Bergson, Henri. "Of the Selection of Images for Conscious Presentation.
What Our Body Means and Does," in Matter
and Memory
annotation by
Chad Hines (Theories of Media, Winter 2003)
In the first chapter of Matter and Memory, Bergson sets out to revise
both the realist and idealist notions of how perception occurs, replacing
them with a third account he believes easier to reconcile with the dictates
of common sense and empirical observation. Both of the earlier doctrines
fail, Bergson argues, because they equate perception with a kind of knowledge
(28). In Bergson’s theory, the brain does not give birth to representations
of any sort. Its faculties, rather, are always directed toward action,
differing from the reflex functions of the spinal chord only by degree
(23). Objects are perceived with regard to their utility, their relation
to the body in the form of motor possibility. Not even distant or irrelevant
objects are relegated to the realm of indifferent knowledge, since “even
when the stimulation received is not at once prolonged into movement, it
appears merely to await its occasion” (29).
The body, then, exists among an aggregate of images as a “zone of indeterminacy” that
defines itself in relation to the nascent possibilities of movement implicit
in all that it perceives. This perception, however, is not located in some
corresponding “cerebral deposits” that mechanically translate
stimulation from afferent nerves—surprisingly, Bergson asserts that
perception takes place in the objects themselves. Here, he claims, it is
possible to find resolution to the old debate between realism and idealism:
perception does not represent the material world, but merely removes from
it all that does not contribute to possible action. In a way, Bergson offers
an inversion of the idealist view—the material world is not constituted
entirely by our perception—our perception instead is ultimately constituted
by the material world. As it passes from real to “virtual”, nothing
can be added to the image, only taken away (37).
Although the brain cannot add to perceptions, it can augment them with
memories, themselves nothing more than stored motor impulses awaiting an
instance of relevancy to attach themselves to the present. No perception,
in fact, can be said to be instantaneous (69). All perception involves some
degree of duration, and therefore some amount of memory. The more memories
that exist to assert a possible valency with perceived objects, the larger
the zone of indeterminacy grows, and the more consciousness can resemble
true volition, as opposed to a series of unmediated or mechanical reflexes.
By relating his theory to human agency (an idea he will develop in
later chapters) Bergson seems preempt a fairly obvious objection to his theory
of perception—that it is too deterministic, not responsive enough to
problems of subjective states and irrational responses. In a less generous
assessment, one could see his merely replacing one kind of mediation (the
brain “representing” images rather than communicating or delaying
their affect) with another (perceptions assaulted by the entirety of our
memories searching for relevancy). The first model seems no less plausible
than the first, especially when we consider the amount of memories that could
never be instantiated in action, or the amount of perceptions to which we
can assign no possibility of encounter or motor influence (how would one “act”,
for example, on the light from a star, or the images produced by an electron
microscope?)