I. The Three Intuitions
IA. Eidetic Intuitions
Intuition is supposed to be a form of direct access. Yet, direct access to what? Does it access directly "intuitions" (abstract objects, akin to numbers or properties - see "Bestowed Existence")? Are intuitions the objects of the mental act of Intuition? Perhaps intuition is the mind's way of interacting directly with Platonic ideals or Phenomenological "essences"? By "directly" I mean without the intellectual mediation of a manipulated symbol system, and without the benefits of inference, observation, experience, or reason.
Kant thought that both (Euclidean) space and time are intuited. In other words, he thought that the senses interact with our (transcendental) intuitions to produce synthetic a-priori knowledge. The raw data obtained by our senses -our sensa or sensory experience - presuppose intuition. One could argue that intuition is independent of our senses. Thus, these intuitions (call them "eidetic intuitions") would not be the result of sensory data, or of calculation, or of the processing and manipulation of same. Kant's "Erscheiung" ("phenomenon", or "appearance" of an object to the senses) is actually a kind of sense-intuition later processed by the categories of substance and cause. As opposed to the phenomenon, the "nuomenon" (thing in itself) is not subject to these categories.
Descartes' "I (think therefore I) am" is an immediate and indubitable innate intuition from which his metaphysical system is derived. Descartes' work in this respect is reminiscent of Gnosticism in which the intuition of the mystery of the self leads to revelation.
Bergson described a kind of instinctual empathic intuition which penetrates objects and persons, identifies with them and, in this way, derives knowledge about the absolutes - "duration" (the essence of all living things) and "elan vital" (the creative life force). He wrote: "(Intuition is an) instinct that has become disinterested, self-conscious, capable of reflecting upon its object and of enlarging it indefinitely." Thus, to him, science (the use of symbols by our intelligence to describe reality) is the falsification of reality. Only art, based on intuition, unhindered by mediating thought, not warped by symbols - provides one with access to reality.
Spinoza's and Bergson's intuited knowledge of the world as an interconnected whole is also an "eidetic intuition".
Spinoza thought that intuitive knowledge is superior to both empirical (sense) knowledge and scientific (reasoning) knowledge. It unites the mind with the Infinite Being and reveals to it an orderly, holistic, Universe.
Friedrich Schleiermacher and Rudolf Otto discussed the religious experience of the "numinous" (God, or the spiritual power) as a kind of intuitive, pre-lingual, and immediate feeling.
Croce distinguished "concept" (representation or classification) from "intuition" (expression of the individuality of an objet d'art). Aesthetic interest is intuitive. Art, according to Croce and Collingwood, should be mainly concerned with expression (i.e., with intuition) as an end unto itself, unconcerned with other ends (e.g., expressing certain states of mind).
Eidetic intuitions are also similar to "paramartha satya" (the "ultimate truth") in the Madhyamika school of Buddhist thought. The ultimate truth cannot be expressed verbally and is beyond empirical (and illusory) phenomena. Eastern thought (e.g. Zen Buddhism) uses intuition (or experience) to study reality in a non-dualistic manner.
IB. Emergent Intuitions
A second type of intuition is the "emergent intuition". Subjectively, the intuiting person has the impression of a "shortcut" or even a "short circuiting" of his usually linear thought processes often based on trial and error. This type of intuition feels "magical", a quantum leap from premise to conclusion, the parsimonious selection of the useful and the workable from a myriad possibilities. Intuition, in other words, is rather like a dreamlike truncated thought process, the subjective equivalent of a wormhole in Cosmology. It is often preceded by periods of frustration, dead ends, failures, and blind alleys in one's work.
Artists - especially performing artists (like musicians) - often describe their interpretation of an artwork (e.g., a musical piece) in terms of this type of intuition. Many mathematicians and physicists (following a kind of Pythagorean tradition) use emergent intuitions in solving general nonlinear equations (by guessing the approximants) or partial differential equations.
Henri Poincaret insisted (in a presentation to the Psychological Society of Paris, 1901) that even simple mathematical operations require an "intuition of mathematical order" without which no creativity in mathematics is possible. He described how some of his creative work occurred to him out of the blue and without any preparation, the result of emergent intuitions. These intuitions had "the characteristics of brevity, suddenness and immediate certainty... Most striking at first is this appearance of sudden illumination, a manifest sign of long, unconscious prior work. The role of this unconscious work in mathematical invention appears to me incontestable, and traces of it would be found in other cases where it is less evident."
Subjectively, emergent intuitions are indistinguishable from insights. Yet insight is more "cognitive" and structured and concerned with objective learning and knowledge. It is a novel reaction or solution, based on already acquired responses and skills, to new stimuli and challenges. Still, a strong emotional (e.g., aesthetic) correlate usually exists in both insight and emergent intuition.
Intuition and insight are strong elements in creativity, the human response to an ever changing environment. They are shock inducers and destabilizers. Their aim is to move the organism from one established equilibrium to the next and thus better prepare it to cope with new possibilities, challenges, and experiences. Both insight and intuition are in the realm of the unconscious, the simple, and the mentally disordered. Hence the great importance of obtaining insights and integrating them in psychoanalysis - an equilibrium altering therapy.
IC. Ideal Intuitions
The third type of intuition is the "ideal intuition". These are thoughts and feelings that precede any intellectual analysis and underlie it. Moral ideals and rules may be such intuitions (see "Morality - a State of Mind?"). Mathematical and logical axioms and basic rules of inference ("necessary truths") may also turn out to be intuitions. These moral, mathematical, and logical self-evident conventions do not relate to the world. They are elements of the languages we use to describe the world (or of the codes that regulate our conduct in it). It follows that these a-priori languages and codes are nothing but the set of our embedded ideal intuitions.
As the Rationalists realized, ideal intuitions (a class of undeniable, self-evident truths and principles) can be accessed by our intellect. Rationalism is concerned with intuitions - though only with those intuitions available to reason and intellect. Sometimes, the boundary between intuition and deductive reasoning is blurred as they both yield the same results. Moreover, intuitions can be combined to yield metaphysical or philosophical systems. Descartes applied ideal intuitions (e.g., reason) to his eidetic intuitions to yield his metaphysics. Husserl, Twardowki, even Bolzano did the same in developing the philosophical school of Phenomenology.
About the Author
Sam Vaknin is the author of Malignant Self Love - Narcissism Revisited and After the Rain - How the West Lost the East. He is a columnist for Central Europe Review, PopMatters, and eBookWeb , a United Press International (UPI) Senior Business Correspondent, and the editor of mental health and Central East Europe categories in The Open Directory Bellaonline, and Suite101.
Visit Sam's Web site at http://samvak.tripod.com