Parce que la pratique est subjective, la théorie qui est toujours la théorie d’un objet, ne peut atteindre la réalité de cette pratique, ce qu’elle est en elle-même, sa subjectivité précisément, mais seulement se la représenter, de telle manière que cette représentation laisse hors d’elle l’être réel de la pratique, l’effectivité du faire. La théorie ne fait rien.
French writer and philosopher (1922–2002)
Michel Henry (10 January 1922 – 3 July 2002) was a French philosopher, phenomenologist and novelist. He wrote five novels and numerous philosophical works. He also lectured at universities in France, Belgium, the United States, and Japan. His novel L'amour les yeux fermés (Love With Closed Eyes) has won the Renaudot Prize in 1976.
From: Wikiquote (CC BY-SA 4.0)
Alternative Names:
Phenomenological definition of God
From Wikidata (CC0)
Showing quotes in randomized order to avoid selection bias. Click Popular for most popular quotes.
Thus the Christian ethic presents itself from the start as a displacement from the realm of the word, meaning also of thought and knowledge, to the realm of action. This displacement is decisive for three reasons. First, it leads the world’s truth back to Life’s. Second, dissipating all the illusions that traditionally link the truth to representation, to theory, and to their ecstatic foundation, it unequivocally relates Life’s Truth to the process of its self-engendering, to the power of an action. Third, in life, it is precisely no longer the ego’s power, the I Can constitutive of its will and freedom, that is at issue, but the “Father’s Will,” or the process of absolute Life’s self-engendering. Now the ethic can link the two lives, the ego’s and God’s, in such a way that it assures the former’s salvation in practice. To do the Father’s will designates the mode of life in which the Self’s life takes place, so that what is henceforth accomplished in it is absolute Life in its essence and by its requirements.
This is because the doing carries life as its irresistible presupposition, because there is no doing unless given to itself in life’s self-givenness, unless the work of salvation is entrusted to it. Entrusted to doing and to action, but not to any old action. If we examine the list of works of mercy, we see that is not a simple enumeration of empirical attitudes and conduct that would be beneficial to people who practice them. A hidden contrast runs through them, but not an opposition between simple precepts still removed from their achievement in practice, which is demanded as the single road that leads to life. Instead, the opposition appears on the level of the action itself. It distinguishes and contrasts two types of action – in effect, one that leads to life and the other to death.
It is the nature of great revolutions not to be limited to the sphere of the phenomena from which they are born. Their effects spread over everything that exists. Such is the case with Kandinskian imagination: it overturns our concept of the imagination. [...] The imagination belongs to life; it develops there entirely and does not leave it. It does not produce a world before itself with luminous images and phenomena that shine -- nor does it produce images that would be the reproduction of these phenomena, copies serving to replace them. The imagination is immanent, because life experiences itself in an immediacy that is never broken and never separated from itself: it is a pathos and the plenitude of an overflowing experience lacking nothing.
What is true about heat and pain is also true about colour. The rock is no more red than it is hot or painful. It can only have a colour -- red, blue, yellow -- in the invisible life where the colour is felt, on the basis of 'feeling oneself' (se sentir soi-même). Life's feeling of itself and its feeling of colour is a pathos. Colour is not linked to a tonality through an external and contingent association that would vary with individuals. In the phenomenological substance of its flesh and being, colour is a sensation and subjectivity; it is this affective tonality and inner tone.
Men turned away from Life’s Truth, caught in all the traps and marvels where this life is denied, ridiculed, mimicked, simulated – absent. Men given over to the insensible, become themselves insensible, whose eyes are empty as a fish’s. Dazed men, devoted to specters and spectacles that always expose their own invalidity and bankruptcy; devoted to false knowledge, reduced to empty shells, to empty heads – to “brains.” Men whose emotions and loves are just glandular secretions. Men who have been liberated by making them think their sexuality is a natural process, the site and place of their infinite Desire. Men whose responsibility and dignity have no definite site anymore. Men who in the general degradation will envy the animals. Men will want to die – but not Life. It is not just any god today who is still able to save us, but – when the shadow of death is looming over the world – that One who is Living.
The genius of the Christian ethic is to point out in the simplest of ordinary lives, accessible to all and comprehensible by all, the concrete conditions – the circumstances, as it were – in which the extraordinary event is produced by which the ego’s life will be changed into God’s. As an example, let us consider the parable of the Good Samaritan (whose good deed is terrifyingly represented by Luca Giordano in the painting in the Rouen Museum). Someone like the priest or Levite, who passes by without helping the man robbed by brigands who has been thrown down and is covered with wounds – that person now advances along the route to perdition without knowing it. By contrast, the Samaritan, setting aside his own business, all preoccupations about himself or his interests, is concerned only with the unfortunate one. Taking him to an inn, having him tended, paying for everything – in short, practicing mercy, he has done everything that could be done to “inherit eternal life” (Luke 10:25-37). If such is the metaphysical destiny of the protagonists in the parable, it is good that acts are what count.
Because practice is subjective, theory which is always the theory of an object, can't access to the reality of this practice, what it is in itself, but only represent it, in such a way that this representation lets out of itself the real being of practice, the effectivity of the doing. Theory does nothing.
To radicalize the question of phenomenology is not only to aim for a pure phenomenality but to seek out the mode according to which it originally becomes a phenomenon -- the substance, the stuff, the phenomenological matter of which it is made, its phenomenologically pure materiality. That is the task of material phenomenology. Prior to this being-toward-the-outside in which everything is properly speaking placed outside of itself and in which every reality is a priori emptied and dispossessed of itself and thus becomes its contrary, an irreality, and prior to the abandonment and undoing that is called death and that would be unable to exist on its own, material phenomenology is devoted to the discovery of the reign of a phenomenality that is constructed in such a surprising way that the thought that always thinks about the world never thinks about it. To the internal structure of this originary manifestation, there belongs no Outside, no Separation, no Ek-stasis. Its phenomenological substance is not visibility. None of the categories that have been used by philosophy since the Greeks at any rate, are appropriate for it.
Notre chair porte en elle le principe de sa manifestation, et cette manifestation n’est pas l’apparaître du monde. En son auto-impressionnalité pathétique, en sa chair même, donnée à soi en l’Archi-passibilité de la Vie absolue, elle révèle celle-ci qui la révèle à soi, elle est en son pathos l’Archi-révélation de la Vie, la Parousie de l’absolu. Au fond de sa Nuit, notre chair est Dieu.
Kandinsky calls the content that painting must express, that is, our invisibility (or invisible life), 'abstract'. So, the Kandinskian equation can now be written as follows: <nowiki>Interior = interiority = invisible = life = pathos =</nowiki> abstract. Kandinsky also calls the means of painting 'abstract', so long as they are grasped in their purity. To the extent that they are abstract, colours and drawings are likewise inscribed in the equation formulated above, the equation which forms the original dimension of Being itself. In this respect, we have just discovered the true meaning of the concept of abstraction applied to painting.
We gaze petrified at the hieroglyphs of the invisible, as they too stand motionless or only slowly change against the background of a nocturnal sky. We watch forces that slumbered within us, waiting stubbornly and patiently for millennia, even from the beginning of time. These forces explode into the violence and gleam of colours; they open spaces and engender the forms of the worlds. The forces of the cosmos are awakened within us. They lead us outside of time to join in their celebration dance and they do not let go of us. They do not stop – because not even they believed that it was possible to attain 'such happiness'. Art is the resurrection of eternal life.
In the self-revelation of Life reality is given birth, any possible reality. […] This is why, from now on, we must reject an idea found in Hegel’s philosophy – and in its by-products such as its most tenacious expression, Marxism – before determining in turn many of the commonplaces of modern thought. This is the idea that Christianity is a flight from reality, inasmuch as it is a flight from the world. But if reality resides in Life and only in Life, this reproach disintegrates to the point of ultimately appearing as a non-sense. […] The content of Life – what it experiences – is Life itself, refers back to a more fundamental condition, to the very essence of the “Living,” to a mode of revelation whose specific phenomenality is the flesh of a pathos, pure affective material, in which any cleavage, any separation, finds itself radically excluded. It is uniquely because such is the phenomenological matter of which this revelation is made that we can say that in this revelation what reveals and what is revealed are one and the same. It is this pathetik phenomenological substance of living that defines and contains any conceivable “reality.”