In the first chapter of Creative Evolution (1907), Henri Bergson takes up one of his most celebrated themes, durée, and refines it in response to his further thought on the matter since he had first exposed his idea in données immédiates de la conscience , in 1888. In reading Bergson now, one can’t help but be struck by the metaphors of unwinding, unreeling, and tracking that go through his discourse on time. That metaphoric is usually associated with film, and it is with good reason that Deleuze turned to Bergson in writing his two books about cinema. However, I’d like to make the case that it goes back to what Schivelbusch has named the industrialized experience – the experience of speed on the railroad – and that underneath the surface of Bergson’s philosophy of time we have an image of the dualism between the vehicle and the driver or passenger, which is part of a larger dualism between industrial automatism and the worker. That sense of the vehicularity of matter in whic
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Das Langweilige ist interessant geworden, weil das Interessante angefangen hat langweilig zu werden. – Thomas Mann
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