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By Michel Henry

Barbarism represents a<B>critique, from the viewpoint of Michel Henry's certain philosophy of existence, of<B>the expanding capability of technology and know-how to smash the roots of<B>culture and the worth of the person person. 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 approach and<B>technology over all features of recent lifestyles. The publication develops a compelling<B>critique of capitalism, expertise 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, resembling 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 truth: the tragic feeling of powerlessness<B>experienced via the aesthetic individual. specially he argues for the importance<B>of returning to philosophy which will examine the foundation motives of<B>barbarism in our international. <B>

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The individual is thus the Whole of being, that in and through which what exists is always taken into a Whole and offered as such. It is because an Individual stands in front of them, not as an empiri­ cal individual in space but as the ipseity of all plurality and all ek-static division, that the fortress and line are together in the same world. The laws of their unified relation are the laws of sensibility, that is to say of this Joining (Indivis) by the Individual. They are aesthetic laws. What the nonconsideration of sensibility by science means has become altogether clear now: it is a putting together, in this case of the line and the fortress, without any consideration of the laws that ultimately underlie every pos­ sible putting together.

Besides, many artists, including some of the greatest, have sought to give their art a cognitive meaning. They have sought to go to the heart of things and to provide a new revelation of them. Here it suffices to cite names such as Leonardo da Vinci and Albrecht Dürer. More recently, the surprising parallel that has been established between some plastic investigations and a number of scientific discoveries, for exam­ ple, of microscopic phenomena. This is an indication, if not a proof, of the unity of knowledge as well as its universality.

Yet, subjectivity is entirely need. Higher needs, which result from the nature of need, give rise to the developed forms of culture: art, ethics, and religion. The presence of these “higher” forms in each known civilization is not merely an empirical fact to be acknowledged. Instead, art, ethics, and religion are rooted in the essence of life. The reason for their emergence becomes intelligible to anyone who understands this essence. Likewise, barbarism - which is the regression of the modes of fulfill­ ment of life and the end put to fulfillment - is not an incomprehensible and disastrous event that strikes a culture from the outside at the height of its bloom.

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