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The media of culture -- mosaics, frescoes, engravings, books, music -- usually had a sacred theme; in any case, their theme was the growth of life's … - Michel Henry
" "The media of culture -- mosaics, frescoes, engravings, books, music -- usually had a sacred theme; in any case, their theme was the growth of life's powers up to the exalted discovery of its own essence. The medium was art, namely, the awakening of these powers with the aid of the sensibility that carries all the other ones. The ideal aesthetic image -- whether visual or sonorous -- was the object of contemplation. It was that which remained and that to which one always returned in the repetition of transcendental processes that led to its creation. To become their contemporary is precisely to reproduce these acts and increased powers of life within oneself. It is to reach them in and through the exaltation of the Basis (Fonds). Culture was the set of brilliant works that enabled and gave rise to this repetition -- culture was the set of signs that human beings gave to one another through the centuries in order to surpass themselves.
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About Michel Henry
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.
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Phenomenological definition of God
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Additional quotes by Michel Henry
Car notre chair n'est rien d'autre que cela qui, s'éprouvant, se souffrant, se subissant et se supportant soi-même et ainsi jouissant de soi selon des impressions toujours renaissantes, se trouve, pour cette raison, susceptible de sentir le corps qui lui est extérieur, de le toucher aussi bien que d'être touché par lui. Cela donc dont le corps extérieur, le corps inerte de l'univers matériel, est par principe incapable.
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Because it is situated in subjectivity, borne by it, and inseparable from its dynamism and emotion, every concrete object is ultimately a cosmos. The geometrical world of the Bauhaus is thus slowly transformed. The sphere is deformed, thickened, elongated and slowly balanced; it becomes a transparent jellyfish with incandescent filaments caressed by the underwater currents. In this place without heaviness, where weight changes into lightness, forms wander about without their substance -- bodies of light, glorious bodies, bodies of life. They are organic forms with clear and cold colours, all kinds of protozoa, parts of insects, outlines of foliage -- creatures from another world with another nature reveal the nature of all nature, every possible world, and consequently our own world.
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