Creative Evolution
In Henri Bergson’s 1907 Book L’Evolution Creatice Bergson highlights the perceived flaws in Darwin’s theory of evolution. Bergson’s ultimate goal is to show that the fact of evolution must be seen as the product of a dynamic impulse namely the Élan Vital (or vital impulse) that is the principle of all life. This is the creative force within his early theory of Duration.
Bergson’s theory attacks the other two main contemporary theories of evolution; Mechanism and Finalism. Mechanism (for example Darwin’s theory) presents functionally unified structures (such as the eye) as the outcome of a multiplicity of small changes, each independent of each other but still leading to a functional result. Bergson points out that an immense number of variations are required for sight to be possible and even more improbable that the changes would be retained over eons to eventually become sight. Finalism suggests a final purpose and that life is following a blue print as the centuries pass, where our biology improves based on a predetermined path. The biggest problem that Bergson found with these two theories is that they share the idea that nature never produces anything new. The outcome of a biological process is always already present in the genetic material of the subject or imposed by a creator with a divine plan for example:
“reality appears to us as a uninterrupted surging of novelties, of which each has no sooner emerged in the present than it has fallen back into the past” (Bergson 1911)
Bergson held that change means growth, growth means creation and creation means freedom. This led him to develop his own theory. Bergson’s Élan Vital is a vital force that acts like the telos, except at the start of creation rather than the end. This explains where the additional genetic material is gained. For Bergson, evolution displays a form of progress, but not the gradual realisation of a divine plan.
The best way to explain Bergson’s evolution is, in own words, as more an explosion outward leading species down various paths rather than one grand progressive line.
Bibliography
Bergson H (1911) “Creative Evolution” Trans by Mitchell, A. Random House New York
Gutting G (2001) “French Philosophy in the Twentieth Century” Cambridge University press Cambridge
Thanks Joe! An interesting one to take on, especially with reference to Bergson's account of evolution. I suppose again for Bergson, the point of evolution is that it is on a continuum. Traditional accounts of evolution see small changes to organisms developing incrementally. If you have increments you then have quantity and segmentation which is Bergson's main enemies. I think you have focussed on a good point here suggesting that the elan vital is an ever present force between one identity and another. I guess for Bergson there could be no development of species if there was not some connectivity to previous species to being with, hence the telos is the beginning. Bergson's work here is I think a corrective to Darwin rather than a critique.
ReplyDeleteI think Joe, a good question to be thinking about here is why do very few of the scientists take Bergson on board. The primary reason I suspect is that there is a lack of empirical evidence for elan vital. I think you should look into this if you are interesting. Check out the work of Rupert Sheldrake. He is someone who is interested in this area, and is also someone who has clashed publicly with Richard Dawkins over the contemporary legacy of Darwin.
This comment has been removed by the author.
ReplyDelete