Abstract

Nicolai Hartmann describes how artistic objects arise through the interplay between a material foreground and immaterial background. In this paper, I show how the layered structure also prevents the modal imbalance inherent in artistic objects from violating the intermodal laws of the real. The real law of intermodal implication specifies that real possibility cannot extend beyond real necessity. I begin by explicating the real intermodal laws and describing how they give the real sphere its characteristic narrowness and determinateness. Hartmann describes artistic objects as entailing a possibility that extends beyond real necessity. This intermodal imbalance does not, however, threaten the hegemony of the real intermodal laws, because only its foreground layer is fully situated within the real sphere of being. Its background layer has components that belong to the ideal sphere governed by the ideal modes. For the ideal modes, the law of intermodal implication only holds in one direction so that what is necessary must be actual and what is actual must be possible. Since this relation of implication is not reciprocal for the ideal modes, ideal possibility implies neither ideal actuality nor ideal necessity.