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They were the cure for whatever ailed you.

The above photos show an interesting looking model circa 1920 demonstrating the usage of a violet ray machine, which was a personal electrotherapy device first invented by Nikola Tesla around 1890. Tesla was way ahead of his time, and some of his electrical applications were simply amazing. For instance, he successfully generated wireless power—i.e., he lit phosphorescent lamps by sending electricity through the air. Think about that next time you trip over one of the twenty power cords you have snaking around your place. Of course, genius occasionally comes wrapped in a bit of lunacy, so in the interests of full disclosure we should probably note that Tesla also spent many years trying to build a teleforce weapon, which he claimed would “bring down a fleet of 10,000 enemy airplanes at a distance of 200 miles from a defending nation’s border and cause armies to drop dead in their tracks.”

Tesla’s violet ray device became a major fad during the Great Depression. The contraption consisted of a portable box encasing a discharge coil that produced a high frequency, ozone-generating electrical current. That current was channeled into a bakelite-handled, glass-tipped wand, the business end of which was applied to the recipient’s skin. One company that manufactured these devices was called Renulife, and their pitch went like this: Electricity from your light socket is transformed into health and beauty-giving Violet Ray—powerfully effective, yet gentle, soothing, perfectly safe. Voltage is raised from ordinary lighting current to thousands of volts, giving tremendous penetrative force. The irresistible revitalizing powers of Renulife Violet Ray are carried at once to every nerve, cell, fibre and part of the body.

Violet rays were touted as the cure for a long list of ailments, including fatigue, congestion, rheumatism, hemorrhoids, catarrh, brain fog, aging, and so forth, but by the 1950s Tesla’s device had fallen out of usage in the U.S. While it would be easy to dismiss violet rays as quackery, something physical was clearly happening. Consider this: the Chicago Police Department used a violet ray device to torture suspects between 1973 and 1984. Also, it’s worth noting that similar devices are still used today, most notably the High Frequency aesthetic machine you find in beauty salons, and the violet wand, used in BDSM. And modern medical research has shown that electricity can speed the healing of wounds, slow muscle atrophy, and modify brain impulses. So give Tesla his props—looks like he was right yet again. Good thing he never wrote down how his teleforce weapon worked.

Prosthetic Limbs Get Real With Lifelike Features

By LIZ NEPORENT

 
PHOTO: This lifelike thumb prosthetic was custom designed by stamos + braun prothesenwerk gmbh.

A German company has created prosthetic limbs so lifelike that most people have trouble spotting them.

Christoph Braunstamos of Stamos and Braun Prothesenwerk said the company considers each silicone prosthetic a work of art.

“All the work is done individually,” he said. “We try to catch the right colors from the patients and transfer them to the prosthesis.”

Braunstamos said the company works hard to get all the little details right. For instance, they craft fingernails and toenails from acrylic, the same material used in nail salons, so people can paint them.

“That’s often important to women,” he said.

PHOTO: It is difficult to spot the prosthetic toe designed by stamos + braun prothesenwerk gmbh.
stamos + braun prothesenwerk gmbh
PHOTO: It is difficult to spot the prosthetic toe designed by stamos + braun prothesenwerk gmbh.

Braunstamos admits that the realistic looking appendages don’t function as well as prosthetics with built-in bionics, but the fingers are flexible enough for someone to play the piano. The artificial arms and feet can also perform basic tasks, he said.

PHOTO: A lifelike arm prosthetic designed by stamos + braun prothesenwerk gmbh.
stamos + braun prothesenwerk gmbh
PHOTO: A lifelike arm prosthetic designed by stamos + braun prothesenwerk gmbh.

Each prosthetic costs between $2,500 and $8,500, depending on the size and the level of customization. However, in Europe where most of them are sold, the majority of the cost is picked up by insurance, Braunstamos said.

Anatomy students work on life-size virtual cadaver at University of Edinburgh

virtual cadaver

The virtual cadaver has been created from CT scans

Anatomy students are to work on a life-size virtual cadaver at the University of Edinburgh.

The new 3D device – one of the first of its kind in the UK – will allow students to investigate the human body by virtually dissecting it.

It has been created from CT scans allowing the body to be seen from front to back, side to side and upside down.

Teachers say the digital Anatomage Table offers different opportunities to working on a real corpse.

Unlike a real dissection, in which body parts can only be removed, students can add or remove organs, veins, arteries, nerves or tissue.

virtual cadaver

virtual cadaver

virtual cadaver

virtual cadaver

The new device joins another novel teaching tool at the university – a life-size 3D anatomical hologram which is the largest of its kind in the world.

Prof Gordon Findlater said: “The beauty of the Anatomage Table is that you can rotate and view the body in all three planes in a unique 3D experience.

“Although it will never, I believe, replace the experience of dissecting and handling a real cadaver, it will allow students to handle a virtual cadaver without all the legislation that accompanies the use of a real one.

“So far we have received a lot of good feedback from the students and surgeons who have tested it out.”

It’s always interesting when artists explore intimacy because of how it affects us all on a primitive and emotional level. Japanese student-artists Ayako Kanda and Mayuka Hayashi have created a prize-winning series of images that explore our relationships with each other in an interesting way – by using x-ray images to strip away the skin, hair and flesh that we usually associate with intimate contact.  

Kanda and Hayashi used full-body x-ray imaging and CT scan systems to picture four different couples as they rested intimately together. The result is a series of ghostly white skeletons tangles in loving embraces. The images are so striking because the poses they strike represent recognizable human intimacy and closeness, but the x-ray images represent death or clinical, medical coldness. We are trained to take the intimacy we share with our doctors when they x-ray our bodies for granted, which is perhaps why it’s so unsettling to see x-ray images capturing actual human intimacy.

 

The revealing and exploratory work was part of these students’ thesis project at Musashino Art University. The students also won the Mitsubishi Chemical Junior Designer Award.

 

 

breast_in_black_bra.jpg

I struggled a bit to find the right words for this post. The subject matter should come quite easily to me considering I have a pair of my own. Initially thought it would be wise to start this off by giving you a definition of what breasts are, but none of the terminology; medical or otherwise felt right.

I decided to get over myself put my best breasts forward and I asked my girlfriends to help me out on this post. I wanted to get some insight on the relationship or lack thereof they have with their breasts. I asked them 4 questions;

  1. Do you test your boobs regularly?*
  2. Do you like them?
  3. Would you ever consider changing them?
  4. Would you buy a pair and if so when/why?

I got the most amazing responses from my ladies. It became a brief journey of each of their boob tales. Irrespective of the sizes, they each have a unique relationship with their breast. Some of them are lucky enough to never have to wear a bra and considering that majority of women world wide wear the incorrect bra size. Another shared her account of how changes in life like having a child and breast feeding, directly affects the look of her breast. She still loves them none the less.

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My relationship with my boobies has been a bit complex. When I was teenager I wanted them to be bigger, then I grew up and I found joy in my breasts. More recently our relationship has been a tad rocky, it’s not their fault really but I like my old boobs. You see I’ve lost quite a bit of weight all round and that includes my breasts. I’ve had to accept that my old boobs are gone, and that I need to downgrade a cup size or so. In fact apart from my nose, my breasts are by far my favourite part of my body. Breasts are sexy, from the way the look, they feel and how they evolve with you as you grow.

Some of us will struggle to find the right bra size and others will never know what this battle is about. Much like the buying clothes for your entire body, breasts are fun in that you get them to dress them up in their own outfits. Soft cups, under wires, demi-cup, push ups, sport bras, you name it; there is a bra for just about every occasion.

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The one thing we should all have in common is the health of our mammary glands. Whether they are small and perky or big and bouncy, breast cancer can affect all of our boobs. 1 in 29 women in South Africa will be diagnosed with breast cancer. The good news is that if it’s detected early, there is a great chance of recovery. Which is why it is so important that every woman needs to examine her breasts and underarms regularly, every month to check for any changes? It’s a body part we are so intimate with yet so many of us take for granted.

Breasts are loved by the women who own them, the children who feed from them and the men the like to touch or make them. I thought I would share some interesting and equally amusing facts I found on the net about boobs.

  1. The average breast weighs 500 grams and contains 4-5% of the body’s fat.
  2. Breast swell up and get erect when arouse- just like a penis!
  3. The average breast size in South Africa currently a 34C
  4. Did you know that there is a size 38KKK (worn by the woman with the world’s largest implants)
  5. Breast milk is sweeter than Cow’s milk( apparently some grown ups like drinking it. 0_O
  6. Smokers will have saggier breasts than non-smokers because the chemicals in the cigarettes breakdown the body

From the A cup to the world’s largest breast size a 38 KKK, love your breasts. There is absolutely no shame in buying a pair if the need arises in your life. I’ll close this post off with the edited but lovely comments I received from my bookCLUB ladies.

“I love touching them, poking them, noting their shape and movement when I breathe, lie down, bend over, stand and the lovely little jiggle they do when ‘I have my love on top”

“They’re honestly the sexiest part of my body during the freaky dance, I’ve never slept with a man that didn’t show them due respect.” 

“…All boobs are good.”

“I love me boobs. Perfect size just over a handful” 

 

The ABC’s of Breasts by @VanityStreet

V0042226 Two skeletons dressed as lady and gentleman. Etching, 1862. Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org Two skeletons dressed as lady and gentleman. Etching, 1862. 1862 Published: February 8, 1862 Copyrighted work available under Creative Commons Attribution only licence CC BY 2.0 http://creativecommons.org/licenses/by/2.0/ Punch caricature of the new dance of death is from 1863

Two skeletons dressed as lady and gentleman in “the Arsenic Waltz,” Etching (1862) (courtesy Wellcome Library, London)

Staying stylish in the Victorian period could be a dance of death. While industrialization and mass production made more beautiful fashions widely available, the green dresses were dyed with arsenic-based pigments, the mercury necessary to make shiny beaver top hats drove the hatters insane, and all that tulle and cinched corsets contorting women into airy nymphs would not infrequently cause them to tumble into gas lamps and go up in flames.

Opened this week at the Bata Shoe Museum in Toronto, Fashion Victims: The Pleasures and Perils of Dress in the 19th Century explores the perils of dress not just for the wearers, but for the people who made the clothing as well. The exhibition of over 90 artifacts was organized by Bata Shoe Museum Senior Curator Elizabeth Semmelhack, and Alison Matthews David, an associate professor at the School of Fashion at Ryerson University who is publishing a book next year focusing on deadly fashion. Together the curators explored medical archives and collections in France and England, and delved into the museums’ extensive assortment of 19th century shoes and private collections searching for examples of the “poison garment,” hauling green shoes and shoeboxes to a physics lab to test for their lethal secrets.

English, early 1860s. In 1856 when William Henry Perkins accidently invented mauve, the first synthetic dye, a new age of colour in fashion was born. Soon vibrant and often gaudy synthetic colours were the toast of fashion but many of these hues also came with risk to wearer. Arsenic and picric acid to name a few were just some of the toxic chemicals used in create coloured clothing. This pair of mauve boots shows the brilliance of the new synthetic colour. Collection of the Bata Shoe Museum Photo credit: Image © 2014 Bata Shoe Museum, Toronto, Canada (photo: Ron Wood)

Mauve boots dyed with the new synthetic color containing arsenic, piric acid, and other toxic chemicals, English (early 1860s) (Collection of the Bata Shoe Museum, photograph by Ron Wood)

“It’s seductive,” Matthews David told Hyperallergic over the phone in regards to the stunning fashion artifacts. “We wanted people to understand how beautiful they were, and how people would wear them even if they knew they were harmful.”

For example, there’s the achingly narrow shoes worn by women to slip into a “beauty ideal,” and for men and women alike there was mauve footwear tinged with the first synthetic dye. Created by William Henry Perkins in 1856, mauve was revolutionary in influencing color tastes. It was unfortunately incredibly toxic, made with arsenic, piric acid, and other harmful chemicals. Around the same time tortoises and elephants were being spared in making hair combs, but the manufactured celluloid was explosive. Ballerinas draped in tulle were pirouetting into gas lights on the stage at such a frequency it was called a “holocaust.” Even the high heel, which had come back into vogue in the late 1850s, deliberately threw women off-balance as part of a very confined, yet alluring, form of femininity.

To draw viewers into this world, the whole exhibition is structured like a showroom of the time. “You could just go through this beautiful Parisian shopping arcade and enjoy this spectacle of consumption, but if you read into it you find that the story behind it is not quite as pretty as the artifact,” she said.

The 19th century shoe demonstrates the movement over the era from personal relationships with independent artisans to industries like the 700 embroiderers who labored on boots in the factory of Francois Pinet. Matthews David points out how with these elaborate shoes, “the same object exists in both spaces,” moving from the unsanitary, debilitating conditions of the unventilated factories to the foot of a strutting member of the upper class. Likewise all those gleaming, shined boots were not kept clean in the dirty 19th century by the rich wearers, but by the numerous, poor shoeshine boys who worked the streets for scraps of money.

French, 1880 – 1885. The high heel was reintroduced into Western fashion in the late 1850s as part of the nostalgia for the 18th century dress that captured fashionable imaginations of the period. Along with this interest in 18th century came the specter of the licentious woman, this pair of boudoir slippers which features many hallmarks of 18th century mules, would have been perfect for this highly charged image of femininity. Collection of the Bata Shoe Museum Photo credit: Image © 2014 Bata Shoe Museum, Toronto, Canada (photo: Ron Wood)

Boudoir slippers with destabilizing heels, French (1880–1885) Collection of the Bata Shoe Museum (photo: Ron Wood, image © 2014 Bata Shoe Museum, Toronto, Canada)

English or French, c. 1860–1865. This dress came with both a low‐cut bodice for evening wear and a more buttoned‐up bodice for daytime wear. Many Victorian dresses, including this one, were made with both styles of top and the advantage of “Emerald Green” was that it kept its bright colour in both natural and gas lighting. Collection of Glennis Murphy. Photo credit: Image © 2014 Bata Shoe Museum, Toronto, Canada (photo: Arnold Matthews)

“Emerald Green” dress colored with arsenic, English or French (c. 1860–1865) (Collection of Glennis Murphy, photograph Arnold Matthews)

Hands damaged by arsenic dyes, lithography from an 1859 medical journal (via Wellcome Library)

Hands damaged by arsenic dyes, lithography from an 1859 medical journal (courtesy Wellcome Library)

Perhaps the most evocative fatal fashion trend of the 19th century is the color green. Before inventor Carl Wilhelm Scheele came along near the end of the 18th century, there was no color fast green, only the option to do a blue overlay with yellow or vice versa. By mixing arsenic and copper, Scheele developed a pigment that would hold, whether in wallpaper, paintings, or clothing. It also happened to look fantastic under natural and new gas light, an important duality for the time. By the mid-19th century, when, as Matthews David notes “nature was disappearing from the environment,” this “Emerald Green” was incredibly popular in artificial flowers. It was also highly toxic, even deadly, and it’s no coincidence that Baudelaire titled his book of tormented poems Les Fleurs du Mal — The Flowers of Evil — just as the death of a young artificial florist was being investigated.

Fashion Victims is presided over by one of these arsenic dresses, its color still vivid, and beguiling. And even as Emerald Green’s hazards were exposed in the 19th century, people still wanted it, and in a way, that hasn’t changed. “Emerald Green was the Pantone Colour of the year for 2014, which suggests that we still love it,” Matthews David said.

The long term exhibition continues at the Bata Shoe Museum through June of 2016. Matthews David readily points out that although the fashions of the 19th century could seem insane for their dangers, we’ve hardly left death behind in style. “You always see the past through the filter of today, and it’s still ongoing,” she said. With horrific incidents like the 2013 garment factory collapse in Bangladesh, we may have just moved the mortality behind trends further away.

 flower wreaths and a fashion plate from the period that tested positive for arsenical pigments that I own. The second plate is framed and hung on the wall with the green dress. They all date to ca.1860-1865

Fashion plate for the period that tested positive for arsenical pigments (1860–65) (collection of Alison Matthews David)

 flower wreaths and a fashion plate from the period that tested positive for arsenical pigments that I own. The second plate is framed and hung on the wall with the green dress. They all date to ca.1860-1865

Flower wreathes from the period, which were dyed with arsenic pigments (1860–65) (collection of Alison Matthews David)

European, c.1840s. The dark green satin used to make these “Adelaide” boots tested positive for arsenic‐based dye. Their deep colour was just one of the many shades of green that could be produced using arsenic. Collection of the Bata Shoe Museum. Photo credit: Image © 2014 Bata Shoe Museum, Toronto, Canada (photo: Ron Wood)

“Adelaide” satin boots colored with an arsenic-based dye, European (c.1840s) (Collection of the Bata Shoe Museum, photograph by Ron Wood)

Swiss, c. 1885–1925. The desire for beaver fur hats in European men’s fashions dates back centuries and spurred the development of the 17th century North American fur trade. However, it was not until the 1730s that mercury began to be used in the making of beaver top hats. This hat, which dates to the end of the 19th century, still contains small amounts of mercury. Collection of the Bata Shoe Museum. Photo credit: Image © 2014 Bata Shoe Museum, Toronto, Canada (photo: Ron Wood)

Beaver fur hat, still containing amounts of Mercury, Swiss (1885–1925) (Collection of the Bata Shoe Museum, photograph by Ron Wood)

Article by Allison Meier appeared on blog ‘Hyperallergic’ 

Sculpture

Title: Vania

Medium: Sallos Liquorice Flavored Sugar

Size: 40 x 25 x 30 cm

Date: December 2013

Title: “Together” Berghain permanent installation

Medium: Sugar, Cola Ahoi Brauser flavor, Preserved with several layers of Polyurethane

Size: Variable

Date: January 2013

“Together” Installed in Berghain KloBar

Series: Laura

Medium: Sugar ( Raspberry, Cola, Fanta, Licorice, Apple and Lemon Flavors ) coated with several layers of Polyurethane

Size: Variable

Date: 2010-2012

Series: Everything I Desire

EXHIBITION VEIW

Title: Laura (Roman) 2011

Medium: Granini Apple Sugar

Size: Variable (Box 30 x 25 x 25 cms)

Title: Anna

Size: 40 x 100 x 35 cms

Medium: Sugar & Polyurethane

Flavors: Passionfruit, Licorice, Cherry and Apple

EXHIBITION VEIW

Joseph Marr (born 1979) is a Australian Artist of English/Maori heritage who lives and works in Berlin, Germany. Working in a number of media including painting, sculpture, video and photography, his art is conceptually oriented, and generally concerned with issues of consciousness.

 

  by Gregory Haliliby

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

Mother of Pearl Shell Skull Carvings by Gregory Halili skulls shells bas relief anatomy

 

Born and raised in the Philippines, New Jersey-based artist Gregory Halili is deeply influenced by the vegetation and wildlife he experienced as a child. His latest series of work involves a fusion of the human form with the natural world in these amazing bas-relief shell skulls. Halili carves and then paints with oil on raw, gold-lip and black-lip mother of pearl found in shells collected from the Philippines. The pieces will soon be exhibited at Silverlens Galleries in Manila and Nancy Hoffman Gallery in NYC . (via Junk Culture, Skullspiration)

Article by Christopher Jobson for Colossal on June 2, 2014

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by Julia Silverman, Sang Bleu

I have always found orthodontic headgear somewhat sinister, so when I first stumbled upon the cover A Magazine Curated by Iris van Herpen, featuring Hanne Gaby Odiele sporting a golden dental cheek retractor, I was immediately intrigued. The piece was created by menswear designer Lucie Vincini, who found inspiration from everything from modern orthodontic device to grills to the lip discs worn by Mursi women.

The way in which the piece positioned its wearer’s face, seemingly restricting speech or movement, the implied pain and unnatural grimace it forced its wearer’s face into, allowing a view of each tooth, struck me most strongly. The stark visual contrast between flesh and metal, the discomfort, reminded me most immediately of older, barbaric medical procedures, of the body being twisted and contorted. (And in searching for images, both editorial and historical, of retainers, retractors, and braces of all sorts, I was also reminded of the fetishistic implications of restriction…) Here is a small collection of images, loosely inspired by headgear, dentistry, and the notion of morphing and restricting the face, that I compiled along the way.

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Fetish wear in the 1920s looked a hell of a lot like fetish wear now

These photos show the designs of Yva Richard, the foremost purveyors of fetish gear and BDSM accoutrements in France from the 1920s through to the early 1940s.

Originally founded simply as a lingerie company, the husband and wife team behind Yva Richard first branched out into erotic photography in 1923.

Nativa modelled their increasingly daring designs, while her husband L. Richard was behind her camera.

(The French maid’s costume that inspired a million Ann Summers lookalikes)

By the 1930s they stocked a range of products that wouldn’t look out of place at a modern fetish event, including handcuffs, dog collars with leads and “bizarre dominatrix ensembles made of leather, rubber, and even metal”.

Yva Richard’s one major commercial rival, Diana Slip, was also based in Paris. The only significant retailer of fetish wear and photography in the US at the time, Charles Guyette, imported many of his products from France.

(“Pony girl” scene photographed by Charles Guyette in the 1930s)

Yva Richard was forced to close up shop in 1943 due to the Nazi occupation of France, but its significant influence is clearly visible in modern day fetish fashion and photography.

Via Spanking Art