By Michel Henry
Barbarism represents a<B>critique, from the viewpoint of Michel Henry's specific philosophy of existence, of<B>the expanding capability of technological know-how and expertise to break the roots of<B>culture and the worth of the person man or woman. For Henry, barbarism<B>is the results of a devaluation of human existence and tradition that may be<B>traced again to the unfold of quantification, the clinical technique and<B>technology over all points of contemporary existence. The ebook develops a compelling<B>critique of capitalism, expertise and schooling and offers a powerful<B>insight into the political implications of Henry's paintings. It additionally opens up a new<B>dialogue with different influential cultural critics, resembling Marx, Husserl, and Heidegger.<B> First released in French in 1987, Barbarism<B>aroused nice curiosity in addition to virulent feedback. at the present time the book<B>reveals what for Henry is a merciless fact: the tragic feeling of powerlessness<B>experienced by means of the aesthetic individual. peculiarly he argues for the importance<B>of returning to philosophy with the intention to examine the basis reasons of<B>barbarism in our international. <B>
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But this reason is available to us: the world is a sensible world because it is a lifeworld and not a pure conscious ness. It is affective in its basis, according to the innermost possibility of its ek-static display. Sensibility not only is the a priori essence of every possible world but also defines the possibility of art. “It is only through sensibility that one can reach the truth in art,” declares Kandinsky. ” This is how the famous laws of beauty, as laws of sensibility, only appear to be mathematical, ideal, and objective laws.
But the genius of Descartes was to sense that this knowledge is not self-sufficient and that it presupposes another one, of another kind Doubt, in the First Mediation, strikes every form of knowledge, whether sensible or intelligible, every relation to the object and thus every possible world, whatever it may be. By barring this relation and every form of knowledge recognized until then, the goal is to allow the secret knowledge that it harbors to appear. Descartes does not just affirm that there are two heterogeneous forms of knowledge, which he calls the knowledge of the soul or the ideas of the mind, on the one hand, and the knowledge of bodies or the relation to the object, on the other hand.
It is a sensible world, not a world of consciousness but a lifeworld. That is to say that it is a world only given to life, which exists for life, in and through life. Every possible “world” is formed by the opening of an Outside, the originality Exteriorization of any exteriority whatsoever (for example, that of a number), but this production can only occur inasmuch as it affects itself, in and through the Affectivity of this production. This is why things are not sensible after the fact. They do not take on the tonalities with which they emerge before us as either threatening or serene, sad or indifferent, in virtue of the relations that they would establish through a history with our desires and with the endless play of our own interests.