Creative Evolution

The history of the evolution of life, incomplete as it yet is, already reveals to us how the intellect has been formed, by an uninterrupted progress, along a line which ascends through the vertebrate series up to man. It shows us in the faculty of understanding an appendage of the faculty of acting, a more and more precise, more and more complex and supple adaptation of the consciousness of living beings to the conditions of existence that are made for them. Hence should result this consequence that our intellect, in the narrow sense of the word, is intended to secure the perfect fitting of our body to its environment, to represent the relations of external things among themselves--in short, to think matter. Such will indeed be one of the conclusions of the present essay. We shall see that the human intellect feels at home among inanimate objects, more especially among solids, where our action finds its fulcrum and our industry its tools; that our concepts have been formed on the model of solids; that our logic is, pre-eminently, the logic of solids; that, consequently, our intellect triumphs in geometry, wherein is revealed the kinship of logical thought with unorganized matter, and where the intellect has only to follow its natural movement, after the lightest possible contact with experience, in order to go from discovery to discovery, sure that experience is following behind it and will justify it invariably.

Creative Evolution (French: L'Evolution creatrice) is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. The book provides an alternate explanation for Darwin's mechanism of evolution, suggesting that evolution is motivated by an élan vital, a "vital impetus" that can also be understood as humanity's natural creative impulse. The book was very popular in the early decades of the twentieth century, before the Neodarwinian synthesis was developed.

The book also develops concepts of time (offered in Bergson's earlier work) which significantly influenced modernist writers and thinkers such as Marcel Proust. For example, Bergson's term "duration" refers to a more individual, subjective experience of time, as opposed to mathematical, objectively measurable "clock time." In Creative Evolution, Bergson suggests that the experience of time as "duration" can best be understood through creative intuition, not through intellect.

Harvard philosopher William James intended to write the introduction to the English translation of the book, but died in 1910 prior to its completion.