View allAll Photos Tagged existentialism
movie still from
"pierrot le fou" (1965)
starring:
Jean-Paul Belmondo
&
Anne Karina
directed by:
Jean-Luc Godard
rejects the belief that life has an inherent meaning, but instead requires each individual to posit his or her own subjective values.
this is prom
Aye, existentialism and it's catalytic rationale upon the perfomace of "sociaties" endemic and unrealised oeuvre an that!
Adam & me, probably having a very deep philosophical discussion about existentialism or debating the merits of stem cell research....
photo: A. I. K.
Jean-Paul Charles Aymard Sartre (21 June 1905 – 15 April 1980) was a French philosopher, playwright, novelist, screenwriter, political activist, biographer, and literary critic, considered a leading figure in 20th-century French philosophy and Marxism. Sartre was one of the key figures in the philosophy of existentialism (and phenomenology). His work has influenced sociology, critical theory, post-colonial theory, and literary studies, and continues to do so. He was awarded the 1964 Nobel Prize in Literature despite attempting to refuse it, saying that he always declined official honors and that "a writer should not allow himself to be turned into an institution."
Wikipedia
My piece bears its footing in the catchphrase: "What doesn't kill you, Makes you stronger." An aphorism by the German philosopher Friedrich Nietzsche who passionately worked on “existentialism.” I have hereby extrapolated this lovely precept to depict an astronaut carrying home his indigenous bugs (microbiome) which have survived through the void of cosmos, metamorphosing to thrive against all odds! Furthermore, my piece depicts fellow humans awaiting with childlike innocence the return of their astronaut carrying the gift of extremophile microbe balloons. Canvas: Urochrome agar (routinely used in clinical microbiology laboratories for isolating pathogens causing urinary tract infections). Color-palette credits: Escherichia coli, Candida albicans & Enterococcus faecalis.
This image, titled "Solitary Progression," is a freeze-frame of contemplation, capturing a figure halted mid-stride, struck by a profound realization. Through Duncan Rawlinson's lens, where photography coalesces with the sophisticated nuances of artificial intelligence, the homage to Alberto Giacometti's "Walking Man I" is re-envisioned. Here, the emphasis shifts to a moment of stillness—a departure from movement—where the figure is caught in an introspective interlude. The sculpture, embodying tranquility, stands as a metaphor for the sudden epiphanies that arrest us on life's journey. It's as if the figure has stumbled upon an unexpected truth, and in that silent revelation, time stands still. The stark stillness that surrounds the figure is more than a physical pause; it marks an intersection of cognitive awakening and the existential journey. Rawlinson's work is a symphony of AI and human artistic vision, a testament to the latent power of technology meeting the depth of human inquiry. This piece resonates with the innate human quest for moments of insight along the paths we tread.
Presented by Ministry of Cultural Warfare
A disjointed (and multimedia!) road trip along the border between Individuality and Everything. A funeral in South Dakota. A night out in Uptown. The hidden meaning of oral hygiene. Living life as a database query. A fatal overdose on French existentialism.
Feeling helpless? We all are. So get in the car for our roadtrip to everything. Surely God will greet us as liberators. Bien sûr.
'God created your soul so that you can reach God through your soul and you come to know God.' - His Divine Eminence RA Gohar Shahi
movie still from
"pierrot le fou" (1965)
starring:
Jean-Paul Belmondo
&
Anne Karina
directed by:
Jean-Luc Godard
Andrei Platonovich Platonov (1899 – 1951) was a Soviet Russian novelist, short story writer, philosopher, playwright, and poet. Although Platonov regarded himself as a communist, his principal works were banned until thirty years after his death because of their skeptical attitude toward collectivization of agriculture (1929–1940) and other Stalinist policies, as well as for their experimental, avant-garde form infused with existentialism which was not in line with the dominant socialist realism doctrine. His famous works include the novels The Foundation Pit (1930), Soul (1935) and Chevengur (1928).
Platonov was born in the settlement of Yamskaya Sloboda on the outskirts of Voronezh in the Chernozem Region of Central Russia. His father was a metal fitter (and amateur inventor) employed in the railroad workshops and his mother was the daughter of a watchmaker. He attended a local parish school and completed his primary education at a four-year city school and began work at age thirteen, with such jobs as an office clerk at a local insurance company, smelter at a pipe factory, assistant machinist, warehouseman, and the railroad. Following the 1917 Revolution, he studied electrical technology at Voronezh Polytechnic Institute. When Civil War broke out in 1918 Platonov assisted his father on trains delivering troops and supplies and clearing snow.
Meanwhile, Platonov had begun to write poems, submitting them to papers in Moscow and elsewhere. He was also a prolific contributor to local periodicals. These included Zheleznyi put ("Railroad"), the paper of the local railway workers' union; the Voronezh Region Communist Party newspapers Krasnaia derevnia ("Red countryside") and Voronezhskaia kommuna ("Voronezh commune"); and Kuznitsa, the nationwide journal of the "Smithy" group of proletarian writers.
From 1918 through 1921, his most intensive period as a writer, he published dozens of poems (an anthology appeared in 1922), several stories, and hundreds of articles and essays, adopting in 1920 the pen-name Platonov by which he is best-known. With remarkable energy and intellectual precocity, he wrote confidently across a range of topics including literature, art, cultural life, science, philosophy, religion, education, politics, the civil war, foreign relations, economics, technology, famine and land reclamation, and others. It was not unusual around 1920 to see two or three pieces by Platonov, on quite different subjects, appear daily in the press.
He has also been involved with the local Proletcult movement, joined the Union of Communist Journalists in March 1920, and worked as an editor at Krasnaia Derevnia ("Red countryside"), and the paper of the local railway workers' union. in August 1920, Platonov was elected to the interim board of the newly-formed Voronezh Union of Proletarian Writers and attended the First Congress of Proletarian Writers in Moscow in October 1920, organized by the Smithy group. He regularly read his poetry and gave critical talks at various club meetings.
In July 1920, Platonov was admitted to the Communist Party as a candidate member on the recommendation of his friend Litvin (Molotov). He attended Party meetings, but was expelled from the Party on 30 October 1921 as an "unstable element". Later, he said the reason was "juvenile". He may have quit the party in dismay of the New Economic Policy (NEP), like a number of other worker writers (many of whom he had met through Kuznitsa and at the 1920 writers' congress). Troubled by the famine of 1921, he openly and controversially criticized the behaviour (and privileges) of local communists. In spring, 1924 Platonov applied for re-admission to the Party, offering reassurance that he had remained a communist and a Marxist, but he was denied then as on the next two occasions.
In 1921 Platonov married Maria Aleksandrovna Kashintseva (1903–1983); they had a son, Platon, in 1922, and a daughter, Maria, in 1944.
In 1922, in the wake of the devastating drought and famine of 1921, Platonov abandoned writing to work on electrification and land reclamation for the Voronezh Provincial Land Administration and later for the central government. "I could no longer be occupied with a contemplative activity like literature", he recalled later. For the next years, he worked as an engineer and administrator, organizing the digging of ponds and wells, draining of swampland, and building a hydroelectric plant.
pureevilgallery.arloartists.com/portfolios/39791-busk-ble...
BUSK BLEACH & ZADOK began painting in 1985 , 1995 + 2000 and have consistently charted new territory with their amazing street pieces . Now, 3 distinct minds from 3 decades of painting come together to create a groundbreaking exhibition / installation show at the pure evil gallery.
BUSK BLEACH AND ZADOK present a show entitled PASCALS WAGER
Pascal’s Wager (or Pascal’s Gambit) is a suggestion posed by the French philosopher Blaise Pascal that even though the existence of God cannot be determined through reason, a person should wager as though God exists, because living life accordingly has everything to gain, and nothing to lose. It was set out in note 233 of his Pensées, a posthumously published collection of notes made by Pascal in his last years as he worked on a treatise on Christian apologetics.
Historically, Pascal’s Wager was groundbreaking as it had charted new territory in probability theory, was one of the first attempts to make use of the concept of infinity, marked the first formal use of decision theory, and anticipated the future philosophies of pragmatism and voluntarism.
Blaise Pascal argued that if reason cannot be trusted, it is a better “wager” to believe in God than not to do so.
The wager builds on the theme of other Pensées where Pascal systematically dismantles the notion that we can trust reason. Although his notes were found without definite order after his death (the Pensées numbering scheme was added by publishers for reference purposes), it can be inferred that the section regarding the wager would have followed his other thoughts that supply the foundation. Much of the book attacks certainty, and is often cited as the first work on existentialism .
This photo reminds me of my esoteric days studying Existentialism: "Whoever fights monsters should see to it that in the process he does not become a monster." ~ Nietzsche
‘There is no physical evidence that may imply to show that God exists. However, there is spiritual evidence and this evidence can be served within you.’
medium.com/messiah-foundation-international/where-is-the-...
I float in time with open mind...
A quest; a chance of riddled thought:
Infinity squared, then seek to find
An answer; pained and overwrought,
I dodder with an addled head;
Befuddled, merging with a haze of
Mysticism, then to tread
A metaphoric swamp – a maze
Of existentialism…
.
---Simone de Beauvoir PassedAwayon 14 April, 1986. RememberingSimoneIn the Month ofHer Death anniversaryi11vites you to .
The Le9acy of.
A Talk Simone de Beauvoir.
speaker.
Prof. Satya P. Gautam .
Centre for Philosophy, SSS .
28 April Todav Kaveri Mess 9.30pm .
"There is a good principle which created order, light and man, and an evil principle which created chaos,.
darkness and woman"-Pythagoras .
.
Woman, the other ofman has been historically and socially viewed as the darkness as this quote depicts. The identity of.
female is marked by the absence. The qualities which are attributed on man like virility, intellect, courage etc, female is.
defined by the absence ofthem. It is an originary absence in the sense that the encounter with one's own self is always.
mediated through the dominant-hegemonic social structures. Simone writes in the Second Sex, "Man thinks himself.
without the body ofthe \voman, whereas the woman's body seems devoid ofmeaning without reference to the male...she.
is nothing other than what man decides. She'determines and differentiates herselfin relation to man...She 'is the Other.".
The alterity which is ascribed to female brings about a different conception ofthe self which is not absolute or abstract.
but which is very much embedded in the concrete and subtle social forces. As a feminist, the question before Simone is.
.
the analyses ofthis 'situated self' ofthe female. She analyses it through unfolding the social forces which mark the body.
offemale into the dominant patriarchal social order. She therefore is 'not born but made' as woman. The objectification.
of female through patriarchy converts her into an entity where the meaning and values ofher existence are derived by.
the norms and ideals of patriarchal order. The images of Seeta and savitri and other chaste women in Indian society.
.
which remains encoded in the patriarchal framework and ingrained in the psyche of girls through various institutional.
mediums like family, religion becomes the sort of"Superego" for the females. So female has to assume the role models.
provided by the patriarchal set up otherwise it results in the guilt, a loss ofthe sense ofthe self. Simone points out at this.
predicament when she says, "she discovers and chooses herself in a world where men force her to assume herself as.
.
Other: an attempt is made to freeze her as an object and doom her to immanence, since her transcendence will be forever.
transcended by another essential and sovereign consciousness., .
.
The present talk will discuss the various issues which remains crucial even after her demise..
1-The life as acknowledged by her in autobiography, interviews and letters and the life as lived by her which shehas not acknowledged yet we can delve into it through other sources. .
.
2-The dialectics ofengagement with Jean Paul Sartre, her life partner. Whether she is the thinker who is influencedby Sartre as she herself acknowledged or she is an independent thinker from whom Sartre has taken the manyinsights and later appropriated them? .
3-Feminism as existentialism or otherwise? .
"There was once a man who lost his shadow. l forget what happened to him, but it was dreadful. As for me, I've.
lost my own image. I did not look at it often; but it was there, in the background, just as Maurice had drawn it for.
me. A straightforward, genuine, "authenticII .
.
woman, with out mean-mindedness, uncompromising, but at thesame time understanding, indulgent, sensitive, deeply feeling, intensely aware ofthings and ofpeople, passionatelydevoted to those she loved and creating happiness for them. A fine life, serene, jiJll, "harmonious. " It is dark: Icannot see myself anymore. And what do the others see? Maybe something hideous.,-Simone de Beauvoir, The Woman Destroyed .
14 April this year cornmernorated the 26th death anniversary of French feminist and e:xjstentialist Simone de Beauvoir.She expoundedmajor existential themes in her novels and writings, demonstrating her conception of the writer's commitmentto the time: "It is in the knowledge ofthe genuine conditions ofour lives that we must draw our strength to live andour reasons for living." SSS Debates invites you to a Talk tonight at 9.30 pm by Prof. Satya P. Gautam ofCentrefor Philosophy, to discuss Silnone's legacy and the implications of her work. .
Akbar, Mlnakshl ,Omprasad, Shivanl .
Councillors, SSS, JNUSU .
.
movie still from
"pierrot le fou" (1965)
starring:
Jean-Paul Belmondo
&
Anne Karina
directed by:
Jean-Luc Godard
Being in London is like being in a Jean-Paul Sartre play: there is no "Exit" -- but there is always a Way Out.