Every system forms a whole, but not every whole is a system. I am considering the relationship between the whole of something and that part of some thing. Fractals are fascinating and best visual explanation in my quest to understand beyond negative and positive, and is guiding me into the world of math's. Everything is connected what we see is the illusion.

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Medical Business : Prosthetic Eyes: Where Art and Science Meet
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By: M.D. Beck Tuesday August 16 2011
Map: Home | Medical Business - Date Submitted: 2009-09-15 17:50:08 - Views: 18
Artificial eyes, sometimes also called prosthetic eyes, are a marvel of form and function. While they don t allow a patient to see, they do provide aesthetic value and self confidence, which are often lost when the eye is lost. People who are missing an eye feel as though they are being stared at because they look different, and it can make them very uncomfortable. Fortunately for them, prosthetic eyes are widely available today and they can be made to fit any face and match any eye color, so that the prosthetic is much less detectable than some artificial eyes were in the past.

Today, prosthetic eyes are made of plastic. They used to be made of glass, but plastic compounds wear better, last longer, and are more durable. They are also easier to make and less expensive. The eyes are made to exact specifications for each person who needs one, and that s done by using a special, pliable compound to make a mold of the socket that the eye will fit into. There are still prosthetic eyes available that are ready made, though, and they fit most people relatively well. They re much less expensive than the custom made eyes, so if someone doesn t have insurance to cover the prosthetic eye, he or she will often choose this lower cost option.

No matter which option is chosen, though, the eye is shaped to fit the socket and it must be hand painted. Machine painting of something like a prosthetic eye doesn t work well because the blend of colors in a person s actual eye is so very unique. In order to match it correctly, a painter has to work with the patient who needs the eye so that a perfect color match can be made. Even for people with dark eyes there are many subtleties, and all of them have to be taken into account. Simply painting a brown, blue, or green circle with a black pupil in the middle will not do justice to the color of a person s actual eye, and will look fake and unnatural.

To avoid something like that, a skilled painter of artificial eyes works diligently to match the color range that a person has in his or her natural eye. Blue eyes may have traces of grey or green, for example, and brown eyes may have greens and tans in them. People with hazel eyes are particularly difficult to match where a prosthetic eye is concerned because there are so many different colors in a hazel eye and because what color the natural eye appears to be can be affected by what the person is wearing. Strong colors bring out the same color in the eye, and a prosthetic eye that has been skillfully painted will offer that, as well.

Today s prosthetic eyes are often so good that it s very difficult to tell that they are not natural eyes. The movement level is restricted and the size of the pupil will not change, but there is usually nothing in the fit or the color match to give away the idea that the eye is a prosthetic. These kinds of eyes have truly come a very long way in a relatively short period of time.
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Carolina Eye Prosthetics provides hand-crafted and hand-painted prosthetic eyes. With two North Carolina locations their ocularists serve patients in need of artificial eyes. For more information about Carolina Eye Prosthetics visit http://www.carolinaeyeprostheticsinc.com or call 1-877-763-9393.
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Paying For a Prosthetic Eye: What Does Insurance Cover?

Most insurance plans will pay at least part of the cost for a prosthetic eye How much of the cost is covered will depend on several factors, including how the person s natural eye was damaged, whether there is any expectation of restoring any degree of sight to the eye, if the person can see anything with that eye or if he is totally blind in it, and who does the work for the artificial eye
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Replacing a Blind Eye With a Prosthetic Eye

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Prosthetic Eyes: Where Art and Science Meet

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Advances of the Artificial Eye

The artificial eye has been around since before the time of Shakespeare, but the quality that s available today is far advanced compared to what has been seen throughout history Early on, eyes were symbols for many things such as prosperity, and eyes made of jewels were often placed on the dead in Egypt
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The marriage of art with science stretches back to Leonardo da Vinci’s drawings of dissections in the 15th century, but today scientists and artists are finding new ways of collaboration. Body-imaging techniques, in particular, have particular appeal for artists.

Dr Mark Lythgoe, a neuroscientist and director of the Centre of Advanced Biomedical Imaging at University College London, says that many artists come into laboratories and science institutions and work with scientists. And sci-art funding strategies, such as that provided by the Wellcome Trust (see panel below) promote collaborations between artists and scientists.

Highly sophisticated imaging techniques such as MRI (magnetic resonance imaging) and CT (computed tomography, a technique for looking at the body in sections) scans, have opened up the visual side of human biology to artists. Our new intimate knowledge of brain structures raises questions of where in this mass of cells does personality begin and biology end?

Dr Lythgoe says: “Just taking MRI, CT and microscopic images and sticking them in an art gallery doesn’t make something art.” The best sci-art collaborations, he says, are about developing a new way of seeing.

Dr Lizzie Burns, a scientist-turned-artist, wants to bring complex scientific ideas and imagery into the public domain, hence her forthcoming Art of the Brain workshop, at the Science Museum’s Dana Centre in London. Participants will learn about how the brain works through images of brain cells, and can then create their own images and impressions of the brain on paper and in clay. “Art is a good tool to get people excited about science,” she says.

Art of the Brain is at the Dana Centre, 165 Queen’s Gate, London SW5, on Tuesday. www.danacentre.org.uk; 020-7942 4040

BRIDGING THE GAP BETWEEN ART AND REALITY

Angela Palmer’s first scientific inspiration came from viewing the Nobel prize-winner Dorothy Hodgkin’s model of penicillin at the History of Science Museum, in Oxford. Struck by how such a simple object – made from Perspex – could demonstrate such a complex subject, Palmer vowed to put a similar design principle to work in her art.

She was studying at the Ruskin School of Drawing and Fine Art in Oxford and soon had the chance to draw the corpses in the dissection rooms. Her interest in human anatomy led her to contact Stephen Golding, the head of radiology at the John Radcliffe Hospital, where she had a series of full-body MRI scans to look deeper at the human body.

Palmer layers images from MRI scans to produce a human “topography” of the body. The resulting ethereal etchings focus on the internal architecture of the body. “When you’re looking at a scan of me,” she says, “you could be looking at anybody and that’s what’s interesting. I didn’t want to distort my MRI portraits in any way. I wanted to be completely true to the scanner.”

Palmer, who was an award-winning journalist before she becoming a full-time artist, has a number of projects on the go, including one working with scientists and archaeologists to “uncover” an Egyptian child mummy through CT scans. Palmer, who completes her postgraduate degree at the Royal College of Art this year, says: “It enables us to recreate this child without disturbing him.”

Dr Chris Avery, an academic radiographer at John Radcliffe Hospital, worked with Palmer on the MRI sequences. He says: “This crossover between art and reality bridges the gap between science and art, making it more real to people.” He adds that it’s “rewarding to see your work transformed into another medium. It’s the finest accolade that your work is good enough to form the basis of something else”.

The MRI portraits will be at the Royal College of Medicine, London, from October; angelaspalmer.com

A DEEPER LOOK AT SIGHT AND SOUND

Paula Garcia Stone has lived with diabetes since she was 15. She was a figurative painter in Madrid until the early 1990s, when ill health forced her to return to the UK. She then began to use her condition in her work.

Faced with deteriorating sight and the threat of blindness, she began making collages from the medical pictures of her retina taken during her treatment, which were photographed with a camera using UV light. She says that using her health in her art was a way of regaining control: “Starting to see the inside of myself helped to objectify it.”

She had lens transplants to save her sight and is registered as partially sighted. “Diabetes can affect you everywhere,” she says. “It has affected my nervous system, arteries, digestive system, joints and tendons. A lot of the imaging covers all those areas.”

Garcia Stone’s work has moved deeper into the body, her images becoming increasingly complex as medical technology advances and more detail is revealed. A current fascination is cell sounds, a method of listening to viruses and bacteria that are extracted from blood samples. This uses resonant acoustic profiling, developed to enable on-the-spot detection of infections. Garcia Stone explored this in her Cellsonance exhibition last year.

Dr Matthew Cooper, the founder and director of the acoustics detection company Akubio, supplied Garcia Stone with the cell sounds to use in her work. He says: “Most people are very visual. She has combined some of our acoustic technology and techniques and translated them into visible images with sound.” He says that she “gives a fresh perspective” to what can seem to be “quite dry data”.

Garcia Stone is applying for funding to collaborate more closely with Dr Cooper, possibly working with her own cell sounds for future artworks. “I feel like I’m just beginning,” she says.

To see more Garcia Stone visit pgs.myzen.co.uk

INSIDE THE MIND OF THE ARTIST

Susan Aldworth will always remember Christmas 1999 as the time when she lay in hospital watching herself think. The artist was undergoing a brain scan for a suspected tumour. Fortunately it proved to be a false alarm, but the experience was so profound that it has shaped her work.

“It was this extraordinary moment of suddenly having a huge insight into the philosophy of our mind,” she says. “If I am just material stuff, where’s me in all this? The arteries of the brain are very beautiful to look at. I found my subject matter by default.”

After her scare, Aldworth contacted Dr Paul Butler, the consultant neuroradiologist at Royal London Hospital who had conducted her procedure. She was given permission to sit in on brain scans to observe and draw, leading her to create Brainscapes, 30 “very intimate portraits” of the patients she monitored. Dr Butler sees his collaboration with Aldworth as “a great morale boost” for the department at the Royal London Hospital.

Aldworth – who studied philosophy before becoming an artist – says: “This fascination with who we are has become another frontier to look at and that’s largely due to science.

“Nowadays there’s fantastic technology that means you can get closer to seeing how the brain works and I think that’s why the technology had to become part of my work.

“I had incredible footage of scanning procedures and I’d seen so much technology that to go away and do pretty painting wasn’t enough any more; I had to engage with the technology as well as the subject matter.”

Aldworth has a new residency at Guy’s and St Thomas’ Hospital in London and is preparing to work with scientists at the Newcastle Institute of Neuroscience, “who are working on a microscopic level trying to understand what’s going on in the brain”.

The accompanying exhibition will open next year.

Visit susanaldworth.com to see more of Aldworth’s work

Wellcome move

Sir Henry Wellcome, the US-born pharmacist and founder of the Wellcome Trust, collected more than a million objects, scalpels and other surgical instruments as well as hundreds of cookbooks, dozens of chairs and art treasures by Rembrandt and Van Gogh.

His broad view of what medicine really meant – developing understanding as much as developing technology – still informs the work of the trust. The trust, which has funded science-art collaborations for more than a decade, next month opens the Wellcome Collection, a £30 million public venue to explore human wellbeing through medicine, life and art.

It will feature some of Sir Henry’s collection, alongside live events and debates.

The Wellcome Collection opens June 21, at 183 Euston Rd, London NW1. wellcomecollection.org, 020-7611 2222

Jamie Salmon

'bits of a head'

Summer 2011, sculpture project.

Consider the relationship between the part of something and the whole of something.

Negative

There has been equally vehement opposition to Hirst's work. Norman Tebbit, commenting on the Sensation exhibition, wrote "Have they gone stark raving mad? The works of the 'artist' are lumps of dead animals. There are thousands of young artists who didn't get a look in, presumably because their work was too attractive to sane people. Modern art experts never learn."[86] The view of the tabloid press was summed up by a Daily Mail headline: "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all." The Evening Standard art critic, Brian Sewell, said simply, "I don't think of it as art ... It is no more interesting than a stuffed pike over a pub door. Indeed there may well be more art in a stuffed pike than a dead sheep."[86]

The Stuckist art group was founded in 1999 with a specific anti-Britart agenda by Charles Thomson and Billy Childish;[87] Hirst is one of their main targets. They wrote (referring to a Channel 4 programme on Hirst):

The fact that Hirst's work does mirror society is not its strength but its weakness – and the reason it is guaranteed to decline artistically (and financially) as current social modes become outmoded. What Hirst has insightfully observed of his spin-paintings in Life and Death and Damien Hirst is the only comment that needs to be made of his entire oeuvre: "They're bright and they're zany – but there's fuck all there at the end of the day."[86]

sculpture

MY FINAL BOOK DESIGN CHANGING THE HUES AND CONTRAST IN PHOTOSHOP MY LATEX CREATED SOMETHING I DIDNT EXPECT BUT WORKED VERY WELL .......

EXPERMENTING WITH LATEX NOT QUIET SURE WHY I WAS DOING THIS BUT IT LEAD TO THE BACK GROUND IN MY BOOK DESIGN AND LATER TO MY 3D BOOK DESIGN IN VERY DIFFERENT WAYS

this was an idea for a 3D book design which i have disregarded CATION ZOMBIES ......

***WARNING***
Tomorrow Facebook will change its settings to allow zombies to come into your house while you sleep and eat your brains with a sharpened spoon. To stop this from happening go to Accounts / Home Invasion Settings / Cannibalism / Brains and un-check the "Tasty" box.

DISTORTED FUN

TYPOGRAPY I BELIVE SUIT THE CONTANT OF THE BOOK AND WILL APPEAL TO THE AUDIENCE

THE LAST TYPE FACE I BELIEVE SUITS THE CONTENT OF THE BOOK.MAX BROOKS RELATES THE BOOK TO YOU AS IF IS WAS REAL AND COULD HAPPEN AT ANYTIME AND THAT YOU NEED TO BE AWARE .THE TYPOGRAPHY GIVES A HIT OF BEING THEIR BUT NOT BEING THEIR .

ZOMBIE ATTACK

THEMES...

THEMES

new york post

'A tome you start reading for fun and then at page 50 you go out and buy a machete just to be on the safe side .' NEW YORK POST 

This is what could happen according to max brooks and you need to be prepared

• The Zombie survival guide  mainly describes weaponary and how to use them what will work and what will cause accidental injury to self .
• tongue in cheek comedy
• Everything the writer,  writes is based in tediously researched real weaponary and everything in this book is realistic Accept of course the Zombies
• They are as real as you make them .