The world also sends us constant reminders that there is another kind of relationality. These reminders are photographs—either literally, or by other means. Photography is able to disclose the world, show us that it is structured by analogy, and help us assume our place within it because it, too, is analogical.
Some really beautiful, funny, scary moments in this conversation with Werner Herzog. I particularly like how he expresses the difference between facts and truth (around 52 mins):
"If you think Facts constitute something of greater importance (or Truth) look at the Manhattan phone directory. That would be the book of books: four million entries, and all are correct. But do we know what they dream? Does Mr. Alfred Smith cry into his pillow at night? What do they think? For whom do they cast their ballots? We do not know, and it doesn’t illuminate us."
I like Herzog because he does not discriminate between thought and art. His practice—making movies—is as much a work of theory as a philosophical/academic book is. It is only important to point this out because they are dichotomised in the first place. I wish this was a trite point, but it’s important to realise the degree that theory and practice have been separated in mainstream art and theory.
To abstract is to understand one thing without understanding another at the same time even though in reality the one is not separated from the other, e.g., sometimes the intellect understands the whiteness which is in milk and does not understand the sweetness of milk. Abstraction in this sense can belong even to a sense, for a sense can apprehend one sensible without apprehending another.
One of the biggest problems facing film criticism and film culture is that that there is often very little relationship between how movies are written about and how they’re actually made. Film is a medium that is inextricably linked to technology, but the language we use to talk about and evaluate films is by-and-large the language of antique or dying technologies or of environments (such as the old studio system, with its clear divisions of filmmaking labor) that no longer exist. While much of the old critical / cinephilic vocabulary—mise en scène, montage, etc.—still works, it’s often not enough.