Friday, October 22, 2010
1. Do you often feel used by the person?
2. Have you often felt that he (or she) doesn't care about you?
3. Does he lie and deceive you?
4. Does he tend to make contradictory statements?
5. Does he tend to take from you and not give back much?
6. Does he often appeal to pity? Does he seem to try to make you feel sorry for him?
7. Does he try to make you feel guilty?
8. Do you sometimes feel he is taking advantage of your good nature?
9. Does he seem easily bored and need constant stimulation?
10. Does he use a lot of flattery? Does he interact with you in a way that makes you feel flattered even if he says nothing overtly complimentary?
11. Does he make you feel worried? Does he do it obviously or more cleverly and sneakily?
12. Does he give you the impression you owe him?
13. Does he chronically fail to take responsibility for harming others? Does he blame everyone and everything but himself?
And does he do these things far more than the other people in your life? If you answered "yes" to many of these, you may be dealing with a sociopath. For sure you're dealing with someone who isn't good for you, whatever you want to call him.
I like Martha Stout's way of detecting sociopaths: "If ... you find yourself often pitying someone who consistently hurts you or other people, and who actively campaigns for your sympathy, the chances are close to one hundred percent that you are dealing with a sociopath."
WHAT DO THEY WANT?
This is an interesting question. Of course most of our purposes are strongly influenced by our connections and affections with others. Our relationships with others, and our love for them, give us most of the meaning in life. So if a sociopath doesn't have these things, what is left? What kind of purposes do they have?
The answer is chilling: They want to win. Take away love and relationships and all you have left is winning the game, whatever the game is. If they are in business, it is becoming rich and defeating competitors. If it is sibling rivalry, it is defeating the sibling. If it is a contest, the goal is to dominate. If a sociopath is the envious sort, winning would be making the other lose or fail or be frustrated or embarrassed.
A sociopath's goal is to win. And he (or she) is willing to do anything at all to win.
Sociopaths have nothing else to think about, so they can be very clever and conniving. Sociopaths are not busy being concerned with relationships or moral dilemmas or conflicting feelings, so they have much more time to think about clever ways to gain your trust and stab you in the back, and how do it without anyone knowing what's happening.
One of the questions in the list above was about boredom. This is a real problem for sociopaths and they seem fanatically driven to prevent boredom. The reason it looms so large for them (and seems so strange to us) is that our relationships with people occupy a good amount of our time and attention and interest us intensely. Take that away and all you have is "playing to win" which is rather shallow and empty in comparison. So boredom is a constant problem for sociopaths and they have an incessant urge to keep up a level of stimulation, even negative stimulation (drama, worry, upset, etc.).
And here I might mention that the research shows sociopaths don't feel emotions the same way normal people do. For example, they don't experience fear as unpleasant. This goes a long way to explaining the inexplicable behavior you'll see in sociopaths. Some feelings that you and I might find intolerable might not bother them at all.
Thursday, July 1, 2010
AND Mike Huckabee can lick my clit. Okay? Thanks.
Wednesday, May 12, 2010
ROB is the prototype for the Robot of Love 1.0.
ROB is a roaming server powered by solar and wind energy.
ROB has a built-in camera that feeds live to his website www.robotoflove.tv.
Beginning in Eureka, California, he travels zig-zag across the United States.
How ROB was conceived...
More people watched the reality shows American Idol and Dancing with the Stars in two weeks time than voted in the Presidential election in 2008, one of the most definitive elections in our lifetime. Is it really more important to know whether or not Lawrence Taylor or Steve-O from Jackass can Mambo as opposed to choosing the leader of the free world? Unfortunately, the answer to that question has become yes to many Americans.
In a time of recession, it is easy to see that people may partake in escapism, but this is not a new trend. The history of reality television dates to the early 1990s, and the networks have seen a significant growth in the market, significant enough to utilize almost all air time to the latest creation in the genre.
What ROB represents...
Mind-numbing television coincides with the apathy of the public at large. This type of television offers nothing of value to the people who sit entranced by the possibility that they, too, could find themselves sharing a house with ten other obnoxious people with the sole purpose of humiliating others for some sort of financial gain. This form of entertainment is the prime example of the watering down of any sense of culture that may have existed in the United States, and most of the western world.
In a darker sense, reality TV is a self-degrading assault on intelligence that permits people to relish complacency. If the American television viewer is preoccupied with which celebrity will feel the wrath of Donald Trump on any given week, then they aren't paying attention to the true reality of the world we live in today.
Why ROB is important...
The Robot of Love is true reality television. ROB will film anyone and everyone he meets during his journey. As a roaming server, he has a built in camera that feeds live footage to his website www.robotoflove.tv.
Reality TV makes up almost 50% of all programming, which is quite significant. Of more concern, it seems that once we settle in for our favorite reality TV show we see and hear little that is going on around us. ROB is pure reality, because nothing is more real than life itself.
ROB mirrors life by broadcasting real people in real clothes on real streets, live to the world.
Where ROB goes...
The Robot of Love travels zig-zag across the United States directed by his built-in GPS device.
ROB begins at the furthest Western point in the furthest Western city, Eureka, California. He ends at the furthest Eastern point, West Quoddy Lighthouse in the furthest Eastern city, Lubec, Maine.
ROB in Eureka, California
ROB in Oklahoma City, Oklahoma
ROB in Lubec, Maine
ROB's gadgets and configurations...
The Robot of Love requires combinations of many different technologies to function completely. These include: GPS locator and mapper, video camera, independent server, solar panels, wind turbines, tractor wheels and a screen for communication.
ROB is made of recycled metals and is completely weather resistant. He is green and produces zero waste, relying on sun and wind power to travel.
Play with ROB...
The Robot of Love is built on the core basis of interactivity. ROB’s video feed is transmitted live to his website of www.robotoflove.tv.
On the website, witnesses and participants can communicate with each other. Space is allotted for participants to post stories of their experiences with ROB, as well as their feelings before and after meeting him.
ROB and the reality of the present...
The Robot of Love allows the public to see what is true and real as opposed to what it on called “reality” on the television.
Everyone is a member of the audience. Everyone is a participant. Everyone benefits from him because ROB mirrors society. ROB allows us to see who we really are: beautiful and unique individuals.
ROB challenges conventional monuments by his constantly moving location, and is never still. ROB examines a cultural phenomena instead of a single occurrence or event.
The cost of ROB's love...
GPS SCI-ULTRALINK= $599.99
Canon Vixia HF200 Camera= $449.99
Unified Communication Internet Server= $500 (plus $19 a year)
Recycled steel= free
003 Stainless Steel Circulator, 1/40 HP Solar Panels= $179
Wind turbine (propeller connected to inverter then to generator and engine)= $2,000
LCD Communication screen= $149
Tank wheel= $200
Labor= $3,500 ($20/hr full time)
TOTAL: $7,277.98 (+ $19 a year for internet)
Can ROB stand the test of time?
To carry out the Robot of Love, ROB must be built, from the ground up. A website must be set up and linked to his server. Finally, Rob must be placed in Eureka, California, facing East.
ROB’s journey across the country will take hundreds of years, if not thousands. He will grant the industrialized world a second chance, by illuminating the absurdity of our materialistic, consumer-driven lives.
If only planting a seed in the brain of each of his participants, ROB can ignite a fire of thought. ROB has the potential to transform a slumber into an earthquake.
Sunday, May 2, 2010
The first piece I saw was on Haight Street in between Cole and Clayton. On the upper wall of the Red Victorian building (yes, the one that Jimi Hendrix used to live in) there is large rat, a signature of Banksy, with a long red line circling the second floor of the surrounding buildings. At the end of the red line, there is text written in red spray paint saying, "this is where I draw the line."
The second piece I saw was on Mission Street at Sycamore, directly on the back of Cafe Prague. This piece is a stencil of an American Indian sitting on the ground holding a "No Trespassing" sign.
The third is on Valencia Street at 20th. The text reads "This'll look nice when its framed."
The fourth, and last, piece I saw is in Chinatown at Grant Street. This is my favorite of the bunch. Banksy took pre-existing graffiti of a peace sign and heart on the side of a Chinese bakery and added a stencil of a doctor with a stethoscope. When I was outside the business taking pictures, the owner was installing plexiglass over the artwork in order to preserve it. How beautiful is that?!
Unfortunately, I wasn't able to finish the scavenger hunt, because the process took too long with MUNI. I started at 5 and was out hunting until 9. I hope to see the other two works sometime soon, before the city or business owners paint over them. Every lover of subversive art should spend the time to witness Banksy in person. Or maybe you will just happen to catch a piece while you're out on the town. Either way, it is definitely worth it.
Wednesday, April 28, 2010
2. Public Pater Purifier: each day, chunks of ice break off the Polar Ice Caps, altering the salinity of the ocean water and its equilibrium. each day, a block of ice the size of the previous day's losses will be placed on top a sculpture. the sculpture then allows sunlight and surrounding environmental heat to melt the solid into liquid and dispensed into re-usable cups to provide drinking water for people walking on the street.
3. Human Robot: programmed to walk down each and every street and politely greet every person it meets
Tuesday, April 20, 2010
Second, I used a basic template from the common "Beware of Dog" sign and changed the language. I would like to create more symbols to use for the template as well.
Sunday, April 18, 2010
Artist and filmmaker Bo Heimlich was featured at an art show sponsored by the Chrome Retail Store on March 26, 2010. All the money made from drinks went to Bikes to Rwanda. Heimlich's work is both frightening and satirical. He draws monster-type creatures on vintage photographs and found posters, as well as adding Kiss-esque black metal face paint to men and women to said photos. At first sight, Heimlich's eerie demon drawings sent a chill down my spine. After thinking about "why" I felt uneasy, I found an enormous amount of humor in his work.
Perched in front of the camera Theirry Guetta is constantly moving. Legs pumping and arms waving, he narrates the story of his rise to infamy in the art world as if no one would believe it. And perhaps we shouldn’t. “Exit Through the Gift Shop” is billed as “a Banksy film,” but Banksy, the notoriously reclusive street artist, appears in the film rarely, only with his face hooded and voice distorted. "Exit" is a film that looks like a documentary but feels like a con and a monumental joke.
Spanning over a decade and several continents, “Exit” tells of Mr. Guetta’s infiltration of the clandestine world of street artists, gunned by his cousin, the Parisian street artist Space Invader, and a psychotic obsession with video-cameras. Claiming to be a filmmaker, the diminutive Frenchman becomes an unlikely accomplice of a movement whose participants share a vandal’s fear of cameras. His continuous escapades cause thousands of hours of tape to accumulate and even land him a coveted introduction to Banksy. When the film stops chronicling popular street artists, it regains focus on the transformation of Mr. Guetta from a mere documenting witness into a street artist himself. Adopting the pseudonym Mr. Brainwash and prodded by Banksy, who acquired the thousand hours of tapes and filmmaking duties, Mr. Guetta stages an art show of what he is ecstatic to call his own work. The event, titled “Life Is Beautiful” garnered a cover story in LA Weekly thanks to statements from Shepard Fairy and even Banksy himself. The show displayed blatant knockoffs and cut-and-paste pop trash that’s fawned over by gullible bourgeois collectors. Interviews with giddy attendees give way to a snickering Banksy, who seems both gratified and slightly embarrassed by his role of puppeteer.
Whether acting as a genuine friend or constructing an elaborate con, Banksy has clearly found a new canvas for his subversive work. Shining light on the commodification of street art and the superficial behavior of many enthusiasts, Banksy mischievously pokes fun at the "next-big-thing" craze and the people who pursue it. Set to Richard Hawley’s underground pop anthem “Tonight the Streets Are Ours,” Banksy's prankumentary reminded me of why I like both street art and culture jamming.
It democratizes art.
It can send subversive and political messages.
Everyone can do it.
Saturday, April 10, 2010
The National Day of Silence brings attention to anti-LGBT name-calling, bullying and harassment in schools. Each year the event has grown, and now hundreds of thousands of students participate to encourage schools and classmates to address the problem of anti-LGBT behavior. Beginning in 1996, the Day of Silence has become the largest single student-led action towards creating safer schools for all, regardless of sexual orientation, gender identity or gender expression.
Come participate in an act of performance art at San Francisco State University. The performance will consist of small groups (2 or 3 people) standing in and around Cesar Chavez Student Center. The small groups will be steadfast in intimate positions (e.g. about to kiss, holding hands, or showing affection) for a short period of time.
Here are some shots of what Mary and I came up with...
Saturday, March 27, 2010
Life, either in concrete or abstract enhances any work of art. Art is created by life. Art is inspired by life. So why can't life, too, be art?
Drawing by Elizabeth Bronwyn Wells 2002
Donna Haraway’s essay, ‘A Cyborg Manifesto: Science, Technology and Socialist Feminism in the Late Twentieth Century’ is an analysis of women and advanced technology in a postmodern world. Haraway uses various illustrations to focus on women’s relation to the technologically scientific world, she uses the metaphor of a cyborg to challenge feminists and engage in a politics beyond naturalism and essentialisms. She also uses the idea of the cyborg to offer a political strategy for the dissimilar interests of socialism and feminism. In her manifesto, Haraway describes a cyborg as a hybrid of machine and organism or a cybernetic organism, created by the advances in technology. She discusses science and the creation of cyborgs, for example, biology teaches us that a Cyborg is the combination of human and machine, many examples of this can be found in the medical field by the use of prosthetic limbs.
Seven hundred proposals were submitted in a design competition but it was the radical design of French engineer Alexandre Gustave Eiffel that was unanimously chosen. Some 300 people signed a petition to prevent the city government from constructing the tower. They felt that the Eiffel Tower would be useless and monstrous while endangering French art and history.
La Tour d'Eiffel played an important role in capturing the infamous spy Mata Hari during World War I. After this, it gained acceptance among the French populous. Beginning of 1910, it became a part of the International Time Service and the French Radio has been using the tower since 1918. The French Television started scientifically using the height of the tower from 1957. The controversy surrounding its construction and the use of the Eiffel Tower has made it extremely famous. Today this fantastic structure of iron and rivets is iconic symbol of Paris, the city of love. People from all over the world come to Paris just to marvel at this human-made wonder.
Monuments act as bridges to tell of culture and social tradition. For example, various American Indian and indigenous tribes raised totem poles for a variety of symbolic and tactful reasons. Monumental poles were used as house frontal poles placed against the house, often serving as doorways of houses. Totem poles were also carved into the interior house as posts to support roof beams. Today, in Western society, monumental and totem poles are imagined as free standing memorial poles to honor deceased chiefs and spirit animals. While it is sometimes possible to identify different animals, such as bears, ravens, eagles, it is not possible to interpret what the pole really means without knowing the history of the pole and the family that owns it.
Monuments either question or confirm the past. But regardless of their constructors original intent, monuments serve as markers for human memory.
Friday, March 26, 2010
In contemporary social movements and protests, culture jamming adds necessary fun and laughter to extremely stressful and ominous tasks. But why and what is the meaning of art and fun in protest? Their are various meanings and uses of fun and laughter in culture jamming. Emotional ties to culture jamming is contingent upon the dominant emotional regime of capitalism where fun, too, is advertised as a key ingredient. In most social movements, activists often reject the fun of consumption and offer their own definition of a kind of fun which is real and authentic; here is where culture jamming comes to play center field. For example, fighting for freedom and equality is only "fun" when culture genuinely embodies the art of protest. Articulating the inherent tensions between 'real' and 'fake' emotions is pertinent to understanding contemporary social movements. Culture jamming is first shaped by the contemporary emotional norms, then contests them and finally reaches beyond them. "Fun" is an important expression of emotional energy because it openly invites the masses to participate. Fun is contingent upon social relationships created in organizations, collectives and other protest groups. But as emotional energy, fun in culture jamming is targeted to a field broader than just protest groups. It is aimed at the larger community and suggests that the individual and fragmented protest actions are nevertheless an expression of a loosely identified collective social identity. Culture jamming injects emotions into social movements. Culture jamming is not only part of a movement but also the driving core of any living, breathing social movement.
1. Beginning at Market St. and Embarcadero in San Francisco, California.
2. Flip a coin. If heads, you will frame a photograph either forward or backward of you; if tails, you will frame a photograph to your right or left. Flip again. If heads, photograph the intersection in front of you or to your right, according to the previos flip. If tails, photograph the intersection from behind or to your left, according to the previous flip.
3. Flip the coin again. Heads will determine whether you will walk ONE BLOCK North or South, while tails determines whether you will walk one block East or West. Flip again. If heads, walk either North or East, according to the previous flip. If tails, walk either South or West, according to the previous flip.
4. Repeat steps 2 and 3 as many times as possible within a predetermined time period. (example: 20 minutes)
5. Take your total time and divide it by the number of photographs taken. If the number is even, create a slideshow. If the number is odd, create a collage.
6. Flip a coin. Organize the intersections in either the slideshow or collage based on the number of automobiles in each frame. If heads, organize the photos from least to greatest. If tails, organize the photos from greatest to least.
~Special thanks to my blue-haired friend Juliana. She walked circles around each intersection during the process. Can you find her in each photo?
Thursday, March 25, 2010
View my tour HERE
Tuesday, March 16, 2010
- a few magazines
- glue or paste
- 8x10 piece of paper
- a penny
1. Toss a penny. Heads= cut something out of page 12 and paste on paper. Tails= cut something out of page 23 and paste on paper.
2. Toss a penny. Heads= find something blue, cut it out and paste it on paper. Tails= find something orange, cut it out and paste it on paper.
3. Toss a penny. Heads= find a plant, cut it out and paste it on paper. Tails= find an animal, cut it out and paste in on paper.
4. Toss a penny. Heads= go to page 8, find something, cut it out, and paste it on paper. Tails= go to page 19, find something, cut it out, and paste it on paper.
5. Toss a penny. Heads= find something pretty, cut it out, and paste it on paper. Tails= find something ugly, cut it out, and paste in on paper.
6. Toss a penny. Heads= go to page 17, cut in shape of heart, and paste it on paper. Tails= go to page 4, cut in shape of star, and paste it on paper.
7. Toss a penny. Heads= cut and paste enough small green images to fill the rest of paper. Tails= cut and paste enough small purple images to fill the rest of paper.
Monday, March 15, 2010
Thursday, February 18, 2010
Tuesday, February 9, 2010
Wednesday, February 3, 2010
Tuesday, February 2, 2010
"In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means." I visualized myself walking down a dirt path in the middle of the woods. The path had many different twists and turns, as well as other intersecting paths. As I kept walking, the importance my destination faded away, for an end to the journey was inevitable. The journey itself is what is where the most can learned, discovered, appreciated, seen and experienced.
As for now, I am not interested in my terminus; I just want to enjoy the ride.