  Heidegger’s view that the hints intelligibility offers us can be gestalted in more than one way makes him an ontological pluralist (or plural realist), but he does not believe that just anything goes. As his thoughts on the “rift-structure” permeating intelligibility suggest, Heidegger firmly believes that there is a coming into being in nature itself which the bringing into being through art should serve. This means that there must be limits on what the artist can creatively impose that arise from the matter itself. The “abundant” dimension of intelligibility Heidegger calls “earth” has to genuinely resist the artist’s creative efforts to bring it into the light of the world at some point (or points), or else art would just be a frictionless subjective projection or hallucination (or even a deeper ontological destructiveness masquerading as creativity), rather than an ontologically-maieutic gestalting that finds a genuinely creative way to be grounded in and truly responsive to the ways things show themselves. The importance of acknowledging that there is always something in intelligibility that resists our merely subjective designs (and not Carnap’s famous critique) seems to be the main reason Heidegger stopped talking about the “nothing” and began referring to the “earth.” All genuine creativity, all bringing-into-being, must learn to recognize and respect (what we could think of as) the texture of the text with which it works. This mean that all artists—indeed, all those who would bring-into-being in a meaningful way, whatever media they work with—must learn to draw creatively upon an elusive and excessive dimension of being that cannot be entirely appropriated, finally mastered, or definitively manipulated.[80]