The change that perverts individual subjective praxis does not simply involve its reduction to stereotypical and monotonous acts. Along with this nar… - Michel Henry

The fact that the use of living work is reduced to almost nothing means that everything that humans once did can now be done by robots. But, the robot does not "do" anything; it is only the trigger and release on a mechanism. The only real action -- the action that exists in the feeling that one acts and that is coextensive with this feeling -- is the act of pushing a control button. From the beginning of the industrial era and as one effect of the gradual replacement of the "force of work" by natural energies, it was possible to anticipate the reduction of the activity of workers to the work of oversight. This signifies an atrophy of almost all of the subjective potentialities of the living individual and thus a malaise and growing dissatisfaction.

Even if this historical genesis is true and does have the merit of making Kandinsky's evolution more or less analogous to those of other great artists of his time and thereby 'comprehensible', it nonetheless falsifies the true meaning of abstract painting to the point of completely concealing its rationality. The problem of pictorial representation did not come to be reconceived due to a crisis of objectivity that is more or less analogous on the aesthetic plane to what it was in the scientific domain, and in particular, the physics of the period. It does not come from a reworking of perceptual representation, either. Kandinsky's abstraction came from a sudden failure of the object, its inability to define the content of the work any longer. This abstraction, this content -- the 'abstract content' -- is invisible life in its ceaseless arrival into itself. This continual emergence of life, its eternally living essence, provides the content of painting and at the same time imposes a project on the artist, namely, that of expressing this content and the pathetic profusion of Being. 'Abstract' no longer refers to what is derived from the world at the end of a process of simplification or complication or at the end of the history of modern painting; instead, it refers to what was prior to the world and does not need the world in order to exist. It refers to the life that is embraced in the night of its radical subjectivity, where there is no light or world.

The community is a subterranean affective layer and each one drinks the same water at this source and at from this wellspring which he is itself -- but without knowing it, without distinguishing between the self, the other, and the Basis.