student ivanov, the prototype of which we seem to have a grotto in the film, where in what i read, but i read it, they didn’t publish it in soviet times, but i, as i say, i was such a reader, so i just read it in a whirlwind, ruined my eyesight, lost my dream of becoming an astronaut, you see, that’s why, but it’s all just a statement, yes,

dostoevsky, the great writer from perov’s painting, that’s all, that’s it, that’s it, yes , but of course i really felt it of course, when i started making postoevsky’s film, that’s all, that’s where everything was for real, when i re-read everything, when i asked myself, listen, moody, moody, has a sense of humor, hello, what a sense of humor he has, they even accused him of imitating gogol, it’s wonderful with such practice, he only had one notebook and the gospels are with notes for the building, yes, i know this publication is excellent, but look, i’ll just remind you that in soviet times there was such an anecdote that if they erected a monument to dostoevsky, they would have to write to fyodor mikhailovich from grateful demons because, since roman obesov

is a revolution, he is against the revolution, then no matter how strange it is to imagine now, but in soviet times, demons were not published, they were published once and withdrawn too, so i was finding fault with you, and what pre-revolutionary publications are, this is an important story , and the novel was based on absolutely hot events, because in november 1869, near this grotto that we saw, there was a group of revolutionaries, terrorists, conspirators, like... his name was ivan ivanovich ivanov, well, such an intricate surname, here they killed him, sergei nichaev with them led, there was a trial, just this unenlightened, strange, downcast, in my opinion, face, strange, you can read a lot, these are notes, for me the face, every time these are notes, after this there was a trial.

this trial is depicted in no way, yes, everyone is discussing everything, whether the culprit will be punished, and dostoevsky works on the verge of relevance, he is a journalist, tolstoy says that well, he doesn’t write another thing here first , first an essay, practically this, but then it grows into a pomflet even i don’t know there already according to zhannov, then only then did he realize that he was cramped, he felt cramped, he felt cramped there and so did he. the huge scale of this private god, he translated it into another register, saw it as a world event, strictly speaking, and then, well, lenin is partly to blame for this ban, well, in soviet times they said that nichaev was a wrong reactionary, so lenin is there company, here is the first edition of demons, a separate one, you see, 1873, anton, how did you become pyotr stepanovichovlady? the only

test for verkhovensky, to which vladimir ivanovich said no, the artist is approved , you are approved by kirillova, the conversation is closed, i still persuaded about one test, where i showed three versions of one scene and after 5 days, i was already approved for verkhovensky, but here my inner, as it were, is interesting to say, the message, why it was important for me myself. i think verkhovensky, in order for it not to grow in me and stay, i needed to perform it, play it and unfasten it so that he knew about it, but when at the tryouts the game was said no, we talked a lot about in fact, we talked a lot about this, how much to let in, how much to let in, how important it is, how important it is to hear, because these are completely different people, after all... such a monomaniac, he has the idea that

suicide is the only free act, and he lives only by this, his freedom, in fact, verkhovensky is so complex. hence the surname, probably, his father, by the way, wants to rule, i suddenly thought, yes, and the elder, stepan trofi, yes, stepan trofimovich is here, as if in the shadows, but with a trigger, in the very verkhovensky, petra stepanovich, it seems to me that he manifests himself precisely with this trigger, because it is this dislike that gives rise to an argument with his father in him. this is the number of demons to which he is already, how interesting it is, and how new it is, anton, that is , stepan trofimovich, verkhovensky is such a liberal of the forties, who is still obsessed with the fact that the government is looking for him, watching him, seeking him out, he is like an oppositionist, in fact he is

an absolutely unsuccessful person who is not even capable of loving his son or treating him humanly speaking, he is focused on his figure, and his figure is absolutely empty. don’t play the text with dostoevsky’s text, it’s incredible, and how we fought it, and how we fought it, how we searched for this one, there’s no sun behind the houses anymore, it’s very difficult, because it puts pressure on you, i say, it puts pressure on you , and if you don’t curb it, you, as

a performer, simply dissolve, because when you start teaching it, and then you start playing it, i’ll say a strange thing now, but to my physiological even, but change places at this moment, uh-huh, and the soul turns inside out, and all your sins hang there, and they wave their legs like this, there is contact, the results of the year with... with vladimir putin on december 14 at 12:00 moscow time. well, we continue, i remind you that we are talking today about dostoevsky, about the novel demons, my guest

today is the director, people's artist of russia, vladimir ivanovich khotinenko and the actor of the linkom theater mark zakharova, anton shagin. if you allow me, i’ll get to that now. what always happens in the middle of a transmission is a few minutes of the host’s solo, and in this very fragment of our conversation i would like to read the texts of captain lebyatkin, without any choice, yes, this is the first aberiud, and captain lebyatkin, speaking of a sense of humor, lebyatkin is a wonderful comic character, of course, he still funny , he must be funny, he says: varvara petrovna, stovrogina, that he has a fable, he says, probably krylov’s tower, no, no, not krylova, my own fable, that’s what he thinks , there lived a cockroach, a cockroach from childhood, and then fell into a glass full of fly-eating, lord , what is this, varvara petrovna exclaimed

, a cockroach took the place, the flies began to murmur , our glass was very full, they shouted to jupiter, but while they were screaming, nikifor, a handsome old man, came up, well, here i have more not finished, the captain cracked, nikif takes the glass and, despite the cry, splashes out the whole comedy, my god, what is this, this is absolute, this is not krylov’s fable with a moral, with clearly defined good and evil, in the end, but this is just a cult of the disgusting, disgusting, and then afanasy afanach fed , an absolute russian poet, sometimes even to the point of boredom , because he writes about the most important thing, well , about the fact that the sounds of the evening are crowding like midges, my god, and i don’t know what i’ll sing, but only the song is ripening , says fet, yes , he’s not talking, not about something in the world, about the way he sings, this is absolute poetry, that’s what captain lebyatkin makes of it, and he

just starts word for word, well, such a postmodernist, in fact saying, yes, he repeats it word for word, i came to you with greetings, he says, to tell you there there is a story to tell. say that the sun has risen, that it is trembling with hot light through the forests, tell you that i woke up, i, damn you, am all awake, under. litvy , there is a forest, as if under the rods, every bird is asking for thirst, to tell me what i will drink, i don’t know , i will drink, well, i don’t know what i will sing, but only fet’s song is ripening, and here is this twist , terrible, monstrous, artistic, a twist of language, and a twist of consciousness, of course, because these conspirators are preparing a revolution, and it’s unclear, are these five alone in russia? or there are a million of them, because they are told that for the sake of conspiracy, only one is familiar with

the other five, so i don’t understand whether all of russia is already entangled in this terrible thing, of course, this is a deception, because the demon never speaks, he always promises, but as soon as you worship him, he says, nothing happened , i didn’t promise anything, this nothing exists, but how do you even interpret the name, that’s why demons and not devils, for example, well, because it’s a herd of pigs, well, in the epigraph it says, yes, that’s why we did it in the epigraph, in general, this number is very important from my point of view - it’s a dance, verkhovensky with pigs , you know, sometimes some things cannot be formulated in words, that’s all, you can feel it, here in this complex of him, here are his plastics and these pigs, this, this is a very powerful scene. because sometimes you formulate a thing, it dies, and when what remains is a musical

feeling from it, that’s what samoan music is, figurative, when the image remains, here it is, i think this is one of the best scenes, this is verkhovsky’s dance, this is one of the best scenes of his manifestation, yes, there is this wonderful monologue, and he coped with it, with this wonderful historical monologue, we had to shorten it, he is, but there we were struggling with the words, we rehearsed this monologue very carefully. because the words are too on the surface , something else was needed, a break was needed, it was necessary to look into the old one, and how he was there, and how we managed to get into him, no, we don’t have it, but this is such a topic, it was possible an hour to talk, stavrogin is such an amazing character, he is a wonderful person, only he decided to find such a will from the lord, to commit such a crime for which the lord would not forgive, would not forgive, because they are all simply in the absence of love, that’s all,

they have no love, this is in principle the correct formulation, this is the correct formulation, this is not the worst thing, well , it’s not the worst thing, but when absence understands, i later found in dostoevsky’s notes this doll from which you are a butterfly, that is, i confirmed that i brought a butterfly, it’s not there completely in the novel, i actually whole line. contributed when i realized that dostoevsky forgot about it, when he arrived, they asked him where you were, and the butterfly, what a beauty, so i came up with this episode with the butterfly, and for him , after all, stavrogin, he loves standing on the edge when there’s this beauty, and he says, look through the microscope, i myself experienced this as a child, when i looked at a butterfly through a microscope, and there were some thorns there, he says, this is nature, and this is exactly the same figurative system, because this is also in words - this is a simplification, because words are given to us, in everything is written in the gospel, don’t kill, don’t steal

, that’s it, but we don’t do that, why is it important that you directly transferred this episode from the gospel, brought it to life additionally, yes, there, too, christ heals the demoniac and resettles the pigs, which they themselves ask for the pigs were allowed to live, that is, they ask him for permission, this is very important, and they chatter infuriatingly, i would like anton to return to your thesis, with which i of course agree, yes , the main love, this is true, but look, the person who doesn't know love, he just he petrifies and dies, but here’s a different story , in my opinion, these people don’t just petrify and die, they want to command other people, they want to subjugate other people, they want to make other people unhappy, so stovrogin brings a child to death, this is the central idea of ​​dostoevsky’s tear child in the aramazov brothers, brings a girl to... to death, at the moment when he knows that she commits suicide, he looks at

the little red spider, stylized, it’s not just that a person does not know love, he is killing himself, we filmed it all , and literally, yes, yes, this, this is a monstrous story, because here, i say, we did not constantly fight, but tried to solve this translation from literature into the language of cinema, yes, the equivalent is very difficult to find at all. this is very difficult, so i give a student this example of the difference, the great difference between literature, for example cinema, pobunin, mitya for love, yeah, mitya groped in the finale,

stavrogin is like it’s a spacesuit that anyone can turn on, it actually helped me, here in demons, filming demons, fyodor mikhailovich himself to me, he speaks of his works, gave a letter, the famous letter of fyodor mikhailovich dostoevsky, that ’s where he writes how to treat that, one princess, that means he asks him for permission to make a scene for the demon, he says: “i never objected.” but you must understand that these are different forms, they do not fit into each other completely, and what he recommends is some kind of secret of art, according to which the epic form will never find a match in the dramatic form, i even believe that for different forms art there are corresponding ranges of poetic thoughts, so that one thought can never be expressed in another not in the appropriate form, it’s another

matter if you redo it as much as possible, change the novel, keeping only one thing from it... thus doing with your work approximately the same as with stovrogin, yes , he leaves it free, we can also look now, it was still perceived as literature, yes, except for this interlocutor, no one, all this was published in the russian bulletin, all this is known, mikhail nikifarovich kotkov, the publisher who , here he is, in front of us, who published all the russian classics, war and peace, demons, the karamazov brothers , they removed it in this edition, they removed the girl , yes, this is a whole story, again, this is 16 plus, he

removed, he removed that text, the ninth chapter, the so -called , yes. which describes how stavrogin comes to the priest tikhon and shows him a text that he wants to make public, well, sometimes in the church the priest says that if it’s hard for you, write, but stavrokin writes a terrible story about a matryoshka , this monstrous one, and so what, he says, after that, and the quiet one says, you are my brother, well, the sinless christ is the mother of god, well, god will forgive, just repent, but i already know how to do it. it is necessary that he is not forgiven, it is for him, like every demon, that he has something to do with everyone, he is different, the master needs him to be repressed, yes, that’s why he commits suicide, this is an important story, but i have another thought, well, of course, there may be subtexts, well, it’s too difficult, maybe it’s going into it now, but when this censorship of katkov strogov had already disappeared, it was possible

to insert this chapter, but for the first time, there we have there is also a photograph further on, this text was only published in 1922, and dostoevsky did not insert it into the novel in the seventy-third year, that is, the novel continued to be published in such a censored form, in my opinion, this is a very strong move, if we knew from the very beginning that stovrogin is a man who simply marries the disabled garbunya, well, he’s attracted to gaganavas, he spoils all the girls, he just wants to get the lord to not forgive him, it would be easier, it seems to me. well, we continue i remind you that we are talking today about dostoevsky, about the novel demons, look, i wanted to ask one more thing, vladimir ivanovich, you, and anton, you too, do you think, after all, who dostoevsky could consider demons in its modernity,

because on the one hand we measure all this head-on, yes, for the 201st century, it’s absolutely modern. yes, but in the novel there is a mass, a whole panorama of society, i’m not even talking about names, but what kind of people, look, maybe it’s not even about names, no, not names, but why do you have to ask the simple, simple questions? the question is why it was nechaev ’s history that pushed him to this topic, because there it took shape in nechaev’s history , so the elements are present in all of us , these elements are present, and maybe there were some other familiar ones, but so what.. ... this took shape in an ideology, an ideologeme , this is only yes, this is not part of it, then an object appeared that can be considered, since dostoevsky, in my opinion, is an absolutely russian writer, even too russian, if i may say so, then i believe he

describes the unconditional enemies of russia, the russian world, the russian people, but russians , but russians, and those who are inside, inside, who are capable, because russia cannot be defeated from the outside, but this is not scary, it’s scary on the inside, scary, these silent people, these conspirators are in the country itself, in russia itself, and he, through this novel , warns us, he says that yes , we have external enemies, but pay better attention to the internal ones, those who will look for the right moment for themselves to show up and uh destroy the country, you you see, just imagine for a second how many demons he saw in hard labor , revealed, revealed, it would seem, yes, they didn’t become his heroes in general, in hard labor - a great thing was written, notes from

the house of the dead, where the most terrible killers , good people, can be good people , wonderful, so dostoevsky for me personally is an absolutely bright author, because he leaves hope, he leaves hope for the salvation of a person, he does not close, does not remove from... the last support, so to speak , and anyone, that is, and the lowest one at that prostitute i don’t know the killer he still loves commits suicide this is his end he chooses not like kirillov yes not these are different different completely different the thing is that kirillov is not in the void kirillov dies filled with the void it is also wise to say different things so that i don’t, what is even more terrible to do, but to do anything, yes, you can still be forgiven, because there is an all-merciful principle in

the world, fyodor mikhailovich, in fact , drew out this concept, a man of human complexity to the bottom, this one him the cook was already scooping along the bottom, now the karamazov brothers were just grinding, dostoevsky had exhausted it, he told everything about what a person is, and that in no case can this be subject to some kind of declarative recipe, religious and non-revolutionary, that is, everything can be brought to the point, and even all these phrases that we pull out, we take out of context, yes , beauty will save the world, there and so on, it ’s all taken out of context, there is still a certain context, in which. here, but another question, i want to remember , it doesn’t matter, because in fact, but the point is that it’s about love, that love that

the apostle paul, the letter to the corinthians, if i may, i’ll add, of course, of course, love, but i i would also put a dash here, to russia, anton, as we say this, it’s not somehow that you immediately understand, somehow although you, no, i’m not saying that you’re wrong, you understand. this is global responsiveness, yes, that is, russia is global responsiveness, this is not closing in on oneself, this is not, and for dostoevsky russia is not the borders of the russian empire, well, reinerke said a wonderful phrase that of all countries only russia borders on god, this was said by the great poet of language, i think that maybe this phrase means, well, this is not even the end, and to end the conversation, which , of course, is so interesting that i think that we will meet here more than once, and today,

of course, we realized that fyodor mikhailovich dostoevsky, as 150 years ago, as 200 years later, will be in the future will be relevant, important, because they argue about it, they talk about it, i i’m very grateful to my interlocutors today, the director, people’s artist of russia, vladimir ivanovich khotyanenko, thank you, very grateful, of course, to anton shagin, actor of the link theater, mark zakharov, thank you very much, well, our dear interlocutors, i’m dmitry bak, host of the literary podcast , let them not talk, let them read, i say the same wonderful, important phrase for me: read with pleasure.

hello, here you are. schrödinger's cat cast, and i am its host, chief editor of a popular science magazine, which also called schrödinger's cat, and we are talking about science and how it affects our lives. today our guests are vladimir spiredonov, professor, doctor of psychological sciences, head of the ranhix laboratory for cognitive research, hello, hello, vladimir, and egor plotnikov, artist. hello, don’t be alarmed, this is a special composition of two seemingly opposite people, a scientist and an artist, because today we will talk about cognitive distortions. vladimir, in general , why is it so important to study human mistakes, our irrationality. it turns out that in real life you and i behave the way we do, yes, we are neither super logicians, nor super statics, nor super.

thinkers, we are ordinary living people with a mindset that , in order to work well, is forced to make mistakes, which is why it is very useful to understand how it works in reality, because it allows, on the one hand, to understand how people make decisions, on the other hand, this allows us to give at least some recommendations in order to to avoid very heavy mistakes, well , let's start with a few examples to make it clearer what we are talking about, here is my favorite cognitive error... well, i think scientists have it too, this is the so-called fundamental error of causal attribution, i specifically pronounce it in full so that you understand that psychologists are also scientists, they also have terms, for example, an employee brought a report at the wrong time, a report on some work, why lazy, unpunctual, i didn’t do something on time, each of us does something on time he doesn’t, that’s how the circumstances developed, he doesn’t

the dog was sick, the electricity didn’t work, and in general the task was more than i thought. very often we quarrel because we attribute to some actions of a person the explanation of his qualities, someone said a rude word, he is boorish, that’s right, someone answered at the wrong time, he is a slob, but we are good , we are wonderful, but don’t you think that in general... the desire to be good is such a powerful source of all kinds of cognitive errors, such one of the basic human needs, it can be described in different ways, it is connected with the fact that we we want to maintain authority and self-respect , to look good in our own eyes, well, in the eyes of others, of course, too, and this leads to a large number of behavioral consequences, again to a large number of well, distortions, we

are talking about this today, so... well, what to do , this is human nature, i’ll say it carefully, here’s another favorite example of mine such a cognitive error or rational behavior, which in my opinion is often called a foot in the door, when a person agrees to something small at first, he is more willing then he makes some big concessions or big compromises, well, in my opinion, the first experiment was when people were offered to put up a very ugly, very ugly poster in their yard. follow the traffic rules, some were asked to do this right away, and some 80%, in my opinion , refused, others were offered to first sign a petition for safe traffic, people signed and the number of those who agreed to put up this ugly poster increased several times, there four times, if i'm not mistaken, does this often work? well, actually as a way to fight for safe traffic, not

very often, but... like all sorts of manipulative techniques in sales, for example , regularly, that is, accordingly, the sales manager tries to hook you on some little thing, on something that will do you no good cost something special, but this will allow us to take the next step, i’m just not sure that what we are describing under the heading of cognitive distortions is entirely correct, yes, there is a lot of twisted things here, after all, cognitive distortion - indeed, if the word cognitive translate into russian, educational. these are errors in the cognitive sphere , in the sphere of cognition, in the sphere of the work of our memory , attention, thinking, perception, and so on, although there, in general, we still need to narrow it down, but in general, the general thesis that i would defend is very trivial, in general, not mine , the human psyche, it is a very unreliable thing, it is very prone to errors, very different ones, that is, in this regard, the century in psychology is filled with studies that show how often, how varied, how foolishly,

we make mistakes in different situations, and we consistently make mistakes, these are not random things , that is, the thesis that i formulated has a reverse side, that we make mistakes precisely because our psyche works normally, it’s time for our second guest to join in: egor, you had an exhibition , which was called cognitive distortion, yes, what is cognitive distortion in art, now one of your works has appeared on the screen, why is there a white line? well, first of all, i would like to say that indeed we live in a time when we are overloaded we are wildly overloaded with information, while we are immersed in gadget screens, our clip-on takomas are working for us. that’s when we suddenly move or, on the contrary , find ourselves in extreme isolation for many, and this of course is reflected in the works here, for example, we see such

a white stripe and in many of my other such landscapes, very natural and in the classical manner of oil on canvas, yes we also see such subtractions, as i call them, are such white fragments of the canvas, circles, squares, stripes, and so on, which seem to subtract a part image, it disappears, this is an image of our memory, which precisely preserves parts of the whole, yes, it loses this panorama, it retains only some fragments, at the same time these disappeared parts, they provoke the viewer to complement , replenish, remember this landscape, as if to appropriate it for yourself, remember from the baggage of... some memories, complete it, perhaps, yes, try to imagine what is there, and become such a co-author of the artist, at the same time , in general, this is such a call to viewer, look more carefully at

the works of art at the space around us, as if to return to this, to this panoramic view of our vision, look, we have a typical scene, a country road, some kind of woodland, a person, and a cut out rectangle, that’s when we we make a decision to assess the situation, how much information do we use, is it the one in the picture or much less? it depends a little on what situation you are in, but really, uh, well, the common eye now in science explains this kind of situation through models where two systems work, the system is fast, the intuitive system is slow, the reasoning system. accordingly, if a situation requires a very quick decision, then the system works almost instantly, uses a minimum of information, some reference points, some supports, some similarities with other situations, and accordingly a very quick

decision is made, if a more complex system is turned on, it is included in in cases where the first one does not work satisfactorily, something is wrong, something accordingly causes misunderstandings or, accordingly, some... in general, largely justified decisions, more justified than an intuitive system, the only thing i would sharply object to is the term clip thinking, this is an absolute invention of journalists, there is nothing like that in reality, this is an obvious fiction, i

would add to the common myths that we live in a situation of information overload, in fact, a peasant of the 19th century received the same huge amount of information as geese behaved, and he had a hundred geese there. how it was given a cow, like some kind of flower, where did it stand, but i’ll ask you to return this picture anyway, look, here we have a situation, a rural dirt road, beaten up by the tires of heavy vehicles, there’s a man standing, i can’t even determine his height and a man or a woman, well , judging by the boots, probably a villager , we have a task, for example, to decide to turn right or left, because there is a fork here, and for the first system we just need to see his boots and that he is some local to ask me to go to the stop to the right or to the left, right, we need a minimum of analysis of the information of these tires, his clothes

, facial expressions, we quickly make a decision, if , accordingly, the problematic situation is precisely to find the way to the stop, then i think that most of what you listed will generally fall out of consideration , it’s just that there is a seemingly safe character , who is probably local, who probably knows the way, you can ask something like this, well, if suddenly we asked him for directions, he says: i won’t tell you, and this the situation is repeating itself, probably entering the work of the second system, what is happening , what is happening, something unexpected is happening, and, accordingly, something that does not fit into the usual scenarios and , accordingly, here you need to think a little, or at least analyze more of some sources information, perhaps the situation is not so simple, perhaps there are some hints of danger or that something is pranking you or something else that just requires that very system 2, which, well, think about... what is happening, that is, the desire to save on

processing information is generally such a basic feature of our brain, i would consider the word brain, yes, let’s consider it, well , neurons, i mean our thinking, we can say, of course, yes, accordingly, our cognitive system is lazy, a standard metaphor and she diligently avoids large amounts of work, where she can cope, relying on some directly accessible, easily processed and... local signs, pieces of information, she will do exactly that, give some other example on how cognitive errors arise due to our desire to save, not the desire , the need to probably save, respectively, american colleagues made a very nice test called cognitive reflection, the idea is very simple, they give you problems where you can make a very quick decision, find a quick answer, usually wrong, having time to catch yourself by the tail means thinking and answering correctly, but

much longer, well, let’s say , respectively, a stick and a puck cost 1 ruble 10 kopecks, respectively, a stick costs a whole ruble more expensive than a puck , how much does a stick and a puck cost, well, a ruble and 10, they answer you, yes, this is not the right answer, this is just one system that worked, you need to catch yourself by the tail to understand that ruble 5 is still some kind of exotic, is it on

big economic transactions or on impulse purchases, or is it still everywhere? i have the impression that not just everywhere, but absolutely, absolutely everywhere, somehow i don’t even know how to say this, that is, this is how life works, hello everyone, my name is nastya zadorozhnaya, i really love dogs, i decided to change my life, instead of being an actress , i chose volunteering. she incredibly helps me raise my kids, what we had without dogs, and what we have now are two different lives, since i have a dog, i feel more strongly that i am a person, well, this is wonderful a dog that has already saved two human lives is not just a pet, it is a creature that accompanies you everywhere. dogs love

us, dogs change us, dogs teach us, dogs save us, dogs are the whole world, a world in which there is one important rule, always be there, premiere, be there, on sunday on the first, extraordinary adventures, connoisseurs in the winter series of games. on sunday on the first. schrödinger's cat podcast is with you, and today we are talking about cognitive distortions. i would like to return to one of the main, well, at least in my opinion, source of cognitive errors. this is the desire to appear good in your own eyes in the eyes of observers, consistent, whole. as far as the person who sees. your painting wants to be good, interesting

question, well, let me give you an example , look, here’s a man who grew up in an intelligent family, some kind of educated, and he thinks that it’s good to be good, you have to appreciate modern art, and he sees a painting that he might like somewhere in another situation he would not like it, but he wants to maintain the consistency of his beliefs, and he begins to experience emotion, and there are people, people who acutely feel somehow a plastic solution, but there are people who ask questions and are embarrassed to ask them to the artist and or there they are embarrassed, they are afraid to seem ignorant, yes, in art, and make some kind of judgments, as if conditional, yes, which seem to show

his case, how a person seems to see the sides, but in fact, the further, the more i see spectators who are not afraid to ask . questions, do not be afraid to sincerely not understand something, but when asking questions, do not just be perplexed , say what kind of nonsense this is, to try to understand what is in front of them and, after listening to the artist’s opinion, express your opinion, which is actually it is very important that it has the right to exist , as well as the artist’s opinion about his work. vladimir, from the point of view of science, how widespread and

advanced it is, that’s why i appreciate modern art, although i don’t really understand it, it gives me mixed feelings. how sincere are these feelings, can a person sincerely love something that, in fact , for some objective, formal reasons , he should not have liked, but in order to avoid dissonance with the rest of his knowledge, his psyche made him love it, well in fact, this kind of process, of course , takes place, the word sincerity in this case is not very clear to me, in what respect, well, we are all quite complex creatures, thank god, therefore what happens in the inner world of a person is not known to anyone but him is not available, his behavior in experiments or in real life will indicate that he likes what

at first caused doubts, fears, unpleasantness, etc., yes, what is boiling or not boiling deep down there, how to get out of this cognitive dissonance? well, actually, you have many paths, and the person who invented, discovered the phenomenon with the surname festinger, actually described these paths, but you can consider that the singer is really a brute, and he has been wrapping you up all

his life, and accordingly, make sure that that he is so bad, and that means rejecting him as a class, this is a difficult path right away, because if...' he deceived me, then i am gullible, and being gullible is not very good, not very good, accordingly you can disavow, that is, to challenge his judgment, which seems controversial to you, dubious or simply unacceptable, yes, well, it was taken out of context, in this case, the brute will be the journalist who conducted the interview or someone else, well, here is the second option, and the third option, you can try on various contradictory, seemingly judgments with the fact that in order to sit on two chairs, well... i think that moral judgments are possible, so yesterday i came across some wild statements about the sciences about a not very respected social specialist , all sorts of other options, well, we’ll move ours , we’ll call which one, but absolutely pseudoscientific medical technology, i had cognitive desonance, i respect this learned sociologist, i have a bad attitude towards this

pseudoscientific one.