Barbarism (Continuum Impacts) by Michel Henry

By Michel Henry

Barbarism represents a<B>critique, from the viewpoint of Michel Henry's targeted philosophy of existence, of<B>the expanding power of technological know-how and expertise to damage the roots of<B>culture and the worth of the person person. For Henry, barbarism<B>is the results of a devaluation of human lifestyles and tradition which may be<B>traced again to the unfold of quantification, the clinical approach and<B>technology over all elements of contemporary existence. The ebook develops a compelling<B>critique of capitalism, expertise and schooling and gives a powerful<B>insight into the political implications of Henry's paintings. It additionally opens up a new<B>dialogue with different influential cultural critics, corresponding to Marx, Husserl, and Heidegger.<B> First released in French in 1987, Barbarism<B>aroused nice curiosity in addition to virulent feedback. at the present time the book<B>reveals what for Henry is a merciless truth: the tragic feeling of powerlessness<B>experienced through the aesthetic individual. mainly he argues for the importance<B>of returning to philosophy to be able to examine the foundation motives of<B>barbarism in our international. <B>

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This means that it is a world in which sensibility is no longer taken into account, even though it remains there as its unperceived condition. This is what the study of photographic reproductions of various materials in the microscope just showed. Their scientific character did not prevent them from appearing, inasmuch as this was an appearance of a world with “aes­ thetic” qualities. The situation is thus in reality as follows. There is only one world, and it is the lifeworld. It is possible to act toward this world in such a way that one puts its sensible qualities out of play and is no longer concerned with them at all.

If the sensible world perhaps does not exist (if it is only a dream), if all of the rational truths are false (if the evil genius tricks me when I believe that two plus three equals five or that “in order to think, I must indeed exist”), it is only because seeing, all conceivable seeing, is fallacious, the clearest as well as the most confused. The evidence that seems the most indubitable - for example, that of the cogito - could not escape from a doubt that strikes evidence as such. But if seeing is in itself fallacious, if the place where eve­ rything becomes visible is not a place of visibility, it is not a making appear or a showing but an induction into error, a dissimulation and a mistake.

To the plastic whole of the composition, which is the work itself, there necessarily cor­ responds an organic unity of the substrate. To the particular resemblance that is established each time between a part of the canvas and its aesthetic equivalent, there corresponds an overall resemblance between the work and its support. This is offered as a continuum; it has a sort of unity. It is not an internal unity that only belongs to the work, since the material use of colors is determined by the aesthetic effect that it will produce.

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