A significação da obra de arte na fenomenologia material de Michel Henry

The significance of a work of art in the material phenomenology of Michel HenrySummary:In his work Voir l’invisible sur Kandinsky, the French philosopher Michel Henry seeks to ascertain the significance of a work of art, which cannot be reduced to its material nature of wood, stone or canvas. However it stems from some other radical place. In opposition to the world of perception, this other place usually gets qualified by its unrealness, in the sense of the imaginary. However, Michel Henry believes it is necessary to define better the true nature of the place of works of art. The work of art is not located in the world, which lies before us, in the visibility of the relationship between subject and object but also does not fall beyond the scope of our sensibility. On the contrary, its essence inhabits this very sensibility, implanting there its very being in the radical immanence of absolute affectivity where there is not yet any beyond or any world. In this other place of self-affection, in which seeing is experienced personally as the seer in which the feeling felt by one’s own self comes even before feeling any other thing; thus, in which all of the genuine work of art and we ourselves meet in our essence.The work of art expresses this subjective and invisible reality, understood as life self-affection, which is the animated reality both of the individual and of the universe.