Try Looking At These Fashion images Without Getting Totally Aroused

 

 

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Sex sells. Really sells. Everywhere we look some company is flashing sex before our very eyes like we’ve never seen it or done it before. Sex sells us clothes, soft drinks, cars, food, fragrances, watches, cellphones. But every now and then a fashion ad campaign comes along that’s just SO over the top that we don’t know whether it’s porn or high fashion. Porn is vulgar. But high fashion is fabulous, and you can get away with anything if it’s fabulous. So when in doubt, just throw some Givenchy up in that bitch and it’s instantly SFW I guess.

Check out these 13 erotic fashion images.

David Beckham, Armani

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Armani

Yes, David. Open wiiiide.

Tom Ford for Gucci

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Gucci

All glistening crotches are not created equal. I guess the “G” in this particular crotch stands for…Go Down On Me, Please. Dude seems willing. How about you?

Bruce Weber for Abercrombie and Fitch

This is exactly how I imagine things go in the men’s locker room. All these bros are soaking wet and humping each other. Whatever brings in the coins, I guess!

American Apparel

American Apparel

 

 

American Apparel

American Apparel’s whole thing where they use soft core porn to sell pieces of cloth is kind of brilliant. Like, it’s just a bunch of t-shirts and underwear we could easily acquire at the local Costco. I don’t wear stockings, but being confronted with such a perfectly creased booty DEFINITELY makes me want to go get a pair of these.

Jon K for David Yurman

David Yurman

 

 

David Yurman

I don’t think it’s statistically possible to be any hotter than Jon K. He’s just SO angular and delicious. He’s wearing a shirt in the ad but, whatever, all I’m thinking about is ripping that bitch off with my teeth.

Gucci

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Gucci

But actually, the real question is…cut or uncut?

Lara Stone, Calvin Klein

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Calvin Klein

I know you want me. So come and get me — if you can handle it.

Emanuel Ungaro

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Ungaro

…I mean…

Tom Ford

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Tom Ford

Subtlety, people.

Diesel

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Diesel

Oh, I get it. Every back comes with a free handjob! No?

Diesel

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Diesel

I keep staring at this image because I can’t figure out who is doing what.

Eva Mendes, Calvin Klein

Try Looking At These Fashion Images Without Getting Totally Aroused

 

 

Calvin Klein

SOMEBODY is headed down south.

Joan Smalls, Gucci

Gucci

 

 

Gucci

Never has a lesbian innuendo looked so expensive.

-ThoughtCatalog

Thought-powered bionic arm ‘like something from space’

‘World’s most sophisticated’ bionic arm is controlled by the mind

Modular prosthetic Limb includes computer in palm of hand

Seven years in making, valued at tens of thousands of dollars

Positive psychological benefits for amputees

(CNN) — The idea of an amputee tinkling on piano keys with all the flair and grace of an able-handed person may seem like a futuristic fantasy.

But watch Johnny Matheney effortlessly arch and extend each finger on his bionic arm and you can’t help but agree with him when he says: “The future is coming now.”

Its makers describe Matheney’s robotic limb as the most sophisticated of its kind in the world, recreating virtually every movement of a natural arm — and all controlled by brain power.

“When they took my arm I never thought I would have an actual hand — I saw the hooks and thought that was exactly what I would be getting,” said Matheney, who lost his left arm to cancer in 2008.

Bionic man plans to help amputee victims The bionic hand with the human touch

“So once they introduced me to this, it was like something out of space come to Earth.”

Explore the bionic body

Moving on up

Featuring 100 sensors, 26 joints, 17 motors and a tiny computer built into the palm of the robotic hand, the revolutionary Modular Prosthetic Limb (MPL) is the work of researchers at Johns Hopkins University in Maryland.

Weighing four kilograms — much like a normal arm — it can mimic almost all the same movements. “This is the most sophisticated arm in the world,” said Michael McLoughlin, of the university’s Applied Physics Laboratory.

“What we have done is, by order of magnitude, increase the ability to do very highly dexterous kinds of motions. So you can think about things like eventually playing the piano … I think we’ll get there someday.”

The MPL is programmed to respond to electrical impulses in Matheney’s residual limb — he simply has to think about moving his old arm.

“You don’t even really think about it,” said Matheney. “You’re extending the arm, talking and doing other things — it just automatically does it.”

Nerve Center

For former baker Matheney, the first step in the ground-breaking project was bringing to life the dead nerves at the end of his residual arm.

Matheney underwent targeted muscle reinnervation — surgery that involves rewiring electrical signals in the stump. Only 50 people in the world have had the operation, which takes a couple of hours.

Read: Surreal prosthetic limbs push boundaries of art

“We take all the electrical signals that are going down to the missing limb and reroute them into residual muscles that are still there,” said Albert Chi, assistant professor of surgery, trauma and surgical critical care at the university.

“Now when Johnny has a natural thought about moving that missing limb, he contracts that muscle and we are able to capture those signals and translate them into messages for the prosthetic limb.”

There is an elegance to it, and that is one of the most important things for the users of prosthetics

Michael McLoughlin, MPL innventor

Within two weeks of surgery, Matheney began to feel his phantom limb for the first time in years. He practiced moving it for 20 minutes each day, training the nerves for his new bionic arm.

“The more you do it, the more the pathway is cleaned up and the cobwebs are out of it,” he said.

“After the surgery I was constantly rubbing my stump to see what new feeling was coming in. I said ‘Wow I can feel my pinky finger.’ I kept on doing it, and it was like ‘Oh right, I’ve got a pointer.’”

Symphony of movement

The ambitious bionic limb, seven years in the making, is incredibly lifelike in its movements, thanks to a complex symphony of muscle triggers. Other robotic arms have relied on direct signals, whereas the MPL picks up a chorus of muscle motions — creating a more fluid movement.

Read: Are bionic superhumans on the horizon?

“We are using a lot more electrode sites,” explained biomedical engineer Courtney Moran. “That array of muscle contraction is more like a chord in music, so you are able to get more complexity of motion — like you would get more complexity of sound.”

Looking good

While many prosthetic limbs look lifelike, finding one that also moves naturally has proved more of a challenge.

There are now plans to cover the MPL in a skin-like substance, which could make it the most inconspicuous artificial arm in history.

“There is an elegance to it, and that is actually one of the most important things for the users of prosthetics,” said McLoughlin. “The natural movement is almost more important than the appearance.”

Indeed for Matheney, the bionic arm feels just as natural as the arm he lost — to the point where “every time I have to turn it back in, it’s like losing part of me all over again.”

“I do a lot of handy work around the house, a lot of cooking,” he says. “And to be able to hold bowls and grab spoons is absolutely amazing.”

via From Nick Glass and Lianne Turner

May 2, 2013 — Updated 1149 GMT (1949 HKT) | Filed under: Innovations

‘World’s most sophisticated’ bionic arm

 

Gotta love the inventive and often hilarious ideas thought up by Japan. This one is one of those, that, you can't help but ask yourself  “wtf were they thinking?”

The so-called Face Slimmer was launched in Japan, late 2011, by a well-known cosmetic company called Glim. It’s a weird-looking rubbery thing that looks a lot like the mouth of a blow-up doll, and it supposedly solves your sagging face problem while giving you that coveted duck-face look. You know, the one every “cool” teenager poses with in their Facebook photos. Now, unlike most other Japanese inventions, the Face Slimmer is not high-tech. In fact it’s as low tech as they come, all you have to do is put it in your mouth and start exercising your face muscles. Think of it as a squeeze punch for your mouth…

When photos of the Face Slimmer first appeared on the Internet, some Japanese media outlets took it as a gag, but when it started being listed on online stores everyone stopped laughing. This thing is not cheap either! It costs a whopping $83. Maybe, less expensive to cut off the mouth off my blow-up doll, instead.

Glim has released some photos with the Face Slimmer in action, along with some instructions, like trying to repeat out loud the Japanese vowel sounds – “a i u e o”
for at least three minutes a day, everyday for the rest of one’s life. It will make the wrinkles around your eyes go away, and improve the look of your face…

Looking at all these ridiculous photos, so many mean and vulgar comments come to mind…

 

 

 

 

Fetishistic suits of armour, orthopaedic braces and wearable tusks all feature in an exhibition of prosthetics at the SHOWcabinet space in London (+ movie).

Prosthetics exhibition at SHOWcabinet

Curated by Niamh White and Carrie Scott of fashion film websiteSHOWstudio, the exhibition opened on Thursday and contains pieces intended to enhance, protect or deform the body.

Prosthetics exhibition at SHOWcabinet

The name of the showcase derives from the Ancient Greek word "prosthesis", which means "to add", but the collection also incorporates the modern understanding of prosthetics as replacement limbs.

Prosthetics exhibition at SHOWcabinet

Above: Fragmented Figure by Úna Burke

Designer Úna Burke created original pieces for the show made from leather straps joined with rivets, which encase limbs like a suit of armour.

Prosthetics exhibition at SHOWcabinet

Above: RE.TREAT #4 by Úna Burke

A black leather outfit is made up of one piece that covers the neck, arms and shoulders, and another that fits over the legs up to the waist, leaving the chest and abdomen exposed.

Prosthetics exhibition at SHOWcabinet

Above: RE.TREAT #8 by Úna Burke

Similar tan coloured pieces include a bodice extended over the shoulders and up the neck, fingerless gauntlets and a restraining device that forces the arms into a submissive position by encasing them together in front of the body.

Prosthetics exhibition at SHOWcabinet

Above: RE.TREAT #6 by Úna Burke

Burke and SHOWstudio collaborated on a film titled Bound, in which the black attire is warped as if a wearer is moving in it – watch a teaser at the top of this page or the full movie here.

Prosthetics exhibition at SHOWcabinet

Above: Infundibulum White Brace by Kat Marks

Other items in the collection include legs worn by American athlete Aimee Mullins at the London 2012 Paralympics opening ceremony, adorned with golden wings that flow up each shin.

Prosthetics exhibition at SHOWcabinet

Above: Infundibulum Black Brace by Kat Marks

Following her experience of wearing a back brace as a teenager, designerKat Marks created three vacuum-formed thermo-plastic braces in 2009.

Prosthetics exhibition at SHOWcabinet

Above: Crown of Thorns with Mirror by Patrick Ian Hartley

A headdress formed from pipette-shaped glass tubes that fan out from a metal head brace complete with screws is by designer Patrick Ian Hartley, as are a range of restored artificial hip joints.

Prosthetics exhibition at SHOWcabinet

Above: Animal – The Other Side of Evolution #4 by Ana Rajcevic

Horns and tusks from London College of Fashion graduate Ana Rajcevic'sAnimal: The Other Side of Evolution series are also on display.

Prosthetics exhibition at SHOWcabinet

Above: Animal – The Other Side of Evolution #3 by Ana Rajcevic

The SHOWcabinet gallery space and shop are situated in Belgravia, west London, and host new exhibitions every couple of months. The Prosthetics exhibition is on display until 31 May.

Prosthetics exhibition at SHOWcabinet

Above: Splint #1 by Patrick Ian Hartley

SHOWstudio recently streamed a live project during which photographerNick Knight captured water thrown at model Daphne Guinness. His images were used by Dutch fashion designer Iris van Herpen to create a dress -more information in our previous story.

Prosthetics exhibition at SHOWcabinet

Above: Splint #2 by Patrick Ian Hartley

See all our stories about fashion »
See more architecture and design exhibitions »

The information below is from SHOWstudio:


The term 'prosthetic' is now attributed to the branch of surgery dedicated to replacing missing or defective limbs, but to the Ancient Greeks it was an altogether more assertive concept meaning 'to add', 'to advance' or 'to give power to'. For April's SHOWcabinet, our re-imagined gallery space, we embrace this original meaning and display a range of artefacts that engage directly with prosthetics' ability to adorn, equip and enhance.

Prosthetics exhibition at SHOWcabinet

Above: Splint #3 by Patrick Ian Hartley

Una Burke's leather sculptures create the foundation for the installation. Her inanimate bodies engage the language of the physical gesture. Each limb is constructed from countless, beautifully bound leather straps and resemble orthopedic braces or suits of armour. While offering protection or support, they also suggest that the encased body is a fragile system. This constant interplay between empowerment and restriction creates a fetishistic dialectic between invisibility and visibility, as well as denial and disclosure. Burke will also release an exclusive film directed by SHOWstudio's Head of Fashion Film Marie Schuller to coincide with the launch of the cabinet. The film sees her ordinarily motionless figure brought surreally and subtly to life.

 

Prosthetics exhibition at SHOWcabinet

Above: Chimere by Yiqing Yin

Alongside Burke's work sit a variety of objects and artefacts which explore ideas surrounding prosthetics. Created during a dynamic collaboration between Aimee Mullins, Betony Vernon and Dorset Orthopeadics, the prosthetic legs that Mullins wore as a Chef de Mission for the Paralympic Opening Ceremony will be on view in the cabinet. With the legacy of last summer's Olympic games still fresh, the imagery on Mullins' sculptural legs is powerful. A full set of wings run the length of each shin – a reminder of Icarus, and a nod to intrepid innovation. Mullins herself competed in the Atlanta Paralympic Games in 2006 sporting a pair of the then newly developed cheetah style prosthetics and has painstakingly spent her career giving a more positive and empowered face to disability.

Prosthetics exhibition at SHOWcabinet

Above: Brand New Smile by Kyle Hopkins

Also featured in the cabinet is Kat Marks' artefact collection 'The Braces'. Inspired by her own experience of having to wear a Boston Back Brace to redirect the curvature of her spine in her adolescence, Marks has created 3 vacuum-formed thermo-plastic braces in various colours and styles. Remaining true to the original function of the brace, these stylised pieces hold the waist in tight and accentuate the hips, exaggerating a shape which echoes an hour glass figure. No longer does the brace read as medical accoutrement but rather speaks to fashionable ideals of beauty and sexuality.

Alongside these powerful anchors, we present an array of items from innovators in fashion and art who embrace augmentation and aesthetics in tackling the idea of bodily enhancement and extension. Medical anomalies and instruments were often housed in early nineteenth century curiosity cabinets, but we've chosen to include artwork by Una Burke, Aimee Mullins, Betony Vernon, Kat Marks, Patrick Ian Hartley, Dai Rees, Kyle Hopkins, Ana Rajcevic, Naomi Filmer, Tara Dougans and Yiqing Yin as a means to probe the potential in prosthetics.

The display will be accompanied by a series of events and discussion geared towards exploring the creative industries' capabilities to expand perceptions of prosthetics.

You know what’s really scary? Ghosts and vampires? Not really; they don’t exist. What really freaks me out is plagues, pestilence, serial killers, bio-hazards!

I spent the last week thinking about the Martha Stewart lollipops, and how they could be made more scary.  I tried to brainstorm more gruesome fillings but it wasn’t creepy enough.  Then I started thinking of what’s really scary.  Serial killers! I immediately thought of Dexter and his blood slides.

For any of you who aren’t familiar with the show, Dexter is about a serial killer of the same name, who works by day as a forensic analyst for the Miami police department, and by night, cleansing the city of the evil criminals who slip through the cracks of our faulty judicial system.  Every serial killer has to keep his mementos and Dexter’s trophy case, consists of a box of slides, each containing one drop of blood from each victim.

For this years gruesome Halloween treat, I decided to create a trophy case of my own.  I followed the same basic recipe as the Martha one, but I cut mine in half since the slides are much smaller and thinner then her lollipops. Here’s the recipe and directions with a few of my own small changes.

Biohazard Blood Slides

  • 1 cup sugar
  • 1/3 cup light corn syrup
  • 2 Tbs water
  • red food dye
  • bamboo skewer or tooth pic

Directions

1. Line a few baking sheets with Silpat nonstick baking mats or parchment paper.

2. Bring sugar, corn syrup, and 2 Tbs water to a boil in a small saucepan, stirring until sugar is dissolved. Don’t stir, but occasionally wash down sides of pan with a pastry brush dipped in cold water to prevent crystals from forming; boil until mixture turns golden, 5 to 7 minutes.

3.  Pour the melted sugar mixture in a line down the center of the pan.  Using a skewer or the flat edge of a large knife, spread sugar into a thin flat sheet.  Glass slides are pretty thin, so the thinner the better.  It will also be easier to cut in the next steps.

4.  Once you have the mixture spread into a flat sheet, let it cool and harden for 5-10 minutes.  Once the mixture is hard, pull it away from the mat or parchment.  If its super thin, try not to crack it.

5.  Place the blade of a large knife (not necessarily your best) directly into your burner to heat.  If you have an electric stove, you can use a lighter.  Once the blade is hot, begin to cut your sheets of sugar into strips.  Cut edges to be the length of a real slide.  Its good to have a glass slide to use as a template.

This step can be a bit annoying.  Don’t worry if you break a few, it happens.  Reheat the blade for each cut.  Between each cut, wash your blade off with water to keep the sugar from burning to your blade.  I don’t suggest using your best knife, since this heating and cooling isn’t the best treatment for your chef’s blade.  If the edges are really rough, dip your finger and water and smooth them out.

6.  Lay your cut slides on your baking tray and refrigerate for at least 15 minutes.

7.  Take slides out of fridge.  Using a tooth pic or a bamboo skewer, paint on the blood circle in the center.  You don’t need too much.  A small droplet off the tip of your tooth pic will be enough.  If you put too much on, it will run all over the slide and make a huge mess. Refridgerate again until the dye is dry and you’re done!

You can serve these guys up with a pile of latex gloves to protect the hands while handling these dangerous items or you can serve with tweezers.  Either way, the point comes across clear (with a big bloody red spot in the center. Ha!).

I took a quick visit to the Science Surplus Store hoping to find a wooden slide box. No luck!  So I just got one of the cheesy slide kits which came with a cardboard box to display the slides at an angle.  Maybe for next year, I’ll try to find a box on ebay or something.

One way or the other, even if you don’t know about the show, blood slides are still gross.  You can tell people they are blood samples infected with ebola or something like that.  Biohazards are super scary.  If you don’t believe me, watch season 3 of 24.  Actually you can watch any season of 24, because I think they throw a little Biohazard chemical warefare wherever they can.

ENJOY!

-Forkable Blog

‘She had a tremendous self-confidence.  She was convinced that what she wore displayed who she was inside,’ said Alejandra  Lopez, art restorer for the painter’s home.

Frida used her clothes to disguise a life of pain, both  physical and emotional. Her long, full skirts hid a tiny, thin right  leg, and loose blouses covered the stiff corsets she wore for back  pain.

Frida selfportrait in corset

Frida Kahlo corset

Frida Kahlo's leg-prothese

 

The Equine Colic Simulator model will help students at the University's Royal (Dick) School of Veterinary Studies to familiarise themselves with the condition, which causes abdominal pain and is the leading cause of premature death in horses. Students will learn to assess the condition by performing an internal examination of the horse's intestines and sampling for free fluid in their abdomen.

The model features representations of the horse's digestive tract, which can be inflated to simulate certain symptoms. It also features the spleen and left kidney as well as a replica pelvis, a "soft vulva/anus panel" and an inflatable rectum section for palpation. There is also an area for doing the "belly tap" test, where a small incision is made into the belly of the horse to test whether there is an infection in the abdominal cavity or — worse — whether the intestines have ruptured.

In addition to colic, the simulator will also be used to identify reproductive problems in mares once a reproductive tract is added in a few months' time. The simulator was developed by Dr Emma Read at the University of Calgary Faculty of Veterinary Medicine and is designed to provide a safer and less stressful environment for students.

This isn't the only animal model that the University of Edinburgh has acquired. The veterinary school also uses canine simulators to allow students to practice injections and identify irregular heartbeats. Students can also carry out examinations on a cow simulator to detect pregnancy.

Dr Catriona Bell, senior lecturer in Veterinary Education at the Royal (Dick) School of Veterinary Studies, told Wired.co.uk: "The simulator is very realistic. Several of my equine colleagues at the University of Edinburgh have agreed that it provides a very good simulation of equine intestines, and is a very useful training tool for students."

She added that the simulator can also be used to practise other clinical skills such as suturing wounds on horse legs "and we may adapt it in the future to allow students to learn how to take a blood sample or give an intravenous injection into the jugular vein in the horse's neck".  -Wired.co.uk

 

Watch this video

Exoskeleton helps paralyzed walk

STORY HIGHLIGHTS
  • The Ekso is a wearable robot consisting of a motorized frame and computer
  • Bionic device gives paraplegics upright mobility and enhances strength in others
  • The Ekso is available in rehab centers and hospitals; a personal version is planned

(CNN) – The idea of “wearable robots” may seem like something out of a movie, but this technology is already being used in real life.

Started as a project for the military, the exoskeleton has transformed from a device designed to allow soldiers to lift heavy loads and walk further to one that enables people with disabilities to step out of wheelchairs and stand upright.

The “Ekso” is a bionic exoskeleton developed by Ekso Bionics that gives paraplegics upright mobility. While the commercial version of the Ekso has recently been made available to hospitals and rehabilitation centers, the company hopes to make the technology more accessible so that people can use it at home and in their everyday lives, with a personal version releasing in 2014.

CEO Eythor Bender sat down with CNN to talk about Ekso, the bionic exoskeleton he helped develop.

CNN: How many years have you been working on exoskeletons?

Bender: We have been working on exoskeletons for the last 10 years. It started as a project with the military and it was funded byDARPA, the same people who funded the Internet and GPS systems. So it was groundbreaking technology, and in the year 2005 we had a breakthrough in terms of making sure that the weight of the exoskeleton transfers all the way down to the ground. So the user who is wearing it — it usually weighs up to 50 pounds — doesn’t feel the weight at all. And that’s so important because obviously you are trying to make their lives easier, not more difficult.

CNN: What powers the exoskeleton?

Bender: What we are using here is electric motors, and there are four of them, which is actually quite unique especially when you compare it to (technology used by) amputees. Prosthetics so far have usually had one moving component, and in this case you have in one system four moving components. You have four motors — two sitting at the hips and two at the knees — and that’s what you hear. and it’s driven by a battery pack sitting on the back. In the middle, between the two batteries, is a computer and so that is pretty much it. It’s an outer frame that pretty much mimics the bone structure. There are 15 sensors in it that almost re-create your nerve system. And then there is the computer, which is really the brain of the whole thing.

CNN: What is your long-term hope or vision for this product in terms of helping people on the medical side?

Bender: Our hope is simply to help people in wheelchairs to live a fuller life. They already live a pretty full life. They can do pretty much anything except they can’t walk, and that is such a basic need if you think about it. We all learn to walk even before we learn to talk, and suddenly in the prime of your life you are deprived of that basic need. We are determined to provide at least a tool that people can have, whether it is about walking for part of the day or it is in the recovery phase or rehabilitation or simply in daily living where people want to go about and do things during the day just like an amputee would use a prosthetic leg during the whole day.

CNN: Will the Ekso exoskeleton eventually be available in homes for people to use whenever they want?

Bender: Yes. We see it as a companion during the whole day. It’s not going to happen overnight for us to get there. We have been on this journey, working with the best rehab centers around the world improving the Ekso and making it better. But at the same time, through working with users in rehab centers, it is helping us take the first step into homes so that we can develop a product — and it’s probably going to be products — that help people not only to gain their health back or get back on their feet, but simply to become a mobility tool similar to the wheelchair. The wheelchair by the way has been around for 1,500 years and it is pretty much the single mobility tool for people that can do pretty much anything else.

Edyth McNamee and Madison Park contributed to this report.

 Unconventional Artwork for a Conservative Genre

  •  

  • Biomedical illustration is distinct only for its medical and scientific content. I enjoy working with a diverse range of medical, scientific, and art professionals and my illustration represents an equally broad range of subject matter from patient education to challenging editorial assignments.  
    -Craig Keifer

     

  •  Locked-in Syndrome

     

  •  New Treatments for Alzheimer's Disease

     

  • Making a Diagnosis

     

  • Depression Within Patient Populations

     

  • Asthma

     

  •  Bipolar Disorder

     

  • Patient Evaluation

     

  • Cor Pulmonale

     

  • Allergy

     

  • Mast Cell

     

  • Labor

 

Lab (skeleton)