View allAll Photos Tagged existentialism
Goth Rock -inspirations in gothic literature allied with themes such as sadness, existentialism, nihilism, dark romanticism, tragedy, melancholy and morbidity. These themes are often approached in a poetic way.
Tango with Nottoo on Saturday April 17, 2021 from 11 am to 1 pm SLT
Taxi : maps.secondlife.com/secondlife/Hookton/230/93/57
Week 2 Dogs (2) (1006 – 1010)10/06 – 10/10/2019 ID 1009
Henry Koerner American (born in Vienna, Austria), 1915-1991
Under the Overpass, 1949
Oil on Masonite
In 1938, Henry Koerner immigrated to America from Vienna to escape persecution by the Nazis. Koerner later learned that his family members were among the millions of Jews who were systematically murdered in Nazi concentration camps during the Second World War. The artist described how that personal trauma and the general destruction wrought by the violence and chaos of the war made him feel that “Reality had turned into surreality…’normal’ life into existentialism.”
Under the Overpass is a meditation on the transience of life and pain of loss and death. The changing colors of the leaves and the streaks of rust on the overpass evoke time and decay. What looks like an urban streetcar or trolley could represent the train that transported the Koerner family to the concentration camp. Scholars believe the artist’s mother is the crying woman in the yellow dress as well as the woman on the train (sitting next to his father). The scene is intentionally ambiguous. His magic realist style—visible in the painting’s hyper-realistic details, improbable shifts in scale, and elimination of shadows—creates a low-frequency sense of confusion and unease in the viewer.
Marion Stratton Gould Fund, 2012.33
From the Placard: Memorial Art Gallery, Rochester, New York
en.wikipedia.org/wiki/Henry_Koerner
listen to me, playing Johann Sebastian Bach, Praeludium BWV 999
profile.ultimate-guitar.com/frizztext/skills/play150281
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portrait done with available (bad) light by my wife Barbara
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Johann Sebastian BACH, Prelude 999, comes into my mind - listen to my guitar at
profile.ultimate-guitar.com/frizztext/skills/play150281
for colleagues: take a look at the tabs at www.chordie.com/chord.pere/?url=http://www.lindesign.se/u...
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In my case, it’s true !
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Juliette Gréco, French singer and actress, grande dame of French art song, icon of post-WWII France and the St-Germain-des-Prés “existentialist” scene, died in Ramatuelle, France, today at age 93. A very classy and talented lady, a “free singer and songstress of freedom,” as the daily Le Figaro described her. 😰 😰 😰
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From BBC News
Juliette Gréco, the sexy chanteuse who personified the spirit and style of post-war Paris and who later inherited Édith Piaf's exquisite mantle as grande-dame of French song, was born on 7 February, 1927 in Montpellier on the French Mediterranean coast.
Captured by the Gestapo
Her father, a police commissioner from Corsica, walked out when Juliette was still small. She, and her sister Charlotte, were raised mainly by their grandparents, and the nuns at the local convent, until their mother moved them to Paris.
It was wartime and Paris was an occupied city. Juliette's mother risked everything working with the Resistance. In 1943, disaster struck and the Gestapo arrested them all. "A French Gestapo officer humiliated me," she recalled. "I became so upset that I punched him on the nose. Well, that cost me!"
As a teenager, Juliette Gréco was captured by the Gestapo and thrown into prison. Her mother and sister were hauled off to the Ravensbrück concentration camp in northern Germany. It was a women-only prison opened on the personal orders of Heinrich Himmler.
Many were gassed, thousands more perished of disease, starvation, overwork and despair. In all, 50,000 women died within its walls before the war was over.
Juliette was spared the camps. Just 15 years old, she was thrown into the notorious women's prison in Fresnes, just south of Paris. It was a foul place where the Gestapo held, tortured and often murdered members of the Resistance.
Released a few months later, all she had were the blue cotton dress and sandals she'd been wearing when she was rounded up. It was the coldest winter on record and she had no home to return to. So Gréco walked the eight miles back into town.
Miraculously, both mother and daughter made it through Ravensbrück. After the liberation, Juliette went every day to the Lutétia hotel, where survivors were arriving. One day, among a crowd of skeletal, liberated prisoners, she spotted them. "We held each other tight, in silence. There were no words for what I felt at that instant."
Existentialist muse
The war over, Juliette moved to Saint-Germain-des-Prés, on the left bank of the Seine, making ends meet singing in cafes. "I had no food, so I bought a pipe and some very strong tobacco, and I smoked it in my room so I could forget my hunger", she said.
Orson Wells and Juliette Gréco were friends from the post-war Parisian social scene. Dirt poor, she was reliant on male friends to lend her things to wear. Everything was too big but it kept out the cold. The baggy clothes, the long black hair, her stunning looks and dark makeup meant you couldn't miss her. She was "the black muse of Saint-Germain-des-Prés", captivating the Parisian post-war beau-monde.
In 1946, they would gather at the famous cellar club, Le Tabou; Juliette Gréco at the microphone, Picasso, Orson Wells and Marlene Dietrich at the bar. Marlon Brando would give her a lift home on his bike.
The existentialists loved her for the way she looked. Juliette was fascinated by their unconventional style and mindset. "Black provides space for the imaginary," she said. They all believed in living for the now.
Photographers Robert Doisneau and Henri Cartier-Bresson captured her beauty with their cameras. Jean Cocteau asked her to star in his film, Orpheus.
But she was also loved for her voice, the perfect interpreter of melancholy songs capturing a post-war generation's hunger for life as freedom returned to the city.
Philosophers and writers Jean-Paul Sartre and Albert Camus both wrote lyrics for her. "Her voice carries millions of poems that haven't been written yet," Sartre insisted. "It is like a warm light that revives the embers burning inside of us all. In her mouth, my words become precious stones."
Miles Davis
Existentialism gave post-war Paris its intellectual identity. But its soundtrack was American jazz. They had a passionate love affair but never married. "You'd be seen as a negro's whore in America", he told her.
Charlie Parker, Dizzy Gillespie and Django Reinhardt were all huge stars. Of course, she knew them all. One night, unable to afford a ticket, Gréco snuck back stage at the Salle Pleyel on the Rue Faubourg Saint Honoré, to watch the legendary jazz trumpeter, Miles Davis.
It would be the beginning of a passionate love affair that would last until the end of his life. He was already married, with a child fathered at the age of 17. He spoke no French, she had no English. None of that mattered in bohemian Paris.
Gréco was transfixed by his looks and his talent. "In profile, he was a real Giacometti", she said. "He had a face of great beauty. You didn't have to be a scholar or a specialist in jazz to be struck by him. There was such an unusual harmony between the man, the instrument and the sound - it was pretty shattering."
"Why don't you marry her?" asked Jean-Paul Sartre. "Because I love her too much to make her unhappy," came Miles Davis' reply. The problem was his colour. "You'd be seen as a negro's whore in America", he said. "It would destroy your career."
Years later, there was a terrible incident in New York, which Davis said proved him right. Gréco had a nice suite at the Waldorf Hotel and invited Miles to dinner. "The face of the maitre d'hôtel when he came in was indescribable", she recalled.
"After two hours, the food was more or less thrown in our faces. The meal was long and painful, and he left." She took the waiter's hand, made as if she were about to kiss it, and spat in his palm.
At four o'clock in the morning, Davis called her. He was in tears. "I couldn't come by myself," he said. "I don't ever want to see you again here, in a country where this kind of relationship is impossible." She realised they had made a terrible mistake. The humiliation bit deep.
"In America, his colour was made blatantly obvious to me, whereas in Paris I didn't even notice that he was black", she later wrote.
He was not her only lover. There were dozens of heartbroken men, and some women, left reeling in her wake. Some even committed suicide after she left them.
She was unapologetic that she spread her affections so widely. "What do I care what other people think?," she'd say to anyone who asked.
It was said she loved the philosopher, Albert Camus, and the racing driver, Jean-Pierre Wimille, until he was killed in the Buenos Aires Grand Prix.
There was Hollywood movie mogul, Darryl F Zanuck. He gave her a starring role in John Huston's Roots of Heaven, alongside Errol Flynn. Another tycoon, David O Selznick, sent her a private plane so she could dine with him in London and offered her a fortune to sign a 7 year contract.
"I declined politely, trying not to laugh," she said. "Hollywood was definitely not for me."
There were three marriages; to actors Philippe Lemaire, with whom she had a daughter, and Michel Piccoli. And then, for twenty years, to the pianist Gérard Jouannest until his death in 2018.
Music and politics
Gréco was less a composer than a great interpreter of other people's songs, notably Jacques Brel and George Brassens.
The French newspaper, Libération, said she spat and caressed "the words like a Fauvist painter crushes colours onto his canvas with his knife".
Si tu t'imagines, Parlez-moi d`amour, and Je suis comme je suis were the big hits of the early years. Later, there were collaborations with Serge Gainsbourg, never one to miss working with a beautiful woman.
She became a sought-after performer far beyond the cafes of Saint-Germain, constantly in demand world-wide, including Germany, the US and Japan.
Scarred by her experience with the Gestapo, she hesitated to star in the country responsible for Ravensbrück. She finally agreed in 1959, singing with tears in her eyes remembering her mother's treatment.
She was very proud that young people made up most of the audience. But she kept returning to Hamburg and Berlin, mixing her own material with songs by her friend, Marlene Dietrich. In 2005, she even released an album in German, Abendlied (Evening Song).
Politically, she was firmly on the left. She campaigned against the wars in both Algeria and Vietnam. And then, there was her command performance for Augusto Pinochet, the Chilean dictator in 1981.
He thought it was a coup persuading the great star to perform in Santiago. She walked on to rapturous applause and gave him a show entirely consisting of songs he had banned. "I went off to dead silence", she recalled. "It was the greatest triumph of my career."
Musically, she forever experimented. In 2009, she released Je Me Souviens de Tout, an album mixing the traditional with cutting-edge French song, including rapper-cum-slam-poet, Abd Al Malik.
Gréco refused to remain forever the existentialist it-girl of the 1940s, preferring to look forwards rather than back.
But a few years later, at the age of 87, it was time to say goodbye. It would not be long before a stroke would cut her down. She launched a worldwide farewell tour, Merci. Thousands packed the great Olympia Hall in Paris, to see the legend for the last time.
The “high priestess» of existentialism played out in style, treating the crowds to classics such as Déshabillez-moi, Sous le ciel de Paris, and Jacques Brel’s great anthem, Amsterdam.
The grande-dame of French song, she may have been. But on that emotional night, she performed to an audience made up almost entirely of young people.
After an astonishing life and career that had lasted more than 70 years, Juliette Gréco was immensely proud of that.
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Adieu, mademoiselle Gréco, et merci !!! 😰 😰 😰
compare flickrcomments.wordpress.com/2011/06/25/weekly-photo-chal...
... takes me back to the fire hyrdrant playing days of my youth. This kid will probably never learn how to aim the water with a sawed off soda can, nor will he be allowed to... (comment by joe wig)
as a nation we must prioritise correctly. so far our choice has been wrong. power at the cost of nature will leave us nowhere
Overwhelming in its repetition and immensity!
* Important note* please enlarge the picture to truly get the full visual effect!
Seen in EXPLORE
Photo by: Eugene La Pia
Enlightenment
This is an image of a man nearly completely alone in the vast gallery. The darkness around him emphasises his isolation, reflecting human nature as solitary.
He disregards the gallery's purpose. Is he using his phone for answers, a distraction, or a different connection?
The contrast between his white hair and darkness suggests ageing and the inevitable. Is he using his phone to fill time? The phone, a symbol of modern technology, serves as a connection despite isolating individuals from the physical world. Does it provide a virtual community to counteract his physical isolation? Is he seeking meaning and purpose?
Art may symbolise the vastness of human experience, but the phone symbolises our agency. Even when faced with existential questions, we choose our own worldview.
The photo raises questions but doesn't provide answers. Is the man lost or thinking? Is technology a barrier or a lifeline? The image reminds us that we are human even in apparent isolation.
Gilded in the oak savanna.
In the leaning hills, where the summer sun turns the grassland to tinder, the savanna is a wind chime, rustling a harmonious lullaby like a new deck of cards in nimble fingers. Grasshoppers and mayflies and the chaff of newly dried seed catch in the sun. A dry, hot blizzard in an amber streetlamp.
The Arastradero Open Space Preserve is home to rattlesnakes, coyotes, and mountain lions and innumerable flavors of insects and birds, yet it is the trees that bring me here time and again. Before the axe and the wheel came to this land, enormous oak savannas like this one stretched across the midwest, the southwest and here along the west coast.
But the axe and the wheel did come and the savannas left. I like to think of the craggy and twisted forms that remain as wounded but unbent descendants of the stalwart soldiers who resisted the blade and the advance of civilization to hold the dusty California soil to the ground and to provide shade for the coyotes and mountain lions and rattlesnakes that weave through the tall grass of the American Veldt. As these sentinels slowly march from mother to child up and down the wind-tousled steppe, we flit about the outskirts of this preserve as insects, building and gnawing and living and dying. I hope that’s all we’ll ever do.
I came to the Arastradero preserve to connect with a particularly beautiful oak I’d passed (and photographed) on hikes before. I found her on the hillside as ever, arms outstretched, singing in the late evening breeze, fluttering fingers of bright green.
As I stood for a while here on the hillside, gilded in the afternoon, alone with my thoughts but for the oak and the whisper of the breeze and the hum-drum clicks and tweets of grassland animals, I thought, “I’ve been away too long,” and was reminded of Shel Silverstein’s The Giving Tree, and I’ve been thinking about it since.
I came back to the preserve to reconnect with a spot where I’d taken an old photo. Only now do I realize that same photograph was made nearly a year ago to the date. Oliver (who now runs and speaks and laughs) was with us then, asleep as an absolutely tiny three-month-old infant.
The change over the last year in Oliver provided, for me, a stark contrast with the constancy of the natural world, of these stalwart trees. How little they’ve changed. How little indeed will they change over the next century. Long may they roam on these hills and long may they feed my heart.
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In the leaning hills.
I’ve cared a great deal about taking photographs for a long time. When people ask me how long I’ve been “into” photography, I often don’t have an answer. I can vividly remember becoming interested in my father’s camera when I was a kid. No idea how old.
In point of fact, my mother was cleaning house recently and asked that I sort through some old papers of mine. Tucked in a bunch of junk were loads of old prints made with a Vivitar point and shoot given me by my parents sometime while I was in fifth grade. The landscape/candid ideas are all there, but the execution was a long way from developed (and often still is)!
I found a renewed passion for image making when I was in college and then again in graduate school, although if truth be told, it’s been relatively steady for most of my life and those moments of renewed energy are likely just an interpretation of mine in hindsight.
I often return to the question of “Why?” Why should photography feel a bit like breathing and why should I derive so much satisfaction from it? I have loads of standard answers that you see on photoblogs and photo news sites ad naseum, revolving around physical/emotional enjoyment and the risk/reward of creativity and sharing, but these are pretty unsatisfactory.
I’ll tell you that the social networking and community aspects of photography are not what drives me to carry a camera to beautiful places. Neither is building a portfolio of images what puts my feet out the door. Although I run this blog and make every effort to post frequently, I often find myself going to great lengths to make images I find interesting and then leaving them on the hard disk at home for months or years at a time.
This isn’t to say that I don’t enjoy every part of the process, from shooting to publishing; it’s just that, if those weren’t a feature of the photography/photoblog world, I would still shoot.
There is something about images and cameras that has always spoken to me, something in the process of making an extraordinary image that drives me across states and out of bed at strange hours. Images lie at the boundary between real and surreal, between ordinary and fantastic. They can tell the truth, they can lie, but good ones never let you know which. I find it thrilling to compare the different truths of the reality and the image made after. I like to imagine for a moment that the world is as strange as photographs make it seem, then I realize it’s far stranger.
I photograph because that’s who I am, it’s an authentic expression of myself. I mean authentic in the existential sense—that I am doing what comes naturally and being true to who I am. Sometimes explanations and reasons are trite and you just have to accept that you are what you are. Simply put, photography is.
Of course, existentialism takes for granted that, to the mind, the material world presents itself as incongruous and absurd. And maybe that’s what I find so damned rewarding about photography; the world is messy and strange and absurd, but there is a great harmony and undeniable humanity in standing amongst the nodding, tawny, and wind-threshed grain, catching on a wafer of silicon a few trillion photons that have spent eons bouncing around the interior of our sun, all the while inundated with the smells of flowering plants and buzzing insects, luring one another to sex and death in the burning heart of the afternoon, in the leaning hills.
Gilded in the oak savanna.
In the leaning hills, where the summer sun turns the grassland to tinder, the savanna is a wind chime, rustling a harmonious lullaby like a new deck of cards in nimble fingers. Grasshoppers and mayflies and the chaff of newly dried seed catch in the sun. A dry, hot blizzard in an amber streetlamp.
The Arastradero Open Space Preserve is home to rattlesnakes, coyotes, and mountain lions and innumerable flavors of insects and birds, yet it is the trees that bring me here time and again. Before the axe and the wheel came to this land, enormous oak savannas like this one stretched across the midwest, the southwest and here along the west coast.
But the axe and the wheel did come and the savannas left. I like to think of the craggy and twisted forms that remain as wounded but unbent descendants of the stalwart soldiers who resisted the blade and the advance of civilization to hold the dusty California soil to the ground and to provide shade for the coyotes and mountain lions and rattlesnakes that weave through the tall grass of the American Veldt. As these sentinels slowly march from mother to child up and down the wind-tousled steppe, we flit about the outskirts of this preserve as insects, building and gnawing and living and dying. I hope that’s all we’ll ever do.
I came to the Arastradero preserve to connect with a particularly beautiful oak I’d passed (and photographed) on hikes before. I found her on the hillside as ever, arms outstretched, singing in the late evening breeze, fluttering fingers of bright green.
As I stood for a while here on the hillside, gilded in the afternoon, alone with my thoughts but for the oak and the whisper of the breeze and the hum-drum clicks and tweets of grassland animals, I thought, “I’ve been away too long,” and was reminded of Shel Silverstein’s The Giving Tree, and I’ve been thinking about it since.
I came back to the preserve to reconnect with a spot where I’d taken an old photo. Only now do I realize that same photograph was made nearly a year ago to the date. Oliver (who now runs and speaks and laughs) was with us then, asleep as an absolutely tiny three-month-old infant.
The change over the last year in Oliver provided, for me, a stark contrast with the constancy of the natural world, of these stalwart trees. How little they’ve changed. How little indeed will they change over the next century. Long may they roam on these hills and long may they feed my heart.
------------
In the leaning hills.
I’ve cared a great deal about taking photographs for a long time. When people ask me how long I’ve been “into” photography, I often don’t have an answer. I can vividly remember becoming interested in my father’s camera when I was a kid. No idea how old.
In point of fact, my mother was cleaning house recently and asked that I sort through some old papers of mine. Tucked in a bunch of junk were loads of old prints made with a Vivitar point and shoot given me by my parents sometime while I was in fifth grade. The landscape/candid ideas are all there, but the execution was a long way from developed (and often still is)!
I found a renewed passion for image making when I was in college and then again in graduate school, although if truth be told, it’s been relatively steady for most of my life and those moments of renewed energy are likely just an interpretation of mine in hindsight.
I often return to the question of “Why?” Why should photography feel a bit like breathing and why should I derive so much satisfaction from it? I have loads of standard answers that you see on photoblogs and photo news sites ad naseum, revolving around physical/emotional enjoyment and the risk/reward of creativity and sharing, but these are pretty unsatisfactory.
I’ll tell you that the social networking and community aspects of photography are not what drives me to carry a camera to beautiful places. Neither is building a portfolio of images what puts my feet out the door. Although I run this blog and make every effort to post frequently, I often find myself going to great lengths to make images I find interesting and then leaving them on the hard disk at home for months or years at a time.
This isn’t to say that I don’t enjoy every part of the process, from shooting to publishing; it’s just that, if those weren’t a feature of the photography/photoblog world, I would still shoot.
There is something about images and cameras that has always spoken to me, something in the process of making an extraordinary image that drives me across states and out of bed at strange hours. Images lie at the boundary between real and surreal, between ordinary and fantastic. They can tell the truth, they can lie, but good ones never let you know which. I find it thrilling to compare the different truths of the reality and the image made after. I like to imagine for a moment that the world is as strange as photographs make it seem, then I realize it’s far stranger.
I photograph because that’s who I am, it’s an authentic expression of myself. I mean authentic in the existential sense—that I am doing what comes naturally and being true to who I am. Sometimes explanations and reasons are trite and you just have to accept that you are what you are. Simply put, photography is.
Of course, existentialism takes for granted that, to the mind, the material world presents itself as incongruous and absurd. And maybe that’s what I find so damned rewarding about photography; the world is messy and strange and absurd, but there is a great harmony and undeniable humanity in standing amongst the nodding, tawny, and wind-threshed grain, catching on a wafer of silicon a few trillion photons that have spent eons bouncing around the interior of our sun, all the while inundated with the smells of flowering plants and buzzing insects, luring one another to sex and death in the burning heart of the afternoon, in the leaning hills.
then I suddenly noticed the chess field in the player's glasses... - as I once saw the piano blacks and whites in a pianist's glasses...
Existentialism is about being a saint without God; being your own hero, without all the sanction and support of religion or society.
Anita Brookner
playing with the Man Ray group
www.flickr.com/groups/man-ray/discuss/72157600006647641/
original image from Grand Paul
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
What's existentialism experience in a rhizome 2.0 ?
1 - a self-image for sale
2 - or a sale-image for self ?
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |
anymore.
FGR: Dr. Nik Rox My Sox
The last time I slipped this dress on I was pounds lighter and a few years younger...A Junior in High School to be exact.
Dr. Nik'sphoto got me thinking about the changes I've gone through since High School, mentally and physically...
For one I have blue hair (even if you can't tell in this photo) and a few piercings and tattoos that I didn't have then. I've grown some bigger boobs too:)...which I can take or leave.
I've gone through a lot of struggles after my Junior year... I've been diagnosed Bipolar and have developed a fainting disorder as well.
I've gone to college and cosmetology school, and have learned so much from both.
I got my first boyfriend and lost him pretty soon after the relationship began.
I made some great friends and lost a few as well.
I've come to know myself more than ever before.
So I ask myself...Have I changed for the better?
And my answer is "I really don't know..."
I just wish I could go back to when times were simpler...much, much simpler.
Song of the Day: Existentialism on Prom Night by Straylight Run
What I looked like back then...
Date of birth, existentialism in a simple online form.
I think, but still I am not in this world yet.
mochalo
“Суботний вечер, и вот опять,
Я собираюсь пойти потанцевать.
Я надеваю штиблеты и галстук-шнурок,
Я запираю свою дверь на висчий замок” F. Chystiakov
Barnett Newman, Vir Heroicus Sublimis, 1950–51, oil on canvas, 242.2 x 541.7 cm (The Museum of Modern Art)
Pictured is a poster created by Phillip Gallant for the picture book What Does Cilantro Go With? by Phillip Gallant available at Amazon here: www.amazon.com/gp/aw/d/B07R23T85Z?ref_=dbs_s_def_awm_dirs...
AI creation on Nightcafe with Dreamshaper XL Lightning
I was using two different prompts, with the higher prompt weight on the tardigrade.
PROMPT 1:
tardigrade (water bear or moss piglet) extreme environment, 16k resolution scanning electron microscopy tardigrade research tardigrade anatomy. tubelike mouth, barrel-shaped body four pairs of legs ending in claws. range in size from 0.1 to 1.5 mm, tough chitinous exoskeleton, simple digestive system, brain and several ganglia. Cryptobiosis, cryptid taxidermy in Bogomil's Universe, Surrealism. A colossal tardigrade adrift in a void, its microscopic form rendered monumental and distorted. Spectral figures writhe and grasp at its shell, embodying the concept of fate. Neo-expressionist brushstrokes convey a sense of existential dread. A single, harsh spotlight illuminates the scene from above. Digital painting, unsettling, cosmic horror, existentialism, body horror, grotesque, high detail, dramatic lighting, 8k.
PROMPT 2:
The surrealistic monster landscape of H.R. Giger - assisted by Arcimboldo and Bosch, highly detailed extremely detailed fantasy oil on canvas imperial colors fantastic view hyperrealistic cinematic postprocessing Hieronymus Bosch Giuseppe Arcimboldo H.R. Giger Surrealism Giger Alien, fantasy illustration, detailed painting, deep color
Died from complications of Covid-19 April 7, 2020. His influence was wide ranging. He'll make you laugh, he'll make you cry, he'll make you think. He was first discovered by Kris Kristofferson. He was 73.
Click the link for one of his iconic songs, appropriate for today given the majority of people who die of Covid-19 are older people. Don't forget about them, say "Hello In There": www.youtube.com/watch?v=VKoYHFVBpEA
From Wikipedia:
Prine is widely regarded as one of the most influential songwriters of his generation.[45][46][47]
In 2009, Bob Dylan told The Huffington Post that Prine was one of his favorite writers, stating "Prine's stuff is pure Proustian existentialism. Midwestern mindtrips to the nth degree. And he writes beautiful songs. I remember when Kris Kristofferson first brought him on the scene. 'Sam Stone' featuring the wonderfully evocative line: 'There’s a hole in daddy's arm where all the money goes, and Jesus Christ died for nothing I suppose.'[48] All that stuff about 'Sam Stone', the soldier junkie daddy, and 'Donald and Lydia', where people make love from ten miles away. Nobody but Prine could write like that."[49]
Johnny Cash, in his autobiography Cash, wrote, "I don't listen to music much at the farm, unless I'm going into songwriting mode and looking for inspiration. Then I'll put on something by the writers I've admired and used for years — Rodney Crowell, John Prine, Guy Clark, and the late Steve Goodman are my Big Four ..."[50]
Roger Waters, when asked by Word Magazine in 2008 if he heard Pink Floyd's influence in newer British bands like Radiohead, replied, "I don't really listen to Radiohead. I listened to the albums and they just didn't move me in the way, say, John Prine does. His is just extraordinarily eloquent music — and he lives on that plane with Neil Young and Lennon."[51]
a tribute to Christine Keeler, once posing in a similar way... - portrait shot in an abandoned factory session by my wife Barbara + I've just discovered the "flickr" GALLERIES-button to make some features... - compare also retrorambling.wordpress.com/2012/06/05/on-this-day-in-196...
Mirrored Metropolis: Finding Self in the Cityscape
Story:
I am lost in the endless cycle of this cityscape, constantly seeing myself reflected in its modern shiny surfaces. The red traffic light blinks intermittently in a never-ending cycle, symbolising urban monotony. Taking a selfie, I see myself being captured in countless fragments, reflecting the driver, pedestrian, and street lamp. I am a quantified self, trapped in the repetitive narrative of city life. Each photo is a breadcrumb leading me back to myself. I am a loop within a loop, echoing endlessly in the digital corridors of eternity. To break free, I must acknowledge the prison of my gaze. But for now, I remain trapped in the perpetual selfie of existence, a figure multiplied yet diminished. It's just another form of content.
Description:
Dive into a visual journey where philosophy meets urban photography. "Echoes of Existence" is a series that explores the Sartrean concept of self through the medium of the selfie. Witness the seamless blend of self-awareness and city vibrancy, and join us in pondering the eternal question of existence amidst the chaotic beauty of urban life.
Keywords:
Urban Philosophy, Self-Reflection, Existentialism, Cityscape Photography, Selfie Art, Sartrean Thought, Reflective Imagery, Contemporary Art
Blogger: www.jjfbbennett.com/2024/04/finding-self-in-cityscape.html
Juliette Gréco, French singer and actress, grande dame of French art song, icon of post-WWII France and the St-Germain-des-Prés “existentialist” scene, dies in Ramatuelle, France, at age 93. A very classy and talented lady, a “free singer and songstress of freedom,” as the daily Le Figaro described her. 😰 😰 😰
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From BBC News
Juliette Gréco, the sexy chanteuse who personified the spirit and style of post-war Paris and who later inherited Édith Piaf's exquisite mantle as grande-dame of French song, was born on 7 February, 1927 in Montpellier on the French Mediterranean coast.
Captured by the Gestapo
Her father, a police commissioner from Corsica, walked out when Juliette was still small. She, and her sister Charlotte, were raised mainly by their grandparents, and the nuns at the local convent, until their mother moved them to Paris.
It was wartime and Paris was an occupied city. Juliette's mother risked everything working with the Resistance. In 1943, disaster struck and the Gestapo arrested them all. "A French Gestapo officer humiliated me," she recalled. "I became so upset that I punched him on the nose. Well, that cost me!"
As a teenager, Juliette Gréco was captured by the Gestapo and thrown into prison. Her mother and sister were hauled off to the Ravensbrück concentration camp in northern Germany. It was a women-only prison opened on the personal orders of Heinrich Himmler.
Many were gassed, thousands more perished of disease, starvation, overwork and despair. In all, 50,000 women died within its walls before the war was over.
Juliette was spared the camps. Just 15 years old, she was thrown into the notorious women's prison in Fresnes, just south of Paris. It was a foul place where the Gestapo held, tortured and often murdered members of the Resistance.
Released a few months later, all she had were the blue cotton dress and sandals she'd been wearing when she was rounded up. It was the coldest winter on record and she had no home to return to. So Gréco walked the eight miles back into town.
Miraculously, both mother and daughter made it through Ravensbrück. After the liberation, Juliette went every day to the Lutétia hotel, where survivors were arriving. One day, among a crowd of skeletal, liberated prisoners, she spotted them. "We held each other tight, in silence. There were no words for what I felt at that instant."
Existentialist muse
The war over, Juliette moved to Saint-Germain-des-Prés, on the left bank of the Seine, making ends meet singing in cafes. "I had no food, so I bought a pipe and some very strong tobacco, and I smoked it in my room so I could forget my hunger", she said.
Orson Wells and Juliette Gréco were friends from the post-war Parisian social scene. Dirt poor, she was reliant on male friends to lend her things to wear. Everything was too big but it kept out the cold. The baggy clothes, the long black hair, her stunning looks and dark makeup meant you couldn't miss her. She was "the black muse of Saint-Germain-des-Prés", captivating the Parisian post-war beau-monde.
In 1946, they would gather at the famous cellar club, Le Tabou; Juliette Gréco at the microphone, Picasso, Orson Wells and Marlene Dietrich at the bar. Marlon Brando would give her a lift home on his bike.
The existentialists loved her for the way she looked. Juliette was fascinated by their unconventional style and mindset. "Black provides space for the imaginary," she said. They all believed in living for the now.
Photographers Robert Doisneau and Henri Cartier-Bresson captured her beauty with their cameras. Jean Cocteau asked her to star in his film, Orpheus.
But she was also loved for her voice, the perfect interpreter of melancholy songs capturing a post-war generation's hunger for life as freedom returned to the city.
Philosophers and writers Jean-Paul Sartre and Albert Camus both wrote lyrics for her. "Her voice carries millions of poems that haven't been written yet," Sartre insisted. "It is like a warm light that revives the embers burning inside of us all. In her mouth, my words become precious stones."
Miles Davis
Existentialism gave post-war Paris its intellectual identity. But its soundtrack was American jazz. They had a passionate love affair but never married. "You'd be seen as a negro's whore in America", he told her.
Charlie Parker, Dizzy Gillespie and Django Reinhardt were all huge stars. Of course, she knew them all. One night, unable to afford a ticket, Gréco snuck back stage at the Salle Pleyel on the Rue Faubourg Saint Honoré, to watch the legendary jazz trumpeter, Miles Davis.
It would be the beginning of a passionate love affair that would last until the end of his life. He was already married, with a child fathered at the age of 17. He spoke no French, she had no English. None of that mattered in bohemian Paris.
Gréco was transfixed by his looks and his talent. "In profile, he was a real Giacometti", she said. "He had a face of great beauty. You didn't have to be a scholar or a specialist in jazz to be struck by him. There was such an unusual harmony between the man, the instrument and the sound - it was pretty shattering."
"Why don't you marry her?" asked Jean-Paul Sartre. "Because I love her too much to make her unhappy," came Miles Davis' reply. The problem was his colour. "You'd be seen as a negro's whore in America", he said. "It would destroy your career."
Years later, there was a terrible incident in New York, which Davis said proved him right. Gréco had a nice suite at the Waldorf Hotel and invited Miles to dinner. "The face of the maitre d'hôtel when he came in was indescribable", she recalled.
"After two hours, the food was more or less thrown in our faces. The meal was long and painful, and he left." She took the waiter's hand, made as if she were about to kiss it, and spat in his palm.
At four o'clock in the morning, Davis called her. He was in tears. "I couldn't come by myself," he said. "I don't ever want to see you again here, in a country where this kind of relationship is impossible." She realised they had made a terrible mistake. The humiliation bit deep.
"In America, his colour was made blatantly obvious to me, whereas in Paris I didn't even notice that he was black", she later wrote.
He was not her only lover. There were dozens of heartbroken men, and some women, left reeling in her wake. Some even committed suicide after she left them.
She was unapologetic that she spread her affections so widely. "What do I care what other people think?," she'd say to anyone who asked.
It was said she loved the philosopher, Albert Camus, and the racing driver, Jean-Pierre Wimille, until he was killed in the Buenos Aires Grand Prix.
There was Hollywood movie mogul, Darryl F Zanuck. He gave her a starring role in John Huston's Roots of Heaven, alongside Errol Flynn. Another tycoon, David O Selznick, sent her a private plane so she could dine with him in London and offered her a fortune to sign a 7 year contract.
"I declined politely, trying not to laugh," she said. "Hollywood was definitely not for me."
There were three marriages; to actors Philippe Lemaire, with whom she had a daughter, and Michel Piccoli. And then, for twenty years, to the pianist Gérard Jouannest until his death in 2018.
Music and politics
Gréco was less a composer than a great interpreter of other people's songs, notably Jacques Brel and George Brassens.
The French newspaper, Libération, said she spat and caressed "the words like a Fauvist painter crushes colours onto his canvas with his knife".
Si tu t'imagines, Parlez-moi d`amour, and Je suis comme je suis were the big hits of the early years. Later, there were collaborations with Serge Gainsbourg, never one to miss working with a beautiful woman.
She became a sought-after performer far beyond the cafes of Saint-Germain, constantly in demand world-wide, including Germany, the US and Japan.
Scarred by her experience with the Gestapo, she hesitated to star in the country responsible for Ravensbrück. She finally agreed in 1959, singing with tears in her eyes remembering her mother's treatment.
She was very proud that young people made up most of the audience. But she kept returning to Hamburg and Berlin, mixing her own material with songs by her friend, Marlene Dietrich. In 2005, she even released an album in German, Abendlied (Evening Song).
Politically, she was firmly on the left. She campaigned against the wars in both Algeria and Vietnam. And then, there was her command performance for Augusto Pinochet, the Chilean dictator in 1981.
He thought it was a coup persuading the great star to perform in Santiago. She walked on to rapturous applause and gave him a show entirely consisting of songs he had banned. "I went off to dead silence", she recalled. "It was the greatest triumph of my career."
Musically, she forever experimented. In 2009, she released Je Me Souviens de Tout, an album mixing the traditional with cutting-edge French song, including rapper-cum-slam-poet, Abd Al Malik.
Gréco refused to remain forever the existentialist it-girl of the 1940s, preferring to look forwards rather than back.
But a few years later, at the age of 87, it was time to say goodbye. It would not be long before a stroke would cut her down. She launched a worldwide farewell tour, Merci. Thousands packed the great Olympia Hall in Paris, to see the legend for the last time.
The “high priestess» of existentialism played out in style, treating the crowds to classics such as Déshabillez-moi, Sous le ciel de Paris, and Jacques Brel’s great anthem, Amsterdam.
The grande-dame of French song, she may have been. But on that emotional night, she performed to an audience made up almost entirely of young people.
After an astonishing life and career that had lasted more than 70 years, Juliette Gréco was immensely proud of that.
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Adieu, mademoiselle Gréco, et merci !!! 😰 😰 😰
Definition
absolutism doctrine of government by a single absolute ruler; autocracy
absurdism doctrine that we live in an irrational universe
academicism doctrine that nothing can be known
accidentalism theory that events do not have causes
acosmism disbelief in existence of eternal universe distinct from God
adamitism nakedness for religious reasons
adevism denial of gods of mythology and legend
adiaphorism doctrine of theological indifference or latitudinarianism
adoptionism belief that Christ was the adopted and not natural son of God
aestheticism doctrine that beauty is central to other moral principles
agapism ethics of love
agathism belief in ultimate triumph of good despite evil means
agnosticism doctrine that we can know nothing beyond material phenomena
anarchism doctrine that all governments should be abolished
animism attribution of soul to inanimate objects
annihilationism doctrine that the wicked are utterly destroyed after death
anthropomorphism attribution of human qualities to non-human things
anthropotheism belief that gods are only deified men
antidisestablishmentarianism doctrine opposed to removing Church of England's official religion status
antilapsarianism denial of doctrine of the fall of humanity
antinomianism doctrine of the rejection of moral law
antipedobaptism denial of validity of infant baptism
apocalypticism doctrine of the imminent end of the world
asceticism doctrine that self-denial of the body permits spiritual enlightenment
aspheterism denial of the right to private property
atheism belief that there is no God
atomism belief that the universe consists of small indivisible particles
autosoterism belief that one can obtain salvation through oneself
autotheism belief that one is God incarnate or that one is Christ
bitheism belief in two gods
bonism the doctrine that the world is good but not perfect
bullionism belief in the importance of metallic currency in economics
capitalism doctrine that private ownership and free markets should govern economies
casualism the belief that chance governs all things
catabaptism belief in the wrongness of infant baptism
catastrophism belief in rapid geological and biological change
collectivism doctrine of communal control of means of production
collegialism theory that church is independent from the state
conceptualism theory that universal truths exist as mental concepts
conservatism belief in maintaining political and social traditions
constructivism belief that knowledge and reality do not have an objective value
cosmism belief that the cosmos is a self-existing whole
cosmotheism the belief that identifies God with the cosmos
deism belief in God but rejection of religion
determinism doctrine that events are predetermined by preceding events or laws
diphysitism belief in the dual nature of Christ
ditheism belief in two equal gods, one good and one evil
ditheletism doctrine that Christ had two wills
dualism doctrine that the universe is controlled by one good and one evil force
egalitarianism belief that humans ought to be equal in rights and privileges
egoism doctrine that the pursuit of self-interest is the highest good
egotheism identification of oneself with God
eidolism belief in ghosts
emotivism theory that moral statements are inherently biased
empiricism doctrine that the experience of the senses is the only source of knowledge
entryism doctrine of joining a group to change its policies
epiphenomenalism doctrine that mental processes are epiphenomena of brain activity
eternalism the belief that matter has existed eternally
eudaemonism ethical belief that happiness equals morality
euhemerism explanation of mythology as growing out of history
existentialism doctrine of individual human responsibility in an unfathomable universe
experientialism doctrine that knowledge comes from experience
fallibilism the doctrine that empirical knowledge is uncertain
fatalism doctrine that events are fixed and humans are powerless
fideism doctrine that knowledge depends on faith over reason
finalism belief that an end has or can be reached
fortuitism belief in evolution by chance variation
functionalism doctrine emphasising utility and function
geocentrism belief that Earth is the centre of the universe
gnosticism belief that freedom derives solely from knowledge
gradualism belief that things proceed by degrees
gymnobiblism belief that the Bible can be presented to unlearned without commentary
hedonism belief that pleasure is the highest good
henism doctrine that there is only one kind of existence
henotheism belief in one tribal god, but not as the only god
historicism belief that all phenomena are historically determined
holism doctrine that parts of any thing must be understood in relation to the whole
holobaptism belief in baptism with total immersion in water
humanism belief that human interests and mind are paramount
humanitarianism doctrine that the highest moral obligation is to improve human welfare
hylicism materialism
hylomorphism belief that matter is cause of the universe
hylopathism belief in ability of matter to affect the spiritual world
hylotheism belief that the universe is purely material
hylozoism doctrine that all matter is endowed with life
idealism belief that our experiences of the world consist of ideas
identism doctrine that objective and subjective, or matter and mind, are identical
ignorantism doctrine that ignorance is a favourable thing
illuminism belief in an inward spiritual light
illusionism belief that the external world is philosophy
imagism doctrine of use of precise images with unrestricted subject
immanentism belief in an immanent or permanent god
immaterialism the doctrine that there is no material substance
immoralism rejection of morality
indifferentism the belief that all religions are equally valid
individualism belief that individual interests and rights are paramount
instrumentalism doctrine that ideas are instruments of action
intellectualism belief that all knowledge is derived from reason
interactionism belief that mind and body act on each other
introspectionism doctrine that knowledge of mind must derive from introspection
intuitionism belief that the perception of truth is by intuition
irreligionism system of belief that is hostile to religions
kathenotheism polytheism in which each god is considered single and supreme
kenotism doctrine that Christ rid himself of divinity in becoming human
laicism doctrine of opposition to clergy and priests
latitudinarianism doctrine of broad liberality in religious belief and conduct
laxism belief that an unlikely opinion may be safely followed
legalism belief that salvation depends on strict adherence to the law
liberalism doctrine of social change and tolerance
libertarianism doctrine that personal liberty is the highest value
malism the belief that the world is evil
materialism belief that matter is the only extant substance
mechanism belief that life is explainable by mechanical forces
meliorism the belief the world tends to become better
mentalism belief that the world can be explained as aspect of the mind
messianism belief in a single messiah or saviour
millenarianism belief that an ideal society will be produced in the near future
modalism belief in unity of Father, Son and Holy Spirit
monadism theory that there exist ultimate units of being
monergism theory that the Holy Spirit alone can act
monism belief that all things can be placed in one category
monophysitism belief that Christ was primarily divine but in human form
monopsychism belief that individuals have a single eternal soul
monotheism belief in only one God
monotheletism belief that Christ had only one will
mortalism belief that the soul is mortal
mutualism belief in mutual dependence of society and the individual
nativism belief that the mind possesses inborn thoughts
naturalism belief that the world can be explained in terms of natural forces
necessarianism theory that actions are determined by prior history; fatalism
neonomianism theory that the gospel abrogates earlier moral codes
neovitalism theory that total material explanation is impossible
nihilism denial of all reality; extreme scepticism
nominalism doctrine that naming of things defines reality
nomism view that moral conduct consists in observance of laws
noumenalism belief in existence of noumena
nullibilism denial that the soul exists in space
numenism belief in local deities or spirits
objectivism doctrine that all reality is objective
omnism belief in all religions
optimism doctrine that we live in the best of all possible worlds
organicism conception of life or society as an organism
paedobaptism doctrine of infant baptism
panaesthetism theory that consciousness may inhere generally in matter
pancosmism theory that the material universe is all that exists
panegoism solipsism
panentheism belief that world is part but not all of God’s being
panpsychism theory that all nature has a psychic side
pansexualism theory that all thought derived from sexual instinct
panspermatism belief in origin of life from extraterrestrial germs
pantheism belief that the universe is God; belief in many gods
panzoism belief that humans and animals share vital life energy
parallelism belief that matter and mind don’t interact but relate
pejorism severe pessimism
perfectibilism doctrine that humans capable of becoming perfect
perfectionism doctrine that moral perfection constitutes the highest value
personalism doctrine that humans possess spiritual freedom
pessimism doctrine that the universe is essentially evil
phenomenalism belief that phenomena are the only realities
physicalism belief that all phenomena reducible to verifiable assertions
physitheism attribution of physical form and attributes to deities
pluralism belief that reality consists of several kinds or entities
polytheism belief in multiple deities
positivism doctrine that that which is not observable is not knowable
pragmatism doctrine emphasizing practical value of philosophy
predestinarianism belief that what ever is to happen is already fixed
prescriptivism belief that moral edicts are merely orders with no truth value
primitivism doctrine that a simple and natural life is morally best
privatism attitude of avoiding involvement in outside interests
probabiliorism belief that when in doubt one must choose most likely answer
probabilism belief that knowledge is always probable but never absolute
psilanthropism denial of Christ's divinity
psychism belief in universal soul
psychomorphism doctrine that inanimate objects have human mentality
psychopannychism belief souls sleep from death to resurrection
psychotheism doctrine that God is a purely spiritual entity
pyrrhonism total or radical skepticism
quietism doctrine of enlightenment through mental tranquility
racism belief that race is the primary determinant of human capacities
rationalism belief that reason is the fundamental source of knowledge
realism doctrine that objects of cognition are real
reductionism belief that complex phenomena are reducible to simple ones
regalism doctrine of the monarch's supremacy in church affairs
representationalism doctrine that ideas rather than external objects are basis of knowledge
republicanism belief that a republic is the best form of government
resistentialism humorous theory that inanimate objects display malice towards humans
romanticism belief in sentimental feeling in artistic expression
sacerdotalism belief that priests are necessary mediators between God and mankind
sacramentarianism belief that sacraments have unusual properties
scientism belief that the methods of science are universally applicable
self-determinism doctrine that the actions of a self are determined by itself
sensationalism belief that ideas originate solely in sensation
siderism belief that the stars influence human affairs
skepticism doctrine that true knowledge is always uncertain
socialism doctrine of centralized state control of wealth and property
solarism excessive use of solar myths in explaining mythology
solifidianism doctrine that faith alone will ensure salvation
solipsism theory that self-existence is the only certainty
somatism materialism
spatialism doctrine that matter has only spatial, temporal and causal properties
spiritualism belief that nothing is real except the soul or spirit
stercoranism belief that the consecrated Eucharist is digested and evacuated
stoicism belief in indifference to pleasure or pain
subjectivism doctrine that all knowledge is subjective
substantialism belief that there is a real existence underlying phenomena
syndicalism doctrine of direct worker control of capital
synergism belief that human will and divine spirit cooperate in salvation
terminism doctrine that there is a time limit for repentance
thanatism belief that the soul dies with the body
theism belief in the existence of God without special revelation
theocentrism belief that God is central fact of existence
theopantism belief that God is the only reality
theopsychism belief that the soul is of a divine nature
thnetopsychism belief that the soul dies with the body, to be reborn on day of judgement
titanism spirit of revolt or defiance against social conventions
tolerationism doctrine of toleration of religious differences
totemism belief that a group has a special kinship with an object or animal
transcendentalism theory that emphasizes that which transcends perception
transmigrationism belief that soul passes into other body at death
trialism doctrine that humans have three separate essences (body, soul, spirit)
tritheism belief that the members of the Trinity are separate gods
triumphalism belief in the superiority of one particular religious creed
tuism theory that individuals have a second or other self
tutiorism doctrine that one should take the safer moral course
tychism theory that accepts role of pure chance
ubiquitarianism belief that Christ is everywhere
undulationism theory that light consists of waves
universalism belief in universal salvation
utilitarianism belief that utility of actions determines moral value
vitalism the doctrine that there is a vital force behind life
voluntarism belief that the will dominates the intellect
zoism doctrine that life originates from a single vital principle
zoomorphism conception of a god or man in animal form