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By Henri Bergson, Nicolas Novion
Voici l'essai qui a rendu Bergson célèbre dans le monde entier. L'auteur du Rire y invente une nouvelle méthode en philosophie et une façon inédite de pratiquer l. a. métaphysique. Qu'est-ce donc que l. a. métaphysique ? C'est reconnaître que tout n'est pas parfait dans l'ordre du savoir, que l'insatisfaction y règne même, et qu'il faut pour appréhender le monde, utiliser l'intuition. Bref, ce n'est pas quitter un monde instable et mouvant pour rejoindre une réalité ferme et solid, c'est plutôt plonger au coeur des choses, saisir l. a. vie même...
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Classical and avant-garde compositions were effectively mixed with abstractions from cellular, galaxies and the universal; the allegorical and experimental contributes a non-verbal language (Metz 1974) based on life-world embodied subjects and experiences. Meaningfulness is thought from a humanistic framework above theism and atheism, reconciling the unattainable in objective meaning. Even though the family is Christian and religious this is not the film’s focus becoming more amorphous and philosophical than religious as in Bergman’s The Seventh Seal, 1957, that presents a Knight and Death discussing the existence of God.
Light in cosmic electromagnetic radiation guides the rules relating to the LHC experiment. Quark-gluon plasma was created in May 2011 taking us a step closer to find what was there, the densest matter besides back holes. The aim of the LHC experiment is to try to find this early existence which the film conveys more or less successfully with music and abstract images and as Emerson wrote in History connects man to the cosmos. What we mean by representation is hard to attain in any aesthetic medium since it involves the creator and the receiver, the spectator that Gadamer perceived as coming-to-representation of being: What we mean by “representation” is, at any rate, a universal ontological structural element of the aesthetic, an event of being—not an experiential event that occurs at the moment of artistic creation and is merely repeated each time in the mind of the viewer… the specific mode of the work of art’s presence is the coming-to-representation of being.
And this is why the unity of being 4 Martin Heidegger, Introduction to Metaphysics, Eds. and Trans. Gregory Fried and Richard Polt (New Haven: Yale University Press, 2000), p. 103 and ff. 5 Metaphysics, 1071 b 24. 6 Emmanuel Kant, Critique of Judgement, A326/B330. On the Eternal Recurrence as the Ground of Holiness in the Light of Philip Gröning’s… 45 is not a mental abstraction, something like a delusive image, but a universal potency that expresses itself around the human presence, which, of course, must not be mistaken with the idea of the human supremacy, let alone with the individual sway over reality: the tailor works because there is a common want for what he makes, and the value of his work is in that link and not in his own outlook on the matter, so that even if no one thanked him or acknowledged his work, it would be the same worthy.