1 00:00:03,800 --> 00:00:06,680 Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff 2 00:00:06,680 --> 00:00:13,680 Speaker 1: Works dot com. Hey you welcome to Stuff to Blow 3 00:00:13,720 --> 00:00:16,919 Speaker 1: your Mind. My name is Robert Lamb, and I'm Julie Decklas. Here, Julie, 4 00:00:17,320 --> 00:00:20,000 Speaker 1: I take the Marta train here to the office. That's 5 00:00:20,000 --> 00:00:23,560 Speaker 1: a public transportation here in Atlanta. UM, it's kind of 6 00:00:23,600 --> 00:00:26,720 Speaker 1: limited looks. We just go north and south and east 7 00:00:26,720 --> 00:00:29,720 Speaker 1: and west and that's it. But it's public transportation. It's 8 00:00:29,760 --> 00:00:34,080 Speaker 1: the train. It's uh a melting pot of humanity, especially 9 00:00:34,080 --> 00:00:37,600 Speaker 1: when it's hot and uh. And I'm always saying, just 10 00:00:37,720 --> 00:00:40,800 Speaker 1: kind of crazy stuff happening on the train, and occasionally 11 00:00:40,840 --> 00:00:43,120 Speaker 1: it'll be crazy enough that there was a moment where 12 00:00:43,120 --> 00:00:48,200 Speaker 1: I have to question, and it's what I'm seeing legitimate 13 00:00:48,680 --> 00:00:52,639 Speaker 1: human activity. Is this Is this somebody that is adduled, 14 00:00:52,880 --> 00:00:56,240 Speaker 1: that is in danger, that is unhinged, or is this 15 00:00:56,520 --> 00:00:59,880 Speaker 1: performance art This is somebody trying to make a state 16 00:01:00,040 --> 00:01:04,639 Speaker 1: it about human nature right here on the train. Because 17 00:01:04,720 --> 00:01:07,080 Speaker 1: that is the thing about performance artists, right like, they 18 00:01:07,120 --> 00:01:10,920 Speaker 1: completely disenter you. They make you stop and say, is 19 00:01:10,959 --> 00:01:14,040 Speaker 1: this person truly um sort of out of their wits 20 00:01:14,600 --> 00:01:16,520 Speaker 1: or do they have something to say? And that is 21 00:01:16,560 --> 00:01:19,640 Speaker 1: the goal of the performance artists. Right, and as as 22 00:01:19,640 --> 00:01:22,479 Speaker 1: we'll discussed in this episode two, at times it may 23 00:01:22,520 --> 00:01:25,480 Speaker 1: seem that there is a gray line between madness and 24 00:01:25,560 --> 00:01:29,040 Speaker 1: performance art. So absolutely with some definitely some of the 25 00:01:29,080 --> 00:01:31,760 Speaker 1: people were going to cover, like to what extent are 26 00:01:31,800 --> 00:01:36,160 Speaker 1: they going to explore these ideas of our own humanness, 27 00:01:36,840 --> 00:01:41,039 Speaker 1: our frailties are power by doing these these acts that 28 00:01:41,160 --> 00:01:44,240 Speaker 1: sometimes they actually um will do to their bodies. We'll 29 00:01:44,240 --> 00:01:47,640 Speaker 1: talk about that. They are arguably no same person would 30 00:01:47,680 --> 00:01:50,680 Speaker 1: do no, no, But they are interrogating what it is 31 00:01:50,720 --> 00:01:53,280 Speaker 1: to be human, how we feel, how we think, how 32 00:01:53,280 --> 00:01:55,880 Speaker 1: we act, what is morality? This is, you know, a 33 00:01:55,960 --> 00:01:59,680 Speaker 1: question that we're always grappling with as humans. UM. And 34 00:02:00,000 --> 00:02:03,440 Speaker 1: I really think the artists are are these nice um, 35 00:02:03,880 --> 00:02:07,960 Speaker 1: these nice additions to the scientific mind, to scientific researchers 36 00:02:08,000 --> 00:02:10,359 Speaker 1: out there, because I think that they're doing the same 37 00:02:10,400 --> 00:02:13,800 Speaker 1: thing that scientists arts to some extent they are. They're 38 00:02:13,800 --> 00:02:17,680 Speaker 1: going through the process of UM, Okay, here's this, here's 39 00:02:17,680 --> 00:02:19,960 Speaker 1: the situation, and how can I examine it, and how 40 00:02:20,000 --> 00:02:21,840 Speaker 1: can I peel away the layers to come to some 41 00:02:21,919 --> 00:02:25,120 Speaker 1: sort of truth? What works and what doesn't? Um, you know, 42 00:02:25,200 --> 00:02:27,920 Speaker 1: into what extent do we even have free will? This 43 00:02:28,000 --> 00:02:30,120 Speaker 1: is a question that comes up a life with neuroscientists. 44 00:02:30,520 --> 00:02:33,320 Speaker 1: And I think this is something that performance artists do 45 00:02:33,440 --> 00:02:36,919 Speaker 1: really well, is exploring this topic. Like you said, they 46 00:02:37,000 --> 00:02:42,600 Speaker 1: drop truth bombs. They do to quote Tracy Jordan's there 47 00:02:43,200 --> 00:02:46,520 Speaker 1: what strikes me about the performance artists. With a traditional artist, 48 00:02:47,360 --> 00:02:50,760 Speaker 1: the the art they create is kind of like kind 49 00:02:50,760 --> 00:02:56,920 Speaker 1: of serves as a proxy by which they deliver truth. Two. Like, 50 00:02:56,960 --> 00:03:00,080 Speaker 1: there's truth in the art the artist creates, and that 51 00:03:00,200 --> 00:03:03,160 Speaker 1: is the means by which he or she gets the 52 00:03:03,200 --> 00:03:08,520 Speaker 1: truth into your brain. Um. But the performance artist, there's 53 00:03:08,520 --> 00:03:11,880 Speaker 1: no proxy like they they are they are becoming a 54 00:03:11,960 --> 00:03:15,680 Speaker 1: vessel for that idea. They are becoming an idea, and 55 00:03:15,720 --> 00:03:19,320 Speaker 1: they're forcing you to confront this idea in the flesh. 56 00:03:19,800 --> 00:03:22,240 Speaker 1: Um Often, I mean, there are a lot of new 57 00:03:22,360 --> 00:03:25,919 Speaker 1: performance artists out there, and nudity is often plays into 58 00:03:25,919 --> 00:03:28,200 Speaker 1: I mean, because that is uh, I mean, that's the 59 00:03:28,200 --> 00:03:32,600 Speaker 1: thing itself. There's a line in Shakespeare's King lear Um 60 00:03:32,919 --> 00:03:35,720 Speaker 1: where lear is um. You know, it's a one of 61 00:03:35,720 --> 00:03:37,400 Speaker 1: these seats out in the in the middle of the storm. 62 00:03:37,880 --> 00:03:41,880 Speaker 1: Lear is is mad. There's a there's a fool that's 63 00:03:41,920 --> 00:03:46,480 Speaker 1: pretending to be mad. Uh. And and lear says, is 64 00:03:46,520 --> 00:03:49,960 Speaker 1: man no more than this? Consider him well, thou owest, 65 00:03:50,000 --> 00:03:52,600 Speaker 1: the worm no silk, the beasts no hide, the sheep 66 00:03:52,680 --> 00:03:56,400 Speaker 1: no wool, the cat no perfume. Ha, here's three uns 67 00:03:56,640 --> 00:04:01,160 Speaker 1: are sophisticated, thou art the thing itself accommodated. Man is 68 00:04:01,200 --> 00:04:04,360 Speaker 1: no more but such a poor bear forked animal as 69 00:04:04,400 --> 00:04:07,080 Speaker 1: thou art. Okay, that's that's really interesting because it's about 70 00:04:07,120 --> 00:04:10,560 Speaker 1: stripping away right that the thing. And that's what I 71 00:04:10,640 --> 00:04:13,560 Speaker 1: think is interesting about performance art is it does peel 72 00:04:13,600 --> 00:04:17,400 Speaker 1: away our particular constructs of realities, some of them built 73 00:04:17,480 --> 00:04:19,880 Speaker 1: on how we as a society work right, all these 74 00:04:19,880 --> 00:04:23,800 Speaker 1: sort of rules that are either spoken or unspoken. UM. 75 00:04:23,839 --> 00:04:26,440 Speaker 1: And I wanted to talk about how performance art is 76 00:04:26,480 --> 00:04:30,159 Speaker 1: actually an offshoot of data is M and even UM 77 00:04:30,240 --> 00:04:34,520 Speaker 1: and futurists um. And it has a pretty good Uh, 78 00:04:34,640 --> 00:04:37,800 Speaker 1: it has a pretty good run here UM, particularly from 79 00:04:37,800 --> 00:04:42,120 Speaker 1: the seventies on. Lori Anderson is someone who is associated 80 00:04:42,240 --> 00:04:44,599 Speaker 1: with performance art. And I just wanted to mention this 81 00:04:44,640 --> 00:04:46,960 Speaker 1: because this is a good example of the type of 82 00:04:46,960 --> 00:04:50,960 Speaker 1: performance art that began to be performed. She did duets 83 00:04:51,000 --> 00:04:53,320 Speaker 1: on ice, which she conducted in New York and other 84 00:04:53,360 --> 00:04:55,800 Speaker 1: cities around the World, and it involved her playing the 85 00:04:55,880 --> 00:04:59,360 Speaker 1: violin along with recording while wearing ice skates with blades 86 00:04:59,440 --> 00:05:01,880 Speaker 1: frozen and to a block of ice. Now Lorie Anderson, 87 00:05:02,640 --> 00:05:13,080 Speaker 1: her husband, Uh yes, um yes, because Anderson was also 88 00:05:13,320 --> 00:05:16,120 Speaker 1: NASA's Artist in Residence for a short period of time. 89 00:05:16,440 --> 00:05:19,560 Speaker 1: She is an amazing artist, um and she has I 90 00:05:19,600 --> 00:05:22,160 Speaker 1: believe that she's even if I've got this read, I 91 00:05:22,200 --> 00:05:25,000 Speaker 1: believe she's even invented a couple of instruments as well. 92 00:05:25,120 --> 00:05:28,440 Speaker 1: She's an amazing finger. And so that's what I think 93 00:05:28,520 --> 00:05:31,000 Speaker 1: is really interesting about performance artists is that they're bringing 94 00:05:31,040 --> 00:05:34,400 Speaker 1: all those critical thinking skills to the table and like scientists, 95 00:05:34,680 --> 00:05:38,159 Speaker 1: trying to figure out, like, you know, these causal relationships 96 00:05:38,279 --> 00:05:40,440 Speaker 1: and what happens when you, you know, push the needle 97 00:05:40,520 --> 00:05:44,400 Speaker 1: here and there. Her performance, you know, they're no newdating, 98 00:05:44,560 --> 00:05:47,719 Speaker 1: nothing too crazy, nothing blowing up. But her performance ended 99 00:05:47,760 --> 00:05:51,279 Speaker 1: when the ice had melted away. Another artist that people 100 00:05:51,360 --> 00:05:54,600 Speaker 1: might be familiar with this Karen Finley. And I actually 101 00:05:54,600 --> 00:05:57,440 Speaker 1: saw her in American Chestnut here in Atlanta, and that 102 00:05:57,480 --> 00:06:00,480 Speaker 1: was very interesting. That was this interrogation of the missticity 103 00:06:00,600 --> 00:06:05,080 Speaker 1: and a woman's role. And this was after she had 104 00:06:05,200 --> 00:06:07,840 Speaker 1: a child and she was actually using breast milk quite 105 00:06:07,839 --> 00:06:12,000 Speaker 1: a bit too, um express herself, I guess you could say. 106 00:06:12,720 --> 00:06:15,640 Speaker 1: But one of the things that hallmarks of performance art 107 00:06:15,720 --> 00:06:18,960 Speaker 1: to me at least is this lack of documentation. Um. 108 00:06:19,040 --> 00:06:22,599 Speaker 1: This this symbol of the ephemeral nature of life, that 109 00:06:22,680 --> 00:06:27,280 Speaker 1: everything is fleeting. And uh, I wanted to bring this 110 00:06:27,440 --> 00:06:29,920 Speaker 1: little quote out from a book called The Family Fang, 111 00:06:30,600 --> 00:06:32,240 Speaker 1: and this was one of yours in your summer reading 112 00:06:32,440 --> 00:06:34,880 Speaker 1: when my summer picks. It's really good. It's there. In 113 00:06:34,920 --> 00:06:37,560 Speaker 1: some ways it's it didn't quite live up to what 114 00:06:37,680 --> 00:06:39,800 Speaker 1: I what I thought it might be, but other ways 115 00:06:39,839 --> 00:06:42,960 Speaker 1: it really surprised me. Is about a family of performance artists, 116 00:06:42,960 --> 00:06:46,240 Speaker 1: the parents in particular, and um, here's a quote from 117 00:06:46,240 --> 00:06:50,719 Speaker 1: the father talking to child. Be I believe that's his son, um, 118 00:06:50,760 --> 00:06:52,240 Speaker 1: he says, And I'm gonna have to believe this out 119 00:06:52,240 --> 00:06:55,840 Speaker 1: a little bit. Art happens when things effing move around, 120 00:06:56,000 --> 00:06:58,039 Speaker 1: he told them, not when you freeze them in a 121 00:06:58,360 --> 00:07:02,040 Speaker 1: gall durn block of ice. He would then take whatever 122 00:07:02,080 --> 00:07:05,040 Speaker 1: item was closest to him, a glass or a tape recorder, 123 00:07:05,080 --> 00:07:08,080 Speaker 1: and smash it against the wall. That was art, he said, 124 00:07:08,240 --> 00:07:09,880 Speaker 1: And then he would pick up the pieces of the 125 00:07:09,920 --> 00:07:13,280 Speaker 1: shattered object and hold them out for his children to inspect. This, 126 00:07:13,480 --> 00:07:15,760 Speaker 1: he said, offering the remains of the broken thing is 127 00:07:15,840 --> 00:07:19,559 Speaker 1: not so Again, it's this moment that's eliciting these certain 128 00:07:19,600 --> 00:07:24,320 Speaker 1: emotions that I think are most central to performance art. Yeah, 129 00:07:24,360 --> 00:07:26,640 Speaker 1: and you know, another thing that comes to mind is 130 00:07:26,760 --> 00:07:30,120 Speaker 1: if we were researching this and as we're discussing now, um, 131 00:07:30,160 --> 00:07:33,800 Speaker 1: there's there's also this line between performance art and just 132 00:07:33,880 --> 00:07:38,120 Speaker 1: someone being a provocateur, you know, or you know that 133 00:07:38,240 --> 00:07:40,560 Speaker 1: someone that's just doing something shocking for the sake of 134 00:07:40,560 --> 00:07:44,680 Speaker 1: shocking and shocking you. Um. And certainly there are some 135 00:07:45,040 --> 00:07:47,920 Speaker 1: individuals out there who just do that and call it 136 00:07:48,160 --> 00:07:51,520 Speaker 1: performance art. But but but when when you're dealing with 137 00:07:51,640 --> 00:07:54,160 Speaker 1: real performance are like performance art of a high caliber, 138 00:07:54,600 --> 00:07:58,920 Speaker 1: um that there's there's that nugget of message in there somewhere, well, 139 00:07:59,080 --> 00:08:01,600 Speaker 1: something that resonates a long time afterwards, Like for instance, 140 00:08:01,600 --> 00:08:04,040 Speaker 1: you could see was it the naked cowboy in New 141 00:08:04,080 --> 00:08:06,000 Speaker 1: York who plays on the side of the street with 142 00:08:06,040 --> 00:08:11,880 Speaker 1: the guitar? Oh yeah, yeah, And I wouldn't call it 143 00:08:11,960 --> 00:08:14,760 Speaker 1: performance art. But I'm just I'm kind of picking on 144 00:08:14,840 --> 00:08:16,360 Speaker 1: him a little bit because I don't think he builds 145 00:08:16,400 --> 00:08:19,120 Speaker 1: himself as a performance artist. But some people might go 146 00:08:19,200 --> 00:08:22,080 Speaker 1: by and say, oh, that's so crazy. There's a you know, 147 00:08:22,160 --> 00:08:24,520 Speaker 1: six ft five dude, he's pretty much naked and the 148 00:08:24,560 --> 00:08:29,240 Speaker 1: cowboy hat. Yeah, various individuals in Atlanta that have become 149 00:08:29,240 --> 00:08:32,240 Speaker 1: famous for like baton Man, the baton guy that would 150 00:08:32,480 --> 00:08:36,400 Speaker 1: march around with the baton. Oh yeah, like like that 151 00:08:36,520 --> 00:08:38,600 Speaker 1: was I mean, he wasn't pretending to be a performance artist. 152 00:08:38,640 --> 00:08:40,319 Speaker 1: He was just doing it because it made him happy. 153 00:08:41,400 --> 00:08:43,400 Speaker 1: But I've seen him in a long time. Yeah, I 154 00:08:43,600 --> 00:08:46,600 Speaker 1: haven't seen him recently either, I have uh you know, 155 00:08:46,679 --> 00:08:49,800 Speaker 1: maybe he uh, maybe he's good now, he didn't need it. Yeah, 156 00:08:49,840 --> 00:08:53,520 Speaker 1: maybe got that baton thing out, um, that baton demon 157 00:08:53,600 --> 00:08:57,720 Speaker 1: that we all have. Um. And then there's the flatuless 158 00:08:58,000 --> 00:09:00,520 Speaker 1: that you you hit me to the other day. Oh 159 00:09:00,600 --> 00:09:03,160 Speaker 1: yeah yeah, um, which I didn't even know it was 160 00:09:03,400 --> 00:09:06,520 Speaker 1: a real thing. I was. I was reading a book 161 00:09:07,040 --> 00:09:10,000 Speaker 1: Mary Anne is Sleeping. I believe it's the name of it. Um. 162 00:09:10,120 --> 00:09:13,000 Speaker 1: It was look for a big book prize about a 163 00:09:13,000 --> 00:09:17,360 Speaker 1: decade back, and there was a fart farting artist in 164 00:09:17,840 --> 00:09:20,280 Speaker 1: the book. But the whole book is like cloaked in 165 00:09:20,400 --> 00:09:23,360 Speaker 1: dreams and dreams within dreams so I just assumed it 166 00:09:23,400 --> 00:09:28,000 Speaker 1: was made up, but we discovered yesterday that it is 167 00:09:28,040 --> 00:09:30,480 Speaker 1: not there. There this is a there's a grand tradition 168 00:09:30,840 --> 00:09:40,440 Speaker 1: of individuals using their their their their musical their Actually 169 00:09:40,440 --> 00:09:44,160 Speaker 1: there's Mr. Mythlen Is the name of one of the Flatuless. Yeah, 170 00:09:44,200 --> 00:09:47,199 Speaker 1: that was on like what Britain's got talent the proud 171 00:09:47,280 --> 00:09:50,920 Speaker 1: moment for the Empire. But but that so that is 172 00:09:50,960 --> 00:09:55,600 Speaker 1: another example something that is not quite performance art. Um. 173 00:09:55,640 --> 00:09:57,520 Speaker 1: But but let's get into start getting into some of 174 00:09:57,559 --> 00:10:00,160 Speaker 1: the examples that we're gonna cover in this this episod 175 00:10:00,160 --> 00:10:01,800 Speaker 1: because we want to we want to hit some high 176 00:10:01,800 --> 00:10:04,480 Speaker 1: points or performance art well. And in some cases you 177 00:10:04,520 --> 00:10:06,920 Speaker 1: could call them it's in the eye of the beholder. 178 00:10:07,000 --> 00:10:09,400 Speaker 1: Some of these may be considered low points that performance art, 179 00:10:09,640 --> 00:10:12,520 Speaker 1: depending on where you're coming from. But but the idea 180 00:10:12,520 --> 00:10:15,439 Speaker 1: is that the message is received, there's a there's something 181 00:10:15,800 --> 00:10:17,840 Speaker 1: worth talking about with all of the pieces we're going 182 00:10:17,880 --> 00:10:21,520 Speaker 1: to discuss today. So one of these gold standard UH 183 00:10:21,880 --> 00:10:27,160 Speaker 1: performance artists is Maria Abramovich and she has been doing 184 00:10:27,160 --> 00:10:31,079 Speaker 1: performance up for forties something years. Um. One of her 185 00:10:31,120 --> 00:10:35,559 Speaker 1: most provocative pieces that was called rhythm Oh and UH, 186 00:10:35,640 --> 00:10:37,120 Speaker 1: I just want to mention too. She's a New York 187 00:10:37,120 --> 00:10:40,720 Speaker 1: based Serbian performance artists and she had a very interesting 188 00:10:40,800 --> 00:10:43,040 Speaker 1: upbringing to and believe her parents were in the army, 189 00:10:43,120 --> 00:10:46,640 Speaker 1: both of them very rigid. Um. There's a documentary out 190 00:10:46,679 --> 00:10:50,440 Speaker 1: about her. Yeah, it's gotten a lot of media attention 191 00:10:50,920 --> 00:10:53,199 Speaker 1: playing on HBO. I believe yes it is, and we'll 192 00:10:53,200 --> 00:10:55,079 Speaker 1: talk about that in a moment too. Um. That is 193 00:10:55,120 --> 00:10:58,319 Speaker 1: called the Artist is Present. But Rhythmo was performed in 194 00:10:58,400 --> 00:11:03,560 Speaker 1: nineteen four in studio Amora and Naples and Maria Ramovich 195 00:11:03,920 --> 00:11:07,720 Speaker 1: adopted a really passive role with audience as an active 196 00:11:08,240 --> 00:11:12,080 Speaker 1: taking on an active role, and she put seventy two 197 00:11:12,080 --> 00:11:15,280 Speaker 1: objects around her on a table, anywhere from flowers and 198 00:11:15,320 --> 00:11:19,160 Speaker 1: perfume to nails, a knife, a hammer, and a loaded gun, 199 00:11:20,200 --> 00:11:24,319 Speaker 1: and she just she just laid down, was very docile. 200 00:11:24,440 --> 00:11:26,920 Speaker 1: She was naked, and then the members of the audience 201 00:11:26,960 --> 00:11:29,839 Speaker 1: were allowed to use any of those objects on her 202 00:11:30,200 --> 00:11:33,600 Speaker 1: in any way that they wished. And what she saw 203 00:11:33,720 --> 00:11:36,760 Speaker 1: over this six hour period is that people at first 204 00:11:36,760 --> 00:11:39,959 Speaker 1: were pretty modest um, you know, they might pick up 205 00:11:39,960 --> 00:11:42,040 Speaker 1: some perfume and put her on it. By the end 206 00:11:42,080 --> 00:11:45,440 Speaker 1: they were actually attacking her with some of these objects 207 00:11:46,120 --> 00:11:48,559 Speaker 1: like that didn't like one individual point of the guy 208 00:11:48,679 --> 00:11:51,480 Speaker 1: that her head, yes, and another individual took it away. 209 00:11:51,840 --> 00:11:54,440 Speaker 1: So what you're seeing here is the the audience became 210 00:11:54,480 --> 00:11:59,120 Speaker 1: the show essentially, and she, like the artist, as the 211 00:11:59,200 --> 00:12:04,280 Speaker 1: piece becomes this, this mirror in which we perceive ourselves. Yeah, 212 00:12:04,320 --> 00:12:06,120 Speaker 1: she said, what I learned was that if you leave 213 00:12:06,120 --> 00:12:07,720 Speaker 1: it up to the audience, they can kill you. I 214 00:12:07,760 --> 00:12:11,040 Speaker 1: felt really violated. They cut up my clothes, stuck Rose 215 00:12:11,120 --> 00:12:13,480 Speaker 1: Thorne's in my stomach. One person aimed the gun at 216 00:12:13,480 --> 00:12:15,439 Speaker 1: my head, as you say, and another it took it away. 217 00:12:15,520 --> 00:12:19,640 Speaker 1: It created an aggressive atmosphere. After exactly six hours, as planned, 218 00:12:19,960 --> 00:12:22,800 Speaker 1: I stood up and started walking toward the audience. Everyone 219 00:12:22,880 --> 00:12:26,800 Speaker 1: ran away to escape an actual confrontation. So it was 220 00:12:26,840 --> 00:12:28,800 Speaker 1: interesting because she had said, here are the rules. I'm 221 00:12:28,800 --> 00:12:32,720 Speaker 1: gonna sit here. But after six hours I get up. Um, 222 00:12:32,800 --> 00:12:35,920 Speaker 1: So it's interesting that people ran away, uh, sort of 223 00:12:35,920 --> 00:12:39,880 Speaker 1: knowing that whatever this, this false contract was now broken. 224 00:12:40,720 --> 00:12:45,640 Speaker 1: And it made me think about objectification, which is something 225 00:12:45,640 --> 00:12:47,360 Speaker 1: we do on a daily basis, whether or not we 226 00:12:47,400 --> 00:12:49,679 Speaker 1: know it all the time, right for for a variety 227 00:12:49,720 --> 00:12:53,320 Speaker 1: of reasons, into a variety of things and people. And 228 00:12:53,720 --> 00:12:56,520 Speaker 1: this is from the Atlantic that there's a study that 229 00:12:56,559 --> 00:12:59,880 Speaker 1: came out said study proof that we sexually objectify women, 230 00:13:00,960 --> 00:13:07,800 Speaker 1: and the question of the study everything around. It's interesting 231 00:13:07,800 --> 00:13:10,079 Speaker 1: and it definitely relates back to I think what Abrabam 232 00:13:10,080 --> 00:13:14,480 Speaker 1: which was doing, because there's this idea that especially if 233 00:13:14,480 --> 00:13:17,800 Speaker 1: the artist tells you, well, she didn't you know, explicitly 234 00:13:17,800 --> 00:13:20,439 Speaker 1: tell them, hey, I'm in an object but she did 235 00:13:20,480 --> 00:13:22,800 Speaker 1: set the scene for that to happen to a certain extent, 236 00:13:22,920 --> 00:13:27,680 Speaker 1: to test the limits um of what human behavior was 237 00:13:27,760 --> 00:13:31,080 Speaker 1: like in that instance. But anyway, there is this idea 238 00:13:31,200 --> 00:13:35,640 Speaker 1: of like, straight up, um objectification, can we quantify it? 239 00:13:36,240 --> 00:13:39,640 Speaker 1: And um, do we really look at women differently than 240 00:13:39,679 --> 00:13:42,199 Speaker 1: we do them when it comes to this. So what 241 00:13:42,240 --> 00:13:44,520 Speaker 1: they said is is they okay, They said, We're going 242 00:13:44,559 --> 00:13:47,720 Speaker 1: to give everybody men and women um in our study 243 00:13:47,720 --> 00:13:52,440 Speaker 1: images of average, fully clothed individuals, So no supermodels in bikinis, 244 00:13:52,440 --> 00:13:55,280 Speaker 1: men or women, and these are going to quickly flash 245 00:13:55,320 --> 00:13:57,720 Speaker 1: before the eyes of the participants and then they'll be 246 00:13:57,760 --> 00:14:01,240 Speaker 1: shown two side by side images that zoomed in on 247 00:14:01,240 --> 00:14:04,240 Speaker 1: one what they call sexual aspect. This could be like 248 00:14:04,280 --> 00:14:07,040 Speaker 1: the mid drift of a man or a woman. And 249 00:14:07,080 --> 00:14:09,880 Speaker 1: they asked them to identify the version that hadn't been modified, 250 00:14:10,400 --> 00:14:13,440 Speaker 1: and then experience was also reversed so that participants participants 251 00:14:13,520 --> 00:14:16,200 Speaker 1: first looked at a specific part and then had to 252 00:14:16,240 --> 00:14:19,720 Speaker 1: identify the context of the entire body. So the test 253 00:14:19,840 --> 00:14:22,320 Speaker 1: was actually designed to clue researchers in whether or not 254 00:14:22,320 --> 00:14:26,200 Speaker 1: participants were using what they call global or local cognitive 255 00:14:26,280 --> 00:14:29,520 Speaker 1: processing while leaking at the images, In other words, whether 256 00:14:29,640 --> 00:14:34,080 Speaker 1: or not they perceived individuals as a whole or in parts, 257 00:14:35,840 --> 00:14:40,480 Speaker 1: which is fascinating to me. So the results, regardless of gender, 258 00:14:40,520 --> 00:14:44,440 Speaker 1: participants consistently recognized women's sexual body parts more easily when 259 00:14:44,440 --> 00:14:47,760 Speaker 1: presented in isolation, and men's sexual body parts, on the 260 00:14:47,800 --> 00:14:51,120 Speaker 1: other hand, were more memorable is part of their entire bodies. 261 00:14:51,640 --> 00:14:54,040 Speaker 1: So what they're saying is that the cognitive process behind 262 00:14:54,040 --> 00:14:56,880 Speaker 1: our perception of objects is the same that we have 263 00:14:56,920 --> 00:14:59,720 Speaker 1: been looking at women and both genders. Both genders here 264 00:14:59,720 --> 00:15:02,080 Speaker 1: are sualty of taking in the parts instead of the whole, 265 00:15:02,240 --> 00:15:05,720 Speaker 1: but when we look at men we globally process them 266 00:15:05,760 --> 00:15:09,360 Speaker 1: more fully as people. This is really interesting that we're 267 00:15:09,360 --> 00:15:13,480 Speaker 1: talking about this during the Olympics, because, um, the summer 268 00:15:13,520 --> 00:15:17,440 Speaker 1: Olympics startup and you inevitably start seeing all these pictures 269 00:15:17,600 --> 00:15:22,160 Speaker 1: from women's beach volleyball. Um, and there's there's a great 270 00:15:22,200 --> 00:15:24,360 Speaker 1: little piece. I think it was a blog post that 271 00:15:24,480 --> 00:15:27,040 Speaker 1: was um it was a great idea. I didn't think 272 00:15:27,040 --> 00:15:30,160 Speaker 1: that the execution was was perfect, but um, it brought 273 00:15:30,240 --> 00:15:33,200 Speaker 1: up the idea, what if all sports were photographed the 274 00:15:33,240 --> 00:15:36,480 Speaker 1: way women's beach volleyball is photographed, Because we've all seen 275 00:15:36,480 --> 00:15:39,640 Speaker 1: these like it's the only Olympic sport where it's okay 276 00:15:39,640 --> 00:15:42,520 Speaker 1: for the photo spread of it to be women's hinders 277 00:15:43,040 --> 00:15:46,040 Speaker 1: and uh in mid drifts, you know, without seeing their 278 00:15:46,040 --> 00:15:49,880 Speaker 1: faces or or or necessarily even any sports action like 279 00:15:49,920 --> 00:15:52,840 Speaker 1: you don't see you don't see people shooting Greco Roman 280 00:15:52,840 --> 00:15:56,720 Speaker 1: wrestling like that or or you know, or or various 281 00:15:56,960 --> 00:16:03,240 Speaker 1: Winter Olympic sports. It's uh, it's like sexual objectification theater. Well, 282 00:16:03,240 --> 00:16:05,520 Speaker 1: and this has been talked about a lot um, you know, 283 00:16:05,520 --> 00:16:09,280 Speaker 1: over the years, particularly in terms of um and if 284 00:16:09,320 --> 00:16:11,640 Speaker 1: they never even go swimminghy are they wearing swimsuits? Right? 285 00:16:12,240 --> 00:16:15,200 Speaker 1: I know, I know particularly in gender theory though, because 286 00:16:15,560 --> 00:16:17,600 Speaker 1: that that's what they call the male gaze, right, Like 287 00:16:17,680 --> 00:16:21,960 Speaker 1: this idea that you know, these body parts are being isolated. Um. 288 00:16:22,000 --> 00:16:24,160 Speaker 1: And I was thinking about it in terms of like, well, 289 00:16:24,960 --> 00:16:27,320 Speaker 1: this type, these different medias in which women have been 290 00:16:27,360 --> 00:16:30,640 Speaker 1: represented have been in existence for thousands of years, right, 291 00:16:30,680 --> 00:16:32,800 Speaker 1: but more recently in the ways that we know them, 292 00:16:33,280 --> 00:16:37,120 Speaker 1: um through television or through our computer screens. And I thought, well, 293 00:16:37,160 --> 00:16:40,520 Speaker 1: if if we know, if we have evidence that a 294 00:16:40,560 --> 00:16:43,320 Speaker 1: search engine like Google can change the way in which 295 00:16:43,320 --> 00:16:47,040 Speaker 1: our memory works, then is it possible that the way 296 00:16:47,120 --> 00:16:50,480 Speaker 1: that women are portrayed in these different types of media 297 00:16:50,560 --> 00:16:53,760 Speaker 1: could change the way that we think about men and 298 00:16:53,840 --> 00:16:58,520 Speaker 1: women um as they say, like the cognitive processing of 299 00:16:58,520 --> 00:17:00,960 Speaker 1: what a woman is or what a man this. And 300 00:17:01,040 --> 00:17:02,800 Speaker 1: so that's why I think it's interesting when you look 301 00:17:02,800 --> 00:17:07,560 Speaker 1: at Maria Abramovich's work that that she is considering, or 302 00:17:07,600 --> 00:17:09,199 Speaker 1: it seems to me and some of the work that 303 00:17:09,200 --> 00:17:12,840 Speaker 1: she's doing, she's considering this idea of objectifying herself or 304 00:17:12,960 --> 00:17:17,520 Speaker 1: being objectified UM. And I think that in her her 305 00:17:17,560 --> 00:17:20,440 Speaker 1: most recent work, which is a retrospective of all of 306 00:17:20,520 --> 00:17:23,560 Speaker 1: her work called The Artist Is Present, she really kind 307 00:17:23,560 --> 00:17:27,879 Speaker 1: of comes full circle with this idea of well, let's 308 00:17:28,080 --> 00:17:34,600 Speaker 1: let's do let's focus more on um acceptance rather than 309 00:17:35,160 --> 00:17:38,840 Speaker 1: in this this holistic putting together of the human form 310 00:17:38,880 --> 00:17:42,560 Speaker 1: as opposed to the objectification. And if you look at 311 00:17:42,600 --> 00:17:45,800 Speaker 1: this documentary called The Artist is Present, you'll see that 312 00:17:45,840 --> 00:17:49,200 Speaker 1: she takes this retrospect of her work, which is fascinating. 313 00:17:49,240 --> 00:17:52,879 Speaker 1: Forty years worth. People go through the exhibit and I 314 00:17:52,880 --> 00:17:56,679 Speaker 1: believe this was at moment right um, And this was 315 00:17:56,920 --> 00:17:59,960 Speaker 1: earlier in this year between March. It for for three 316 00:18:00,000 --> 00:18:04,160 Speaker 1: months with retrospective rand. So you go through this when 317 00:18:04,200 --> 00:18:07,800 Speaker 1: you were in Yeah it was unfortunately, uh, but you 318 00:18:07,880 --> 00:18:11,680 Speaker 1: go through and at the very end, the artist herself, 319 00:18:11,760 --> 00:18:13,960 Speaker 1: as she says, is present. She is sitting at first 320 00:18:13,960 --> 00:18:16,600 Speaker 1: at a table for a couple of months, and you, 321 00:18:16,680 --> 00:18:19,240 Speaker 1: as a participant, are allowed to come and sit across 322 00:18:19,280 --> 00:18:22,080 Speaker 1: from her. And I don't know for how long, um 323 00:18:22,119 --> 00:18:25,040 Speaker 1: you can, but that's really a very simple idea, right 324 00:18:25,119 --> 00:18:26,720 Speaker 1: for the Artist is Present, I'm gonna go and sit 325 00:18:26,760 --> 00:18:28,600 Speaker 1: in front of her. But what we're talking about here 326 00:18:28,600 --> 00:18:30,640 Speaker 1: and this is that when we say people are dedicated 327 00:18:30,640 --> 00:18:33,480 Speaker 1: to their arts, um or to performance art and to 328 00:18:33,720 --> 00:18:37,359 Speaker 1: really seeing this through this concept, we're talking about a 329 00:18:37,440 --> 00:18:40,520 Speaker 1: three month period in which every single day she sat 330 00:18:40,560 --> 00:18:42,680 Speaker 1: at that table and did not get up, and did 331 00:18:42,680 --> 00:18:47,639 Speaker 1: not eat and was absolutely silent. All told, seven hundred 332 00:18:47,680 --> 00:18:51,240 Speaker 1: and thirty six hour and thirty minutes static silent piece 333 00:18:51,320 --> 00:18:53,320 Speaker 1: that is part of her performance. Art is just sitting 334 00:18:53,359 --> 00:18:56,200 Speaker 1: there in and of itself, like the the endurance involved there, 335 00:18:56,240 --> 00:18:58,320 Speaker 1: Like it's not just somebody getting up and on a 336 00:18:58,440 --> 00:19:00,680 Speaker 1: on a stage and being like, oh oh I'm naked. 337 00:19:00,720 --> 00:19:03,000 Speaker 1: It's art now. This is somebody that's sitting there at 338 00:19:03,000 --> 00:19:05,520 Speaker 1: a table for a grueling amount of time. I mean, 339 00:19:05,760 --> 00:19:08,479 Speaker 1: I can't say it's still for fifteen minutes at a stretch. 340 00:19:08,560 --> 00:19:13,200 Speaker 1: Most days, I can't can't even imagine that seven hours, 341 00:19:13,600 --> 00:19:17,840 Speaker 1: seven hours and individuals coming and sitting in front of you. Um. 342 00:19:17,960 --> 00:19:20,080 Speaker 1: People were waiting for hours every day, by the way, 343 00:19:20,119 --> 00:19:22,280 Speaker 1: just to do this. The reason is is because she 344 00:19:22,320 --> 00:19:25,480 Speaker 1: would For every single person, she would um but like 345 00:19:25,520 --> 00:19:27,879 Speaker 1: before they sat down, she would look at her lap 346 00:19:27,920 --> 00:19:30,320 Speaker 1: and then look up at them, and she said she 347 00:19:30,359 --> 00:19:33,840 Speaker 1: wanted to give them the recognition they deserved as humans, 348 00:19:33,840 --> 00:19:35,760 Speaker 1: as a whole human sitting in front of her, and 349 00:19:35,800 --> 00:19:38,040 Speaker 1: she would say nothing and just stare in her eyes. Okay, 350 00:19:38,200 --> 00:19:41,040 Speaker 1: have you ever stared into someone's eyes for for fifteen 351 00:19:41,119 --> 00:19:46,720 Speaker 1: minutes straight before? UM, Well, my wife, I guess, I 352 00:19:46,720 --> 00:19:59,359 Speaker 1: mean not saying anything, not saying anything, mm hmm. Fifteen minutes, 353 00:20:02,240 --> 00:20:05,080 Speaker 1: no no break in eye contact, no breaking eye contact. 354 00:20:05,440 --> 00:20:10,159 Speaker 1: And it's also a stranger, right, mm hmm, yeah, I 355 00:20:10,160 --> 00:20:12,359 Speaker 1: don't know. That's I may not have, you know, because 356 00:20:12,400 --> 00:20:15,159 Speaker 1: I mean generally, if if it's somebody I really know, 357 00:20:15,240 --> 00:20:19,520 Speaker 1: there's gonna be some discussion. And uh, I generally can't. 358 00:20:19,720 --> 00:20:23,320 Speaker 1: I have trouble maintaining eye contact with most people who 359 00:20:23,320 --> 00:20:27,399 Speaker 1: are not my wife. So well, it's such a simple idea, 360 00:20:27,480 --> 00:20:30,080 Speaker 1: but when she did this in front of people, everybody, 361 00:20:30,160 --> 00:20:31,560 Speaker 1: and now I have to look away from your eyes 362 00:20:31,840 --> 00:20:35,000 Speaker 1: just because it's just the way like mine, because they're 363 00:20:35,040 --> 00:20:38,040 Speaker 1: piercing ye with their grace. Still, I started, like, I 364 00:20:38,119 --> 00:20:39,560 Speaker 1: look into someone's eyes and it's like and then I 365 00:20:39,560 --> 00:20:42,919 Speaker 1: start uncomfortuences to look around. But yeah, I mean, so 366 00:20:43,160 --> 00:20:45,160 Speaker 1: we're not really used to doing that, right, We use 367 00:20:45,160 --> 00:20:47,320 Speaker 1: our eyes to connect with other people, but certainly not 368 00:20:47,359 --> 00:20:51,480 Speaker 1: for fifteen minutes with a stranger. The that the sort 369 00:20:51,520 --> 00:20:55,480 Speaker 1: of reactions were so incredible and powerful. People started crying. 370 00:20:55,640 --> 00:20:57,679 Speaker 1: And the reason is because they're projecting all of their 371 00:20:57,720 --> 00:20:59,920 Speaker 1: feelings onto her. She allowed herself to be a blink 372 00:21:00,080 --> 00:21:03,440 Speaker 1: slate and so a lot of people felt absolutely like 373 00:21:03,600 --> 00:21:05,320 Speaker 1: that they fell in love with her some people were 374 00:21:05,359 --> 00:21:11,080 Speaker 1: angry with her or like they just they're there, they're 375 00:21:11,080 --> 00:21:16,119 Speaker 1: imagining the way that Yeah and um, and then this 376 00:21:16,240 --> 00:21:20,240 Speaker 1: documentary is fascinating to watch this happen. And people were 377 00:21:20,440 --> 00:21:22,440 Speaker 1: they just went nuts. And that's why she had people 378 00:21:22,440 --> 00:21:24,600 Speaker 1: waiting for hours. Sometimes they would get there in the 379 00:21:24,600 --> 00:21:26,800 Speaker 1: wee hours of the morning before the museum opened to 380 00:21:26,840 --> 00:21:29,080 Speaker 1: stand in line to do this. Um. There was a 381 00:21:29,160 --> 00:21:33,680 Speaker 1: website called Maria Abravich made me cry. Uh that popped up. 382 00:21:33,800 --> 00:21:36,560 Speaker 1: There are people who just started doing really disruptive things 383 00:21:36,600 --> 00:21:38,879 Speaker 1: in the museum to get her attention. There were there 384 00:21:38,920 --> 00:21:40,760 Speaker 1: was one woman who sent in front of her and 385 00:21:40,760 --> 00:21:43,159 Speaker 1: took her top off because she wanted to try to 386 00:21:43,200 --> 00:21:47,640 Speaker 1: be as raw and as vulnerable as Maria was. So again, 387 00:21:47,720 --> 00:21:50,159 Speaker 1: it's such a simple concept, but here's this woman who 388 00:21:50,280 --> 00:21:53,879 Speaker 1: was really forty years done these incredible things, not with 389 00:21:53,920 --> 00:21:56,520 Speaker 1: her own not just with her body, but really with 390 00:21:56,640 --> 00:21:59,280 Speaker 1: interacting with people. And to me, this really was a 391 00:21:59,320 --> 00:22:03,720 Speaker 1: culmination of ultimate connection with someone I want to like. 392 00:22:03,760 --> 00:22:07,600 Speaker 1: The people who did disruptive things, I mean, I wonder 393 00:22:07,640 --> 00:22:09,400 Speaker 1: if they, I mean, were they familiar with their work 394 00:22:09,520 --> 00:22:12,680 Speaker 1: enough to to realize this is a lady who once uh, 395 00:22:12,800 --> 00:22:15,680 Speaker 1: you know, set there and had a loaded gun next 396 00:22:15,680 --> 00:22:18,439 Speaker 1: to her and allowed members of the audience to to 397 00:22:18,560 --> 00:22:21,280 Speaker 1: point it at her. I'm not going to really disrupt 398 00:22:21,320 --> 00:22:23,760 Speaker 1: her by taking my top off. I think it was 399 00:22:24,200 --> 00:22:26,320 Speaker 1: the way allowed noise is probably not going to cut it. 400 00:22:26,560 --> 00:22:28,920 Speaker 1: I think someone had I can't remember what they wrote 401 00:22:28,920 --> 00:22:30,800 Speaker 1: on the papers, but they took a stack of like 402 00:22:30,840 --> 00:22:32,720 Speaker 1: five papers and threw them from the top of the 403 00:22:33,000 --> 00:22:34,920 Speaker 1: of moment. Do you know, they have an open atrium, 404 00:22:34,960 --> 00:22:38,639 Speaker 1: so all these um papers flee down and there was 405 00:22:38,680 --> 00:22:41,080 Speaker 1: sort of a negative sentiment on that. I can't remember 406 00:22:41,200 --> 00:22:43,040 Speaker 1: off the top of my head what it was, but 407 00:22:43,080 --> 00:22:45,000 Speaker 1: to me, it was someone trying to take a bit 408 00:22:45,040 --> 00:22:47,919 Speaker 1: of that power that she had. Yeah. Yeah, it's like 409 00:22:47,960 --> 00:22:51,399 Speaker 1: when when I mean, just like when somebody messes with 410 00:22:51,160 --> 00:22:54,119 Speaker 1: with like someone who's on guard duty or something, you know, 411 00:22:54,200 --> 00:22:57,640 Speaker 1: I mean, you're just trying to I mean, it comes 412 00:22:57,680 --> 00:23:00,440 Speaker 1: down to the whole whole. Like even things like graffiti, 413 00:23:00,480 --> 00:23:02,040 Speaker 1: and I don't mean street art, but just straight up 414 00:23:02,040 --> 00:23:05,359 Speaker 1: like tagging something. I mean, it's about proving that you 415 00:23:05,400 --> 00:23:09,520 Speaker 1: have control over something else and it's petty. Well and 416 00:23:09,560 --> 00:23:11,119 Speaker 1: at this point too in the exhibit, there was like 417 00:23:11,160 --> 00:23:15,760 Speaker 1: this mania epting over her. So it was just it 418 00:23:15,880 --> 00:23:18,840 Speaker 1: was Christian doing. Yeah, but the nunetiness. But again, here's 419 00:23:18,880 --> 00:23:21,760 Speaker 1: that's a powerful work, right, that is eliciting these feelings 420 00:23:21,760 --> 00:23:25,720 Speaker 1: and people and connecting with them on on such an 421 00:23:25,760 --> 00:23:29,000 Speaker 1: incredible level. Um, you probably take a break and then 422 00:23:29,080 --> 00:23:33,680 Speaker 1: we get back. We're going to talk about the crazy dude. Well, yes, yes, 423 00:23:33,720 --> 00:23:36,200 Speaker 1: we're gonna talk a little bit brilliant about the crazy 424 00:23:36,280 --> 00:23:39,080 Speaker 1: and the brilliant steel Ar. Yes, the man with the 425 00:23:39,560 --> 00:23:47,400 Speaker 1: ear on his arm. Alright, we're back. So yeah, let's 426 00:23:47,400 --> 00:23:51,960 Speaker 1: talk a little bit about Steeler. This guy is this 427 00:23:52,000 --> 00:23:55,120 Speaker 1: guy is pretty incredible. Um. He's probably most well known 428 00:23:55,280 --> 00:24:00,159 Speaker 1: for the ear on the arm deal, which, um, you know, 429 00:24:00,200 --> 00:24:02,560 Speaker 1: unless you actually this is one of those things that, 430 00:24:02,720 --> 00:24:04,040 Speaker 1: like a lot of things, that gets picked up in 431 00:24:04,040 --> 00:24:06,000 Speaker 1: the media and and gets carried out. I think a 432 00:24:06,040 --> 00:24:09,359 Speaker 1: lot of people just have surface level information about it, 433 00:24:09,760 --> 00:24:12,000 Speaker 1: Like their basic level of the story is, oh, there's 434 00:24:12,000 --> 00:24:13,840 Speaker 1: some crazy artist dude and he had an ear so 435 00:24:13,920 --> 00:24:16,480 Speaker 1: zoning on to his arm, which isn't really the case 436 00:24:16,520 --> 00:24:21,320 Speaker 1: at all, um, But but what he did is really fascinating. 437 00:24:21,320 --> 00:24:24,800 Speaker 1: And then it, uh, it ties in with with some 438 00:24:24,840 --> 00:24:27,600 Speaker 1: of the things we've discussed in the past about about 439 00:24:27,640 --> 00:24:30,840 Speaker 1: growing organs and UH and you know where we're going 440 00:24:31,400 --> 00:24:37,800 Speaker 1: as far as body modification, cybernetic enhancement, UM, growing human tissue, 441 00:24:38,359 --> 00:24:41,760 Speaker 1: over scaffolding. I mean, all of these things are involved, 442 00:24:42,240 --> 00:24:44,480 Speaker 1: particularly in this piece, but but also in a lot 443 00:24:44,520 --> 00:24:46,760 Speaker 1: of his work, and we've talked about it more in 444 00:24:46,840 --> 00:24:49,879 Speaker 1: the context of survival, either in space or just in 445 00:24:50,000 --> 00:24:54,479 Speaker 1: trying to UM to help with disease or you know, 446 00:24:54,960 --> 00:24:58,119 Speaker 1: even like organ replacement. Yeah. So yeah, along comes this 447 00:24:58,200 --> 00:25:01,760 Speaker 1: guy and he starts to get his thinking even more 448 00:25:01,800 --> 00:25:05,320 Speaker 1: about this topic. Yeah. Now, but before we got to 449 00:25:05,440 --> 00:25:08,359 Speaker 1: this is two thousand six, when he had the year done. 450 00:25:08,560 --> 00:25:09,960 Speaker 1: Before that, he did a lot, like a lot of 451 00:25:10,040 --> 00:25:12,040 Speaker 1: what he was doing was like he would do with 452 00:25:12,440 --> 00:25:15,560 Speaker 1: body suspensions, where he has UH hooks and his skin 453 00:25:15,760 --> 00:25:20,120 Speaker 1: and he's hanging um everyone a little like Jim rose Fercus. Yeah. Yeah, yeah, 454 00:25:20,119 --> 00:25:22,399 Speaker 1: he's and a lot of what he does UM. I 455 00:25:22,440 --> 00:25:26,399 Speaker 1: think I read a piece that William Gibson UH wrote. 456 00:25:26,600 --> 00:25:30,879 Speaker 1: It was actually the introduction to UH Steel Arc the monograph, 457 00:25:30,880 --> 00:25:34,159 Speaker 1: which is a collection of his of his work UM 458 00:25:34,160 --> 00:25:36,800 Speaker 1: where he talked about it invoked his work is invoking 459 00:25:37,080 --> 00:25:40,480 Speaker 1: like the side show geek um, you know road show 460 00:25:40,600 --> 00:25:43,720 Speaker 1: kind of vibe and also but but also all these 461 00:25:43,720 --> 00:25:47,720 Speaker 1: other disciplines to make some commentary about you know, where 462 00:25:47,760 --> 00:25:49,400 Speaker 1: we are the people and how we interact with with 463 00:25:49,440 --> 00:25:54,440 Speaker 1: technology and uh and ultimately where we're going. Um. But 464 00:25:54,920 --> 00:25:56,400 Speaker 1: so yeah, he did a lot of that. He did. 465 00:25:56,680 --> 00:25:59,920 Speaker 1: He did a piece where he um swallowed a sculpture, 466 00:26:00,400 --> 00:26:03,400 Speaker 1: a sculpture that kind of opens up in his stomach 467 00:26:03,440 --> 00:26:05,200 Speaker 1: and there was apparently a tricky moment where he wasn't 468 00:26:05,200 --> 00:26:07,120 Speaker 1: sure he's gonna be able to remove it without surgery 469 00:26:08,520 --> 00:26:12,200 Speaker 1: from it. Yeah. Um. He did a piece called Ping Body, 470 00:26:12,280 --> 00:26:16,040 Speaker 1: in which he wired himself to the Internet, um by 471 00:26:16,040 --> 00:26:19,119 Speaker 1: attaching electrodes to various muscles which could then be activated 472 00:26:19,119 --> 00:26:22,000 Speaker 1: by remote users. And uh, I mean and this was 473 00:26:22,040 --> 00:26:27,280 Speaker 1: all about uh, sensory experience and the idea that increasingly 474 00:26:27,359 --> 00:26:30,120 Speaker 1: today and certainly in the future, but our sensory experience 475 00:26:30,200 --> 00:26:33,320 Speaker 1: isn't bound to a particular location or bound by the 476 00:26:33,400 --> 00:26:36,600 Speaker 1: body itself. You know. He's forcing you to to think 477 00:26:36,640 --> 00:26:40,960 Speaker 1: about our modern sense experience as being this uh, this 478 00:26:41,359 --> 00:26:44,119 Speaker 1: international thing you know. I mean it comes back to 479 00:26:44,240 --> 00:26:46,280 Speaker 1: like doing Google image searches of things, and how does 480 00:26:46,320 --> 00:26:50,240 Speaker 1: that change our perception of the world. Um. But then 481 00:26:50,280 --> 00:26:52,960 Speaker 1: the the ear idea came to him, and the ear 482 00:26:53,000 --> 00:26:55,040 Speaker 1: of the idea apparently he had it, you know, back 483 00:26:55,080 --> 00:26:58,400 Speaker 1: in the mid nineties and spent ten years tracking down 484 00:26:58,440 --> 00:27:01,560 Speaker 1: people who had actually performed surgery. I read somewhere he said, 485 00:27:01,560 --> 00:27:04,000 Speaker 1: if the technology would have been present, then I would 486 00:27:04,000 --> 00:27:06,199 Speaker 1: have gone ahead and pursued it, but I had to 487 00:27:06,200 --> 00:27:09,240 Speaker 1: wait until we could actually do this. Yeah, And I 488 00:27:09,280 --> 00:27:13,000 Speaker 1: mean that's something to to say. Surgical technology hasn't really 489 00:27:13,040 --> 00:27:16,600 Speaker 1: caught up with my art yet, you know that is 490 00:27:16,680 --> 00:27:21,040 Speaker 1: that's generally considered the statement of of someone who is 491 00:27:21,280 --> 00:27:25,800 Speaker 1: deeply disturbed, of someone who's is uh, deeply creative and 492 00:27:25,960 --> 00:27:30,800 Speaker 1: uh and yeah. So two thousand six, the day finally arrives. Um, 493 00:27:30,840 --> 00:27:35,720 Speaker 1: a biocombatible scaffold is surgically inserted into his left forearm, 494 00:27:35,760 --> 00:27:38,080 Speaker 1: and it creates the shape of an ear. So it's 495 00:27:38,080 --> 00:27:40,560 Speaker 1: not yet, it's not an ear per se, right, it's 496 00:27:41,160 --> 00:27:43,320 Speaker 1: you know, we mentioned scaffoldings. We can grow tissue, we 497 00:27:43,320 --> 00:27:45,399 Speaker 1: can use stem selves to grow tissues. We can grow 498 00:27:45,640 --> 00:27:48,080 Speaker 1: heart tissue, but we need the shape of a heart 499 00:27:48,119 --> 00:27:51,040 Speaker 1: around which to grow it. Um, And this is a 500 00:27:51,080 --> 00:27:53,920 Speaker 1: scaffolding of an ear. It was just surgically implant under 501 00:27:53,960 --> 00:27:58,560 Speaker 1: the skin. And uh, and it's actually took successive surgeries 502 00:27:58,800 --> 00:28:03,399 Speaker 1: in a in a six about with with with infection. 503 00:28:03,440 --> 00:28:05,120 Speaker 1: He had to take all these antibiotics, So it wasn't 504 00:28:05,160 --> 00:28:07,439 Speaker 1: just a simple procedure of flying it in Like this 505 00:28:07,520 --> 00:28:12,159 Speaker 1: dude suffered for his art um and now has an 506 00:28:12,160 --> 00:28:15,359 Speaker 1: ear shape in his arm and that that that's just 507 00:28:15,480 --> 00:28:18,560 Speaker 1: sort of stage one, right, six years later, he's still 508 00:28:18,600 --> 00:28:21,560 Speaker 1: adding to it, right, like with his own adults, some cells, 509 00:28:21,600 --> 00:28:23,119 Speaker 1: because he wants to give it a lobe. It doesn't 510 00:28:23,119 --> 00:28:25,800 Speaker 1: really have a proper lobe because that's not really part 511 00:28:25,840 --> 00:28:31,280 Speaker 1: of the scaffolding. Uh, the fleshy lobe is fleshy, yeah, right, 512 00:28:31,359 --> 00:28:33,800 Speaker 1: and so and and he's got an idea about that too, 513 00:28:33,840 --> 00:28:37,560 Speaker 1: because eventually he wants to insert a small microphone that 514 00:28:37,600 --> 00:28:41,080 Speaker 1: connects to a wireless transmitter. And he says that in 515 00:28:41,160 --> 00:28:44,040 Speaker 1: any WiFi spot in the world, he'd be able to 516 00:28:44,200 --> 00:28:48,200 Speaker 1: have that ear become Internet enabled. So he says, if 517 00:28:48,240 --> 00:28:50,160 Speaker 1: you're in San Francisco and I'm in London, you'll be 518 00:28:50,160 --> 00:28:52,640 Speaker 1: able to listen in to what my ear is hearing 519 00:28:52,760 --> 00:28:55,360 Speaker 1: wherever you are and wherever I am. And again, here's 520 00:28:55,360 --> 00:28:59,160 Speaker 1: this idea of it's not just this person doing this 521 00:28:59,280 --> 00:29:02,520 Speaker 1: solo act, and he's really trying to connect with humanity 522 00:29:02,520 --> 00:29:04,960 Speaker 1: in this other way. Yeah, so we can reach a 523 00:29:04,960 --> 00:29:08,160 Speaker 1: point where you can go to a website and you 524 00:29:08,240 --> 00:29:12,720 Speaker 1: can listen through Steve Lark's arm ear, and uh, that's 525 00:29:12,800 --> 00:29:15,760 Speaker 1: that's pretty amazing. Um. He apparently gets kind of touchy 526 00:29:15,800 --> 00:29:19,880 Speaker 1: about how it's described as was. There's a Wired magazine 527 00:29:20,000 --> 00:29:22,040 Speaker 1: interview with him in two thousand twelve, and this is 528 00:29:22,080 --> 00:29:25,120 Speaker 1: how he describes the ear. He says, uh quote partially 529 00:29:25,120 --> 00:29:28,600 Speaker 1: surgically constructed, partially cell grown, and this year it's been 530 00:29:28,600 --> 00:29:32,080 Speaker 1: confirmed now we'll be doing the augmentation of the helical 531 00:29:32,080 --> 00:29:34,239 Speaker 1: part of the ear to make it more prominent and 532 00:29:34,280 --> 00:29:37,280 Speaker 1: will also grow a softier load of using my extracted 533 00:29:37,360 --> 00:29:42,360 Speaker 1: adult stem cells. So um, it's uh yeah, it's it's 534 00:29:42,360 --> 00:29:44,280 Speaker 1: it's pretty mind boggling. And that and this is not 535 00:29:44,360 --> 00:29:47,760 Speaker 1: the end. This is not his final piece by any 536 00:29:47,800 --> 00:29:51,000 Speaker 1: stretch of the imagination. He has other plans for the future. So, 537 00:29:51,320 --> 00:29:54,680 Speaker 1: and I know it sounds ridiculous, probably tell the listeners like, ah, 538 00:29:54,680 --> 00:29:58,760 Speaker 1: this guy, you know, sculpting and ear so that it 539 00:29:58,800 --> 00:30:02,680 Speaker 1: can then be why but you know, we talked about, 540 00:30:02,720 --> 00:30:05,680 Speaker 1: you know, in a contact lenses of the gods. We 541 00:30:05,760 --> 00:30:10,520 Speaker 1: talked about augmenting our own reality and teasing contact lenses 542 00:30:10,680 --> 00:30:14,360 Speaker 1: that essentially hooked up to the Internet, UM that can 543 00:30:14,360 --> 00:30:17,680 Speaker 1: project to certain images. So when you start to look 544 00:30:17,680 --> 00:30:20,240 Speaker 1: at it in that way, it's not too far along. 545 00:30:20,280 --> 00:30:23,200 Speaker 1: Of course, not all of us are going to graft 546 00:30:23,320 --> 00:30:26,960 Speaker 1: tissue onto ourselves and why are it um? But he 547 00:30:27,120 --> 00:30:31,200 Speaker 1: is exploring this idea of different ways of communicating and 548 00:30:31,240 --> 00:30:33,880 Speaker 1: perceiving the world. Yeah. And and once you get like 549 00:30:33,880 --> 00:30:37,080 Speaker 1: if you it's performance artists to a certain extent, like 550 00:30:36,880 --> 00:30:39,000 Speaker 1: a like all artists kind of like a door to 551 00:30:39,080 --> 00:30:41,680 Speaker 1: a room. Uh. And if you if you just look 552 00:30:41,720 --> 00:30:43,440 Speaker 1: at the door, you don't walk through that door. If 553 00:30:43,440 --> 00:30:45,960 Speaker 1: you just if you just judge it at the face 554 00:30:46,000 --> 00:30:47,240 Speaker 1: dog and be like, oh, I'm crazy to do do you 555 00:30:47,240 --> 00:30:49,400 Speaker 1: put an ear on his arm or somebody painted a 556 00:30:49,400 --> 00:30:51,600 Speaker 1: bunch of colors on a canvas, You're not gonna get anywhere. 557 00:30:51,600 --> 00:30:53,440 Speaker 1: You're not gonna engage with the piece. But once you 558 00:30:53,480 --> 00:30:56,120 Speaker 1: get past that that level, you know, that kind of 559 00:30:56,120 --> 00:30:58,760 Speaker 1: shock level, you think about what you're perceiving and what 560 00:30:58,760 --> 00:31:01,720 Speaker 1: this guy is doing and why he's doing it, Um, 561 00:31:01,960 --> 00:31:04,560 Speaker 1: I mean that's where the performance are really forces you 562 00:31:04,600 --> 00:31:07,840 Speaker 1: to think about the be at times part or or 563 00:31:08,120 --> 00:31:12,960 Speaker 1: fascinating truth regarding human nature or technology in this case. Um. 564 00:31:13,000 --> 00:31:15,280 Speaker 1: He actually said, I really like this quote. He said, 565 00:31:15,360 --> 00:31:20,160 Speaker 1: artists can be early award warning systems, generators of contestable futures, 566 00:31:20,560 --> 00:31:25,840 Speaker 1: possibilities that can be examined, evaluated, perhaps appropriated, often discarded 567 00:31:26,600 --> 00:31:28,600 Speaker 1: without That's a good way to look at it. Because 568 00:31:28,640 --> 00:31:31,240 Speaker 1: we have all these technologies coming online, and we often 569 00:31:31,240 --> 00:31:32,680 Speaker 1: talk about that, how does it How is that going 570 00:31:32,720 --> 00:31:34,840 Speaker 1: to affect us fifty years out? So I want to 571 00:31:34,880 --> 00:31:37,160 Speaker 1: set forth and here's this person who's extrapolated a lot 572 00:31:37,160 --> 00:31:41,640 Speaker 1: of these ideas onto his own being, William Gibson. In 573 00:31:41,760 --> 00:31:45,040 Speaker 1: his forward to h the Steve like the monograph, he 574 00:31:45,040 --> 00:31:46,640 Speaker 1: talked about meeting him for the first time, and this 575 00:31:46,800 --> 00:31:49,560 Speaker 1: is this great little bit I wanted to read from 576 00:31:49,560 --> 00:31:52,480 Speaker 1: that Gibson. Gibson, of course, is the author of Neuromancer 577 00:31:52,680 --> 00:31:55,680 Speaker 1: and UH more recently books such as A Pattern Recognition, 578 00:31:55,800 --> 00:31:57,880 Speaker 1: which you know, all of these books deal with technology 579 00:31:57,960 --> 00:32:02,280 Speaker 1: and and how humans are changed, how we interfere involved 580 00:32:02,280 --> 00:32:05,400 Speaker 1: ourselves with technology. Gibson says, I imagine now that I 581 00:32:05,440 --> 00:32:08,880 Speaker 1: was watching Steve Lark in performance with his robotic third arm, 582 00:32:09,120 --> 00:32:11,640 Speaker 1: But what I recall experiencing was a vision of some 583 00:32:11,760 --> 00:32:16,200 Speaker 1: absolute chimera at the heart of a labyrinth of breathtaking complexity. 584 00:32:16,600 --> 00:32:21,400 Speaker 1: I sense that the important thing wasn't the entities stee 585 00:32:21,440 --> 00:32:25,480 Speaker 1: Lark evoked, but the labyrinth that the creatures manifestation suggested, 586 00:32:26,240 --> 00:32:28,000 Speaker 1: which I thought was a nice way of summing it up. 587 00:32:28,040 --> 00:32:31,680 Speaker 1: It's not so much look at this freak with a 588 00:32:31,720 --> 00:32:33,520 Speaker 1: third arm, or look at this frequent an ear on 589 00:32:33,600 --> 00:32:36,480 Speaker 1: his on his arm. Now this is like to think 590 00:32:36,680 --> 00:32:39,160 Speaker 1: of the world that sort of flows out from this 591 00:32:39,240 --> 00:32:42,520 Speaker 1: piece in the same way that um uh, you know 592 00:32:42,720 --> 00:32:45,040 Speaker 1: a lot of the performance artists about forcing the viewer 593 00:32:45,120 --> 00:32:48,280 Speaker 1: to think about themselves. He forces the viewer to think 594 00:32:48,280 --> 00:32:50,960 Speaker 1: about the world that we've created for ourselves. Yeah, and 595 00:32:51,000 --> 00:32:54,040 Speaker 1: it appears that he doesn't have an opinion one way 596 00:32:54,080 --> 00:32:57,480 Speaker 1: or the other in terms of this sort of technological 597 00:32:57,560 --> 00:33:00,920 Speaker 1: augmenting of his body, and you know, making a statement 598 00:33:00,920 --> 00:33:05,360 Speaker 1: about dystopian future versus utopian future, right, um and he 599 00:33:05,440 --> 00:33:09,880 Speaker 1: doesn't think of himself in and and Gibson was rather 600 00:33:09,920 --> 00:33:12,240 Speaker 1: dismissive of the He's like, I don't think he's talking 601 00:33:12,240 --> 00:33:14,360 Speaker 1: about the future at all. No, No, he says, and 602 00:33:14,440 --> 00:33:16,840 Speaker 1: in fact, and he says on the point, Um, he says, 603 00:33:16,880 --> 00:33:18,880 Speaker 1: I don't think that machines will take over at some 604 00:33:18,960 --> 00:33:21,960 Speaker 1: imagine point in time a singularity. I think it will 605 00:33:21,960 --> 00:33:24,800 Speaker 1: be much more complex. There will be multiple and alternate 606 00:33:24,880 --> 00:33:28,880 Speaker 1: possibilities that will be constantly generated. It's another perspective on that. 607 00:33:29,640 --> 00:33:32,560 Speaker 1: As for the future, Steel has a couple of products planned. 608 00:33:32,600 --> 00:33:35,440 Speaker 1: Just going to mention him quick here. Um. First, he 609 00:33:35,480 --> 00:33:40,680 Speaker 1: wants to engineer a quote insect like microbot that will 610 00:33:40,680 --> 00:33:44,320 Speaker 1: climb into his mouth unquote. Uh. And it's a in 611 00:33:44,360 --> 00:33:48,600 Speaker 1: this level webcam and led light. It reminds one of 612 00:33:48,640 --> 00:33:51,440 Speaker 1: the like The Mermaid, the endoscopic cameras that we've talked 613 00:33:51,440 --> 00:33:54,080 Speaker 1: about in previous episodes. Well, he wants to he's taking 614 00:33:54,080 --> 00:33:58,040 Speaker 1: the artistic approach with this technology, which is fascinating. And 615 00:33:58,080 --> 00:34:01,320 Speaker 1: then he also wants to grow a microbial second skin. 616 00:34:02,000 --> 00:34:04,880 Speaker 1: And this would involve covering his body with a layer 617 00:34:05,040 --> 00:34:09,000 Speaker 1: of agar, which is that that clear stuff you see 618 00:34:09,000 --> 00:34:11,919 Speaker 1: in peachfea dishes. It's the medium that helps grow the culture. Yeah, 619 00:34:11,960 --> 00:34:14,120 Speaker 1: we had some of this when we did the video 620 00:34:14,160 --> 00:34:16,560 Speaker 1: series we did. Yeah, if I known, we should have 621 00:34:16,640 --> 00:34:19,160 Speaker 1: ordered more of it, and I could have slathered myself 622 00:34:19,160 --> 00:34:21,399 Speaker 1: with it and grown more skin. But now he would 623 00:34:21,440 --> 00:34:25,719 Speaker 1: be growing a skin of microbes. And uh, then he 624 00:34:25,760 --> 00:34:28,080 Speaker 1: has he has some fantastic ideas about what that would 625 00:34:28,160 --> 00:34:30,160 Speaker 1: mean and all. And so we'll just see how that 626 00:34:30,520 --> 00:34:32,680 Speaker 1: Isn't he going to encase himself for like three days 627 00:34:32,680 --> 00:34:34,800 Speaker 1: in it or something, and then he's going to discard 628 00:34:34,840 --> 00:34:38,120 Speaker 1: it but allow it to continue to grow grow matter 629 00:34:38,200 --> 00:34:42,040 Speaker 1: on it. Yes, microbial matter. Um, I want one of those, 630 00:34:43,840 --> 00:34:46,120 Speaker 1: although I think that if I didn't, if I wore 631 00:34:46,239 --> 00:34:49,120 Speaker 1: microbial second skin all the time, I wouldn't get the benefit, 632 00:34:49,160 --> 00:34:52,680 Speaker 1: of course, of my own uh good microbes hanging out. Well, 633 00:34:52,840 --> 00:34:54,400 Speaker 1: it comes back to Marta. I feel like I have 634 00:34:54,480 --> 00:34:57,680 Speaker 1: encountered individuals on the train who have grown a microbial 635 00:34:57,719 --> 00:35:01,799 Speaker 1: second skin, but they were not performance artists. Alright, let's 636 00:35:01,800 --> 00:35:03,800 Speaker 1: shift over. Now that we have this kind of foundation 637 00:35:03,880 --> 00:35:05,759 Speaker 1: with a couple of artists who have I really think 638 00:35:05,840 --> 00:35:09,520 Speaker 1: set the bar here in terms of dedication and big themes, 639 00:35:10,200 --> 00:35:14,879 Speaker 1: let's take off a couple of others. There's Guillamo Guillenomo Vargas, yes, 640 00:35:14,920 --> 00:35:20,040 Speaker 1: Costa Rican and this guy is rather controversial and this 641 00:35:20,080 --> 00:35:21,799 Speaker 1: is the guy was definitely thinking of when we were 642 00:35:21,800 --> 00:35:27,040 Speaker 1: talking about the highs, but also poticially the loads of performance. 643 00:35:27,160 --> 00:35:31,040 Speaker 1: Art Um tell us about his piece with the Dog. Okay, 644 00:35:31,080 --> 00:35:34,239 Speaker 1: this was in Nicaragua and two thousand and seven at 645 00:35:34,239 --> 00:35:39,440 Speaker 1: a gall which neighbors UM and Uh. It was at 646 00:35:39,480 --> 00:35:43,480 Speaker 1: a gallery there, and it featured UM a dog tied 647 00:35:43,520 --> 00:35:46,680 Speaker 1: to a wall with a short length of rope and 648 00:35:46,800 --> 00:35:50,600 Speaker 1: the words eros look Lise, you are what you read 649 00:35:50,800 --> 00:35:55,120 Speaker 1: were written on the wall with dog food. Um. So okay, 650 00:35:59,160 --> 00:36:02,799 Speaker 1: set dog that is not being fed and yet there's 651 00:36:02,840 --> 00:36:05,759 Speaker 1: dog food around it. So it caused a ton of 652 00:36:05,800 --> 00:36:09,319 Speaker 1: controversy um and especially when it was reported that the 653 00:36:09,360 --> 00:36:12,600 Speaker 1: dog actually died of starvation. Yeah. So let's like I 654 00:36:12,640 --> 00:36:16,719 Speaker 1: said earlier, art as is this doorway into this room 655 00:36:16,760 --> 00:36:22,040 Speaker 1: of truth and thought and in contemplation and confrontation at 656 00:36:22,080 --> 00:36:25,680 Speaker 1: the door level to this piece. It's it's pretty horrendous, right, 657 00:36:25,760 --> 00:36:28,560 Speaker 1: Like this dude brought in a dog, tied it up, intentionally, 658 00:36:28,560 --> 00:36:32,040 Speaker 1: didn't feed it, and it died. But the audience is 659 00:36:32,080 --> 00:36:34,960 Speaker 1: also part of this. Yeah, the audience is present the 660 00:36:35,840 --> 00:36:39,680 Speaker 1: and did the audience feed the dog? No? According to 661 00:36:39,760 --> 00:36:44,239 Speaker 1: the gallery director, he said that during the exhibition. Uh, 662 00:36:44,280 --> 00:36:46,720 Speaker 1: that he didn't have any visitor that tried to free 663 00:36:46,719 --> 00:36:50,320 Speaker 1: the dog, feed it or call the police. Yeah. And 664 00:36:50,320 --> 00:36:52,000 Speaker 1: and the other part of the statement here too is 665 00:36:52,160 --> 00:36:55,160 Speaker 1: everyone gets super up in arms. Oh my god, a 666 00:36:55,280 --> 00:36:58,120 Speaker 1: dog starved to death and this guy just let it happen. 667 00:36:58,520 --> 00:37:00,359 Speaker 1: But as a dog, he got off the street where 668 00:37:00,360 --> 00:37:03,120 Speaker 1: they are all these other dogs starving on a daily basis, 669 00:37:03,120 --> 00:37:06,239 Speaker 1: where there humans starving. And uh, and that is not 670 00:37:06,320 --> 00:37:08,879 Speaker 1: the point of outrage. The outrage is that it took 671 00:37:08,880 --> 00:37:13,680 Speaker 1: place there as performance art, right, right. But I mean 672 00:37:13,800 --> 00:37:16,360 Speaker 1: you could take his stance and say that what what 673 00:37:16,480 --> 00:37:19,840 Speaker 1: the art piece was really about was a diffusion of responsibility. 674 00:37:20,360 --> 00:37:23,520 Speaker 1: We've talked about this in the bystander effect before, and 675 00:37:23,840 --> 00:37:26,239 Speaker 1: there have been a ton of studies carried out to 676 00:37:26,280 --> 00:37:29,440 Speaker 1: say that when people get together and they see, you know, atrocities, 677 00:37:29,520 --> 00:37:31,720 Speaker 1: or they see something that seems wrong headed, we don't 678 00:37:31,719 --> 00:37:36,960 Speaker 1: always fly to the best natures of our beings, right, Um, 679 00:37:37,000 --> 00:37:42,240 Speaker 1: that we sometimes shirk responsibility and social psychologist John Darley 680 00:37:42,360 --> 00:37:46,440 Speaker 1: Ambibilitane concluded that the larger number of people who witness 681 00:37:46,520 --> 00:37:49,960 Speaker 1: something that's seen an emergency or crime, for instance, the 682 00:37:50,000 --> 00:37:54,040 Speaker 1: lower probability than an individual will act. So we've seen 683 00:37:54,080 --> 00:37:56,399 Speaker 1: this in a couple of different ways, or something called 684 00:37:56,560 --> 00:38:01,480 Speaker 1: pluralistic ignorance. And this is a collective in action by 685 00:38:01,480 --> 00:38:03,399 Speaker 1: a group because you kind of look to the other 686 00:38:03,440 --> 00:38:06,320 Speaker 1: person for a queue and if the other person seems like, well, no, 687 00:38:06,400 --> 00:38:09,960 Speaker 1: it's not that serious, then nobody else thinks it's that serious. 688 00:38:10,280 --> 00:38:13,520 Speaker 1: Comedian Louis c k has some great bits about this, 689 00:38:13,719 --> 00:38:15,439 Speaker 1: uh in a stand up but also on the show 690 00:38:15,480 --> 00:38:19,160 Speaker 1: Louis that involved like walking past people on the streets 691 00:38:19,160 --> 00:38:21,960 Speaker 1: of New York who are in really bad shape and 692 00:38:22,000 --> 00:38:24,359 Speaker 1: having to and then being there with somebody who's either 693 00:38:24,400 --> 00:38:27,560 Speaker 1: an outsider uh that's visiting New York or somebody who's 694 00:38:27,600 --> 00:38:29,840 Speaker 1: just in a maybe he has a different state of mind. 695 00:38:30,000 --> 00:38:32,640 Speaker 1: This says, does he you know, let's help this guy? 696 00:38:32,719 --> 00:38:35,520 Speaker 1: Does he need help? And Louis like, yeah, he needs 697 00:38:35,520 --> 00:38:38,319 Speaker 1: your help more than anything, but we just don't do that. Yeah. 698 00:38:38,360 --> 00:38:41,120 Speaker 1: I think it was an example was like a I 699 00:38:41,160 --> 00:38:43,600 Speaker 1: want to say, like a teenager or something. Yeah, it 700 00:38:43,600 --> 00:38:46,160 Speaker 1: had never been to the city before and was trying 701 00:38:46,160 --> 00:38:47,879 Speaker 1: to help a homeless person. He was like, oh, honey, 702 00:38:47,920 --> 00:38:50,239 Speaker 1: we don't do that. Yeah, And to your point, like, yeah, 703 00:38:50,320 --> 00:38:52,120 Speaker 1: that person does need all the help in the world, 704 00:38:52,120 --> 00:38:54,480 Speaker 1: but we just don't do that. Um. And that's this 705 00:38:54,600 --> 00:38:57,120 Speaker 1: idea to the diffusion of responsibility. Somebody else is in 706 00:38:57,200 --> 00:39:00,359 Speaker 1: charge or somebody else, um may be better a deal 707 00:39:00,600 --> 00:39:03,520 Speaker 1: able to better deal with us than you are I. 708 00:39:04,880 --> 00:39:09,600 Speaker 1: So that is why that peace is interesting. It's it's awful. Yeah, 709 00:39:09,960 --> 00:39:12,239 Speaker 1: like we are not forgiving that. You know. It was 710 00:39:12,239 --> 00:39:14,560 Speaker 1: hard for me to research it, to be quite honest, 711 00:39:14,680 --> 00:39:18,160 Speaker 1: called exposition number one in case anybody wants to look 712 00:39:18,200 --> 00:39:24,239 Speaker 1: into it further. But um, it's definitely a commentary on society. Yeah. 713 00:39:24,400 --> 00:39:27,560 Speaker 1: And uh, like when when I was in Coasta, Rica, 714 00:39:27,560 --> 00:39:30,560 Speaker 1: I visited the art museum um there and there was 715 00:39:30,640 --> 00:39:32,719 Speaker 1: there were I don't I do not remember there being 716 00:39:32,719 --> 00:39:34,600 Speaker 1: a dog tied up, so but there was a lot 717 00:39:34,680 --> 00:39:38,640 Speaker 1: of fine modern art there. So because it bit it 718 00:39:38,680 --> 00:39:41,359 Speaker 1: by that time, yeah yeah, yeah, but let it let 719 00:39:41,360 --> 00:39:42,880 Speaker 1: it be known that Coast Costa Ricue has a lot 720 00:39:42,880 --> 00:39:47,160 Speaker 1: of very talented artists who don't have don't harm dogs. 721 00:39:47,440 --> 00:39:50,239 Speaker 1: And this was in Nicaragua anyway, so yeah, where it's 722 00:39:50,239 --> 00:39:53,319 Speaker 1: also pointed out that there were no laws in Nicaragua 723 00:39:53,400 --> 00:39:57,520 Speaker 1: against what he did, so he wasn't actually breaking the law, right, right, 724 00:39:57,560 --> 00:39:58,840 Speaker 1: I'm not sure that something you could do in the 725 00:39:58,880 --> 00:40:02,560 Speaker 1: United States, right, Yeah, definitely not all right. So Damien 726 00:40:02,640 --> 00:40:04,759 Speaker 1: Hurst is another person we'd like to talk about. A 727 00:40:04,800 --> 00:40:07,600 Speaker 1: lot of people are familiar with him, um, particularly with 728 00:40:07,719 --> 00:40:13,319 Speaker 1: some of the formalde hyde preserved carcasses or animals that 729 00:40:13,360 --> 00:40:15,640 Speaker 1: he's actually done in the past, like the Big Shark, 730 00:40:15,760 --> 00:40:20,239 Speaker 1: thee the physical impossibility of death in the mind of 731 00:40:20,280 --> 00:40:24,479 Speaker 1: someone living, which is like this big formalde hyde tank 732 00:40:24,560 --> 00:40:26,680 Speaker 1: sort of three divisions, what's not really three divisions, but 733 00:40:26,719 --> 00:40:28,640 Speaker 1: it has like they're looking at it, it it looks like 734 00:40:28,640 --> 00:40:30,640 Speaker 1: there are three sections to it, and there's sins a 735 00:40:30,719 --> 00:40:33,640 Speaker 1: giant shark in there, and like it was an actual 736 00:40:33,640 --> 00:40:37,200 Speaker 1: shark that he commissioned somebody to catch. That was his 737 00:40:37,200 --> 00:40:40,120 Speaker 1: his only um mandate on it was it needs to 738 00:40:40,160 --> 00:40:43,040 Speaker 1: be big enough to eat somebody, because that's sort of 739 00:40:43,120 --> 00:40:45,360 Speaker 1: the that's the idea of the shark is a manifestation 740 00:40:45,840 --> 00:40:49,080 Speaker 1: of human mortality. Here is something in the food chain, 741 00:40:49,239 --> 00:40:51,960 Speaker 1: something out there in the world, big enough to eat 742 00:40:52,800 --> 00:40:55,360 Speaker 1: and perfectly capable of carrying it out. And here it 743 00:40:55,480 --> 00:40:58,200 Speaker 1: is a completely vulnerable rendered in front of you. Right, 744 00:40:58,239 --> 00:41:03,080 Speaker 1: He's it's sort of obsessed with death. And uh and uh, 745 00:41:03,200 --> 00:41:07,200 Speaker 1: I guess you know, putrification preservation. Um. What I've seen 746 00:41:07,239 --> 00:41:10,719 Speaker 1: before is mother and child divided. I saw the Tate Gallery, 747 00:41:10,840 --> 00:41:15,719 Speaker 1: and that is a calf and it's mother that are bisected, 748 00:41:16,239 --> 00:41:20,120 Speaker 1: and so they're in four different formaldehyde cubes and you 749 00:41:20,160 --> 00:41:22,920 Speaker 1: can walk through them and you can actually see the 750 00:41:22,960 --> 00:41:26,520 Speaker 1: bisection inside of of their guts and so on. Yeah, 751 00:41:26,640 --> 00:41:29,120 Speaker 1: and sort of that's kind of a play to mother 752 00:41:29,239 --> 00:41:33,239 Speaker 1: and calf divided. Of course, not everything he does involves 753 00:41:33,400 --> 00:41:36,839 Speaker 1: dead animals. Um. There he has some wonderful sculpture. There's, 754 00:41:36,880 --> 00:41:40,040 Speaker 1: in fact, one of my favorite sculpture pieces, which I've 755 00:41:40,080 --> 00:41:42,680 Speaker 1: never actually seen in person, but I've seen pretty great 756 00:41:42,680 --> 00:41:47,080 Speaker 1: photographs of it, his two thousand and five piece Virgin Mother. UM. 757 00:41:47,160 --> 00:41:49,120 Speaker 1: If I can find I'll either include a link or 758 00:41:49,160 --> 00:41:51,839 Speaker 1: embedded picture of this. Let me do the blog post 759 00:41:51,880 --> 00:41:54,319 Speaker 1: that goes with this episode, because it's just beautiful. It's 760 00:41:54,360 --> 00:41:57,439 Speaker 1: painted bronze, and it's a it's uh, it's like it's 761 00:41:57,560 --> 00:41:59,880 Speaker 1: there's kind of like a half half of it is 762 00:41:59,880 --> 00:42:03,680 Speaker 1: like an anatomical dissection of of of a pregnant woman, 763 00:42:03,719 --> 00:42:07,919 Speaker 1: and in the other half, um, it's fleshed and it's 764 00:42:08,120 --> 00:42:10,800 Speaker 1: it's just just a beautiful piece of art. Yeah, I 765 00:42:10,800 --> 00:42:14,520 Speaker 1: mean he's got his rendering is no doubt there. There's 766 00:42:14,760 --> 00:42:18,839 Speaker 1: a lot to celebrate in terms of that sculpture. Yeah, 767 00:42:19,160 --> 00:42:21,279 Speaker 1: he's he has the skill. It's not like he's one 768 00:42:21,280 --> 00:42:23,320 Speaker 1: of these guys that's just like here's a Dutch shark 769 00:42:23,400 --> 00:42:25,719 Speaker 1: and his art look at it, you know, I mean, 770 00:42:25,760 --> 00:42:27,600 Speaker 1: you know, there's a lot more going on here. But 771 00:42:27,840 --> 00:42:30,440 Speaker 1: I do want to point out that he submitted plans 772 00:42:30,440 --> 00:42:34,440 Speaker 1: for his ninety seven thousand foot When he calls art plant, okay, 773 00:42:34,480 --> 00:42:37,160 Speaker 1: it's square foot, Okay, it's nine seven thousand square feet 774 00:42:37,200 --> 00:42:42,160 Speaker 1: of plant. In rendering these animals, he actually has a 775 00:42:42,160 --> 00:42:46,279 Speaker 1: formaldehyde studio built into this plant and like hooks where 776 00:42:46,280 --> 00:42:49,560 Speaker 1: all the carcasses hang. So, I mean he's still obviously 777 00:42:49,640 --> 00:42:53,920 Speaker 1: interested in this um, but this is actually animal carcasses 778 00:42:54,160 --> 00:42:56,960 Speaker 1: sixty seven foot sculptures. There's another one called the Angel 779 00:42:57,160 --> 00:43:01,400 Speaker 1: of the West that he's trying to get done. Right now, Um, 780 00:43:01,680 --> 00:43:03,279 Speaker 1: this is actually not what we're talking about. We want 781 00:43:03,280 --> 00:43:09,399 Speaker 1: to talk about this skull that is bedazzled beyond bedazzlement. Yeah, 782 00:43:09,400 --> 00:43:14,000 Speaker 1: it's in diamonds, yes, and it's a plastum cast of 783 00:43:14,200 --> 00:43:18,760 Speaker 1: a real human skull with real teeth encrusted with eight thousand, 784 00:43:18,840 --> 00:43:22,880 Speaker 1: six hundred and one diamonds, and that totals something like 785 00:43:22,920 --> 00:43:26,719 Speaker 1: at the time fourteen million pounds, right, And uh, it 786 00:43:26,840 --> 00:43:32,200 Speaker 1: is rumored that he sold the piece to conglomerate Um 787 00:43:32,239 --> 00:43:33,840 Speaker 1: and that it's I think he's still look for like 788 00:43:33,880 --> 00:43:37,640 Speaker 1: fifty million pounds, but I mean it's we don't even 789 00:43:37,680 --> 00:43:40,040 Speaker 1: know if it will be exhibited again. This is such 790 00:43:40,080 --> 00:43:44,600 Speaker 1: an incredible piece and and so very expensive. If you 791 00:43:44,680 --> 00:43:48,720 Speaker 1: look at it, Uh you, I mean you will be 792 00:43:48,800 --> 00:43:52,200 Speaker 1: dazzled by You can't not be dazzled by it. And 793 00:43:52,680 --> 00:43:55,920 Speaker 1: Hurst himself that he was really surprised by how it 794 00:43:55,960 --> 00:43:59,399 Speaker 1: came out because he really wanted to interrogate death and 795 00:43:59,440 --> 00:44:03,080 Speaker 1: look at it um in a different light, and he 796 00:44:03,120 --> 00:44:04,960 Speaker 1: said that he thinks that there's more of a positive 797 00:44:04,960 --> 00:44:07,440 Speaker 1: spin to the school, that there's it's like the glory 798 00:44:07,480 --> 00:44:09,720 Speaker 1: of death as opposed to like death as we always 799 00:44:09,719 --> 00:44:14,600 Speaker 1: think of as the grim reaper. Yeah, like a fabulous death. Yes, 800 00:44:14,719 --> 00:44:18,280 Speaker 1: it is a fabulous It looks as though it's awesome 801 00:44:18,440 --> 00:44:21,839 Speaker 1: when you look at that. Oh death, that's great. Get bedazzled. 802 00:44:22,600 --> 00:44:25,960 Speaker 1: And he's certainly more of a multimedia artist like there's 803 00:44:26,080 --> 00:44:28,000 Speaker 1: performance aspects to his work, but then against some of 804 00:44:28,080 --> 00:44:31,640 Speaker 1: it is more traditional sculpture UM as well. Yeah, and 805 00:44:31,680 --> 00:44:33,319 Speaker 1: there were people who said, like, you know, there's a 806 00:44:33,320 --> 00:44:36,080 Speaker 1: comment on this too because of blood diamonds um in 807 00:44:36,120 --> 00:44:39,640 Speaker 1: the mining practices. Um. There's another aspect that you can 808 00:44:39,680 --> 00:44:42,080 Speaker 1: take away from it. To me, I think, is this 809 00:44:42,200 --> 00:44:46,040 Speaker 1: like the ultimate totem of denial of like our our 810 00:44:46,080 --> 00:44:49,640 Speaker 1: own mortality that you dress up death. But in any case, 811 00:44:49,680 --> 00:44:52,120 Speaker 1: you guys should definitely go and google it. It's worth 812 00:44:52,160 --> 00:44:54,440 Speaker 1: a look. Yeah, and again I'll try and include an 813 00:44:54,440 --> 00:44:57,120 Speaker 1: embedded image or at least a link to it. So, 814 00:44:57,360 --> 00:44:58,920 Speaker 1: like a lot of the pieces we're discussing here, so 815 00:44:59,000 --> 00:45:01,279 Speaker 1: you can be able to handle, uh seek them out 816 00:45:01,360 --> 00:45:04,080 Speaker 1: when you listen to this podcast. Okay, we have one 817 00:45:04,120 --> 00:45:06,000 Speaker 1: more artists that we want to discuss here, and that 818 00:45:06,120 --> 00:45:14,040 Speaker 1: is Michael Landy. Yes not Michael Landon performances were they were. 819 00:45:14,400 --> 00:45:17,640 Speaker 1: I will never forget paw Um Alright, So in two 820 00:45:17,640 --> 00:45:21,200 Speaker 1: thousand and one, this installation artists spent two weeks destroying 821 00:45:21,239 --> 00:45:25,920 Speaker 1: all of his worldly possessions. We're talking about seven thousand 822 00:45:26,680 --> 00:45:30,800 Speaker 1: or more can with some thousand and change objects including 823 00:45:30,840 --> 00:45:36,040 Speaker 1: like cooking utensils, but also original works by Damien Hurst, 824 00:45:36,960 --> 00:45:40,960 Speaker 1: like things that beyond just nearly stuff, but like things 825 00:45:41,000 --> 00:45:43,799 Speaker 1: that this is the only one that exists. Yeah, yeah, 826 00:45:43,800 --> 00:45:47,560 Speaker 1: like oh that's twenty dollars, I'll burn it. Um and 827 00:45:47,719 --> 00:45:53,439 Speaker 1: uh what else? Family photos, his sob, his car and 828 00:45:54,400 --> 00:45:56,680 Speaker 1: this I think from what if I've read this right 829 00:45:56,760 --> 00:46:01,080 Speaker 1: from an article was an idea he had after one 830 00:46:01,080 --> 00:46:04,920 Speaker 1: of his art installations in was thrown away. Do you 831 00:46:04,920 --> 00:46:07,040 Speaker 1: know if us Oh this is the one yes, where 832 00:46:07,440 --> 00:46:11,719 Speaker 1: the art installation itself resembled garbage. Yes, And I've not enough. 833 00:46:11,840 --> 00:46:13,480 Speaker 1: Like I told you about when I went to London 834 00:46:13,520 --> 00:46:16,720 Speaker 1: and I was on the ferry and we the ferry 835 00:46:17,440 --> 00:46:20,040 Speaker 1: tour guide was this cottony gentleman. He was talking about 836 00:46:20,040 --> 00:46:22,680 Speaker 1: the Museum of Modern Art there in London. He was 837 00:46:22,680 --> 00:46:24,759 Speaker 1: like pointed, it's like it's like, oh, you can go 838 00:46:24,800 --> 00:46:26,920 Speaker 1: over there, but they it's just a bunch of roby 839 00:46:26,960 --> 00:46:28,319 Speaker 1: shell went in there and I saw a piece and 840 00:46:28,320 --> 00:46:30,880 Speaker 1: I was, I can throw a pizza cotton in the garbage. 841 00:46:30,880 --> 00:46:32,840 Speaker 1: I'll just make some mot you know. And he's like 842 00:46:32,880 --> 00:46:36,280 Speaker 1: just really ragging on it. But that's exactly exactly exh 843 00:46:36,800 --> 00:46:40,840 Speaker 1: was garbage as art, but then was interpreted by a 844 00:46:40,960 --> 00:46:45,279 Speaker 1: janitor as garbage and thrown right, And so I think 845 00:46:45,320 --> 00:46:48,000 Speaker 1: that this is what spurred him on to say, Huh, 846 00:46:48,080 --> 00:46:51,960 Speaker 1: what if you know, I just lost this installation of garbage? 847 00:46:52,640 --> 00:46:54,759 Speaker 1: What what if I turned this to my own life? 848 00:46:54,800 --> 00:46:57,880 Speaker 1: What would happen to me? Um? If all my worldly 849 00:46:57,960 --> 00:47:02,880 Speaker 1: possessions were just smashed to smithereens? It's like it reminds 850 00:47:02,920 --> 00:47:04,719 Speaker 1: one of the sort of Vincent van Gogh having to 851 00:47:04,760 --> 00:47:09,400 Speaker 1: burn his paintings for warmth on the balcony. Um. I mean, 852 00:47:09,400 --> 00:47:11,719 Speaker 1: there's just something I mean, and it also brings to 853 00:47:11,760 --> 00:47:16,839 Speaker 1: mind I think like Tibetan monks creating these mendala's out 854 00:47:16,840 --> 00:47:20,520 Speaker 1: of sand and then and then destroying them. There's there's 855 00:47:20,520 --> 00:47:23,560 Speaker 1: something about I mean, it's creation and destruction that the 856 00:47:24,000 --> 00:47:28,200 Speaker 1: two primal forces in life, uh displayed there. I mean, 857 00:47:28,239 --> 00:47:32,080 Speaker 1: there's that's the core of of art right there, right 858 00:47:32,120 --> 00:47:34,880 Speaker 1: within every man sleeps the great destroyer, right and he 859 00:47:35,120 --> 00:47:38,680 Speaker 1: he took that, I mean and literally destroyed everything, and 860 00:47:38,719 --> 00:47:41,520 Speaker 1: not everybody could say they could do that, right Um. 861 00:47:41,560 --> 00:47:44,240 Speaker 1: And then this idea of of personhood that we talked about, 862 00:47:44,239 --> 00:47:47,920 Speaker 1: like your identity being bound up with things and the 863 00:47:47,960 --> 00:47:52,040 Speaker 1: sort of liberation from that from stuff from stuff man. 864 00:47:52,719 --> 00:47:55,680 Speaker 1: So all right, that's a that's a little uh poopoo 865 00:47:55,680 --> 00:48:00,920 Speaker 1: platter of artists in this field. Cool well, speaking of 866 00:48:01,080 --> 00:48:03,920 Speaker 1: two quick notes, um, speaking of Tookick Ladder, I just 867 00:48:03,960 --> 00:48:06,800 Speaker 1: want to mention real quick, if you downloaded an early 868 00:48:06,920 --> 00:48:10,839 Speaker 1: version of our Fecal Fossil episode, there's a little bit 869 00:48:10,840 --> 00:48:14,080 Speaker 1: where I was talking about owl pellets and uh, I 870 00:48:14,120 --> 00:48:16,279 Speaker 1: got caught up in the moment and talked about them 871 00:48:16,280 --> 00:48:19,799 Speaker 1: coming out of an owl's rear instead of an owl's face. 872 00:48:20,520 --> 00:48:23,120 Speaker 1: Pellets are, of course, vomit. We subsequently edited that part 873 00:48:23,120 --> 00:48:25,480 Speaker 1: out because it's just like a quick um, you know, 874 00:48:25,480 --> 00:48:28,279 Speaker 1: a couple of minutes deal where I started rambling about 875 00:48:28,280 --> 00:48:32,759 Speaker 1: it unplanned and uh, obviously pellets come out of an 876 00:48:32,760 --> 00:48:35,560 Speaker 1: house mouth is vomit. But I don't think you know 877 00:48:35,680 --> 00:48:39,440 Speaker 1: very well since you have pets more and I did 878 00:48:39,480 --> 00:48:40,840 Speaker 1: a blog post on so I don't know why I 879 00:48:40,840 --> 00:48:42,520 Speaker 1: got a wires cross in my head or something on 880 00:48:42,560 --> 00:48:45,360 Speaker 1: that one. But if you download the current version of it, 881 00:48:45,560 --> 00:48:49,360 Speaker 1: that air is absent um. And let's see if we 882 00:48:49,400 --> 00:48:52,080 Speaker 1: have a quick listener mail call over the robot real quick, 883 00:48:53,960 --> 00:48:57,799 Speaker 1: al right, our listener Murphy from Hawaii right soon, and says, hey, 884 00:48:57,880 --> 00:49:00,560 Speaker 1: Robert and Julie, just listen to your podcast. I'm screaming. 885 00:49:00,719 --> 00:49:03,840 Speaker 1: I recently graduated from high school, and um, I gotta 886 00:49:03,880 --> 00:49:06,040 Speaker 1: love it being out. I mean, the last few years 887 00:49:06,040 --> 00:49:08,320 Speaker 1: of my high school caused me to become very stressed, 888 00:49:08,320 --> 00:49:10,799 Speaker 1: and I would occasionally have screaming fits. I would get 889 00:49:10,800 --> 00:49:12,920 Speaker 1: all wound up over a day or so, start babbling, 890 00:49:12,920 --> 00:49:15,360 Speaker 1: and then it would finally scream. I belt out around 891 00:49:15,360 --> 00:49:18,120 Speaker 1: four seven good screens, rest, and I would feel better afterwards. 892 00:49:18,320 --> 00:49:20,440 Speaker 1: While screaming could be a good release every once in 893 00:49:20,440 --> 00:49:23,359 Speaker 1: a while, I've learned to avoid such traumatic incidences by 894 00:49:23,600 --> 00:49:26,480 Speaker 1: reacting to things that bothered me when they bothered me. 895 00:49:26,760 --> 00:49:31,440 Speaker 1: This is becoming ramble asque. Goodbye, goodbye, goodbye aloha Murphy 896 00:49:31,440 --> 00:49:35,799 Speaker 1: of a way, so all right, yeah, well you know 897 00:49:35,920 --> 00:49:39,759 Speaker 1: that was we were hearing from the heart there on Murphy. Um. 898 00:49:40,000 --> 00:49:41,880 Speaker 1: I found it interesting to use the goodbyes, but then 899 00:49:41,880 --> 00:49:46,000 Speaker 1: the aloha, which means goodbye antelope, right, I know. And 900 00:49:46,080 --> 00:49:47,600 Speaker 1: I was just trying to make a joke like about 901 00:49:47,600 --> 00:49:50,600 Speaker 1: Mahi mahi in my head but didn't quite come together. Yeah. Well, 902 00:49:50,600 --> 00:49:53,400 Speaker 1: there you got someone who's using really some scream therapy 903 00:49:53,440 --> 00:49:57,440 Speaker 1: of their own to deal with their issues, well, especially 904 00:49:57,440 --> 00:50:00,200 Speaker 1: in high school, right that? Yeah, yeah, yeah, who of us? 905 00:50:00,520 --> 00:50:03,360 Speaker 1: If you're not screaming in high schools, then you're probably 906 00:50:03,400 --> 00:50:05,120 Speaker 1: a jerk. I don't know. I mean it's like if 907 00:50:05,160 --> 00:50:07,200 Speaker 1: you're if you're not suffering, you're probably causing on the 908 00:50:07,239 --> 00:50:09,160 Speaker 1: people to Suffer's kind of my take. Unless you go 909 00:50:09,200 --> 00:50:12,680 Speaker 1: to a grade high school anyway, Uh, do you go 910 00:50:12,719 --> 00:50:15,240 Speaker 1: to a great high school? Do you have thoughts on screaming? 911 00:50:15,400 --> 00:50:17,040 Speaker 1: But more to the point, you have some thoughts on 912 00:50:17,120 --> 00:50:20,319 Speaker 1: performance are if you've ever if you've seen some great 913 00:50:20,320 --> 00:50:23,759 Speaker 1: performance art out there in person? Um, if you're familiar 914 00:50:23,880 --> 00:50:26,000 Speaker 1: a big fan of a performance artist that we didn't 915 00:50:26,000 --> 00:50:27,919 Speaker 1: mention on the podcast, but you're thinking, you know, you'd 916 00:50:27,920 --> 00:50:30,600 Speaker 1: really like to get their story out on the podcast. 917 00:50:30,840 --> 00:50:33,000 Speaker 1: Let us know. Are you a performance artist that would 918 00:50:33,000 --> 00:50:35,040 Speaker 1: be great as well. We'd love to hear from you. 919 00:50:34,880 --> 00:50:37,040 Speaker 1: If you can find us on Facebook where we are 920 00:50:37,040 --> 00:50:39,680 Speaker 1: stuff to blow your Mind, and on Twitter you'll find 921 00:50:39,719 --> 00:50:42,160 Speaker 1: us under the handle blow the Mind and you can 922 00:50:42,200 --> 00:50:44,319 Speaker 1: also drop us a line at blow the Mind at 923 00:50:44,400 --> 00:50:53,440 Speaker 1: Discovery dot com for more on this and thousands of 924 00:50:53,440 --> 00:51:00,320 Speaker 1: other topics. Is It how stuff works dot com,