Creative evolution / by Henri Bergson ; authorized translation by Arthur Mitchell.

Bergson, Henri; Frye, Northrop

doi:10.5962/bhl.title.17594

Cited by 115 publications

(182 citation statements)

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“…Rather than ontological, his approach was ontogenetic and relied on the continuity of world-becoming in which all subjects participate, and their access to this continuity through the durational intuition of time [19,20]. Gilles Deleuze [21] has discussed Bergson's methodical approach to arrive at such a memory-intuition through a cognitive process of discrimination in his monograph on Bergson.…”

Section: Resultsmentioning

confidence: 99%

Building an Intuitive Mentality: The NeoVedantic Knowledge Project of Sri Aurobindo

Banerji¹

2017

Acta Psychopathol

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Section: Resultsmentioning

confidence: 99%

Building an Intuitive Mentality: The NeoVedantic Knowledge Project of Sri Aurobindo

Banerji¹

2017

Acta Psychopathol

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“…No entanto, se nos deparássemos com as fotografias sozinhas, poderíamos olhá-las à vontade, não as veríamos ganharem animação: com a imobilidade, mesmo indefinidamente justaposta a si mesma, não faremos nunca o movimento. Para que as imagens ganhem animação, é preciso que haja movimento em algum lugar (Bergson, 2006b(Bergson, [1922, p. 33).…”

Section: O Galope Dos Cavalos: Instantes Homogêneos E Atemporaisunclassified

“…Em dado momento, está, portanto, em repouso em um ponto dado. Imóvel em cada ponto de seu trajeto, está, durante todo o tempo em que se move, imóvel (Bergson, 2006b(Bergson, [1922, p. 333).…”

Section: O Galope Dos Cavalos: Instantes Homogêneos E Atemporaisunclassified

Entre o tempo perdido e o instante: cronofotografia, ciência e temporalidade moderna

Sanz

2014

Bol. Mus. Para. Emílio Goeldi. Ciênc. hum.

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Resumo: Quando a temporalização da história e da percepção põe em movimento um presente cada vez mais efêmero e contingente, a categoria do instante adquire lugar relevante no cenário epistemológico moderno. Surge, na segunda metade do século XIX, verdadeiro arsenal cronométrico que se articula ao imperativo de estruturar o tempo, dentro e fora do corpo, em substâncias idênticas, eminentemente divisíveis e estimáveis, opondo-se à hipótese filosófica e fenomenológica de que o tempo, por excelência, seria um contínuo indivisível. Trata-se de uma disputa pela imagem do tempo e, portanto, por sua natureza e seu sentido − dilema que envolve o mapeamento e o 'imageamento' por meio das novas tecnologias da imagem, tendo no microinstante um conceito-chave e na fotografia instantânea uma engrenagem fundamental. Presente como problemática na formulação de campos de saber variados, a fotografia participa não apenas de uma cronometria generalizada, mas também da problematização dessa fragmentação temporal, crítica que instaura novas percepções e relativizações acerca do tempo. Nesse sentido, perpassando as experiências fotográficas no âmbito científico de Jules Janssen e Étienne-Jules Marey, confrontando-as e levando-as a dialogar com os debates filosóficos, científicos e artísticos, o artigo pretende problematizar a profunda relação entre fotografia e experiência moderna do tempo.Palavras-chave: Experiência temporal. Instante. Cronofotografia. História da fotografia.Abstract: When the timing of history and perception sets in motion an increasingly transient and contingent present, the category of the instant takes a relevant place in the modern epistemological scenario. In the second half of the 19th century emerged a veritable chronometric arsenal that coordinates with the imperative of structuring time, within and outside the body, in identical substances, eminently divisible and estimable, in opposition to the philosophical and phenomenological hypothesis that time, par excellence, would be an indivisible continuum. This is a dispute for the image of time and, therefore, for its nature and meaning; a dilemma involving mapping and 'imaging' using the new image technologies, where the microinstant is a key concept and the instantaneous photography a fundamental driving force. As a problem in the formulation of various fields of knowledge, the photography is not only a part of generalized chronometry but also creates problems for this time fragmentation, a criticism that installs new perceptions and relativizations about time. Therefore, this article intends to unravel the scientific photographic experiences of Jules Janssen and Étienne-Jules Marey, confront them, and use them to interact with philosophical, scientific, and artistic debates in order to question the profound relationship between photography and the modern experience of time.

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“…This is because Bergson did not so much reproach the ancients for going as far as they did, as for having placed their ideal so high that they could only reach it through empty concepts-transcendental ideas. Kant's only mistake, then, was in depriving himself of intuition by positing the absolute as a distinct [séparé] term, just as his adversaries had done, without realizing that the absolute is, on the contrary, "very near us and, in a certain measure, in us," 30 and that, for that very reason, intuition does not require us to "transport ourselves outside the domain of the senses and of consciousness." 31 Of course, for him to have this realization, it would have been necessary for him to have had the humble experience of pure duration, into which consciousness is immediately plunged and where it is already assured of reaching an absolute.…”

Section: Integral Experiencementioning

confidence: 99%

The Intuitive Recommencement of Metaphysics

Riquier

2016

JFFP

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If we are to understand the complex relationship between Bergson and Kant, we must not approach the former’s philosophy as if it could only be either pre-critical or post-Kantian. Instead, the present essay seeks to shed light on this relationship by treating Kant (after Descartes and before Spencer) as another “missing precursor of Bergson.” In Bergson’s eyes, Kant, like Descartes, contains two possible paths for philosophy, which reflect the two fundamental tendencies that are mixed together in the élan vital and continued in humankind: intuition and intelligence. Bergson breaks with Kant from the interior of his philosophy, which he divides into two Kantianisms: the one, which he rejects as ancient, and the other, which he appropriates. What the analysis of this Bergsonian appropriation of Kant reveals, however, is not the existence of a latent Bergsonism in Kant, but rather the recovery of a Kantianism that is completed in Bergson—a Kantianism that embarked down a path that Kant himself, who held himself back from following it in order to dispense with all “intellectual” intuition, had only sketched. Thus, if Bergson is to be believed, an intuitive metaphysics, which installs itself in pure duration, is neither below nor beyond Kantian critique, but can pass through it, can traverse it in its entirety, since it proposes to surpass it, to prolong it following the path that Kant himself had cleared in order to fulfill its suppressed virtualities.

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Creative evolution / by Henri Bergson ; authorized translation by Arthur Mitchell.

Cited by 115 publications

References 0 publications

Building an Intuitive Mentality: The NeoVedantic Knowledge Project of Sri Aurobindo

Building an Intuitive Mentality: The NeoVedantic Knowledge Project of Sri Aurobindo

Entre o tempo perdido e o instante: cronofotografia, ciência e temporalidade moderna

The Intuitive Recommencement of Metaphysics

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