At 83 years old, the iconic filmmaker is considered a cultural icon who works entirely on his own terms. In the vein of his strange and mesmerizing movies, Herzog's newest volume defies standard rules of narrative, obscuring the distinctions between truth and invention while examining the essential nature of truth itself.
Herzog's newest offering details the director's opinions on veracity in an period dominated by AI-generated deceptions. His concepts resemble an expansion of Herzog's earlier statement from the turn of the century, containing forceful, enigmatic viewpoints that include rejecting cinéma vérité for clouding more than it reveals to unexpected declarations such as "rather die than wear a toupee".
A pair of essential ideas form his understanding of truth. First is the notion that pursuing truth is more valuable than actually finding it. As he explains, "the journey alone, moving us closer the hidden truth, permits us to engage in something inherently beyond reach, which is truth". Additionally is the idea that plain information offer little more than a uninspiring "accountant's truth" that is less useful than what he terms "exhilarating authenticity" in assisting people understand existence's true nature.
Were another author had authored The Future of Truth, I believe they would face harsh criticism for teasing out of the reader
Reading the book feels like attending a fireside monologue from an engaging relative. Among numerous gripping stories, the weirdest and most remarkable is the story of the Italian hog. As per the filmmaker, long ago a swine got trapped in a upright drain pipe in the Italian town, Sicily. The pig was wedged there for an extended period, existing on bits of nourishment tossed to it. Over time the pig assumed the contours of its container, becoming a kind of translucent mass, "spectrally light ... unstable as a large piece of gelatin", absorbing nourishment from the top and eliminating refuse underneath.
Herzog uses this tale as an symbol, linking the trapped animal to the perils of extended interstellar travel. Should mankind embark on a voyage to our nearest inhabitable planet, it would require centuries. During this period the author envisions the brave voyagers would be compelled to inbreed, becoming "mutants" with minimal awareness of their mission's purpose. In time the space travelers would change into whitish, maggot-like beings similar to the trapped animal, equipped of little more than consuming and shitting.
This unsettlingly interesting and unintentionally hilarious transition from Italian drainage systems to interstellar freaks presents a lesson in Herzog's notion of exhilarating authenticity. Since followers might learn to their dismay after endeavoring to confirm this captivating and biologically implausible geometric animal, the Palermo pig appears to be mythical. The search for the miserly "accountant's truth", a reality based in basic information, overlooks the purpose. Why was it important whether an confined Sicilian farm animal actually transformed into a trembling square jelly? The true lesson of Herzog's narrative abruptly becomes clear: restricting beings in tight quarters for extended periods is foolish and produces aberrations.
If another writer had authored The Future of Truth, they would likely face harsh criticism for unusual composition decisions, digressive comments, contradictory ideas, and, frankly speaking, mocking out of the public. After all, Herzog devotes multiple pages to the theatrical plot of an musical performance just to illustrate that when art forms contain concentrated sentiment, we "invest this preposterous core with the entire spectrum of our own sentiment, so that it feels strangely real". However, as this publication is a compilation of particularly characteristically Herzog musings, it avoids negative reviews. A brilliant and creative translation from the original German – in which a mythical creature researcher is characterized as "a ham sandwich short of a picnic" – in some way makes Herzog more Herzog in style.
Although a great deal of The Future of Truth will be known from his previous books, films and interviews, one comparatively recent element is his contemplation on digitally manipulated media. The author alludes multiple times to an computer-created endless discussion between synthetic audio versions of himself and another thinker online. Because his own methods of achieving ecstatic truth have included inventing quotes by prominent individuals and selecting actors in his non-fiction films, there lies a risk of double standards. The difference, he argues, is that an intelligent person would be reasonably able to recognize {lies|false
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