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Yet, we have shown that Kandinsky's dream for the monumentality of synthetic art does not rely on a mere increase of the number of means used. The Ba… - Michel Henry
" "Yet, we have shown that Kandinsky's dream for the monumentality of synthetic art does not rely on a mere increase of the number of means used. The Bauhaus programme was that the distribution of light and the use of space in a building with mural paintings and sculptures added to the mere functionality of the architecture. It gave the architecture an ability to respond to the multi-faced call of human sensibility and allowed it to exercise its potential richness. But, as a result of overturning the grandiloquence illustrated by the Neo-classicism of the 1830s, Kandinsky understood that the synthesis of the arts could only be subjective. It draws the single but differentiated principle of its constructions from the force of pathos, its inner conflicts and its fate. Kandinsky's abstraction works directly on the affective tonalities; it defines, discloses, sharpens, overlaps and combines them; it scrutinizes and brings out their history together with the secret transformations that they make. The monumentality it builds is the monumentality of life whose full powers are restored. Aesthetic creation is nothing but the construction of this inner monumentality.
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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
The experience of red does not consist of perceiving a red object or the colour red as such and of taking it as being red; instead, it consists of experiencing the power of the impression in ourselves. That is what eliminates all objective mediation from painting: the mediation of objects, the sense that they can be given, thought, 'culture' with its variations by time and place and ultimately the various theories that represent this non-existent mediation. That is also why abstract painting, which bypasses the mediation of language and culture understood as a group of representations, can be called a popular art. It is devoted to the expressive power and the direct communication of colour, its immediate experience in life.
The question of phenomenology, which alone confers a proper object to philosophy, is what makes it into an autonomous discipline -- the fundamental discipline of knowledge -- and not just a mere reflexion after the fact on what the other sciences have found. This question is no longer concerned with the phenomena but the mode of their givenness, their phenomenality, not with what appears but with appearing. The invaluable contribution of historical phenomenology is to become aware of this appearing and to analyze it in and of itself. This is its theme. Again, this must not simply be the repetition of the traditional philosophical problem of consciousness or the greek aletheia. For the illusion of common sense, science and past philosophies is to understand the being of the phenomenon always as a first putting at a distance, the arrival of an Outside in which everything becomes visible, a "phenomenon", in the light of this Outside.
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