ArgumentThis paper arrives at a normative position regarding the relevance of Henri Bergson's philosophy to historical enquiry. It does so via experimental historical analysis of the adaptation of cinematographic devices to physiological investigation. Bergson's philosophy accorded well with a mode of physiological psychology in which claims relating to mental and physiological existence interacted. Notably however, cinematograph-centered experimentation by British physiologists including Charles Scott Sherrington, as well as German-trained psychologists such as Hugo Münsterberg and Max Wertheimer, contributed to a cordoning-off of psychological from physiological questioning during the early twentieth century. Bergson invested in a mode of intellectual practice in which psychological claims had direct relevance to the interpretation of physiological nature. The in-part cinematograph-inspired breakdown of this mode had significance for subsequent interpretations of his philosophy. It is suggested that this experimental particularization of Bergson's contentions indicates that any adaptation of his thought for historical enquiry must be disciplinarily specific.

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规范生理心理学：电影摄影作为亨利·柏格森和查尔斯·斯科特·谢灵顿作品中的认知工具

论点本文就亨利·柏格森的哲学与历史探究的相关性达成了规范性立场。它通过对电影设备适应生理研究的实验历史分析来做到这一点。柏格森的哲学非常符合一种生理心理学模式，在这种模式中，关于心理和生理存在的主张相互影响。然而，值得注意的是，包括查尔斯·斯科特·谢灵顿在内的英国生理学家以及受过德国培训的心理学家如雨果·明斯特伯格和马克斯·韦特海默以电影摄影为中心的实验，促成了 20 世纪早期将心理问题与生理问题隔离开来。柏格森投资于一种智力实践模式，其中心理主张与对生理本质的解释直接相关。这种模式的部分受电影启发的崩溃对随后对他的哲学的解释具有重要意义。有人认为，柏格森论点的这种实验性的具体化表明，他的思想对历史探究的任何改编都必须在学科上具体化。