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Studio Q Photography

Exploring Human Behavior and Death Anxiety Through Art
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Leaving a trace—the mark of a white-winged dove on my kitchen window. December 28, 2025

A white-winged dove hits the glass, and what’s left behind isn’t the bird but the residue of contact: a powdery bloom, two wing smears, and a ghosted body shape suspended in light. That’s the interview in miniature. Dr. Fisher and I are circling the same problem from different angles: how the most real forces in a human life rarely show up directly. They show up as traces. As misreadings. As displaced language. As the “dimmer switch” doing its job.

I’m interested in what the awareness of an ending does to the living, minute by minute. The dove doesn’t leave a story; it leaves evidence. A mark that asks to be interpreted. It’s rupture without a sermon: meaning fails for a second, the world stutters, and then you’re standing there in your own kitchen looking at a fragile imprint and feeling the entire question come back online.

Interview With Dr. R. Michael Fisher: Careers of Folly and Wisdom

Quinn Jacobson December 29, 2025

In this conversation, I sit down with Dr. R. Michael Fisher for Careers of Folly and Wisdom (Episode 3) at the close of 2025, and we trace the strange overlap between two lives shaped by study, teaching, and the long arc of existential pressure. What begins as a simple introduction quickly becomes a deeper exchange about why some ideas take decades to name and why the hardest work is often learning how to speak those ideas in public without having them reduced to something smaller.

We talk about how we connected through Southwestern College’s Visionary Practice & Regenerative Leadership doctoral program and why I went searching for faculty whose work could actually hold what I’m building: an arts-based inquiry into creativity, mortality, and the psychological machinery of denial. I share my early “folly” at residency, where I became “the death guy” despite my real focus being the opposite: what happens inside the dash between birth and death, and how the knowledge of impermanence reshapes a human life. That misreading became a kind of field experiment in real time, revealing how quickly people reroute mortality talk into safer channels like grief, loss, or therapeutic language. It also forced me to sharpen my communication, not by diluting the thesis, but by learning how to meet the audience where the “dimmer switch” is already working.

From there, the conversation widens. Dr. Fisher pushes on the themes of education, fallibility, and maturity: how a person with deep content and lived experience learns to teach without preaching, and how humility becomes an actual method. I bring in two foundational touchstones that anchor my work: Becker’s insistence that death terror is a mainspring of human activity and Rank’s claim (via Becker) that the artist takes in the world and reworks it rather than being crushed by it. That tension is the engine of my research question: if most of culture is organized to keep death out of view, what do artists do differently with that same pressure, consciously or unconsciously?

A major thread running through the interview is that denial is not just a personal quirk. It’s cultural, political, and historical. I talk about early experiences that formed my worldview, including family stories that complicate simple narratives of “normal” American life, and how those early exposures shaped my sensitivity to power, erasure, and the stories nations tell themselves. We also move into my military background, where I describe the kind of learning you don’t go looking for: the collision between youthful exceptionalism and the realities of violence, trauma, and institutional harm, including witnessing suicide deaths while working as a photographer. The folly, as I name it, is the arrogance of certainty; the wisdom is the painful clarity that comes after the myth breaks.

In the final stretch, we pivot to Dr. Fisher’s work in fearology and his reframing of Terror Management Theory as, in many ways, a kind of “fear management education.” That exchange matters because it shows the real stakes of language: fear, terror, anxiety, and denial. These aren’t interchangeable terms, and both of us have been forced to grapple with how quickly audiences collapse complex ideas into familiar clichés. We end with a concise statement of my own working thesis, offered almost like a poem: artists tend to give anxiety form rather than discharge it through denial; material practice slows experience enough for mortality to move into objects; rupture is where meaning fails, and art often happens there; the ethic is not to “fix” the break, but to stay present with it.

The conversation closes on an honest note about the cost of passion. We talk about parenting, devotion to work, and the ways even meaningful lives leave blind spots in their wake. If this episode has a through-line, it’s that wisdom is rarely clean. It comes out of misfires, misreadings, and the slow work of learning how to hold the real without turning it into a brand, a sermon, or a therapy session.

I really enjoyed the conversation, and I look forward to working with Dr. Fisher. Check out his YouTube channel and his other interviews and commentary.

In ABR, Academic, Art & Theory, Art History, Autobiography, Core Values, Death Anxiety, Denial of Death, Denial: Self Deception Tags R. Michael Fisher, Interview
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“Arapahoe Teepees, Eastern Plains, Colorado,” Whole Plate P.O.P. print from a wet collodion negative.

My Core Values

Quinn Jacobson August 16, 2025

Scottish essayist Alexander Smith wrote, "It is our knowledge that we have to die that makes us human.”

My core values guide the way I live and create. I’m driven to seek truth, even when it’s uncomfortable. I want to live authentically—without masks, aligned with who I really am. I hold justice, mercy, and empathy close, because they rise from lived experience and connection with others. And I try to practice existential courage: facing mortality and absurdity without turning away.

For me, everything starts with mortality. It’s the one truth we all share, yet most of us spend our lives trying not to think about it. My work—whether it’s photography, painting, or writing—circles back to that truth. I want to face it, learn from it, and make something honest out of it.

“TRUTH, AUTHENTICITY, AND (PERSONAL) RESPONSIBILITY ”
— Quinn Jacobson's Core Values

I believe in telling the truth of lived experience, even when it’s uncomfortable. Especially then. Those moments where we’d rather turn away are often the ones that shape us the most.

Creative integrity is everything to me. I have no interest in chasing trends or borrowing someone else’s voice. The work has to come from my own place in the world—my own questions, my own struggles, and my own search for meaning.

I think artists have a responsibility to remember. To hold on to the stories, the histories, and the human realities that others might prefer to forget. That means confronting the psychology of othering and refusing to let erasure win.

I’ve always valued depth over distraction. I want my work to stick with people—not just be glanced at and forgotten, but to stay with them and maybe even shift something inside.

Mortality is the one thing we all have in common. Facing it honestly can open us up—make us more compassionate, more awake, and maybe more fully human.

And then there’s courage. Not the loud kind, but the quiet willingness to walk into the places most people avoid—genocide sites, philosophical voids, the edges of my own life—and come back with something worth sharing.

In Core Values Tags Alexander Smith, core values
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