Marina Abramović, “Rhythm 0,” 1974
Marina Abramović is best known for her performance pieces, in which she tries to explore what is possible for an artist to do in the name of art. Her best known piece was the recent “The Artist Is Present,” in which she sat motionless for 736.5 hours over the course of three months, inviting visitors to sit opposite her and make eye contact for as long as they wanted. So many people began spontaneously crying across from her that blogs and Facebook groups were set up for those people.
Her bravest piece, however, is my favorite. This piece was primarily a trust exercise, in which she told viewers she would not move for six hours no matter what they did to her. She placed 72 objects one could use in pleasing or destructive ways, ranging from flowers and a feather boa to a knife and a loaded pistol, on a table near her and invited the viewers to use them on her however they wanted.
Initially, Abramović said, viewers were peaceful and timid, but it escalated to violence quickly. “The experience I learned was that … if you leave decision to the public, you can be killed… I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.”
This piece revealed something terrible about humanity, similar to what Philip Zimbardo’s Stanford Prison Experiment or Stanley Milgram’s Obedience Experiment, both of which also proved how readily people will harm one another under unusual circumstances.
This performance showed just how easy it is to dehumanize a person who doesn’t fight back, and is particularly powerful because it defies what we think we know about ourselves. I’m certain the no one reading this believes the people around him/her capable of doing such things to another human being, but this performance proves otherwise.
A recent infographic in The Economist revealed that in the 140 million hours humanity spent watching “Gangnam Style” on YouTube two billion times, we could have built at least four more (desperately needed) pyramids at Giza. Endless articles pose the question of why we procrastinate, what’s going wrong in the brain, how to overcome it, and the fascinating irrationality of it all.
But if procrastination is so clearly a society-wide, public condition, why is it always framed as an individual, personal deficiency? Why do we assume our own temperaments and habits are at fault — and feel bad about them — rather than question our culture’s canonization of productivity? —
How to Stop Time – New York Times writer Anna Della Subin visits an academic conference on procrastination at Oxford and reflects on the broader cultural implications of the phenomenon.
Also see how the way we spend our time can slow it down or speed it up, then revisit Italo Calvino’s endearing confession of procrastination.
Alice Munro once described your early 30s as “an age at which it is sometimes hard to admit that what you are living is your life.” — The Power of 29: An Ode to Being Almost 30 — The Cut (via diemkay)
Never be sorry for a fool.
Shoe fetish you say?
How about less drama?
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listen to more music and less advice i-D Magazine
social media facepalm win
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The wonderfulness of absurdity