In his early aesthetic thought, Lukács distinguishes—taking up Neo-Kantian terminology—different spheres of reality from each other. The most immediate sphere is the “reality of experience” in which everything appears as an object of qualitative experience, or (in the 1916 version) as having a given object character (Gegenständlichkeit) that is fundamentally heterogeneous. Lukács envisages two arguments concerning the role that art can play in relation to this sphere: in the 1912 Philosophy of Art, he argues that any adequate communication of meaning between persons must appear impossible from within this sphere, since the infinite qualitative differences of experience cannot ever be successfully communicated. However, the inevitable desire to communicate meaning drives people to adopt different means of communication that, even though inadequate for expressing the reality of experience, enable persons to overcome their separateness by relating to each other in terms of other spheres of reality (for example, the sphere of logical validity). While logic and ethics constitute “pure” spheres of communicable meaning, however, the categories of the aesthetic cannot be ever so fully separated from the possibility of experience.