Technology is nature without the human being. It is abstract nature, r — Michel Henry

"I do not intend to ask whether Christianity is “true” or “false,” or to establish, for example, the former hypothesis. Rather, what will be in question here is what Christianity considers as truth – what kind of truth it offers to people, what it endeavors to communicate to them, not as a theoretical and indifferent truth but as the essential truth that by some mysterious affinity is suitable for them, to the point that it alone is capable of assuring them salvation. We are trying to understand the form of truth that circumscribes the domain of Christianity, the milieu in which it spreads, the air that it breathes, one might say – because there are many sorts of truths, many ways of being true or false. And we are also perhaps trying to get away from the concept of truth that dominates modern thought and that, as much in and of itself as in its multiple implications, determines the world in which we live."

"Kandinsky’s singularity is due, moreover, to a circumstance that is vital for out project. The Pioneer did not just produce a body of work whose sensuous magnificence and rich inventiveness eclipse even the most remarkable of his contemporaries. He also provided an explicit theory of abstract painting, exposing its principles with the utmost precision and clarity. So, the painted work is accompanied with a group of texts that at the same time clarify his work and make Kandinsky on of the main theorists of art. Facing the hieroglyphs of the last canvases of the Parisian period (which are said to be the most difficult), they provide the Rosetta stone on which the meaning of these mysterious figures is inscribed."

"If communication takes place between the artwork and the public, it is on the level of sensibility, through the emotions and their immanent modifications. It does not have anything to do with words, with collective, ideological or scientific representations, or with their critical, intellectual or literary formulations, in short, anything that is called culture. It is totally independent from that type of culture. This is why it is addressed to the group of people who ‘lack culture’. It is popular in the sense that it leads to what is most essential in each human being: one’s capacity to feel, to suffer and to love."

"Art accomplishes a discovery, an extraordinary discovery: it places before our wondering eyes an unexplored domain of new phenomena that have been forgotten, if not hidden or denied. These are the phenomena in fact that open our access to what alone matters in the end: ourselves. Art is not only a theoretical proof of this invisible and essential reality of our being: it does not give it as something to be seen as an object; instead, it makes use of it: it is the exercise and development of it. We experience its certainty as something that must be, much like one experiences love. This certainty is absolutely identical to our life. All other certainties -- those of the sciences included -- pale and break down in comparison to it. Because art accomplishes the revelation of the invisible reality in us with an absolute certainty, it is a salvation. In a society like ours which is divorced from life -- either by being content to flee it in the external world or by stating the explicit negation of it -- it is the sole salvation possible."

"The experience of red does not consist of perceiving a red object or the colour red as such and of taking it as being red; instead, it consists of experiencing the power of the impression in ourselves. That is what eliminates all objective mediation from painting: the mediation of objects, the sense that they can be given, thought, culture with its variations by time and place and ultimately the various theories that represent this non-existent mediation. That is also why abstract painting, which bypasses the mediation of language and culture understood as a group of representations, can be called a popular art. It is devoted to the expressive power and the direct communication of colour, its immediate experience in life."

"We gaze petrified at the hieroglyphs of the invisible, as they too stand motionless or only slowly change against the background of a nocturnal sky. We watch forces that slumbered within us, waiting stubbornly and patiently for millennia, even from the beginning of time. These forces explode into the violence and gleam of colours; they open spaces and engender the forms of the worlds. The forces of the cosmos are awakened within us. They lead us outside of time to join in their celebration dance and they do not let go of us. They do not stop – because not even they believed that it was possible to attain such happiness. Art is the resurrection of eternal life."