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"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

"999" English version with English subtitles is available >>>

HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone

----------

voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

"999" English version with English subtitles is available >>>

HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone

----------

voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

Jean-Paul Sartre - Huis clos, suivi de Les Mouches

Livre de Poche 1132, 1971

Couverture: ?

Concerning one bobcat's views on existentialism and it's place in postmodern philosophy.

Mixed Media Polaroid Art

It is one of my top 10. It made a big impression on me when I saw it at age 16.

youtu.be/RDKGx3lOXkQ

"Of Kirk Douglas's seventy-five films, Lonely Are the Brave remains his favorite. It is not hard to see why. The hoary cowboy myth of the rugged individual versus straitjacket society calls forth one of Douglas's best performances as the irrepressible Jack Burns....Edward Abbey, the craggy Western novelist on whose book, The Brave Cowboy, the movie is based, conceded that Dalton Trumbo's screenplay improved his story, especially the dialogue. You can hear what Abbey was raving about when Douglas, stuck in jail, grouses: 'I'm so hungry, every time I take a deep breath my stomach squeaks like a wet balloon.' The film draws on solid performances from Gena Rowlands and from Walter Matthau as the lawman torn between respect for his adversary and duty to the law....As worked-over as this myth has gotten, Douglas still manages to make his boots-and-leather existentialism achingly poignant" (Ben Pappas, Forbes).

• Written by Dalton Trumbo, from the novel The Brave Cowboy by Edward Abbey. Photographed by Philip Lathrop. With Kirk Douglas, Walter Matthau, Carroll O'Connor, George Kennedy. (107 mins, B&W, 35mm, From Universal)

Kirk Douglas left us at age 103, February 5, 2020. RIP, Jack Burns

it's meaningless.

compare my articles flickrcomments.wordpress.com/2013/01/17/up-in-the-bronx/ and flickrcomments.wordpress.com/2011/12/02/weekly-photo-chal... and flickrcomments.wordpress.com/2011/05/27/global-peace-index/

Mixed Media Polaroid Art

There's a point at which your body prepares for impact.

I had a close call driving home last night. A car changed his mind about a turn and cut me off just past the viaduct. It's all a blur. I don't know how we didn't actually collide in the end. I have to laugh a little that I'd just left a quiet back-patio talk about choices; who we love, who we leave, how we live, what we do. Sometimes the big decisions aren't ours to make.

Out on the vast Mojave.

A desert. She is glorious glory.

Ripe with electric rhythm of

modern times. Beyond me.

Mostly. But for this moment

she was there

and i was, too,

and here you are.

"Even crustaceans face existential crises. However, if they don't retreat into "rock" or "seaweed" nature [being-in-itself], they'll come out of it OK. If they lapse into being-in-itself then they'll crash on the dam of bad faith."--from Paul Ewing's forthcoming book, "Existentialism for Invertebrates: How to Have Spine When You Don't Even Own One"

Mixed Media Polaroid Art

trying to break the wall still remains an aim ... - there are so many walls ...

A light panel is a mystery...

- Are these even the right questions?

To answer one question: This lamp and backdrop panel are likely Art Deco and not its precursor, Art Nouveau... Art Deco's bold, linear symmetry was a distinct departure from the soft pastels and flowing asymmetrical organic forms of its predecessor Art Nouveau.

What always interests me is the streamlining of cars and statues of tigers, leopards and jaguars... Streamline objects are considered Art Deco.

Un panneau léger est un mystère ...

- S'agit-il de même les bonnes questions ?

Pour répondre à une question: Cette lampe et le panneau de toile de fond sont susceptibles d'art déco et non de son précurseur, l'Art Nouveau ... Art Deco gras, la symétrie linéaire était très différente de la pastels doux et fluide asymétrique des formes organiques de son prédécesseur, Art Nouveau.

Qu'est-ce toujours me confond est la rationalisation de voitures et de statues de tigres, de léopards et jaguars ... Rationaliser les objets sont considérés comme l'Art Déco.

פאנל האור היא בגדר תעלומה ...

- האם זה נובו או דקו?

- האם זה אור או חושך?

- האם קיומה תלוי המתבונן?

- האם זה פיזיקה קוונטית או סוליפסיזם?

- האם זה הגיוני או אמפיריציזם האקזיסטנציאליזם?

- האם הצופה אדם או דבורת הדבש? -

- האם אלה גם את השאלות הנכונות ?

כדי לענות על שאלה אחת: זה המנורה בלוח רקע צפויים דקו ולא מבשר שלה, ארט נובו ... , סימטריה ליניארי מודגש אמנות של דקו הייתה סטייה ברורה מן פסטלים רכים וזורמים צורות אורגניות סימטרית של קודמו ארט נובו שלה.

מה תמיד מבלבל אותי היא התייעלות של מכוניות פסלים של טיגריסים, נמרים יגוארים ... אובייקטים יעל נחשבים דקו. עם זאת, בשל שלהן מעוקלים, לא ישר, קווים אני מרגיש שהם יכלו בקלות להיות מסווגת כ ארט נובו ...

Un pannello luminoso è un mistero ...

- Sono questi, anche le domande giuste ?

Per rispondere a una domanda: Questa lampada e il pannello sullo sfondo sono probabilmente Art Deco e non il suo precursore, Art Nouveau ...

Ciò che sempre mi confonde è la razionalizzazione delle auto e statue di tigri, leopardi e giaguari ... Razionalizzare gli oggetti sono considerati Art Deco.

um painel de luz é um mistério ...

- São mesmo as perguntas certas ?

Para responder a uma pergunta: Esta lâmpada e um painel de fundo é provável Art Deco e não o seu precursor, Art Nouveau ... Simetria Art Deco, negrito linear foi uma partida diferente da pastéis suaves e fluidos assimétricos formas orgânicas do seu antecessor Art Nouveau.

O que sempre me confunde é a racionalização dos carros e estátuas de tigres, leopardos e onças ... Dinamize objetos são considerados Art Deco.

света панель тайна ...

- Являются ли эти даже правильные вопросы ?

Чтобы ответить на один вопрос: Эта лампа и фон панели, вероятно, ар-деко, а не его предшественник, модерн ... Жирный, ар-деко в линейных симметрии явный отход от мягкой пастели и течет асимметричные органические формы своего предшественника модерна.

Что всегда смущает меня является упорядочение автомобилей и статуи тигры, леопарды и ягуары ... Оптимизация объекты рассматриваются ар-деко. Однако, в связи с их изогнутыми, а не прямой, линии я чувствую они легко могут быть классифицированы как модерн ...

Un panel de luz es un misterio ...

100_4445

Robert Indiana, an American Pop artist known for his "scuptural poems," is best known for his "LOVE" with a titled "O." This image, first created for a Christmas card for the Museum of Modern Art in 1964, was included on an 8 cent United States Postal Service postage stamp in 1973, the first of their regular series of "love stamps." This sculptural version outside 535 Madison Avenue is one of many. The others can be found along Sixth Avenue, on the Pratt Institute campus in Brooklyn, NY; the Indianapolis Museum of Art; Scottsdale's Civic Center, in so called "LOVE Park" in Philadelphia, the New Orleans Museum of Art's sculpture garden, on the University of Pennsylvania campus, at the Museum of Modern Art at Brigham Young University, on the campus of Ursinus College in Collegeville, Pennsylvania, outside the Taipei 101 tower in Taiwan, at the Red Rock Resort Spa and Casino in Las Vegas, in Shinjuku Tokyo JAPAN, and on the world-famous Orchard Road, Singapore.

Infamously, Indiana failed to register a copyright for the work, and found it difficult to deter unauthorized commercial use. The image has been reproduced in countless times in varying forms, including sculptures, posters, and 3-D desk ornaments. It has been translated into Hebrew, Chinese, and Spanish. It strongly influenced the original cover of Love Story, the Erich Segal novel. It was parodied on the Rage Against the Machine album cover for Renegades, as well as the cover for Oasis' single Little by Little from the 2002 album Heathen Chemistry. Recently it has been parodied by London artist D*Face with his "HATE", the "A" tilted similarly. The LOVE emblem has been adopted by skateboarders, frequently used in skateboard magazines and videos. After skateboarding was banned in Philadelphia's LOVE Park, the emblem was used by organizations opposing the ban.[

Indiana moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls "sculptural poems". Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court.

Indiana, born Robert Clark,moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism. Indiana's work often consists of bold, simple, iconic images, especially numbers and short words like "EAT", "HUG", and, of course, "LOVE". He is also known for painting the unique basketball court formerly used by the Milwaukee Bucks in that city's U.S. Cellular Arena, with a large M shape taking up each half of the court. Despite his early success at the center of the art world, Indiana retreated to rural obscurity in later life. Indiana has lived as a resident in the island town of Vinalhaven, Maine since 1978.

Leica M9 with NOCTILUX 50mm @ f0.95 More to follow on my blog www.artq.com

Bookstagram, books, click here www.instagram.com/triinbooks/

igreads. igbooks.

blind people often make very good music - they are able to concentrate much more... - remember: Ray Charles, Stevie Wonder and so on...

"Ainsi parlait Zarathoustra"

Friedrich Wilhelm Nietzsche (1844-1900)

friedrichnietzsche.free.fr/17.php

Secrets revealed of the Abode of Chaos (112 pages, adult only) >>>

"999" English version with English subtitles is available >>>

HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone

----------

voir les secrets de la Demeure du Chaos avec 112 pages très étranges (adult only)

999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre

Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.

courtesy of Organ Museum

©2011 www.AbodeofChaos.org

CRIME CONFUSION OVER SPECIAL TREATMENT FOR MP

Yes, this city centre sculpture in Lincoln, England, is called "Empowerment", which is something to do with listening to people.

Interestingly, if the people behind this erection had done anything of the sort, the item would not be there, as the rufty-tufty fluoridated folk of Lincoln have no time for namby pamby artworks, which is why in the event this semi-industrial style proved least offensive to the Powers That Be.

The Powers That Be chose from four possible sculptures, and according to a leading member of the committee, this was the least worst.

As to the subject of empowerment, well it was just the usual New Labour flim-flam. To the best of my knowledge "Empowerment", chosen for the plebs by their betters in the traditional Lincoln way, has never empowered anyone.

This composition is the exception, drawing attention as it does to the mysterious refusal of Lincoln MP Gillian Merron to eat one milligram of fluoride (in a tablet form) even though I told her to.

My face-to-face demand that she consume the same amount of fluoride which you would find in one litre of fluoridated water proved to be such a horrifying dose of reality for our girl in (unfluoridated) Westminster that I subsequently received a strange visit from a police inspector.

He received a quick education about how to separate uranium isotopes. Along with no reassurance whatsoever that I wouldn't try to correct the "fluoride deficiency" in our MP again.

Perhaps I might slip one in her champagne some time.

LEGAL NEWS: SAVINGS POSSIBLE ON CALABOOSE JUICE

Water authorities have always insisted on legal indemnity against claims for fluoride poisoning.

Following recent legislation they are additionally indemnified against non-payment by customers who feel the same way about fluoride as Gillian Merron MP.

So how has the situation changed for people like Gillian?

Before, water companies knew dumping fluoride in people was wrong, didn't care, blamed the health authority for requesting them to do it, and wanted you to pay them for doing it.

Now, water companies don't care if you don't pay either, because the health authority should pay any amount you deduct from your bill for bottled water, or distillation to remove the fertiliser factory waste disposal problem that the BBC always forget to mention in their insightful health documentaries.

Remember, we are all empowered by our democratic representation in Parliament.

By refusing to let me administer her the vital nutrient, Gillian found herself accidentally behaving like a real human being instead of a party robot.

In that brief existential moment, she came closer to representing her constituents than at any other time in her otherwise completely phoney career.

So if, for some peculiar reason, it is demanded of you to explain why you don't want to buy any fluoride, thanks to Empowerment you can just say "The same as Gillian Merron's reason." and leave it at that.

Now she is de-lected that position cannot change. I hope to check her successor as MP for Lincoln Karl McCartney shares her strong feelings about individual liberty.

.

GeoTagged

Exhibition view "Francis Bacon and Existential Condition in Contemporary Art", CCC Strozzina, Palazzo Strozzi, Firenze

© photo Martino Margheri

feet are hard to photograph

it is not easy to handle crowds of million visitors ...

Mixed Media Polaroid Art

The Philospohy of the Absurd and Existentialism. What a magnificient book. “There is not love of life without despair about life.”

― Albert Camus, The Stranger

2011年首獎 2011 First Prize

蔡昌吉 / 台中大安

拍攝動機：

當年過半百之後，人的身心靈總是處於衰退老化狀態。焦慮、不安、空虛、膽怯...隨著時間一一迎面而來，自2010年起興起了參加新光三越國際攝影大賽的念頭。目的：一來活化自我的身心靈，二來考驗攝影技能是否退化。從上網、填表、送件、等待、失落、驚喜...，過程中一切的酸、甜、苦、辣...點滴在心頭，相當慶幸這兩年來的收穫頗豐，讓自己有了「老而不休」的真實體現。

攝影心得：

存在哲學指出“生命是一種不斷被拋入某種現實情境的歷程，而生命一開始即為面向死亡的存在”。因此，海德格爾指出，人必須正視死亡，從恐懼中明白自己活著的重要性。

我以“貼近土地，面對死亡，體現存在”作為攝影表現中影像的核心，藉由影像展現對死亡與生命存在意義的描述。並以時間化為「此在之存有」的寓圖，讓生命中憂心、虛浮、陷落與醒覺...在自我中開顯「存在」的真實。

Tsai Chang-chi / Ta’an Township, Taichung

Why I Took These Pictures :

Once you’ve passed the half-century mark, you tend to go downhill, both physically and mentally. Slowly, feelings of anxiety, restlessness, emptiness or timidity start cropping up. So when in 2010 I heard about the Shin Kong Mitsukoshi International Photo-Taking Contest, the idea of participating soon took hold of my mind. I saw it as a way of revitalizing my body and mind, and also a chance to find out how rusty my photographing skills had become. I downloaded the form online, filled it out and sent it in. The period of waiting and uncertainty was followed by a very pleasant surprise—basically the whole process was an emotional roller coaster for me, but I’m glad I went ahead with it, because the last two years were filled with interesting experiences and have made me realize that in spite of my age, I’m still capable of doing something positive and meaningful.

What I Learned :

Existentialism tells us that to live is to be thrown into the world, and having to deal with reality. From its very beginning, all existence must face its own death. Or, as Heidegger puts it, we all need to look death in the eye, because confronting our worst fears helps us to realize the importance and value of being alive.

At the heart of all my photographs, then, lies the basic principle of staying rooted in my native soil while maintaining a constant awareness of my own mortality. In this way, I can achieve a truthful expression of my own existence, and, through my motifs, offer a personal account of life and death and what they mean to me. Time is distilled into the present moment. The photograph serves as an allegory for all the doubts and uncertainties, the vanity and insubstantiality, the dissipation but also the awakening, the process of becoming aware: I become the medium through which reality manifests itself.

Instagram | Facebook | Vimeo

Adventure; 1. An exciting or very unusual experience; 3. A bold, usually risky undertaking; hazardous action of uncertain outcome.

We met each other when we were looking for adventure, in the middle of the month in which nothing use to happen. At some point of our lifes, the circumstances gave us the need of a turnaround. And so we did. Me, wounded, pursuing the solo activity as always. He, wounded too, hunting for fresh air. And there you had the two of us, melt in a kind symbiosis without any further or preconceived interest.

One of the most significant facts about our wonderful encounter it is how our first serious conversation was indeed about the moment in when we better found ourselves in the past, respectively. Irish grass and swedish pines came together creating a world full of pure essences, inspiring nature and a bit of nostalgia.

Since that very first day, the best impression I got from you was your extraordinary way of listening to my words, sometimes wise, sometimes young, but equally important for your breathtaking eyes. At the same time, you were talkative, even after you had said you were apparently not. I felt, and feel, lucky for being the one able to listen to your feelings and thoughts. And, of course, for the learning.

I remember how did you talk about the concept of Sharing. How did you felt like you had the necesity of giving, and you have been surprised about how good you feel when you are given too. Honestly, I haven’t been reflecting about it until you started, and it has take me some time until I have understood the full meaning of such a beautiful word. For me, it feels somehow as if a single person could duplicate itself in other to imbibe life in it maximum exponent for becoming one again at the end of the day.

Because being solitary does not mean to need, want or even like to live life alone. It is much more than that. It is the inteligent exercise of doing things separately in order to gain double experiences to enjoy together. Because the key is about the most sincere, generous and equitable way of sharing. Wolf, we are reinventing the concept of true Love in the century we are here to live, and I can not even put into words how fortunate and happy makes me the sensation of being in the best of the paths ever.

Listening to: Magic, Coldplay.

Dutch postcard, no. 662.

French actress and chanson singer Juliette Gréco (1927) was the muse of the existentialists such as Jean-Paul Sartre. Later she became the protégée of film mogul Darryl F. Zanuck, who cast her in his films.

For more postcards, a bio and clips check out our blog European Film Star Postcards Already over 3 million views! Or follow us at Tumblr or Pinterest.

*

Radical Transcendence *

- * -

... Looking into the mirror - Seeing my face in it - And the words and signs on the mirror glass - Looking deep - Long and deep - And ever deeper - Deeper - So deep until I look through my face - Looking into me - Until the thoughts dissolve - Until the face dissolves in its familiar forms - Until the words and signs dissolve - Until I dissolve - And come to me at the same time ... *

- * -

... In den Spiegel blicken - Darin mein Gesicht sehen - Und die Worte und Zeichen auf dem Spiegelglas - Tief hineinblicken - Lang und tief - Und immer tiefer - Tiefer - So tief bis ich durch das Gesicht blicke - In mich hineinblicke - Bis sich die Gedanken auflösen - Das Gesicht in seinen bekannten Formen auflöst - Die Worte und Zeichen sich auflösen - Bis ich mich auflöse - Und gleichzeitig zu mir gelange ... *

- * -

Photo: Patricia Adler

- * -

Wolfgang Sterneck:

In the Cracks of the World *

Photo-Reports: www.flickr.com/sterneck/sets

Articles and Visions: www.sterneck.net

- * -

Humber Street, Hull

2011年首獎 2011 First Prize

蔡昌吉 / 台中大安

拍攝動機：

當年過半百之後，人的身心靈總是處於衰退老化狀態。焦慮、不安、空虛、膽怯...隨著時間一一迎面而來，自2010年起興起了參加新光三越國際攝影大賽的念頭。目的：一來活化自我的身心靈，二來考驗攝影技能是否退化。從上網、填表、送件、等待、失落、驚喜...，過程中一切的酸、甜、苦、辣...點滴在心頭，相當慶幸這兩年來的收穫頗豐，讓自己有了「老而不休」的真實體現。

攝影心得：

存在哲學指出“生命是一種不斷被拋入某種現實情境的歷程，而生命一開始即為面向死亡的存在”。因此，海德格爾指出，人必須正視死亡，從恐懼中明白自己活著的重要性。

我以“貼近土地，面對死亡，體現存在”作為攝影表現中影像的核心，藉由影像展現對死亡與生命存在意義的描述。並以時間化為「此在之存有」的寓圖，讓生命中憂心、虛浮、陷落與醒覺...在自我中開顯「存在」的真實。

Tsai Chang-chi / Ta’an Township, Taichung

Why I Took These Pictures :

Once you’ve passed the half-century mark, you tend to go downhill, both physically and mentally. Slowly, feelings of anxiety, restlessness, emptiness or timidity start cropping up. So when in 2010 I heard about the Shin Kong Mitsukoshi International Photo-Taking Contest, the idea of participating soon took hold of my mind. I saw it as a way of revitalizing my body and mind, and also a chance to find out how rusty my photographing skills had become. I downloaded the form online, filled it out and sent it in. The period of waiting and uncertainty was followed by a very pleasant surprise—basically the whole process was an emotional roller coaster for me, but I’m glad I went ahead with it, because the last two years were filled with interesting experiences and have made me realize that in spite of my age, I’m still capable of doing something positive and meaningful.

What I Learned :

Existentialism tells us that to live is to be thrown into the world, and having to deal with reality. From its very beginning, all existence must face its own death. Or, as Heidegger puts it, we all need to look death in the eye, because confronting our worst fears helps us to realize the importance and value of being alive.

At the heart of all my photographs, then, lies the basic principle of staying rooted in my native soil while maintaining a constant awareness of my own mortality. In this way, I can achieve a truthful expression of my own existence, and, through my motifs, offer a personal account of life and death and what they mean to me. Time is distilled into the present moment. The photograph serves as an allegory for all the doubts and uncertainties, the vanity and insubstantiality, the dissipation but also the awakening, the process of becoming aware: I become the medium through which reality manifests itself.

Audrey Hepburn typical pose

olie op doek

140 X 60 cm

In de naoorlogse kunstscène in Vlaanderen was Jan Burssens een invloedrijk figuur. Grote kunstenaars en schrijvers uit zowel Nederland als België, zoals Corneille, Karel Appel, Bertus Aafjes, Hugo Claus en Roger Raveel waren bij hem vriend aan huis. Een heel bijzondere band had hij met zijn oom Gaston Burssens, de belangrijkste literaire geestesverwant van Paul Van Ostaijen. Ook bij het grote publiek genoot Burssens grote bekendheid: in de vroege jaren zeventig was hij dankzij zijn rock-’n-rollgehalte, zijn optredens in de Wies Andersen Show en de alomtegenwoordigheid van zijn karakteristieke zelfportretten dé prototypische kunstenaar.

Hoewel hij uit een artistiek-intellectuele familie afkomstig was, volgde Burssens nauwelijks een academische opleiding. Hij was een autodidact pur sang, wat hem niet heeft belemmerd de knepen van het schildersvak perfect onder de knie te krijgen, zozeer zelfs dat hij later op de academie van Gent docent is geworden in het modelschilderen, het academische vak bij uitstek.

Na de Tweede Wereldoorlog leek het er aanvankelijk op dat de Vlaamse kunst de draad van de jaren dertig terug zou oppikken en het expressionisme als algemene norm zou omarmen, alsof er helemaal geen oorlog had plaatsgevonden die alle waarden en zekerheden op de helling had geplaatst. Het was Jan Burssens die hier resoluut komaf mee maakte en het existentialisme van Jean-Paul Sartre in de schilderkunst gestalte gaf. In 1952 richt hij samen met andere abstracte Belgische kunstenaars de groep Art Abstrait op.

Hij werd een van de meest gelauwerde kunstenaars van zijn tijd en zijn werk kreeg een vooraanstaande plaats op de Wereldtentoonstelling in Brussel.

Hoe abstract zijn werk ook was, Burssens slaagde er telkens in het een sterke gevoelswaarde mee te geven. Vanaf de tweede helft van de jaren zestig zou hij die gevoelens opnieuw expliciet weergeven in portretten. Hij schilderde mensen die hij bewonderde, zoals JF Kennedy, Che Guevarra, Helder Camara en Marilyn Monroe, maar op zo’n manier dat ze zijn eigen emoties weergaven. Vanaf 1970 portretteerde hij die emoties nog directer in onthullende zelfportretten. Zijn pijnlijke grimassen en verbeten trekken verraadden fysieke pijn (veroorzaakt door een slepende ziekte), een door engagement gevoede woede om sociaal onrecht en een groeiende irritatie over de recente kunstevoluties van dat moment.

De kunstenaar:

Jan Burssens

° Mechelen, 1925

+ Merendree, 2002

Le Cimetière du Montparnasse, Paris, France

I headed south to le Cimetière Montparnasse. After the Paris churchyards closed in the 18th century, a full three quarters of a century before the English closed their urban churchyards, four great cemeteries were laid out to the north, east, south and west of the city. Pere Lachaise is the most famous, Montmartre the most aesthetically pleasing, but Montparnasse probably the most interesting. I spent about three hours and three hundred photographs pottering about. Some of the famous graves are easy to find because they are well documented, and visitors have placed tributes on them. For example, the first grave I went in search of, Samuel Beckett's, has metro tickets placed on it by visitors as a mark of having waited for something.

I already knew where Beckett's grave was, but two others in the same section were more difficult, as I did not have exact locations. I eventually found the grave of Phillipe Noiret, an actor I very much admired particularly for his role in my favourite film, Cinema Paradiso, but also for his role in Le Cop, which has criminally never had a DVD release with English subtitles. There were no public tributes on it, merely a plaque from his wife saying 'pour mon Cher Philippe' and a picture of a horse. While I was photographing it, four gendarmes, two men and two women, passed behind me and came across to see why I was photographing it. "Noiret!" exclaimed one of the men, and then "mais pourquoi le cheval?" wondered one of the women. But they didn't stop for me to explain, for I had read an article about Noiret about fifteen years previously in a copy of La Nouvelle Observateur while staying in a hotel in Boulogne, and I knew that he had bred horses in his spare time.

The other grave I had hoped to find in this section was that of Susan Sontag, but I couldn't track it down.

The joint headstone of Jean-Paul Sartre and Simone de Beauvoir is easily found by the main entrance, and I thought it rather sweet that they were remembered together. Despite all their efforts for existentialism and feminism, it was like a headstone in a quiet English churchyard which might have 'reunited' or 'together in eternity' inscribed on it. I think he wasn't pleasant company, and while she was certainly more intelligent than he was she made intellectual arrogance respectable. I photographed their headstone more out of interest than admiration.

Admiration was at the heart of my search for a gravestone lost in sections 6 and 7 which I think is not found often. It is for the surrealist photographer Man Ray. I was delighted to find it after barely 20 minutes searching. He designed it himself, and in his own handwriting into the cement it says 'unconcerned, but not indifferent', which could be taken as rebuff to Satre and his circle I suppose. Charmingly, beside it like the other half of a book is a photograph of him with his wife and the inscription 'Juliet Man Ray 1911-1991, together again'. Enough to leave De Beauvoir spluttering into her Pernod.

You can read my account of my travels at pariswander.blogspot.co.uk.

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Got to work with my cousin again today; I love taking pictures of her because she is more intelligent than anyone this beautiful has a right to be. As I took this picture, we talked about French philosophy and existentialism - she's just too good to be true, isn't she?

This wasn't exactly what I set out to create, and I have others in the set which are far closer to the image I had in my head, but I chose this because I prefer the composition and then I took the processing in a slightly different direction.

Strobist:

Just one SB600 fired as a rim light on 1/2 power to the camera's right, bare. Triggered with Pocket Wizard Plus IIs.

Silver reflector on the ground.

...But mostly - this is all natural sun!

This appears to outline some of Focault's thoughts, this was on the board in my philosophy class when I came in. However, we're not studying Focault in Existentialism, so it must be left over from some other class.

What's a perfect rock anthem? Here's my criteria:

-- Motion: The beat has to move forward, be contagious. When you hear it, you can't not move.

-- Sloppy: It has to be almost drunk...John Shirley put it best in Eclipse: each chord peacock-tailing off into perfect distortion.

-- Anger: It isn't rock if it doesn't say "Fuck you". Period.

-- Defiance: Raw, guttural, feral: I will not bow down. I will not give up. I will not be what you want me to be. I will never abandon you. I will keep faith.

And I will resist.

You can't defeat me.

I will resist.

And that is the heart of the matter. So let's talk about resistance. Let's talk about Albert Camus.

Camus was part of the French resistance during World War II. He was Algerian. He was wrongly associated with Sartre and existentialism. His death was banal: a car accident.

The Rebel is his most cogent expression of the difference he perceived between revolution and rebellion. His central question: can you justify murder? Not just murder of individuals, but murder on a mass scale. He didn't consider war to be a special case.

Camus' theory goes something like this: the revolutionary is primarily concerned with bringing about a new social order, the rebel with restoring to society something that has been lost, or buried under hypocrisy.

Because the revolutionary is bringing something into the world that is new, his only option is violence. Because the rebel is attempting to restore something that has been lost, he has the option of resisting society any way he chooses.

The revolutionary must enforce this new structure on society; thus all revolutions end in fascism (the French and Russian revolutions are the most obvious cases). The rebel doesn't have to enforce anything; he is restoring something that has been lost.

Revolution tries to make the world a better place by forcing society into the straightjacket of a new set of rules. Rebellion tries to make a world a better place by ensuring the one rule already there is followed, a rule that's pretty fucking simple: love each other.

A revolutionary looks at the face of society and says, "everything is wrong, and everything must be replaced. And the only way to do that is through force. And it must be reinforced and maintained through force."

A rebel looks at the face of society and says, "you are not following your own rules, and have become corrupt. The chasm between what you are saying and what you actually do has become too wide. And I will not submit to this. I will resist. And I will resist until the chasm is gone."

"I will resist."

Resistance does not need to kill.

Resistance takes the place of a Jew on a Nazi firing line.

Resistance takes a picture of a naked girl covered in napalm.

Resistance writes a novel about the price one woman is willing to pay to follow her heart.

Resistance stayed in Rwanda with untrained poorly-equipped soldiers, walking through towns where the entire population had been dismembered with machetes, a thin blue armband the only protection.

Resistance met an entire army in the air with 3 biplanes named Faith, Hope, and Charity. They were never shot down.

Resistance is a single man speaking up.

Resistance finds the clarity and love in insanity.

Resistance has a dream.

So, with me so far?

Or are you wondering what the hell this has to do with a picture of Bono? Let's get to that, too.

Resistance is standing on a stage wearing a London Underground t-shirt the day after it was bombed, and says one thing:

"We will resist. We will love. We can't be defeated."

And that is the perfect rock anthem.

2011年首獎 2011 First Prize

蔡昌吉 / 台中大安

拍攝動機：

當年過半百之後，人的身心靈總是處於衰退老化狀態。焦慮、不安、空虛、膽怯...隨著時間一一迎面而來，自2010年起興起了參加新光三越國際攝影大賽的念頭。目的：一來活化自我的身心靈，二來考驗攝影技能是否退化。從上網、填表、送件、等待、失落、驚喜...，過程中一切的酸、甜、苦、辣...點滴在心頭，相當慶幸這兩年來的收穫頗豐，讓自己有了「老而不休」的真實體現。

攝影心得：

存在哲學指出“生命是一種不斷被拋入某種現實情境的歷程，而生命一開始即為面向死亡的存在”。因此，海德格爾指出，人必須正視死亡，從恐懼中明白自己活著的重要性。

我以“貼近土地，面對死亡，體現存在”作為攝影表現中影像的核心，藉由影像展現對死亡與生命存在意義的描述。並以時間化為「此在之存有」的寓圖，讓生命中憂心、虛浮、陷落與醒覺...在自我中開顯「存在」的真實。

Tsai Chang-chi / Ta’an Township, Taichung

Why I Took These Pictures :

Once you’ve passed the half-century mark, you tend to go downhill, both physically and mentally. Slowly, feelings of anxiety, restlessness, emptiness or timidity start cropping up. So when in 2010 I heard about the Shin Kong Mitsukoshi International Photo-Taking Contest, the idea of participating soon took hold of my mind. I saw it as a way of revitalizing my body and mind, and also a chance to find out how rusty my photographing skills had become. I downloaded the form online, filled it out and sent it in. The period of waiting and uncertainty was followed by a very pleasant surprise—basically the whole process was an emotional roller coaster for me, but I’m glad I went ahead with it, because the last two years were filled with interesting experiences and have made me realize that in spite of my age, I’m still capable of doing something positive and meaningful.

What I Learned :

Existentialism tells us that to live is to be thrown into the world, and having to deal with reality. From its very beginning, all existence must face its own death. Or, as Heidegger puts it, we all need to look death in the eye, because confronting our worst fears helps us to realize the importance and value of being alive.

At the heart of all my photographs, then, lies the basic principle of staying rooted in my native soil while maintaining a constant awareness of my own mortality. In this way, I can achieve a truthful expression of my own existence, and, through my motifs, offer a personal account of life and death and what they mean to me. Time is distilled into the present moment. The photograph serves as an allegory for all the doubts and uncertainties, the vanity and insubstantiality, the dissipation but also the awakening, the process of becoming aware: I become the medium through which reality manifests itself.

2011年首獎 2011 First Prize

蔡昌吉 / 台中大安

拍攝動機：

當年過半百之後，人的身心靈總是處於衰退老化狀態。焦慮、不安、空虛、膽怯...隨著時間一一迎面而來，自2010年起興起了參加新光三越國際攝影大賽的念頭。目的：一來活化自我的身心靈，二來考驗攝影技能是否退化。從上網、填表、送件、等待、失落、驚喜...，過程中一切的酸、甜、苦、辣...點滴在心頭，相當慶幸這兩年來的收穫頗豐，讓自己有了「老而不休」的真實體現。

攝影心得：

存在哲學指出“生命是一種不斷被拋入某種現實情境的歷程，而生命一開始即為面向死亡的存在”。因此，海德格爾指出，人必須正視死亡，從恐懼中明白自己活著的重要性。

我以“貼近土地，面對死亡，體現存在”作為攝影表現中影像的核心，藉由影像展現對死亡與生命存在意義的描述。並以時間化為「此在之存有」的寓圖，讓生命中憂心、虛浮、陷落與醒覺...在自我中開顯「存在」的真實。

Tsai Chang-chi / Ta’an Township, Taichung

Why I Took These Pictures :

Once you’ve passed the half-century mark, you tend to go downhill, both physically and mentally. Slowly, feelings of anxiety, restlessness, emptiness or timidity start cropping up. So when in 2010 I heard about the Shin Kong Mitsukoshi International Photo-Taking Contest, the idea of participating soon took hold of my mind. I saw it as a way of revitalizing my body and mind, and also a chance to find out how rusty my photographing skills had become. I downloaded the form online, filled it out and sent it in. The period of waiting and uncertainty was followed by a very pleasant surprise—basically the whole process was an emotional roller coaster for me, but I’m glad I went ahead with it, because the last two years were filled with interesting experiences and have made me realize that in spite of my age, I’m still capable of doing something positive and meaningful.

What I Learned :

Existentialism tells us that to live is to be thrown into the world, and having to deal with reality. From its very beginning, all existence must face its own death. Or, as Heidegger puts it, we all need to look death in the eye, because confronting our worst fears helps us to realize the importance and value of being alive.

At the heart of all my photographs, then, lies the basic principle of staying rooted in my native soil while maintaining a constant awareness of my own mortality. In this way, I can achieve a truthful expression of my own existence, and, through my motifs, offer a personal account of life and death and what they mean to me. Time is distilled into the present moment. The photograph serves as an allegory for all the doubts and uncertainties, the vanity and insubstantiality, the dissipation but also the awakening, the process of becoming aware: I become the medium through which reality manifests itself.

Oh, brothers and sisters! During this most high religious celebration, let me impart this most urgent evangel to you: Death can be beneficial and fun!!

"It's not that I'm afraid to die. I just don't want to be there when it happens,” declared the perpetually pessimistic Woody Allen. Views like this give death a bad name. Death has received a lot of bad press and so it is no wonder that it is universally reviled. In the Letters from a Stoic, Seneca wrote: “You want to live—but do you know how to live? You are scared of dying—and, tell me, is the kind of life you lead really any different from being dead?”

It is a crying ignominy that the lighter side of death is never presented. I think dying doesn’t have to be the morose and cheerless event everybody insists on making it. Death can be fun. More: it can also be beneficial.

Stevie Smith said it all: "If there wasn't death, I think you couldn't go on.” With this more optimistic approach, let us proceed to explore how death can be fun and beneficial. Let us not think of death as the end but rather as a beginning. And let us not forget that life is temporary whereas death is everlasting. I think there is something to be said for that.

One of the first benefits that come to mind is one’s reputation. Eulogies are always sweetly sugar-coated and are purposely the complete opposite of the usual vile libel we receive in life. Everybody speaks well of the dead. There is even a hesitation to speak “ill of the dead” from one's sworn enemies. Amazingly, your enemies are able to recall better aspects of your character. You never get that while living. Even when the dead are spoken of in a disapproving manner, it is usually considered poor taste. Let them rest in peace! You get the picture. Alive, you are an asshole. Dead, you are affectionately recalled.

The lives of the dead are retroactively subject to change so that a “difficult woman” can be reconstructed as a “misunderstood perfectionist,” and a “dumb blonde with big boobs and small brains” can be transformed into a “victim of the patriarchy,” and a “psychotic nut” can suddenly be altered into a “sensitive artist.”

Sure, death seems like an inflated price to pay for respect, but remember that until she died, Marilyn Monroe was laughable. She was a luscious Hollywood parfait, her body parts viewed as much greater than her whole. The posthumous “unearthing” of Marilyn’s unacknowledged talent—her revision as feminist icon, as victim of a misogynistic, male dominated system would seem to be a sign of progress indeed.

People who commit suicide possess a wisdom that is lost to those who cling to life. It was the French philosopher Jean-Paul Sartre who invented Existentialism, a philosophy that articulates life’s nauseating emptiness, this big vacant nothing that all of us fight so hard against. But suicides are the people who have given up the battle. They are tired and they want to go to sleep. And as best as I can recollect, sleep is good for us.

Suicide has the added bonus of having a cult following: the fan club of self-destruction resulted in a Rolling Stone cover of Jim Morrison in one of his famous lizard-king poses with a caption that read, “He’s hot. He’s sexy. And he’s dead.” And let’s not forget the attention that Hendrix, Kurt and Elvis receive. They are more popular dead than alive. In fact, when the word that Elvis had died was received, one showbiz kibitzer said: “Good career move!” Elvis alive was a problem. Who wants an old and fat Elvis Presley? Elvis dead was a property.

Personally, I don’t take death seriously at all. We all have to go sooner or later, so why get all wound up over it. Let’s have fun. I don’t want any irritating weeping and self-serving grief at my funeral. When I shake off this mortal coil, I would prefer to have my life celebrated. I don’t want to be mourned. You knew it was coming. I would want to be recalled as a creative and humorous person. So in the spirit of that, let me tell you how I foresee my funeral:

First of all, I would insist in my will that the assembled are to wear Groucho Marx glasses and mustaches. This would include the individual who is to perform the eulogy. (Of course I would want any flattering acclamation to be followed by a debate as to its truth). I would want my widow to speak fondly of my sexual prowess...now that I’m a “stiff.”

Secondly, I want my body to be left to the care of taxidermy. I read somewhere modern practice of taxidermy incorporates many crafts: carpentry, woodworking, tanning, molding and casting. It also requires artistic talent, including the art of sculpture, painting and drawing. I can see my body being stuffed like a cute little teddy bear. At the funeral, I would want my corpse erected upright in a surfing pose—complete with a swimming suit and sunglasses. (I never did surf in life and I don’t think that a dead man’s last wishes should be denied).

Thirdly, I would prefer to have my wax-like carcass on permanent display at some museum. I prefer that a hand-crafted effigy to be buried in place of my actual cadaver. Most important, let's have some laughs.

Lastly, I would prefer to have Frank Zappa CDs playing at my funeral in place of that awful lame organ music so characteristic of some funerals. That shit bores me to death. In the words of Charles Frohman: "Why fear death? Death is only a beautiful adventure." I say make it a creative and humorous adventure! Death is not to be feared. It is one of the absolutes!

If you don’t find anything humorous about death, think of it as the Big Sleep. Still, everybody has to die. Such is life. Anyway, who wants to live forever? Is that really how you want to be remembered? That prick who just won’t die?

In famous last words, Lord Byron on his death bed was reported to have said: "Now I shall go to sleep. Good night."

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Mixed Media Polaroid Art

my clay mask project. the prompt was to incorporate symbols to create a mask that represent of god of something that you love. when decker said that, all i could think about was idolatry and paganism lol, and since there's only one god i worship and love, i decided to make a mask of jesus.

this is my representation of what jesus is like to me: he is the one who received all the pain on our behalf, but he's the one who conquered the death. his words and his truth is often suppressed by skepticism, atheism, hedonism, existentialism, etc; and he must take the price of our sins, thus suffering, so we won't have to. i represented this with the snake that's trying to suffocate him and shut his mouth and the thorn crown.

but another part of the gospel is that, through his obedience to death, or evil, he defeated it; and he is crowned king of kings. the snake that was trying to destroy him is now dead and lying on jesus's head, and he has flower halo around him as well as pearls. i perceived jesus's glory as beauty and used nature's beauty to adorn him.

i've been interested in theology, appologetics, etc, these days so my artwork definitely reflects that.

i really enjoyed this project, and i gave it to decker at the end because he's sculpture major and loves 3-d art works. hopefully this will serve as a reminder of me >:]

btw, if you have any opposing view or remarks or whatever, do share! i just love listening to and discussing other ppl's views though i may not be successful or though the discussion may not lead to an answer. i find it very interesting and worth seeking.