THE GEOMETRY OF LIFE, Bergson’s philosophy revisited
Henri Bergson, one of the most influential philosophers of the 20th century, boldly claimed that “disorder does not exist.” Central to his philosophy is the distinction between geometric order and vital order, as well as his assertion that the contrary of geometric order is oppression rather than chaos. Bergson’s ideas challenge conventional views on the nature of order and invite us to explore the dynamic interplay between these two forms of organization.
However, while Bergson emphasizes the fluidity and adaptability of vital order, I would argue here that it is equally important to acknowledge that geometric principles are not limited to human systems - they are deeply embedded in the fabric of nature itself.
This essay will attempt to explore Bergson’s view of order, critique the dichotomy he creates between geometric and vital order, and argue that nature exhibits a synthesis of both.
Geometric order, in Bergson’s view, represents the structured, static, and mechanical frameworks often imposed by human reason. It is the kind of order seen in mathematical precision, technological systems, and bureaucratic organization. While such order brings predictability and control, Bergson warns that its rigidity can stifle creativity and suppress the fluid, dynamic processes of life.
For Bergson, the opposite of geometric order is not chaos but oppression - an overextension of rigidity that constrains the natural flow of life. This critique is particularly relevant in modern societies, where over-regulated systems often hinder spontaneity, individuality, and innovation.
However, Bergson’s critique of geometric order might seem to discount the fact that geometry is not solely a human construct. Nature itself exhibits countless examples of geometric patterns and principles, suggesting that geometric order is as intrinsic to life as vital order.
Vital order, as described by Bergson, is the order of life itself - organic, evolving, and adaptive. Unlike geometric order, which is imposed externally, vital order emerges naturally from the inherent dynamism of living systems. It is observable in phenomena such as the self-organization of ecosystems, the intricate interplay of species within habitats, and the ceaseless motion of evolution.
Bergson emphasizes that vital order is not static but in constant flux. What might appear as disorder in this context is often an expression of a deeper, adaptive logic. For instance, the “chaos” of a rainforest ecosystem or the apparent randomness of an ant colony’s movements are, upon closer examination, highly organized systems operating under complex principles of interdependence and feedback.
While Bergson celebrates the fluidity of vital order, it is crucial to recognize that nature also embodies geometric principles, often in stunning ways. This suggests that the dichotomy between geometric and vital order may not be as stark as Bergson implies. In fact, nature often integrates these two forms of order seamlessly.
The geometric patterns found in nature are numerous and profound. Consider the following examples:
These examples illustrate that geometric principles are not antithetical to vital order but are deeply embedded within it. Nature does not reject geometry; rather, it incorporates geometric patterns into its dynamic processes, creating a synthesis of structure and flow.
Bergson’s assertion that disorder does not exist can be enriched by recognizing the harmony between geometric and vital order in nature. Instead of viewing these two forms of order as opposites, we can see them as complementary. Geometric patterns provide a structural framework, while vital processes bring adaptability and evolution.
For example, the geometric patterns in a honeycomb structure enable bees to maximize storage efficiency, while the colony’s behavior exhibits the adaptability and fluidity of vital order. Similarly, the spiral shells of mollusks follow precise mathematical principles, yet the growth and development of these shells are driven by the dynamic processes of life.
Even in human systems, the most successful designs often blend geometric precision with the adaptability of vital order. A city, for instance, may have a grid-like layout (geometric order) but thrives when it allows for organic growth, cultural diversity, and creative expression (vital order).
Acknowledging the interplay between geometric and vital order invites a more holistic understanding of the world. It encourages us to move beyond rigid frameworks that prioritize one form of order over the other and instead embrace the complexity of their integration.
This perspective has practical implications for how we design systems, structures, and societies. It suggests that while geometric precision is valuable, it must be balanced with the flexibility and adaptability of vital order. Overemphasis on one at the expense of the other can lead to either rigidity (oppression) or inefficiency (chaos).
Moreover, this synthesis aligns with Bergson’s deeper philosophical project: to transcend the static, mechanistic view of reality and appreciate the dynamic, evolving nature of existence. Recognizing the geometric patterns inherent in nature enriches this project, revealing that even the most fluid and adaptive systems are underpinned by profound structural principles.
Henri Bergson’s assertion that disorder does not exist offers a compelling challenge to conventional notions of chaos and invites us to explore the deeper orders that govern reality. While he distinguishes between geometric and vital order, it is essential to recognize that these two forms of order are not mutually exclusive. Nature itself demonstrates a profound synthesis of geometric precision and vital dynamism, creating a world that is both structured and adaptive.
By reconciling these perspectives, we can develop a richer understanding of order that transcends rigid dichotomies. In doing so, we honor the complexity and beauty of the universe, embracing both its patterns and its flux as expressions of a deeper harmony.