 Because intuition in Bergson is “integral experience” (The Creative Mind, p. 200), it is made up of an indefinite series of acts, which correspond to the degrees of duration. This series of acts is why Bergson calls intuition a method. The first act is a kind of leap, and the idea of a leap is opposed to the idea of a re-constitution after analysis. One should make the effort to reverse the habitual mode of intelligence and set oneself up immediately in the duration. But then, second, one should make the effort to dilate one’s duration into a continuous heterogeneity. Third, one should make the effort to differentiate (as with the color orange) the extremes of this heterogeneity. With the second and third steps, one can see a similarity to Plato’s idea of dialectic understood as collection and division. The method resembles that of the good butcher who knows how to cut at the articulations or the good tailor who knows how to sew pieces of cloth together into clothes that fit. On the basis of the division into extremes or into a duality, one can then confront our everyday “mixtures” of the two extremes. Within the mixture, one makes a division or “cut” into differences in kind: into matter and spirit, for instance. Then one shows how the duality is actually a monism, how the two extremes are “sewn” together, through memory, in the continuous heterogeneity of duration. Indeed, for Bergson, intuition is memory; it is not perception.