For Schelling this shows the limit of philosophical cognition and at the same time the importance of works of art. By refusing the claim to say or represent the synthesis of unconscious and conscious, the work of art rather shows it. Therefore art can be said to be the “the eternal organ and document of philosophy” whose basic character is an “unconscious infinity” that arises in the work of art’s synthesis of nature and freedom. While the artist initiates a work of art with a manifest, conscious intention, she, in an unconscious and unintentional manner, depicts infinity without representing or saying it. Such an unintentional showing exceeds the representational acts of consciousness. It cannot be reduced to categorical statements. Therefore works of art cannot be understood on the basis of pre-given set of rules. Works of art are not exhausted in the normative or axiomatic definitions as to ‘what constitutes art as such’. What constitutes the ‘essence’ of art lies rather in its excess of showing over the said. In that sense works of art are more analogous with organisms by virtue of its existing as a link between unconsciousness and consciousness. Such a link can only be shown and therefore remains irreducible to the propositional character of judgment. Schelling develops such insights further in his lectures on The Philosophy of Art (1802), two years after The System of Transcendental Idealism . Unlike Hegel’s lectures on Aesthetics where Hegel argues that “the work of art is a thing of the past” in so far as it no longer has an essential relation to the Absolute even though works of art will continue to be produced, and thus pass into the sobriety of philosophy’s Absolute Knowledge, Schelling sees works of art and philosophy as manifesting the differential mode of the Absolute where art retains an essential, singular and irreducible role.