Creative Evolution

Henri Bergson was a French-Jewish philosopher and Nobel Prize winner in Literature, whose third major work, "Creative Evolution", provided an alternate explanation for Darwin's mechanism of evolution. First published in French in 1907 and translated into English in 1911, the work proposes an orthogenesis or progressive theory of evolution in which Bergson argues that organisms innately evolve towards an end goal. Bergson focuses on four key steps in evolution: that there must be a vital or creative impulse which explains the creation of all living things; that there must also be an impulse accounting for diversity and differentiation; that these tendencies can be defined as instinct and intelligence; and that intuition allows us to connect ourselves back to the original, creative, vital impulse. Bergson uses concepts of time, human intelligence and intuition to illustrate his ideas on the true goal of life. "Creative Evolution" was very popular in the first half of the twentieth century and held a significant influence on modern writers and philosophers. Bergson's work remains relevant and thought-provoking with its profound contribution to the philosophical discussion of what may drive evolution. This edition is printed on premium acid-free paper and follows the translation of Arthur Mitchell.

Creative Evolution By Henri Bergson Translated by Arthur Mitchell The history of the evolution of life, incomplete as it yet is, already reveals to us how the intellect has been formed, by an uninterrupted progress, along a line which ascends through the vertebrate series up to man. It shows us in the faculty of understanding an appendage of the faculty of acting, a more and more precise, more and more complex and supple adaptation of the consciousness of living beings to the conditions of existence that are made for them. Hence should result this consequence that our intellect, in the narrow sense of the word, is intended to secure the perfect fitting of our body to its environment, to represent the relations of external things among themselves--in short, to think matter. Such will indeed be one of the conclusions of the present essay. We shall see that the human intellect feels at home among inanimate objects, more especially among solids, where our action finds its fulcrum and our industry its tools; that our concepts have been formed on the model of solids; that our logic is, pre-eminently, the logic of solids; that, consequently, our intellect triumphs in geometry, wherein is revealed the kinship of logical thought with unorganized matter, and where the intellect has only to follow its natural movement, after the lightest possible contact with experience, in order to go from discovery to discovery, sure that experience is following behind it and will justify it invariably. Creative Evolution (French: L'Evolution creatrice) is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. The book provides an alternate explanation for Darwin's mechanism of evolution, suggesting that evolution is motivated by an lan vital, a "vital impetus" that can also be understood as humanity's natural creative impulse. The book was very popular in the early decades of the twentieth century, before the Neodarwinian synthesis was developed. The book also develops concepts of time (offered in Bergson's earlier work) which significantly influenced modernist writers and thinkers such as Marcel Proust. For example, Bergson's term "duration" refers to a more individual, subjective experience of time, as opposed to mathematical, objectively measurable "clock time." In Creative Evolution, Bergson suggests that the experience of time as "duration" can best be understood through creative intuition, not through intellect. Harvard philosopher William James intended to write the introduction to the English translation of the book, but died in 1910 prior to its completion.

Creative Evolution By Henri Bergson Translated by Arthur Mitchell The history of the evolution of life, incomplete as it yet is, already reveals to us how the intellect has been formed, by an uninterrupted progress, along a line which ascends through the vertebrate series up to man. It shows us in the faculty of understanding an appendage of the faculty of acting, a more and more precise, more and more complex and supple adaptation of the consciousness of living beings to the conditions of existence that are made for them. Hence should result this consequence that our intellect, in the narrow sense of the word, is intended to secure the perfect fitting of our body to its environment, to represent the relations of external things among themselves--in short, to think matter. Such will indeed be one of the conclusions of the present essay. We shall see that the human intellect feels at home among inanimate objects, more especially among solids, where our action finds its fulcrum and our industry its tools; that our concepts have been formed on the model of solids; that our logic is, pre-eminently, the logic of solids; that, consequently, our intellect triumphs in geometry, wherein is revealed the kinship of logical thought with unorganized matter, and where the intellect has only to follow its natural movement, after the lightest possible contact with experience, in order to go from discovery to discovery, sure that experience is following behind it and will justify it invariably. Creative Evolution (French: L'Evolution creatrice) is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. The book provides an alternate explanation for Darwin's mechanism of evolution, suggesting that evolution is motivated by an lan vital, a "vital impetus" that can also be understood as humanity's natural creative impulse. The book was very popular in the early decades of the twentieth century, before the Neodarwinian synthesis was developed. The book also develops concepts of time (offered in Bergson's earlier work) which significantly influenced modernist writers and thinkers such as Marcel Proust. For example, Bergson's term "duration" refers to a more individual, subjective experience of time, as opposed to mathematical, objectively measurable "clock time." In Creative Evolution, Bergson suggests that the experience of time as "duration" can best be understood through creative intuition, not through intellect. Harvard philosopher William James intended to write the introduction to the English translation of the book, but died in 1910 prior to its completion.

Creative Evolution by Henri Bergson. Creative Evolution is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. In the writing of this English translation of Professor Bergson's most important work, I was helped by the friendly interest of Professor William James, to whom I owe the illumination of much that was dark to me as well as the happy rendering of certain words and phrases for which an English equivalent was difficult to find. His sympathetic appreciation of Professor Bergson's thought is well known, and he has expressed his admiration for it in one of the chapters of A Pluralistic Universe. It was his intention, had he lived to see the completion of this translation, himself to introduce it to English readers in a prefatory note. I wish to thank my friend, Dr. George Clarke Cox, for many valuable suggestions.

Creative Evolution by Henri Bergson. Creative Evolution is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. In the writing of this English translation of Professor Bergson's most important work, I was helped by the friendly interest of Professor William James, to whom I owe the illumination of much that was dark to me as well as the happy rendering of certain words and phrases for which an English equivalent was difficult to find. His sympathetic appreciation of Professor Bergson's thought is well known, and he has expressed his admiration for it in one of the chapters of A Pluralistic Universe. It was his intention, had he lived to see the completion of this translation, himself to introduce it to English readers in a prefatory note. I wish to thank my friend, Dr. George Clarke Cox, for many valuable suggestions.

Henri Bergson was a French-Jewish philosopher and Nobel Prize winner in Literature, whose third major work, "Creative Evolution", provided an alternate explanation for Darwin's mechanism of evolution. First published in French in 1907 and translated into English in 1911, the work proposes an orthogenesis or progressive theory of evolution in which Bergson argues that organisms innately evolve towards an end goal. Bergson focuses on four key steps in evolution: that there must be a vital or creative impulse which explains the creation of all living things; that there must also be an impulse accounting for diversity and differentiation; that these tendencies can be defined as instinct and intelligence; and that intuition allows us to connect ourselves back to the original, creative, vital impulse. Bergson uses concepts of time, human intelligence and intuition to illustrate his ideas on the true goal of life. "Creative Evolution" was very popular in the first half of the twentieth century and held a significant influence on modern writers and philosophers. Bergson's work remains relevant and thought-provoking with its profound contribution to the philosophical discussion of what may drive evolution. This edition is printed on premium acid-free paper and follows the translation of Arthur Mitchell.

First published in French in 1907, Henri Bergson’s L’évolution créatrice is a scintillating and radical work by one of the great French philosophers of the nineteenth and twentieth centuries. This outstanding new translation, the first for over a hundred years, brings one of Bergson’s most important and ambitious works to a new generation of readers. A sympathetic though critical reader of Darwin, Bergson argues in Creative Evolution against a mechanistic, reductionist view of evolution. For Bergson, all life emerges from a creative, shared impulse, which he famously terms élan vital and which passes like a current through different organisms and generations over time . Whilst this impulse remains as forms of life diverge and multiply, human life is characterized by a distinctive form of consciousness or intellect. Yet as Bergson brilliantly shows, the intellect’s fragmentary and action- oriented nature, which he likens to the cinematograph, means it alone cannot grasp nature’s creativity and invention over time. A major task of Creative Evolution is to reconcile these two elements. For Bergson, the answer famously lies in intuition, which brings instinct and intellect together and takes us “into the very interior of life.” A work of great rigour and imaginative richness that contributed to Bergson winning the Nobel Prize for Literature in 1927, Creative Evolution played an important and controversial role in the trajectory of twentieth-century philosophy and continues to create significant discussion and debate. The philosopher and psychologist William James, who admired Bergson’s work, was writing an introduction to the first English translation of the book before his death in 1910. This new translation includes a foreword by Elizabeth Grosz and a helpful translator’s introduction by Donald Landes. Also translated for the first time are additional notes, articles, reviews and letters on the reception of Creative Evolution in biology, mathematics, and theology. This edition includes fascinating commentaries by philosophers Maurice Merleau-Ponty, Georges Canguilhem, and Gilles Deleuze.

First published in French in 1907, Henri Bergson’s L’évolution créatrice is a scintillating and radical work by one of the great French philosophers of the nineteenth and twentieth centuries. This outstanding new translation, the first for over a hundred years, brings one of Bergson’s most important and ambitious works to a new generation of readers. A sympathetic though critical reader of Darwin, Bergson argues in Creative Evolution against a mechanistic, reductionist view of evolution. For Bergson, all life emerges from a creative, shared impulse, which he famously terms élan vital and which passes like a current through different organisms and generations over time . Whilst this impulse remains as forms of life diverge and multiply, human life is characterized by a distinctive form of consciousness or intellect. Yet as Bergson brilliantly shows, the intellect’s fragmentary and action- oriented nature, which he likens to the cinematograph, means it alone cannot grasp nature’s creativity and invention over time. A major task of Creative Evolution is to reconcile these two elements. For Bergson, the answer famously lies in intuition, which brings instinct and intellect together and takes us “into the very interior of life.” A work of great rigour and imaginative richness that contributed to Bergson winning the Nobel Prize for Literature in 1927, Creative Evolution played an important and controversial role in the trajectory of twentieth-century philosophy and continues to create significant discussion and debate. The philosopher and psychologist William James, who admired Bergson’s work, was writing an introduction to the first English translation of the book before his death in 1910. This new translation includes a foreword by Elizabeth Grosz and a helpful translator’s introduction by Donald Landes. Also translated for the first time are additional notes, articles, reviews and letters on the reception of Creative Evolution in biology, mathematics, and theology. This edition includes fascinating commentaries by philosophers Maurice Merleau-Ponty, Georges Canguilhem, and Gilles Deleuze.