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Practise in everything a certain nonchalance that shall conceal design and show that what is done and said is done without effort and almost without thought. ↗
Modernism isn't a design ethos any more, it's an economy of scale, and a marketing tool to sell the ordinary as something special, the sexless as erotic. A technological device without a specific, personalized identity has a subtext: it asserts the value of instrumentality. Its design is a reflection of its role... The anonymity of these objects is part of what they are: interchangeable commodities whose uniqueness in so far as they possess any is created by what is done with them. Function is an identity. And that identity is something we are encouraged to incorporate into our perception of self, that anonymity is proposed as something to emulate. Whimsy and uniqueness are indulgences. ↗
Consciously or not, we feel and internalize what the space tells us about how to work. When you walk into most offices, the space tells you that it's meant for a group of people to work alone. Closed-off desks sprout off of lonely hallways, and in a few obligatory conference rooms a huge table ensures that people are safely separated from one another. ↗
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As Mollie said to Dailey in the 1890s: "I am told that there are five other Mollie Fanchers, who together, make the whole of the one Mollie Fancher, known to the world; who they are and what they are I cannot tell or explain, I can only conjecture." Dailey described five distinct Mollies, each with a different name, each of whom he met (as did Aunt Susan and a family friend, George Sargent). According to Susan Crosby, the first additional personality appeared some three years after the after the nine-year trance, or around 1878. The dominant Mollie, the one who functioned most of the time and was known to everyone as Mollie Fancher, was designated Sunbeam (the names were devised by Sargent, as he met each of the personalities). The four other personalities came out only at night, after eleven, when Mollie would have her usual spasm and trance. The first to appear was always Idol, who shared Sunbeam's memories of childhood and adolescence but had no memory of the horsecar accident. Idol was very jealous of Sunbeam's accomplishments, and would sometimes unravel her embroidery or hide her work. Idol and Sunbeam wrote with different handwriting, and at times penned letters to each other. The next personality Sargent named Rosebud: "It was the sweetest little child's face," he described, "the voice and accent that of a little child." Rosebud said she was seven years old, and had Mollie's memories of early childhood: her first teacher's name, the streets on which she had lived, children's songs. She wrote with a child's handwriting, upper- and lowercase letters mixed. When Dailey questioned Rosebud about her mother, she answered that she was sick and had gone away, and that she did not know when she would be coming back. As to where she lived, she answered "Fulton Street," where the Fanchers had lived before moving to Gates Avenue. Pearl, the fourth personality, was evidently in her late teens. Sargent described her as very spiritual, sweet in expression, cultured and agreeable: "She remembers Professor West [principal of Brooklyn Heights Seminary], and her school days and friends up to about the sixteenth year in the life of Mollie Fancher. She pronounces her words with an accent peculiar to young ladies of about 1865." Ruby, the last Mollie, was vivacious, humorous, bright, witty. "She does everything with a dash," said Sargent. "What mystifies me about 'Ruby,' and distinguishes her from the others, is that she does not, in her conversations with me, go much into the life of Mollie Fancher. She has the air of knowing a good deal more than she tells. ↗
#conversion-disorder #dissociation #dissociative-identity-disorder #history #hysteria
A human being is primarily a bag for putting food into; the other functions and faculties may be more godlike, but in point of time they come afterwards. A man dies and is buried, and all his words and actions are forgotten, but the food he has eaten lives after him in the sound or rotten bones of his children. I think it could be plausibly argued that changes of diet are more important than changes of dynasty or even of religion....Yet it is curious how seldom the all-importance of food is recognized. You see statues everywhere to politicians, poets, bishops, but none to cooks or bacon-curers or market gardeners. ↗
