With the aim of deepening the discussion about a philosophical approach within artistic research, we seek to explore the interaction between process in artistic practices and the Bergsonian/Deleuzian method of intuition and the establishment of a common ground between both. We propose to look at intuition from three vantage points: first, as a mode of knowledge-creation that is aesthetic, immediate, and unmediated, unprocessed by rational reflection and not founded in established scholarship; second, as a method as proposed by Bergson and intuitively developed by Deleuze in Bergsonism (1988)—how the three (five) rules of the method are not to be reconciled with a priori or a posteriori determinations as things in themselves but instead with the differential progression of otherness as the event’s becoming; third, as within the advancement of creative process as the production of change in terms of time seen as solution to a specific problem.
Intuitive innovation lies at the juncture of the repositioning of method and valuation. The convergence between ways of knowing, ways of being and ways of doing is producing new practices that articulate epistemology, ontology, and praxis along new creative lines as hybrid pursuits. The aesthetic problems brought forth—both in terms of immediate experience and art practice—are not always expressible, classifiable, or determined according to disciplined knowledge. They require deployment within variegated ecologies of being, of thought, of practice, of encounter, for the advance of a solution as intuitional apprehension. To conciliate the tension between creative process, method, and valuation within artistic practice, we move away from the perennial preoccupation with the production of tangible, material results and recognise that different articulations of intuition produce in different ways. In contrast to the understanding of intuition as an immediate apprehension of unmediated experience, the method of intuition involves a critique of false problems and the inventive production of genuine ones. This consists in the narrowing, convergence, and contraction of a problem’s positing into a solution, and thinking in terms of duration. These strategies align and attune one another toward the casting of a precise and unambiguous problem while determining the instantaneous formulation of an exact, exacting, and fitting solution in creative process.
Rather than elaborate a step-by-step protocol or a DIY how-to guide to the correct use of intuition as method, we situate the three moments of intuition as appropriate problematisation, differentiation within differentiation, and temporalising problems relative to the creative advance of process. As such, we posit intuition as the reorientation of the concern of research-creation with the differential of the experiential as an attunement of the immediate, self-referential advance into novelty with the affective and the durational. The immediacy of creative experience becomes knowledge through the direct comprehension of temporality through difference arising in doing—ultimately, it is through intuition that creative process as difference in kind can become known as the advance of time.
Deleuze, Gilles. 1988. Bergsonism. Translated by Hugh Tomlinson and Barbara Habberjam. New York: Zone Books.