By Michel Henry
Barbarism represents a<B>critique, from the viewpoint of Michel Henry's detailed philosophy of existence, of<B>the expanding capability of technological know-how and know-how to break the roots of<B>culture and the price of the person person. For Henry, barbarism<B>is the results of a devaluation of human lifestyles and tradition that could be<B>traced again to the unfold of quantification, the clinical procedure and<B>technology over all features of recent existence. The e-book develops a compelling<B>critique of capitalism, know-how 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, corresponding 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 means of the classy individual. chiefly he argues for the importance<B>of returning to philosophy as a way to examine the foundation reasons of<B>barbarism in our global. <B>
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Extra info for Barbarism (Continuum Impacts)
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. The explicit theme of the Second Mediation is to show: 1) that the knowledge of the mind is more fundamental and more certain than the knowledge of the body - the title of the Meditation is O n the nature of the human mind and that it is more easily known than the body”; 2) that this absolutely certain knowledge of life is the basis for the knowledge of the body, that is to say, of the world, consciousness, and science in general.
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.
Its law is becoming, the continual emergence of new sides and new planes. Knowledge pursues the succession of all these lures. Each one is presented to it, only then to imme diately conjure away a being that it does not have and to refer to the next one. This new lure plays the same game in turn. No interior: nothing is alive that can speak in its own name, in the name of what it experiences, in the name of what it is. They are only “things,” only death. The advance of the world and its ek-static disclosure can only display and ex-pose what is always in front and outside: the object.
Barbarism (Continuum Impacts) by Michel Henry