This is one of the better and more interesting academic pieces I’ve come across on Bowie: I suspect there is a cottage industry in the making (I’m currently reading this). In another journal of psychology (I won’t mention the name) a writer offers up the crassest of virtue-signaling tendencies by linking Bowie’s character Thomas Jerome Newton in Nicolas Roeg’s The Man Who Fell to Earth as “speaking to the millions of migrant aliens currently seeking a home away from their own dying homelands”. Anyway, the author of this piece is clearly onto something as anyone who is familiar with the existentialist bent of both Walker Percy and Bowie would easily grasp. I confess that I haven’t listened to Blackstar yet: from the snippets of video that I have seen, the sound and vision really creeps me out.
Existentialists—of which Bowie was clearly a refined and commendable one—do not waver on concepts such as death or decay.
Transcendence, freedom, character, godliness, and absurdity are not states of being, but requirements for being itself.