drive, reconciling becoming with absolute being and change with identity". For the play drive to successfully mediate the two drives, human beings must learn passivity, to exercise their sense drive and become receptive of the world. They must also learn activity, to free their reason, as much as possible from the receptive. Accomplishing both, human beings are able to have a twofold experience simultaneously, "in which he were to be at once conscious of his freedom and sensible of his existence, were at one and the same time, to feel himself matter and come to know himself as mind". Therefore, by maximizing the constraint of the absolute and the contingency of the material, the play drive negates the demands of both drives and sets people free both physically and morally. To exist in this paradoxical state, would mean to have a "complete intuition of his human nature". Furthermore, "the object that afforded him this vision would become for him the symbol of his accomplished destiny" and this would serve him as a finite embodiment of the infinite. Schiller names this object of the play drive 'living form'. Living Form The living form comes from a mediation of the "objects" of the sense and the form drives. The object of the sense drive, Schiller calls life. This concept designates all material being and all that is immediately present to the senses. It is a function of the human condition. The object of the form drive, Schiller simply calls form. This concept includes all the formal qualities of things and their relationship to our reason. Schiller argues for the necessity of the interplay of the two objects in creation of a sculpture from a block of marble. "As long as we merely think about his form, it is lifeless, a mere abstraction; as long as we merely feel his life, it is formless, a mere expression. Only when his form lives in our feeling and his life takes on form in our understanding, does he become a living form". This experience of the living form, as a mediation of life and form by the play drive, is what Schiller calls the experience of beauty. "Beauty results from the reciprocal action of two opposed drives and from the uniting of two opposed principles. The highest ideal of beauty, therefore, to be sought in the most perfect possible union and equilibrium of reality and