Proceedings of an international conference held at the Herzog August Bibliothek Wolfenbèuttel in 2009.

At the heart of the cinema of Werner Herzog lies the vision of discordant and chaoticnature – the vision of anti-nature. Throughout his work we can trace a constant fascinationwith the violence of nature and its indifference, or even hostility, to human desires andambitions. For example, in his early film Even Dwarfs Started Small we have therecurrent image of a crippled chicken continually pecked by its companions.2Here theviolence of nature provides a sly prelude to the anarchic carnival violence (...) of the dwarfs’revolt against their oppressive institution. This fascination is particularly evident in hisdocumentary filmmaking, although Herzog himself deconstructs this generic category. Inthe ‘Minnesota Declaration’ 3on ‘truth and fact in documentary cinema’ he radicallydistinguishes between ‘fact’, linked to norms and the limits of Cinéma Vérité, and ‘truth’ asecstatic illumination, which ‘can be reached only through fabrication and imagination andstylization’ 2002, 301). In particular he identifies nature as the site of thisecstatic illumination – in which we find ‘Lessons of Darkness’ – but only through the lack ofany ‘voice’ of nature. While Herzog constantly films nature he films it as hell or as utterlyalien. This is not a nature simply corrupted by humanity but a nature inherently ‘corrupt’ in itself; Herzog’s vision of nature is a kind of anti-vitalism, a horror at the promiscuous vitality of nature. (shrink)

When Werner Herzog states, in his famous Minnesota Declaration, “[fa]cts create norms, and truth illumination”, he not only opposes his own idea of truth as spiritual experience to the notion of factual truth based on a seemingly unmediated representation of reality and purely rational principles. He also points to a societal problem inherent to such hegemonic attributions of veracity as advocated by the representatives of what he calls “Cinema Vérité”: their “truth of accountants” generates a normative perception and (...) understanding of reality. Instead of producing peculiar images that trigger the imagination, they (re)produce benchmarks, fixed values and stereotypes. Thus, they are perfectly in line with the ideology of the “administered society” (Horkheimer and Adorno, e.g. in Dialectic of Enlightenment). Based on the identity principle, this society produces standardized, consumer-friendly forms precluding the individuals from making their own, singular experiences. Films that rely purely on facts instead of seeking for “deeper strata of truth” are thus, for Herzog, not only boring, but also instruments of domination in the service of the status quo. However, Herzog neither avoids the administered society in order to search for an archaic truth beyond or underneath it, nor does he address political issues frontally in the films analyzed in this article. Critique of society rather transpires through particular configurations, notably in moments of confrontation between the “normal” society and the marginalized, “useless”, or otherwise rejected characters (as Kaspar Hauser’s encounter with representatives of the “good society, Strozeck’s misfortune, Woyzeck’s condition as the guinea pig for the sake of scientific progress, or the extravagant setting depicted in Even Dwarfs Started Small). Rather than focusing on the problematic situation of exclusion as such, Herzog emphasizes the very singularity of his protagonists in a dialectical tension with their environment, thus providing an access to the poetic truth which springs out of their individual ways of experiencing as opposed to the normative reality-principle. This is also true for many of Herzog’s documentaries: for example, Walter Steiner’s deep pleasure in ski-flying and the strange beauty of the slow-motion pictures showing him in the air highly contrast with the public pushing him to take dangerous risks and the bloody images presented in the media (The Great Ecstasy of the Woodcarver Steiner). By juxtaposing Steiner’s sensory experience and its singularized image with the societal logic of competition and its stereotyped representation, Herzog discloses the heterogeneous layers of a material truth that escapes factual accuracy. This article aims to approach Herzog’s notion of ecstatic truth by unfolding the dialectical tension between sensory, perceptual and spiritual experiences on the one hand, and the administrated society on the other. -/- . (shrink)

This article argues that Werner Herzog's 2010 film Cave of Forgotten Dreams both enacts and undermines a desire for origins that was characteristic of 20th century modernist discourse. I argue that the aim of the film is literally to embody the origin of cinema, as figured in the recurring motif of projected light playing across the darkened walls of Chauvet Cave, the earliest known site of prehistoric painting. Drawing on texts by Wilson Harris, Giorgio Agamben, Jean-Luc Nancy, and (...) Maxine Sheets-Johnstone, this article demonstrates that the phenomenology of the film's cave scenes and of its archaeological reconstructions produces not a straightforward self-presence at the scene of origins, but rather an “anachronic” or split temporality that links an imagined state of primordiality to the contemporary moment in a way that eludes the problematic modernist criterion of psychological authenticity. By failing to produce an immersive illusion of prehistoricity, the film is constantly thrown back onto its own simple act of “monstration”, or showing, without any transcendental ground. Instead of revealing a moment of origin, then, Cave of Forgotten Dreams plays the shifting role of what I describe, following the art historian Whitney Davis, as an ever-displaced “Figure 1” in an imaginary history of cinema. (shrink)

Legendary director, actor, author, and provocateur Werner Herzog has incalculably influenced contemporary cinema for decades. This essay collection by professional philosophers and film theorists from around the globe offers a diversity of perspectives on how the thinking behind the camera is revealed in the action Herzog captures in front of it.

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to (...) time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

The history of the sublime within aesthetics has tended to focus on the natural world. Within this history, the sublime has been a category reserved for awe-inspiring and overwhelming experiences, in which the finite subject is dwarfed by a more expansive force. Despite subjectivity being foremost in this topic, what has been overlooked, is the role the body plays in being the centre of aesthetic experience. In this paper, I will turn the tide on this omission and thematize the role (...) of the body within the experience of the sublime. My plan for reconsidering this movement is to unite Werner Herzog’s Aguirre, Wrath of God with the late thought of Merleau-Ponty, especially his enigmatic notion of "flesh". In both Herzog and Merleau-Ponty, a philosophy of nature exists which challenges the dichotomy between the autonomous self encountering the objective realm of wilderness. In each case, an ambiguity undercuts the idea of wilderness existing "there" while human subjectivity remains placed "here." I will "read" the film as an instant of the chiasmatic relation between nature and humanity. Doing so, I will suggest that the reversibility between the body and the environment can be seen as an amplification of Merleau-Ponty’s notion of "wild being". (shrink)

Werner Herzog’s films often have characters that are on spiritual journeys that take transgressive turns. These quests are also existential in nature, for what the characters often seek is transcendence. Because transgression is a sociological, philosophical, and theological entity, Herzog’s films are demanding because his outsider characters are often not easy to admire. Still, because they take on very personal self-examinations in their search for transcendence, we can respect their tragic, horrific, or painful excursions. Herzog’s protagonists (...) are almost always outsiders in some form. Whether “being on the outside” quite literally or figuratively, protagonists like Nosferatu, Kasper Hauser, or Aguirre somehow eschew societal norms and become figures of empathy, fear, or disgust. Even the characters of his documentary work, like Timothy Treadwell in Grizzly Man , are people who somehow do not fit in with society, and so seek escape through crossing boundaries or intense trials of will and perseverance. As outsiders, they are shunned, but the way they handle this is sometimes different: through madness (Aguirre), spirituality (Kasper Hauser), or rebellion (the cast of Even Dwarves Started Small ). These characters are in constant conflict with others, society, and themselves. I want to argue that one of the main reasons Herzog makes both artful, meditative films and ones that challenge spectators’ expectations, is due to the recurrence of the theme of spiritual transformation—or transcendence—that often is transgressive. Such Herzog heroes as Aguirre, Stroszek, Fitzcarraldo, or even the entire cast of Heart of Glass push beyond the limits of sanity, freedom, and societal restrictions in order to transgress or “pass” into a different mental state. Furthermore, such moves are spiritual in nature, since the characters become individual disciples of their own imaginings, their own beliefs, and their own codes of behavior. Both physically and psychically, these characters undertake journeys that allow us to see how difficult, yet ultimately manageable, these passages to transcendence are. I will discuss several Herzog films and characters that exemplify this tendency, including, Even Dwarfs Started Small , Aguirre, the Wrath of God , and Grizzly Man .  . (shrink)

This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the (...) mythic image and total cinema in classic film theory and visual studies. More importantly I show how the desire to create new mythic images not only influenced Herzog's discourse on film, but his actual aesthetic practice. In my analysis of his 1971 documentary Land of Silence and Darkness I show how the dynamic between Apollonian veil and Dionysian Urbild is effective in the construction of what Herzog calls “deep truth”. This article attempts to shift t... (shrink)

The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of (...) nature experienced by his characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns. (shrink)

Lo que me interesa en este escrito es explorar el rendimiento explicativo del concepto «naturalismo» del antropólogo y filósofo francés Philippe Descola, adaptándolo al análisis cinematográfico de la obra de Werner Herzog. Este experimento interdisciplinario en el que se cruzarán la filosofía con el análisis cinematográfico y la historia del arte tiene por intención primera poner en evidencia un pensamiento expresado en imágenes, sobre la relación entre dos conceptos que, de acuerdo con Descola, constituyen la base de todo (...) esquema experiencial, a saber, la propiedad y la otredad. La comprensión de lo otro como otredad radical es el rasgo característico del naturalismo. Después de una exposición sobre qué es lo que hay que entender por naturalismo a partir de Descola, me dedicaré a explorar tipos de imágenes del cine del director bávaro en donde me parece que pueden leerse formas de instanciarse el esquema naturalista bajo el modo de la otredad radical e inhóspita de la naturaleza. Por último, intentaré mostrar que al interior del naturalismo de Herzog puede encontrarse una interrupción a la radical separación entre lo propio y lo otro. El posible cese del naturalismo reside en la inversión que se opera en la mirada del espectador al contemplar la obra del cineasta. (shrink)

In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task (...) in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process... (shrink)

En las páginas siguientes, inspirados por el concepto sartreano de mirada y el concepto foucaultiano de panóptico , analizamos el papel de la mirada y de la observación panóptica en la película Aguirre, la cólera de Dios, de Werner Herzog. Ponemos el foco en cómo los cuerpos de los compañeros del conquistador Lope de Aguirre son dominados por éste; cómo, mediante esta relación, son transformados; y, finalmente, discutimos el significado y naturaleza de la película, más relacionado con la (...) representación del individuo sublime que con la mera narración de la Conquista.In the following pages, inspired by Sartre's concept of "regard" and Foucault's concept of "panopticon," we consider the role of regarding and of panoptical watching in the film Aguirre, God's Wrath , by Werner Herzog. We point out how the bodies of Aguirre's fellow conquistadors are dominated by him; how, by this relation they are transformed; and, finally, we discuss the meaning and nature of the film, which is more linked with the representation of a sublime individual than with a mere story about the American Conquest. (shrink)

In Les Blank's documentary Werner Herzog Eats His Shoe , director Werner Herzog eats pieces of his own sturdy looking footwear in order to settle a bet that he made with the filmmaker Errol Morris. While dining on his shoe, which he has cooked in garlic and duck fat, Herzog responds to the question, “What is the value of films for society?” Initially, he answers the question with a question: “Whose society?” . It appears that (...) he has finished responding and is returning to the business of eating, but Herzog is hardly known for keeping his answers…. (shrink)

A leitmotif of the interviews Werner Herzog gave throughout several decades is his portrayal of himself as an anti-intellectualist, an anti-theorist, and an anti-philosopher. The text resorts to an established philosopher, who may have actually welcomed Herzog’s anti-intellectualist and anti-theoretical posture: Ludwig Wittgenstein. They both attempt to do justice – the former cinematically, the latter philosophically – to what is sometimes called the “human condition,” its quirks and fancies included. And they are both concerned with the trouble (...) we experience in putting up with what there is, with what there may be at hand or before our eyes. Thus, the obstinacy of Herzog’s protagonists to achieve something come what may, and the dogmatism of Wittgenstein’s interlocutors to conceive of something in just one way, are two sides of the same coin. This coin is the unbounded attachment to a theory: one’s exclusive manner of acting upon, or looking at, the world around oneself. (shrink)

Infamously, Rawls assumed a democratic society to be “a complete and closed social system,” in that “entry into it is only by birth and exit from it is only by death.” Since the beginning of the present millennium, however, debates about the ethical issues related to immigration have been prominent. In this context, these methodological departure points seem long outdated, if not simply biased. This paper will rework Rawls’s theory of migration for application to the case of provisional immigrants by (...) reworking its theoretical underpinnings. I will argue that once his assumptions are adjusted, Rawlsian notions of ‘stability’ in conjunction with his idea of a ‘society understood as a fair system of cooperation’ justify inclusive membership regimes. In other words, Rawlsian domestic justice requires inclusive membership regimes for provisional immigrants. (shrink)

This essay is part of a dossier on Cristina Lafont's book Democracy without Shortcuts.

This book is about the postructural Franco-Jewish philosopher Emmanuel Levinas. This book covers Jewish ethics in the twentieth century and also cultural philosophy.

Authors like Iris Young and Philip Pettit have come up with proposals for theorizing ‘structural injustice’ and social relations marred by ‘domination’. These authors provide conceptual tools for f...

Plato's dialogues frequently criticize traditional Greek myth, yet Plato also integrates myth with his writing. Daniel S. Werner confronts this paradox through an in-depth analysis of the Phaedrus, Plato's most mythical dialogue. Werner argues that the myths of the Phaedrus serve several complex functions: they bring nonphilosophers into the philosophical life; they offer a starting point for philosophical inquiry; they unify the dialogue as a literary and dramatic whole; they draw attention to the limits of language and the (...) limits of knowledge; and they allow Plato to co-opt cultural authority as a way of defining and legitimating the practice of philosophy. Platonic myth, as a species of traditional tale, is thus both distinct from philosophical dialectic and similar to it. Ultimately, the most powerful effect of Platonic myth is the way in which it leads readers to participate in Plato's dialogues and to engage in a process of self-examination. (shrink)

This is Werner S. Pluhar's translation of Immanuel Kant's Critique of Judgment (Kritik der Urtheilskraft) for Hackett Publications (Indianapolis, Indiana). ISBN 9780872200258 (paperback).

The Information Artifact Ontology (IAO) was created to serve as a domain‐neutral resource for the representation of types of information content entities (ICEs) such as documents, data‐bases, and digital im‐ages. We identify a series of problems with the current version of the IAO and suggest solutions designed to advance our understanding of the relations between ICEs and associated cognitive representations in the minds of human subjects. This requires embedding IAO in a larger framework of ontologies, including most importantly the Mental (...) Func‐tioning Ontology (MFO). It also requires a careful treatment of the aboutness relations between ICEs and associated cognitive representa‐tions and their targets in reality, which implies in turn a new treatment of the relation of truthmaking. (shrink)

The evaluation of labour markets and of particular jobs ought to be sensitive to a plurality of benefits and burdens of work. We use the term 'the goods of work' to refer to those benefits of work that cannot be obtained in exchange for money and that can be enjoyed mostly or exclusively in the context of work. Drawing on empirical research and various philosophical traditions of thinking about work we identify four goods of work: 1) attaining various types of (...) excellence; 2) making a social contribution; 3) experiencing community; and 4) gaining social recognition. Our account of the goods of work can be read as unpacking the ways in which work can be meaningful. The distribution of the goods of work is a concern of justice for two conjoint reasons: First, they are part of the conception of the good of a large number of individuals. Second, in societies without an unconditional income and in which most people are not independently wealthy, paid work is non-optional and workers have few, if any, occasions to realize these goods outside their job. Taking into account the plurality of the goods of work and their importance for justice challenges the theoretical and political status quo, which focuses mostly on justice with regard to the distribution of income. We defend this account against the libertarian challenge that a free labour market gives individuals sufficient options to realise the goods of work important to them, and discuss the challenge from state neutrality. In the conclusion, we hint towards possible implications for today’s labour markets. (shrink)

Affective congruency effects in the evaluation task can be explained by either spreading of activation or response competition. Eliminating effects of response compatibility by using other tasks (semantic categorisation, naming task) typically also eliminates affective congruency effects. However, there is no need for processing the affective information of the stimuli in these tasks either, which could be necessary for an affectively mediated spreading of activation (Spruyt et al., 2007, 2009, 2012). We introduced a new task to further test this hypothesis. (...) The valent/neutral-categorisation task does not confound affective congruency with response compatibility, but still requires a processing of the stimuli's valence. No affective congruency effect was obtained with this task in two experiments, disfavouring a conditional spreading activation account. On the other hand, a significant priming effect was found for associated word pairs in Experiment 1, providing evidence for the sensitivity of the task to detect spreading activation processes. (shrink)

This collection broadens the scientific discussion of modularity by bringing together experts from a variety of disciplines, including artificial life, ...

We characterize rings over which every cotorsion module is pure injective in terms of certain descending chain conditions and the Ziegler spectrum, which renders the classes of von Neumann regular rings and of pure semisimple rings as two possible extremes. As preparation, descriptions of pure projective and Mittag–Leffler preenvelopes with respect to so-called definable subcategories and of pure generation for such are derived, which may be of interest on their own. Infinitary axiomatizations lead to coherence results previously known for the (...) special case of flat modules. Along with pseudoflat modules we introduce quasiflat modules, which arise naturally in the model-theoretic and the category-theoretic contexts. (shrink)

Health Level 7 (HL7) is an organization seeking to provide universal standards for the exchange of healthcare information. In a document entitled ‘HL7 Version 3 Standard: Data Types’, the HL7 organization advances descriptions of data types recom- mended for use as identifiers. We will argue that the descriptions supplied provide insufficient guidance as to what exactly the entities are which these data types uniquely identify. Are they real things, such as persons or pieces of equipment? Or are they representations of (...) such real things in information artifacts? We here outline the problems faced by HL7 in providing answers to such questions, problems which arise because of the lack of anything like a coherent ontology in the HL7 standard, and we make some recommendations for future improvements. (shrink)

_Contemporary discussions of self and consciousness have for some time incorporated Hindu-Buddhist dialogue on the existence and nature of self (Ram-Prasad 2012). The ideal of responsibly_ _incorporating this dialogue raises an interpretive dilemma: on the one hand, we should eschew the simplistic picture of a “sterile contest” in which all Hindu schools are committed to the doctrine of the self (ātmavāda) and all Buddhists are invariantly committed to denying its existence (2012: 3). To treat Hindu ātmavādins as monolithically opposed to (...) Buddhist no-self theorists without attending to disagreements within the two camps would be to woefully underrepresent the complexity of the terrain at hand. Yet, we should not forget that what we are dealing with is still a structured debate of some sort. I propose that two Jaina “disambiguation strategies” (Balcerowicz 2017)—the theory of viewpoints (naya-vāda) and the theory of sevenfold predication (syād-vāda), also called the sevenfold formula (__sapta-bha__ṅ__g__ī__)—can together facilitate a re-imaginative reconstruction of Hindu-Buddhist dialogue on the self as something other than a two-sided battle or an arbitrary cluster of views. Following superimposition of the __sapta-bha__ṅ__g__ī__ onto what I temporarily term “the debate,” wherein each figure (bha__ṅ__ga)__ is understood as indexed in part by a specific viewpoint (naya) or a set thereof, we find a dynamic description of an indeterminate phenomenon, embracing affirmation and negation of the “self” (ātman) without antecedent commitment to the substantive existence of the referent of the term. This exercise in working with Jaina tools has implications for broader methodological concerns facing cross-cultural philosophical projects, and bears on how we might fruitfully re-imagine otherwise stymied contemporary debates. _. (shrink)