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This essay takes advantage of the current context of superdiversity to define a form of hybrid heuristics between North American anthropology and research-creation "in" the arts. In an attempt to alleviate the epistemological disaster described by Gregory Bateson as the loss of the unity of the biosphere and humanity, I position myself within a nomothetic perspective of Boasian anthropology and a postqualitative approach to research-creation. My research-creation proposes clay as an epistemic object and develops a creative methodology in the form of an experimental system that borrows from the following two types of change observable in living organisms: static and schismatic changes. The artistic activities, presented as two heuristic cycles, seek to broaden the self-reflexivity inherent in the use of clay by human groups. They provoke decentring leading to a loss of control where a new identity has to be defined. This reveals itself in terms of system thinking as the reconstruction of a new reality that is defined neither entirely by my artistic practice nor entirely by my theoretical framework derived from anthropology. It is a "place of passage" between both. It is a new identity that can be defined by the "change of change" that I call "creative anthropology". This transdisciplinary approach introduces a "second glance" into anthropological research and opens up breaches through research-creation. It works to develop new narratives and test posthumanism in the field of my artistic practice. [ABSTRACT FROM AUTHOR]