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Gas Lit Painting

Philip Leister

Painting, Acrylic on Canvas

Size: 30 W x 40 H x 0.5 D in

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About The Artwork

Gaslighting is a colloquialism, loosely defined as making someone question their own reality. The term may also be used to describe a person (a "gaslighter") who presents a false narrative to another group or person which leads them to doubt their perceptions and become misled (generally for the gaslighters' own benefit), disoriented or distressed. Generally, this dynamic is only possible when the audience is vulnerable, such as in unequal power relationships, or when the audience is fearful of the losses associated with challenging the false narrative. Gaslighting is not necessarily malicious or intentional, although in some cases it is. 
 Etymology: The term is derived from the 1944 film Gaslight, which is a story about a husband who uses trickery to convince his wife that she is mentally unwell in order to steal from her. Gaslighting was largely an obscure or esoteric term until the mid-2010s, when it broadly seeped into English lexicon. According to the American Psychological Association, the term "once referred to manipulation so extreme as to induce mental illness or to justify commitment of the gaslighted person to a psychiatric institution but is now used more generally". The term is now simply defined as "to make someone question their reality". The New York Times first used the common gerund form, gaslighting, in Maureen Dowd's 1995 column. However, there were only nine additional uses in the following twenty years. The American Dialect Society recognized the word gaslight as the "Most Useful" new word of the year in 2016. Oxford University Press named gaslighting as a runner-up in their list of the most popular new words of 2018. 
 In Psychiatry and Psychology: "Gaslighting" is occasionally used in clinical literature but is considered a colloquialism by the American Psychological Association. The article "Gaslighting: A Marital Syndrome" (1988) examines certain male behaviors during and after their extramarital affairs, as well as the effect of those behaviors and associated attitudes on the men's spouses. They conclude that both husbands and male therapists may contribute to the women's distress, through not only mislabeling the women's reactions but also through the continuation of certain stereotypical attitudes that reflect negatively on the affected wife. "Therapists may contribute to the victim's distress through mislabeling the [victim's] reactions. [...] The gaslighting behaviors of the spouse provide a recipe for the so-called 'nervous breakdown' for some [victims] [,and] suicide in some of the worst situations." Dorpat also cautions clinicians about the unintentional abuse of patients when using interrogation and other methods of covert control in Psychotherapy and Analysis, as these methods can subtly coerce patients rather than respect and genuinely help them.  In a 1997 case study, Lund and Gardiner reviewed a case of paranoid psychosis in an elderly female who was reported to have recurrent episodes, apparently induced by the staff of the institution where the patient was a resident. Other experts have pointed out ways in which the values and techniques of therapists can be harmful as well as helpful to clients (or indirectly to other people in a client's life). Dorpat recommended non-directive and egalitarian attitudes and methods on the part of clinicians,  "treating patients as active collaborators and equal partners". Some psychologists are not encouraged by this increased international awareness of the dangers of gaslighting, warning that overuse of the term could dilute its potency and downplay the serious health consequences of such abuse. 
 In Philosophy: Some individuals cannot tolerate disagreement with or criticism of their worldview from important individuals in their life (e.g., friends, loved ones, romantic partners). An effective way to neutralize the possibility of criticism is to undermine others' conception of themselves as an autonomous locus of thought, judgment, and action. This effectively reduces the target's capacity to criticize or respond independently.
 
 Source: Wikipedia

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:30 W x 40 H x 0.5 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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