Graham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, (...) or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance. (shrink)

Graham Harman’s Object-Oriented Ontology has employed a variant of occasionalist causation since 2002, with sensual objects acting as the mediators of causation between real objects. While the mechanism for living beings creating sensual objects is clear, how nonliving objects generate sensual objects is not. This essay sets out an interpretation of occasionalism where the mediating agency of nonliving contact is the virtual particles of nominally empty space. Since living, conscious, real objects need to hold sensual objects as sub-components, but nonliving (...) objects do not, this leads to an explanation of why consciousness, in Object-Oriented Ontology, might be described as doubly withdrawn: a sensual sub-component of a withdrawn real object. (shrink)

This article mounts a defense of Object-Oriented Ontology (OOO) from various criticisms made in Russell Sbriglia and Slavoj Žižek’s co-edited anthology Subject Lessons. Along with Sbriglia and Žižek’s own Introduction to the volume, the article responds to the chapters by Todd McGowan, Adrian Johnston, and Molly Anne Rothenberg, the three in which my own version of OOO is most frequently discussed.