The concept of sublimation in its Freudian framing is problematic since it introduces assumptions that are foreign to Freud's own theory of sexuality: there is, strictly speaking, no such thing as an a-sexual aim of a sexual drive. Freud's view of the drive- conflict, on the contrary, describes various sexual drives encountering resistance from others ('organic repression') and these others receiving their support from culture. Sublimation has its theoretical place precisely in this image of the conflict. It comes to the aid of the initial, nascent drives jointly outlawed by nature and culture, and assists them in achieving a new, culture-conditioned, exceptional and triumphal appreciation. Sublimation demands what individuals would deny themselves, thus helping them to overcome their organic/cultural inhibitions. Seen thus, sublimation does not change the drive itself but rather its cultural estimation. It is work on culture. Yet the products (and the means of production) of this work are trophies from societal battle. Accordingly, they are very unequally distributed in different societies.