Glass Bones Chapter 4 - Culture As Armor

Chapter 4: Culture As Armor | Glass Bones: Art, Mortality, and the Human Mind

In Chapter 4 of Glass Bones: Art, Mortality, and the Human Mind, I turn to one of Ernest Becker’s central ideas: culture functions as a kind of psychological armor against the knowledge of our mortality.

We know that we will die, but we cannot live every moment fully conscious of that fact. Culture gives us ways to manage this contradiction. Religion, family, work, art, achievement, nationality, morality, and the values we attach to our lives help create a world that feels meaningful, ordered, and enduring.

This chapter begins to explore how these cultural systems protect us from death anxiety but also what happens when the beliefs that give our lives meaning are challenged by other people, other cultures, or other ways of seeing the world.

If the earlier chapters of Glass Bones ask how human beings became conscious of mortality, Chapter 4 asks the next question: What did we build to protect ourselves from knowing it?

This is where Becker’s ideas begin to open into the larger psychological and cultural questions that run throughout the rest of the book.

Glass Bones: Art, Mortality, and the Human Mind
Chapter 4: Culture As Armor

THE BOOK IS AVAILABLE HERE

Glass Bones: Chapter 3- The Beginning of Denial

In the first 38 pages of Glass Bones, I laid out the central problem: human beings are animals who became conscious enough to understand that we will die. I examined how the awareness of death organizes much of human thought, behavior, culture, and creativity, rather than being a mere occasional fear.

Chapter 3 follows that question backward. If death awareness creates the problem, when did the problem begin? The Beginning of Denial looks at the emergence of human self-awareness and asks what happened when our ancestors became capable of imagining themselves across time and, eventually, imagining their absence from it.

This is where denial begins to take shape, not necessarily as a conscious refusal to think about death, but as a psychological adaptation to knowing something no animal seems equipped to live with easily.

Glass Bones: Chapter 2 - When We Knew We Would Die

Chapter 2 explores the uniquely human burden of knowing that we will die. While every living creature faces death, only human beings possess the capacity to anticipate it, creating a profound psychological dilemma. Drawing on Ernest Becker, Terror Management Theory, and evolutionary perspectives (Varkiu & Brower), the chapter argues that culture, identity, and meaning function as protective structures that keep mortality awareness at a tolerable distance. Rather than treating death anxiety as a pathological exception, the chapter presents it as the hidden force shaping much of human behavior, setting the foundation for understanding both our defenses and the possibility of a more conscious creative response.

Glass Bones: Chapter 1 - Thr Problem We Don't Admit

The chapter is titled "The Problem We Don't Admit." It asks a simple but unsettling question: What happened when human beings first realized they were going to die?

The chapter explores mortality awareness as the defining rupture in human consciousness and introduces the central ideas that the rest of the book builds upon. It draws from the work of Ernest Becker, Ajit Varki, and Danny Brower and Terror Management Theory, while asking what this means for everyday life, creativity, and our search for meaning.

If you've been following this project, I hope you'll enjoy the reading.

Preface and Introduction - First Reading: Glass Bones

Greetings,

I hope this finds you well.

Thank you for the tremendous response to Glass Bones. I truly appreciate it. I’ve been deeply immersed in my new project, Rupture: The Creative Response to Death Anxiety.

I also posted the first part of a reading from Glass Bones. I plan to continue the series over the coming weeks, reading sections from the book and talking a little about the ideas behind the work.

Glass Bones is Shipping

I’m very happy to say that the first orders of Glass Bones shipped today. I have 50 copies of hardbacks, and the rest will be through Amazon (paperback; they are not signed or stamped). If you want to get a copy, click here. After these are gone, the paperback version will be available after June 19, 2026.

Each book has a note from me and is editioned.

It was a wonderful experience putting all of this together—thank you to all of you that have supported this project. I’m truly grateful.

This is my stamp that I emboss on every print I make—I thought it was appropriate for this work too.

Glass Bones Going to Print

“The photograph preserves presence by recording its disappearance.” — Quinn Jacobson, Glass Bones (influenced by John Berger and Roland Barthes)

I’ll be doing the final edits on the manuscript this week. I’ve now gone through the book several times, including all 26 chapters, the introductions, conclusions, notes, and preface. Honestly, it’s hard to describe the amount of work this has been. Some days I wonder what exactly I committed myself to, and then something clicks into place, a paragraph opens up, an image suddenly belongs where it should, and I feel inspired all over again.

I want to thank the people who have acted as readers throughout this process and worked through the chapters with me each week. Your feedback, criticism, encouragement, and patience have mattered more than I can say. This book is better because of you.

I don’t know the exact date the manuscript will go to the printer yet, but my goal is to have a proof copy in my hands by the end of the month, possibly sooner. I’ll make signed hardcover copies available to anyone interested for the cost of printing and shipping, and there will also be a paperback version on Amazon at cost.

I’ve decided to hold off on the ebook version for now. I may eventually release one, but at this point I feel like this book is meant to exist as a physical object. With the amount of artwork, texture, and visual material woven through it, it simply feels better in your hands than on a screen.

“The photograph preserves presence by recording its disappearance.”

— Quinn Jacobson, Glass Bones (influenced by John Berger and Roland Barthes)

I’ve said this before, but it’s worth repeating: this project has never been about commerce or making money. It’s about sharing ideas, artwork, and questions that I think matter. It’s about trying to better understand what drives us as human beings, especially in the shadow of mortality.

I’ll begin work on RUPTURE next week and officially start building that book in June. It will be an entirely unique kind of project. Glass Bones is heavily theoretical and philosophical. RUPTURE will foreground the artwork itself: the images, the darkroom, the studio, the materials, the failures, the residue, and the physical process of making. The theory will still be there, but mostly in the background.

What I’m increasingly interested in is whether the work itself can function as epistemological evidence. Not illustration of an idea after the fact, but evidence generated through creative practice itself (arts-based research methodology). The photographs, paintings, plates, chemicals, traces, and repetitions are becoming central to what I’m calling Rupture Field Theory (RFT). This book will lean heavily on Roland Barthes (Camera Lucida), Susan Sontag (On Photography), and many other artists and creators.

UPDATE: GLASS BONES WILL BEGIN SHIPPING JUNE 23, 2026—CLICK HERE FOR MORE INFORMATION.

My Book: The Final Stages of Glass Bones

I wanted to share a few pages from Glass Bones—a glimpse into how the book is beginning to take shape as a physical object.

I’m still working. Still in the darkroom, still at the canvas, still refining the manuscript. Every day. But it’s close now. Close enough that I can begin to think less about what it is becoming and more about where it might live once it leaves my hands.

Right now, I’m planning a small hardback run (5.5” x 8.5”)—somewhere in the range of 250 to 300 copies. Not because I expect a large audience, but because I’m more interested in placement than scale. This isn’t a commercial project. It moves in the opposite direction.

What I keep returning to is the idea of libraries, especially at art schools. It’s a niche path, but that’s always been where this work lives.

There’s something compelling about the possibility that this book could sit quietly on a shelf, embedded within a larger system of knowledge, waiting for the right kind of encounter. Not driven by visibility or promotion, but by proximity. Someone searches for a keyword—mortality, art, psychology, violence, or meaning—and this object appears. They take it down. Spend time with it. Or don’t. But the encounter remains possible.

In that sense, distribution becomes part of the work.

If Becker is even partially right that culture functions as a buffer against the anxiety of death, then placing a book like this into public collections may operate as a small countercurrent. Not as a corrective, exactly, but as an opening. A space where the usual defenses are not reinforced but perhaps loosened.

Because this project doesn’t offer resolution.

Much of the work moves through sites of rupture—historical, psychological, and cultural. The violence enacted against the Tabeguache Ute, for example, is not framed as an aberration of cruelty but as something emerging from a deeper structure. A culture unable to face its own mortality displaces that terror outward, producing an “other” to carry what it cannot hold itself.

The images that follow don’t attempt to resolve that. They witness it.

They sit in the places where meaning breaks down and remain there long enough for something else to surface—something less stable, but perhaps more honest.

There will be a digital version. An audiobook as well. Both extend access, which matters. But they inevitably flatten part of the experience. The scale of the images, the pacing, the way text and image occupy the same field—those things don’t translate cleanly.

This has always been a hybrid project. Part book, part object. Something meant to be read but also handled. Something that lives not just in circulation but in place.

More soon.

Table of contents.

How each chapter begins: a quote and an image somewhere within the chapter or at the end.

At the end of the book, I cover my work over the past 30+ years.

Glass and Gold - Glass Prints

This piece grew out of a technical curiosity, but it didn’t stay there for long.

I’ve been experimenting with collodio-chloride on glass, using a wet collodion half-plate negative as the source image. What interested me initially was the reversal: taking a process already defined by fragility and asking it to exist as an object rather than an image alone. Printing onto glass changes the relationship immediately. The photograph no longer sits on a surface; it hovers within one. It becomes something you look into rather than at. I’ve printed on glass before—carbon, oil, and collodio-chloride. This gold addition was new.

That shift matters to me. My work is often in the unstable space between presence and absence, between what can be held and what can't. Collodio-chloride amplifies that tension. The image is there, but it never fully settles. It feels provisional, as if it could just as easily slip away.

Exposed, pre-fix.

After the print was finished, I backed the glass with gold. That decision wasn’t decorative. Gold carries a long cultural history of sanctification, permanence, value, and transcendence. Gold is what we use to signify that something matters and endures. In this context, it felt closer to a defense mechanism. A thin layer of assurance applied to something fundamentally unstable. The gold doesn’t resolve the fragility of the glass or the image; it frames it and maybe even tries to protect it. That tension is the point.

I’m aware that backing photographic images with gold carries the history of the orotone, a process designed to heighten luminosity and permanence. I’m interested in that lineage, but not in reviving it. Here, the gold isn’t about brilliance or finish. It functions more like a psychological gesture, an attempt to stabilize what can’t be stabilized, to sanctify something that is already slipping.

The skull forms in the background weren’t meant to announce themselves. They emerge slowly, almost reluctantly. That’s how mortality functions most of the time. It isn’t usually dramatic or explicit. It sits behind us, watching, shaping our behavior without demanding our attention. I wanted that presence to feel ambient rather than symbolic, something you notice only after spending time with the image.

The central figure feels assembled rather than organic. Stacked. Held together. I think of it less as a subject and more as a structure, a self-constructed one under pressure. The translucence of the collodio-chloride allows it to exist somewhere between solidity and dissolution, which mirrors the psychological space I’m often working in. Identity here isn’t fixed. It’s maintained.

From an arts-based research perspective, this piece feels important because the process itself is doing the thinking. I’m not illustrating theory after the fact. The materials are pushing back. Glass breaks. Chemistry misbehaves. The image resists control. Those risks aren’t incidental; they’re where the knowledge lives. The work knows something because it could fail.

What consistently resonates with me is the delicate boundary between reverence and denial. The gold can read as a halo or a shield. I’m interested in that ambiguity. It reflects the way we often try to stabilize what we know is unstable—through meaning, through ritual, through objects that promise endurance.

This piece doesn’t try to solve anything. It holds a condition. It sits with fragility rather than sealing it over. That feels honest to me.

Much more exploring ahead! I might break these and see what that produces. And I’m in the process of getting some front-surface mirror material to experiment with; I mention the technique in my book to make “faux” daguerreotypes. I’m going to use collodio-chloride to see what happens.

My New Books for 2026

Have you ever had an epiphany? An epiphany is a sudden, profound realization or insightful moment where the true meaning or essence of something becomes clear, often from a simple occurrence, stemming from the Greek word for "manifestation" or "appearance.”

I’ve had several over the past few weeks.

I wanted to share how I’m going to unfold these publications this year. I will use some of the 800-900 pages of text in these books for my 2028 thesis/dissertation—these writings will drive my dissertation.

“I’m building a psychology of artistic practice that takes mortality seriously as a formative force. And my three books, Glass Bones, Rupture, and In the Shadow of Sun Mountain, act as a trilogy: Theory → Practice → Witness regarding the theories and creativity.”

— Quinn Jacobson

This is how I see it transpiring:

June 2026: Glass Bones is published.

September 2026: Rupture is published.

November 2026: In the Shadow of Sun Mountain is published.

Allow me to explicate: I'm building a psychology of artistic practice that takes mortality seriously as a formative force—not as metaphor, but as the pressure that shapes how artists see, make, and live. My trilogy examines this from three angles: Glass Bones provides the theoretical framework, drawing on Becker, Rank, and Terror Management Theory to understand death anxiety and cultural defense. Rupture translates theory into practice, exploring the disciplines and orientations that allow artists to transform existential pressure into creative form. In the Shadow of Sun Mountain offers lived witness—thirty years of working with nineteenth-century processes, paint, clay, broken materials, plants, people, and the mountain landscapes as sites where mortality and imagination meet. Together, they map the terrain where awareness becomes art: Theory → Practice → Witness.

This research is situated within liminal space: psychological, material, and cultural thresholds produced by mortality awareness. Rather than resolving death anxiety through symbolic closure, the work asks what becomes possible when creative practice holds the threshold open long enough for transformation to occur.

Mortality awareness places me in a permanently liminal condition. I am alive, but never free of the knowledge that I will not remain so. From a Beckerian perspective, this is not incidental; it is the core destabilizing fact of consciousness. I am an animal capable of symbol-making who cannot fully believe in my own symbols, a being suspended between embodiment and abstraction, presence and disappearance.

I do not experience this condition as episodic or developmental, something to be outgrown or resolved. It is structural. Consciousness itself unfolds at the threshold. What culture often treats as pathology or anxiety to be managed, I understand as the ground from which meaning-making arises. Creative practice, in this sense, is not an escape from liminality but a way of inhabiting it with attention and responsibility, giving form to what cannot be stabilized without distortion.

I will be making new work—photographs, paintings, and mixed media for Glass Bones and Rupture. My work from the mountain will be featured in Sun Mountain.

I think you can wrap your head around that one, right? Just writing this out alleviates some of the “it’s in me, and it has to come out” stuff. To quote John Lee Hooker from Boogie Chillin’ (1948), a natural, internal force that must be expressed.