The problem of beginning in the System of Transcendental Idealism

The discovery of the poietic character of the supreme principle of being and knowledge motivates Schelling to call the art organon of the transcendental idealism in his System from 1800 and at the same time to modify both modern metaphysics and aesthetics. Schelling attempts to deduce all relative (conditioned) inceptions from a single, absolute (unconditioned) principle whose essence is poiesis. Philosophy of art is not only related to the absolute principle, but also to the finish of the System, with the definition of philosophy (rather with its self-de-fin-ition). If the system has an end, if it finishes in a work of art, it does not mean that the infinite is exhausted in the finite. Absolutum means the complete, the finished (das Vollendete) in the sense of something perfect. The system ends in art, without "finishing" , without wearing out, simply with self-confirming its intellective and productive (poietic) essence, with self-defining as Ideal-realism.