View allAll Photos Tagged existential
systemic existential concerns
improvised protection against fallout
improvised protection against fallout
improvised protection against fallout
march is here again
---
listening: Throbbing Gristle - Hot on the Heels of Love (+ some other jazz funk greats)
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. Itās an existential quality that we are losing. Itās almost like a credo of religion that we should walk.
There is, of course, something inherently romanticāif not heroicāabout 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-ĆlysĆ©es (āWe were close to what they call the breath of dangerā), Herzog emerges victorious.
ā Of Walking in Ice: (Munich-Paris, 23 Novemberā14 December 1974)
by Werner Herzog
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 1960ās and 1970ās 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 CarnĆ© spotted him and offered him a leading role opposite Pascale Petit, Jacques Charrier and Jean-Paul Belmondo in Les Tricheurs/The Cheaters (1958, Marcel CarnĆ©), a portrait of the existentialist youth in the late 1950ās. On All Movie, Hal Erickson writes about the film: āCarne's youthful characters are not so much people as symbols of the postwar relaxation of worldwide manners and mores. In anticipation of the āhippie 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. ā His ddebut was also Terzieffās 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 PĆ©chĆ©s/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 cÅur joie/ Two Weeks in September (1967, Serge Bourguignon) with Brigitte Bardot, and La PrisonniĆØre/The Prisoner (1968, Henri Georges Clouzot), in which he interprets a manipulative artist. Famous Spanish director Luis BuƱuel took him on a pilgrimage to Santiago de Compostela in La Voie lactĆ©e/The Milky Way (1969, Luis BuƱuel). Terzieff worked with more great auteurs. He made four films with Philippe Garrel (of which Le RĆ©vĆ©lateur/The Revealer (1968, Philippe Garrel) was shot in May 1968) and one with Godard, DĆ©tective/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 1980ās, 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, VĆ©ra Belmont), an anarchist in Germinal (1993, Claude Berri) and the painter HĆ©rigault in Le radeau de la MĆ©duse/The Raft of the Medusa (1994, Iradj Azimi), inspired by a tragic maritime event happened in 1816. Politically engaged, Terzieff signed in 1960 La DĆ©claration sur le droit Ć l'insoumission dans la Guerre d'AlgĆ©rie (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 rĆŖvĆ© d'ĆŖtre 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 GĆ©rard Philippe, MoliĆØre 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 MĆ©rite (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, CinĆ©-Resources (CinĆ©mathĆØque franƧaise), Wikipedia, and IMDb.
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 criticismāmost of which was not directed toward the photographās technical merits. When Laurel founded the Female Self Portrait Artistsā 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 Groupās photographic campaigns about womenās issues, such as domestic abuse and mental health, highlight each photographerās quest to portray not only herself, but also her place within the worldās collective of women.
This overarching female experience is evident in group membersā 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! Youāre 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 womanās 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 womenās own empowered visions of self, it also presents a collection of first-rate photography. At the end of the day, the Female Self Portrait Artistsā 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.
You can become as one...with the Borg...or, you can sit in a waterfall and get an existential shot in the arm - and the spirit of John Muir will smile upon you
My Š¤ŠŠ-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... :))
Š¤ŠŠ-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.
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. Itās an existential quality that we are losing. Itās almost like a credo of religion that we should walk.
There is, of course, something inherently romanticāif not heroicāabout 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-ĆlysĆ©es (āWe were close to what they call the breath of dangerā), Herzog emerges victorious.
ā Of Walking in Ice: (Munich-Paris, 23 Novemberā14 December 1974)
by Werner Herzog
We could almost see the car from here - so near & yet so far. I think if we'd known at this stage - with increasingly tired legs and running out of water - how hard the coming miles would be it may have induced some existential despair...
Gilbert Garcin ā deeply original and poetic surreal photo montages; instantly recognizable, a blend of philosophical humor, existential inquiry, and minimalist composition.
Had a slight existential crisis and unfortunately backed away from Tiona for a while. But a couple of days to myself and an attempt at being girly again has got my mojo back
Happened in Chinatown (Spadina and Dundas). Offered to help two women (not shown) load these Xs into their van. They politely said no. They also declined to tell me what the Xs are for! Very eXistential!
Longshore drift is a geographical process that consists of the transportation of sediments (clay, silt, sand and shingle) along a coast at an angle to the shoreline, which is dependent on prevailing wind direction, swash and backwash. This process occurs in the littoral zone, and in or close to the surf zone.
AI Overview
The image is of a shingle or pebble beach, a type of shoreline composed mainly of rounded stones, gravel, and seashells.
Beaches are dynamic landforms created by the accumulation of sediments, such as sand or pebbles, which are deposited along the shore by wave action.
Shingle beaches are common on exposed coasts where waves have enough energy to move the material.
The composition of the beach depends on local coastal processes and the types of rocks and minerals available in the area.
The area just beyond the normal reach of the waves, where debris accumulates, is called the strandline, and it can support specific types of hardy plants.
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
It's already been ten years since you headed towards your new existential level, but for me the memory of you is always the same, when I watched you with my child eyes. For more than 30 years you have taught drawing and art history to generations of kids, instead you taught to me how to dream, how to love our neighbor, how to love nature and animals, and I still remember when we sat in the evening on the balcony of our small house of Ferentino to watch the stars together imagining worlds and distant civilizations or dreaming about the mysteries of life and death, and if "Someone" were watching us from up there. I am sending you a kiss Mom, now as at that time. Your Riccardo.
Mae hwnna wedi bod ar ei wyliau. Arhosodd rownd y gornel o'r caffi hanesyddol hwn a chafodd frecwast yma (yn hen sedd Jean-Paul?). Cliciwch yma am ragor o wybodaeth: Cafe de Flore
Hwnna has been on his holidays. He stayed around the corner from the legendary Cafe de Flore
Wife looking a bit tired after a day of rigorous outdoor work at our NC cabin. Home scanned e6 slide edited Snapseed and MobileMonet.
sometimes he has deep thoughts. they scare him.
obviously stagnating a little bit before school starts and shit hits the fan.
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".
Iāve started the project āTwelve months of filmā in 2024, after a few years of inactivity due to stuff like existential dread, the ever-looming-over-our-heads capitalist hellscape, sheer laziness, and the biggest offender of all - imposter syndrome.
I decided to (at the very least try) to master two of my cameras during this year - the Olympus OM10 and Zenit 12XP, so here are both of them, accompanied with the lenses that will be used with them - Olympus Zuiko 50mm f1.8, Sigma super-wide II 24mm f2.8 and Olympus Zuiko MC auto-zoom 35-70mm f4 for the Olympus, and Helios 44M-4 58mm f2 and Focal 28mm f2.8 for the Zenit.
The plan is to document the process in as many places as possible, for the sake (and hope) of accountability.
Here's the link for the first blogpost:
iso3200.org/blog/2024/01/twelve-months-of-film/
and please be patient with this scared beginner
Babydoll dress from Forever 21
Tights from Urban Outfitters
Clogs from Merrell
Glasses from Gap
Necklace from Notice Magazine
Singapore.
Read more at my blog: www.pupuren.com/weblog/going-forward-heading-nowhere
FOLLOW ME ON
INSTAGRAM instagram.com/pupuren
TWITTER twitter.com/renthesuperglue
TUMBLR pupuren.tumblr.com
BLOGLOVIN www.bloglovin.com/blog/1799731
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! :-):-)
French photo.
French actor and stage director Laurent Terzieff (1935-2010) starred during the 1960s and 1970s 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 with 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. His film dĆ©but was opposite Yves Montand in Premier mai/The First of May (Luis Saslavsky, 1958). A year earlier he had gained some notoriety playing a role as an assassin in L'affaire Weidmann/The Weidmann case (Jean Prat, 1957), an episode of the TV series En votre Ć¢me et conscience/In your conscience (1954-1969). Legendary director Marcel CarnĆ© spotted him and offered him a leading role opposite Pascale Petit, Jacques Charrier and Jean-Paul Belmondo in Les Tricheurs/The Cheats (Marcel CarnĆ©, 1958), a portrait of the existentialist youth in the late 1950s. At AllMovie, Hal Erickson writes: āCarnĆ©'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.ā Les Tricheurs was Terzieffās 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 such famous directors as Gillo Pontecorvo in KapĆ² (1959) about a young Jewish girl (Susan Strasberg) who leads an escape attempt from a concentration camp, Claude Autant-Lara in Tu ne tueras point/Thou Shalt Not Kill (1961), a portrait of a conscientious objector, and Jacques Demy in the portmanteau (omnibus film) Les Sept PĆ©chĆ©s/The Seven Deadly Sins (1962). He appeared in a 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. Terzieff starred with Rosanna Schiaffino and Elsa Martinelli in the Italian film La Notte Brava/Bad Girls Don't Cry (Mauro Bolognini, 1959). Pier Paolo Pasolini wrote this social drama about three young Roman criminals and three beautiful prostitutes without any perspective in life but having some money to spend during a night of illusions and adventures. More famous 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 (Roberto Rossellini, 1961), as the centaur in Medea (Pier Paolo Pasolini, 1969) opposite Maria Callas, as an anarchistic petty thief in Ostia (Sergio Citti, Pier Paolo Pasolini, 1970), and as a military in Il deserto dei Tartari/Desert of the Tartars (Valerio Zurlini, 1976) opposite Vittorio Gassman and Jacques Perrin. In France, he played in A cÅur joie/Two Weeks in September (Serge Bourguignon, 1967) with Brigitte Bardot, and La PrisonniĆØre/Woman in Chains (Henri Georges Clouzot, 1968), in which he interpreted a disturbed modern art gallery owner who manipulates Elisabeth Wiener. He made four films with director Philippe Garrel. Le RĆ©vĆ©lateur/The developper (Philippe Garrel, 1968) was shot in May 1968 during the student revolution, and Les hautes solitudes (Philippe Garrel, 1974), a biographical film about actress Jean Seberg. Terzieff worked with more great auteurs. Famous Spanish director Luis BuƱuel took him and Paul Frankeur on a pilgrimage to Santiago de Compostela in La Voie lactĆ©e/The Milky Way (Luis BuƱuel, 1969). He was once directed by Jean-Luc Godard in DĆ©tective/Detective (Jean-Luc Godard, 1985). On television, he appeared in the American-Italian Mini-Series Moses the Lawgiver/Moses (Gianfranco De Bosio, 1974) starring Burt Lancaster.
Since the 1980s, Laurent Terzieff was seen less in the cinemas and mostly acted on stage. In the theatre, he often worked as a director, writer and actor with his own troupe, co-founded in 1961 with his companion Pascale de Boysson. He also ran the theatre Lucernaire in Paris. His later film roles include a Trotskyist in Rouge Baiser/Red Kiss (VĆ©ra Belmont, 1985), an anarchist in Germinal (Claude Berri, 1993) starring GĆ©rard Depardieu, and the painter HĆ©rigault in Le radeau de la MĆ©duse/The Raft of the Medusa (Iradj Azimi, 1994), inspired by a tragic maritime event that happened in 1816. Politically engaged, Terzieff signed in 1960 La DĆ©claration sur le droit Ć l'insoumission dans la Guerre d'AlgĆ©rie (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. In his seventies, the gaunt-faced actor had 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... (Pascal Thomas, 2005) with Catherine Frot and AndrĆ© Dussollier. Terzieff also stayed active in the theatre. In 2009 he played an acclaimed Philoctetes in the play by Sophocles. His last films were the comedy J'ai toujours rĆŖvĆ© d'ĆŖtre un gangster/I always dreamed of being a gangster (Samuel Benchetrit, 2008) with Jean Rochefort, and the Italian production Le ombre rosse/The Red Shadow (Francesco Maselli, 2009). Posthumously he was seen opposite Sharon Stone in the thriller Largo Winch 2/The Burma Conspiracy (JĆ©rĆ“me Salle, 2011). During his long career, Laurent Terzieff was hailed with many awards (Prix GĆ©rard Philippe, MoliĆØre for Best Director and Best Show for Temps contre temps (Time against time) in 1993), and he was also an Officier de l'Ordre du MĆ©rite (Officer of the Order of Merit) and Commandeur des Arts et des Lettres (Commander of Arts and Letters). Laurent Terzieff died in 2010 in Paris from a lung ailment. He was 75. He was the widower of actress Pascale de Boysson.
Sources: Hans Beerekamp (Het Schimmenrijk) (Dutch), Hal Erickson (AllMovie), Evene.fr (French), CinĆ©-Ressources (CinĆ©mathĆØque franƧaise) (French), Wikipedia (French and English), and IMDb.
And, please check out our blog European Film Star Postcards.