A philosophy of new media that defines the digitalimage as the process by which the body filters information tocreate images.

Appearing here in English for the first time, Vladimir Jankélévitch's Henri Bergson is one of the two great commentaries written on Henri Bergson. Gilles Deleuze's Bergsonism renewed interest in the great French philosopher but failed to consider Bergson's experiential and religious perspectives. Here Jankélévitch covers all aspects of Bergson's thought, emphasizing the concepts of time and duration, memory, evolution, simplicity, love, and joy. A friend of Bergson's, Jankélévitch first published this book in 1931 and revised it in 1959 to treat Bergson's later works. This unabridged translation of the 1959 edition includes an editor's introduction, which contextualizes and outlines Jankélévitch's reading of Bergson, additional essays on Bergson by Jankélévitch, and Bergson's letters to Jankélévitch.

What does it mean to see time in the visual arts and how does art reveal the nature of time? Paul Atkinson investigates these questions through the work of the French philosopher Henri Bergson, whose theory of time as duration made him one of the most prominent thinkers of the fin de siècle. Although Bergson never enunciated an aesthetic theory and did not explicitly write on the visual arts, his philosophy gestures towards a play of sensual differences that is central to aesthetics. This book rethinks Bergson's philosophy in terms of aesthetics and provides a fascinating and original account of how Bergsonian ideas aid in understanding time and dynamism in the visual arts. From an examination of Bergson's influence on the visual arts to a reconsideration of the relationship between aesthetics and metaphysics, Henri Bergson and Visual Culture explores what it means to reconceptualise the visual arts in terms of duration. Atkinson revisits four key themes in Bergson's work – duration; time and the continuous gesture; the ramification of life and durational difference – and reveals Bergsonian aesthetics of duration through the application of these themes to a number of 19th and 20th-century artworks. This book introduces readers and art lovers to the work of Bergson and contributes to Bergsonian scholarship, as well as presenting a new of understanding the relationship between art and time.

Winner of the 2012 Godbey Authors' Awards presented by the Godbey Lecture Series in Southern Methodist University's Dedman College of Humanities and Sciences Living Consciousness examines the brilliant, but now largely ignored, insights of French philosopher Henri Bergson (1859–1941). Presenting a detailed and accessible analysis of Bergson's thought, G. William Barnard highlights how Bergson's understanding of the nature of consciousness and, in particular, its relationship to the physical world remain strikingly relevant to numerous contemporary fields. These range from quantum physics and process thought to philosophy of mind, depth psychology, transpersonal theory, and religious studies. Bergson's notion of consciousness as a ceaselessly dynamic, inherently temporal substance of reality itself provides a vision that can function as a persuasive alternative to mechanistic and reductionistic understandings of consciousness and reality. Throughout the work, Barnard offers "ruminations" or neo-Bergsonian responses to a series of vitally important questions such as: What does it mean to live consciously, authentically, and attuned to our inner depths? Is there a philosophically sophisticated way to claim that the survival of consciousness after physical death is not only possible but likely?