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All of us think that we’re more “special” and capable than we are. This phenomenon has many different names in the psychological literature, but my personal favorite is “The Lake Wobegon effect” – a reference to a mythical town where “all the women are strong, all the men are good looking, and all the children are above average.”
We often can’t rely on ourselves to act rationally (or prudently). We know this, but influential social science models have a bad habit of ignoring it. We evolved to frequently act without “deciding.” We are habit-formers and habit-farmers.
On October 3, 1948, at 3:50 pm, Peter Blume finished his epic painting, years in the making, titled The Rock (shown above). “After a turbulent decade in which Peter Blume embarked on false starts, endured debilitating anxiety, experienced self-doubt, and found his faith in the creative process renewed,” Robert Cozzolino writes in the catalog to the new exhibition Peter Blume: Nature and Metamorphosis, finishing The Rock must have been a great relief. Blume recorded that date and time the way many record the birth of their children, for The Rock was his precious baby, but completing it marked a rebirth of sorts for Blume as a different kind of artist. Shaped by political and artistic currents of the first half of the 20th century, Blume emerges as a difficult to categorize artist, but also as a fascinating visionary who struggled to paint a personal reality clinging to the foundation of hope.