The Greatest Works of Henri Bergson. Henri Bergson

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СКАЧАТЬ altering the way they are produced in space, I shall be compelled to think of each oscillation to the exclusion of the recollection of the preceding one, for space has preserved no trace of it; but by doing so I shall condemn myself to remain for ever in the present; I shall give up the attempt to think a succession or a duration. Now if, finally, I retain the recollection of the preceding oscillation together with the image of the present oscillation, one of two things will happen. Either I shall set the two images side by side, and we then fall back on our first hypothesis, or I shall perceive one in the other, each permeating the other and organizing themselves like the notes of a tune, so as to form what we shall call a continuous or qualitative multiplicity with no resemblance to number. I shall thus get the image of pure duration; but I shall have entirely got rid of the idea of a homogeneous medium or a measurable quantity. By carefully examining our consciousness we shall recognize that it proceeds in this way whenever it refrains from representing duration symbolically. When the regular oscillations of the pendulum make us sleepy, is it the last sound heard, the last movement perceived, which produces this effect? No, undoubtedly not, for why then should not the first have done the same? Is it the recollection of the preceding sounds or movements, set in juxtaposition to the last one? But this same recollection, if it is later on set in juxtaposition to a single sound or movement, will remain without effect. Hence we must admit that the sounds combined with one another and acted, not by their quantity as quantity, but by the quality which their quantity exhibited, i.e. by the rhythmic organization of the whole. Could the effect of a slight but continuous stimulation be understood in any other way? If the sensation remained always the same, it would continue to be indefinitely slight and indefinitely bearable. But the fact is that each increase of stimulation is taken up into the preceding stimulations, and that the whole produces on us the effect of a musical phrase which is constantly on the point of ending and constantly altered in its totality by the addition of some new note. If we assert that it is always the same sensation, the reason is that we are thinking, not of the sensation itself, but of its objective cause situated in space. We then set it out in space in its turn, and in place of an organism which develops, in place of changes which permeate one another, we perceive one and the same sensation stretching itself out lengthwise, so to speak, and setting itself in juxtaposition to itself without limit. Pure duration, that which consciousness perceives, must thus be reckoned among the so-called intensive magnitudes, if intensities can be called magnitudes: strictly speaking, however, it is not a quantity, and as soon as we try to measure it, we unwittingly replace it by space.

      Time, as dealt with by the astronomer and the physicist, does indeed seem to be measurable and therefore homogeneous.

      But we find it extraordinarily difficult to think of duration in its original purity; this is due, no doubt, to the fact that we do not endure alone, external objects, it seems, endure as we do, and time, regarded from this point of view, has every appearance of a homogeneous medium. Not only do the moments of this duration seem to be external to one another, like bodies in space, but the movement perceived by our senses is the, so to speak, palpable sign of a homogeneous and measurable duration. Nay more, time enters into the formulae of mechanics, into the calculations of the astronomer, and even of the physicist, under the form of a quantity. We measure the velocity of a movement, implying that time itself is a magnitude. Indeed, the analysis which we have just attempted requires to be completed, for if duration properly so-called cannot be measured, what is it that is measured by the oscillations of the pendulum? Granted that inner duration, perceived by consciousness, is nothing else but the melting of states of consciousness into one another, and the gradual growth of the ego, it will be said, notwithstanding, that the time which the astronomer introduces into his formulae, the time which our clocks divide into equal portions, this time, at least, is something different: it must be a measurable and therefore homogeneous magnitude. — It is nothing of the sort, however, and a close examination will dispel this last illusion.

      But what we call measuring time is nothing but counting simultaneities. The clock taken as an illustration.

      When I follow with my eyes on the dial of a clock the movement of the hand which corresponds to the oscillations of the pendulum, I do not measure duration, as seems to be thought; I merely count simultaneities, which is very different. Outside of me, in space, there is never more than a single position of the hand and the pendulum, for nothing is left of the past positions. Within myself a process of organization or interpenetration of conscious states is going on, which constitutes true duration. It is because I endure in this way that I picture to myself what I call the past oscillations of the pendulum at the same time as I perceive the present oscillation. Now, let us withdraw for a moment the ego which thinks these so-called successive oscillations: there will never be more than a single oscillation, and indeed only a single position, of the pendulum, and hence no duration. Withdraw, on the other hand, the pendulum and its oscillations; there will no longer be anything but the heterogeneous duration of the ego, without moments external to one another, without relation to number. Thus, within our ego, there is succession without mutual externality; outside the ego, in pure space, mutual externality without succession: mutual externality, since the present oscillation is radically distinct from the previous oscillation, which no longer exists; but no succession, since succession exists solely for a conscious spectator who keeps the past in mind and sets the two oscillations or their symbols side by side in an auxiliary space. Now, between this succession without externality and this externality without succession, a kind of exchange takes place, very similar to what physicists call the phenomenon of endosmosis. As the successive phases of our conscious life, although interpenetrating, correspond individually to an oscillation of the pendulum which occurs at the same time, and as, moreover, these oscillations are sharply distinguished from one another, we get into the habit of setting up the same distinction between the successive moments of our conscious life: the oscillations of the pendulum break it up, so to speak, into parts external to one another: hence the mistaken idea of a homogeneous inner duration, similar to space, the moments of which are identical and follow, without penetrating, one another. But, on the other hand, the oscillations of the pendulum, which are distinct only because one has disappeared when the other appears on the scene, profit, as it were, from the influence which they have thus exercised over our conscious life. Owing to the fact that our consciousness has organized them as a whole in memory, they are first preserved and afterwards disposed in a series: in a word, we create for them a fourth dimension of space, which we call homogeneous time, and which enables the movement of the pendulum, although taking place at one spot, to be continually set in juxtaposition to itself. Now, if we try to determine the exact part played by the real and the imaginary in this very complex process, this is what we find. There is a real space, without duration, in which phenomena appear and disappear simultaneously with our states of consciousness. There is a real duration, the heterogeneous moments of which permeate one another; each moment, however, can be brought into relation with a state of the external world which is contemporaneous with it, and can be separated from the other moments in consequence of this very process. The comparison of these two realities gives rise to a symbolical representation of duration, derived from space. Duration thus assumes the illusory form of a homogeneous medium, and the connecting link between these two terms, space and duration, is simultaneity, which might be defined as the intersection of time and space.

      Two elements in motion: (1) the space traversed, which is homogeneous and divisible; (2) the act of traversing, indivisible and real only for consciousness.

      If we analyse in the same way the concept of motion, the living symbol of this seemingly homogeneous duration, we shall be led to make a distinction of the same kind. We generally say that a movement takes place in space, and when we assert that motion is homogeneous and divisible, it is of the space traversed that we are thinking, as if it were interchangeable with the motion itself. Now, if we reflect further, we shall see that the successive positions of the moving body really do occupy space, but that the process by which it passes from one position to the other, a process which occupies duration and which has no reality except for a conscious spectator, eludes space. We have to do here not with an object but with a progress: motion, in so far as it is a passage from one point to another, is a mental synthesis, a psychic and therefore unextended process. Space СКАЧАТЬ