Cosmetic Surgery as Art

This presentation was prepared by RUTAYISIRE François Xavier and ISHIMWE Diane, Medical students in Year 4(Doctorate 2) at University of RWANDA school of medicine and Pharmacy, Department of Medicine and Surgery. we did the work under supervision of Dr Ntakiyiruta Georges,Mmed,FCSECSA

The Pandrogeny project was a collaboration between the artists Lady Jaye Breyer and Genesis POrridge that used cosmetic surgery, hormone therapy, cross-dressing, and altered behavior in an effort to merge their two separate identities into a third, singular " pandrogyneous " character called " Breyer POrridge. " This essay critically explores the practices and theories that comprise the Pandrogeny project, contrasting its use of cosmetic surgery to ORLAN's pioneering Reincarnation of Saint-ORLAN performance art series. We argue that there is potential for performance artists to critique and interrogate the normative frameworks of gender, appearance, and embodiment that guide the cosmetic surgery industry. However, artists and patients both undergo surgery within these frameworks, and thus their outcomes are shaped by the limits of the cosmetic surgery industry.

The Atlanta Institute for Facial Aesthetic Surgery is considered one of the most advanced facial plastic surgery centers in Atlanta, specializing in rhinoplasty, facelift and neck lift surgery, and more. Atlanta facial plastic surgeon Dr. Sinha is board-certified and specializes in aesthetic surgery of the face, neck, hands and skin to help you look and feel younger.

In this clinical study hyperbaric ropivacaine in spinal anaesthesia for lower limb and hip surgery was evaluated and results obtained were compared with those using hyperbaric bupivacaine. Methodology: Two hundred patients scheduled for lower limb and hip surgery were randomly divided into two groups of 100 patients each. These patients received a spinal injection of either 3ml (15mg) of 0.5% hyperbaric ropivacaine or 3ml (15mg) of 0.5% hyperbaric bupivacaine using 25G Quincke type spinal needle. The parameters studied were -onset and total duration of sensory block, onset and total duration of motor block, quality of intraoperative anaesthesia, hemodynamic alterations, and any intraoperative and postoperative complications. Results: The mean onset of sensory block (6±1.3min vs. 3±1.1min; p value<0.05) and motor block (13±1.6min vs. 9±1.3min; p value< 0.05) was significantly slower in ropivacaine group as compared to bupivacaine group. The total duration of sensory block was significantly shorter in ropivacaine group (160±12.9min) than in bupivacaine group (260±16.1min; p value <0.05). The mean duration of motor block was also shorter in ropivacaine group compared to bupivacaine group (126±9.2min vs. 174±12.6min; p value<0.05). Conclusion: The quality of anaesthesia was excellent in both the groups. In conclusion, a solution of ropivacaine (hyperbaric) can be used for spinal anaesthesia and is comparable with hyperbaric bupivacaine in terms of quality of block, but has shorter recovery profile.

Hypospadias is a relatively common genital condition in which the urethral opening forms on the underside of the penis, as opposed to at the tip of the glans. Patients with hypospadias are typically referred for surgery during infancy or early childhood. Recent evidence, however, indicates that many individuals with hypospadias do not experience the functional or psychosocial difficulties that are commonly attributed to the condition, and that surgical intervention for hypospadias carries substantial risk of adverse outcomes. In this article, we review published outcomes data and conduct an in-depth analysis of the typical rationales for hypospadias surgery, taking into consideration both the potential benefits and harms of the procedure, as well as the existence of non-surgical alternatives. We argue, firstly, that most childhood surgeries for hypospadias are performed for anticipated future problems concerning function and cosmesis, rather than extant problems that serve to undermine the child’s well-being. Secondly, we contend that the surgery can be safely performed after an age of consent without increasing the absolute risk of surgical complications to an ethically meaningful degree. We conclude that surgery for hypospadias should typically be performed only if requested by the affected individual, under conditions of informed consent.

Contemporary society is characterized by excess, by the exasperated search for beauty, in both psycho-physical (e.g., from athletics to yoga, from fashion to cosmetics, from cosmetic surgery to genetic  engineering) and material terms (from clothes to accessories, from mobile phones to automobiles). Confronting a reality where appearance, pleasure, and fun have become dominant concerns, the study of aesthetics has to move beyond the “canonical” confines of abstract academic inquiry in order to orient its research sphere in a pragmatic direction. There is an increasingly urgent need to identify new categories and to articulate more appropriate epistemological models.
Addressing these concerns in the present volume, Elisabetta Di Stefano aims to reconfigure aesthetics in transdisciplinary and transartistic (i.e., “hyperaesthetic”) terms. The goal is to understand the complexity of experience by establishing a dialogue with other disciplines (e.g., ecology, biology, sociology, psychology, anthropology, gastronomy) and also to initiate a richer and more comprehensive analysis of art, whose forms are no longer (or not solely) to be found in the artistic object, but also in the practices of everyday life. This goal explains the decision (which may be restrictive, but it is not arbitrary) to adopt as privileged interpretive frameworks the theories of two philosophers, the American pragmatist Richard Shusterman and the German neophenomenologist Gernot Böhme, because both reevaluate the significance of sensible knowledge through explicit references to Baumgarten. Shusterman aims to rethink in philosophic terms some bodily practices (e.g., cosmetics, cosmetic surgery, athletics, yoga) and to account for the aesthetic value of popular culture. Böhme articulates the new category of “atmosphere” in order to offer interpretive and critical tools with which to intervene consciously in many fields of “aesthetic work:” from design to packaging, from scenography to interior architecture, from fashion to cosmetics, from communications to advertising. Adopting this dual interpretive framework, the author examines various aspects of everyday life (from nature to design, from marketing to politics), in order to reconceptualize them in light of a new pragmatist aesthetics.

La società odierna è caratterizzata dall’eccesso, dall’esasperata ricerca di bellezza sia psico-fisica (dalla ginnastica allo yoga, dalla moda alla cosmetica, dalla chirurgia estetica all’ingegneria genetica) sia materiale (dagli abiti agli accessori, dal telefonino all’automobile). Di fronte a questa realtà in cui l’apparenza, il piacere e il divertimento sono divenuti, in ogni campo, gli obiettivi dominanti l’estetica deve sforzarsi di superare i confini “canonici” di un’astratta speculazione accademica al fine di orientare in senso pragmatico la sfera d’indagine. Diviene, quindi, sempre più urgente individuare nuove categorie e adottare più adeguati modelli epistemologici. Da qui l’ipotesi di riconfigurare l’estetica (“iperestetica”) in senso transdisciplinare e transartistico. Lo scopo è quello comprendere la complessità dell’esperienza attraverso il dialogo con altri saperi (ecologia, biologia, sociologia, psicologia, antropologia, gastronomia), ma anche di avviare un’indagine più ricca ed esaustiva sull’arte, le cui forme non sono più (o non solamente) identificabili con l’oggetto artistico, bensì sono da rintracciare tra le pratiche della vita quotidiana. Con questo obiettivo si giustifica la scelta, forse restrittiva ma non arbitraria, di privilegiare, come chiavi di lettura per questo lavoro, le teorie di due filosofi: il pragmatista americano Richard Shusterman e il neofenomenologo tedesco Gernot Böhme, poiché entrambi rivalutano, attraverso un esplicito richiamo a Baumgarten, il valore della conoscenza sensibile. Shusterman vuole riconsiderare, in chiave filosofica, alcune pratiche corporee (cosmetica, chirurgia estetica, ginnastica, yoga ecc.) e riconoscere il valore estetico della cultura popolare. Böhme, attraverso la nuova categoria di “atmosfera”, vuole offrire strumenti interpretativi e critici con cui operare consapevolmente in molti settori del “lavoro estetico”: dal design al packaging, dalla scenografia all’architettura d’interni, dalla moda alla cosmetica, dalla comunicazione alla pubblicità. Secondo questa duplice chiave interpretativa vari ambiti della vita quotidiana (dalla natura al design, dal marketing alla politica) saranno sondati al fine di riconsiderarli alla luce di una nuova estetica pragmatica."

ARTYKUŁ REDAKCYJNY • EDITORIAL ARTICLE 69 estetologia medyczna i kosmetologia • 2012 • peer reviewed • open access at www.estetologia.pl estetologia medyczna i kosmetologia • 2012 • peer reviewed • open access at www.estetologia.pl Estetologia medyczna, medycyna estetyczna, dermatologia estetyczna, chirurgia estetyczna, ginekologia estetyczna, stomatologia estetyczna -definicje i wzajemne relacje poszczególnych dziedzin Medical aesthetology, aesthetic medicine, aesthetic dermatology, aesthetic surgery, aesthetic gynaecology, aesthetic dentistry -definitions and mutual relationships between these areas Radosław Śpiewak Zakład Dermatologii Doświadczalnej i Kosmetologii, Wydział Farmaceutyczny Uniwersytet Jagielloński Collegium Medicum, Kraków Estetol Med Kosmetol 2012; 2(3): 69-71

Beautyscapes explores the global phenomenon of international medical travel, focusing on patient-consumers seeking cosmetic surgery outside their home country and on those who enable them to access treatment abroad, including surgeons and facilitators. It documents the journeys of those who travel for treatment abroad, as well as the nature and power relations of the IMT industry. Empirically rich and theoretically sophisticated, Beautyscapes draws on key themes of interest to students and researchers interested in globalisation and mobility to explain the nature and growing popularity of cosmetic surgery tourism. Richly illustrated with ethnographic material and with the voices of those directly involved in cosmetic surgery tourism, Beautyscapes explores cosmetic surgery journeys from Australia and China to East-Asia and from the UK to Europe and North Africa.

Men who undergo aesthetic surgery have been largely overlooked in sociological discussions of the body. Using qualitative interviews drawn from a small pilot study of post-operative men, this article explores the narrative accounts that
these men offer to explain their consumption of surgical procedures. The accounts disrupt dominant explanations of aesthetic surgery as an issue that only affects women, and contest the repetitive formulation of masculinity as disembodiment. Feminist theorizations of aesthetic surgery that attempt to link aesthetic surgery to totalizing explanations such as beauty, normalization or pain, are also challenged and extended. Instead we argue that multiple factors are at work in deciding to consume aesthetic surgery, such as identity,work, relationships and life events. Drawing on the work of Bourdieu,we argue that men’s consumption of aesthetic surgery (and perhaps women’s as well) often constitutes an investment in ‘body capital’ that can be deployed in a variety of different fields.We tentatively predict that the reconstitution of the aesthetic surgery recipient from ‘patient’ to ‘consumer’ will facilitate the development of a burgeoning market for men’s aesthetic surgery.

A paradigm promoted for midface rejuvenation by Besins in his reverse and repositioning effect (RARE) technique considers 3 vertical sectors of the face. It relies on thread-based suspensions of the malar area and the orbicularis oculi with long cable suture forehead anchoring. The author reports on the use of short cable suture anchorage points as an alternative suspension method that helps to avoid and/or correct asymmetry and ectropion. An oblique malar elevation with short cable suture transorbital anchoring, in conjunction with a Hester-Flowers orbicularis oculi transzygoma anchoring technique, was performed using a new technique for fascia roll, multi-loop temporal anchoring and auricular tightening. A series of 295 patients have undergone the procedure since Spring 2002, with follow-up of up to 31 months. A strong oblique malar elevation, focused on nasolabial fold correction, eyebrow elevation, and better jaw definition, along with a natural appearance of the face were found to be stable over time. Transorbital anchoring allows strong malar elevation and lower lid support for rejuvenation and correction of complications. It should be combined with a Hester-Flowers orbicularis oculi transzygoma anchoring technique and can be performed in conjunction with a fascia roll, multi-loop temporal lift, submental fat and partial submaxillary gland removal, and auricular tightening as part of a full face lift procedure.

As medical technology continues to progress, we are able to correct deficiencies in the body through means such as cochlear implants and prosthetic limbs. This has led some scholars to argue that we are creating technologized, cyborg bodies. However, these technologies have also enabled us to correct perceived cultural flaws in the body. This article explores the nature of the body through the lens of posthumanism, examining ways that individuals attempt to reshape their bodies through cosmetic surgery and other forms of body modification. Specifically, this article examines the practice of hymen restoration, Genesis Breyer P-Orridge’s artistic endeavours in cosmetic surgery and Stelarc’s cybernetic experimentations. These cases yield three potential visions of the body: the body must be restored; bodies must be unified; and the body must evolve. Such visions have consequences; the ways in which the body is rhetorically constructed influence how people choose to alter their own bodies. By considering the body itself as medium and as an interface with other technologies, we can better theorize what it truly means to be human.

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In this paper I set out an argument that skins and screens, once distinctly different types of surface, are merging. I show how in contemporary highly mediatised worlds skins are required to be visually expressive whilst also noting a parallel movement whereby screens are becoming more affective. Using the 'designer vagina'—specifically labiaplasty—as a case study I show how ideal bodies exist simultaneously as screen and as skin, as image and as affect. In turn, I argue that two-dimensional images and three-dimensional 'real life' bodies are blending in ways that parallel skin-screen mergers.

"TITLE: alloplastic malar implants in M ​​/ MAU * - Zone 1 - for aesthetic purposes. The transconjunctival route.
AUTHOR: Pierjean Albrecht
CITY: Marbella

Title: alloplastic malar implants in M ​​/ MAU * - Zone 1 - for aesthetic purposes. The transconjunctival route.

Subject: The aim of this study was to evaluate the transconjunctival route in the case of alloplastic malar implants in M ​​/ MAU - zone 1. It seemed worthy of interest, given the elasticity of the conjunctiva, the lack of damage to the orbicularis muscle, which no longer justify associated canthopexy .

Materials and Methods: 14 patients, 40 to 63 years old, were operated under local anesthesia and sedation between May 2001 and March 2002. Interventions were initiated like transconjunctival  blepharoplasty and completed according to the modified subcilliiary technique, without canthopexy, using thick silicone implants , wide and anatomical. Basic principles were respected; stay on the bone, avoid soft tissue injuries, expand the pocket adequately, reduce bleeding. Comfort of gesture, easy and stable positioning, swelling and bruising after surgery, scar retraction and cosmetic outcome were evaluated.

Results: 13 very satisfactory results were noted and one retouch necessary due to a too small pocket. The postoperative edema and bruising are therefore moderate and of short duration. The positioning of the implants was easy and cosmetic results very satisfactory . No scar retraction of the lower eyelid or implant migration were observed after 14 months.

Conclusions: The transconjunctival route for silicone malar implants is an ideal alternative to conventional surgical approaches. Benefits to patients and the surgeon are saving of operative time, lower risk of infection, no suture, no visible scar visible, easy route and incision, without damaging the orbicularis muscle and therefore without canthopexy, fast and perfect patients recovery , no postoperative pain.

______________________________________

* Malar / Midface Aesthetic Unit.
"
TITRE: Implants Malaires alloplastiques en M/M.A.U.* -  zone 1 - à visée esthétique. La voie transconjonctivale.
AUTEUR: Pierjean Albrecht
VILLE: Marbella

Titres:  Implants Malaires alloplastiques en M/M.A.U.* -  zone 1 - à visée esthétique. La voie transconjonctivale.

Sujet: Le but de cette étude a été d'évaluer la voie transconjonctivale dans le cas des implants malaires alloplastiques en M/M.A.U - zone 1. Elle nous a semblé digne d'interêt, compte tenu de l'élasticité de la conjonctive, de l'absence de dommages occasionnés au muscle orbiculaire, qui ne justifient plus une canthopéxie associée.

Matériel et Méthode:  14 patients, de 40 à 63 ans ont été opérés sous anesthésie locale et sédation, entre mai 2001 et mars 2002. Les interventions ont été amorcées commes des blépharoplasties transconjonctivales, puis achevées selon la technique subcilliaire modifiée, sans canthopéxie, utilisant des implants de silicone épais, étendus et anatomiques. Des principes de base ont été respectés; rester sur l'os, éviter les traumatismes des tissus mous, élargir la loge de manière adéquate, réduire le saignement. Le confort du geste, le positionnement aisé et stable, l'oedème et les ecchymoses postopératoires, la rétraction cicatricielle et le résultat esthétique ont été évalués.

Résultats: 13 résultats trés satisfaisants ont été notés et 1 retouche necessaire due à une loge trop petite. L'oedème et les ecchymoses postopératoires sont par conséquent modérés et de courte durée. Le positionnement des implants a été aisé et les résultats esthétiques trés satisfaisants. Aucune rétraction cicatricielle de la paupière inférieure ou migration des implants n'ont été observés après 14 mois.

Conclusions: La voie transconjonctivale pour les implants malaires de silicone est une alternative parfaite aux voies d'abord classiques. Les avantages pour les patients et pour le chirurgien sont: économie de temps opératoire, faibles risques d'infections, pas de suture, pas de cicatrice visible, voie d'abord aisée sans endommager le muscle orbiculaire et donc sans canthopéxie, récupération rapide et parfaite des patients, absence de douleur postopératoire.
______________________________________
*Malar/Midface Aesthetic Unit.

Many accounts of the so-called 'designer vagina' have theorized its link to 'traditional' and regional practices of FGM (or, less pejoratively, FGC)-which are said to reduce the sexual pleasure of women. Furthermore, many writers claim cuts to the vagina are all the more sinister since they are made to such an intimate and private part of the body. However, when comparisons are made with male circumcision, this argument has little traction, and for many women the vagina is the part of the body most likely to be cut or stitched-as a result of childbirth. We must ask ourselves how 'private' the vagina now is, given the technologies available to improve its appearance-from waxing to labiaplasty and collagen plumping. Feminists have largely correlated such practices negatively with the increasing circulation of pornography, neoliberalism, post-feminism, consumerism, and the "re-entrenchment" of sexism (Gill and Donaghue, 2013) though not with the increasing circulation of what we might call 'vaginal diversity' on body-positive websites-nevertheless we might consider both to be mechanisms of visibilization. But is the 'neoliberal vagina' simply bad for women? Or can we identify continuities and disjunctures between feminism and neoliberalism that paint a more complex picture of the 'designer vagina'? It was feminists, after all, who first incited us to 'look' at our vaginas. Under neoliberalism, however, it is not enough to look; one must also compare and evaluate, and if the evaluation is negative, one must act. In this chapter I will argue that within the context of the visible vagina, the privileging of patient autonomy (also rooted in the women's health movement) and the moral imperative to find happiness by 'doing something' work to reconfigure the vagina as alterable in the pursuit of fun and pleasure.

This chapter explores the embodied experience of space through the French multimedia and performance artist Orlan's body and identity-altering practices. By primarily focusing on the artist's multifaceted surgery-performance series, The Reincarnation of Saint Orlan (1990Orlan ( -1993 and her subsequent series of digital selfportraits, Self-Hybridizations (1998-2007, this chapter traces the complex relationships between human, technological and non-human forces that appear in her work, and the mutating, in-between bodily space that is configured within these meetings and crossovers. The Reincarnation of St. Orlan involves the exploration of unfixed corporeal spaces through heterogeneous encounters between biology and technology, organic and inorganic, figuration and disfiguration. By subjecting her body to medical and communication technologies, Orlan investigates the possibilities inherent in the breakdown of the barriers between natural and artificial, human and non-human, real and virtual spaces. The Self-Hybridizations series, as a complementary body of work to The Reincarnation of St. Orlan, again deal with the body and its experimental mutations and alterations, this time through digital technology. The Self-Hybridizations series explores the multiple connections between aesthetics of different spaces and times-intertwinement of ancient and contemporary, visceral and virtual, civilized and primitive, human and non-human dimensions in one physical corpus. Thus, through the boundarybreaking encounters, Orlan's 'Carnal Art' projects turn her corporeal space into a highly unstable, indeterminate, transitional, in-between state. The main intent of this chapter is to engage with and explore these spaces of in-between that Orlan's work reflects, the ambiguous spaces related to the understanding of 'self' in ontological and artistic sense. The investigation undertaken here for this purpose primarily draws on Deleuze and Guattari's formulation of the body and their concept of 'intermezzo' as the rhizomatic space of in-betweenness.

is Professor of Gender and Culture at the University of Cosmetic Surgery is a set of surgical procedures designed to enhance appearance. Originally theorized by feminists as an issue of gendered constructions of beauty, writing on cosmetic surgery has more recently begun to focus more on 'race' and national context as significant. Approaches to the study of cosmetic surgery have also moved from considering reasons why people have cosmetic surgery to the ways in which cosmetic surgery is entangled in a number of factors such as technological developments, the growth of the service economy, (new) media representations and globalization.

Majority of the people looking for career in the sector has been lacking ideas that they can use when choosing the best surgical tech schools to provide that kind of learning that will make the best whenever they are operating within the entire country.

""(EN)Compositions are disclosed containing a solvated viscoelastic polymeric gel diluted into an ionically conductive aqueous solution which can be usefully applied to any surface that is hydrophobic to act, for example, as an antifogging coating with minimal optical distortion and excellent transparency. The compositions can also be used as lubricious agents on medical implants, shunts, and surgical supplies to minimize tissue trauma, to maximize bio-compatibility, and to increase healing by enhancing better irrigation and flow in adjacent tissue.
(FR)L'invention porte sur des compositions contenant un gel polymère viscoélastique solvaté, dilué dans une solution aqueuse ioniquement conductrice qui peut être utilement appliquée sur toute surface qui est hydrophobe, pour servir, par exemple, de revêtement antibuée avec une distorsion optique minimale et une excellente transparence. Les compositions peuvent également être utilisées en tant qu'agents lubrifiants sur des implants médicaux, des dérivations, et des fournitures chirurgicales, pour rendre minimal le traumatisme tissulaire, pour rendre maximale la biocompatibilité et pour augmenter la cicatrisation par une meilleure irrigation et une amélioration de la circulation dans le tissu adjacent""

This chapter explores the respatialisation of the embodied experience of space through the French multimedia and performance artist Orlan's body and identity altering practices. By primarily focusing on the artist's multifaceted surgery-performance series, The Reincarnation of Saint Orlan (1990Orlan ( -1993 and her subsequent series of digital self-portraits, Self-Hybridizations (1998-2007, this chapter traces the complex relationships between the human and the non-human domains that appear in her work, as well as the mutating, in-between bodily space that is configured within these meetings and crossovers. Thus, the main intent of this chapter is to engage with and explore these dynamic, unstable and transient states of being that Orlan's work reflects; the metamorphic, in-between areas related to the understanding of self in ontological, philosophical and artistic sense. The investigation undertaken here for this purpose primarily draws on Deleuze and Guattari's formulation of the body through their theory of becoming-other.

Hair transplantation is a surgical technique which involves moving hair follicles from one part of the body to a bald or balding part of the body. The part from where the follicles are taken is called ‘donor site’ and the part where they are implanted is known as the ‘recipient site’.

Hair transplantation is performed  for pattern baldness  as a day care procedure under local anesthesia. You will be able to go home on the same day after the procedure is completed. It takes around 6-10 hours for complete procedure depending upon the amount of grafts to be transplanted.

Reports on post-surgical pain are a few, controversial and flawed (by statistics and analgesic consumption). Besides, it is not known if chlorhexidine can reduce post-extraction pain adjusting for its effect on prevention of infection and dry socket (DS). We assessed these. A total of 90 impacted mandibular third molars of 45 patients were extracted. Intra-alveolar 0
2% chlorhexidine gel was applied in a split-mouth randomised design to one-half of the sockets. None of the included patients took antibiotics or analgesics afterwards. In the first and third post-operative days, DS formation and pain levels were recorded. Predictive roles of the risk factors were analysed using fixed-effects (classic) and multilevel (mixed-model) multiple linear regressions ( a = 0
05, b≤ 0
1). In the first day, pain levels were 5
56  1
53 and 4
78  1
43 (out of 10), respectively. These
reduced to 3
22  1
41 and 2
16  1
40. Pain was more intense on the control sides [both P values = 0
000 (paired t -test)]. Chlorhexidine had a significant pain-alleviating effect ( P = 0
0001),
excluding its effect on DS and infection. More difficult surgeries ( P = 0
0201) and dry sockets were more painful ( P = 0
0000). Age had a marginally significant negative role ( P = 0
0994). Gender and smoking had no significant impact [ P ≥ 0
7 (regression)]. The pattern of pain reduction differed between dry sockets and healthy sockets [ P = 0
0102 ( ANOVA )]. Chlorhexidine can reduce pain, regardless of its infection-/DS-preventive
effects. Simpler surgeries and sockets not affected
by alveolar osteitis are less painful. Smoking and
gender less likely affect pain. The role of age was
not conclusive and needs future studies.
KEYWORDS: tooth extraction, impacted teeth, post-
operative pain, risk factors, chlorhexidine gel

In this article we explore the tendency of a number of television and art shows to challenge the usual cosmetic surgery industry’s focus on the before and after images, and instead bring to central stage the time of surgery itself, when the body is immobilized, cut open, and remolded. In this context we refer to the television series Nip/Tuck, and also to the art shows of Jonathan Yeo’ You're Only Young Twice and Anthony C. Berlet’s I Am Art: An Expression of the Visual & Artistic Process of Plastic Surgery. What these television series and art shows have in common is an interest in what we call abject aesthetics, in which the anesthetized, immobile (docile) bodies are fully exposed to the viewer’s gaze as they are cut open to allow intrusion of blood into the diegetic space, creating a breakdown of bodily borders as faces and bodies are opened up and skin is pulled from side to side. We argue that the manifested and enjoyed aggressivity towards bodies is an expression of an increased level of social narcissism, which besides producing an obsession with (adulation for) an ideal body image it simultaneously fosters a strong feeling of aggressivity towards the very ideal, hence the creation in fantasy of scenarios in which the overly restrictive and deadening ideal is torn apart to reveal its abject underside. Finally, we explore the workings of this economy of revealing and concealing, by foregrounding the concept of the abject and by staging an encounter with the grotesque in order to offer a critical perspective on the beauty ideal.

Traumatic right diaphragmatic hernias are uncommon and frequently missed. We present an interesting case of a patient initially thought to have clinical and radiological signs of a right massive haemothorax that was actually a large right diaphragmatic hernia, which was managed surgically.

Cosmetic are made from chemicals is instantly able to make women beautiful, but tend to have negative effects later in life.
To prevent the bad things that happen on the face, actress Karina Salim is very selective about the selection of facial treatments.

Summary
Considering the increasing tendency towards cosmetic rhinoplasty and conflicting data in this regard, and in order to assess the role of mental health and self-concept in rhinoplasty patients, this study was performed at Taleghani Hospital in Tehran during 2003–2004. This was a case-control study of 52 rhinoplasty patients admitted to the ear, nose and throat (ENT) and oral and maxillofacial surgery (OMFS) wards of Taleghani Hospital and 52 control subjects who were matched according to age, gender, marital status, economic state, education level and occupation with the former group. Data were gathered using the ‘General Health Questionnaire-28’ and ‘Roger's Self-Concept questionnaire’, and then were analysed by t, Pearson, Chi-square and Fisher's exact tests. The comparison of mental health (including the total score and the scores of subscales for depression, anxiety, somatic complaints, and social incompatibility) and self-concept between rhinoplasty patients and the control group has not been shown to be statistically different. It seems that there is no relationship between mental health, self-concept and the decision to undergo rhinoplasty. However, more elaborate studies are needed to bring the demographic, sociocultural and psychological factors into consideration.

In this article I set out an argument that skins and screens, once distinctly different types of surface, are merging. I show how in contemporary highly mediatized worlds skins are required to be visually expressive while also noting a parallel movement whereby screens are becoming more affective. Using the ‘designer vagina’ – specifically labiaplasty – as a case study I show how ideal bodies exist simultaneously as screen and as skin, as image and as affect. In turn, I argue that two-dimensional images and three-dimensional ‘real life’ bodies are blending in ways that parallel skin–screen mergers.

Jual Skincare Zalfa, Beli Skincare Zalfa, Harga Skincare Zalfa, Jual Skincare Zalfa Tangerang, Beli Skincare Zalfa Tangerang, Harga Skincare Zalfa Tangerang, Jual Skincare Zalfa Jakarta, Beli Skincare Zalfa Jakarta, Harga Skincare Zalfa Jakarta, Jual Skincare Zalfa Bogor, Beli Skincare Zalfa Bogor, Harga Skincare Zalfa Bogor, Jual Skincare Zalfa Depok, Beli Skincare Zalfa Depok, Harga Skincare Zalfa Depok, Jual Skincare Zalfa Bekasi, Beli Skincare Zalfa Bekasi, Harga Skincare Zalfa Bekasi.

Cosmetic expectations have increased with time and current trends speak volumes about gingival esthetics
and smile designing. Gingival pigmentation especially on the labial aspect of anterior teeth has become an
important component of general esthetics. Various physiologic and pathologic factors cause gingival pigmentation.
The existing indices do not deal with the etiology, extent and severity of gingival pigmentation. Hence, we
propose a new classification and index for gingival pigmentation to assess the treatment needs for the patient.
Keywords: Gingival melanin pigmentation, gingival pigmentation index, gingival pigmented lesions, melanin index,
physiological gingival pigmentation

You have probably never pictured being stranded for a week with nothing for company other than an old book, ginger ale and pain killers. Keeping this in mind, we have put down this 'to do' list for you before you go for your augmentation surgery.