Additional summaries of Bergson:
Time and Free WillMatter and memory
Laughter
Creative evolution
The two sources of morality and religion
“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. "
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.
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.
Time and Free Will
Matter and memory
Laughter
The two sources of morality and religion Bergson on intuition and intelligence
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 )
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.
" 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 . ”
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.
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 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.
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.
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.
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.