Élan vital in the context of "Vitalism"

Eliminative materialism (also called eliminativism) is a materialist position in the philosophy of mind that expresses the idea that the majority of mental states in folk psychology do not exist. Some supporters of eliminativism argue that no coherent neural basis will be found for many everyday psychological concepts such as belief or desire, since they are poorly defined. The argument is that psychological concepts of behavior and experience should be judged by how well they reduce to the biological level. Other versions entail the nonexistence of conscious mental states such as pain and visual perceptions.

Eliminativism about a class of entities is the view that the class of entities does not exist. For example, materialism tends to be eliminativist about the soul; modern chemists are eliminativist about phlogiston; modern biologists are eliminativist about élan vital; and modern physicists are eliminativist about luminiferous ether. Eliminative materialism is the relatively new (1960s–70s) idea that certain classes of mental entities that common sense takes for granted, such as beliefs, desires, and the subjective sensation of pain, do not exist. The most common versions are eliminativism about propositional attitudes, as expressed by Paul and Patricia Churchland, and eliminativism about qualia (subjective interpretations about particular instances of subjective experience), as expressed by Daniel Dennett, Georges Rey, and Jacy Reese Anthis.

Vitalism is an idea that living organisms are differentiated from the non-living by the presence of forces, properties or powers including those which may not be physical or chemical. Varied forms of vitalist theories were held in former times and they are now considered pseudoscientific concepts. Where vitalism explicitly invokes a vital principle, that element is often referred to as the "vital spark", "energy", "élan vital" (coined by vitalist Henri Bergson), "vital force", or "vis vitalis", which some equate with the soul. In the 18th and 19th centuries, vitalism was discussed among biologists, between those belonging to the mechanistic school who felt that the known mechanics of physics would eventually explain the difference between life and non-life and vitalists who argued that the processes of life could not be reduced to a mechanistic process. Vitalist biologists such as Johannes Reinke proposed testable hypotheses meant to show inadequacies with mechanistic explanations, but their experiments failed to provide support for vitalism. Biologists now consider vitalism in this sense to have been refuted by empirical evidence, and hence regard it either as a superseded scientific theory, or as a pseudoscience since the mid-20th century.

Vitalism has a long history in medical philosophies: many traditional healing practices posited that disease results from some imbalance in vital forces.

In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching aspects of music such as harmony, melody, sound, and rhythm, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one musical language, or modernist style, ever assumed a dominant position.

Examples include the celebration of Arnold Schoenberg's rejection of tonality in chromatic post-tonal and twelve-tone works and Igor Stravinsky's move away from symmetrical rhythm.

Creative Evolution (French: L'Évolution créatrice) is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. The book proposed a version of orthogenesis in place of Darwin's mechanism of natural selection, suggesting that evolution is motivated by the 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.

The book also developed concepts of time (offered in Bergson's earlier work) which significantly influenced modernist writers and thinkers such as Marcel Proust and Thomas Mann. 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 intuition.