Henri Bergson (1907) utilized a
metaphor borrowed from cinematograph to represent the usual way of
human thought about motion and evolution in comparison with his original
approach to them grounded on his concept of time as durée (duration). The analogy consists in restoring the motion from
a series of immovable pictures (frames) only as a subjective illusion. On the
contrary, durée is that understanding
of time, in which motion and evolution are primarily given rather than
secondarily and as an auxiliary or even illusion by a series of static states.
In the latter case, static underlies kinematic reducing it only to many static
states therefore canceling the creative essence of motion and evolution according
to Bergson.
Bergson’s views influenced
essentially Luis de Broglie (1925), who offered in his thesis (1924) the wave
interpretation of any particle and its motion in quantum mechanics. His work received
the Nobel Prize in Physics (1929) “for his discovery of the wave nature of
electrons”. The wave-particle duality continues to be one of the most
fundamental principles in quantum mechanics nowadays.
The cinematograph embodied and
thus made visible and obvious the fundamental way of human thought of motion
therefore allows of reflecting it and generalizing it in Bergson’s philosophy
and quantum mechanics. (https://zkm.de/de/vasil-penchev)
References:
Bergson, Henri (1907) L'Évolution créatrice, Paris: PUF, 298-307.
Broglie, Louis de (1925) “Recherches sur la
théorie des quanta,” Thesis (Paris), 1924, Annales
de Physique (Paris, 10-ème série) 3: 22-128.
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