View allAll Photos Tagged existentialism
Desire rarely introduces itself as a democratic process. It does not wait to be voted on. It does not stand at the threshold of the self asking whether it may enter. It appears first as arrival, as inclination, as orientation, as a subtle but unmistakable shift in the body toward something not yet possessed and perhaps not yet fully named. This image attempts to hold that strange and humbling reality. The man stands in the hallway, composed in posture, outwardly restrained, but already bent inwardly toward something beyond the frame. Nothing visible explains his orientation. The object of desire remains hidden. That absence matters. The image is not about the thing wanted. It is about the experience of finding oneself already turned.
That distinction belongs to the lived-world of Confessions to the Empty Chair. The book does not treat desire as a neat sequence in which a sovereign self calmly surveys options and then chooses one. Again and again, its world reveals desire as something encountered before it is managed. The heart is often affected before it is articulate. The imagination is already occupied before the intellect arranges its defense. Longing is not first experienced as moral argument or philosophical category. It is lived as pull, as atmosphere, as pre-reflective movement. One realizes it after one has already entered it.
Phenomenologically, this matters because it exposes the difference between willing and wanting. Modern people often prefer to imagine themselves as governed chiefly by decision, as though agency were the deepest fact of consciousness. Yet lived experience tells a more complicated truth. There are moments when wanting arrives with the force of disclosure. Something becomes salient. A person, possibility, memory, fantasy, or future begins to shine with a significance that was not consciously authored in that instant. The world gathers itself unevenly. One path thickens. One absence grows magnetic. One horizon begins to organize the attention. Desire is not yet action, but it has already changed the field.
This image uses the hallway precisely because hallways are spaces of transition. One is neither fully arrived nor fully gone. Such spaces embody the in-between condition of desire itself. The self has not yet acted, but neither is it untouched. The man is still. His composure remains intact. Yet his body has already confessed what his words have not. He leans toward something withheld from view. The scene therefore honors one of the deeper psychological truths: wanting can precede endorsement. We are often moved before we are persuaded. We are drawn before we have justified the draw.
That insight becomes especially significant in the world of Confessions to the Empty Chair, where desire is never reduced to appetite alone. It can reveal, distort, expose, or reorder. It may disclose what the self loves. It may also disclose what the self lacks, avoids, fears, or secretly worships. In that sense, desire is not morally simple. It is revelatory, but not necessarily trustworthy in every form. It tells the truth about our orientation, though not always about our rightful destination. This is why the book’s treatment of longing often carries both fascination and danger. Wanting opens the self, but it also removes illusion. It shows that the soul is not as self-possessed as it pretends.
Theologically, the image also gestures toward the ancient recognition that human beings are creatures of love before they are creatures of analysis. We move toward what appears good, beautiful, consoling, promising, or alive. Even our confusions testify to this structure. We do not merely think our way through the world; we are drawn through it. Desire names that drawnness. Yet the tragedy and dignity of the human condition lie here: not everything that calls to us deserves us, and not everything that deserves us calls loudly. The soul therefore discovers itself in tension between attraction and judgment, immediacy and discernment, movement and meaning.
Psychologically, “Wanting Does Not Ask Permission” refuses the flattering fiction that all desire is deliberately chosen. Some of the most decisive movements in a life begin below the level of announced intention. A person notices that he is already attentive, already preoccupied, already turning inwardly toward what he claims not to have chosen. That recognition can feel destabilizing because it weakens the myth of absolute control. But it can also become a moment of honesty. One cannot meaningfully govern what one refuses to admit. The first act of maturity is often not mastery, but recognition: this has already arrived in me.
The image therefore does not celebrate surrender, nor does it condemn desire with easy severity. Instead, it describes the first truth any serious moral or existential life must confront: the self is not the sole author of its own impulses. Something can appear within us before we have arranged ourselves around it. Something can call us before we have decided whether to answer. That is not freedom’s end; it is freedom’s beginning. Only what is recognized can be judged rightly. Only what is admitted can be offered, resisted, purified, or received.
In the world of the book, this is one of the enduring burdens and revelations of consciousness. We do not control what first appears in us. We control what we do with it, whether we hide it, worship it, deny it, confess it, feed it, or submit it to truth. But before all that, there is the humbling instant this image preserves: the soul discovering that wanting has already entered the room.
Nathaniel Hawthorne and family are also from Concord and buried in Sleepy Hollow Cemetery. Like the Emerson's Nathaniel Hawthorne lived in Concord's old Manse.
Here lies the grave of Daniel Chester French. The American sculptor successful in the competition for the statue of Abraham Lincoln for the Lincoln Memorial. Henry Bacon, architect of the Lincoln Memorial, is also buried here. Both lived in Concord
Existential Inspiration, Spring 2016
Existentialism in Paris
This is our professor Dr. McReynolds deep in thought (or perhaps watching television but I like to think he was contemplating) and on the other side of the table, we gathered here daily at Au Perroquet, a local cafe in Paris, to discuss existentialism. So much was learned here but our
discussions changed me. I now walk with purpose, speak with intention and live for today.
.
SSS Debates Simone de Beauvoir Passed Away on 14 April, 1986..
.
Remembering Simone in the Month of Her Death anniversary.
.
invites you to The Legacy of.
Simone de Beauvoir.
A Talk.
.
speaker.
.
Prof. Satya P..
.
Gautam.
.
28 April Today 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 of man 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 of them. 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 of the woman, whereas the woman's body seems devoid of meaning without reference to the male...she.
is nothing other than what man decides. She determines and differentiates herself in relation to man...She is the Other.".
.
The alterity which is ascribed to female brings about a different conception of the 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 of this `situated self' of the female. She analyses it through unfolding the social forces which mark the body.
of female 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 of her 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 of the sense of the 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 she.
has not acknowledged yet we can delve into it through other sources..
.
2- The dialectics of engagement with Jean Paul Sartre, her life partner. Whether she is the thinker who is influenced.
by Sartre as she herself acknowledged or she is an independent thinker from whom Sartre has taken the many.
insights and later appropriated them?.
.
3- Feminism as existentialism or otherwise?.
.
"There was once a man who lost his shadow. I 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, "authentic" woman, with out mean-mindedness, uncompromising, but at the same time.
understanding, indulgent, sensitive, deeply feeling, intensely aware of things and of people, passionately devoted to.
those she loved and creating happiness for them. A fine life, serene, full, "harmonious." It is dark: I cannot see myself.
anymore. And what do the others see? Maybe something hideous.".
.
Simone de Beauvoir, The Woman Destroyed.
.
14 April this year commemorated the 26th death anniversary of French feminist and existentialist Simone de Beauvoir. She.
expounded major existential themes in her novels and writings, demonstrating her conception of the writer's commitment.
to the time: "It is in the knowledge of the genuine conditions of our lives that we must draw our strength to live and.
our reasons for living." SSS Debates invites you to a Talk tonight at 9.30 pm by Prof. Satya P. Gautam of Centre for.
Philosophy, to discuss Simone's legacy and the implications of her work..
.
Akbar, Minakshi , Omprasad, Shivani.
Councillors, SSS, JNUSU.
..
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.
Every object leaves a shadow, but the shadow is not merely absence of light; it is the trace through which the hidden truth of the object becomes visible.
made using markers and colored pencils.
this piece depicts my view of humans in the future. I think that we will have devices implanted under our skin that we can choose our emotions, get food, water, and sleep (our necessities) which will eradicate any future need for them. This of course will get rid of the need for our economy, but we will have to pay a life tax to the government that keeps our bodily systems going and still balances the economy to where it needs to be.
In this piece, I wanted to invent an entire new development for the future and also add a personal element to it. That element because the search for an identity and the turmoil one faces over finding one. (ie. existentialism, which is one of my favorite elements of philosophy)
I think I would have used gouache or acrylic insead of colored pencil to create this piece. also may have collaged it if I had a second chance to make this piece. I am very happy with my idea though! I think it's cool to think about what technology we will have in the future.
I wanted to take a shot of a water droplet up close but this was better. A water droplet frozen in time by the elements questions the workings of time.
24/10/14
Acrylic and collage on canvas
I used newspaper paper towels and cut flowers that would eventually dry and decompose. This created a distinct contrast between life (the rabbit) and death (decaying flowers), focusing on life cycles and their relation to mortality. I was inspired by Francis Bacon, particularly due to his comments on mortality and existentialism. Bacon’s composition technique of using flat planes to suggest space within a piece creates a stronger focus on the subject in the foreground.
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...
In the stillness of the inanimate, truth breathes without distortion.
A silent object becomes the deepest mirror of reality —
where meaning exists before language.
To stare into death is not to surrender to darkness, but to awaken within light.
Death is not the opposite of life; it is its hidden contour — the silent horizon that gives meaning to every breath.
In contemplating mortality, we do not abandon life; we begin to inhabit it more truthfully.
This sculpture was created on the themes of towers and existentialism. It was inspired by facticity within existentialism, which claims there are things in life that affect us which we cannot change. One of these things in particular is genetics. While our genetics make us individuals, they also affect what sort of life we may lead.
45cm X 15cm
Wood, Leather-hard Clay
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.
Random sheet of paper in Paris w/ an Albert Camus famous quote :"in the midst of Winter, I found there was, within me, an invincible Summer"
52 Likes on Instagram
13 Comments on Instagram:
ijustdontknow: #冬
heatherk16: Love.
ijustdontknow: @heatherk16
ijustdontknow: #existentialism
safelipesa: J'aime Camus !
ijustdontknow: @safelipesa oui moi aussi...
safelipesa: il est le plus grand @ijustdontknow
ijustdontknow: @safelipesa oui ...