The fact that this weight [of existence] becomes too heavy and that it can be experienced as a weight and as an unbearable weight, is due to the fact… - 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.

It is the first decisive characteristic of the Truth of Christianity that it in no way differs from what it makes true. Within it there is no separation between the seeing and what is seen, between the light and what it illuminates. And this is because there is in that Truth neither Seeing nor seen, no Light like that of the world. From the start, the Christian concept of truth is given as irreducible to the concept of truth that dominates the history of Western thought, from Greece to contemporary phenomenology. This traditional concept of truth determines not only most of the philosophical currents that have succeeded one another until the present day but even more so the ideas currently held about truth within the domain of scientific knowledge and within common sense, which is more or less impregnated with the scientific ideal. It is precisely when the Christian concept of Truth ceases to determine the collective consciousness of society, as it did in the Middle Ages, that the divorce from the Greek idea of a true knowledge and a true science appears in full force. And the consequence is, if not the suppression of the Christian concept, then at least its repression into the realm of private life, or even superstition.

Art will rediscover its way in a different type of nature (from the Galilean nature). The sensible qualities of this nature are not reduced to external features, as mere signs that are limited to 'representing' a foreign reality. These qualities are modes of life: impressions, tones and tonalities. This is what I mean: by tearing colours and linear forms away from the ideal archetype of meanings that constitute the objective world and by taking them in their non-referential pictoriality, Kandinskian abstraction does not depart from nature but returns to its inner essence. This original, subjective, dynamic, impressional and pathetic nature -- the true nature whose essence is Life -- is the cosmos. A dazzling claim from The Blaue Reiter Almanac, highlighted by Kandinsky himself, defines the Arche (or the Origin) where Art and Cosmos are identical: 'The world sounds. It is a cosmos of spiritually affective beings. Thus, dead matter is living spirit'.