By Michel Henry
Barbarism represents a<B>critique, from the point of view of Michel Henry's exact philosophy of lifestyles, of<B>the expanding power of technological know-how and expertise to damage the roots of<B>culture and the price of the person individual. For Henry, barbarism<B>is the results of a devaluation of human existence and tradition which can be<B>traced again to the unfold of quantification, the medical strategy and<B>technology over all features of recent lifestyles. The ebook develops a compelling<B>critique of capitalism, know-how and schooling and gives 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, similar to Marx, Husserl, and Heidegger.<B> First released in French in 1987, Barbarism<B>aroused nice curiosity in addition to virulent feedback. this day the book<B>reveals what for Henry is a merciless fact: the tragic feeling of powerlessness<B>experienced by way of the aesthetic individual. mainly he argues for the importance<B>of returning to philosophy which will examine the basis motives of<B>barbarism in our global. <B>
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It does just the opposite. It tears down and blindly removes what patient generations of admirers, artisans, and artists had done in order to give the masterpiece the fullness of its beauty and sense. That is a new form of bar barism. It is no longer based on ignorance and misery, on the pillage and coveting of precious objects, but on science, its organisms and funds. One might object that science does not prescribe any goal to our actions and that, whatever its own approach toward being might be, it does not need to be accountable for our use of its increasingly different methods in which it expresses an increasingly developed knowledge.
This “feeling” and “experiencing” have no relation to objects or an object, no ek-stasis of a world or world. They are totally indifferent to the fate of this relation to the world and to the world itself, for example, with regard to its existence or nonexistence. So, when I dream, it might be the case that the room that I think I see and the persons to whom I believe I am speaking do not exist. But, if in the course of this dream, I experience a fright, this is what it is. It is absolutely, untouched and unaltered in its being by the fact that it is a dream and that there is no room or person or world Its being remains untouched and unaltered by the alteration of seeing, by the distur bance of the ek-static site of visibility in which everything that is given for me to see becomes visible.
The sacred scenes are literally torn apart, forever deprived of sense and life. The circle around the Almighty, the heavenly lamb, is broken. The tiles of gold on the large dome have been detached and replaced by these empty surfaces that are everywhere, under the vaults, in the tubes, along the arches, on entire sections of the narthex walls, drawing their archipelago of death. Let there be no mistake: these squirts of cement that are scattered over the four corners, like dislocated limbs, the fragments of depositions, annunciations, and baptisms, are not provisional.