By Brenda L. Miller
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Additional resources for Art Fantastix 16. The Art of Max Bertolini
Let us first recall that the commandment forbids the making of images ‘‘of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth,’’ that is, of anything at all. Above all, however, it forbids the making of sculpted images (the insistence on sculpture and on sculpting is striking, in all the texts related to the biblical corpus as well as those in the Talmudic and Hassidic traditions). The commandment therefore concerns the production of forms that are solid, whole, and autonomous, as a statue is, and that are thus destined for use as an idol.
There is no doubt that truth itself— what might be called, dare I say, the true truth [la ve´ritable ve´rite´ ]—is violent in its own way. It cannot irrupt without tearing apart an esImage and Violence 17 tablished order. Truth ruins method despite all the latter’s efforts. Truth does not operate through arguments, reasons, and proofs; these are more like the necessary but obscure flipside of truth’s appearance. Philosophy, throughout its history, has concerned itself with the way in which truth is a violent irruption (already truth forces Plato’s prisoner to leave the cave, only to dazzle him with its sun).
Here is not the place to go looking for the written traces of these pronouncements. Suffice it to recall the ways in which they circulated in the controversy that surrounded the release of Spielberg’s Schindler’s List and even more so in what opposed this film to Lanzmann’s Shoah. ) The discourse that rejects the representation of the camps is confused because its content is not easily circumscribed and because its motives are even less clearly determinable (to say nothing of the fact that, in addition, the discourse is often enveloped in a sacred aura, a point to which we will return later).