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By Michel Henry

Michel Henry was once one of many major French philosophers of the 20 th century. His quite a few works of philosophy are all prepared round the subject of existence. unlike the medical realizing of existence as a organic method, Henry's philosophy develops a perception of lifestyles as a right away feeling of one's personal residing.
Seeing the Invisible marks Henry's so much sustained engagement within the box of aesthetics. via an research of the existence and works of Wassily Kandinsky, Henry uncovers the philosophical value of Kandinsky's revolution in portray: that summary paintings finds the invisible essence of lifestyles. Henry indicates that Kandinsky separates colour and line from the restrictions of obvious shape and, in so doing, conveys the invisible depth of existence. greater than only a research of artwork heritage, this publication offers Kandinsky as an artist who's engaged within the undertaking of portray the invisible and hence bargains useful methodological clues for Henry's personal phenomenology of the invisible.

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Fifty two LINE Kandinsky concludes: ‘Thus, the area of line embraces the full diversity of expressive sounds, starting with chilly lyricism and finishing with ardent drama’ (583). Given the infinite expressive probabilities of the road, Kandinsky’s research is advanced and its severe richness can't be totally captured right here. For us, the matter used to be to return to its precept, particularly, summary portray. What we now can understand extra essentially, between different issues, is the scope of the rejection of illustration and the way abstraction, rather than signifying an arbitrary or probability venture, leads us again to the essence of portray, to that which determines either its content material and shape. In figurative portray, the road is still an exterior aspect in each experience of the notice. it really is one seen mark that imitates one other noticeable mark, the contour of a true item. The enigma is how this sort of line can stream us or have any ‘force’ whatever. Its patent meaning—objective representation—requires each drawing to be as insignificant as what it represents. whilst free of the limitations of the realm, besides the fact that, the road doesn't easily provide itself up as a superbly docile fabric for the infinite energy of the mind's eye. It doesn't in basic terms unfastened its internal tone which have been hid in past times by means of useful reasons; it additionally calls forth the plenitude of the forces of existence to be exerted. It awakens the aptitude pathetic totality of absolute subjectivity from its shut eye and brings it again to existence. ‘Abstract content’—that is what has changed the item. The research of the road additionally clarifies how the summary shape will be made up our minds completely by way of the summary content material. ‘The query of shape doesn't in precept exist’, Kandinsky claims in an enigmatic assertion in ‘On the query of shape’ (248). One should still remember the fact that there isn't any formal definition of shape and no formal prescription to which it needs to publish, as the being of shape isn't really itself formal. it's not the layout, the description or the road as such; in its place, their being is constituted by way of the strength that produces them. It by myself can come to a decision what they're and should be. This ontological belief of shape implies that there's no layout flaw in an paintings, simply because there are not any ideas of layout. layout by no means justifies itself; it doesn't determine a version or a criterion in gentle of which it may be judged. No line is enjoyable in itself; it doesn't provide upward push to an impact of good looks by itself. the single factor that satisfies itself is the strength that produces this line and enjoys itself during this creation. This leisure, life’s feeling of itself, is what justifies the alternative of this actual line or mark, insofar because the internal event of forces engendering this mark is exactly the sensation of lifestyles that one seeks to specific. this is the reason Kandinsky can say fifty three SEEING THE INVISIBLE that ‘a shape that's the most sensible in a single case may be the worst in one other’ (248). not anything is sweet or undesirable in itself; all of it will depend on even if the strength it comes from corresponds to what the pathos of existence seeks in it.

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