What are these beings that constitute the cosmos ? They are every thing and element of a thing, inasmuch as they are sensible. They only exist in thi… - Michel Henry

As for Christ, he has justified his act of healing on the Sabbath by identifying it with the original essence of acting, itself identical with the original essence of Life, that is to say, with the process of its unceasing self-generation. It is because the process of absolute Life’s self-generation does not cease, because “the Father is always at his work,” that Christ, too, does not cease working, not even on the Sabbath day; “I, too, am working.” By identifying his acting with God’s absolute acting, with the unceasing process of self-engendering of absolute Life, Christ refers to himself unequivocally and, once more, as consubstantial in his acting with the action of this process. He is the transcendental Arch-Son cogenerated in the process of self-generation of Life as the essential Ipseity, and the First Living, in which (and in the form of which) this process is alone accomplished. This is why it is given to him, as to the Father, to work – and work without cease. Life does not know rest on Sunday or Saturday – which is better for all livings, moreover.

Material phenomenology is able to designate this invisible phenomenological substance. It is not a nothing but rather an affect, or put otherwise, it is what makes every affect, ultimately every affection, and every thing possible. The phenomenological substance that material phenomenology has in view is the pathetic immediacy in which life experiences itself. Life is itself nothing other than this pathetic embrace and, in this way, is phenomenality itself according to the how of its original phenomenalization. Life is thus not a something, like the object of biology, but the principle of every thing. It is a phenomenological life in the radical sense where life defines the essence of pure phenomenality and accordingly of being insofar as being is coextensive with the phenomenon and founded on it. For what could I know that could not appear ?

The title of Kandinsky's first great theoretical work, On the Spiritual in Art and in Painting in particular (1912) which had a huge influence, thus has a rigorous meaning. It bears a twofold judgment, both on this epoch whose distress is perceived by Kandinsky and on the true reality of things. Our time is a distressed time because it is forgetful of reality and has abandoned itself to the increasing objectivism promoted by science. The ideological fulfillment of this type of thought which is given over to the External and thus deprived of what is essential is naturalism, to which the stiff and empty art from the nineteenth century provides overwhelming testimony. Its practical consequence is the materialism that spreads the negation of life's true essence across all the spheres of life, thereby offering itself as a sort of concrete nihilism whose true name is death. Faced with this situation, On the Spiritual in Art and in Painting in particular offers a programme of revitalization.