“The above research concluded that differences in emotion regulation predict whether we blame ourselves for our mistakes and misfortunes or we blame others. Specifically:
When experiencing negative emotions, poor emotion regulators are more likely to assume other people are responsible for their own bad choices.
Blaming others appears to reduce a person’s own negative emotions (e.g., anger, guilt, shame). This may explain why poor emotion regulators prefer to point fingers at others rather than hold themselves responsible.”
“CRISPR-Cas9 allows scientists to manipulate the genome in unprecedented ways. CRISPR is a portion of bacterial DNA that protects them from viruses, and they use the protein Cas9 to do it by cutting out pieces of the viral DNA. Researchers have hijacked this process to easily edit any piece of DNA, and even replace it with other DNA of their choosing.”
“According to the Thai Lawyers for Human Rights’, from the “Free Youth” public assembly on 18 July 2020 until 31 January 2025, at least 1,960 individuals have been charged/prosecuted for participating in public assemblies or expressing their political opinions in 1,313 cases. In comparison to December 2024, there are two new cases. Altogether, there have been at least 4,025 criminal cases against individuals, although some of them are charged for multiple offences.”
“What I told our company was that we were just going to invest our way through the downturn,” he said. “That we weren’t going to lay off people, that we’d taken a tremendous amount of effort to get them into Apple in the first place—the last thing we were going to do is lay them off.”
“What I never wanted in art – and why I probably didn’t belong in art – was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don’t know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.” — Vito Acconci
In January 1972, Acconci staged one of the decade’s most notorious performance art pieces at the Sonnabend Gallery in SoHo. Gallery visitors entered to find the space empty except for a low wood ramp. Hidden below the ramp, out of sight, Acconci masturbated, basing his fantasies on the movements of the visitors above him. He narrated these fantasies aloud, his voice projected through speakers into the gallery: “you’re on my left … you’re moving away but I’m pushing my body against you, into the corner … you’re bending your head down, over me … I’m pressing my eyes into your hair.” Seedbed was a seminal work that transformed the physical space of the gallery through minimal intervention to create an intimate connection between artist and audience, even as they remained invisible to one another.
Vito Acconci Seedbed 1972 Gelatin silver print 7 7/8 x 11 11/16 in.
