us think of pure duration, which is creative spontaneity.

- The vital impetus is also an invention: it realizes new instincts, organs that did not exist, creating, thanks to its spontaneity, complex and unexpected shapes that simple mechanical combinations cannot explain.

Thus, all of Bergson's analyzes lead him to see in life a creative movement and an effort to go up the slope that matter descends.

Bergson, Morality, religion and art:

The same dynamic perspective illuminates moral, religious and artistic phenomena. The term "open" is fundamental here to unederstand Bergson:

- Is "open" all together escaping the suffocation of a circle of rigid rules opening up to the impetus of life and creation.

- Thus, in open morality, a spiritual impetus is at work.

- While closed morality designates only a fixed set of prescriptions presenting a mandatory character, simple organized products of society, open morality is dynamic: it expresses, not a fixed system of social obligations, but a moral invention, a call linked to spiritual energy.

- The open morality of the saint and the hero takes its source in a momentum and a duration which push forward and shake humanity.

- Likewise, dynamic religion , that of the great mystics, imbued with a surge of love, transports the soul far beyond itself and thus infinitely exceeds static religion , the invention of humanity to defend and guard against the dissolving idea of ​​death and ensure its conservation.

- Dynamic religion, grasped by contact with creative duration, appears immediate experience, in the mystical soul, of the Divine and of God.

Finally, like open morality, like dynamic religion, authentic art designates an immediate coincidence with reality, an unveiling of reality itself, a direct vision of what is, beyond practically useful symbols.

If Bergson's voice and philosophy are not always heard in contemporary culture and the world, nevertheless, his philosophy, of mystical inspiration, has illuminated, in a limpid prose, deep spiritual dynamisms and refers to a metaphysical experience. integral. What, in this perspective, is to philosophize ? To place oneself in the object itself by an effort of intuition and to coincide with it.

Works by Bergson:

See also: