... nothingness; creation; possibility; intuition ...

... simplicity; joy; optimism; intuition ...

... sympathy participation the artful duration intuition ...

... nonconscious affect relation event intuition ...

... imagination intuition synesthesia phenomenology embodied knowledge ...

... Francis Ford Coppola Apocalypse Now The Godfather improvisation intuition ...

... concludes that to start with the former gives rise to paradoxes, whereas to start with the latter, as Bergson’s simple intuition does, explains our continuous duration and the creative and unforeseeable newness of any free decision. The simplest of simplicities Bergson speaks of in The Creative Mind...

... is, the less satisfaction is gained from it and the less likely it is to correspond to an expert cost-to-benefit analysis. This can only mean that modes of intuition operate on the infra-individual level to clinch or orient decision. These have a positive power adapted to the situation and are not simply...

... This chapter delves into the embodied nature of molecular modeling, to examine how seeing, feeling, and knowing are intertwined with the work of crafting molecular models. It offers a phenomenological account of the role of the modeler’s imagination, judgment, and intuition in rendering...

...Foreword Murch calls attention to the essential place of improvisation and intuition in filmmaking practice, invoking examples from the Tamil filmmaking scenes in the book as well as his own experience as a filmmaker and editor. Calling on the work of Jean Cocteau, Francis Ford Coppola...

... Taking art’s medieval definition—the way—as the starting point, chapter 2 explores how art is less a practice of object-making than a direct engagement with duration. Working with Henri Bergson’s concepts of intuition and sympathy, the question becomes to what degree forms of making are always...

... is thus neither a creation ex nihilo nor a mechanical fabrication or rearrangement of old elements. It is a continually inventive immanence, an always-beginning improvisation among the innumerable plenitude of the real. Jankélévitch concludes the chapter by arguing that only intuition captures duration...

... The central claim of this chapter is that Bergson’s élan vital is not a teleology, only a direction. Like the free act, creative evolution allows for determinism only retroactively. Here Jankélévitch lays out Bergson’s method of philosophical intuition, which alone both follows and comprehends...

... of the modeler’s imagination, judgment, and intuition in rendering molecular structures. It introduces the concept of the “kinesthetic imagination” to account for the ways that modelers can both “see” molecular structures in their mind’s eye, and “feel” through the forces between atoms in a molecule...

..., seemingly intuitively, the three basic identity supports that are the proper name, the portrait, and the imprint. The portrait is drawn with a pencil, the cheek is a molded imprint of the artist’s, and the work is signed Tongue in Cheek , Marcel Duchamp, 1959. Marcel Duchamp readymade signature...