By Karl Menninger
Desk of Contents
Calculator's crafty: The paintings of speedy Reckoning
I: checking out a Calculation
II: units for the 4 Operations, or Arithmetical Tricks
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Extra info for Calculator’s Cunning: The Art of Quick Reckoning (Science & Discovery)
More than that, however, it is a question of a world that could be placed before the eyes and given presence in its totality, its truth, and its destiny: a question, therefore, of a world without fissure, without abyss, without withdrawn invisibility. Representation as hypotyposis, as placed right before the eyes, and as mise-en-sce`ne, as production of the truth in præsentia: in all these respects, representation plays a decisive role within the framework of a vision of the regeneration of ‘‘race,’’ of Europe, of humanity.
The aspect is in this diversity, it is the relation that extends between the parts of a figure; but the force lies in the unity that joins them together in order to bring them to light. 9 A painter does not paint forms unless, above all, he paints the force that takes hold of forms and carries them away in a pres-ence. Under this force, forms too deform or transform themselves. The image is always a dynamic or energetic metamorphosis. It begins before forms, and goes beyond them. All painting, even the most naturalistic, is this kind of metamorphic force.
In this view, art doubtless ‘‘gives a sign’’ (in the sense of the German winken: to wink, warn, signal), but it is not the sign of something and does not signify anything else. It exceeds signs but without revealing anything other than this excess, like an announcement, an indication, an omen—of groundless unity. ’’18 Violence without violence consists in the revelation’s not taking place, its remaining imminent. Or rather it is the revelation of this: that there is nothing to reveal. By contrast, violent and violating violence reveals and believes that it reveals absolutely.