We've posted before about the idea of "toilet tissue illness" that Scott Tissues invented and then advertised heavily around 1930. The idea being that if you used the wrong toilet paper (anything not made by Scott Tissues) you might end up a bed-bound invalid. Here's another example of that campaign.
In a 1973 article in The Lancet ("Habituation to occlusive dressings"), two British doctors described patients who seemed to be addicted to wearing bandages, continuing to wear them years after their skin conditions had healed.
Pittsburgh Press - July 29, 1973
Text from "Psychiatry and skin disease" by J.A. Cotterill, in Recent Advances in Dermatology. No. 6. (1983):
Habituation to occlusive dressings is a halfway house between artefact and organic disease. Liddell & Cotterill (1973)* described 11 patients who became habituated to occlusive bandages which had been prescribed many years previously for either gravitational ulcers or eczema of the legs. Although the skin in all patients had returned to normal it was impossible to persuade these patients to abandon this occlusive therapy. All attempts at discharging the patient from the clinic failed. Bribes in the form of chocolates, cigars or alcohol were commonly brought to the clinic as inducements for the status quo to continue. The patients were usually lonely, socially isolated and, if male, unemployed. Four male patients in this group had successfully avoided work on account of their alleged skin disease for years.
*Liddell K, Cotterill JA (1973). "Habituation to occlusive dressings." Lancet 1: 1485-1486.
I think any adult--or child!--would be driven insane by this record before they could achieve the memorization. You know how authorities use music of a supposedly annoying quality to drive out dictators or criminals who are barricaded inside a building? This would do the trick!
The work of artist Ruth Burke focuses on the connection between humans and other species, mainly livestock. In her performance "Trough" (2016) she let cows feed from a cone-shaped trough around her neck. From her website:
This performance reverses the typical power structures engaged in by humans and cows. Rather than the human consuming from the body of the cow, my bovine collaborator consumes from an appendage on my body. I am on my knees in a blue costume that features a large cone around my most vulnerable corporeal parts, the neck and the head. The dark blue color is a play on cow’s dichromatic vision and the cone is filled with treats. The relationship between birth, death, and consumption is one perpetually unfinished.
Looked dangerous to me. I kept expecting one of the cows to chomp off her nose or ears.
David Hume once observed that no matter how skeptical philosophers may profess to be, they ultimately "leave by the door not the window" (i.e. they act based on common sense rather than doing crazy stuff).
That wouldn't have been true of 79-year-old Harvard philosopher Dickinson S. Miller who took to routinely leaving his apartment through his window. Though this was due to a dispute with his landlady, not philosophical preference.
His landlady, Anna O'Brien, claimed he failed to pay his rent, routinely used up all the hot water leaving the other tenants with none, and was "very careless" about his room. So she took away his keys, shut off his electricity, and removed his furniture. But she wasn't able to legally evict him because he fought back in court.
Miller insisted that he had been diligently paying the rent until she had refused to take it, preferring him to leave. He complained that he was now forced to sleep on the floor and to come and go through the window. Plus, he had to work on his biography of Justice Oliver Wendell Holmes "holding a pen in one hand and a flashlight in the other."
In April 1947, Miller convinced a court to force O'Brien to return his furniture. But O'Brien had the ultimate victory in June 1948 when she finally secured an eviction order, forcing Miller to leave.
Sounds like a pretty epic tenant/landlord battle, appropriate for Paul's 'unauthorized dwellings' series.
Some eight years ago, WU presented you with Miss Optometery of 1956. But now, advances in newspaper archives have allowed us to find two more winners of this coveted title.
A creation of the New York fashion collective MSCHF:
MSCHF’s Microscopic Handbag is made via a stereolithographic process commonly used for making tiny mechanical biotech structures. It is the final word in bag miniaturization. As a once-functional object like a handbag becomes smaller and smaller its object status becomes steadily more abstracted until it is purely a brand signifier... Microscopic Handbag takes this to its full logical conclusion.
This sculpture is a machine that advances two full sized automobiles slowly into one another over a period of 6 days, simulating a head on automobile collision. Each car moves about three feet into the other. The movement is so slow as to be invisible.
A time-lapse video documenting the movement of Jonathan Schipper’s installation Slow Room in Crystal Bridges Museum of American Art's State of the Art exhibition.