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Henri Bergson’s highly influential book, ‘Creative Evolution’ (‘Evolution Creatrice’, 1907) established a theory of evolution - called ‘Creative Evolution Theory’ - which gained a considerable following in the first half of the 20th Century. It also helped the author to win the Nobel Prize in 1927 for his work investigating the origins of biological information and divergence in the evolutionary process.
In this work, Bergson seeks an alternative explanation as to how new forms of life emerge compared to those prevailing at the time. This included both the ‘mechanistic’ or deterministic explanations of biological science on the one hand, and on the other the ‘finalist’ or strictly teleological explanation of those who believed in the hand of a ‘Creator’ or God, coordinating life in a divine plan.
Creative Evolution proposes a third explanation in what Bergson calls élan vital’ or ‘vital impetus’, a force that infuses all matter and drives it forward into an ever-changing and infinite variety of living forms. This appears as a vital impetus that can also be related to humanity’s own creative life force. Bergson’s book builds on his ‘Theory of Time’ as set forth in works such as ‘Matter and Memory’ and ‘Time and Free Will’. In these works, and in the present volume, Bergson sees continuous ‘duration’ as real time, as opposed to the way in which time is divided up into measured units by the ‘organising’ mind of science.
Life, as we really experience it, is subject to constant change and our tendency to explain evolutionary change by looking only at ‘ends’ achieved rather than the processes by which they emerge, divorces us from the life force itself.
Instead, Bergson feels we need to reengage with our instincts as well as with our intelligence in order to understand the evolutionary process, as both co-exist to some extent within us, all forms of life having a common origin in that instinctual, innate knowledge of simpler life forms. Though these may be unconscious or semi-conscious, they are, in Bergson’s view, much more in touch with the ever-changing nature of real time than the analytical and rational knowledge of our species
As he writes: “Our thought, in its purely logical form, is incapable of presenting the true nature of life, the full meaning of the evolutionary movement. Created by life, in definite circumstances, to act on definite things, how can it embrace life, of which it is only an emanation or an aspect?”
It is to attempt an answer to this question that ‘Creative Evolution’ directs its attention.
In this work, Bergson seeks an alternative explanation as to how new forms of life emerge compared to those prevailing at the time. This included both the ‘mechanistic’ or deterministic explanations of biological science on the one hand, and on the other the ‘finalist’ or strictly teleological explanation of those who believed in the hand of a ‘Creator’ or God, coordinating life in a divine plan.
Creative Evolution proposes a third explanation in what Bergson calls élan vital’ or ‘vital impetus’, a force that infuses all matter and drives it forward into an ever-changing and infinite variety of living forms. This appears as a vital impetus that can also be related to humanity’s own creative life force. Bergson’s book builds on his ‘Theory of Time’ as set forth in works such as ‘Matter and Memory’ and ‘Time and Free Will’. In these works, and in the present volume, Bergson sees continuous ‘duration’ as real time, as opposed to the way in which time is divided up into measured units by the ‘organising’ mind of science.
Life, as we really experience it, is subject to constant change and our tendency to explain evolutionary change by looking only at ‘ends’ achieved rather than the processes by which they emerge, divorces us from the life force itself.
Instead, Bergson feels we need to reengage with our instincts as well as with our intelligence in order to understand the evolutionary process, as both co-exist to some extent within us, all forms of life having a common origin in that instinctual, innate knowledge of simpler life forms. Though these may be unconscious or semi-conscious, they are, in Bergson’s view, much more in touch with the ever-changing nature of real time than the analytical and rational knowledge of our species
As he writes: “Our thought, in its purely logical form, is incapable of presenting the true nature of life, the full meaning of the evolutionary movement. Created by life, in definite circumstances, to act on definite things, how can it embrace life, of which it is only an emanation or an aspect?”
It is to attempt an answer to this question that ‘Creative Evolution’ directs its attention.
作者简介
Henri-Louis Bergson (18 October 1859 – 4 January 1941) was a French philosopher who was influential in the tradition of continental philosophy, especially during the first half of the 20th century until the Second World War. Bergson is known for his arguments that processes of immediate experience and intuition are more significant than abstract rationalism and science for understanding reality. He was awarded the 1927 Nobel Prize in Literature "in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented". In 1930 France awarded him its highest honour, the Grand-Croix de la Legion d'honneur. Bergson's great popularity created a controversy in France where his views were seen as opposing the secular and scientific attitude adopted by the Republic's officials.
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