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  • 13 hours ago
In 1974, Serbian performance artist Marina Abramović conducted one of the most disturbing social experiments in history, known as Rhythm 0.

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00:00They tore my clothes, cut my neck, drank my blood.
00:03These are the words of a woman who in 1974 gave complete stranger's permission to do anything to her body
00:09for six hours.
00:10What happened next exposed the darkest side of human behavior.
00:14Serbian performance artist Marina Abramovic conducted a radical experiment called Rhythm Zero.
00:19She stood still. On a table, 72 objects were kept.
00:23Some were harmless, a rose, a feather, a piece of bread.
00:26Others were not. A knife, a scalpel, a gun.
00:28There was also a sign that read, there are 72 objects on the table that one can use on me
00:33as desired.
00:34I am the object. During this period, I take full responsibility.
00:38At first, the audience hesitated. A rose was placed in her hand, a kiss on the cheek.
00:42But then something changed. Once people realized there was no consequences, the behavior shifted.
00:48Cuts were made on her body with blades. Her clothes were cut with scissors.
00:51Her body was touched intimately without consent.
00:54A loaded gun was placed in her hand and pointed at her. No one intervened.
00:58Because in that room, authority had been removed. For six hours, she did not move.
01:02After the performance ended, she said the moment she started moving, everyone ran away because they could not face her.
01:08She later said she believed she could have been killed.
01:10And I want to say, okay, if I do nothing and all these objects are there, what public going to
01:15do?
01:16And I was ready to, a real outcome that I can, you know, die. And public almost killed me.
01:24This is what can happen. When power comes without consequences, restraint begins to disappear.
01:29When there are no consequences, boundaries can break down.
01:32Cruelty does not always need monsters. Sometimes, it only needs permission.
01:37Long.
01:38Long.
01:38Long.
01:38Long.
01:39Long.
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