Abstract 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 Yet real objects are withdrawn; how are we aware of their fusion?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must be a tension between sensual objects that draw the experiencer to believe, or alieve, they are in contact with the withdrawn real.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.

中文翻译：

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艺术与本体

摘要格雷厄姆·哈曼（Graham Harman）将艺术的吸引力描述为真实对象与感官品质的张力和融合，从而使现实似乎向我们开放。然而，真实的物体却被收回了。我们如何知道他们的融合？由于哈曼的本体论要求真实对象之间的接触只能通过感官对象发生，因此本文探讨了这样一种观念，即艺术的吸引力必须是吸引体验者相信或满足于与撤回的真实对象接触的感官对象之间的张力。通过查看代表性绘画和手工魔术技巧中的示例，我们可以看到本体艺术对象至少使用四个精心分离的感官对象来产生其美学效果。结论总结出诱惑是一种感性的客体过程，