An alternative is to be found in the idealist conception of art as an activity directed at the creation of a meaningful totality and in Schiller’s view of artistic activity, which is not an application of external, given laws but a form of play (1923a: 138). However, the conceptualization of practice from the standpoint of aesthetics obscures its historical dimension. Lukács acknowledges Hegel as the thinker who came nearest to finding a solution to this problem by recognizing that it is the totality of concrete history, understood as the expression of a subject, of a “we”, which is the only standpoint from which the antinomies between form and content can be overcome (1923a: 146f.). But Hegel adopts a mythologizing view of this subjectivity in terms of a “World Spirit” that lies beyond any concrete historical agency. The subject Hegel desperately tried to find could only be discovered by Marx—it is the proletariat to which Lukács assigns the role of the “subject-object” of history (1923a: 149).