The things seen, the play of attention in the visual field, the successive attractions of a colour then a shape, a sound, a smell, the feeling of the breeze on the skin, the weight of the body on this bench, the warmth of the air, inner sensations of body processes, the thoughts, their way of belonging to me, their peculiar mineness, the seeking, the intention to seek, and the realm in which this all takes place, and the sense that it is always foreclosed before I appear on the scene; and the absences as varied and rich and interdependent as the presences but in a different register - all of these phenomena seem to be marked by and to essentially belong to a division between objective and subjective poles, noemata and noeses, which is as unstable, dynamic and seemingly playful as the border between water and sand on a surf-washed beach. The contrasts, surprises and sheer creativity of these process seem to exceed any notion of what is possible in objectivity, but in fact it is nothing but objectivity, the dance of prakriti; what appeared to be noesis was only a parallax view of certain noema, just as is this current act of apprehension. But if all phenomena, including everything subjective, are mere objects, fleetingly salient noemata, this does not exactly do away with noesis, it merely indicates its unspeakable stature.