View allAll Photos Tagged existentialism
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 Additionally, in these strange & obscure, possibly unpublished comic strips titled Buck Danes, Everett Bass, an artist surmised to have worked in the 1940's, engages a singular, running commentary about making ends meet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.
An excerpt from "In too deep" Read the entire piece at ift.tt/2rEH1OA ift.tt/2r5s1ML Tags: #existentialist, #existentialism, #existential, #life, #lifequotes, #qotd, #quoteoftheday, #instaquote, #instapoet, #instapoetry, #poetry, #poem, #original, #sadness, #sad, #unhappy, #melancholy, #melancholia, #melancholic, #depression, #depressed, #hurt, #broken, #pain, #nihilism, #nihilist, #suffering, #suffer, #miserable, #misery.. Check out this post on Instagram! ift.tt/2q8HlTJ.
Oude Bareellei. Merksem. Detail.
I want a cheeck so sharp that it will cut you when I turn the other cheeck. (poetry which is beyond me! Existentialism?)
There is only ever one time to do anything and everything you've ever wanted. Right NOW. For more, follow The Existentialist on Facebook. #existentialist, #existentialism, #existential, #wisdom, #quotes, #quote, #qotd, #quoteoftheday, #wisdom, #time, #beherenow, #thetimeisnow, #thepowerofnow, #zen, #universaltruth, #absolutetruth, #present, #presentmoment, #timeless, #onetruth, #absolute, #truth, #clock, #clocks, #inthemoment, #bepresent, #divine.. Check out this post on Instagram! ift.tt/2mN0QAQ.
There is a kind of exposure that does not wait for confession. It does not require a declaration, an explanation, or a chosen unveiling. It arrives prior to language, in the instant when another person apprehends something in us before we have arranged it into words. This image turns toward that unnerving and deeply human threshold. The café is quiet, warm, and outwardly ordinary. Nothing in the setting suggests confrontation. No accusation is being made. No scene is unfolding. And yet the moment is charged, because one person has already arrived in awareness before the other has regained control of how he will appear. The man is paused at the edge of speech. The woman’s gaze is steady, not aggressive, not invasive, simply present. That difference in readiness is the whole drama. He is still becoming visible to himself in the very instant that he has already become visible to another.
That structure belongs profoundly to the lived-world of Confessions to the Empty Chair. The book understands that selfhood is never purely private. However interior a person may be, he does not exist outside the field of recognition. He becomes aware of himself not only through solitary reflection, but through encounters in which his inward life is unexpectedly mirrored, disclosed, or interrupted by another consciousness. Some of the most decisive moments in a life are not moments of self-expression, but moments of involuntary manifestation. One intends to speak, explain, charm, conceal, or manage an impression, only to discover that something more fundamental has already appeared. Before the sentence is spoken, the face, posture, hesitation, atmosphere, and vulnerability have already begun to say what words cannot fully control.
Phenomenologically, this is one of the deepest truths of interpersonal life: we do not first exist as sealed interiors who later choose whether to communicate. We are embodied beings whose presence is always already expressive. The body speaks before speech. The gaze receives before the intellect organizes. The room between two people becomes meaningful before either party successfully narrates it. That is why the image matters in its restraint. Nothing overt is happening. The significance lies precisely in the fact that recognition has occurred without spectacle. The woman does not pry. She sees. And being seen, in this sense, is not the same as being examined. It is the unsettling experience of realizing that one’s inward state is not as hidden as one imagined.
The world of the book repeatedly returns to such moments because they destabilize the fantasy of total self-authorship. A person may believe he controls the terms of his own appearance, that he can decide when he will reveal, what he will reveal, and how he will be known. But real encounters often disrupt that confidence. Confessions to the Empty Chair shows again and again that the self is encountered under conditions not of its own making. This is not always violent. Often it is quiet. A glance, a pause, a shift in timing, the calm steadiness of another’s attention—these can expose more than direct interrogation. They can reveal that identity is not merely projected outward from within. It is also received, interpreted, and answered in the relational field.
Psychologically, this image addresses the fragile interval between self-possession and self-consciousness. Before being seen, the self inhabits itself directly. It acts from within its own momentum. But once it becomes aware of another’s perception, a second layer enters. One begins not only to be, but to experience oneself as being perceived. That altered condition can sharpen, disturb, embarrass, humble, or awaken. It can create defensive performance. It can also produce truth. A person sometimes does not know the shape of his own vulnerability until another person’s attention calls it forth. What he thought was hidden was not fully hidden. What he thought required explanation had already taken form in the visible world.
This is also theological in its implications. To be seen before speaking is, in a human register, a faint analogue of a more ultimate exposure: the recognition that the self does not originate in secrecy. One can hide from others imperfectly, from oneself selectively, but never from reality altogether. The deeper spiritual life begins not when one invents self-knowledge, but when one consents to being known. Confessions to the Empty Chair treats this reality with seriousness. The soul is not autonomous in the way it wishes to be. It stands before forms of recognition that precede its excuses. It is visible before it is articulate. It is addressed before it is prepared. This is why the image is warm rather than harsh. The gaze here is not punitive. It is revelatory. And revelation, even when gentle, can still feel like judgment to a self accustomed to control.
The café setting intensifies the insight by placing the moment in a public but intimate environment. Such places are transitional social worlds. They are neither fully anonymous nor fully private. One can imagine managing one’s persona there. One can imagine conversation proceeding on chosen terms. Yet this image captures the rupture of that expectation. The room remains soft. The lights remain warm. Cups, tables, and ordinary surroundings continue their quiet function. But something more serious has occurred within the ordinariness: the man has been met before he has spoken himself into the scene. He has become vulnerable in advance of intention.
That is why the title matters so much. “I Was Seen Before I Spoke” does not simply mean that someone noticed him first. It means that recognition outran self-presentation. It means that visibility preceded control. It means that language, often treated as the instrument by which we govern how we are known, arrived too late to secure the terms. In the world of the book, this is one of the most destabilizing and potentially redemptive human experiences. It threatens pride because it weakens the illusion of mastery. It offers grace because it suggests that one need not construct oneself from nothing in order to be encountered truthfully.
In the end, this image names a reality central to human existence: the self does not come fully into view only by speaking. Often it comes into view because another consciousness receives it before it has finished arranging its defense. Exposure begins there, in the fragile instant when the soul realizes that its deepest disclosures may not begin in what it says, but in the fact that it has already, unmistakably, appeared.
For more, follow The Existentialist on Facebook. ift.tt/2qDMoiC Tags: #existential, #existentialist, #existentialism, #life, #lifequotes, #lifelessons, #Mumbai, #motivation, #inspiration, #performance, #success, #fame, #reputation, #wisdom, #selfhelp, #selfimprovement, #quote, #quotes, #quoteoftheday, #qotd, #keepmovingforward, #inspiringquotes, #motivationalquotes, #poetry, #poetsofig, #poetrycommunity, #poetsofinstagram, #instapoetry, #instawriters, #authentic.. Check out this post on Instagram! ift.tt/2rwbyjv.
Ontological terror arises when the human mind is confronted not with an external threat, but with the bare fact of “being” itself. In this moment, the world neither warns nor explains—it simply is. This unmediated existence creates a deep existential anxiety, as meaning begins to dissolve in the face of a reality that offers no center, purpose, or guarantee to hold onto.
I'm reading about Existentialism at the moment, and in it is a reference to these boots. And then, just wandering through Waterstones I came across this book, 'Postmodernism; a graphic guide', and where do I happen to open the book? At a page showing the same boots. I'll have to take a photo of that; compare and contrast style etc.
A wall of faces watches us, while a single figure stands before them, caught between looking and being looked at. The photograph becomes a quiet reflection on identity: are we truly ourselves, or are we constantly constructing who we are through the gaze of others?
Between the photographed faces and the living observer, past and present, memory and identity, reality and representation meet in a single frame. Perhaps every portrait is ultimately a mirror—not of the person we see, but of ourselves.
abstract, abstraction, art, digital, digital art, pennsylvania, may, spring, stuff, blurism, form, formlessness, mu, binary opposites, faith, asleep, horny, lost, existential, existentialism, things, le parti pris des choses, ponge, objects, spiritual, wandering, hope, despair, marbles, cats, wtf, omg, hi, hello, i don't no, no clue, no idea
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.
Hello all! This is the first post for my new brand The Existentialist. Each day, I would be uploading a beautiful original picture along with an interesting caption or quote on the theme of existentialism. Hope you like it. If you do please FOLLOW ME for more great images and stories! Leave a comment below. - Ojas Mehta -------------------- Image specific tags: #sky, #sun, #nature, #portrait, #blue, #orange General tags: #Existential, #Life, #Philosophy, #Psychology, #Inspiration, #Motivation, #Quotes, #Art, #Beautiful, #Love, #Happy, #Free, #Wallpapers, #Download, #Stock, #Trending, #Hot, #Best, #Original, #Photos, #Photography, #Photooftheday. Check out this post on Instagram! ift.tt/1SV5Voh. Copyright The Existentialist by Ojas Mehta.
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-...
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...