 The inverted cone image is no exception to Bergson’s belief that all images are inadequate to duration. The inverted cone is really supposed to symbolize a dynamic process, mobility. Memories are descending down the cone from the past to the present perception and action. The idea that memories are descending means that true memory in Bergson is progressive. This progressive movement of memory as a whole takes place, according to Bergson, between the extremes of the base of “pure memory,” which is immobile and which Bergson calls “contemplation” (Matter and Memory, p. 163), and the plane where action takes place. Whenever Bergson in any of his works mentions contemplation, he is thinking of Plotinus, on whom he lectured many times. But, in contrast to Plotinus, for Bergson, thinking is not mere contemplation; it is the entire or integral movement of memory between contemplation and action. Thinking, for Bergson, occurs when pure memory moves forward into singular images. This forward movement occurs by means of two movements which the inverted cone symbolizes. On the one hand, the cone is supposed to rotate. Bergson compares the experience of true memory to a telescope, which allows us to understand the rotating movement. What we are supposed to visualize with the cone is a telescope that we are pointing up at the night sky. Thus, when I am trying to remember something, I at first see nothing all. What will help us understand this image is the idea of my character. When I try to remember how my character came about, at first, I might not remember anything; no image might at first come to mind. Pure memory for Bergson precedes images; it is unconscious. But, I try to focus, as if I were rotating the rings that control the lenses in the “telescope”; then some singular images come into view. Rotation is really the key to Bergson’s concept of virtuality. Always, we start with something like the Milky Way, a cloud of interpenetration; but then the cloud starts to condense into singular drops, into singular stars. This movement from interpenetration to fragmentation, from unity to multiplicity, (and even from multiplicity to juxtaposition) is always potential or virtual. But the reverse process is also virtual. Therefore the cone has a second movement, “contraction” (Matter and Memory, p. 168). If we remain with the telescope image, we can see that the images of the constellation must be narrowed, brought down the tube so that they will fit into my eye. Here we have a movement from singular images to generalities, on which action can be based. The movement of memory always results in action. But also, for Bergson, this twofold movement of rotation and contraction can be repeated in language. Even though Bergson never devotes much reflection to language – we shall return to this point below– he is well aware that literary creation resembles natural creation. Here we should consult his early essay on laughter. But, with this creative movement, which is memory, we can turn to creative evolution.