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walking around downtown at ten pm with collin and alana
i can't even roll anything and yet everyone in this program relies on me to do it for them
because at least you can light it, you said
you joked and said i was classy, to be sarcastic
that is one thing no one has ever really called me, it's pretty incongruous
we picked fruit off a tree and just ate it
i wondered if that was stealing but then i realized
it is impossible to own a tree
a tree owns you
so i took some more for the road and said, hey, thanks
i thought about how the phone conversation i was having a few nights ago
got cut out when we were talking about the reasons for not taking a class on existentialism
and i couldn't call back and that was dumb
but i learned some new things about you in that hour
and it was really nice because i feel like i could build something very elaborate
if i had the time and the place
that would never possibly articulate the way you make me feel because that is impossible
but that would feel satisfying to make and then i would feel better
there has got to be a way to say what you mean without actually saying anything
someone said today
that language was oppression
and that language was liberation
at the exact same time
yeah, maybe
Lord Ra Riaz Gohar Shahi said, ‘There is a hidden treasure in you, but you are not aware of it. Your illness is within you and its remedy also is within you, but you are not aware of it.’ medium.com/messiah-foundation-international/the-hidden-tr...
So much to do.. So little time; How does one choose what to pursue.. And what to leave behind? For more, follow The Existentialist on Facebook. #existentialist, #existential, #existentialism, #lifelessons, #lifechoices, #meaningoflife, #purpose, #choice, #choices, #decision, #decisions, #decisionsdecisions, #poetry, #rhyme, #rhymes, #dilemma, #dilema, #life, #lifechoices, #choose, #chooseone, #toughdecisions, #toughchoice, #toughchoices, #toughdecision, #chooselife, #lifechoice, #tobeornottobe, #choosewisely.. Check out this post on Instagram! ift.tt/2ltMQtM.
Ken’s popularity stems from his evolution from a simple accessory to a versatile cultural icon. Introduced in 1961 as Barbie’s boyishly handsome companion, he has spent over six decades reinventing himself to mirror the trends and aspirations of the times. Whether he was a tuxedo-wearing "Dream Date," an astronaut, or simply "Beach," Ken provided a narrative anchor for storytelling that expanded the "Barbieverse." His appeal lies in his ability to be whatever the player needs him to be - a blank slate for fashion, a career role model, or a partner in adventure - making him an indispensable part of one of the world's most successful toy franchises.
The doll's reach extends far beyond children’s playrooms due to a thriving adult collector market fueled by nostalgia and artistic appreciation. Many adults collect Ken dolls to reconnect with their childhood or to own pieces of "camp" history, such as the infamous 1993 Earring Magic Ken or the 2010 Sugar Daddy Ken. For these hobbyists, the dolls are no longer toys but high-fashion collectibles and therapeutic tools for "healing their inner child." The community-driven nature of doll collecting - complete with conventions, custom restyling, and photography - transforms Ken into a medium for self-expression and social connection among adults who value the craftsmanship and humor inherent in the brand.
In recent years, the "Kenergy" phenomenon has skyrocketed his popularity to new heights, making him a symbol of modern self-reflection. The 2023 Barbie movie shifted the narrative from Ken being "just an accessory" to a relatable figure grappling with identity and existentialism. This cultural pivot, personified by the "I am Kenough" movement, resonated deeply with a generation of adults who appreciate the irony and vulnerability of his character. By embracing his role as a supportive yet self-actualizing partner, Ken has become a mascot for self-acceptance and a broader conversation about gender roles, proving that he is much more than just a piece of plastic "arm candy."
Comics Exhibition: "From TELEOS to the Beyond”
Dithers Humor with the Existential and the Mundane
SILVER SPRING, MD— DWIGHTMESS Cartooning & Comic Arts, a new gallery devoted to experimental and cutting-edge independent comics and illustration, is proud to announce its next exhibition, From Telos to the Beyond, a conceptual group show exploring material spirituality and existentialism through comics, featuring the original comics art of Sam Sharpe, Everett Bass, Bob Kubbers and Peach S. Goodrich.
Combining the uncanny and the profane, the arcane and the contemporary, From Telos to Beyond represents a cartoonists' inclination for testing out possible habitable cosmic systems through the particularized and unshared realities of their art. Humanity's inclination to obsessively name its purpose through art is a feature of popular Western cosmogony, and is put into illuminatingly weird action by these artists through the language of sequential storytelling.
Sam Sharpe and Peach S. Goodrich are collaborators on Viewotron, an anthology of recurring stories that match comedic riffs with philosophical narrative rhymes that could only happen in comics. Populated with talking animal college students, goal-less explorers, space monsters, debunked deities, and unexamined consciences, the publication's weird humor reminds us that no one is safe from the stresses in our lives that can embolden one to self-sabotage.
Combined with Sharpe and Goodrich, the perfect draftsmanship and storytelling of comics artist Bob Lubbers (1922-2017) reveals a mastery of and seamless relationship to the comics medium that would seem, to contemporary eyes, eerie to maintain and distinctive in its compositions. His bold creativity, on display in comic strips such as 'Lil Abner, Tarzan, The Saint, and Secret Agent X9 should have afforded him more recognition. According to comics journalist Paul Gravett, Lubbers is 'not the celebrated cartoonist he should be.' Additionally, in these strange & obscure, possibly unpublished comic strips titled Buck Danes, Everett Bass, an artist surmised to have worked in the 1940's, engages a singular, running commentary about making ends meet through its characters that mirrors the political realism of Harold Gray's renowned and long-running comic strip, Little Orphan Annie. That the comic may well represent a failed attempt to capitalize on Gray's success by featuring familiar working-class themes and a relatable drawing style, it ultimately still succeeds at replicating Gray's comic universe, but for purposes too fascinatingly odd to be understood.
Perception is often imagined as reception. We speak as though the world comes to us first in a pure condition and only later becomes colored by interpretation. The eye sees, the mind records, and then thought begins its work. But lived experience rarely grants us that innocence. The world does not present itself as untouched material waiting for neutral assembly. It arrives already passing through the structures of the one who sees: through memory, desire, fear, expectation, grief, longing, conscience, and all the hidden habits by which a soul has learned to inhabit reality. This image turns toward that prior involvement. The young man stands inside the terminal at night, looking outward through glass, yet his reflection overlays the city beyond. What he sees and what he is cannot be cleanly separated. The outer scene and the inward seer have already entered one another.
That structure belongs deeply to the lived-world of Confessions to the Empty Chair. The book repeatedly shows that perception is never merely optical. It is existential. A person does not simply behold a world; he beholds a world through the shape he has become. This is why so many scenes in the book carry more than factual content. A room is never only a room. A conversation is never only an exchange of words. A silence is never only the absence of speech. Every moment arrives already weighted by who the perceiver is in that moment. The self stands in front of reality not as a blank lens, but as a formed being whose interior history is already participating in what appears.
Phenomenologically, the image concerns the impossibility of untouched givenness in ordinary human experience. The glass wall is central because it preserves both outward visibility and inward return. The city lights beyond suggest an external world continuing in its own life, dense with movement, space, and significance. Yet the reflection of the man in the same surface refuses any fantasy of pure externality. He cannot simply look out. He is also there, faintly present in the act of looking. This is one of the deepest truths of consciousness: seeing is never a transaction between a detached subject and a mute object. The subject is implicated in the appearing of the world. What is seen is already shaped by the conditions of the seeing.
That does not mean reality is unreal or merely projected. The point is subtler and more demanding. The world is real, but it is encountered through a self that is never neutral. In Confessions to the Empty Chair, this lack of neutrality matters because it exposes both the dignity and danger of perception. The self is not a machine. It is interpretive all the way down. What it loves, what it fears, what it expects, what it has suffered, what it refuses to confront—all of these influence the field of appearance. A person may believe he is simply noticing what is there, when in fact he is also noticing according to what he has become. The book returns again and again to this humbling realization: one’s way of seeing is itself morally and spiritually significant.
Psychologically, the image addresses the active role of inward structure in perception. Human beings do not attend evenly. They do not receive significance democratically. They are drawn toward certain features, arrested by certain cues, activated by certain patterns, softened by certain atmospheres, threatened by certain ambiguities. The terminal setting intensifies this because terminals are places of passage, waiting, transition, and projection. One stands in such a space not only with one’s body, but with one’s anticipations. The world beyond the glass is therefore never simply “outside.” It becomes a field onto which longing, uncertainty, memory, and self-understanding may already be cast. The man’s reflection layered over the night city captures that condition precisely. He is not merely seeing the city. He is seeing it through his own unresolved presence.
There is also a theological seriousness here. In deeper spiritual terms, the fallen or wounded self does not perceive innocently. It does not enter the world free of distortion. Yet this condition is not only a source of error; it is also the very place where revelation becomes possible. Because the self is involved, perception can expose the self. What I see, how I see, what appears bright to me, what disappears into the margins for me—these reveal something about my inward order. Confessions to the Empty Chair treats this with particular care. It understands that perception is not merely a window through which truth enters. It is also a mirror in which the soul’s condition is disclosed. The world shows itself, but in doing so it also reveals the viewer.
This is why the image’s mood matters. The lighting is cool, restrained, and expansive rather than intimate. The terminal is open, not enclosed. There is no cozy interior to soften the philosophical claim. The scene is transitional and public, yet inwardly charged. A few distant travelers move in blur behind him, which reinforces the fact that human beings can inhabit the same environment while living inside different perceptual worlds. For one person, this is simply a station at night. For another, it has become a field of doubled meaning. The difference does not lie solely in the architecture. It lies in the perceiver.
In the broader world of the book, this insight becomes essential because it changes how a life must be read. If the world never arrives untouched, then no memory, desire, fear, or judgment can be understood merely by cataloging external facts. One must also ask what kind of self was receiving those facts. What wounds were already active? What hopes were already searching? What shame was already bending the angle of vision? What hunger was already assigning weight? The same city, the same room, the same face, the same silence may appear utterly differently depending on who stands before it. The book’s existential force depends on that recognition. Reality is not reduced to subjectivity, but neither is subjectivity absent from reality’s disclosure.
“The World Did Not Arrive Untouched” therefore names a fundamental truth of human consciousness. We do not first receive a neutral world and only afterward give it meaning. We receive a world already entering relation with our formation. The city beyond the glass is real. The reflection in the glass is also real. The image’s philosophical and psychological force lies in refusing to choose between them. Outer reality and inward structure meet in the act of perception. That meeting is where meaning begins.
In Confessions to the Empty Chair, this is one of the foundational recognitions from which many later insights unfold. Desire can distort because perception was already involved. Memory can reconstruct because the past was never retained apart from a self. Conscience can interrupt because the world was never morally flat. Absence can acquire gravity because significance is never distributed neutrally. Everything begins here, in the humbling knowledge that seeing is never untouched. The world comes to us, yes—but never without first passing through the mystery, burden, and formation of the one who sees it.
Bath House in modern style at Walden Pond, a Massachusetts State Park in Concord, Massachusetts. The site of Henry Thoreau's "Walden". Henry Thoreau experimented in wilderness living at this pond a few miles from his family's home in Concord about 1845-47
"Here we lie by consent. After
57 years 2 months and 2 days
sojourning through life
awaiting natures immutable
laws to return us back to the
elements of the universe of
which we were first composed."
today after a night lacking sleep, i worked nonstop on my existentialism final. it involved a lot of crazy. the end product i enjoyed though.
canon 7d with sigma 30.
Comics Exhibition: "From TELEOS to the Beyond”
Dithers Humor with the Existential and the Mundane
SILVER SPRING, MD— DWIGHTMESS Cartooning & Comic Arts, a new gallery devoted to experimental and cutting-edge independent comics and illustration, is proud to announce its next exhibition, From Telos to the Beyond, a conceptual group show exploring material spirituality and existentialism through comics, featuring the original comics art of Sam Sharpe, Everett Bass, Bob Kubbers and Peach S. Goodrich.
Combining the uncanny and the profane, the arcane and the contemporary, From Telos to Beyond represents a cartoonists' inclination for testing out possible habitable cosmic systems through the particularized and unshared realities of their art. Humanity's inclination to obsessively name its purpose through art is a feature of popular Western cosmogony, and is put into illuminatingly weird action by these artists through the language of sequential storytelling.
Sam Sharpe and Peach S. Goodrich are collaborators on Viewotron, an anthology of recurring stories that match comedic riffs with philosophical narrative rhymes that could only happen in comics. Populated with talking animal college students, goal-less explorers, space monsters, debunked deities, and unexamined consciences, the publication's weird humor reminds us that no one is safe from the stresses in our lives that can embolden one to self-sabotage.
Combined with Sharpe and Goodrich, the perfect draftsmanship and storytelling of comics artist Bob Lubbers (1922-2017) reveals a mastery of and seamless relationship to the comics medium that would seem, to contemporary eyes, eerie to maintain and distinctive in its compositions. His bold creativity, on display in comic strips such as 'Lil Abner, Tarzan, The Saint, and Secret Agent X9 should have afforded him more recognition. According to comics journalist Paul Gravett, Lubbers is 'not the celebrated cartoonist he should be.' Additionally, in these strange & obscure, possibly unpublished comic strips titled Buck Danes, Everett Bass, an artist surmised to have worked in the 1940's, engages a singular, running commentary about making ends meet through its characters that mirrors the political realism of Harold Gray's renowned and long-running comic strip, Little Orphan Annie. That the comic may well represent a failed attempt to capitalize on Gray's success by featuring familiar working-class themes and a relatable drawing style, it ultimately still succeeds at replicating Gray's comic universe, but for purposes too fascinatingly odd to be understood.
May Photography. Final 20 in gd 12 portfolio 2014.
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THEME 4: The Beauty of the Beginning and the End. Cycle of beginning and the end, create and destroy. Existentialism.
STATEMENT: Feel the beauty.
Feel being alive.
Feel being apart of this world.
All things are created to balance each other.
I feel sinful being alive, but the reasons are not resaons.
I see the destruction in human beings, but I cannot admit it is not one part of us.
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