The Worm at the Core - Chapter 11: Living With Death

So what is it that we can do to authentically face mortality? Ernest Becker asked, "The question of human life is this: On what level of illusion does one live? This question poses an absolutely new question for the science of mental health, namely, what is the “best” illusion under which to live? Or, what is the most legitimate foolishness? ... I think the whole question would be answered in terms of how much freedom, dignity, and hope a given illusion provides.” (The Denial of Death)

Becker was referring to the idea that people adopt various illusions, culturally constructed ways of thinking, or belief systems in an effort to make sense of the world and give their lives meaning. These illusions serve as a psychological defense mechanism against the awareness of our own mortality. Humans are unique in their ability to contemplate their own mortality, which can lead to existential anxiety and a sense of insignificance in the face of the vastness of the universe. To cope with this anxiety, individuals create illusions or belief systems that provide a sense of purpose, significance, and immortality.

“The question of human life is this: On what level of illusion does one live? This question poses an absolutely new question for the science of mental health, namely, what is the “best” illusion under which to live? Or, what is the most legitimate foolishness? ... I think the whole question would be answered in terms of how much freedom, dignity, and hope a given illusion provides.”

— Ernest Becker, The Denial of Death

He suggests that the science of mental health should consider the quality of these illusions or belief systems. He raises the question of what constitutes the "best" illusion to live by or the most legitimate foolishness. In other words, he is asking which belief systems or illusions offer the most freedom, dignity, and hope to individuals.

The value of an illusion lies in its ability to provide individuals with a sense of purpose, personal agency, and optimism. The illusion should allow individuals to feel free to pursue their goals and desires, maintain their dignity and self-worth, and foster a hopeful outlook on life. By living under such illusions, individuals can find meaning and fulfillment despite the existential challenges they face.

I would never offer anyone "life coaching" or pretend I have any insight into therapy. I’m not qualified to do either. I can, however, offer my opinion on managing terror (death anxiety) based on Ernest Becker and the psychologists that wrote The Worm at the Core, as well as several other philosophers, psychologists, anthropologists, artists, theologians, and scientists. And I can share personal experience and anecdotal observations of human behavior as it relates to these theories as well.

Do I have in-depth knowledge and understanding of these theories? No, I don’t. Some of the material is very dense and difficult to read and understand (see Heidegger). I read Becker’s book, The Denial of Death, in 2018. I’ve gone through the best books on the subject since then. It’s only been five years since I’ve really paid close attention to these ideas. It would take me another decade to fully unpack all of it and be able to articulate the concepts in depth. That was never my goal. I wasn’t working toward a Ph.D. in existential psychology. I was interested in these ideas for my creative life and the project I’m working on now. I’m comfortable where I am with these ideas and continue to learn more and more about them every day. It’s a process, not an event, and it’s really elevated my thinking and connection to the materials and ideas I’m working with. I’m beyond grateful to have found Becker’s work and the rest of the great thinkers of the last two or three centuries (some even older).

Having said that, I do have a solid understanding of the concepts and how they impact people's lives, including mine. I understand my relationship to my creative life and terror management as well—that was the point of reading all of the books and studying existential psychology in the first place. I was trying to unpack almost 40 years of making pictures and talking about marginalized communities. These are the building blocks I’m using for my book and photographs (In the Shadow of Sun Mountain: The Psychology of Othering and the Origins of Evil).

Both Otto Rank and Ernest Becker, among many others, weighed heavily on the creative life as the ultimate way to deal with death anxiety. Or to at least get some perspective on life and existing. In Becker’s book, The Denial of Death, he said, "The most that any one of us can seem to do is to fashion something—an object or ourselves—and drop it into the confusion, make an offering of it, so to speak, to the life force." To me, this passage reflects his viewpoint that, despite facing mortality, people have a fundamental desire to give their lives meaning and purpose. Individuals have a limited capacity to impact the world or find absolute solutions to the complexities of existence. However, he suggests that each person has the ability to create something meaningful, whether it be an object or a personal transformation, and offer it to the "life force," or the larger fabric of existence.

Becker's idea can be interpreted as an encouragement to individuals to engage in acts of creation, self-expression, and contribution as a way to navigate the inherent uncertainty and existential dilemmas of life. By crafting something of significance and offering it to the world, one can find a sense of purpose and transcendence, even within the confines of their mortal existence. This is potent. I’m making every piece of work with this idea in mind. It’s changed how I view what I’m doing. I’m less concerned with the technical than I’ve ever been. I’m interested in what I call “expanding ideas” or “expanding concepts” for this project. I’ve removed the “box” that I put it in, both technically and conceptually. It feels wonderful!

“Horse’s Mane” May 25, 2023, 10” x 10” (25,4 x 25.4 cm) (Made in camera, no negative) RA-4 Reversal Color Direct Print

Otto Rank

Ernest Becker referred to Rank and his theories a lot in “The Denial of Death.” Otto Rank’s book "Art and Artist: Creative Urge and Personality Development" explores the fundamental connection between art and human psychology. Otto Rank delves into the nature of creativity, focusing on how the creative urge emerges within individuals and its impact on their personal development.

“We have art in order not to die of truth.”

— Friedrich Nietzsche

Rank examines the psychological motivations behind artistic expression, emphasizing that the creative process allows individuals to address and resolve their inner conflicts and buffer death anxiety. He argues that art serves as a means for individuals to reconcile their own psychological dilemmas and achieve a sense of wholeness.

The book also explores the concept of the artist as an individual who has an innate need for self-expression and seeks to establish their own unique identity. Rank suggests that artists often face challenges in society, as their unconventional thinking and creativity may clash with societal norms and expectations.

Rank discusses the influence of culture and society on art. He examines how societal factors shape artistic expression and how artists, in turn, contribute to cultural transformation through their work.

Throughout the book, Rank draws upon examples from various art forms, including literature, visual arts, and music, to illustrate his ideas. He explores the works of well-known artists and analyzes their creations from a psychological perspective.

"Art and Artist" offers insights into the profound connection between art, creativity, and human psychology. It sheds light on the motivations and challenges faced by artists, as well as the transformative power of art in individual and societal development.

I’ll write more about Otto Rank later. I’m still trying to decipher his writing.

I hope you can join me on Saturday, May 27, 2023, for the final chapter of the book “The Worm at the Core: On the Role of Death in Life.”

In this chapter, the authors offer some ideas for what we can do to manage death anxiety. Moreover, they give food for thought on the implications for our world regarding terror management.

Chapter 11: Living With Death

-IF I SHOULD WAKE BEFORE I DIE

-THE EPICUREAN CURE

-THE PERSISTENCE OF THE TERROR OF DEATH

-COMING TO TERMS WITH DEATH

-IDENTIFYING WITH THE CONTINUITY OF LIFE: TRANSIENCE VERSUS TRANSCENDENCE

-CULTURAL WORLDVIEWS: THE ROCK AND THE HARD PLACE

-SOME FINAL THOUGHTS ON FINALITY

This is a reading of the book "The Worm at the Core: On the Role of Death in Life" by Sheldon Solomon, Jeff Greenberg, and Tom Pyszczynski. Quinn will read a chapter every week and then have a discussion about it. This book, along with "The Denial of Death" by Ernest Becker, is the basis for Quinn's (photographic) book, "In the Shadow of Sun Mountain: The Psychology of Othering and the Genesis of Evil."

Saturday, May 27, 2023, at 1000 MST on my YouTube channel and Stream Yard-Links below

YouTube: https://www.youtube.com/live/HbafDzDbsio

Stream Yard: https://streamyard.com/kw8hnfhpu4

#intheshadowofsunmountain #ernestbecker #deathanxiety #denialofdeath #sheldonsolomon #jeffgreenberg #tompyszcynski #terrormanagementtheory #thewormatthecore #quinnjacobson #studioQ #chemicalpictures

What Will They Think?

Every day, I find myself exploring questions that I never had time to deeply consider before. In the quiet moments, which are few and far between in the modern world, the big questions are only briefly on our minds, and we move on. We never discuss them or have time to deeply think about them.

I was always too busy, distracted, and “tranquilizing with the trivial.” I wasn’t any different than most people. I tried to fight through it by making art and occasionally inquiring about the big questions. I was successful at times, but the culturally constructed life consumed most of my thoughts and actions; mere survival (my relationships, my financial life, paying the bills, my job, my career) always took precedence and walled me off from the bigger life and death questions.

I was constantly trying to fulfill my social role and bolster my self-esteem, like most people do (like culturally constructed meat puppets). Now, I’m afforded time—time that I’ve never had before. I rarely pay attention to the time of day or day of the week. Most of the time, I get up with the sun and go to bed when it’s dark. I lose track of time working in my darkroom and studio.

“The more powerful and original a mind, the more it will incline towards the religion of solitude.”

— Aldous Huxley

What a gift it is to live among the black bears, mountain lions, and wild turkeys! I walk in nature every day under and beside the big Ponderosa Pine, Douglas Fir, and Aspen trees with Jeanne (or every chance I get, weather permitting). I get to see the beautiful mountains and landscape, the wildlife, and breathe fresh mountain air. To see the red-tailed hawks soaring over the mountains, the bluejays gathering food, and the hummingbirds getting busy for summer is a beautiful thing.

I live a life infused with peace, quiet, and solitude. What freedom! I’ve never really experienced those things before, and I am beyond grateful to have them. It’s radically changed me for the better. I’m closer to living an authentic life than I’ve ever been before. It’s a process, but I’m aware of it and working on it. The first step to change and improvement is to recognize what’s wrong.

Time can be a dangerous thing to have. If people could spend a few months without the hustle and bustle of being a culturally constructed meat puppet, they would begin to become self-aware. They would begin focusing on the important things and devoting their time and energy to them. Self-awareness leads to understanding and the strength to face uncomfortable ideas and make changes. Our culture doesn’t want us to do that. They want us preoccupied with conspicuous consumption, shopping, alcohol, drugs, fashion, pursuing wealth and popularity, and all of the other malignant ways we use to buffer our existential anxiety.

With time to deeply think about what it means to be human, face mortality, and ponder meaning and significance in your life, you learn how tiny you are and how finite and meaningless (cosmically speaking) you are. You can start to grasp the implications of knowing that you will die and be forgotten. You deal with impermanence and insignificance in a healthy, life-affirming way, not in a death-denying, destructive way (like a meat puppet).

You begin to see humility as a great asset and understand how gratitude will buttress existential terror. You’re in awe of life every day. I’m learning this now. We live in a death-denying culture. I’m doing my very best, through my photographic work, my writing, and these essays, to unpack what it means to come to terms with mortality and be an authentic man.

“Seeded Mullein and Antlers” May 16, 2023, 10” x 10” (25,4 x 25.4 cm) (Made in camera, no negative) RA-4 Reversal Color Direct Print-Mullein is a relaxing, calming smoke that soothes the lungs and opens up air passageways. It’s smooth smoking with a mild flavor and aroma; it is a profound respiratory tonic that opens the lungs and softens coughs, soothes irritation, and reduces dryness. Antlers were used by Native Americans in many ways, including pipes.

Lately, I’ve been thinking about our need for symbolic immortality. Ernest Becker called these efforts “immortality projects.” I can relate to this need and this desire, all while knowing that it’s a fool’s errand to pursue. What will people think of me in a hundred or a thousand years? What will they think of my work? The answer is they won’t and nothing.

However, the work we do or the projects we pursue fulfill a greater purpose. They give our lives meaning and significance. That’s extremely important. It is all ephemeral and means nothing in the cosmic scheme of things. It’s absolutely meaningless that way. As an artist, it’s my way of keeping death anxiety at bay.

Acknowledging this fact has made me even more interested in making pictures and writing about our existence as people living with death anxiety. It’s brought me joy and made me happy. I want to live with the fact that what I do is meaningful in buffering my own death anxiety; it’s my terror management, but I want to embrace its cosmic meaninglessness without having fear or dread.

Peter Zapffe called it sublimation. In his essay “The Last Messiah,” he said, “The fourth remedy against panic, sublimation, is a matter of transformation rather than repression. Through stylistic or artistic gifts can the very pain of living at times be converted into valuable experiences. Positive impulses engage the evil and put it to their own ends, fastening onto its pictorial, dramatic, heroic, lyric or even comic aspects.”

He suggests that sublimation involves transforming one's pain, suffering, and anxiety into something positive and valuable through artistic or stylistic expression.

Rather than simply repressing or denying their existential terror, individuals can channel it into creative works such as art, literature, music, or poetry. This can give their suffering meaning and purpose, as well as offer a sense of catharsis or release. By engaging with the darker aspects of life in a creative way, individuals can transform their pain into something that is not only bearable but even beautiful or inspiring.

Zapffe notes that this approach requires a certain level of skill and talent in the arts but suggests that anyone can benefit from engaging with creative expression in some way. By finding ways to channel their pain and suffering into something productive and meaningful, individuals can confront the difficult aspects of existence in a way that is both honest and life-affirming.

I’ve embedded the trailer for the film “Flight from Death: The Quest for Immortality” below. I highly encourage you to see this film. On Saturday, May 20, 2023, I'll be attending an online symposium called “Ernest Becker, Terror Management Theory, and Death Acceptance: An Online Symposium Celebrating 50 Years of The Denial of Death, With Caitlin Doughty & Sheldon Solomon.” There are a lot of great speakers, and I’m excited to hear about new ideas and expound on existing theories. The gentleman who made the film “Flight from Death: The Quest for Immortality” will be speaking. Also, he’ll be releasing a biopic on Ernest Becker later this year. That’s exciting news for me!

“When you remember me, it means that you have carried something of who I am with you, that I have left some mark of who I am on who you are. It means that you can summon me back to your mind even though countless years and miles may stand between us. It means that if we meet again, you will know me. It means that even after I die, you can still see my face and hear my voice and speak to me in your heart.
For as long as you remember me, I am never entirely lost. When I’m feeling most ghost-like, it is your remembering me that helps remind me that I actually exist. When I’m feeling sad, it’s my consolation. When I’m feeling happy, it’s part of why I feel that way.
If you forget me, one of the ways I remember who I am will be gone. If you forget, part of who I am will be gone.”

— Frederick Buechner, Whistling in the Dark: A Doubter's Dictionary

“Seeded Mullein - Detail)” May 16, 2023, 10” x 10” (25,4 x 25.4 cm) (Made in camera, no negative) RA-4 Reversal Color Direct Print.

“ANTIDOTES TO FEAR OF DEATH

Sometimes as an antidote
To fear of death,
I eat the stars.

Those nights, lying on my back,
I suck them from the quenching dark
Til they are all, all inside me,
Pepper hot and sharp.

Sometimes, instead, I stir myself
Into a universe still young,
Still warm as blood:

No outer space, just space,
The light of all the not yet stars
Drifting like a bright mist,
And all of us, and everything
Already there
But unconstrained by form.

And sometime it’s enough
To lie down here on earth
Beside our long ancestral bones:

To walk across the cobble fields
Of our discarded skulls,
Each like a treasure, like a chrysalis,
Thinking: whatever left these husks
Flew off on bright wings.”

— Rebecca Elson

Cracks in the Shields

"The Worm at the Core: On the Role of Death in Life"

Chapter 10: Cracks in the Shields (Mental Health and Terror Management Theory)

- SCHIZOPHRENIA: DEATH DEFIED

- PHOBIAS AND OBSESSIONS: DEATH DISPLACED

- POST-TRAUMATIC STRESS DISORDER: THE SHIELD SHATTERED

- DEPRESSION: DEATH VISIBLE

- SUICIDE: DEATH ENACTED

- ALCOHOL AND OTHER DRUGS: DEATH DIFFUSED

- MENDING THE CRACKS IN THE SHIELDS

This is a reading of the book "The Worm at the Core: On the Role of Death in Life" by Sheldon Solomon, Jeff Greenberg, and Tom Pyszczynski. Quinn will read a chapter every week and then have a discussion about it. This book, along with "The Denial of Death" by Ernest Becker, is the basis for Quinn's (photographic) book, "In the Shadow of Sun Mountain: The Psychology of Othering and the Genesis of Evil."

When: Saturday, May 20, 2023, at 1000 MST

Where: My YouTube channel and Stream Yard

YouTube: https://youtube.com/live/CEHh0Kr51NI

Stream Yard: https://streamyard.com/5cmyj3e4a4

#intheshadowofsunmountain #ernestbecker #deathanxiety #denialofdeath #sheldonsolomon #jeffgreenberg #tompyszcynski #terrormanagementtheory #thewormatthecore #quinnjacobson #studioQ #chemicalpictures #proximalanddistaldefenses #ra4reversal

The Influence of Color

“in·flu·ence (noun) the capacity to have an effect on the character, development, or behavior of someone or something, or the effect itself.”

— Oxford Dictionary

I love paintings. I always have. I’ve said many times that I’m a "frustrated painter." I’ve always said that one day I'd learn to paint. That may still happen. For now, I’m exploring the emotional influence that color prints bring to my photographic work (In the Shadow of Sun Mountain). The "vibration" of color, to use Marc Chagall's term, influences and moves me more as I produce more prints. I see it and, moreover, I feel it.

As I work through my ideas, I find what I’m attracted to is the "life vibrations," or the depth of life, that the colors bring to the subject matter. In other words, there is a poetry or feeling that they give where the monochrome fails. As an artist, you’re always searching for the right tool to use to make your work successful. The color prints are the correct tool for this work. I’m convinced.

“Cactus People With Water Vessel” May 14, 2023, 10” x 10” (25,4 x 25.4 cm) (Made in camera, no negative) RA-4 Reversal Color Direct Print I used my Derogy (1864) Petzval lens for this image. The beautiful fall-off, or depth of field, is like a half-remembered dream.

Working in the RA-4 reversal process has given me a lot of new ways to approach making photographs, too. The paper is quite “fast” (ISO)—I rate it at ISO 6 or 8 with the filter pack I’m using. That means I can work at times of the day and early evening that I was never able to with wet or dry collodion, let alone paper negatives. Also, I can “stop down” my lenses to gain depth of field and still manage to make exposures in seconds, not minutes. This opens an entirely new world for me. That’s very exciting, and I’m looking forward to the summer here and making this work come alive!

I see how this project has evolved over the two years I’ve been working on it. And I hope it will continue to evolve. I stay open and aware of that. For me, it has two layers: the personal exploration of our denial of death and terror management theory. This is the foundation for telling the story of the Tabeguache Ute, what happened to them here, and, more importantly, why it happened.

The second layer is more abstract, concerning poetry, beauty, and the life-affirming examination of mortality. For me, this is the perfect narrative. I have “skin in the game," given my preoccupation with marginal communities and the psychology that drives human behavior. And I have a love of the mystery of life and how beautiful it can be. My objectives have nothing to do with “self-help” or offering to analyze people’s lives through these psychological theories. It’s more about sharing my self-awareness and what that means for me. Also, there is a big part of it that is based on how these theories have driven human behavior and historical events. In the end, it’s both historical and personal, terrifying and beautiful. I feel like the color component helps me translate these kinds of concepts better than monochrome work. It elevates both the work and the concepts.

“Awe, humility and gratitude effectively mitigate death anxiety.”

— Sheldon Solomon

Color is now a primary tool for me to communicate the nuances and beauty of the place where I live. Through the color, I can talk about the history and events that took place here with a subtlety that I didn’t possess before. I know now that I’ll start (and have already started) incorporating visual ideas that represent the concepts of consciousness, death anxiety, awe, humility, and gratitude. I want to show how facing the existential anxieties that we all have can be resolved (or at least managed) through deeply reflecting on yourself, having true self-awareness, and being authentic.

Life is both beautiful and terrifying—that’s the paradox we face. Choosing to be death-forward (in the words of Heidegger) and working toward that horizon of opportunity to have a “turning” in your life is the goal. We will never be free from death anxiety. It will always be there. We can, however, learn to be in awe, be humble (not self-deprecating but understanding your position in the universe), and most of all, be grateful and have gratitude for life. It will end, no doubt, but we can strive toward being thoughtful, self-aware, open, and honest every day. Like Socrates said, examine yourself, be honest, and move toward the good.

“The bottom line is this: Terror Management Theory may seem like a dark and depressing topic, but it can actually shed a lot of light on the ways that we as humans strive to find meaning and purpose in a world that can sometimes seem bleak and meaningless. By understanding the ways that we cope with our mortality, we can begin to develop more positive and life-affirming strategies for dealing with the existential terror that is an inevitable part of the human experience.”

— Mark Manson

“Cactus People With Water Vessel” May 14, 2023, 10” x 10” (25,4 x 25.4 cm) (Made in camera, no negative) RA-4 Reversal Color Direct Print I used my Derogy (1864) Petzval lens for this image. I’ve made hundreds of portraits with this lens. I can control color with exposure—the length of exposure will warm or cool the image color. Absolutely amazing!

Culturally Constructed Meat Puppets and Martin Heidegger

Reading through The Worm at the Core brings awareness to so many other ideas and extensions of these theories. I’ve been getting into Martin Heidegger and his ideas lately. His book (a set of lectures), “Being and Time” is available on archive.org. Forewarning: It’s a difficult book to read. It’s dense, and I don’t understand a lot of it. It was originally written in German, and the translator claimed that it was very difficult to translate into English (some say it’s impossible to translate). He was an extraordinary thinker—way beyond my capabilities to understand. There are some “nuggets” in the book. One of them, pointed out by Sheldon Solomon, is the quote in this essay. That’s what I’m most intrigued by.

Having lived in Germany and having a basic understanding of the language, the word “angst” is used a lot in his writing. I’ve always understood the word to mean “fear.” Most translate it to “anxiety.” What it really means is a feeling of uneasiness, or "dis-ease," or a feeling of not “being at home” (not in the literal sense of home, but psychologically). Heidegger gives a clear and compelling solution to overcoming, or at least coming to terms with, death and death anxiety. Kierkegaard offered a solution of taking a “leap into faith,” and Heidegger offers the same idea, but instead of faith, he says, “take a leap into life.” You can read the deconstruction of his philosophy below.

Another thing that I’ve been giving thought to is a “flowchart” of terror management theory. Breaking it down into a simple, line-by-line evolution of what happens to human beings in life as it applies to coping with the knowledge of death:

• You were born.

• You cry, scream, and shake; miraculously, a “deity figure(s)" (parents or caregivers) appears and your diaper is changed, you’re fed, or you're cuddled. Life is good.

• You grow older and lean on your parents or caregivers for psychological security as well as all of your Maslow needs (shelter, food, warmth, etc.).

• You grow through childhood and the teenage years, learning how to bolster your self-esteem. Your parents or caregivers provide the framework and reward for this. For example, when you learn to use the toilet, “Good boy or girl!” You earn top grades on your schoolwork. “Great job!” You go to the school prom, and everyone says, “You look so pretty or handsome!” This bolsters your self-esteem; you feel significant and have meaning in your life. Death anxiety is held at bay.

• You learn how to respect and honor your country or tribe (Americans put their hands over their hearts and say “the pledge of allegiance”) and the important symbols from your culture: a flag, a cross, a star, a uniform, etc.

• You attend religious services with your parents and learn how to be a “good person” and how to achieve immortality through a religion; this provides psychological security and buffers death anxiety. You know that you will never really die! Life is meaningful, and I have a purpose; my religion says so!

• You separate from your parents or caregivers as a young adult. Now, you look to your culture for the same psychological security that your parents or caregivers provided.

• You quickly learn what your culture rewards and what it doesn’t. This is how your cultural worldview is established and maintained. For example, you might belong to a particular religion you strongly believe in or a political group you adamantly embrace. You might get a promotion at your job, be recognized as “employee of the month,” get a degree from higher education, earn a lot of money, drive a fancy car, live in a big house, get a lot of “likes” on social media, etc. These all provide self-esteem for you. Self-esteem buffers death anxiety. It’s kept repressed and buried deep in your unconscious. In fact, some of you reading this will proclaim, “What are you talking about? This doesn’t apply to me; I don’t think about death!” Exactly. See how well it works? When you’re ensconced in your cultural worldview, it will keep thoughts of death repressed, at least for the most part.

• You go through life wrapped in the illusions that your culture provides—religion, community, politics, relationships, etc. They give you a feeling of significance in a meaningful world (psychological security). This keeps existential anxiety at bay, for the most part.

• You are, at this point, a culturally constructed meat puppet.

• If you are one of the unlucky ones or live in a culture that either doesn’t provide ways for you to bolster your self-esteem or that offers ways that are unattainable for the average person, i.e., not everyone can be a movie star, a rock star, a professional athlete, or the president of the United States, this can, and often does, extend to physical appearance as well. If you’re not thin (especially women) and stay young forever, the culture can be harsh and not only prevent you from getting self-esteem, it will point out your faults and shortcomings: you’re fat, you’re old, you're the wrong color, you have wrinkly skin and gray hair, etc.

• When a person cannot find ways to bolster their self-esteem, they will often turn to drugs, alcohol, eating, shopping, narcissistic behavior, social media, and different kinds of risky behaviors. The 19th-century philosopher Soren Kierkegaard called this “tranquilizing with the trivial.” One of the reasons the United States has such a high rate of drug abuse, depression, anxiety, and deaths of despair, including those that die by suicide, is because the culture sets standards for attaining self-esteem that are not attainable for the average American.

• According to Martin Heidegger, if one ceases to numb oneself to the knowledge of one's own mortality, known as "flight from death," and instead undergoes what he termed a "turning," they may discover a newfound sense of ease with death anxiety and the inherent truths of the human condition. This turning leads to a greater appreciation for life's simple yet profound pleasures, such as recognizing the beauty in virtuous individuals, the finite nature of humanity, the majesty of nature, or even something as seemingly mundane as a refreshing breeze on a sweltering day.

• Both Frederick Nietzsche and Ernest Becker discussed the concept of the "authentic man" in their respective philosophical works.

  Nietzsche believed that the authentic man was one who lived according to his own values and ideals, rather than those imposed upon him by society or tradition. For Nietzsche, the authentic man was a "free spirit," unencumbered by conventional morality or religious dogma. He argued that the authentic man was capable of creating his own values and living a fulfilling life, rather than being constrained by the values of others.

  Becker, on the other hand, believed that the authentic man was one who had come to terms with his own mortality and the inevitability of death. He argued that in order to live a meaningful life, one must confront the reality of death and the limitations of human existence. For Becker, the authentic man was one who had overcome the fear of death and embraced life fully, without illusions or delusions.

  In both cases, the authentic man is someone who is true to himself and lives a life that is genuinely his own. Nietzsche emphasizes the importance of individuality and creativity in this process, while Becker emphasizes the importance of confronting one's mortality and accepting the limitations of human existence. This is the antithesis of a culturally constructed meat puppet.

Culturally Constructed Meat Puppet

The Terror Management Theory (TMT), which is based on Becker's ideas, suggests that individuals cope with the inevitability of death by developing their self-esteem and identifying with their cultural group. This allows them to feel significant and have a sense of purpose and meaning in their lives.

However, there is a risk associated with this approach, as individuals may become "culturally constructed meat puppets" who are entirely dependent on their roles and conform to cultural standards for their sense of self-worth.

Becker's theory also explains why people tend to fear and dislike those who hold different beliefs or belong to different groups. When reminded of their mortality, people often become more strongly identified with their own groups and view outsiders as the embodiment of evil. This can result in animosity and even violence toward those who are different.

The idea of a “culturally constructed meat puppet” is meant to highlight the tension between our biological nature and our cultural aspirations. On the one hand, we are flesh-and-blood creatures that are subject to the laws of nature. On the other hand, we are aware that we need to create meaning and purpose through our engagement with our culture.

Are you a culturally constructed meat puppet? Humans are like hamsters on a wheel, spinning around and around and going nowhere—or like Sisyphus pushing the rock up the mountain only to have it roll back down over and over again. We do these things every day to distract ourselves from the knowledge of death. Beware of insatiable desires—money and stuff.

Martin Heidegger

Martin Heidegger (1889–1976) was a German philosopher who is widely regarded as one of the most important and influential philosophers of the 20th century. He is known for his highly original and complex philosophy, which deals with a wide range of topics including ontology (the study of being), phenomenology, hermeneutics (the study of interpretation), and existentialism.

Heidegger's most famous work is Being and Time, published in 1927, which is widely regarded as one of the most important philosophical works of the 20th century. In this book, Heidegger explores the nature of human existence and the relationship between being and time. He argues that human beings are fundamentally "thrown" into the world, meaning that we find ourselves in a particular time and place, and we must make sense of this situation through our own existence.

Heidegger's philosophy is highly influenced by his interest in ancient Greek philosophy as well as his experiences living in Germany during the 20th century. His political views, which included membership in the Nazi party in the early 1930s, have been the subject of controversy and criticism, but his philosophical ideas continue to be studied and debated by scholars and philosophers around the world.

“Turning away from a flight from death, you see a horizon of opportunity that puts you in a state of anticipatory resoluteness with solicitous regard for others that makes your life seem like an adventure perfused with unshakeable joy.”

— Martin Heidegger, Being and Time (1927)

This quote is a reflection of Martin Heidegger's philosophy, which places great emphasis on the concept of "being toward death." For Heidegger, death is not simply an event that happens to us at some point in the future but rather an essential aspect of our being. In other words, our mortality is not something we can escape or ignore; it is a fundamental part of who we are.

The quote suggests that if one confronts their mortality and does not try to flee from it, they may see a horizon of opportunities that can give their life a sense of purpose and direction. By embracing the inevitability of death, one can live with a sense of "anticipatory resoluteness," meaning that they are ready and willing to face whatever challenges come their way.

Additionally, Heidegger suggests that this attitude should be accompanied by "solicitous regard for others," meaning that we should also be concerned with the well-being of those around us. By living with this kind of awareness and consideration for others, one's life can become an "adventure perfused with unshakeable joy," filled with meaning and purpose.

Heidegger's quote highlights the importance of confronting our mortality and living with a sense of purpose and concern for others. It's a beautiful idea that everyone should work toward. The first step is to understand the true nature of your condition, without doing that, nothing changes.

Death Near and Far

"The Worm at the Core: On the Role of Death in Life"

Chapter 9: Death Near and Far

• Death: Out of Sight, Out of Mind?

• The Power of the Unconscious

• Death Can Be Hazardous to Your Health

This is a reading of the book "The Worm at the Core: On the Role of Death in Life" by Sheldon Solomon, Jeff Greenberg, and Tom Pyszczynski. Quinn reads a chapter every week and then has a discussion about it. This book, along with "The Denial of Death" by Ernest Becker, is the basis for Quinn's (photographic) book, "In the Shadow of Sun Mountain: The Psychology of Othering and the Genesis of Evil."

When: Saturday, May 13, 2023, at 1000 MST

Where: My YouTube channel and Stream Yard

YouTube: https://youtube.com/live/OIiP8PxUqQ8

Stream Yard: https://streamyard.com/sj22vz87ji

#intheshadowofsunmountain #ernestbecker #deathanxiety #denialofdeath #sheldonsolomon #jeffgreenberg #tompyszcynski #terrormanagementtheory #thewormatthecore #quinnjacobson #studioQ #chemicalpictures #proximalanddistaldefenses #ra4reversal

RA-4 Reversal Color Prints

After 20+ years of working with wet and dry collodion (all variants), plus calotypes, daguerreotypes, and all of the P.O.P. processes you can imagine and some you can’t, people have asked why I’m working in color now. It’s a good question, and it's more than fair to ask why the big change—I’m happy to answer it.

If you’ve followed my journey on this project (“In the Shadow of Sun Mountain: The Psychology of Othering and the Origins of Evil"), you’ll know I’ve spent a lot of time connecting the craft to the concept. Throughout that discovery process, I felt something was lacking but couldn’t put my finger on it. Over the winter, I had a lot of time to write and think about what I'd been doing. What I discovered was that I’d been missing the beauty here; it was lacking in the photographs. Please don’t misunderstand me. I have some gorgeous negatives and prints in wet and dry collodion as well as paper negatives and prints. However, as I lived with them and looked at them over and over, I couldn’t help but see that they didn’t fully represent this gorgeous place where I live.

“Color is all. When color is right, form is right. Color is everything, color is vibration like music; everything is vibration.”

— Marc Chagall

How do you resolve that problem? For me, it was making work in color. I’ve written before about trying to paint the prints with watercolor, etc. It’s not the same. As I wrote my biography for my book, I wrote about the first photographic exhibition I had: polaroids. Gorgeous color, a little off with the color (like expired film), and very manipulated. Look up Lucas Samaras. This inspired me to go back to my “color days” in photography to resolve the “beauty” problem. I really enjoyed shooting Kodachrome and making Cibacrome (Ilfochrome) prints from the 35mm positives. I had experimented with direct color positives then too. So I revisited that, and here I am. This has been a boost for my creativity, and I’ve just started. You’ll see, over the spring and summer, what I do with this. It opens a lot of new and exciting possibilities for me. I absolutely love it!

I’m interested in the idea of memory. It’s one of the four words I’ve always used to make work: identity, difference, memory, and justice. These words are like legs on a table that support my work conceptually. I’ve tried to semiotically mirror these in the photographs I make.

“Drinking Vessel, Cactus, and Dried Barley” May 5, 2023, 10” x 10” (23,4 x 23, 4 cm) RA-4 Reversal direct color print.

“Drinking Vessel, Cactus, Quartz, and Dried Barley,” May 5, 2023, 10” x 10” (23,4 x 23,4 cm) RA-4 Reversal direct color print The “aurora borealis” artifacts in this print are very interesting to me; just like in wet or dry collodion or even paper negatives, the artifacts in these prints can be very appropriate for the concepts I’m working with.

Body and Soul: An Uneasy Alliance

“The body is the closest that we come to touching any kind of reality. And yet we have the desire to flee the body: many religions are based entirely on disembodiment, because the body brings with it mortality, fear of death. If you accept the body as reality, then you have to accept mortality and people are very afraid to do that.”

— David Cronenberg

“Body and Soul: An Uneasy Alliance” is chapter 8 from “The Worm at the Core: On the Role of Death in Life,” by Sheldon Solomon, Jeff Greenberg, and Tom Pyszczynski (co-creators of terror management theory).

If you join me on Saturdays (on my YouTube channel), you’ll know that we’re going through this wonderful book and learning a tremendous amount about how knowledge of our impending deaths drives so much of our behavior, good and bad. I’m posting this as a follow-up to the reading and for those who have watched or listened to the video.

Sub-Chapters and Notes

DISTANCING FROM AND DISPARAGING ANIMALS

• We regulate activities that remind us of our corporeal nature.

• We alter and adorn our bodies.

• We scrub ourselves to eradicate any scents except those that come from bottles or spray cans.

• We use “rest” rooms to discretely dispose of bodily excretions.

• We recoil in sophomoric mirth (amusement) at the sight of animals copulating.

• Disgust: We are “disgusted” by far more than rotting flesh.

• Bodily secretions like blood, vomit, urine, and feces are more disgusting after thinking about death.

• We are determined to deny our animality. We want to separate ourselves from animals; we want to be special and superior to the “lowly” animals. Animals remind us that we will die. We hide all of our animal behavior; we have toilets, plates, forks, spoons, and cups; we shave, we wear clothes, and we disguise sex as “love.”

THE MORTIFICATION OF THE FLESH

• We believe we are superior to all other life forms (Bible, created in the image of God, etc.).

• Scourging purifications. Whipping the flesh, conquering the flesh—Saint Paul, “Live by the flesh, you will die, put the deeds of the body to death, and you will live.”

FOR BEAUTY, WE MUST SUFFER

• We decorate our flesh with ink, piercings, scarring, etc.

• We distinguish between the world of culture and the world of nature (man vs. animal).

• We have a need to reduce our resemblance to animals; animals remind us of death.

• Eating from the Tree of Knowledge made the naked human body shameful; it revealed the “worm at the core." - death

• We go to great lengths not to look old—cosmetics, surgery, etc.

• Hair: Hairy bodies have always been associated with uncivilized, amoral, sexually promiscuous, and perverted animality.

• Transforming from animal to human through modifications—piercings, tattoos, and scarification—reinforces that we are more than mere animals.

• Neck rings, feet, waist, and head binding permanently disable people for “beauty” and “status.”

• Millions of Americans get plastic surgery every year; the need for a “youthful appearance” is paramount!

“SEX AND DEATH ARE TWINS”

• Sex is both exhilarating and frightening to us.

• Ernest Becker said, “Sex is of the body, and the body is of death.”

• Sex is a potent symbol of our creaturely, corporeal, and ephemeral conditions.

• Sex is first and foremost a glaring reminder that we are animals; next to urination and defecation, it is the closest human beings come to acting like beasts.

• We recognize that animals and humans have sex in the same way.
  Reproduction makes us painfully aware that we are transient ambulatory gene repositories (pass it on and die).

• Ernest Becker was right then when he proclaimed that “sex and death are twins." Thinking about death makes the physical aspects of sex unappealing, and considering the physical aspects of sex nudges death thoughts closer to consciousness.

• We manage our death-fueled anxiety about sex by imbuing it with symbolic meaning, transforming it from the creaturely to the sublime, thereby making it psychologically safer.

• We transform sex into a cultural ritual, making it less animalistic.

• Animal lust becomes human love.

LA FEMME FATALE

• Women’s bodies and sexual behavior are especially subject to rules and regulations.

• Men have always made the rules, and women arouse sexual lust in them.

• Disgust with menstruation and lactation: a lab study

• From time immemorial, men have utilized their superior physical strength, political power, and economic clout to dominate, denigrate, and control women, as well as using women to serve as designated inferiors in order to prop up their self-esteem.

• Women make men hard, and this makes it hard for men to ignore their own animality.

• The reason so many men are misogynistic is because they are reminded of sex when encountering women, they are threatened by this.

• Men are reminded of their animality through the sexual arousal of women and are reminded of their impending death.

• Many major religions belittle women, making them subject to men.

• Widespread patterns of violence against women may well be partially rooted in men’s sexual ambivalence; the conflict between lust and the need to deny animality makes men uncomfortable with their own sexual arousal.

• Being an embodied animal aware of death is indeed difficult. We simply cannot bear the thought that we are biological creatures, no different from dogs, cats, fish, or worms. Accordingly, people are generally partial to views of humans as different from and superior to animals. We adorn and modify our bodies, transforming our animal carcasses into cultural symbols. Rather than thinking of ourselves as hormonally regulated gene reproduction machines bumping and grinding our way toward oblivion, we “make love” to transform copulation into romance. And when women ooze hormones, blood, and babies, men blame them for their own lustful urges, which serves to perpetuate negative stereotypes about and justify abuse of women.

• The terror of death is thus at the heart of human estrangement from our animal nature. It isolates us from our own bodies, from each other, and from the other creatures with whom we share noses, lips, eyes, teeth, and limbs everywhere on the planet.

“Humans cannot live without illusions. For the men and women of today, an irrational faith in progress may be the only antidote to nihilism. Without the hope that the future will be better than the past, they could not go on...
Humanists like to think they have a rational view of the world; but their core belief in progress is a superstition, further from the truth about the human animal than any of the world’s religions. Outside of science, progress is simply a myth.”

— John Gray