“The difference between an artist who finds sales and someone like Vincent van Gogh, who never did, is that van Gogh quietly changed the world—while others simply passed through it.”
You are what you hate. What you hate says a lot about who you are and what you value. _ The response in the body when we dislike someone
In order to understand what happens in your body when you dislike someone, you can start by trying to understand #fear. As Robert Sapolsky writes in “Why Your Brain Hates Other People,” when we see someone who even looks different from us, “there is preferential activation of the amygdala,” which means the brain region associated with fear and aggression flares up. This visceral, emotional reaction can spark a long-term pattern of dislike when it’s validated by action: if you perceive that someone has hurt you, your fear of them becomes rational.
Our negative feelings toward someone get stronger as bad experiences with them pile up, and these negative thoughts trigger the fight-or-flight response in our bodies. As AJ Marsden, assistant professor of Psychology at Beacon College in Leesburg, Florida, puts it, “our fight-or-flight response is our bodies way of dealing with a stressor.” ⠀ Stressors that trigger fight-or-flight need not be life or death, though, says Marsden: “Sadly, our body cannot tell the difference between an actual stressor (being chased by someone with a knife) and a perceived stressor (having work with someone you hate).” This is why seeing posts from your high school bully can make you feel the anxiety of being bullied all over again: your fearful associations with disliking the person trigger your own need to protect yourself. ⠀ Source: https://bit.ly/3h7ALZu
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“There are different reasons why people bully, including wanting to dominate others and improve their social status, having low self-esteem and wanting to feel better about themselves, and lacking remorse or failing to recognize their behavior as a problem.”
“I write about my own work because I want to speak for myself. I might not be the only authority, nor the best authority, but I want to participate in the writing of my own history. Why should artists be validated by outside authorities. I don’t like being paternalised and colonised by every Tom, Dick or Harry that comes along (male or female).”
“Museums are managers of consciousness. They give us an
interpretation of history, of how to view the world and locate ourselves
in it. They are, if you want to put it in positive terms, great
educational institutions. If you want to put it in negative terms, they
are propaganda machines.”
“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.
“So bullshitting isn’t just nonsense. It’s constructed in order to appear meaningful, though on closer examination, it isn’t. And bullshit isn’t the same as lying. A liar knows the truth but makes statements deliberately intended to sell people on falsehoods. bullshitters, in contrast, aren’t concerned about what’s true or not, so much as they’re trying to appear as if they know what they’re talking about. In that sense, bullshitting can be thought of as a verbal demonstration of the Dunning-Kruger effect—when people speak from a position of disproportionate confidence about their knowledge relative to what little they actually know, bullshit is often the result.”
“Christie’s is closing its digital art department and has parted ways with Nicole Sales Giles, the auction house’s vice president of digital, Now Media reported Monday.”
