Notre chair porte en elle le principe de sa manifestation, et cette manifestation n’est pas l’apparaître du monde. En son auto-impressionnalité pathé… - Michel Henry

The magnitude of an artwork only results from subjective forces. If these forces happen to be lacking, the edifice will crumble. The colossal works of fascism, socialist gigantism, and, in our eyes, the syncretism of the post-modern era are all the unfortunate testimony to this inner void. Because the exaltation of the powers of life can only be produced in life, life can do without these pretentious manifestations. The size of the material means does nothing for it. This can most surely be found in the small but very precise experiments where Kandinsky puts the elements of one single art or two different arts into relations of belonging or internal reciprocity. This is how he illustrated the stories of the Russian poet Remizov and composed his 'Sounds' collection, an admirable example of 'synthetic' work in which he decorated some of his own poems with coloured wood and other ones in black and white.

The radical and essential pre-destination implied in the condition of Son (identical to his Arch-generation) is what constitutes the principle of the Christian ethic, the Commandment. John perceives this Commandment in its original form, in God’s phenomenological life and identical with it. He calls it God’s love. God’s love is the first and only Commandment of the ethic. “The commandments ‘Do not commit adultery,’ ‘Do not murder,’ ‘Do not steal,’ ‘Do not covet,’ and whatever other commandments there may be, are summed up in this one rule: ‘Love your neighbor as yourself’” (Romans 13:9). […] The Commandment is only a Commandment of love because Life is love. Life is love because it experiences itself infinitely and eternally. Because it is Life, “God is love,” as John says (1 John 4:8). It is because God (as absolute Life) is love that he commands Love. He commands it of all the living by giving them life, by generating them in himself as his Sons, those who, feeling themselves in infinite Life’s experience of self and its eternal love, love themselves with an infinite and eternal love, loving themselves inasmuch as they are Sons and feeling themselves to be such – in the same way that they love others, inasmuch as they are themselves Sons and inasmuch as they feel themselves to be such. If the Commandment only prescribes love because the One who commands is himself love, it is because far from resulting from the Commandment, love is on the contrary the presupposition of it.

The key feature of modernity, which makes it into a barbarism of a hitherto unknown kind, is precisely to be a society lacking any culture and existing independently from it. As ordinary and common as it might seem today, this situation creates an almost untenable paradox, if it is the case that life, as self-conservation and self-growth, is itself a cultural process. This is something that all past civilizations illustrate. Barbarism is thus a sort of impossibility. If it happens nonetheless, it is never through an inexplicable dulling of the powers of life. Instead, the powers of life must be turned against themselves, in the phenomena of hate and resentment. This happens because life, in a suffering that is coextensive with its being and that it can no longer bear, attempts to get rid of itself. Barbarism cannot exist without the emergence of Evil, which is a mad but wholly intelligible desire of self-destruction. Or rather, in every state of social regression, it is possible to discover, underneath the evidence of the features of stagnation and decline, the violence of the deliberate refusal of life to be itself.