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By Michel Henry

Barbarism represents a<B>critique, from the viewpoint of Michel Henry's particular philosophy of existence, of<B>the expanding capability of technological know-how and expertise to break the roots of<B>culture and the price of the person individual. For Henry, barbarism<B>is the results of a devaluation of human lifestyles and tradition which may be<B>traced again to the unfold of quantification, the clinical strategy and<B>technology over all points of recent existence. 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, comparable to Marx, Husserl, and Heidegger.<B> First released in French in 1987, Barbarism<B>aroused nice curiosity in addition to virulent feedback. this present day the book<B>reveals what for Henry is a merciless truth: the tragic feeling of powerlessness<B>experienced by means of the classy individual. especially he argues for the importance<B>of returning to philosophy with a purpose to examine the foundation motives of<B>barbarism in our global. <B>

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It would flatten them and reduce their attempt to spatial arrangements. If the various “renaissances” that mark the history of Byzantine art have not known the full blossoming of the last one of them, namely the Italian Renaissance, it is not due to a lack of know how or insufficient theoretical knowledge. This can be seen in Sopocani’s paintings whose characters have the monumental stature of those of Piero and Michelangelo, who then add a spiritual force that is later lost. This is because the processional structure of the internal constitution of being always prevailed over its mere intuitive and spatial representation.

There would exist, in any case, this pure, mute experience of oneself that fright makes on its own, its passion - there would be life. The being of fright remains intact, in the flesh of its affectivity, even though the representations that accompany it in the dream world reveal themselves to be illusory. What is true about fright is no less true for see­ ing itself, if we were to abstract from it everything that it sees and from seeing as a power of relating to what is seen and lets things be seen.

We find ourselves truly faced with noth­ ingness. Art is an activity of sensibility, the fulfillment of its powers, whereas modern science, with the elimination ofsensible qualities from nature, defines its own field and defines itself through the exclusion of this sensibility Science and art thus fall outside of one another. The heterogeneity between their respective domains is so radical that the very thought of a relation between the two is, at least for the moment, impossible. One need not bother with the superficial objection that it would be pos­ sible to find many “beauties” in scientific work and its products.

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