View allAll Photos Tagged existential
Nothing escapes a black hole. Light cannot escape and neither can existence. At the event horizon, existence does not precede essence; existence precedes extinction. A being on the precipice will inevitably become extinct. But what happens to a being after its extinction is not so well-known. The supercollider photos in the sequence to the immediate left of this image show what happens after extinction. And thanks to Monty Cook for the title.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, nr. 2992, 1967. Photo: Progress.
French actor and stage director Laurent Terzieff (1935) starred during the 1960’s and 1970’s in many films by famous French and Italian directors. The magnetic and politically engaged actor began his film career as one of the existential youth in Les Tricheurs (1958) and later often portrayed cynical bohemians or political activists.
Laurent Terzieff was born Laurent Didier Alex Laurent Tchemerzine in 1935 in Toulouse, France. He was the son of a French visual artist and a Russian sculptor who had emigrated to France during the First World War. The spectacle of the bombardments during WW II had a dramatic effect on nine-year-old Laurent. As an adolescent, he was fascinated with philosophy and poetry. He assisted director Roger Blin by the production of the play La Sonate des spectres (The Ghost Sonata) by August Strindberg. Then and there, he decided to become an actor. Terzieff made his debut in 1953 with the Theatre of Babylon in Tous contre Adamov (All Against Adamov) by Jean-Marie Serreau. In 1957 he gained some notoriety playing a role as an assassin in a television series. Legendary director Marcel Carné spotted him and offered him a leading role opposite Pascale Petit, Jacques Charrier and Jean-Paul Belmondo in Les Tricheurs/The Cheaters (1958, Marcel Carné), a portrait of the existentialist youth in the late 1950’s. On All Movie, Hal Erickson writes about the film: “Carne's youthful characters are not so much people as symbols of the postwar relaxation of worldwide manners and mores. In anticipation of the ‘hippie flicks of the 1960s, the main characters indulge in a great deal of sex, but abstain from true love and commitment, citing these things as irrelevant in a world full of instant gratification. “ His ddebut was also Terzieff’s breakthrough in the cinema. For a long time, the public would identify him with the bohemian and cynical student.
Laurent Terzieff played roles in films by famous directors such as Claude Autant-Lara, including Tu ne tueras point/Thou Shalt Not Kill (1961) - a portrait of a conscientious objector, and Jacques Demy in the portmanteau (anthology film) Les Sept Péchés/The Seven Deadly Sins (1962) He appeared in the segment about the lusty conversation between two young men, one of whom has x-ray eyes that enable him to see through women's clothing. He starred with Rosanna Schiaffino and Elsa Martinelli in the Italian film La Notte Brava/Bad Girls Don't Cry (1959, Mauro Bolognini), a socially conscious drama written by Pier Paolo Pasolini about three young Roman criminals and three streetwalkers. Some of the best of the Italian film directors would ask him for their films. Terzieff appeared as a revolutionary on the run from government troops in Vanina Vanini/The Betrayer (1961, Roberto Rossellini), as the centaur in Medea (1969, Pier Paolo Pasolini) opposite Maria Callas, as an anarchistic petty thief in Ostia (1970, Sergio Citti, Pier Paolo Pasolini), and as a military in Il deserto dei Tartari/Desert of the Tartars (1976, Valerio Zurlini) with Vittorio Gassman. In France, he played in A cœur joie/ Two Weeks in September (1967, Serge Bourguignon) with Brigitte Bardot, and La Prisonnière/The Prisoner (1968, Henri Georges Clouzot), in which he interprets a manipulative artist. Famous Spanish director Luis Buñuel took him on a pilgrimage to Santiago de Compostela in La Voie lactée/The Milky Way (1969, Luis Buñuel). Terzieff worked with more great auteurs. He made four films with Philippe Garrel (of which Le Révélateur/The Revealer (1968, Philippe Garrel) was shot in May 1968) and one with Godard, Détective/Detective (1985, Jean-Luc Godard). On television he appeared in the mini-series Moses the Lawgiver/Moses (1974, Gianfranco De Bosio) starring Burt Lancaster.
Since the 1980’s, Laurent Terzieff was less seen in the cinemas and he mostly acted on stage. In the theater he often worked as a director, writer and actor with his own troupe, founded in 1961. He also runs the theater Lucernaire in Paris. His later film roles include a Trotskyist in Rouge Baiser/Red Kiss (1985, Véra Belmont), an anarchist in Germinal (1993, Claude Berri) and the painter Hérigault in Le radeau de la Méduse/The Raft of the Medusa (1994, Iradj Azimi), inspired by a tragic maritime event happened in 1816. Politically engaged, Terzieff signed in 1960 La Déclaration sur le droit à l'insoumission dans la Guerre d'Algérie (Declaration on the Right of Insubordination in the War of Algeria), and in 2002, the petition Pas en notre nom (Not in our name) against the Iraq War. Now in his seventies, the gaunt-faced actor has not lost his magnetism, as was proved by his appearance in the Agatha Christie adaptation Mon petit doigt m'a dit.../A Little Bird Told Me... (2005, Pascal Thomas). Laurent Terzieff is also still active in the theatre. In 2009 he played an acclaimed Philoctetes in the play by Sophocles. His most recent films are J'ai toujours rêvé d'être un gangster/I always dreamed of being a gangster de (2008, Samuel Benchetrit) with Jean Rochefort, and the Italian production Le ombre rosse/The Red Shadow (2009, Francesco Maselli). During his long career Laurent Terzieff was hailed with many awards (Prix Gérard Philippe, Molière for Best director and Best Show for Temps contre temps (Time against time) in 1993), and he is also an Officier de l'Ordre du Mérite (Officer of the Order of Merit) and Commandeur des Arts et des Lettres (Commander of Arts and Letters).
Sources: Hal Erickson (All Movie Guide), Evene.fr, Ciné-Resources (Cinémathèque française), Wikipedia, and IMDb.
SPOTLIGHT SESSION
The Mental Well-Being of the Next Generation: How We Can Support Young People’s Mental Health Amid Multiple Existential Threats
2:30 - 4:00 p.m. ET
Location: Mercury Ballroom
The COVID-19 pandemic has exacerbated an existing mental health crisis, particularly among children and young people. The emergence of “climate anxiety,” new and ongoing international conflicts, and widespread use of technology have added to the stressors impacting our youth across the globe. A study last year estimated that one in seven children and adolescents in sub-Saharan Africa have experienced significant psychological challenges, and almost 10 percent qualify for a psychiatric diagnosis. Overdose rates among teens in the United States are on the rise. Youth are facing cultural and infrastructural challenges – from stigma in seeking help to barriers in accessing support – in finding the tools and treatment they need.
This session will explore:
•How can organizations take action to directly support the mental health of young people in their communities and around the world?
•How can we develop and implement effective models for delivering mental health care in schools, clinics, and community settings?
•How can we leverage technology – which has exacerbated much of the mental health crisis among today’s youth – to reduce stigma and give youth easier access to support and treatment?
Speakers:
•Dr. Tia Dole, Executive Director, The Steve Fund
•Vice Admiral Vivek H. Murthy, U.S. Surgeon General
•Heather White, Author & Founder, OneGreenThing.org
•Tristan Harris, Co-Founder & President, Center for Humane Technolog
•Mahmoud Abdelwahab Khedr, Founder & CEO, FloraMind
•Dometi Pongo, Journalist, MTV News
NEW YORK, NEW YORK - SEPTEMBER 20: Spotlight Session at the Clinton Global Initiative September 2022 Meeting at New York Hilton Midtown on September 20, 2022 in New York City. (Photo by Noam Galai/Getty Images for Clinton Global Initiative)
From the intro (written by Natalie J McCarthy) of She Took Her Own Picture..
There are approximately 3.3 billion women in the world, all of whom doubtlessly live a split existence: the person viewed by others, molded according to culture, and created for display to the rest of the world, and the true self, the woman who exists in, of, and for herself. When Laurel Fiszer started posting her photos on flickr.com a few years ago, she certainly did not imagine plunging into an existential debate. Instead, she noticed that female self-portrait photographers were often seen as narcissistic princesses who had to defend their work against an onslaught of criticism—most of which was not directed toward the photograph’s technical merits. When Laurel founded the Female Self Portrait Artists’ Support Group, her primary goal was to create a place online where female photographers could share self-portraits and receive constructive criticism in a supportive, encouraging, and non-judgmental environment.
Since its founding, the Group has grown to include hundreds of women from all over the globe--all of whom share a passion for interpreting, inventing and reinventing themselves through pictures. Despite this commonality, the artists come from different countries and cultures, demonstrate diverse worldviews in their photos, and have distinct artistic motivations. Members of the Group hail from Latin America, Europe, North America, Oceania, and the Caribbean. Some within the Group are professional photographers with an accomplished body of work; others only recently picked up a camera and are working out their own sense of focus, light, and composition. Moreover, not every artist is catapulted into self-portraiture for the same reason. Many do it for lack of other models. Other women appreciate the creative control that self-portraiture affords them, and some embark on a self-portrait series as a form of therapy, self-discovery, or self-empowerment. Still more women photograph themselves as a feminist statement; for them, self-portraiture is a way of removing themselves from a male-artist/female-object paradigm. These cultural, geographic, and artistic differences do more than add to the diversity of the Group; they more importantly highlight the diversity and complexity of all women, not just photographers, and not just women with access to computers, internet connections, and digital cameras. The Group’s photographic campaigns about women’s issues, such as domestic abuse and mental health, highlight each photographer’s quest to portray not only herself, but also her place within the world’s collective of women.
This overarching female experience is evident in group members’ common need to defend their work. The artists in this collection have stood up against all-too-common misconceptions of self-portraiture: Only an egomaniac would photograph themselves! You’re so self-absorbed! On the other side of the critical spectrum, female self-portrait artists often hear that photos of pretty girls are not art; rather, they are magazine ads, fashion spreads, pornography or eye candy. These criticisms present female self-portrait artists with an exciting and powerful opportunity: the chance to categorically refute antiquated notions of the woman’s role as an art object, and to create a new, empowered vision of the female model.
She Took Her Own Picture is certainly constructed upon this feminist foundation. However, while this book brings to light women’s own empowered visions of self, it also presents a collection of first-rate photography. At the end of the day, the Female Self Portrait Artists’ Support Group is a collective of women photographers who strengthen their friendship by sharing inspired, artistic, and well-executed photographs. With She Took Her Own Picture they bring you into their circle of friends and share their art with you.
This is not the front cover, this is merely an advertisement, a little sampler of what you will see in the finished product. Stay tuned.
It was a late, sunny afternoon in the spring of 2019 at the Headington campus and, after yet another useless and somewhat frustrating meeting with the group lead (a total Oxbridge idiot), I wanted to take a moment to ponder more existential topics and decouple from the daily drudgery.
I took my special pen, the Pilot's 80th Anniversary, and as I tried to scribble something on the paper, the nib left no trace. The pen was empty. At that moment, I noticed a strong shadow cast by the nib on the paper, and a brief Chinese poem came to mind:
The bamboo shadows sweep the stairs,
But stir no dust.
I have not made any significant contributions to society. I shall not be remembered. All that I am and all that I have done will soon disappear and leave no trace behind. That impermanence, while one of the scariest aspects of life, at that moment seemed so natural. If only for a moment, I was at ease with myself.
The song True Love Leaves No Traces by Leonard Cohen came to mind, and I felt even more relaxed about my predicament. My pen leaves no ink; my life leaves no stain. I thought of myself as a Native American scout, moving without disturbing a single twig beneath my feet. I was like Leonard's lover; I leave no scar. I was in perfect harmony with Nature.
That feeling of nirvana did not last long, but it has remained in my memory, and I decided that whenever I next inked this pen, I would reflect on that feeling. I have remained faithful to that promise and, over the last seven years, I have always paused when inking this pen and dedicated a moment of silence to commemorating that feeling.
In fact, whenever I ink this pen, if circumstances allow, I take a photograph of the nib right before filling it, always trying to recreate that late-afternoon sun shining on this thin, magnificent piece of gold, sometimes using natural light, sometimes a desk lamp, or simply my phone's torch.
I have well over a hundred photographs of this nib, taken with a number of different camera and lens combinations, and here I share one of the more recent one, taken late at night using a small portable LED light.
This is inspired by SharonMay 24. Thank you!!!
Texture is a product of Lenabem-Anna.
Texture - 193. Thank you!!!
www.flickr.com/photos/lenabem-anna/5802811325/in/photostream
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
systemic existential concerns
improvised protection against fallout
improvised protection against fallout
improvised protection against fallout
march is here again
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listening: Throbbing Gristle - Hot on the Heels of Love (+ some other jazz funk greats)
This project takes a view on how seeking acknowledgment in a rapid stream of external demands and expectations influences this particular human being. It can increase a sense of existential loneliness - and the feeling of being numb.
"The Depleted Self"
See the full project on www.bendikjohan.com
This is the second image from our exhibition "LIMBO - Identities in Transition".
My ФЭД-2 camera went into existential crisis and required the application of the prestigious RED DOT. I could not find it and I veered on a less noble blue dot... :))
ФЭД-2 (Fed 2-C) - 1958 - by FED.
shutter > 1/25 - 1/50 - 1/100 - 1/250 - 1/500 + B
lens > Industar-50 - 3.5/50, old style, silver.
Gerbera blooms are available pretty much every day of the year here. They are the fifth most popular flower in the world, and a member of the daisy family. With the exception of true blue and purple, they are available in pretty much any color imaginable. Ironically purple and blue are colors I love a lot in flowers! It strikes me a bit odd, that with the technological level that exist in gene implantation, why blue and purple genes haven't been positioned into the gerbera chromosome to give us the missing two colors! I guess perhaps the supposition might be: Why get greedy? Kind of an existential prerogative or something! :-):-)
In this animation project I have attempted to encapsulate a moment of existential crisis through distortion of the environment and the body language of the character.
“I believe that in the process of locating new avenues of creative thought, we will also arrive at an existential conservatism. It is worth asking repeatedly: Where are our deepest roots? We are, it seems, Old World, catarrhine primates, brilliant emergent animals, defined genetically by our unique origins, blessed by our newfound biological genius, and secure in our homeland if we wish to make it so. What does it all mean? This is what it all means. To the extent that we depend on prosthetic devices to keep ourselves and the biosphere alive, we will render everything fragile. To the extent that we banish the rest of life, we will impoverish our own species for all time. And if we should surrender our genetic nature to machine-aided ratiocination, and our ethics and art and our very meaning to a habit of careless discursion in the name of progress, imagining ourselves godlike and absolved from our ancient heritage, we will become nothing.”
― Edward O. Wilson, Consilience: The Unity of Knowledge
Created for "Treat This" challenge No. 44
found in the Kreative People group, on front page
If you like Star Wars, Legos, or dreary philosophy, you've come to the right place. You can now buy a softcover of The Star Wars Existentialist through Blurb for only 10 bucks.
Here's the link for purchase:
www.blurb.com/b/4422300-the-star-wars-existentialist
I've removed all branding and author attribution from the book. No Blurb logos, no personal logos. Just images and quotes. Pure minimalism for an existential look. Click here to see what the book looks like:
www.flickr.com/photos/badfysh99/8951727054/
Any questions? Please ask.
Our daughter’s cat brought in this edible dormouse this morning. She retrieved it and released it back in the churchyard opposite.
Been far too long since I've done one of these. I bow to these artists' mightiness. Must go see.
1. multiple personalities, 2. There is no freedom without sacrifice-ForTim Andrews project Over the Hill-, 3. don't think i'm all in this world... don't think i'll be here too long..., 4. Untitled, 5. JR - EXPOSITION, 6. Luca, 7. reanimated, 8. panzer division., 9. kentucky 1959, 10. E V O L U T I O N, 11. Untitled, 12. Untitled, 13. Untitled
Then, pale as privet, took she heart to drink,
And therewithal most strange new thoughts did think,
And unknown feelings seized her, and there came
Sudden remembrance, vivid as a flame,
Of everything that she had done on earth,
Although it all seemed changed in weight and worth,
Small things becoming great, and great things small;
And godlike pity touched her therewithal
For her old self, for sons of men that die;
And that sweet new-born immortality
Now with full love her rested spirit fed.
Then in that concourse did she lift her head,
And stood at last a very goddess there,
And all cried out at seeing her grown so fair.
William Morris, a luminary of the Victorian era, was not only an influential poet but also a pivotal figure in the Arts and Crafts Movement. Born in 1834, his multifaceted career spanned poetry, textile design, and social activism. Among his numerous literary contributions, "The Earthly Paradise" is particularly notable for its rich tapestry of myth and folklore, interwoven with themes of existential reflection and human desire.
"The Earthly Paradise" comprises a series of narrative poems, each retelling a blend of classical and medieval tales. Published in parts from 1868 to 1870, the collection mirrors Chaucer's "Canterbury Tales" in its structure, with a prologue setting the stage for a group of medieval wanderers who, in search of an earthly paradise, chance upon a community where the residents share stories from their diverse cultural heritages. This frame narrative is a clever device that allows Morris to explore a wide range of myths and legends, underscoring his deep engagement with past literary forms and his reverence for tradition.
Morris's poetry in "The Earthly Paradise" is characterized by its lyrical beauty and the melancholic yearning for an unattainable ideal. Each tale serves as a meditation on human suffering, love, loss, and the relentless passage of time. Morris weaves these themes together with a deftness that betrays his profound sensitivity to human frailty and his disillusionment with the industrial progress of his time. This juxtaposition of beauty and despair is a hallmark of Morris's work and a reflection of his personal conflicts.
Moreover, Morris’s involvement in the Arts and Crafts Movement is echoed in his literary efforts to integrate art into everyday life. Through "The Earthly Paradise," he sought not just to entertain but also to educate and enrich the aesthetic experience of his readers, advocating for a return to craftsmanship and beauty amidst the burgeoning industrial landscape of 19th-century England.
In conclusion, "The Earthly Paradise" is more than just a poetic collection; it is an embodiment of William Morris’s philosophy of life and art. It showcases his mastery in reviving and reinterpreting ancient stories to address contemporary issues and resonate with the Victorian society's anxieties and aspirations. Through this work, Morris not only cemented his legacy as a poet but also as a thinker profoundly ahead of his time, whose ideals continue to influence the discourse around art, work, and society today.
Poem:
In gardens of mist,
Old stone paths remember feet
That once danced at dusk.
Lingering whispers weave
Through the ivy's embrace,
Where secrets blossom
Under the old oak's watchful gaze,
Silent and profound.
Haiku 1
Autumn leaves whisper,
Golden tales beneath soft skies,
Chill breeze tells of change.
Haiku 2
Morning dew clings tight,
Sunrise flares on silent hills,
Day's first breath taken.
The more I learn about myself, the more I fear myself. I’m told I should remain neutral. A Switzerland of the mind.
Chiharu Shiota, site specific installation
Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze
© photo Martino Margheri
In this work of her from her Existential Emptiness, the wave of serenity and coldness hits the audiences as they see the pan view of the landscape. As our view scans from the left to the right, we can see transformation of traditional into contemporary. The school girl, camouflaged in the pile of snow draws the audiences to linger a few more seconds to realize her eerie lifeless existence. Yet we can see from her eyes that there is that little soul still pumping life in her in the midst of the motionless landscape.
To see more our works, visit us at odetoart.com/
Da der Aufkleber auf dem Kofferraum des Autos klebte, habe ich ihn als passiv-aggressive Frage an den Hintermann verstanden. Könnte aber genausogut die oft gestellte Frage an eine mitfahrende Person sein...
1945 – As the War ends and the country recovers, postwar America struggles for a new identity. One of the results of this existential conflict is film noir, a term coined by French critics to define a darker, more pessimistic type of filmmaking. Taking cues from German expressionism and hard-boiled crime fiction, film noir utilizes low-key lighting, stark black-and-white cinematography, unbalanced visual composition, non-linear storytelling, and ambiguous moral codes in which the distinction between heroes and villains is far less obvious. In film noir, the world is inherently corrupt and uncaring, and every man is fighting for himself. Film noir reflects an uncertain America, one suffering from heightened anxiety, paranoia, and alienation following World War II.
DETOUR (1945): www.youtube.com/watch?v=R_mnviE7QWo
OUT OF THE PAST (1947): www.youtube.com/watch?v=8H3JpJJ4bDw
THE THIRD MAN (1949): www.youtube.com/watch?v=oKKq5LPnpIM
IN A LONELY PLACE (1950): www.youtube.com/watch?v=9EitK0vaEWU