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Experiencing oneself as Life does is to enjoy oneself [jouir de soi]. Enjoyment does not presuppose any differences similar to those in which the wor… - Michel Henry
" "Experiencing oneself as Life does is to enjoy oneself [jouir de soi]. Enjoyment does not presuppose any differences similar to those in which the world is born: it is homogeneous phenomenological material, a monolithic affective body whose phenomenality is affectivity as such. The self-revelation of Life is not a formal structure that can be conceived on the basis of “outside oneself” and in terms of its own structures, since these are bypassed, overcome while being maintained in this very bypassing. The self-revelation of life is its enjoyment, the primordial self-enjoyment that defines the essence of Living and thus of God himself. According to Christianity, God is Love. Love is nothing other than the self-revelation of God understood as in its pathetik phenomenological essence, specifically, the self-enjoyment of absolute Life. This is why the Love of God is the infinite love in which he eternally loves himself, and the revelation of God is none other than this Love.
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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
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'.
Painting does not use language. Abstract painting teaches us this, and this is what gives it its power of expression. If colour does not relate to the feelings of our soul through an external relation but finds its true being in them – as a pure sensation and a pure experience – then it does not even need to translate, through a means, the abstract content of our invisible life. It coincides with our invisible life and is its pathos: its suffering, its boredom, its neglect or its joy.
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