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" "This pathetic community does not exclude the world but only the abstract world, which is to say, the world that does not exist and has put subjectivity out of play. But community does include the real world -- the cosmos -- for which every element -- form, color, and so forth -- exists ultimately as auto-affective. That is to say, it exists in and through this pathetic community. "The world", Kandinsky says, "sounds. It is a cosmos of spiritually affective beings. Thus, dead matter is living spirit." This is why painting, for example, is not the figure of external things but the expression of their inner reality, their tonality, or what Kandinsky calls their "inner sound", an experience of forces and affects.
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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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.
The ontological revolution occurs when action ceases to obey the prescriptions of life and it is no longer what it was at the beginning, that is, the actualization of the phenomenological potential of absolute subjectivity. Moreover, it seems that action has deserted the site that was always its own in order to take place in the world henceforth: in factories, dams, and power plants. It is now wherever there are pistons, turbines, cogs and all kinds of machines that fire away all the time. In short, it is the immense mechanical system of big industry, which can be reduced to the electromagnetic currents of supercomputers and other high-tech machines of "techno-science". This points to the crucial event of Modernity in the passage from the reign of the human to the nonhuman: action has become objective.
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