indifferent to discriminations, posterior and empirical, to reality and
to unreality, to formations and perceptions of space and time, even when
posterior: intuition or representation is distinguished as form from
what is felt and suffered, from the flux or wave of sensation, or from
psychic material; and this form this taking possession of, is
expression. To have an intuition is to express. It is nothing else!
(nothing more, but nothing less) than _to express_.




II

INTUITION AND ART


[Sidenote] _Corollaries and explanations._

Before proceeding further, it seems opportune to draw certain
consequences from what has been established and to add some explanation.

[Sidenote] _Identity of art and intuitive knowledge._

We have frankly identified intuitive or expressive knowledge with the
aesthetic or artistic fact, taking works of art as examples of intuitive
knowledge and attributing to them the characteristics of intuition, and
_vice versa_. But our identification is combated by the view, held even
by many philosophers, who consider art to be an intuition of an
altogether special sort. "Let us admit" (they say) "that art is
intuition; but intuition is not always art: artistic intuition is of a