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 --> 00:00:13,880 Speaker 1: Works dot Com. Hey, welcome to Stuff to Blow your Mind. 3 00:00:13,920 --> 00:00:16,520 Speaker 1: My name is Robert Lamb and I'm Julie Douglas. And 4 00:00:16,920 --> 00:00:19,640 Speaker 1: this episode is titled Stindall Syndrome Kicked in the Brain 5 00:00:19,680 --> 00:00:22,599 Speaker 1: by Art, which I should I should point out that 6 00:00:22,680 --> 00:00:24,919 Speaker 1: I I like, I think a lot of people first 7 00:00:24,920 --> 00:00:27,560 Speaker 1: heard the term Stendall syndrome in reference to the Dario 8 00:00:27,680 --> 00:00:32,280 Speaker 1: Argento Italian horror film sat Nate, which I'm not recommending 9 00:00:32,280 --> 00:00:35,120 Speaker 1: anybody see because when it when it comes to Dario 10 00:00:35,240 --> 00:00:39,559 Speaker 1: Argenta's work, generally your your best just watching Suspiria maybe 11 00:00:39,800 --> 00:00:42,319 Speaker 1: and then calling it a day, because it's just kind 12 00:00:42,320 --> 00:00:45,959 Speaker 1: of similar patterns from there on out. But Stendall Syndrome 13 00:00:46,120 --> 00:00:49,720 Speaker 1: the movie is a movie about, like most of his films, 14 00:00:49,720 --> 00:00:51,960 Speaker 1: about you know, a killer who likes to kill women. 15 00:00:52,479 --> 00:00:55,040 Speaker 1: And the woman in the scenario is played by Dario 16 00:00:55,080 --> 00:00:59,760 Speaker 1: Argenta's daughter as Argenta, And there's like one interesting scene 17 00:00:59,800 --> 00:01:03,920 Speaker 1: where she stares into a painting, gets dizzy, falls and 18 00:01:03,960 --> 00:01:06,720 Speaker 1: feels her so falling through the painting into the water, 19 00:01:06,959 --> 00:01:09,800 Speaker 1: and then she makes out with an animatronic fish, which 20 00:01:09,840 --> 00:01:11,720 Speaker 1: sounds about right, yeah, which is, which is a pretty 21 00:01:11,720 --> 00:01:14,760 Speaker 1: great scene because it's it's like a it's such an 22 00:01:14,760 --> 00:01:16,640 Speaker 1: animatronic fish, you know, like if you saw it in 23 00:01:16,680 --> 00:01:18,360 Speaker 1: the water, even if you weren't making out with it, 24 00:01:18,360 --> 00:01:20,080 Speaker 1: you would be like, that's totally not a real fish. 25 00:01:20,080 --> 00:01:23,200 Speaker 1: That's animatronic. But it's it's one of the best cross 26 00:01:23,560 --> 00:01:27,280 Speaker 1: species um, you know, makeout scenes in Italian cinema. You know, 27 00:01:27,400 --> 00:01:29,880 Speaker 1: I'm jumping ahead a little bit, but the the woman 28 00:01:30,000 --> 00:01:34,360 Speaker 1: who who actually named the syndrome Sandall Syndrome, has commented 29 00:01:34,440 --> 00:01:38,280 Speaker 1: on that film before and said that the some of 30 00:01:38,280 --> 00:01:41,039 Speaker 1: the ways in which she reacted to this painting that 31 00:01:41,120 --> 00:01:44,560 Speaker 1: she's uh but she's looking at, is actually pretty faithful 32 00:01:45,240 --> 00:01:47,640 Speaker 1: to the syndrome. Well, there you got the one scene 33 00:01:47,640 --> 00:01:50,639 Speaker 1: in the in the movie that's interesting is actually maybe 34 00:01:50,720 --> 00:01:52,800 Speaker 1: not that far removed from what we're going to talk 35 00:01:52,840 --> 00:01:55,040 Speaker 1: about today. But now I'm starting to think about a 36 00:01:55,120 --> 00:01:59,000 Speaker 1: bunship tourists in Florence, Italy, like thinking that they're making 37 00:01:59,000 --> 00:02:02,040 Speaker 1: out with fishes, yeah, or asking which painting did I 38 00:02:02,080 --> 00:02:05,360 Speaker 1: stare at to make me make out with a yeah? Yeah. Yeah. 39 00:02:06,240 --> 00:02:09,680 Speaker 1: The syndrome is of course named for the author Stendahl Um, 40 00:02:09,720 --> 00:02:12,840 Speaker 1: who's what was his real name on re Marie Bail 41 00:02:12,919 --> 00:02:17,240 Speaker 1: I believe, yeah yeah, died two uh and wrote the 42 00:02:17,840 --> 00:02:21,880 Speaker 1: classic novel Scarlet and Black, which I really don't remember 43 00:02:21,960 --> 00:02:23,799 Speaker 1: much about at all now, but I know I read 44 00:02:23,840 --> 00:02:25,680 Speaker 1: it in college and I was really impressed at how 45 00:02:25,720 --> 00:02:27,560 Speaker 1: good it actually was, because a lot of times you 46 00:02:27,600 --> 00:02:30,760 Speaker 1: end up reading like nineteenth century literature, you know, translated 47 00:02:30,960 --> 00:02:34,440 Speaker 1: French novel your you know, your expectations are not necessarily 48 00:02:34,480 --> 00:02:38,200 Speaker 1: that high, but but I remember being a very engaging book. Uh, 49 00:02:38,320 --> 00:02:42,960 Speaker 1: just maybe not all that memorable now. But when Sindahl 50 00:02:43,080 --> 00:02:47,919 Speaker 1: wasn't writing books, he was traveling and writing about those travels. 51 00:02:48,280 --> 00:02:50,919 Speaker 1: And when he was writing about his visit to Florence, 52 00:02:51,320 --> 00:02:55,120 Speaker 1: he mentioned having this episode really while staring at a 53 00:02:55,120 --> 00:02:58,520 Speaker 1: particular painting that he described your palpitations of the heart, 54 00:02:59,000 --> 00:03:02,000 Speaker 1: this feeling that the wellspring of life has dried up 55 00:03:02,000 --> 00:03:05,000 Speaker 1: inside him and he and he walked in fear of 56 00:03:05,080 --> 00:03:08,760 Speaker 1: falling to the ground. So he's having this intense kind 57 00:03:08,760 --> 00:03:12,680 Speaker 1: of psycho somatic episode just from looking at his painting, 58 00:03:13,080 --> 00:03:16,320 Speaker 1: like like he's and it's such an amazing idea you 59 00:03:16,320 --> 00:03:18,240 Speaker 1: can't help but fall in love with it, The idea 60 00:03:18,240 --> 00:03:19,960 Speaker 1: that you could stare at the painting, and he would 61 00:03:20,000 --> 00:03:23,200 Speaker 1: be it would so impress you, or it would have 62 00:03:23,240 --> 00:03:26,119 Speaker 1: this overwhelm it would just overwhelm you, like not only 63 00:03:26,120 --> 00:03:30,040 Speaker 1: mentally but actually physically. Yeah. And you know, I can 64 00:03:30,040 --> 00:03:32,359 Speaker 1: say for myself that I've looked at paintings before and 65 00:03:33,040 --> 00:03:35,440 Speaker 1: felt a little bit emotional, but I certainly have never 66 00:03:36,240 --> 00:03:40,400 Speaker 1: become weak need or made out with fish. I mean, 67 00:03:40,400 --> 00:03:42,800 Speaker 1: I'm pretty much in the same boat there. There have 68 00:03:42,880 --> 00:03:46,440 Speaker 1: been times when I've encountered art and it has really 69 00:03:46,800 --> 00:03:48,360 Speaker 1: I mean it's really been a moment where you're you're 70 00:03:48,600 --> 00:03:51,280 Speaker 1: blown away and you're just staring into it and uh, 71 00:03:51,560 --> 00:03:55,360 Speaker 1: and those moments really are cemented in your memory. I've 72 00:03:55,400 --> 00:03:58,800 Speaker 1: mentioned like seeing Irving Norman his work in San Francisco before, 73 00:03:58,800 --> 00:04:00,320 Speaker 1: and now that was a moment of I got to 74 00:04:00,320 --> 00:04:02,920 Speaker 1: see some of Salvador Dolli's larger pieces when they were 75 00:04:02,920 --> 00:04:05,920 Speaker 1: in in Atlanta. Some of those were mind blowing because 76 00:04:05,960 --> 00:04:07,960 Speaker 1: I've seen the pieces before, but never on that scale. 77 00:04:08,000 --> 00:04:10,080 Speaker 1: And there's something about seeing art in the museum and 78 00:04:10,120 --> 00:04:12,840 Speaker 1: seeing it physically that can really mess with you, you know. 79 00:04:13,200 --> 00:04:16,400 Speaker 1: Like likewise, of course Cyclorama here in Atlanta. First, when 80 00:04:16,400 --> 00:04:20,760 Speaker 1: you walk into psycologic by the way. Uh, yeah, it's 81 00:04:20,760 --> 00:04:24,080 Speaker 1: a Civil war painting and diorama. It's both, yes, and 82 00:04:24,080 --> 00:04:27,680 Speaker 1: it's and it's a circular painting so it has no end. 83 00:04:27,920 --> 00:04:32,279 Speaker 1: It's infinity. Yes, it's it is a painting and it 84 00:04:32,400 --> 00:04:34,680 Speaker 1: is a di arama. Yeah, I will say that much. Um. 85 00:04:34,720 --> 00:04:36,880 Speaker 1: But you know, we talked about your brain on art before, 86 00:04:36,920 --> 00:04:40,000 Speaker 1: and we talked about metaphor, and we talked about why 87 00:04:40,080 --> 00:04:43,200 Speaker 1: brain messes with your brain. Why brain misses with your brain. 88 00:04:43,279 --> 00:04:45,880 Speaker 1: Art misses with your brain so much because we are 89 00:04:45,920 --> 00:04:48,520 Speaker 1: seeing these metaphors in action, and they're encouraging us to 90 00:04:48,520 --> 00:04:50,320 Speaker 1: see the world in a new way, and all of 91 00:04:50,320 --> 00:04:54,920 Speaker 1: a sudden you have unrelated objects, um, directly compared, and 92 00:04:55,120 --> 00:04:58,039 Speaker 1: that somehow gives birth to a new idea or feeling. 93 00:04:58,120 --> 00:05:02,320 Speaker 1: And someone who was a master at this with Picasso, Um, 94 00:05:02,360 --> 00:05:05,719 Speaker 1: you know, he portrayed the bombing of Guernica, for example, 95 00:05:06,120 --> 00:05:08,640 Speaker 1: with the imagery of a bull, a horse and a 96 00:05:08,720 --> 00:05:11,000 Speaker 1: light bulb, and it's all in black and white and gray. 97 00:05:11,040 --> 00:05:13,200 Speaker 1: And somehow you look at this painting and you really 98 00:05:13,320 --> 00:05:16,760 Speaker 1: feel like the desperation, you feel the sort of stakes 99 00:05:16,800 --> 00:05:20,480 Speaker 1: that these people were dealing with at that time. Um, 100 00:05:20,560 --> 00:05:23,240 Speaker 1: and in the tragedy of war. Right And and certainly 101 00:05:23,320 --> 00:05:25,120 Speaker 1: there's not not all art, but a lot of our 102 00:05:25,200 --> 00:05:28,160 Speaker 1: deals with pretty weighty subject matter. Um, you know, the 103 00:05:28,680 --> 00:05:32,680 Speaker 1: state of humanity, war, death, love, sex, you know. And 104 00:05:32,680 --> 00:05:36,279 Speaker 1: then you you stare into a piece that captures these 105 00:05:36,320 --> 00:05:41,400 Speaker 1: emotions well, um, and sometimes even in a subversive fashion. 106 00:05:41,440 --> 00:05:43,919 Speaker 1: You know than than you know, it's gonna have an 107 00:05:43,920 --> 00:05:46,440 Speaker 1: effect on you. Right And actually V. S ram Machandre 108 00:05:46,480 --> 00:05:48,159 Speaker 1: and we talked about it again in that podcast. He 109 00:05:48,200 --> 00:05:51,479 Speaker 1: talked about cubism and he talked about why it does 110 00:05:51,520 --> 00:05:53,880 Speaker 1: what it does to us. Um, you know, it kind 111 00:05:53,880 --> 00:05:57,520 Speaker 1: of dissenters us. It's because the fusiform genres in our 112 00:05:57,560 --> 00:06:01,800 Speaker 1: brain there ourselves in in the fusiform gyuss that only 113 00:06:01,839 --> 00:06:04,680 Speaker 1: respond to certain views of a face. And then they 114 00:06:04,680 --> 00:06:08,040 Speaker 1: are so called master face cells that respond to all 115 00:06:08,160 --> 00:06:11,159 Speaker 1: views of face. And normally you only have one view 116 00:06:11,160 --> 00:06:13,599 Speaker 1: of the face that would be presented at a time, 117 00:06:13,760 --> 00:06:17,279 Speaker 1: and we're used to that sort of perspective, right, But 118 00:06:17,360 --> 00:06:19,720 Speaker 1: in a cubist painting, for example, you have the presence 119 00:06:19,760 --> 00:06:23,320 Speaker 1: of multiple views and that causes multiple single views to 120 00:06:23,320 --> 00:06:25,440 Speaker 1: be shooting off in your brain. So you have all 121 00:06:25,480 --> 00:06:29,840 Speaker 1: this firing going on. You're hyperactivating the master face cells 122 00:06:29,960 --> 00:06:33,479 Speaker 1: uh in the fusiform gyus, and you're exciting the limbic system. 123 00:06:34,160 --> 00:06:36,479 Speaker 1: So they're they're definitely. I mean it's not just that 124 00:06:36,600 --> 00:06:39,640 Speaker 1: something is beautiful or grotesque to such a degree that 125 00:06:40,240 --> 00:06:43,560 Speaker 1: you're taken by I mean, your brain is actually firing 126 00:06:43,839 --> 00:06:46,840 Speaker 1: as as it's looking at this image. And so it 127 00:06:46,880 --> 00:06:50,000 Speaker 1: would make sense that it's not just Stendal that who 128 00:06:50,080 --> 00:06:55,760 Speaker 1: would have this, um, this sort of episodic experience. But um, 129 00:06:55,839 --> 00:07:00,080 Speaker 1: but but other tourists actually, and other tourists do experience this. Mean, 130 00:07:00,120 --> 00:07:02,120 Speaker 1: that's the thing. It's that Stendall syndrome is not just 131 00:07:02,200 --> 00:07:06,080 Speaker 1: this interesting story from one author's life, but it happens 132 00:07:06,200 --> 00:07:10,600 Speaker 1: time and time again, and it leads some scientists to 133 00:07:10,800 --> 00:07:13,360 Speaker 1: ask what's up with this? Now, not a lot of scientists. 134 00:07:13,360 --> 00:07:15,400 Speaker 1: And that's one thing that's important to note here, because 135 00:07:15,480 --> 00:07:21,520 Speaker 1: ultimately Stendall syndrome is not a public menace to whatever 136 00:07:21,600 --> 00:07:24,080 Speaker 1: extent it is actually a thing. It's just people were 137 00:07:24,160 --> 00:07:27,640 Speaker 1: overwhelmed by art, and in some of the more intense 138 00:07:27,800 --> 00:07:30,360 Speaker 1: alleged cases of Stendall syndrome, the worst is that it 139 00:07:30,440 --> 00:07:32,600 Speaker 1: might make them a little violent and may be prone 140 00:07:32,600 --> 00:07:35,160 Speaker 1: to attack of painting or trying right which we'll talk about. 141 00:07:35,520 --> 00:07:38,280 Speaker 1: Nobody's crying to government and saying we need more funding 142 00:07:38,320 --> 00:07:40,920 Speaker 1: to find out what Stindell syndrome is about. Right right there, 143 00:07:41,120 --> 00:07:45,000 Speaker 1: I'm sure that when you when you land in Florence, Italy, 144 00:07:45,120 --> 00:07:48,360 Speaker 1: that you know you're not count it right right about. Hey, 145 00:07:48,600 --> 00:07:50,600 Speaker 1: you're you're going to swoon in front of a painting. 146 00:07:50,640 --> 00:07:54,680 Speaker 1: It's perfectly normal. Um. But there there was a there 147 00:07:54,760 --> 00:07:58,400 Speaker 1: is a psychiatrist name Graziella Macrini, and she started to 148 00:07:58,440 --> 00:08:02,760 Speaker 1: see a correlation between this this disorder with tourists that 149 00:08:02,760 --> 00:08:05,400 Speaker 1: were coming through the emergency room doors where she worked. 150 00:08:05,920 --> 00:08:08,720 Speaker 1: And she she was like, why why is it after 151 00:08:09,160 --> 00:08:12,080 Speaker 1: the viewing of artwork that these people are collapsing. So 152 00:08:12,120 --> 00:08:15,240 Speaker 1: over a ten year period from nineteen eighty six, she 153 00:08:15,280 --> 00:08:18,480 Speaker 1: studied this and she documented more than one cases of 154 00:08:18,520 --> 00:08:23,120 Speaker 1: Sendall syndrome. And what she says is that when you 155 00:08:23,280 --> 00:08:26,640 Speaker 1: encounter the cultural riches of a famous Italian city, uh, 156 00:08:27,080 --> 00:08:29,640 Speaker 1: you know, like Florence, and you're looking at my calling 157 00:08:29,720 --> 00:08:34,679 Speaker 1: Jelos David that statute which is you know, so iconic, um, 158 00:08:34,800 --> 00:08:40,040 Speaker 1: and you are tired and you're hot. Uh. Some tourists 159 00:08:40,080 --> 00:08:43,559 Speaker 1: could actually experience giddiness, confusion, breathlessness, panic attacks, and then 160 00:08:43,600 --> 00:08:46,920 Speaker 1: faint to the floor. Right. These effects can last for 161 00:08:47,000 --> 00:08:50,920 Speaker 1: minutes to day's And what's what I find most telling 162 00:08:51,000 --> 00:08:55,000 Speaker 1: about that summary there is that it's it takes in 163 00:08:55,040 --> 00:08:57,800 Speaker 1: more than just looking at the artwork. It's not just 164 00:08:58,320 --> 00:09:01,120 Speaker 1: because like to tell a piece that I've always found 165 00:09:01,120 --> 00:09:05,440 Speaker 1: really impressive, rem Brand's Philosopher and Medica in Meditation. Not 166 00:09:05,440 --> 00:09:08,520 Speaker 1: not Philosopher and Medication, that's a different piece altogether, but 167 00:09:08,600 --> 00:09:12,360 Speaker 1: Rembrandt's Philosopher and Meditation is a very like I look 168 00:09:12,360 --> 00:09:14,400 Speaker 1: at it just one of these pieces that suction. I mean, it's, 169 00:09:14,559 --> 00:09:16,880 Speaker 1: you know, the master work with the spiral staircase and 170 00:09:16,920 --> 00:09:19,640 Speaker 1: this gloomy individual looking out at you. If I were 171 00:09:19,679 --> 00:09:23,880 Speaker 1: to look at that without having any preconceived notion, I 172 00:09:24,120 --> 00:09:26,079 Speaker 1: you know, I might say it's a pretty cool painting, 173 00:09:26,080 --> 00:09:28,400 Speaker 1: and you know, and I'm having certain experiences staring into it, 174 00:09:28,600 --> 00:09:30,559 Speaker 1: but feeling this way about the painting, which I've never 175 00:09:30,600 --> 00:09:32,880 Speaker 1: seen in real life. If I were to go to 176 00:09:32,920 --> 00:09:35,840 Speaker 1: a museum and see this actual work on the wall, 177 00:09:36,160 --> 00:09:38,680 Speaker 1: I would be bringing these expectations with me. I would 178 00:09:38,679 --> 00:09:41,800 Speaker 1: be bringing my past reverence for the work with me 179 00:09:42,080 --> 00:09:45,640 Speaker 1: to the painting, and I would be traveling to whatever 180 00:09:45,679 --> 00:09:48,640 Speaker 1: city that is. I would be dealing with the public transportation, 181 00:09:48,920 --> 00:09:51,120 Speaker 1: I would be dealing with the weird food. I would 182 00:09:51,160 --> 00:09:53,839 Speaker 1: be dealing with, you know, with all the issues that 183 00:09:53,920 --> 00:09:57,880 Speaker 1: go into into travel and exploring and things language, so 184 00:09:57,920 --> 00:10:00,160 Speaker 1: all that would be coming to with me as well 185 00:10:00,200 --> 00:10:03,760 Speaker 1: to inform my experience of the painting in person. Well, 186 00:10:03,800 --> 00:10:05,680 Speaker 1: and you know, I've talked about this before in terms 187 00:10:05,720 --> 00:10:09,720 Speaker 1: of memory in place, like you know, your example to 188 00:10:09,760 --> 00:10:12,080 Speaker 1: me before it has been like you visit a new city, 189 00:10:12,120 --> 00:10:15,440 Speaker 1: you get off the subway and you emerge from the 190 00:10:15,520 --> 00:10:18,719 Speaker 1: depth of the station, and you don't know where you are, 191 00:10:19,400 --> 00:10:21,560 Speaker 1: and your brain you have a campus, is like WHOA 192 00:10:21,800 --> 00:10:25,120 Speaker 1: trying to map this out because the ratlike hind brain 193 00:10:25,280 --> 00:10:27,360 Speaker 1: is kicking in and saying, where are we? Where are 194 00:10:27,400 --> 00:10:30,640 Speaker 1: the savord tooth tigers? Right? And am I going about 195 00:10:30,679 --> 00:10:32,520 Speaker 1: to be eaten? So I mean it's like a survival 196 00:10:32,559 --> 00:10:34,800 Speaker 1: instinct kicks in because you don't know exactly where you 197 00:10:34,800 --> 00:10:38,000 Speaker 1: are in the spatial world. Yeah, okay, so imagine that, right, 198 00:10:38,000 --> 00:10:41,920 Speaker 1: you have a campus is already overtaxed. There's new stimuli 199 00:10:41,960 --> 00:10:44,319 Speaker 1: all around you as if we need new stimuli to 200 00:10:44,120 --> 00:10:46,560 Speaker 1: to focus. But when you go to a foreign city, 201 00:10:46,640 --> 00:10:50,079 Speaker 1: especially a drastically foreign city, like when I think back 202 00:10:50,080 --> 00:10:51,640 Speaker 1: to when my wife and I went to Thailand, like 203 00:10:51,679 --> 00:10:54,000 Speaker 1: everything was different, everything was new. We never traveled in 204 00:10:54,040 --> 00:10:57,160 Speaker 1: East Asia before, and it was intense because it's like 205 00:10:57,240 --> 00:10:59,880 Speaker 1: everything from the language, through the temperature to the intensity 206 00:10:59,880 --> 00:11:01,520 Speaker 1: of of food. You know, it's like it's all it's 207 00:11:01,559 --> 00:11:03,840 Speaker 1: all amazing and different and uh, and in your brain 208 00:11:03,920 --> 00:11:07,640 Speaker 1: spends all this energy just computing it, right, And so 209 00:11:07,800 --> 00:11:10,280 Speaker 1: imagine that, Like imagine if you turn around and you 210 00:11:10,320 --> 00:11:13,360 Speaker 1: look at this incredibly moving piece of art, and your 211 00:11:13,400 --> 00:11:16,880 Speaker 1: hippocampus is already taxed. And now it's not only just 212 00:11:17,000 --> 00:11:21,840 Speaker 1: dealing with uh, you know, spatial awareness, um, but memory, 213 00:11:21,920 --> 00:11:25,080 Speaker 1: past memories, you know, because you and your magdela is 214 00:11:25,080 --> 00:11:28,040 Speaker 1: also working up some emotions here, right, So all of 215 00:11:28,040 --> 00:11:30,640 Speaker 1: these things could come sort of washing in. So you 216 00:11:30,679 --> 00:11:33,960 Speaker 1: can imagine how Santall syndrome works in these you know, 217 00:11:34,240 --> 00:11:36,839 Speaker 1: I hate to say this for perfect storm or cocktail 218 00:11:37,360 --> 00:11:40,920 Speaker 1: of a situation, uh, that that would lend itself to 219 00:11:41,120 --> 00:11:45,240 Speaker 1: this overreaction to a piece of work. Consequently to uh, 220 00:11:45,320 --> 00:11:49,040 Speaker 1: it is Caravaggio's painting of Bacchus and the concentric circles 221 00:11:49,080 --> 00:11:53,520 Speaker 1: of a Duomo Coppola uh Coppola, as well as the 222 00:11:53,559 --> 00:11:55,920 Speaker 1: as the statue of David that seemed to be the 223 00:11:55,960 --> 00:11:59,959 Speaker 1: breaking point um in these documented cases of Stendall of syndrome. 224 00:12:00,280 --> 00:12:03,160 Speaker 1: And I mean David especially is such an iconic piece, 225 00:12:03,600 --> 00:12:05,320 Speaker 1: and I think they're I mean they're you're bringing all 226 00:12:05,360 --> 00:12:08,560 Speaker 1: these expectations and then you're seeing it for real, and 227 00:12:08,760 --> 00:12:11,440 Speaker 1: uh yeah, I mean you can you can see how 228 00:12:11,520 --> 00:12:13,640 Speaker 1: a physical reaction might be possible, especially if you've been 229 00:12:13,679 --> 00:12:16,480 Speaker 1: walking around all day and in dealing with an entirely 230 00:12:16,559 --> 00:12:19,480 Speaker 1: new environment. Well, and sculpture is such an interesting thing too, 231 00:12:19,559 --> 00:12:23,400 Speaker 1: because the thing when I should say this, when I 232 00:12:23,559 --> 00:12:25,920 Speaker 1: when I look at sculpture, I'm always amazed the amount 233 00:12:25,920 --> 00:12:28,840 Speaker 1: of detail that someone has rung out of a rock. 234 00:12:29,440 --> 00:12:32,120 Speaker 1: You know, a piece of rock here, and you know 235 00:12:32,240 --> 00:12:34,839 Speaker 1: the details and veins in someone's arm. And then to 236 00:12:34,960 --> 00:12:36,760 Speaker 1: see that on the scale that David is, I don't 237 00:12:36,800 --> 00:12:38,920 Speaker 1: I don't know the exact stats, but it seems like 238 00:12:38,920 --> 00:12:41,640 Speaker 1: it's forty ft high when you look at it. And 239 00:12:41,760 --> 00:12:43,560 Speaker 1: to see and to know the age of a piece 240 00:12:43,600 --> 00:12:46,280 Speaker 1: too like like even the piece isn't that old. Uh, 241 00:12:46,320 --> 00:12:48,280 Speaker 1: you know, it's interesting to think that, you know, the 242 00:12:48,320 --> 00:12:51,040 Speaker 1: hands that made this are long gone, and this has 243 00:12:51,080 --> 00:12:53,840 Speaker 1: been around for you know, people have lived and died 244 00:12:53,920 --> 00:12:57,760 Speaker 1: in the course of this paintings lifetime or this sculpture's lifetime. 245 00:12:57,840 --> 00:13:00,400 Speaker 1: And you think of the older pieces, you think of 246 00:13:00,520 --> 00:13:03,440 Speaker 1: like regimes that have risen and fallen. Uh, you know, 247 00:13:03,520 --> 00:13:06,120 Speaker 1: countries that have that have vanished from the earth in 248 00:13:06,200 --> 00:13:10,040 Speaker 1: the life cycle of this piece. Well, and to you know, 249 00:13:10,120 --> 00:13:13,520 Speaker 1: to imagine the humanity expressed in this piece that was 250 00:13:13,559 --> 00:13:18,840 Speaker 1: conceived of by this human is just it can be overwhelming. Um. So, okay, 251 00:13:18,880 --> 00:13:21,560 Speaker 1: there you go. That's that's the Stenhall syndrome. We're gonna 252 00:13:21,559 --> 00:13:23,880 Speaker 1: take a break and we come back. We're going to 253 00:13:23,920 --> 00:13:31,920 Speaker 1: talk about Japanese tourists in Paris. All right, we're back. 254 00:13:32,160 --> 00:13:35,040 Speaker 1: We're going to discuss some similar syndromes that I think 255 00:13:35,080 --> 00:13:38,920 Speaker 1: ultimately illuminate the same thing as Stendhall. The ashould say 256 00:13:39,120 --> 00:13:42,800 Speaker 1: voyager syndromes. For instance, there's one this Jerusalem syndrome that 257 00:13:42,880 --> 00:13:44,840 Speaker 1: has to do with individuals have traveled from all over 258 00:13:44,880 --> 00:13:48,280 Speaker 1: the world to see the holy sites in Jerusalem and 259 00:13:48,600 --> 00:13:50,520 Speaker 1: and again you're bringing all this history with you. You're 260 00:13:50,520 --> 00:13:53,960 Speaker 1: bringing in in many cases at least a certain degree 261 00:13:54,480 --> 00:13:59,240 Speaker 1: of of religious thought and religious fascination. I mean, your 262 00:13:59,280 --> 00:14:01,520 Speaker 1: spirituality is tied up in these locations. And then you're 263 00:14:01,559 --> 00:14:04,400 Speaker 1: standing there like one day you're reading about these locations 264 00:14:04,440 --> 00:14:07,200 Speaker 1: in the Bible, you know, and they're to a certain extent, 265 00:14:07,280 --> 00:14:09,400 Speaker 1: they're unreal, and then you're seeing them in real life 266 00:14:09,760 --> 00:14:11,360 Speaker 1: and uh, and you know what effect does that have 267 00:14:11,559 --> 00:14:14,200 Speaker 1: on somebody? In some cases, apparently they get a little faint, 268 00:14:14,320 --> 00:14:16,640 Speaker 1: they will react a little well, yeah, it's the story 269 00:14:16,960 --> 00:14:19,960 Speaker 1: crossed with the crush of history, right right. Like I feel, 270 00:14:20,480 --> 00:14:23,640 Speaker 1: I feel maybe like I get something similar when I 271 00:14:24,040 --> 00:14:26,280 Speaker 1: when I'm in New York A few times I've I've 272 00:14:26,280 --> 00:14:27,840 Speaker 1: actually been in New York City. You know, this is 273 00:14:27,880 --> 00:14:30,280 Speaker 1: an unreal city to a certain extent. For most of 274 00:14:30,320 --> 00:14:32,640 Speaker 1: my life, I had never seen it, and I've only 275 00:14:32,680 --> 00:14:34,880 Speaker 1: seen it in movies, and I'd read about it in books, 276 00:14:34,920 --> 00:14:37,160 Speaker 1: and it seemed like it's like this story to a 277 00:14:37,200 --> 00:14:39,800 Speaker 1: certain extent, kind of a storybook land. You know, you 278 00:14:39,880 --> 00:14:42,800 Speaker 1: can't you can't you imagine it, you see it in fiction, 279 00:14:42,880 --> 00:14:44,560 Speaker 1: and then you're there and then you have to sort 280 00:14:44,560 --> 00:14:50,320 Speaker 1: of process your um presence in something that was previously imaginary. Yeah, 281 00:14:50,320 --> 00:14:52,160 Speaker 1: I know, I'm I can't be in the Bowery without 282 00:14:52,200 --> 00:14:56,920 Speaker 1: thinking about Bill the Butcher reacting his giant although that 283 00:14:57,000 --> 00:15:00,760 Speaker 1: was fictional, getting to the of but yeah, I mean, 284 00:15:00,960 --> 00:15:03,760 Speaker 1: there's there's a lot by the way of expectations that 285 00:15:03,840 --> 00:15:06,840 Speaker 1: people bring with them when they travel, which is particularly 286 00:15:07,080 --> 00:15:11,240 Speaker 1: interesting for something called the Paris syndrome. Yes, And what's 287 00:15:11,240 --> 00:15:13,480 Speaker 1: great about this is it's kind of the opposite of 288 00:15:13,600 --> 00:15:17,040 Speaker 1: Jerusalem and Standall syndrome. It's not really the opposite, it's 289 00:15:17,080 --> 00:15:19,240 Speaker 1: kind of the flip side of the same coin. Yeah, yeah, 290 00:15:19,320 --> 00:15:22,360 Speaker 1: definitely a dark side. Each year, about a dozen Japanese 291 00:15:22,400 --> 00:15:25,240 Speaker 1: tourists are treated for Paris syndrome while visiting the City 292 00:15:25,280 --> 00:15:30,600 Speaker 1: of Lights. Symptoms are acute delusions, hallucinations, dizziness, sweating, and 293 00:15:30,760 --> 00:15:34,920 Speaker 1: feelings of persecution. Okay m A handful of patients have 294 00:15:35,040 --> 00:15:38,240 Speaker 1: had to be flown back to their country under medical 295 00:15:38,280 --> 00:15:44,160 Speaker 1: supervision and um. According to Yusuf Mahomodia, a psychologist at 296 00:15:44,200 --> 00:15:47,760 Speaker 1: the Hotel hospital, a third of patients get better immediately, 297 00:15:47,880 --> 00:15:50,880 Speaker 1: a third suffer relapses, and the rest have psychoses and 298 00:15:51,000 --> 00:15:53,960 Speaker 1: some people just never want to travel again. It was 299 00:15:54,040 --> 00:15:58,480 Speaker 1: first documented in psychiatric journal Nairviere in two thousand and four, 300 00:15:59,120 --> 00:16:01,640 Speaker 1: and just to give people, you know, an idea of 301 00:16:02,000 --> 00:16:04,120 Speaker 1: what we're talking about, in two thousand and six, two 302 00:16:04,200 --> 00:16:07,400 Speaker 1: Japanese women suffering from Paris syndrome believe their hotel room 303 00:16:07,480 --> 00:16:10,200 Speaker 1: was being bugged and there was a plot against them. 304 00:16:11,080 --> 00:16:14,880 Speaker 1: Previous cases include a man convinced he was the French 305 00:16:15,040 --> 00:16:18,240 Speaker 1: son King and a woman who believes she was being 306 00:16:18,280 --> 00:16:24,320 Speaker 1: attacked with microwaves. So, yeah, I mean, that's a that's 307 00:16:24,320 --> 00:16:27,880 Speaker 1: a little stressful, sort of obvious why this might happen. Well, yeah, 308 00:16:27,880 --> 00:16:30,640 Speaker 1: I mean, I I've never been to France, but I 309 00:16:30,680 --> 00:16:32,520 Speaker 1: mean I like a lot of people like a number 310 00:16:32,520 --> 00:16:35,200 Speaker 1: of French things. I mean, the history is fabulous. Some 311 00:16:35,280 --> 00:16:37,880 Speaker 1: of like some of my some of my favorite authors 312 00:16:38,080 --> 00:16:41,600 Speaker 1: are French Alan Ropel for instance, Frenchman through some great 313 00:16:41,680 --> 00:16:45,040 Speaker 1: DJs and and and again the food is is above 314 00:16:45,120 --> 00:16:47,920 Speaker 1: reproach that France does have kind of a reputation, or 315 00:16:48,000 --> 00:16:49,720 Speaker 1: has in the past. I think they made efforts to 316 00:16:49,880 --> 00:16:52,200 Speaker 1: to to fix it in recent years, but it has 317 00:16:52,280 --> 00:16:54,320 Speaker 1: kind of a reputation of of of being kind of 318 00:16:54,360 --> 00:16:57,600 Speaker 1: snotty to tourist. Oh yeah, yeah, I mean I do 319 00:16:57,760 --> 00:17:00,160 Speaker 1: think that the French have gotten a bad rap up 320 00:17:00,240 --> 00:17:03,680 Speaker 1: for for um, their attitudes towards us, because I think 321 00:17:03,720 --> 00:17:05,600 Speaker 1: I'm on the whole that it's not that bad. I mean, 322 00:17:05,640 --> 00:17:07,840 Speaker 1: I have been yelling that before, I have to say um, 323 00:17:08,000 --> 00:17:12,159 Speaker 1: and I have had to apologize profusely for being a 324 00:17:12,240 --> 00:17:17,960 Speaker 1: vegetarian and committing sevil phrases of apology to memory in French. Um. 325 00:17:18,520 --> 00:17:21,119 Speaker 1: But if you're a sensitive soul, you can see and 326 00:17:21,560 --> 00:17:24,040 Speaker 1: not only just sensitive soul, but if you're someone who 327 00:17:24,080 --> 00:17:28,400 Speaker 1: comes from a culture that is distinctly different where customers 328 00:17:28,520 --> 00:17:32,920 Speaker 1: always king where um, you know, it's a rigidly formal 329 00:17:33,320 --> 00:17:37,520 Speaker 1: culture that it is very concerned with manners. And on 330 00:17:37,640 --> 00:17:40,040 Speaker 1: top of that, you have this romanticized version of the 331 00:17:40,119 --> 00:17:43,440 Speaker 1: city that you're about to visit. All those things come 332 00:17:43,520 --> 00:17:46,320 Speaker 1: tumbling down when reality, you know, sort of you know, 333 00:17:46,440 --> 00:17:50,000 Speaker 1: the rubber reality hits the road. Uh, you might feel 334 00:17:50,240 --> 00:17:52,840 Speaker 1: exceedingly overwhelmed. You might start to think that someone's plotting 335 00:17:52,840 --> 00:17:55,960 Speaker 1: against you. Right the streets of Tokyo in the streets 336 00:17:55,960 --> 00:18:00,919 Speaker 1: of Paris. Each of those definitely brings a very different 337 00:18:01,400 --> 00:18:04,720 Speaker 1: ideas and feelings to mind. You know um and and 338 00:18:04,840 --> 00:18:07,760 Speaker 1: so if you're magically traveling from one to the other, 339 00:18:08,480 --> 00:18:10,760 Speaker 1: you're gonna it's gonna be quite a shot. Well, and 340 00:18:10,880 --> 00:18:14,440 Speaker 1: language barrier too, right, Like, I mean, I think that 341 00:18:14,560 --> 00:18:17,639 Speaker 1: it's probably easier if you're if you speak English and 342 00:18:17,800 --> 00:18:21,119 Speaker 1: you go to France and um, because most people are 343 00:18:21,160 --> 00:18:23,720 Speaker 1: going to have, you know, at least some um phrases 344 00:18:23,840 --> 00:18:27,359 Speaker 1: of English that they know, but not necessarily Japanese. Right, 345 00:18:27,400 --> 00:18:29,440 Speaker 1: that's going to be a little bit more obscure for 346 00:18:29,560 --> 00:18:33,200 Speaker 1: someone who lives in in France. So yeah, that's a 347 00:18:33,280 --> 00:18:35,639 Speaker 1: lot to contend with, especially if you have this like 348 00:18:37,080 --> 00:18:40,680 Speaker 1: idealized notion that France is just like one big black 349 00:18:40,760 --> 00:18:43,920 Speaker 1: and white picture. Um. You know, I'm thinking of like 350 00:18:44,160 --> 00:18:49,040 Speaker 1: Frances such Fause Breathless um or even the what was 351 00:18:49,119 --> 00:18:52,760 Speaker 1: the Emily? Yeah, I mean that's a beautiful picture that 352 00:18:53,040 --> 00:18:57,119 Speaker 1: is your only exposure to to Paris, and you're probably 353 00:18:57,160 --> 00:18:59,359 Speaker 1: going to think that someone's going to present you with 354 00:18:59,400 --> 00:19:02,800 Speaker 1: a bag at Yeah, and some some beautiful smiling brunette's 355 00:19:02,800 --> 00:19:05,280 Speaker 1: gonna com up to you and help you across the street. 356 00:19:05,280 --> 00:19:08,280 Speaker 1: Across the street, and you'll go on magical little scavenger 357 00:19:08,359 --> 00:19:12,200 Speaker 1: hunts around the city. But it's not, and it's It's 358 00:19:12,200 --> 00:19:14,560 Speaker 1: also important to note and all of this, with all 359 00:19:14,640 --> 00:19:17,560 Speaker 1: these these syndromes that if you are traveling and you 360 00:19:17,640 --> 00:19:20,760 Speaker 1: have pre existing psychological conditions, even if it's something mild, 361 00:19:21,160 --> 00:19:25,480 Speaker 1: there's nothing like the stresses of travel to aggravate those conditions, 362 00:19:25,720 --> 00:19:30,320 Speaker 1: especially with Jerusalem syndrome, because in those cases the hallucinations 363 00:19:30,400 --> 00:19:32,840 Speaker 1: can be quite intense, from what I understand. But here's 364 00:19:32,920 --> 00:19:37,119 Speaker 1: here's okay, so here's here's another syndrome. And we were 365 00:19:37,160 --> 00:19:39,680 Speaker 1: kind of laughing about this earlier. We don't necessarily take 366 00:19:39,760 --> 00:19:45,359 Speaker 1: this one too terribly serious. Reuben syndrome. Yes, this is 367 00:19:45,400 --> 00:19:48,879 Speaker 1: a name for Peter Paul Rubens and another one of 368 00:19:48,960 --> 00:19:54,400 Speaker 1: the the Old Masters, and he's known for such works as, uh, well, 369 00:19:54,440 --> 00:19:58,880 Speaker 1: there's the Three Graces and this is like three voluptuous 370 00:19:59,000 --> 00:20:01,680 Speaker 1: nudes sort of dancing the Forest, The Judgment of Paris, 371 00:20:01,760 --> 00:20:04,440 Speaker 1: which also is pretty pretty nude, The Fall of man 372 00:20:05,240 --> 00:20:09,600 Speaker 1: Adam and Eve reasonably nude, and the Elevation of the Cross. Um, 373 00:20:09,800 --> 00:20:12,440 Speaker 1: it's Jesus. So it's partial nudity. Okay, So you're getting 374 00:20:12,440 --> 00:20:14,280 Speaker 1: the theme here. Yeah, there's a lot of flesh in 375 00:20:14,480 --> 00:20:17,080 Speaker 1: uh In Peter Paul Reuben's work, and it's and it's 376 00:20:17,160 --> 00:20:19,760 Speaker 1: presented magnificently. I mean, he he was, he was one 377 00:20:19,760 --> 00:20:22,320 Speaker 1: of these, one of the old masters. He knew his craft. 378 00:20:22,880 --> 00:20:25,800 Speaker 1: And uh so you're drawn into the just the sheer 379 00:20:25,920 --> 00:20:28,880 Speaker 1: artistry of the work. But then they're also naked people 380 00:20:28,920 --> 00:20:31,480 Speaker 1: in it, right, there's a lot of carnal stuff going on. 381 00:20:32,400 --> 00:20:35,159 Speaker 1: A study by the Roman Institute of Psychology found that 382 00:20:36,160 --> 00:20:39,760 Speaker 1: of Italians have embarked on an erotic adventure in a museum. 383 00:20:41,280 --> 00:20:43,040 Speaker 1: And this is why they call it the Reuben syndrome, 384 00:20:43,119 --> 00:20:49,679 Speaker 1: because many times it's said that um sensuous nudes are 385 00:20:49,920 --> 00:20:54,879 Speaker 1: are the reason for people feeling amorous toward one another 386 00:20:55,080 --> 00:20:58,919 Speaker 1: and embarking on these little trists. But then we were 387 00:20:59,000 --> 00:21:03,920 Speaker 1: laughing because you're like, it's of Italians, yeah, you know, 388 00:21:04,000 --> 00:21:07,119 Speaker 1: and that's not to say, uh, I just think that 389 00:21:07,200 --> 00:21:09,879 Speaker 1: maybe it's an Italian thing. You know, You've got to 390 00:21:10,040 --> 00:21:11,920 Speaker 1: like Rome's kind of a city of love, right or 391 00:21:12,640 --> 00:21:16,479 Speaker 1: cat calls anyway, So it makes sense that people might 392 00:21:16,880 --> 00:21:19,560 Speaker 1: find place in a you know, in a museum for 393 00:21:20,160 --> 00:21:22,959 Speaker 1: for that kind of expression. But I do think it's uh, 394 00:21:23,040 --> 00:21:27,239 Speaker 1: this idea of being seduced by culture is very interesting. Right, 395 00:21:27,320 --> 00:21:30,840 Speaker 1: sort of being brought in by that um. Roman psychologist 396 00:21:30,880 --> 00:21:33,920 Speaker 1: Willie Passini has said that art has always activated intensely 397 00:21:34,000 --> 00:21:37,000 Speaker 1: erotic mechanism. Otherwise what sort of art would it be. 398 00:21:37,720 --> 00:21:41,080 Speaker 1: The study has found that museums ranked higher than nightclubs 399 00:21:41,160 --> 00:21:46,640 Speaker 1: which respondents reported encounters, and are surpassed only by trains 400 00:21:46,800 --> 00:21:50,479 Speaker 1: and beaches. Beaches at places that people were actually engaging 401 00:21:50,560 --> 00:21:55,560 Speaker 1: in that that apparently are um And I'm assuming that 402 00:21:55,680 --> 00:21:58,800 Speaker 1: this is something that just is not premeditated, right, that's 403 00:21:59,080 --> 00:22:02,399 Speaker 1: in their study, that it's just erotic trist happening on 404 00:22:02,600 --> 00:22:04,200 Speaker 1: on the fly. Well, I have to say it makes 405 00:22:04,200 --> 00:22:07,320 Speaker 1: sense that it would that museums would outrank nightclubs because 406 00:22:07,800 --> 00:22:10,159 Speaker 1: on at nightclubs, more or less there's gonna be kind 407 00:22:10,160 --> 00:22:11,879 Speaker 1: of a sex patrol to make sure that nobody is 408 00:22:11,960 --> 00:22:14,840 Speaker 1: doing it in the bathrooms or in the corners. Like 409 00:22:14,920 --> 00:22:17,440 Speaker 1: that's gonna be a little more on people's radar. Don't 410 00:22:17,560 --> 00:22:21,000 Speaker 1: let the patrons have sex in the corners, were under 411 00:22:21,040 --> 00:22:24,399 Speaker 1: the tables at the museum. It's it's I would imagine 412 00:22:24,440 --> 00:22:26,920 Speaker 1: it's lower on the priorities. I mean, they wouldn't be 413 00:22:26,960 --> 00:22:29,320 Speaker 1: blind to it, but it's not like, you know, all right, 414 00:22:29,800 --> 00:22:31,840 Speaker 1: it's five am. We're you know, we're getting ready to 415 00:22:31,960 --> 00:22:36,359 Speaker 1: open for open for business. Um, who has uh sex 416 00:22:36,400 --> 00:22:39,199 Speaker 1: patrol today? Who's gonna be check in the corners? Make 417 00:22:39,240 --> 00:22:44,120 Speaker 1: sure you look behind the you know, the the petition 418 00:22:44,200 --> 00:22:47,520 Speaker 1: because that's you know, a favorite spot. So I don't know, yeah, 419 00:22:48,520 --> 00:22:49,840 Speaker 1: but I think it does come back to the whole 420 00:22:49,880 --> 00:22:52,480 Speaker 1: idea of of being you know, seduced by culture and 421 00:22:52,760 --> 00:22:54,959 Speaker 1: uh And certainly there are plenty of works of art 422 00:22:55,000 --> 00:22:58,320 Speaker 1: that have an erotic air to them. And and as 423 00:22:58,440 --> 00:23:01,640 Speaker 1: much as we like to to think sometimes that even 424 00:23:01,680 --> 00:23:04,080 Speaker 1: if we're looking at a you know, like a nude sculpture, 425 00:23:04,440 --> 00:23:07,399 Speaker 1: is we may want to think in terms of oh 426 00:23:07,480 --> 00:23:10,639 Speaker 1: this is I'm just having a purely artistic experience with 427 00:23:10,720 --> 00:23:13,520 Speaker 1: this piece, there is often an erotic element there too. 428 00:23:13,640 --> 00:23:15,399 Speaker 1: I mean it's it's kind of undeniable. I kind of 429 00:23:15,480 --> 00:23:17,119 Speaker 1: end up like when I'm looking at a piece that 430 00:23:17,160 --> 00:23:18,520 Speaker 1: has nudy and I kind of have to sort of 431 00:23:18,560 --> 00:23:20,160 Speaker 1: go back and forth when I'm like, I'm like, oh, 432 00:23:20,240 --> 00:23:22,240 Speaker 1: this is really good, and then the voice says you 433 00:23:22,320 --> 00:23:24,080 Speaker 1: don't like it just because it's naked people to you, 434 00:23:24,119 --> 00:23:25,680 Speaker 1: and I have to say, no, no, I don't I 435 00:23:25,720 --> 00:23:26,960 Speaker 1: think this is, you know, and it's so it's with 436 00:23:27,080 --> 00:23:31,280 Speaker 1: this internal argument over the merits of the art and 437 00:23:31,320 --> 00:23:34,360 Speaker 1: the nudity that by the way, you're actually talking out loud. 438 00:23:35,760 --> 00:23:37,280 Speaker 1: I wanted to tell you that the other day when 439 00:23:37,320 --> 00:23:39,520 Speaker 1: we were at the museum, but it was just kind 440 00:23:39,520 --> 00:23:41,720 Speaker 1: of funny. That's when those the children were looking at me. 441 00:23:41,800 --> 00:23:45,160 Speaker 1: Weird exactly. So what happens when humans attack art when 442 00:23:45,280 --> 00:23:47,359 Speaker 1: we have the opposite or maybe not even the opposite, 443 00:23:47,400 --> 00:23:51,880 Speaker 1: maybe related reaction. Okay, the classic example of this would 444 00:23:51,880 --> 00:23:53,840 Speaker 1: be all the people who have tried to do things 445 00:23:53,880 --> 00:23:57,320 Speaker 1: to the Mona Lisa. Yeah, they're they're they're throwing pain 446 00:23:57,400 --> 00:24:00,000 Speaker 1: at or acid or there's something. There was an even 447 00:24:00,040 --> 00:24:02,000 Speaker 1: more ridiculous example, right, Well, there was a woman, a 448 00:24:02,080 --> 00:24:05,359 Speaker 1: Russian woman, who bought a mug this is the thought 449 00:24:05,560 --> 00:24:08,159 Speaker 1: um at the gift shop and then returned to the 450 00:24:08,240 --> 00:24:11,080 Speaker 1: Mona Lisa and through it and of course it smashed 451 00:24:11,080 --> 00:24:13,840 Speaker 1: against the pullet bulletproof glass and she was you know, 452 00:24:13,960 --> 00:24:18,920 Speaker 1: spirited away. But the museum security, I mean, they immediately 453 00:24:19,160 --> 00:24:21,880 Speaker 1: wondered if this was Stenhall's syndrome. I mean, they didn't 454 00:24:21,920 --> 00:24:24,320 Speaker 1: necessarily think this was someone who was actually trying to 455 00:24:25,080 --> 00:24:28,879 Speaker 1: destroy the painting, but was having a you know, a 456 00:24:29,000 --> 00:24:31,760 Speaker 1: very passionate reaction to the artwork. It's interesting because you 457 00:24:31,840 --> 00:24:35,920 Speaker 1: think of people who want to deface of famous work 458 00:24:35,960 --> 00:24:37,720 Speaker 1: of art, and you know, you try and wrap your 459 00:24:37,760 --> 00:24:40,200 Speaker 1: head around it, and uh, and imagine, a lot of 460 00:24:40,280 --> 00:24:43,600 Speaker 1: it comes down to this is something that is to 461 00:24:43,640 --> 00:24:46,360 Speaker 1: a certain extent, it's it's immortal, you know, at least culturally, 462 00:24:47,080 --> 00:24:49,159 Speaker 1: and you know, certainly the you know, the culture is 463 00:24:49,200 --> 00:24:53,000 Speaker 1: not immortal, but this peace within culture is very long lived. 464 00:24:53,359 --> 00:24:56,359 Speaker 1: And if we are if we hurt this thing, if 465 00:24:56,400 --> 00:24:59,480 Speaker 1: we we put our mark on it, then to some 466 00:24:59,640 --> 00:25:03,000 Speaker 1: extent we are immortal, or at the very least we're 467 00:25:03,280 --> 00:25:05,800 Speaker 1: we're envious of its own immortality and we're able to 468 00:25:06,600 --> 00:25:10,960 Speaker 1: you know, bust it down well. And also you're immediately 469 00:25:11,000 --> 00:25:13,840 Speaker 1: connected to it forever, right, which is because you know, 470 00:25:14,000 --> 00:25:16,560 Speaker 1: from a same point of view. Yeah. Uh, they're like 471 00:25:16,600 --> 00:25:18,639 Speaker 1: the you know, they're always the people who want to 472 00:25:18,680 --> 00:25:21,280 Speaker 1: touch the painting, or at least they get way too 473 00:25:21,359 --> 00:25:23,280 Speaker 1: close to it. And then and and if you're lucky, 474 00:25:23,359 --> 00:25:25,000 Speaker 1: there will be a guard there to tell them not to. 475 00:25:25,200 --> 00:25:27,720 Speaker 1: But but certainly children want to touch the paintings and 476 00:25:27,800 --> 00:25:30,760 Speaker 1: I feel like like maybe even though we inevitably grow 477 00:25:30,840 --> 00:25:33,040 Speaker 1: out of that, that and we we learned that no, 478 00:25:33,240 --> 00:25:35,720 Speaker 1: you do not touch the paintings in a museum, there 479 00:25:35,760 --> 00:25:38,600 Speaker 1: there's still that little kid inness that wants to touch it, 480 00:25:38,720 --> 00:25:42,040 Speaker 1: and by touching it become a part of it. Well. 481 00:25:42,119 --> 00:25:44,159 Speaker 1: On a related note too, if you've ever seen a 482 00:25:44,280 --> 00:25:47,399 Speaker 1: nude bronze sculpture sculpture of a woman, you should take 483 00:25:47,400 --> 00:25:49,600 Speaker 1: a look at the breast area because it doesn't quite 484 00:25:49,640 --> 00:25:51,640 Speaker 1: have the same patina as the rest of the body. 485 00:25:51,720 --> 00:25:54,200 Speaker 1: You can see that people have been groping her. But yeah, 486 00:25:54,240 --> 00:25:57,160 Speaker 1: I mean, we want to connect with it. Um. In fact, 487 00:25:57,320 --> 00:25:59,400 Speaker 1: there was a thirty two year old woman in two 488 00:25:59,440 --> 00:26:03,359 Speaker 1: thousand and who so desperately wanted to connect with um 489 00:26:04,240 --> 00:26:07,520 Speaker 1: a painting by American artist Side Twombly that she wore, 490 00:26:08,160 --> 00:26:11,199 Speaker 1: you know, a bunch of the red lipstick and actually 491 00:26:11,359 --> 00:26:15,000 Speaker 1: kissed the canvas and so there's, you know, the big 492 00:26:15,640 --> 00:26:19,240 Speaker 1: kissing mark on on this painting. That's I'm assuming that 493 00:26:19,359 --> 00:26:22,080 Speaker 1: she ruined to some degree unless they could fix that. 494 00:26:22,840 --> 00:26:26,120 Speaker 1: But this was in Avignon and there was a big, 495 00:26:26,240 --> 00:26:29,640 Speaker 1: large red smudge and she was sent sentenced to community 496 00:26:29,680 --> 00:26:35,320 Speaker 1: work for her transgression there so but this, you know, 497 00:26:35,400 --> 00:26:38,200 Speaker 1: there are a bunch of other examples of people attacking 498 00:26:38,280 --> 00:26:40,600 Speaker 1: sculptures with a hammer, like a mild mannered, you know, 499 00:26:41,119 --> 00:26:44,840 Speaker 1: math professor who was reportedly like this great family man 500 00:26:44,880 --> 00:26:46,840 Speaker 1: who just one day showed up with the loop and 501 00:26:47,080 --> 00:26:49,080 Speaker 1: the hammer, with the hammer that he did not buy 502 00:26:49,119 --> 00:26:53,000 Speaker 1: in the gift shop. Premeditated for sure. Well, I mean, 503 00:26:53,119 --> 00:26:57,119 Speaker 1: the bottom line, art, when it's great, it messes with 504 00:26:57,200 --> 00:26:59,399 Speaker 1: you and who knows what's going to happen, right, But 505 00:26:59,440 --> 00:27:01,280 Speaker 1: that's the reasons we love art, I mean, and then 506 00:27:01,280 --> 00:27:03,120 Speaker 1: and again it's one of the idea of standall syndromes. 507 00:27:03,240 --> 00:27:06,560 Speaker 1: So um, we really want it to happen to us 508 00:27:06,560 --> 00:27:08,359 Speaker 1: almost because you want to be that moved by art, 509 00:27:08,800 --> 00:27:12,600 Speaker 1: you know, the idea that it completely overwhelms you even physically. 510 00:27:12,800 --> 00:27:16,159 Speaker 1: Is something romantic about that you do, you do, but 511 00:27:16,480 --> 00:27:19,639 Speaker 1: mostly you want to be overwhelmed and then compartmentalize it 512 00:27:20,119 --> 00:27:22,280 Speaker 1: and then we have a nice glass of wine exactly 513 00:27:22,560 --> 00:27:25,240 Speaker 1: and enjoy your nice overpriced glass of wine at the 514 00:27:25,320 --> 00:27:29,000 Speaker 1: museum cafe. All right, Well, let's call over the robot 515 00:27:29,160 --> 00:27:33,560 Speaker 1: and see what Arnie has for us today. Al Right, 516 00:27:33,760 --> 00:27:35,280 Speaker 1: here's the one from a listening by the name of Mike. 517 00:27:35,440 --> 00:27:38,360 Speaker 1: Mike writes, and he says, dear Robert, Julie and producer, 518 00:27:38,720 --> 00:27:41,040 Speaker 1: I want to say Jeered. Yeah, he says, he wants 519 00:27:41,040 --> 00:27:42,919 Speaker 1: to say Jerry, but a nice movie. It's not It's 520 00:27:42,960 --> 00:27:47,160 Speaker 1: not Jerry, not right now. It's Matt. Matt doesn't have this, yes, 521 00:27:47,280 --> 00:27:49,240 Speaker 1: and he is also of stuff they don't want you 522 00:27:49,280 --> 00:27:52,040 Speaker 1: to know. Yes, yeah, Matt, that's the same Mat and 523 00:27:52,160 --> 00:27:56,280 Speaker 1: coolest stuff on the planet. Right. There's some sort of 524 00:27:56,359 --> 00:27:58,760 Speaker 1: muling sounds, so I think that means yes, the multi 525 00:27:58,800 --> 00:28:01,679 Speaker 1: talented Matt. So Mike rights been to all of us 526 00:28:01,800 --> 00:28:06,919 Speaker 1: and says hello from NEPA. That's northeastern Pennsylvania or did 527 00:28:06,960 --> 00:28:08,440 Speaker 1: they say Nipa. I don't know. This is new to 528 00:28:08,480 --> 00:28:12,040 Speaker 1: me any p a. M I've been listening to your 529 00:28:12,080 --> 00:28:15,040 Speaker 1: awesome podcasts for about a year now, and I and 530 00:28:15,160 --> 00:28:17,359 Speaker 1: have listened to them all on my long drive to 531 00:28:17,440 --> 00:28:20,000 Speaker 1: and from work. Your podcast on tidily Locked Worlds has 532 00:28:20,040 --> 00:28:22,440 Speaker 1: finally given me a leason to write in. I immediately 533 00:28:22,520 --> 00:28:25,040 Speaker 1: thought of the game Mass Effect and Mass Effect to, 534 00:28:25,560 --> 00:28:28,400 Speaker 1: both of which feature tidily locked worlds, and uh, and Mike, 535 00:28:28,480 --> 00:28:30,600 Speaker 1: it's it's uh, it's good that we mentioned Matt, because 536 00:28:30,600 --> 00:28:32,119 Speaker 1: I know Man is a fan of these games. Some 537 00:28:32,240 --> 00:28:35,600 Speaker 1: of these worlds are viewable through space, but the game 538 00:28:35,640 --> 00:28:37,760 Speaker 1: allows you to land on a few of the planets. 539 00:28:37,920 --> 00:28:39,960 Speaker 1: The hallmark of these worlds in this game is the 540 00:28:40,120 --> 00:28:42,800 Speaker 1: Twilight Band, a small portion of the world that is habitable, 541 00:28:43,080 --> 00:28:45,320 Speaker 1: which I believe you mentioned on the podcast let Me did. 542 00:28:45,920 --> 00:28:48,440 Speaker 1: The game doesn't get very detailed into the exact weather conditions, 543 00:28:48,480 --> 00:28:50,200 Speaker 1: but they do seem to follow the trends of a 544 00:28:50,320 --> 00:28:53,479 Speaker 1: scorched and blasted wasteland that faces the sun and an 545 00:28:53,520 --> 00:28:56,840 Speaker 1: isolated I see desolate wasteland that never sees the sign, 546 00:28:57,240 --> 00:29:00,040 Speaker 1: and that band of sometimes political area in between in 547 00:29:00,120 --> 00:29:02,360 Speaker 1: the zones. Some of the planets described to have an 548 00:29:02,360 --> 00:29:06,600 Speaker 1: oxygen nitrogen atmosphere. Why others have things like xenon it's 549 00:29:06,640 --> 00:29:10,640 Speaker 1: their atmosphere. A few even describe some gale force winds 550 00:29:10,720 --> 00:29:13,120 Speaker 1: that are created from the hot side cold side difference. 551 00:29:13,480 --> 00:29:15,640 Speaker 1: I'll send you some links that includes some descriptions of 552 00:29:15,680 --> 00:29:18,080 Speaker 1: the game. Anyway. I don't know if this is listener 553 00:29:18,200 --> 00:29:21,120 Speaker 1: mail worthy for your robot Arnie to bring to you, 554 00:29:21,360 --> 00:29:23,840 Speaker 1: but at least you'll be aware and have another fan 555 00:29:23,920 --> 00:29:25,520 Speaker 1: of the show peers and Q you have a great work. 556 00:29:26,040 --> 00:29:28,160 Speaker 1: Thank you, and you have been vetted by Arnie. It 557 00:29:28,280 --> 00:29:31,360 Speaker 1: shows you did uh and we have sometimes we have 558 00:29:31,440 --> 00:29:34,360 Speaker 1: somebody else on Facebook who mentioned U that there was 559 00:29:34,400 --> 00:29:37,640 Speaker 1: a world on Future Rama that was tidally locked, which 560 00:29:37,680 --> 00:29:40,000 Speaker 1: totally makes sense. I the Life of Man can't rems 561 00:29:40,040 --> 00:29:42,239 Speaker 1: wanted it was now. But but there are a lot 562 00:29:42,280 --> 00:29:45,080 Speaker 1: of a lot of cool sci fi ideas inevitably end 563 00:29:45,120 --> 00:29:48,160 Speaker 1: up in Futurama. Bec pulling from the from all the 564 00:29:48,200 --> 00:29:51,480 Speaker 1: different US an episode the other week and they were 565 00:29:51,520 --> 00:29:53,680 Speaker 1: going to a farmer's market and they were Chloake of 566 00:29:53,760 --> 00:29:57,560 Speaker 1: Fresh eggs, and that's where I knew I had used 567 00:29:57,600 --> 00:30:00,040 Speaker 1: chloec A Fresh at some point in a conversation. Is 568 00:30:00,040 --> 00:30:01,960 Speaker 1: wondering where I picked up from, But there you go. 569 00:30:02,280 --> 00:30:05,320 Speaker 1: It was probably Zoidberg. Yeah, I just caught it and 570 00:30:05,360 --> 00:30:08,440 Speaker 1: I was like, oh god, I love that. All right, Well, 571 00:30:08,560 --> 00:30:11,360 Speaker 1: if if you guys would like to interact with if 572 00:30:11,360 --> 00:30:14,120 Speaker 1: you would like to share some art with us, even 573 00:30:14,320 --> 00:30:17,120 Speaker 1: throw it on the Facebook board. We are stuff to 574 00:30:17,160 --> 00:30:19,360 Speaker 1: blow your mind on Facebook and you can find out 575 00:30:19,440 --> 00:30:22,560 Speaker 1: what we're working on, what we've just recorded, what's publishing 576 00:30:22,680 --> 00:30:24,440 Speaker 1: and against your great ideas with us. You can also 577 00:30:24,440 --> 00:30:27,160 Speaker 1: find us on Twitter, where our handle is below the 578 00:30:27,240 --> 00:30:30,240 Speaker 1: mind one order and um. We'd also love to hear 579 00:30:30,280 --> 00:30:32,160 Speaker 1: about your reactions to art. I know that we have 580 00:30:32,320 --> 00:30:36,080 Speaker 1: a listener, Shanty, who talked about painting by Goya that 581 00:30:36,160 --> 00:30:39,640 Speaker 1: really moved her and that was a great email to get, 582 00:30:39,920 --> 00:30:43,280 Speaker 1: very interesting. So if you have, if you've become you know, 583 00:30:43,400 --> 00:30:45,920 Speaker 1: wobbly need in front of the work of art, let 584 00:30:46,040 --> 00:30:47,440 Speaker 1: us know. Or if you just want to drop us 585 00:30:47,440 --> 00:30:49,400 Speaker 1: a line, you can do so at Blow the Mind 586 00:30:49,520 --> 00:30:56,880 Speaker 1: at Discovery dot com. Be sure to check out our 587 00:30:56,880 --> 00:31:00,520 Speaker 1: new video podcast, Stuff from the Future. Join How Stuffwork's 588 00:31:00,520 --> 00:31:04,040 Speaker 1: staff as we explore the most promising and perplexing possibilities 589 00:31:04,080 --> 00:31:04,680 Speaker 1: of tomorrow.