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Ruyer demonstrates that a harmony-finality [finalité-harmonie] is at work in the formation of physical beings. This finality contradicts mechanisms, and distinguishes itself from the intention-finality [finalité-intention], which is only a way of speaking about finality. The latter is secondary and depends on an illusion of a subject of activity, which is set in front of it. This illusion is inevitable for the pragmatic reason that the activity is staged [mise en scène]. Against Hume, Ruyer shows that beings are indeed organizing, but insofar as they are subjectivities—constantly active “absolute domains” that take form according to types, essences or themes, in accordance with a harmonious dynamism, analogous to the formation of a musical improvisation or the creation of a painting.