L'article se propose d'étudier le rôle important que Bergson fait jouer à la notion de « virtuel » dans la théorie de la « perception pure » exposée dans le premier chapitre de Matière et mémoire. Cette théorie fait en effet intervenir successivement les concepts de « perception virtuelle », d'« action virtuelle », d' « image virtuelle ». Malgré les similarités qui apparaissent entre les mécanismes de la perception et de la mémoire qui s'ordonnent toutes deux autour de (...) la sélection, décrite comme une actualisation, d'éléments préalablement donnés (images ou souvenirs), la fonction du virtuel apparaît différente ; il faut donc conclure qu'il ne constitue pas un concept unifié et cohérent, d'autant plus que Bergson emploie également ce terme pour caractériser des systèmes philosophiques ou scientifiques dont il cherche à se démarquer. (shrink)

This paper is for the purpose of clarify that perception is a conscious act through Bergson’s theory of images and perception in Matter and Memory. And yet this ‘act’ is not a pure action of consciousness or of sprit, which is transcendental from the reality and composes or recomposes it. That is, our perception is not pure knowledge. A pure conception is unconscious one, which takes place infinitely within the system of matter that is an ‘aggregate of (...) images’ in which all the elements act and react upon one another according to the law of nature. This system is excentric. On the contrary, the consciousness comes into being in themoment when these unlimited actions/reactions are limited and with choice, that is, when the passage from the ‘immediate’ to ‘useful’ in done. Therefore an activity of consciousness is already a practice of life. However, this perception as act reveals at the same time a proper capacity to subject/being, in that it forms a realm of subjectivity and creates its own field of perception, which are not reducible to the movement or nature of matter, so are different system from matter, every moment through memory. (shrink)

In Matter and Memory, Bergson identifies a problem with perception and resolves it by arguing that matter is an aggregate of images. However, it is unclear whether and how Bergson justifies this thesis, and interpreters differ considerably on this question. This paper formulates and analyzes Bergson’s arguments for this thesis in Chapter 1 of Matter and Memory. Bergson presents five arguments, some of which echo arguments in early modern philosophy. They jointly compose a substantive, well-structured defense of (...) his thesis. This paper also illuminates an aspect of Bergson’s method that departs from his famous reliance on intuition and is grounded in his conception of the clarity required in philosophy. (shrink)

Deleuze’s film-philosophy makes much of the notion of virtual images in Bergson’s Matter and Memory, but in doing so he transforms a psycho-meta-physical thesis into a unBergsonian ontological one. In this essay, we will offer a corrective by exploring Bergson’s own explanation of the image as an “attitude of the body”—something that projects an actual, corporeal, and postural approach, not only to cinema, but also to philosophy. Indeed, just as Renoir famously said that “a director makes only one (...) movie in his life. Then he breaks it into pieces and makes it again,” so Bergson wrote that each philosopher only makes one “single point” throughout his or her whole career. And this one point, he then declares, is like a “vanishing image,” only one best understood as an attitude of the body. It is embodied image that underlies an alternative Bergsonian cinema of the actual and the body —one that we will examine through what Bergson’s has to say about “attitude” as well as “gesture” and “mime.” We will also look at it through a gestural concept enacted by a film, to be precise, the five remakes that comprise Lars von Trier’s and Jørgen Leth’s The Five Obstructions. This will bring us back to the idea of what it is that is being remade, both by directors and philosophers, in Renoir’s “one film” and Bergson’s singular “vanishing image” respectively. Is the “one” being remade an image understood as a representation, or is it a gesture, understood as a bodily movement? It is the latter stance that provides a wholly new and alternative view of Bergson’s philosophy of cinema. (shrink)

베르그손이 1896년의 두 번째 주저 『물질과 기억』 1장에서 제시한 순수 지각 및 이미지 이론은 이 책이 출간된 이래 다양한 해석과 논쟁의 대상이 되어 왔다. 그럼에도 이 이론의 명확한 의미에 대해서는 여전히 해명되지 않은 바가 많다. 베르그손 스스로가 이 책의 7판 서문에서 이미지 개념과 자신의 순수 지각 이론에 대해 추가적인 해명을 시도하고 있을 정도이다. 우리는 이미지 개념 및 순수 지각 개념과 관련한 다음의 세 가지 명제를 증명함으로써 보다 명확한 해석을 제시하고자 한다. 그 세 가지 명제들은 다음과 같다. 1) 순수 지각은 실재적이다. (...) 2) 물질 자체에 내재한 순수 지각, 물질적 지각은 실재하지 않는다. 3) 『물질과 기억』 1장의 순수 지각 및 이미지 이론은 4장의 물질적 지속 이론과 충돌한다. 이 명제들에 대한 논증은 『물질과 기억』을 구성하는 상반된 두 가지 방향성을 드러내는 데 이를 것이다. (shrink)

Bergson, writing in 1896, anticipated “sensorimotor contingencies” under the concept that perception is “virtual action.” But to explain the external image, he embedded this concept in a holographic framework where time-motion is an indivisible and the relation of subject/object is in terms of time. The target article's account of qualitative visual experience falls short for lack of this larger framework. [Objects] send back, then, to my body, as would a mirror, their eventual influence; they take rank in an (...) order corresponding to the growing or decreasing powers of my body. The objects which surround my body reflect its possible action upon them. – Henri Bergson (1896/1912, pp. 6–7). (shrink)

Through the philosophies of Bergson and Deleuze, my paper explores a different theory of time. I reconstitute Deleuze’s paradoxes of the past in Difference and Repetition and Bergsonism to reveal a theory of time in which the relation between past and present is one of coexistence rather than succession. The theory of memory implied here is a non-representational one. To elaborate this theory, I ask: what is the role of the “virtual image” in Bergson’s Matter and Memory? Far (...) from representing the simple afterimage of a present perception, the “virtual image” carries multiple senses. Contracting the immediate past for the present, or expanding virtually to hold the whole of memory (and even the whole of the universe), the virtual image can form a bridge between the present and the non-representational past. This non-representational account of memory sheds light not only on the structure of time for Bergson, but also on his concepts of pure memory and virtuality. The rereading of memory also opens the way for Bergsonian intuition to play an intersubjective role; intuition becomes a means for navigating the resonances and dissonances that can be felt between different rhythms of becoming or planes of memory, which constitute different subjects. (shrink)

In Matter and Memory, Bergson examines the relationship between perception and memory, the status of consciousness in its relation to the brain, and more generally, a possible conjunction of matter and mind. Our reading focuses in particular on his understanding of the evanescent presence of the present and of its debt vis-à-vis the "unconscious" consciousness of a "virtual" past. We wish to show that the Bergsonian version of a critique of "the metaphysics of presence" is, for all (...) that, an offshoot of a Platonic type of metaphysics. It is true that Bergson departs from traditional standpoints on the side of a self-sufficient and original present and a form of presence to which the transparency of consciousness would confer the character of immediate evidence. All the same, it can hardly be claimed that his rehabilitation of the past and the unconscious opens up new perspectives on how forgetting and death are bound up with the work of memory. (shrink)

This volume brings Bergson's key ideas from Matter and Memory into dialogue with contemporary themes on memory and time in science, across analytic and continental philosophy. Focusing specifically on the application of Bergson's ideas to cognitive science, the circuit between perception and memory receives full explication in 15 different essays. By re-reading Bergson through a cognitive lens, the essays provide a series of alternative analytic interpretations to the standard continental approach to Bergson's oeuvre, without fully discounting either approach. The (...) relevance of philosophies of mind and memory sit alongside the role of a metaphysics of time in exploring connections to psychology, biology, and physics. This eclecticism includes an exciting focus on numerous topics that are not given sufficient attention in extant studies of Bergson, including the precise nature of his ideas on dualism, memory, and ecological theories of perception, especially in relation to his contemporaries. Led by leading Bergson scholars from France and Japan, this book maps the rich terrain of Bergson's contemporary relevance alongside the historical context of his ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on DuchampBergson ReadymadeFederico Luisetti (bio)Translated by David Sharp[I]nside the person we must distinctly perceive, as through a glass, a set-up mechanism.—Henri Bergson, Laughter: An Essay on the Meaning of the Comic (1901)In spite of the enormous critical attention paid to Marcel Duchamp’s art and theoretical background, the dialogue with Bergsonism is mostly confined to scattered references and erudite observations.1 Paradoxically, the major obstacle to this encounter has been (...) the immense popularity of Henri Bergson’s philosophy since the initial decade of the twentieth century. Such success has come with a price, however, for the proliferation of neutralizing schematizations has progressively suffocated the specificity of his thought and subsequently impeded the understanding of his epistemological radicalism, so cherished by Duchamp and the historical avant-garde.2Consider, for example, how the specter of Bergson constantly hovers over Linda Dalrymple Henderson’s authoritative discussion of Duchamp’s scientific sources. Although Henderson recognizes the diffuse presence in Duchamp of various Bergsonian motives, because she regards Bergson as the antiscientific philosopher of the “inner self” and of “profound self-expression,”3 Bergsonian notions seem to her incompatible with the artistic revolution prompted by Duchamp. A historiographical exorcism is therefore needed in order to heal the consequences of the traumatic Bergson-Duchamp incest. Herein lies Henderson’s solution: since Duchamp rejects the aesthetic principles of the Puteaux Cubists, he also abandons Bergsonism, which represents their philosophical matrix. Thus, the Bergsonian ideas “undoubtedly” present in Duchamp’s artistic lexicon are nothing but debris accumulated in the course of his battle with the Cubist disciples of Bergson.4To counter these approaches, in the following pages I will map Duchamp’s absorption and creative distortion of Bergsonism,5 concentrating on key terms of both Bergson’s philosophy and Duchamp’s speculations on art: space, “readymade,” delay, body, virtual, circuit, machine.6 I will then discuss the theoretical implications of Duchamp’s Bergsonism and place the readymade7 within its proper context: the deconstruction of the Western metaphysics of reflection. [End Page 77]SpaceBeginning with Time and Free Will (1889), Bergson distinguishes between two types of multiplicities: on the one hand, “duration” (durée), “an internal multiplicity of succession, of fusion, of organization, of heterogeneity, of qualitative discrimination... a virtual and continuous multiplicity that cannot be reduced to numbers,” and on the other, “a multiplicity of exteriority, of simultaneity, of juxtaposition, of order, of quantitative differentiation... a numerical multiplicity, discontinuous and actual.”8 This opposition is generally understood as a clear-cut differentiation between the inner experience of time and the objective consistence of space. In Time and Free Will and Matter and Memory (1896), there are several passages that can be read accordingly, since duration is often described as a continuous, indivisible temporal experience, and space as that which “by definition, is outside us.”9Yet for Bergson space and time are mixed terms, and their internal complexity does not coincide with the semantic distinction between the two multiplicities. Deleuze has clearly formulated the central difficulty that a reductionist theory of space and time would imply, a problem of which Bergson is fully aware. Since the concept of duration has an ontological span, space must find a place within time and vice versa: “If things endure, or if there is duration in things, the question of space will need to be reassessed on new foundations. For space will no longer simply be a form of exteriority.... Space itself will need to be based in things... to have its own ‘purity’” [Deleuze, Bergsonism 49]. Hidden behind the motif of the “spatialization of time,” Bergson has devised a stratified theory of space, whose origins we can trace back to his philosophical apprenticeship [see Heidesick 29–42].Departing from Kant, Bergson introduces a boundary between the “perception of extension” and the “conception of space,” between qualitative space, which he calls “extensity” (étendue), and “abstract,” “homogeneous” space: “We must thus distinguish between the perception of extensity and the conception of space.... [S]pace is not so homogeneous for the animal as for us... determinations of space, or directions, do not assume for it a purely geometrical form” [Bergson, Time... (shrink)

Video-objects are often discussed in terms of their ability to reflect upon the speed of our narcissistic culture, but less acknowledged is video’s agency to perform electronic events outside of human experience. This article engages in scholarship interested in the space of video operations where lived and imagined, real and virtual phenomena are experienced at the threshold of perception. Bringing into this conversation a discussion of The Waves (2003), an interactive installation by video pioneer and media critic Thierry Kuntzel, (...) the article moves away from the time/movement nexus grounded in a filmic understanding of the image to position video-memory as the emergence of a volume of time. Different from the time-image and movement-image of cinema, the volume-image of video defines a mode of engaging with multiple temporalities within the continuum of the video itself. Constituted progressively through layers of ever-changing signal processes, the volume-image of video technology is an open field, a transductive zone where multiple intensities create new representational rhythms, which disrupt the durational model of time so often attached to human experience. (shrink)

플라톤과 아리스토텔레스 이래로, 기억은 한편으로는 과거의 충실한 보존이면서 다른 한편으로는 과거의 자유로운 변형이라는 이중적이고 모순적인 면모를 가진 것으로 정의되어 왔다. 그런데 기억을 외부로부터의 지각 인상이 우리의 마음에 남긴 흔적으로 이해하는 전통적인 밀랍 각인 모델에서는 기억의 이 양면성을 제대로 설명할 수 없다. 기억의 존재 방식에 대한 새로운 모델이 요구되는 까닭이 여기에 있다. 우리의 가설은, 베르그손의 『물질과 기억』 1장에 제시된 이미지 개념을 확장하여, 베르그손의 본의와 반대로 기억 또한 지각과 마찬가지로 이미지로 보고, 기억과 지각의 차이를 동일한 이미지들의 상이한 관계 체계들에서 찾는 데 있다. (...) 이에 따를 때, 기억의 충실한 보존은 이미지들이 시간 순서에 따라 맺는 관계와 관련 되며, 반대로 기억의 가변적 재생은 동일한 기억 이미지가 지각적 이미지 체계와 인접과 유사의 논리에 따라 연결되는 데에서 성립한다. 그런데 베르그손이 설명하는 인접과 유사는 구조주의 언어학자 야콥슨의 은유와 환유에 대한 설명과 일치한다. 따라서, 기억의 가변적 변형은 기억 이미지 자체의 변형이 아니라, 기억 이미지들이 은유와 환유의 ‘언어논리’에 따라 지각 이미지들과 관계 맺게 됨으로써 생겨나는 ‘의미’ 차원의 변형이다. 이렇게 해서, 본 연구는 기억의 충실한 보존과 자유로운 가변성의 양면성을 기억 이미지 자체와 기억 이미지들이 언어논리에 따라 맺는 관계라는 두 차원을 구분함으로써 해명한다. (shrink)

Bergson identifies multiple forms of memory throughout his work. In Matter and Memory, Bergson considers memory from the perspectives of both psychology and metaphysics, and he describes what we might refer to as contraction memory, perception memory, habit memory, recollection memory, and pure memory. Further, in subsequent works, Bergson discusses at least two additional forms of memory – namely, a memory of the present and a non-intellectual memory of the will. However, it is often not clear how these different (...) forms of memory relate to one another. With the aim of providing an overview of Bergson's philosophy of memory that can also serve as a point of entry to his philosophy as a whole, this article explores the different senses and forms of memory that Bergson describes, paying special attention to how they are distinct from one another and how they are unified. It is my intention to show that, although these various senses and forms of memory are different from one another , they are also continuous and unified insofar as they are equivalent to different tones of one's mental life and to different tensions of one duration. (shrink)

In the article two viewpoints on the mind’s influence on perception are considered. One of them was developed on the assumption that perception is a nonproblematic source of knowledge about the world, which is free from mind’s influence— perception as a mirror-image. Another viewpoint is perception as action, i.e. active search and gathering the relevant information, its processing and evaluation. First viewpoint has dominated in philosophy for a long time, the second one has been developing in psychology from the (...) 80th of the 20th century. The aim of the paper is to examine some philosophically significant corollaries from both positions concerning objectiveness, epistemological status of an observation, truth, meaning of name. Analysis showed that perception as action is non-compatible with many traditional concepts, and it goes both against empiricism and against realism as it involves some critical arguments, e.g. theory ladenness of observations, underdetermination of theory by facts, the historical development of a scientific fact. (shrink)

This paper deals with the notion of virtual memory in Bergson?s philosophy, with special regard to the question of the independence of memory and the complex intertwining of spiritual recollections with perception. Attention is devoted to the Bergsonian analysis of the actualization of virtual contents. The author also confronts the Bergsonian notion of unconscious with that of Freud?s. It seems that the notion of virtual memory is relevant not only from a psychological or an epistemological perspective, but (...) it has also some consequences with regard to practical philosophy. An excursus is devoted to the Deleuzien interpretation of virtuality. At the end of the paper the author discusses the immanent tensions within the Bergsonian concept of virtual memory from the aspect of temporal verticality, the impossible localization of virtuality and freedom. Clanak se bavi pojmom virtuelne memorije u Bergsonovoj filozofiji, sa posebnim osvrtom na pitanje o samostalnosti secanja i na slozeno ukrstanje duhovnih uspomena sa konkretnom percepcijom. Posebna paznja usmerena je na Bergsonovu analizu o aktuelizaciji virtuelnih sadrzaja. Autor takodje sprovodi konfrontaciju Bergsonovog pojma nesvesnog sa Frojdovim shvatanjem istog. Pokazuje se da pojam virtuelne memorije nije relevantan samo iz psiholoske ili epistemoloske perspektive, vec da on ima izvesne konsekvence i u pogledu prakticke filozofije. Delezovoj interpretaciji virtuelnog je posvecen poseban ekskurs. Na kraju se ukazuje na unutrasnje napetosti Bergsonovog shvatanja virtuelne memorije iz aspekta vremenske vertikalnosti i nemoguce lokalizacije virtuelnog, odnosno, slobode. (shrink)

Pylyshyn provides sound arguments against the dominant picture theory of mental imagery. However, we claim that mental imagery is intrinsically dynamic and that the very nature of mental imagery will not be uncovered by studying static pictures. Understanding mental imagery of motor actions reveals that any theory of mental imagery should start off with the temporal nature of real-life experiences.

In his book Matter and Memory of 1896, Bergson anticipated the quantum conception of matter: the idea that particles have a holistic nature, that matter is not substantial, that the movement and the position of a body cannot be determined simultaneously, and that physical processes do not obey a strict necessity. Surprisingly, he drew these conclusions from a reflection about the relation between mind and matter, in particular from his idea that perception is a relative coincidence (...) of mind with matter, that a sensory quality is a mnesic synthesis of very brief moments, and that consciousness admits of degrees. This latter point leads to a panpsychism which is neither idealist nor physicalist. (shrink)

In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of Kentridge's films (...) at once illuminate a regime of animated 'movement-images' that can trace their aetiological roots to classical forms of film and animation, whilst concurrently folding in complex philosophical expressions of time as duration which invoke the crystalline 'time-image' concepts of philosophers such as Bergson and Deleuze, as well as literary authors like Marcel Proust. Over and above these co-existent regimes of movement and time, Kentridge's artistic technique and exhibition practices further expose a multifarious 'geology' of other embedded time lines that serve to enrich/complicate these temporal expressions. I argue here that diegetic time- and movement-images ostensibly co-exist alongside different 'archaeologies' of time relevant to the context and creation of the artworks. For this reason, the animated drawings formulate intriguing artistic/philosophical expressions that muse on the nature of matter, memory, time and space. (shrink)

Regardless of the metaphysics that inspires them, theories of perception invariably end up in the trap of subjectivism. Thus, idealism argues that the world can be nothing more than a representation of the mind. As to dualism and materialism, despite fundamental differences, they share the common assumption that perception is a subjective replica of external objects. Opposed to these theories is common sense with its tenacious belief that an external world exists and that things are perceived where they are and (...) as they are. This paper contends that Bergson’s theory of perception should be approached from the question of what the relationship between matter and mind must be for perception to retain an objective character. It shows that only its emergence from things themselves rather than from the subject can provide objectivity to perception. In thus grounding objectivity in the impersonal character of perception, whose implication is that it precedes the subject, which is then posteriorly formed, Bergson’s theory constitutes, so the paper argues, a radical reversal of the traditional position, including that of phenomenology. (shrink)

One of the major works of an important modem philosopher, Matter and Memory investigates the autonomous yet interconnected planes formed by matter and perception on the one hand and memory and time on the other. Henry Bergson (1859-1941) was awarded the Nobel Prize in 1927. His works include Time and Free Will, An Introduction to Metaphysics, Creative Evolution, and The Creative Mind.

Preview: Bergson noted that the cinematographic image does not really move. It is, then as now, a series of still photographs. The real motion in such images is produced by machinery, which imparts a kinesis, an energy of movement, to the succession of fixed images. Our perception then endows such images with their “life,” insofar as they can be said to possess life. It is an illusion, it is “virtual” both as space and time. The real duration, as generated (...) by the machinery or as lived by the perceiver is part of a broader system of images that includes those still photographs and their succession. Images of images of images, by the time they are processed by our bodies and appear to our mind’s eye as inhibited acts we have not enacted. (shrink)

Erwin Straus nourished his spirit on "Act psychology", "Gestalt psychology" and "Husserlian phenomenology" in Berlin and Göttingen, and has renewed his engagement with these problems in Lexington without renouncing his commitment to a tradition to which he has remained always faithful. It is in the realm of the psychology of perception that Erwin Straus - as did the analyses of Bergson, Gestalt psychology, and the phenomenology of Husserl - made his point of departure for his critique of sensationistic empiricism and (...) of the sensory psychophysiology from Johannes Miller to Wundt... The guiding idea of Erwin Straus, as Merleau-Ponty has so profoundly made explicit, is that the sphere of sensing, the sense of the senses, is discovered to be the constitution of the very corporeity of experience, the latter being capable of being lived only in and by a living body. As abstract an sophisticated as this primordial description of the phisical body might be insofar as it is the object and subject of phenomenology, it appears to me to be the only possible, or more simply, the only one which allows us to formulate a general law of the temporal organization of the existent, that is to say, of the human being in the proper constitution of his own becoming. The phenomenology that I have just outlined founds the system of reality as the very form of conscious being, and the organization of the psychical body as the constitution of the ego. Four theses within this framework relating perceptual and hallucinatory activity are : hallucination is virtual in perception, and that it is, as Ernest Hartman recently stated, an "ubiquitous capacity" immanent to this "psychical apparatus" of which Freud spoke, and which I prefer to call "the psychical body". That hallucinatory difficulties are real difficulties and not a simple difference of intensity between the image and sensation. The pathogenesis of hallucinations can only be theorized according to the Jacksonian model of negative and positive ; and There is a fundamental distinction between the diverse forms and levels of delirious or psychotic hallucinatory activity and hallucinatory images. (shrink)

Deleuze’s two Cinema books explore film through the creation of a series of philosophical concepts. Not only bewildering in number, Deleuze’s writing procedures mean his exegesis is both complex and elusive. -/- Three questions emerge: What are the underlying principles of the taxonomy? How many concepts are there, and what do they describe? How might each be used in engaging with a film? -/- This book is the first to fully respond to these three questions, unearthing the philosophies inspiring Deleuze’s (...) classifications, exploring every concept and reading a film for each. -/- Clearly and concisely mapping the Cinema books for newcomers to Deleuzian film studies, as well as opening up new areas of enquiry for expert readers. -/- > An interpretation of Bergson’s Matter and Memory through Deleuze’s Bergsonism describing the ground of Deleuze’s film-philosophy > A reading of Peirce’s semiosis from Pragmatism and Pragmaticism explicating the genesis and components of the movement-image > An examination of Deleuze’s syntheses of time, space, and consciousness from Difference and Repetition illuminating the genesis and components of the time-image > Concise engagements with each of the cinematic signs to assist reading Deleuze’s Cinema books, as well as commentaries and monographs that draw upon them > 44 film readings – one for each cinematic sign – to clarify their application. (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)

Bergson’s concept of the present is highly enigmatic one. On the one hand, he is a philosopher who follows common sense and pursues empiricism according to common sense. On the other hand, however, because he places em­phasis on flowing continuity of the duration, he only sees the present as a cross section of the flow. Ultimately, it can be said that the present is a non-existent concept in his philosophy. However, in the first chapter of Matter and Memory, he (...) assumes pure perception and writes as if it were possible to perceive in the present without duration. Deleuze suggests that this problem can be solved by a metaphysical interpretation of the phenomenon of déjà vu which Bergson discusses in his essay “Memory of the Present and False Recognition.” In this article, I would like to discuss these complicated but crucial issues. Keywords: Present. Duration. Pure perception. Déjà Vu. Deleuze. (shrink)

In Cinema I, and II, Deleuze does an astonishing commentary of the first chapter of Matter and Memory. He perceives in Bergson an innovative theory of the intrinsic dynamism of images that could establish not only a philosophy of cinema but also a new ontology. It is as if Deleuze, in the wake of Bergson, had seen in the 7th art not the opportunity for an aesthetic reflection but rather the occasion of a renewed thought of the immanence. We (...) try here to figure out the range and limits of this Deleuzian interpretation. (shrink)

This article presents a study on the perception of students pursuing technical careers, on aspects related to the quality of virtual education during times of covid-19 pandemic. The data analyzed were obtained from surveys of 75 students of various educational levels in aspects such as quality in teaching, accessibility to virtual resources, teacher training, continuity of the curriculum, equal conditions, and the influence of policy on the quality of education in general. It was concluded that the educational process (...) in its virtual modality is acceptable from the point of view of intrinsic advantages such as flexibility and yet there is also a change of focus in the educational institution that pays attention to providing a better virtual educational process diverting attention from equally important processes such as the communication of internal and external actions to the institution. Keywords: Virtual education, challenges, pandemic, COVID-19. (shrink)

Nosso objetivo é destacar algumas questões concernentes ao problema da matéria e do movimento na filosofia de Bergson. Questões presentes em seu segundo livro, Matéria e memória, as quais indicam uma nova orientação de sua filosofia: a passagem da psicologia à metafísica; mais precisamente, a introdução do tema do movimento e da duração "fora de nós". O primeiro capítulo do livro, ao caracterizar o universo material como um conjunto de imagens, desempenha um papel fundamental nessa passagem, a qual efetivamente se (...) dá no quarto capítulo, momento em que elabora uma metafísica da matéria. Para além desse contexto, é na direção de seu terceiro livro, A evolução criadora, que essa metafísica da matéria consequentemente aponta. Our aim is to highlight some issues concerning the problem of matter and movement in the philosophy of Bergson. Issues presented in his second book, Matter and Memory, which indicate a new direction of his philosophy: the transition from psychology to metaphysics, more precisely, introducing the theme of movement and duration "outside of us." The first chapter of the book, in describing the material universe as a set of images plays a key role in this passage, which effectively occurs in the fourth chapter, at which time elaborates metaphysics of matter. Beyond this context, it is in the direction of his third book, Creative Evolution, that the metaphysics of matter will consequently point. (shrink)

continent. 2.1 (2012): 6–21. The French philosopher and novelist Tristan Garcia was born in Toulouse in 1981. This makes him rather young to have written such an imaginative work of systematic philosophy as Forme et objet , 1 the latest entry in the MétaphysiqueS series at Presses universitaires de France. But this reference to Garcia’s youthfulness is not a form of condescension: by publishing a complete system of philosophy in the grand style, he has already done what none of us (...) in the older generation of speculative realists has done so far. His book is sophisticated, erudite, rigorous, imaginatively rich, and abundant in worldly wisdom– despite the author’s conclusion that wisdom does not exist. The quality and scope of Forme et objet took few observers by surprise, since Garcia has been treated as an emerging philosopher to watch across half a decade of Parisian oral tradition. But Garcia was not just the subject of rumor, being already well known to the French public as a writer of fiction. His debut novel, La meilleure part des hommes , 2 was awarded the 2008 Prix de Flore 3 and has already appeared in English as Hate: A Romance . 4 His follow-up novel, Mémoires de la jungle , 5 made clever use of a chimpanzee narrator. Nor was Garcia only published as a novelist before last November: his philosophical study L’Image 6 had already appeared when the author was just twenty-six, a year before he was crowned by the muses at the historic Café de Flore. And then in 2011, just months before the appearance of Forme et objet , Garcia published a widely distributed work entitled Nous, animaux et humains , 7 with its focus on Jeremy Bentham’s ideas about animals. Given this prolific and versatile track record, an optimistic scenario might envisage the young Garcia as one of those combined literary/philosophical talents who appear intermittently in France across the centuries: Jean-Paul Sartre is merely the most famous recent case. While more time is needed to see how Garcia will channel his impressive mental energies, Forme et objet displays such breadth of insight that its author has a good chance to emerge as one of the leading philosophers of his generation. If we accept Aristotle’s dictum that the peak mental age is fifty-one, then to read Garcia’s massive book is to gain some idea of what European philosophy might look like in the futuristic-sounding 2030’s. The present article is confined to Forme et objet . At 486 pages, the work is obviously daunting in size. Indeed, it is even longer than it sounds, given that many of its early sections are printed in a smaller typeface to designate them as supplemental commentary to the main flow of the argument. But while the length of the book reportedly led to delays in French publication, and will probably slow the inevitable appearance of an English translation, the length of the book should not deter interested readers– much of it results from Garcia’s teacherly writing style. Whereas Quentin Meillassoux’s prose displays an arctic economy of means, Garcia’s style is reminiscent of the repeated lessons of oral classroom proceedings. Rarely is the reader given fewer than three or four chances to master an idea before the author moves on to the next. In practice, the style feels welcoming rather than long-winded. Otherwise, the structure of Forme et objet is surprisingly simple. There is a useful Introduction of less than twenty pages. Then comes Book I: Formally , running to approximately 135 pages. Here Garcia outlines the most basic features of a thing “no matter what it is,” or n’importe quoi , an everyday phrase that Garcia shapes into a technical term. This part of the book feels at times like a more amiable version of Hegel’s Science of Logic , a parallel emphasized further by the threefold articulation of its theme: 1. Thing; 2. Thing and World; 3. Being and Understanding. This is followed by the much longer Book II: Objectively , totaling more than 300 pages. It contains sixteen essay-like meditations on specific kinds of objects—including time, animals, humans, history, gender, and death. Here each chapter rolls smoothly into the next, making this second part of the book feel more like a different work of Hegel: The Phenomenology of Spirit . But these are merely analogies. Garcia is no Hegelian, even if the book contains a few dialectical flourishes that seem to reflect his early enthusiasm for the Frankfurt School. Forme et objet ends with a six-page Coda, followed by the usual page of acknowledgments. In what follows, I will briefly summarize each of these four parts of the book before ending with some more general remarks. Before doing so, it will be useful to situate Garcia biographically (as much as I am able) and philosophically. Though Toulouse is his native city, his formative years were spent largely in Algeria, where his family has deep roots. During our sole private conversation, Garcia mentioned that his parents are professors of literature. 8 As a student of philosopher Garcia flourished so early that many of his current ideas date to his teenaged years: “There are sentences in Forme et objet that I wrote when I was seventeen,” he said in response to a question on that cold night on the Canal St.-Martin. I recalled that remark when reading his brilliant account, late in the book, of the central role of adolescence in contemporary culture. While many prodigies blow through their formal academic training without serious obstruction, Garcia’s student memories are rich in tales of isolation and struggle, though equally rich in gratitude for a half-dozen or so exceptional teachers who provided the intellectual space he needed: Meillassoux and Alain Badiou are simply two of the most prominent figures on that list. Though there are many points of agreement between Garcia’s philosophical position and my own, he not only reached his position years before reading my work, 9 he arrived along a rather different path: not through phenomenology, but via the Frankfurt School, which may be one of the reasons for his profound fascination with aesthetics. Garcia’s cultural background is as broad as one could wish: he is no less informed about punk rock and European football leagues than about the spiritualist roots of Bergson’s philosophy. Curious about everything and contemptuous towards nothing, Garcia can be expected to write insightfully on dozens of topics in the years to come. Given that his philosophy is so personally tantalizing in its agreements and disagreements with my own, and given the great internal richness of Forme et objet itself, the present review is no better than a first effort at coming to terms with the challenges posed by this minstrel from the rising generation. This is especially intriguing for older Generation X’ers like me, since confrontation with the younger generation is one of the many themes treated insightfully in Garcia’s book. 1. Introduction Garcia begins in defense of a so-called “flat ontology,” in which all things are equally things. While Roy Bhaskar 10 used this term pejoratively to refer to anti-realist philosophies that flatten everything onto an epistemic plane of human access, Manuel DeLanda 11 (an admirer of Bhaskar) reversed it into the positive principle that all realities are equally realities. Similar notions can be found in the “absistence” of Alexius Meinong, 12 the “irreduction” of Bruno Latour, 13 and my own critique 14 of the undermining/overmining pair. Also noteworthy is Levi Bryant’s use of the term “flat ontology” throughout The Democracy of Objects 15 and his earlier essay “The Ontic Principle.” 16 But for Garcia, flatness is only one face of the cosmos, and one that he ultimately declares to be rather impoverished. Even so, he always remains an advocate of a flat ontology. Insofar as everything is equally something, no matter what it is ( n’importe qui ), everything is equally a thing, equally solitary in its relation with world. This is why his book abounds in those long lists of random, ontologically equivalent entities that Ian Bogost has playfully termed “Latour Litanies.” 17 The first litany in Garcia’s book runs as follows: “We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things.” (7) Yet Garcia is frankly dualistic; his flat ontology only lasts until page 159 and the end of Book I (entitled “Formally”), which deals entirely with things that are equally things. Thereafter Garcia turns his attention from things to objects, which are not flat in the least, but engage in hierarchical relations with one another. In agreement with both DeLanda and the speculative realists, Garcia proclaims that his book “proposes to put to the test a thought about things rather than a thought about our thought about things .” (8) Just as ducklings are “imprinted” (9) after hatching and treat the first creature they see as their mother, philosophers are imprinted by the idea with which they begin. Hence, philosophies that begin with human access will never truly find their way back to things. This makes Garcia rather suspicious of twentieth century philosophy, since “the twentieth century—to which in some way this work proposes to bid adieu—has been a period of theorizing modes of access to things rather than things...” (9) Among other possible benefits of the philosophy of things that Garcia proposes, it is fully able to account for thought as a special variant of things, while the reverse is not possible.(10) In Book I of Forme et objet , Garcia’s “things” are so flat, so de-determined, that he is forced to renounce some of the most basic features ascribed to things by most realists. As he tells us in his foreboding third footnote: “We will maintain that the solitude [of things] is less than unity, less than identity, and that it does not imply acceptance (any more than refusal) of the principle of non-contradiction.” (11) In a contemporary world cluttered with too many things, Garcia’s flat and formal plane provides us with some breathing room: “The formal plan of thought enables or re-enables us to cut short all accumulation—whether of knowing, experience, or action—by a simplicity, an impoverished surface...” (13) As Garcia says elsewhere in responding to a Deleuzian critic of the book, his starting point in flat ontology is designed to obstruct the claims of both analytic philosophy and Hegelianism: “Hence, this work seeks to protect each thing—real, imaginary, inconsistent, contradictory—both against Ockham’s Razor and against the Aufhebung or dialectical process.” 18 Yet contrary to the equalizing spirit of many flat ontologies, “we will add to our formal ontology of the equal, an objective ontology of the unequal.” (13) But initially, Garcia joins all flat ontologists in holding that everything is irreducible: “this irreducibility, which we will term the ‘chance’ of each thing... also marks the refusal of a positive thought that reduces things exclusively to natural things, or social things, or historical things, etc.” (15) This irreducible “chance” of a thing emerges as an important technical term in the book, always paired with its inverted brother, the “price to pay” ( prix à payer ). On pages 17-19, we find the only diagrams in the book. What they illustrate is that Garcia wishes to avoid two equally dangerous extremes. The first is the philosophy of substance, featuring the thing-in-itself as a mighty river fed by attributes as if by subordinate tributary streams. This model can be found in many of the classic thinkers of West and East alike. In it, “there is obviously a hierarchization between that which is dragged towards something other than itself, and this other which serves it as an ontological support while supporting its proper being.” (16) For Garcia, the second extreme worth avoiding is the philosophy of events: “One thus conceives trajectories of being, identified as events, facts, powers, intensities, or intentionality. These vectors of being come first, bearing and supporting being, displacing it, but without ever finding a stopping point, a buffer, an objective consistency.” (17) The first model gives us a thing too wrapped up in itself, too compact . This word “compact” (the French and the English are the same) is another technical term for Garcia. But if the “compact” model of things leads us to something more than things, the philosophy of events gives us less than things, by dissolving them into a play of vectors. Garcia’s alternative lies midway between these two extremes: Being enters the thing, being comes out of it. And a thing is nothing other than the difference between the enters and the being that comes out. Thus, the circuit of being is never halted. In the thing, there is never the thing-in-itself. And the thing is never in-itself, but outside of itself. Nonetheless, being is not eventally “pollinated” by vectors: it possesses an objecting halting-point... (19) This single idea is the key to Garcia’s book: the thing is neither a self-contained durable lump nor some sort of evental flux. Instead, the thing is the difference between its various components and its relations with its environment. Or stated differently: “the price to pay for this disposition is a circulation of being that systematically distinguishes two senses of things: that which is in the thing , and that in which the thing is , or that which encompasses it and that which it encompasses,” (19) translating comprendre here as “encompass.” 19 In a beautiful description of a piece of black slate, Garcia sums up the various minerals, qualities, and shapes that compose [ comprend ] it, and calls them “that which is in the thing,” (20) noting that this tells us nothing about “that in which [the slate] is”—namely, all the various situations in which the black slate can be found. Instead, the slate is the difference between these two: the most characteristic principle of Garcia’s philosophy. 2. Formally Book One of Forme et objet , “Formally,” is concerned with the formal equality of all things in a flat world. “Two questions mark the boundaries of reflection: of what is everything composed [ composé ], and: what do all things compose?” (27) Looking downward, we wish to know what everything is made of; looking upward, we want to know the ultimate result of the combination of all things. Here we must turn our attention to the thing n’importe quoi— no matter what it is. (30) Anything with finite qualities is obviously too specific to be relevant to global ontological questions. To an equal degree, something possessing all qualities (think of Whitehead’s God) 20 would not be n’importe quoi either, since it would still be too definite, even if incredibly vast. The same holds for contradictions, since these all differ from each other. The square circle, the non-white black white, and the non-city city are all too distinct to count as the thing no matter what it is. The n’importe quoi must be devoid of all specific qualities, including contradictory ones. In one of the more intriguing points in his book, so reminiscent of Meinong, Garcia proclaims that “the ‘no matter what it is’ is neither a reality nor an abstract construction, nor both of these at once; the ‘no matter what it is’ is simply the plane of equality of that which is real, that which is possible, that which is inexistent, that which is past, that which is impossible, that which is true, that which is false, that which is bad.”(39-40) Since everything has two faces, it would be a grievous mistake to focus on just one of them at the expense of the other, as physicalism or materialism do when reducing the world to minuscule physical underpinnings. For scientistic materialism, “it is either atoms, particles, or fields of force... which are the things.” (47-48) Moreover, “these more-than-things are accompanied by less-than-things: for example, ideas or facts of consciousness are determined by the state of matter and are not autonomous things, but manifestations reduced to secondary effects of material processes...” (48) On this point, Garcia’s position is in complete accord with my own critique of undermining and overmining. 21 Where we disagree is that Garcia is more deeply suspicious of the notion of substance, which I view as salvageable with a few needed changes, while Garcia sees this operation as hopeless: “A substance, in the history of philosophy, is the more-than-thing par excellence.” (51) Another agreement between our positions is visible when Garcia claims (correctly, in my opinion) “that it is vain to distinguish between things which are material and those which are not.” (52) Yet we also find an even more important disagreement, since for Garcia withdrawal cannot be the quality of a thing. Instead, the absence of a thing is simultaneous with it, embodied in all that is not it– the absence of the sculpture of a woman is to be found in the mold that appears at the same time as it, and thus withdrawal must be viewed as an “event” rather than as something pertaining to an object. For Garcia, nothing withdraws beyond access. Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “ not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘ not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc . We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing .” (62) Stated differently, “something is not in itself : for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own , not insofar as they are one . (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another. As we have seen, one reason that nothing can be in itself is because everything is in something else. For Garcia, “to be in something and to be something are equivalent.” (69) Stated more broadly, “being is thus the difference between the two aspects of each thing: that which is it, and that which it is.” (70) And even more vividly: “a thing is almost like a sack: there is that which one puts in the sack and that which remains outside the sack.” (70) But not quite like a sack, “since a thing is not a thin skin or film. Instead, a thing is comparable to a sack that is immaterial and without thickness: it is nothing other than the difference between that which is this thing and that which thing is, between content and container.” (71) Nothing can be in-itself because everything is two selves at once. For example, we cannot say that our self is defined by our consciousness: “Everything has a self because nothing is in itself. The self is not the quality of that which is related to itself (which is conscious, for example) or which thinks itself related to itself. Nonetheless, for an entity called ‘conscious’ to be related to itself, it is necessary that this very relation should be another thing than the self to which it is related.” (71) Consciousness cannot be the self, precisely because it is other than that of which it is conscious. Nothing is able to grasp itself. The self is “the function by which being and composition [ compréhension ] are mutually excluded...” (72) The self is “the point of shadow of everything that projects some light...” (72) The in-itself faces two opposite dangers: “For something to be in-itself is to be a self. Something which is a self flies out through one of its two sides... Stated differently, being in-itself is simply the possibility of a double failure.” (73) The in-itself can be termed compact : “There remains to us a means of thinking that which does not fully enter into the world, though without exiting from it. This means is what we call the compact.” (76) In a sense, the compact is the opposite of the world. For in the case of the world, everything enters it and it enters nothing; as for the compact, it enters the world (since it is something, after all) while nothing enters it. (77) The compact marks the presence of the impossible in the world. (78) It is not impossible, but possible only on the condition that it fails. (78) The time has come to speak of where a thing is located. “The sole condition of a thing is that of being in another thing than itself, and thus in another thing than something.” (78) A condition is “that which determines something, that which forms something, that in which something is.” (78) As for humans, “the condition of someone is his situation; my social condition is that which socially determines me, my place and my function...” (79) More generally, “to be conditioned is to find oneself reduced to that in which one is.” (79) Everything is conditioned, but nothing is reducible to this condition. To determine the condition of something is to determine in what it is. A thing is located in that which contradicts it, just as a statue exists in its mold, which is precisely that which it is not. Since the thing is finite and definite, its condition or form must be infinite and indefinite. That in which all things are is the world, which Garcia also terms “the whole.” (81) “To try to be in-itself is to attempt to remain outside the world. And indeed, to try to be in-itself is only a path of entry into the world.” (83) For Garcia, “the world is not the pre-existent container of the things it contains, a priori , nor the construction by the mind of a fictional ensemble of all things, a posteriori .” (85) Instead, the world is simultaneous with all things; the two always go together. The world cannot be a determinate world, such as the physical universe or mathematical space, since these are already too specific and limited. “Every determinate world, which is in fact a universe , is a ‘big thing’ [ grosse chose ]: it is a set, however vast, of composite things which itself embodies a thing.” (85) Every determinate world is really just a “big thing.” Stated differently, “it is nothing other than a balanced milieu between the things that compose it and the thing that it composes.” (85) We generally picture the world as a physical univer. (shrink)

When summarizing the findings of his 1896 Matter and Memory, Bergson claims: “That every reality has... a relation with consciousness—this is what we concede to idealism.” Yet Bergson’s 1896 text presents the theory of “pure perception,” which, since it accounts for perception according to the brain’s mechanical transmissions, apparently leaves no room for subjective consciousness. Bergson’s theory of pure perception would appear to render his idealistic concession absurd. In this paper, I attempt to defend Bergson’s idealistic concession. I argue (...) that Bergson’s account of cerebral transmissions at the level of pure perception necessarily entails a theory of temporality, an appeal to a theory of time-consciousness that justifies his idealistic concession. (shrink)

Bergson's 1896 theory of perception/memory assumed a framework anticipating the quantum revolution in physics, the still unrealized implications of this framework contributing to the large neglect of Bergson today. The basics of his model are explored, including the physical concepts he advanced before the crisis in classical physics, his concept of perception as ‘virtual action’ with its relativistic implications, and his unique explication of the subject/object relationship. All form the basis for his solution to the ‘hard’ problem. The (...) relation between Bergson and Gibson as natural complements is also explored, with Bergson providing the framework that explicates Gibson's concept of direct perception, with Gibson's resonance model as a precursor to dynamic systems models of the brain and his reliance on invariance laws defining perceived events providing more detail for the mechanisms Bergson only envisioned from afar, and with Bergson providing the basis for an otherwise missing Gibsonian model of direct memory. (shrink)

From the end of the seventeenth century to now well into the 21st, John Locke’s theory of personal identity has been foundational in the field of philosophy and psychology. Here we suggest that there are two fundamental threads intertwined in Lockean identity, the flux of perception-thought-action (i.e. continuity of consciousness) and memory. Using Maurice Merleau-Ponty, Paul Ricoeur, and Bernard Steigler as guides we will see that these threads constitute a phenomenological self (l’ésprit), a lived experience of our identity that (...) is not only perhaps the most essential component of our humanity, but also the most threatened in today’s ongoing, commercial convergence of the real and the virtual in the “Age of Disruption”. (shrink)

This article analyzes ‘commemorative’ images of Diana Spencer for how they invoke tropes of charity and sympathy to produce racialized mediations of history, memory, motherhood and US national identity. Drawing from cultural theory that establishes technologies of memory and forgetting as material forces, this discussion illumines how images of Diana appearing in such popular US magazines as People and Life incorporate visual scripts of race and sentiment that have historically demarcated the relative social value(s) of maternity and reproduction. Understanding visual (...) culture as a force that is both structured by and structuring of hierarchies of power enables us to see how the posthumous circulation of images of ‘Our Princess’ are indeed not ideologically innocent memorializations. Rather, these images are the physical, embodied material of a national monument that provides faithful ‘visitors’ an affective connection to historically idealized notions of whiteness, motherhood, and the family. (shrink)

With the acceleration of social transformation and “mediatization,” urban women’s parenting practices have become an important factor affecting the demographic structure and national development. The global COVID-19 pandemic has further contributed to the networking of social life and the creation of “Internet moms” who rely on the Internet for parenting interactions. Using a mixed-methods design, this paper conducted participant observation and in-depth interviews with 90 mothers from various industries born after 1980/1990 across multiple geographies in China to examine the impact (...) of urban women’s Internet practices on the psychology and practice of parenting during the COVID-19 pandemic, as well as how they were empowered by media technologies to practice motherhood and complete their role socialization through the sharing of parenting information, experiences, and actions. The purpose of this qualitative study was to investigate the changing impact of Internet-based parenting practices on Chinese urban women’s daily lives during the COVID-19 pandemic. Through the analysis of these influences, it was found that the whole society, including urban parenting groups, paid attention to self-expression and self-worth and further hoped to arouse society’s recognition, face up to the identity of “mother” and “female,” and give more attention and support to women. The study also found that, as interpersonal communication channels were hindered during the COVID-19 pandemic, the power of the Internet, represented by social media, has created a new platform for information empowerment, action mutual, and ideation of motherhood for urban women formerly bound to family and parenting matters. From individual, family, and individual parenting experiences to group, social, and shared scenarios, urban women are engaged in emotional and memory interactions, including motherhood-related expression, experiences, and collaboration. This shift from virtual to physical has reshaped their parenting view, helping them break through the confines of family experience and traditional customs in addition to providing psychological motivation to express their gender concepts, shape their self-image, construct gender power, and interpret intimate relationships, pushing them to become more reflective of the times, as well as more capable and authoritative. (shrink)

Henri Bergson (1859-1941) was once the most famous philosopher in the world, but his reputation waned in the latter half of the 20th century. Barry Allen here makes the case for Bergson as a great philosopher, one whose thought has much to contribute to contemporary philosophical questions. Living in Time presents chapters on each of Bergson's four major works, explaining his theories of time, perception, memory, and panpsychic consciousness, his innovative concept of virtual existence, his objection to Darwin, his (...) controversy with Einstein, his philosophy of creative evolution, and his social philosophy of closed and open society. In particular Allen focusses on Bergson's powerful ideas on time. Classical arguments for determinism fallaciously apply spatial concepts to consciousness; once we take time seriously, which means acknowledging its reality as duration and its difference from space, Bergson showed that the arguments for determinism become insupportable. Bergson's ideas on time and evolution offer a comparison with Nietzsche, which Allen develops, exposing both philosophical concurrence and systematic difference. The book's conclusion discusses the question of Bergson and naturalism and summarizes the ontology of the virtual that emerges as a core part of Bergson's thought. (shrink)

This volume brings together generous selections from his major texts: Time and Free Will, Matter and Memory, Creative Evolution, Mind-Energy, The Creative Mind, The Two Sources of Morality and Religion and Laughter. In addition it features material from the Melanges never before translated in English, such as the correspondence between Bergson and William James. The volume will be an excellent textbook for pedagogic purposes and a helpful source book for philosophers working across the analytic/continental divide.

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

This study of the workings of neural networks in perception and understanding of situations and simple sentences shows that, and how, distributed conceptual constituents are bound together in episodes within an interactive/dynamic architecture of sensorial and pre-motor maps, and maps of conceptual indicators (semantic memory) and individuating indicators (historical, episodic memory). Activation circuits between these maps make sensorial and pre-motor fields in the brain function as episodic maps creating representations, which are expressions in consciousness. It is argued that all consciousness (...) is episodic, consisting of situational or linguistic representations, and that the mind is the whole of all conscious manifestations of the brain. Thought occurs only in the form of linguistic or image representations. The book also discusses the role of consciousness in the relationship between causal and denotational semantics, and its role for the possibility of representations and rules. Four recent controversies in consciousness research are discussed and decided along this model of consciousness: • Is consciousness an internal or external monitoring device of brain states? • Do all conscious states involve thought and judgement? • Are there different kinds of consciousness? • Do we have a one-on-one correspondence between certain brain states and conscious states. The book discusses also the role of consciousness in the relationship between causal and denotational semantics, and its role for the possibility of representations and rules. (Series A). (shrink)

This book proposes a new reading of Bergsonism based on the admission that time, conceived as duration, stretches instead of passes. This swelling time is full and so excludes the negative. Yet, swelling requires some resistance, but such that it is more of a stimulant than a contrariety. The notion of élan vital fulfills this requirement: it states the immanence of life to matter, thereby deriving the swelling from an internal effort and allowing its conceptualization as self-overcoming. With self-overcoming (...) as the inner dynamics of reality, Bergson dismisses all forms of dualism and reductionist monism because both the absence of negativity and the swelling nature of time posit a creative process yielding a qualitatively diverse world. This graded oneness is how the lower level activates intensification by turning into limitation, making possible higher levels of achievement, in particular through the union of mind and body and the integration of openness and closed sociability. (shrink)

In an effort to reassess the status of Phenomenology of Perception and its relation to The Visible and the Invisible, this essay argues that Merleau-Ponty's engagement with Husserl's text and his discussion of the “field of presence” in La temporalité are intended to think through the field in which time makes its appearance as one of passage. Time does not show itself as presence or in the present but manifests itself as Ablauf, as lapse or flow, an écoulement that is (...) simultaneously an explosion, an éclatement. Merleau-Ponty's account of temporality in these pages is thus legible as recovering the primordial experience of time as a self-differentiating déhiscence in its dual power of articulation and erosion. Time is thus simultaneously the vehicle of the world's appearance and of its “disarticulation”, the passage of a rhythm of affirmation and disintegration. Merleau-Ponty's account of temporality in Phenomenology of Perception is oblique, somewhat fragmentary and circuitous.11 References to Merleau-Ponty's works cite the French followed by the English translation. I will use the abbreviation PhP for Phenomenology of Perception and VI for The Visible and the Invisible. Other texts by Merleau-Ponty will be referenced by the title. References to Husserl and Heidegger use the German followed by the translation. I will use the abbreviations ZB for the Zeitbewußtsein lectures; FT for Formale und transzendentale Logik; EU for Erfahrung und Urteil; and SZ for Sein und Zeit. View all notes While of course this phenomenon comes under close scrutiny in La temporalité, a brief inspection of this text as a whole finds it to be virtually everywhere.22 The theme of temporality is introduced as early as the Preface to Part I, “Experience and Objective Thought” and appears again in almost every subsequent chapter: the first chapter of Part I ; in his discussion on number blindness and Goldstein's patient known as Schneider in La spatialité du corps et la motricité ; in the sexuality chapter ; in the discussion of memory in La corps comme expression et la parole ; in Le sentir ; in the discussion of depth in L'espace ; in La chose et le monde naturel ; in Autrui et le monde humain and in Le cogito. Rather than providing the perhaps much called for synopsis of these scattered accounts of time or trying to locate a unified account in Phenomenology of Perception through such a synopsis, this essay will focus only on La temporalité, particularly the discussion of Husserl's diagram from the Zeitbewußtsein and the “champ de présence”. View all notes It is this apparent ubiquity that will motivate scholars such as Renaud Barbaras to claim that “… the entire structure of Phenomenology of Perception rests on a chapter devoted to temporality”.33 Barbaras The Being of the Phenomenon, 218. View all notes In spite of this ubiquity and apparent centrality, however, the treatment of temporality seems to neglect a systematic and thoroughgoing approach, and whether this work manages to address this theme with a sufficient degree of rigor remains open to debate. Furthermore, beyond the scattered and fragmented appearance of temporality in the text, the chapter devoted to its exploration contains numerous, well-recognized problems.44 Merleau-Ponty's misinterpretation of Bergson in this chapter has received much warranted attention. Alia Al-Saji, for example, has criticized Merleau-Ponty's account of temporality in this chapter of Phenomenology of Perception for this misreading as well as its perhaps too uncritical infatuation with Husserl and his emphasis on presence. See Lawlor Thinking Through French Philosophy, Al-Saji “The Temporality of Life” and “A Past Which Has Never Been Present” and Barbaras “The Turn of Experience”. View all notes Among these difficulties, Merleau-Ponty's engagement with Husserl's lectures on time-consciousness, the Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins,55 The 1928 publication of the Zeitbewußtsein, edited by Heidegger, is what appears in the bibliography of Phenomenology of Perception. This version, from the Jahrbuch für Philosophie und phänomenologishe Forschung, as Brough notes, appears as “Part A” of Husserliana X. The notes that constitute this version of the text, furthermore, as Heidegger mentions in his preface to the Jahrbuch version and which Brough repeats were heavily edited by Husserl's assistant at the time, Edith Stein. Merleau-Ponty's references to the Zeitbewußtsein cut across various moments of the text and do not focus on one section in particular, and in fact, he actually references section 11, “Urimpression und retentionale Modifikation”/“Primal impression and retentional modification” in his discussion of the field of presence. As Al-Saji has noted, the extent to which Merleau-Ponty's account of time in La temporalité centres the account of time on “the living present” can be shown to be at play behind the misreading of Bergson. While I do not wish to dispute the specifics of her compelling reading, it is nonetheless worth noting that Al-Saji's reading of the Zeitbewußtsein only focuses on Appendix V, “Gleichzeitigkeit von Wahrnehmung und Wahrgenommenem”/“Simultaneity of Perception and the Perceived”. View all notes looms large, as it seems that his discussion of what he designates as le champ de présence or “field of presence” commits him to the ontological primacy of the present in his account of time. As a result, this earlier work appears to confine itself to a metaphysics organized around the privilege and authority of the present in establishing the structure of time.66 Leonard Lawlor has convincingly argued against this interpretation. Following the famous remark at the end of Le Sentir about “a past which has never been present”, Lawlor argues that precisely because Merleau-Ponty's critique of Bergson is a straw man – that is, because his critique of Bergson is based on a misreading – a closer inspection of Le Sentir and La temporalité shows Merleau-Ponty to be committed to the ontological primacy of an “originary” past. See Lawlor Thinking Through French Philosophy, 89. Marratto, following Lawlor, takes up the charge of a metaphysics of presence in Phenomenology of Perception in dialogue with Derrida. Marratto argues that Derrida's reading selectively overlooks “the very imporant dimensions of difference, discontinuity, and delay and non-self-presence in Merleau-Ponty's descriptions”, located particularly in the latter's theory of subjectivity. I agree with Marratto's assessment, and my aim here is to deepen it by turning in more detail to La temporalité. View all notes This apparent commitment to the ontological primacy of the present, for some readers, has also functioned as an index for tracking the revision of Phenomenology of Perception that is said to figure in The Visible and the Invisible, where a metaphysics of the present is replaced with a commitment to the primacy of an original past, signalling a significant break in the development of Merleau-Ponty's thought.77 This has bearing on the debate mentioned above as the question of temporality and Merleau-Ponty's evolving relationship with Bergson are also cited as part of the index for tracking the differences between Phenomenology of Perception and The Visible and the Invisible. What we see, according to this reading, is Merleau-Ponty move away from a more strictly phenomenological orientation of Phenomenology of Perception, an orientation that is said to adversely mediate his early, critical stance with respect to Bergson, toward a progressively less Husserlian and more Bergsonian stance in The Visible and the Invisible. While he does not specifically address Merleau-Ponty's engagement with Bergson, Marratto's reading also places a special emphasis on the significance of the past, specifically Merleau-Ponty's reference to a “past which has never been present”. It is also not my intention to enter into the question of Merleau-Ponty's relationship with Bergson. Rather, I will restrict my remarks specifically to Merleau-Ponty's engagement with Husserl and the Zeitbewußtsein in La temporalité in order to show that there are grounds for at least questioning one of the premises of the interpretation mentioned above, namely that Phenomenology of Perception is unequivocally legible as committed to the ontological primacy of the present. As will become clear later in the essay, I also dispute interpretations that would place the emphasis on the ontological primacy of an original past. For my own views on the significance of a “past which has never been present”, see Whitmoyer “The Primary Silence of the Past”. View all notes In considering the manner in which the Zeitbewußtsein figures in La temporalité and Merleau-Ponty's discussion of the field of presence, it will do to think about the parameters in which his engagement with Husserl is staged more generally. It seems that Merleau-Ponty never considered his task in terms of the perhaps false alternative of fidelity and heresy, because “any commemoration is also a betrayal”, and because the task of the interpreter is, as he famously notes, thinking through that “unthought-of element … which is wholly his [Husserl's] and yet opens out on something else”.88 Merleau-Ponty, Signes, 203/160. This methodological dictum is developed in more detail in the notes to the course offered on Husserl's Origin of Geometry in 1959–1960. “We are saying not that Husserl was that, but that Husserl was not only what they say, was also another, bearer of an unthought”. View all notes Following Merleau-Ponty's own indications, we could suggest that Husserl's text, rather than a source of orthodoxy, functions as a point of orientation through which Merleau-Ponty marks out his own theory of temporality.99 I will not, therefore, address the question of the “accuracy” of his interpretation of Husserl because, according to Merleau-Ponty himself, this question presupposes that the author, in this case Husserl, has a privileged access to his thought, as if there is some kernel or essence of what a philosopher thought that interpreters can either get right or wrong. As the remarks in “The Philosopher and His Shadow” make clear, interpretation can never really avail itself of this presupposition and in this manner the question of accuracy is precisely the wrong question. View all notes This essay argues that his discussion of the Zeitbewußtsein in Phenomenology of Perception does not offer an account of time that “centers around the living present”, as some have argued,1010 Al-Saji “A Past Which Has Never Been Present”, 42–44. View all notes but that the discussion of the field of presence and what follows are rather intended to account for the field of temporal phenomenalization – not as a presence – but as écoulement, passage and flux. Time, therefore, does not appear in the present or as presence, but manifests itself as a flow and movement that is simultaneously an éclatement, an eruption, and a self-differentiating “dehiscence”.1111 A favorite word of Merleau-Ponty, borrowed from botany, where it designates the splitting open of a seed-pod or flower as well as medicine, where it refers to the splitting open of a healed or partially healed wound. The idea here is that, in its flow and passage, time splits open in a process of differentiation – which is simultaneously a process of degeneration, decay, and what Merleau-Ponty will term in The Visible and the Invisible, “disarticulation”. View all notes Time's passage is not determined, organized and oriented in advance in accordance with a transcendental synthesis that would give it shape and form, privileging one temporal dimension over another, so much as it is understood in terms of a splitting open, or to use another favoured locution of Merleau-Ponty, a “deflagration”.1212 In Eye and Mind, Merleau-Ponty speaks of the “deflagration of being”. Metaphors of explosiveness and dissonance populate his attempt to think being otherwise than as structure, form, and stability. Here I will focus particularly on écoulement, flux and éclatement, eruption, because these are the terms he uses in his discussion of time in La temporalité. See Merleau-Ponty L’Œil et l'esprit, 64/369. View all notes To this extent, Merleau-Ponty's account of temporality in Phenomenology of Perception cannot be said to orient itself in terms of the ontological primacy of any one temporal dimension – past, present, or future – but is more accurately understood as an attempt to recover the primordial experience of time as the simultaneity of écoulement and éclatement – an account that thinks time in its dual power of phenomenalization and erosion, the “pulse [pulsation] of my existence, its systole and diastole”.1313 Merleau-Ponty PhP, 337/332. View all notes Time is the vehicle of the world's appearance, and at the same time of its “disarticulation” [désarticulation],1414 This is a term Merleau-Ponty uses in The Visible and the Invisible in a well-known working note entitled “ Transcendence – forgetting – time”. See Merleau-Ponty VI, 247/197. View all notes the vehicle through which “becoming” – rather than being – shows itself. This process of phenomenalization, precisely because it is temporal, never achieves the density of fully realized being – the sense of this becoming is never fully articulate – but is perpetually subject to a temporal erasure that necessitates its repetition and reiteration. Time, in other words, is the principle of the world's eloquence – it is that thanks to which things have and make sense and simultaneously the principle of the world's murmuring stutter, the principle through which the sense of things remains incomplete and even erodes, decays, and degenerates. To begin, I will turn to Merleau-Ponty's reading of Husserl's diagram from the Zeitbewußtsein, which opens his attempt to “arrive at authentic time”.1515 Merleau-Ponty PhP, 477/483. View all notes Rather than simply rehearsing Husserl's discussion of primal impression, retention and protention, Merleau-Ponty's analysis of the diagram provides an opportunity for raising two problems: the problem of time's representability and the problem of its synthesis. Rather than through an “act intentionality” carried out by a transcendental subjectivity, time appears in accordance with an “operative intentionality” always already under way. Turning to the section of La temporalité aptly entitled “Passive Synthesis”, we see that Merleau-Ponty's analysis of the diagram leads him to the paradox of passive synthesis and what he calls, following Husserl, “transition synthesis”. Time does not show itself punctually – time appears neither as presence nor in the present – but only in the dual movement of its flux, its écoulement, and its éclatement, its explosive, self-differentiating unfurling. These reflections, finally, bring Merleau-Ponty into dialogue with Heidegger on what the latter called the Zusammenhang des Lebens. The “unity of a life”, accordingly, is not a question of any “resolution”, but is a function of our immersion in this temporal dehiscence. The important lesson to be learned from Merleau-Ponty's engagement with Husserl's Zeitbewußtsein is not something about the ontological primacy of one temporal dimension over another but what Merleau-Ponty famously calls in The Visible and the Invisible the “passivity of our activity”1616 Merleau-Ponty VI, 270/221. View all notes and our immersion in time's power of disarticulation. (shrink)

In his analysis of memory, Henri Bergson introduces the key concept of ‘virtuality’, understood as a non- actual reality, an unpredictable and pre-human élan vital. Several years later, the virtual will play a key role in the way that Gilles Deleuze tries to conceive the notion of a ‘plane of immanence’, that is, a whole that guides an inexhaustible process of actualisation. Deleuze, however, refers not only to Bergson but to Gilbert Simondon and to his concept of ‘preindividual field’, (...) which corresponds to a metastable state, full of potential energy, from which a structured process can arise. This article undertakes an analysis of the different theoretical pathways leading to the concept of the virtual in Bergson, Simondon and Deleuze. It will investigate the transformations of this concept by focusing on the memory of the present individuated by Bergson, then applied to the cinema of the time- image by Deleuze, and on the figure of the crystal as an emblematic materialisation of the virtual, deeply present in the philosophy of both Deleuze and Simondon. The intention is to show – apart from the inevitable differences ‒ the significant continuity between these three authors, who share a common attempt to build an affirmative ontology of life. Combined Bergsonian and Simondonian influences lead in Deleuze to a metaphysics of becoming, where virtuality is always on the point of actualising itself in percepts, affects and concepts. (shrink)

Doctored images can cause people to believe in and remember experiences that never occurred, yet the underlying mechanism responsible are not well understood. How does compelling false evidence distort autobiographical memory? Subjects were filmed observing and copying a Research Assistant performing simple actions, then they returned 2 days later for a memory test. Before taking the test, subjects viewed video-clips of simple actions, including actions that they neither observed nor performed earlier. We varied the format of the video-clips between-subjects to (...) tap into the source-monitoring mechanisms responsible for the ‘doctored-evidence effect.’ The distribution of belief and memory distortions across conditions suggests that at least two mechanisms are involved: doctored images create an illusion of familiarity, and also enhance the perceived credibility of false suggestions. These findings offer insight into how external evidence influences source-monitoring. (shrink)

In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era.Hansen examines new (...) media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it.To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations from the works of these and many other new media artists. (shrink)

This work aims to highlight the continuous game and the paradoxical relationship established between memory and forgetfulness based on the contributions of Friedrich Nietzsche and Henri Bergson. We will follow the hypothesis that the origin of memory and consciousness in Nietzsche is very close to that made by Bergson in Matter and Memory. I will try to expose how memory in Bergson arises in the interval between action and reaction, at the moment when man hesitates, organizes and selects (...) the new movement. The same hesitation movement occurs in Nietzsche, when man abandons the "animalistic" realm of the instant and begins to calculate and plan his actions. In the meantime, when man acquires the capacity to remember and distances himself from the instinctive animals, forgetfulness becomes vitally important, according to Nietzsche, since an excess of memory can resent and sadden the body. In Bergson, on the other hand, the brain mechanism - an organ of attention to life - also occupies a prominent place, from the moment it temporarily removes the totality of memories, and allows only some of them to become conscious. To this end, we will observe that what is behind this infinite game between memory and forgetfulness is the maintenance of a healthy body that does not get lost in excesses - of remembering too much or forgetting everything. A body that knows how to remember, but also how to forget in order to live. (shrink)

There are many ways to assess face perception skills. In this study, we describe a novel task battery FEAST (Facial Expression Action Stimulus Test) developed to test recognition of identity and expressions of human faces as well as stimulus control categories. The FEAST consists of a neutral and emotional face memory task, a face and object identity matching task, a face and house part-to-whole matching task, and a human and animal facial expression matching task. The identity and part-to-whole matching (...) tasks contain both upright and inverted conditions. The results provide reference data of a healthy sample of controls in two age groups for future users of the FEAST. (shrink)

When we are present in a space we have been to before, we remember our experiences or events, people, and things related to that space. However, we can remember a space we have not been to and experiences that do not belong to us. We can have memories of them through transferential spaces created by mediums such as images, films, television, or virtual reality. These virtual spaces enable the transfer of experiences and memories. This study focuses on the (...) relationship between experiences in virtual spaces and memory. It problematizes the change in the quality of experiences in physical and virtual spaces and the memories gained from these experiences. Film and virtual reality mediums are chosen to analyze the changes. The study reveals that depending on the types of mediums, characteristic transformations occur in memories obtained from experiences in virtual spaces. (shrink)

The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke’s “scenario content” is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content has certain expressive (...) limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image. (shrink)

Action is a means of acquiring perceptual information about the environment. Turning around, for example, alters your spatial relations to surrounding objects and, hence, which of their properties you visually perceive. Moving your hand over an object’s surface enables you to feel its shape, temperature, and texture. Sniffing and walking around a room enables you to track down the source of an unpleasant smell. Active or passive movements of the body can also generate useful sources of perceptual information (Gibson (...) 1966, 1979). The pattern of optic flow in the retinal image produced by forward locomotion, for example, contains information about the direction in which you are heading, while motion parallax is a “cue” used by the visual system to estimate the relative distances of objects in your field of view. In these uncontroversial ways and others, perception is instrumentally dependent on action. According to an explanatory framework that Susan Hurley (1998) dubs the “Input-Output Picture”, the dependence of perception on action is purely instrumental: "Movement can alter sensory inputs and so result in different perceptions… changes in output are merely a means to changes in input, on which perception depends directly" (1998: 342). -/- The action-based theories of perception, reviewed in this entry, challenge the Input-Output Picture. They maintain that perception can also depend in a noninstrumental or constitutive way on action (or, more generally, on capacities for object-directed motor control). This position has taken many different forms in the history of philosophy and psychology. Most action-based theories of perception in the last 300 years, however, have looked to action in order to explain how vision, in particular, acquires either all or some of its spatial representational content. Accordingly, these are the theories on which we shall focus here. -/- We begin in Section 1 by discussing George Berkeley’s Towards a New Theory of Vision (1709), the historical locus classicus of action-based theories of perception, and one of the most influential texts on vision ever written. Berkeley argues that the basic or “proper” deliverance of vision is not an arrangement of voluminous objects in three-dimensional space, but rather a two-dimensional manifold of light and color. We then turn to a discussion of Lotze, Helmholtz, and the local sign doctrine. The “local signs” were felt cues for the mind to know what sort of spatial content to imbue visual experience with. For Lotze, these cues were “inflowing” kinaesthetic feelings that result from actually moving the eyes, while, for Helmholtz, they were “outflowing” motor commands sent to move the eyes. -/- In Section 2, we discuss sensorimotor contingency theories, which became prominent in the 20thcentury. These views maintain that an ability to predict the sensory consequences of self-initiated actions is necessary for perception. Among the motivations for this family of theories is the problem of visual direction constancy—why do objects appear to be stationary even though the locations on the retina to which they reflect light change with every eye movement?—as well as experiments on adaptation to optical rearrangement devices (ORDs) and sensory substitution. -/- Section 3 examines two other important 20th century theories. According to what we shall call the motor component theory, efference copies generated in the oculomotor system and/or proprioceptive feedback from eye-movements are used together with incoming sensory inputs to determine the spatial attributes of perceived objects. Efferent readiness theories, by contrast, look to the particular ways in which perceptual states prepare the observer to move and act in relation to the environment. The modest readiness theory, as we shall call it, claims that the way an object’s spatial attributes are represented in visual experience can be modulated by one or another form of covert action planning. The bold readiness theory argues for the stronger claim that perception just is covert readiness for action. -/- In Section 4, we move to the disposition theory, most influentially articulated by Gareth Evans (1982, 1985), but more recently defended by Rick Grush (2000, 2007). Evans’ theory is, at its core, very similar to the bold efferent readiness theory. There are some notable differences, though. Evans’ account is more finely articulated in some philosophical respects. It also does not posit a reduction of perception to behavioral dispositions, but rather posits that certain complicated relations between perceptual input and behavioral provide spatial content. Grush proposes a very specific theory that is like Evans’ in that it does not posit a reduction, but unlike Evans’ view, does not put behavioral dispositions and sensory input on an undifferentiated footing. (shrink)

Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the division between iconic memory and VWM by (...) arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)