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proof we are living in a computer simulation hypothesis.
The idea of qualitative multiplicities is difficult to understand,although it is the heart of Bergson's thinking. Normally, we wouldthink that if there is heterogeneity, there has to bejuxtaposition. But, in qualitative multiplicities, there isheterogeneity and no juxtaposition. Qualitative multiplicities aretemporal; qualitative multiplicity defines the duration. As withquantitative multiplicities, Bergson gives us many examples; butperhaps the easiest example to grasp is the feeling of sympathy, amoral feeling (Time and Free Will, pp. 18–19). Sympathyis not only the easiest to grasp, it is also significant, as we shallsee. Our experience of sympathy begins, according to Bergson, with ourputting ourselves in the place of others, feeling their pain. But, ifthis were all, the feeling would inspire in us abhorrence of others,and we would want to avoid them, not help them. Bergson concedes thatthe feeling of horror may be at the root of sympathy. But then, werealize that if we do not help this poor wretch, it is going to turnout that, when we need help, no one will come to our aide. There is a“need” to help the suffering. For Bergson, these twophases are “inferior forms of pity.”
First, we are going to look at the concept of vital impulse. InCreative Evolution, Bergson starts out by criticizingmechanism as it applies to the concepts of life and evolution. Themechanistic approach would preclude the possibility of any real changeor creativity, as each development would be potentially contained inthe preceding ones. However, Bergson continues, the teleologicalapproach of traditional finalism equally makes genuine creation of thenew impossible, since it entails, just as mechanism, that the“whole is given.” Therefore, neither mechanism nor strictfinalism can give a satisfying account of the phenomenon of change thatcharacterizes life. Nevertheless, Bergson argues, there is a certainform of finalism that would adequately account for the creation of lifewhile allowing for the diversity resulting from creation. It is theidea of an original vital principle. If there is a telos to life, then,it must be situated at the origin and not at the end (contratraditional finalism), and it must embrace the whole of life in onesingle indivisible embrace (contra mechanism). But, this hypothesisdoes not yet account for evolution in the diversity of its products,nor does it explain the principle of the nature of life.
Simulation Techniques to Bridge the Gap Between …
But, in order to show this, Bergson starts with a hypothesis that allwe sense are images. Now we can see the basis of Bergson's use ofimages in his method of intuition. He is re-stating the problem ofperception in terms of images because it seems to be an intermediateposition between realism and idealism (Matter and Memory, p. 26).Bergson is employing the concept of image to dispel the false belief— central to realism and materialism — that matter is athing that possesses a hidden power able to produce representations inus. There is no hidden power in matter; matter is onlyimages. Bergson, however, not only criticizes materialism (its theoryof hidden powers), but also idealism insofar as idealism attempts toreduce matter to the representation we have of it. For Bergson, imagediffers from representation, but it does not differ in nature fromrepresentation since Bergson's criticism of materialism consists inshowing that matter does not differ in nature from representation. ForBergson, the image is less than a thing but more than arepresentation. The “more” and the “less”indicates that representation differs from the image by degree. Italso indicates that perception is continuous with images ofmatter. Through the hypothesis of the image, Bergson is re-attachingperception to the real.
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