IMT: holes

The ispirational word this week on the InspireMeThursday website is “holes”.
I'm fixing a hole where rain gets in and stops my mind from wandering
“There’s nothing wrong with you that a gaping hole drilled into your skull under unsanitary conditions couldn’t cure.”

Trepanation. An innocent enough sounding term.

Trepanation is an antiquated and misguided medical procedure in which a hole is drilled into the human skull, thus exposing the meningeal layers surrounding the brain in order to treat health problems related to intracranial diseases. Evidence of trepanation has been found in prehistoric human remains and in civilizations all over the world.

In modern times, trepanation is used for epidural and subdural hematomas, and for surgical access for certain other neurosurgical procedures, such as intracranial pressure monitoring. Modern surgeons generally use the term craniotomy for this procedure. The removed piece of skull is typically replaced as soon as possible.

The practice of trepanation for other purported medical benefits continues has developed a small cult following. This movement was furthered by the writings of Bart Huges, a self-proclaimed “expert” on the subject of trepanation, although he did not complete his medical degree. Hughes claims that trepanation increases “brain blood volume” and thereby enhances cerebral metabolism.

Heroes among the supporters of trepanation are Joey Mellen and Amanda Fileding. Mellen and Fielding made two attempts at trepanning Mellen. The second attempt ended up with Mellen in the hospital, where he was sent for psychiatric evaluation. When he finally returned home, Mellen decided to try again. Amanda Fielding performed self-trepanation, while Mellen filmed the operation. Fielding stood before a mirror and pierced her skull with a common power dill. With her head wrapped in gauze and a blood-soaked smile on her face, she offered the play-by-play of her procedure, eventually closed the wound and, several hours later, accompanied Mellen to a restaurant for dinner. She never lost consciousness.

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Monday Artday: film noir

The Monday Artday challenge this week is “film noir”.
Chiiilll... dren!
“Would you like me to tell you the little story of right-hand/left-hand? The story of good and evil? H-A-T-E! It was with this left hand that old brother Cain struck the blow that laid his brother low. L-O-V-E! You see these fingers, dear hearts? These fingers has veins that run straight to the soul of man. The right hand, friends, the hand of love. Now watch, and I’ll show you the story of life. Those fingers, dear hearts, is always a-warring and a-tugging, one agin t’other. Now watch ’em! Old brother left hand, left hand he’s a fighting, and it looks like love’s a goner. But wait a minute! Hot dog, love’s a winning! Yessirree! It’s love that’s won, and old left hand hate is down for the count!”
 — Reverend Harry Powell (Robert Mitchum) in “The Night of the Hunter”

Oscar-winning actor Charles Laughton directed one film in his career — 1955’s “The Night of the Hunter”. It starred Shelley Winters, Lillian Gish, a very young Peter Graves and Robert Mitchum in a positively chilling performance as one of the most fearsome villains in movie history. Mitchum plays self-appointed Reverend Harry Powell, a fanatically-religious serial killer. He preys on the widow and children of his prison cellmate. He gives a riveting portrayal that shows the character as calm as he is menacing. The character was based on real-life killer Harry Powers and was the inspiration for a number of “tough guys” to get “LOVE” and “HATE” tattooed across their knuckles.

Laughton chose to shoot the film in black and white, paying homage to the harsh, angular look of German expressionist films of the 1920s. The film is starkly lit, strangely staged and, in parts, cryptically scripted. The result is a fable that seems to take place in a surreal world.

Interestingly, Laughton openly disliked children. “The Night of the Hunter”  was an odd choice of story for him to direct considering the protagonists are 12 year-old John (Billy Chapin, Father Knows Best‘s Lauren‘s brother) and 7 year-old Pearl (Sally Jane Bruce, who never appeared in another film). Refusing to work with them, Laughton had Mitchum direct the scenes in which the children appeared. This, too, was odd, as Mitchum’s sadistic character terrorizes the children throughout the movie.

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Monday Artday: astronaut

The current challenge on Monday Artday is “astronaut”. 
And I think my spaceship knows which way to go
This illustration is based on this short story by this guy

Your dub is dead, there’s something wrong

The cosmic winds shifted, and the Hera probe battered about its tract of outer space. Inside, the two men in their heavy suits gripped the hand rests on their specially-designed seats as a wave of bad omens reverberated through the shell that surrounded them. Warren Bargeld, whose belly was just barely restrained by his protective outfit, signaled to his svelte partner, Corey Williams, to activate their communication link. Williams flicked a series of switches back and forth, and made a face. He turned back to Bargeld with raised eyebrows and shrugged his shoulders. Bargeld said something that Williams didn’’t hear. In fact, neither man could hear anything outside of the whooshing of fluid in their respective ears. With verbal communication impossible, Bargeld reached for the pen that, while firmly tethered to a chain around his wrist, was floating freely in the starlit cabin. Scribbling something down on a piece of corn-fiber paper (good for note-taking and palate-cleansing), Bargeld struggled to finesse the implement with his gloved hands.

Now what?

Now what, indeed. Or, at least that’s what Williams would have said. Without their communication link, one of the two of them may have just as well stayed back on Earth. Interrupting Williams’ thoughts was a blast of light from a monitor that sat between the two men. The static-stricken screen settled on an image of Marcus Mell in his finest blast-off shirt and moustache. A headset wrapped around his comb-over, Mell barked orders and cries of concern, all of which went seen but unheard by the spacemen. Looking at each other, and then at the screen, Williams and Bargeld shrugged their shoulders in unison; a synchronized white flag routine. Not grasping what was wrong, Mell continued to shout into his microphone, leading the men around him in the command center to plug their ears with their fingers. One such ear-plugger tapped Mell on the shoulder and explained how the Hera’s turbulent takeoff had disabled their communication link. Mell stood silent for a moment, his mind racing to think of a solution before anyone else did. Bargeld waved his think paw as frantically as he could at the camera. It finally caught Mell’s attention, but Bargeld and Williams were miming to each other. Squinting through his massive glasses, Mell tried to make out from the fuzzy visual feed just what those men were up to.

Bargeld pointed at Williams. Williams pointed at himself with a look of surprise and shook his head from side to side. Bargeld clasped his giant hands together, silently pleading for his partner to go. With a slight fogging of his visor, Williams detached the elaborate series of harnesses that secured him to his post. Jaunting back and forth in a walk that was more of a bounding waltz, Williams strode toward the airlock, affixed a canvas rope to his suit, and opened the first door. Once that door was securely shut, Williams opened the outer door and stepped out into the nothingness. Drifting around the side of the craft, Williams gazed into the void of the universe. Even if he could hear anything (the noise of his air supply tube created an unending cathartic howl), there was nothing he could say that would be worth hearing. Using the handrails conveniently installed around the hull of the probe, Williams inched himself over to the area of impact. Though they didn’’t sustain any serious injuries, Williams and Bargeld were shaken loose of their seat’s grips when whatever hit the Hera hit the Hera. As Williams surveyed the damage, a pattern emerged from the blackened carcass of the craft. Fearing his tether to be short and his air supply shorter, Williams forwent further examination and return to the airlock.

Back inside, Williams gestured to the remote camera, which Bargeld deployed without knowing what to look for. Like lovers guiding each other on a pottery wheel, Williams and Bargeld maneuvered the camera to read the one-word claim that had been emblazoned across their lowly vessel. Together they mouthed its horrendous syllable:

MINE.

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Monday Artday: shakespeare

The current challenge on the Monday Artday illustration blog is “Shakespeare”.
 Francis Bacon, Christopher Marlowe, and Edward de Vere, the Earl of Oxford - BACK OFF!
Alas, poor Yorick! I knew him, Horatio. Alas and alack! Arm’d to do as sworn to do, so doth the woodbine the sweet honeysuckle. O, if I had such a tire, this face of mine hath stir’d up their servants to an act of rage. All are punishèd, for hither oftentimes upbraided me withal. There shalt thou find my cousin Beatrice, in her discourses after supper, full of poise and difficult weight. I want more uncles here to welcome me. Exeunt.

…or something like that.

(Thanks to THIS GUY for the copy.)

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IF: hollow

The illustrationfriday.com challenge word this week is “hollow”.
He's an odd looking fellow! He's a startling apparition!
“In this by-place of nature, there abode, in a remote period of American history, that is to say, some thirty years since, a worthy wight of the name of Ichabod Crane; who sojourned, or, as he expressed it, “tarried”, in Sleepy Hollow, for the purpose of instructing the children of the vicinity. He was a native of Connecticut; a State which supplies the Union with pioneers for the mind as well as for the forest, and sends forth yearly its legions of frontier woodsmen and country schoolmasters. The cognomen of Crane was not inapplicable to his person. He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together. His head was small, and flat at top, with huge ears, large green glassy eyes, and a long snipe nose, so that it looked like a weather-cock, perched upon his spindle neck, to tell which way the wind blew. To see him striding along the profile of a hill on a windy day, with his clothes bagging and fluttering about him one might have mistaken him for the genius of famine descending upon the earth, or some scarecrow eloped from a cornfield.”
— The Legend of Sleepy Hollow by Washington Irving (1820)

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