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| − | =Fantastic Forgeries=
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| − | I chose the stairs in the Boijmans museum. It fascinated me that the object was placed behind glass what suggest that is it valuable and fragile. On the website of the boijmans van Beuningen museum is stated that it is probably made in 1700 and in the museum it self in 1660 so that raised some questions for me if the museum does not even have the correct dates.
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| − | [[File:Mandy stairs1.JPG| 700px]]
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| − | [[File:Mandy stairs.JPG | 150px]] [[File:Foto trap.JPG | 150px]] [[File:Foto trap2.JPG |150px]] [[File:IMG 7778.JPG |150px]]
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| − | Staircase of a house on the Vijverberg in The Hague,'1700?'
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| − | Sculptor: Willem van Sundert (Den Haag 1656 - Den Haag 1747)
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| − | Client: Simon de Brienne (Jouy le Châtel - Den Haag 1707)
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| − | Material and technology: linden- en eikenhout
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| − | Object type: trap Dimensio)
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| − | ==Research==
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| − | ====About the Piece====
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| − | The staircase in the Museum Boijmans van Beuningen consist of three flights, joined by two quarter landings. It has a continuous carved balustrade made up of nine panels, four sloping and five horizontal, of flowing acanthus scrolls. Each panel was designed from the middle axe. The decoration consists of stylized animals heads transforming into elaborate acanthus scrolls. The composition of horizontal panels is strictly symmetrical.
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| − | Three panels, one at the first landing and two on the first floor, have two eagles’ heads, facing away from each other, holding a garland in their beaks. The two panels on the first floor are alternated with two longer ones of analogical composition but with dolphins instead of eagles. From their mouth flow out thick scrolls suggesting water. The sloping panels are symmetrical in general composition but not in details. The incorporate handwork next to two eagles’ heads and acanthus. Two panels have flat handwork and are enriched by snakes at the sides. The other two have profiled handwork and no snakes. The finals of the first floor differ from those situated on the landings and flights of stair. The former are much bigger and decorated with acanthus leaves an pea-pod, whereas the latter have simple rosettes at the top and the sides.
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| − | [[/New light | New light on a old staircase by Ada Elzbieta Grochowska ]]
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| − | ====Comparable Staircases====
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| − | [[File:Sudbury Hall.jpg |300px]] [[File:Cassiobury Park, Hertfordshire.jpg | 400px]]
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| − | ====Rococo====
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| − | Rococo, less commonly roccoco, or "Late Baroque", is an 18th-century artistic movement and style, affecting many aspects of the arts including painting, sculpture, architecture, interior design, decoration, literature, music, and theatre. It developed in the early 18th century in Paris, France as a reaction against the grandeur, symmetry, and strict regulations of the Baroque, especially of the Palace of Versailles. Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, and gold. Unlike the political Baroque, the Rococo had playful and witty themes. The interior decoration of Rococo rooms was designed as a total work of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. The Rococo was also important in theatre. The book The Rococo states that no other culture "has produced a wittier, more elegant, and teasing dialogue full of elusive and camouflaging language and gestures, refined feelings and subtle criticism" than Rococo theatre, especially that of France. The word is seen as a combination of the French rocaille (stone) and coquilles (shell), due to reliance on these objects as decorative motifs.[3] The term may also be a combination of the Italian word "barocco" (an irregularly shaped pearl, possibly the source of the word "baroque") and the French "rocaille" (a popular form of garden or interior ornamentation using shells and pebbles) and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century.[4] Owing to Rococo love of shell-like curves and focus on decorative arts, some critics used the term to derogatively imply that the style was frivolous or merely modish. When the term was first used in English in about 1836, it was a colloquialism meaning "old-fashioned".
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| − | =====Rococo Examples=====
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| − | [[File:Carving-by-Alexander-Grabovetskiy-slider2.jpg | 300px]] [[File:Abstract and asymmetrical Rococo decoration ceiling stucco at the Neues Schloss, Tettnang.jpg |300px]] [[File:Design for a table by Juste-Aurele Meissonnier, Paris ca 1730.jpg |300px]]
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| − | ====Acanthus (plant)====
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| − | Several species, especially A. balcanicus, A. spinosus and A. mollis, are grown as ornamental plants.
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| − | Acanthus leaves were the aesthetic basis for Corinthian capitals; see acanthus (ornament).
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| − | [[File:AcanthusMollis.jpg | 150px]] [[File:800px-AcanthusmollisPalatineHill.jpg | 200px]]
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| − | ====Acanthus (ornament)====
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| − | The acanthus is one of the most common plant forms to make foliage ornament and decoration. In architecture, an ornament is carved into stone or wood to resemble leaves from the Mediterranean species of the Acanthus genus of plants, which have deeply cut leaves with some similarity to those of the thistle and poppy. Both Acanthus mollis and the still more deeply cut Acanthus spinosus have been claimed as the main model, and particular examples of the motif may be closer in form to one or the other species; the leaves of both are in any case, rather variable in form. The motif is found in decoration in nearly every medium.
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| − | [[File:Acanthus 001.jpg | 150px]] [[File:Acanthus 003.jpg |200px]] [[File:How to Draw a Volute 013.jpg |200px]] [[File:Roman-period Greek Corinthian capital, 14 AD Corynthian capital from the Odeon of Agrippa (built in 14 BC by Marcus Vipsanius Agrippa) in the Ancient Agora of Athens.JPG | 200px]]
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| − | ====Contemporary wood objects====
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| − | [[File:5406714970d889e8b59ba836c740d7be.jpg |200px]] [[File:A20be37f164b3254ade4215aed7c8ada.jpg |200px]] [[File:Wood rings (2).jpeg |200px]] [[File:Wood rings (5).jpeg |200px]]
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| − | ====During Class====
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| − | Why i thinks this work is interesting:
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| − | * The maker could show how good he was at his craft
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| − | * It is made by hand
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| − | * The work is so special that it's placed behind glass
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| − | * Natural
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| − | * Vulnerable
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| − | Suggested Techniques:
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| − | *3D printen, soldering
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| − | *frezen
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| − | *kleien
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| − | *hout snijden
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| − | *keramiek
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| − | *vlechten
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| − | *hologram
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| − | Context:
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| − | *vroeger gebruikt als ornament nu gemaakt voor kinderen als speelgoed
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| − | *gegoten gangen stelsel van mythologische wezen
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| − | Associatie:
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| − | *aquarium
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| − | *poort/deur
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| − | *piramide
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| − | *trap rocky balboa
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| − | *spaanse trappen
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| − | *de zeven hemelen
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| − | ==Replica==
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| − | [[File:Schermafbeelding 2014-09-29 om 12.52.44.png | 300px]] [[File:Uitsneden-trap-kleur.jpg | 300px]] [[File:Schermafbeelding 2014-09-29 om 13.24.38.png | 300px]] [[File:Schermafbeelding 2014-09-29 om 12.50.38.png |300px]] [[File:Schermafbeelding 2014-09-29 om 12.52.07.png | 300px]]
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| − | [[File:Proto4.JPG |300px]] [[File:Proto3.JPG | 300px]] [[File:Proto1.JPG |300px]] [[File:IMG 8399.JPG |300px]]
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| − | [[File:IMG_8356.JPG |300px]] [[File:IMG 8404.JPG |300px]] [[File:IMG 8405.JPG |300px]]
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| − | ==Interpretation==
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| − | Diorama in resin
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| − | [[File:Uitsneden-trap-kl.jpg | 350px]] [[File:Uitsneden-trap-kl1.jpg |350px]] [[File:Zw.jpg |350px]]
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| − | [[File:IMG 8419.JPG | 350px]] [[File:IMG 8202.JPG |350px]] [[File:IMG 8204.JPG |350px]]
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| − | [[File:IMG 8673.JPG | 500px]] [[File:IMG 8674.JPG | 500px]]
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| − |
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| − | ==Written Assignment==
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| − | [[File:Opdracht Page 1.jpg | 500px]] [[File:Opdracht Page 2.jpg |500px]]
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| − | =Tools of the Trade=
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| − | [[File:Ph. by paul jung.jpg]] [[File:25403185368016029 Cse51Bk2 c.jpeg | 441px]]
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| − | ==Concept omschrijving==
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| − | Mensen raken gehecht aan objecten, denk maar aan een strand wandeling, je ziet een mooie schelp, neemt het mee niet alleen omdat je het mooi vind maar als je het ziet denk je aan dat mooie '''moment'''. Het gaat dus niet zo zeer om het object maar om de '''herinnering''' die achter blijft. Het object krijgt dus een '''emotionele waarde'''.
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| − | Ik ben daarom onderzoek gaan doen naar waarom? the Biology of Attachment [http://en.wikipedia.org/wiki/Attachment_theory].
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| − | * biology of attachment
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| − | * attachment in adults
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| − | * psychoanalysis
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| − | ''Attachment theory is a psychological model that attempts to describe the dynamics of '''long-term interpersonal relationships between humans'''. However, ‘attachment theory is not formulated as a general theory of relationships. It addresses only a specific facet’ (Waters et al. 2005: 81): '''how human beings respond within relationships when hurt, separated from loved ones,''' or perceiving a threat.[1] In infants, attachment as a motivational and behavioral system directs the child to seek proximity with a familiar caregiver when they are alarmed, with the expectation that they will receive protection and emotional support. John Bowlby believed that the tendency for primate infants to develop attachments to familiar caregivers was the result of evolutionary pressures, since attachment behavior would facilitate the infant’s survival in the face of dangers such as predation or exposure to the elements.''
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| − | ''An interpersonal relationship is a strong, deep, or close association or acquaintance between two or more people that may range in duration from brief to enduring. This association may be based on inference, love, solidarity, regular business interactions, or some other type of social commitment. Interpersonal relationships are formed in the context of social, cultural and other influences. The context can vary from family or kinship relations, friendship, marriage, relations with associates, work, clubs, neighborhoods, and places of worship. They may be regulated by law, custom, or mutual agreement, and are the basis of social groups and society as a whole.'' [http://en.wikipedia.org/wiki/Interpersonal_relationship]
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| − | --------------------
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| − | Een '''relatie''' (ook wel verhouding of betrekking) is een '''verband''' tussen meestal twee (soms meerdere) personen, concepten, verschijnselen of dingen.
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| − | Ik zal onderzoek doen naar '''3 case studies''' die onder te verdelen zijn in: ''Familie, Relatie, Zelf''
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| − | ===== Cultuur - Afkomst - Onduidelijk===== ??? of zelf relatie
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| − | ===== Familie - Opa - Overleden=====
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| − | Ik groeide op met familie die aan de andere kant van de wereld woont wat een indruk in mijn leven achter heeft gelaten en mijn relaties later in mijn leven vormde. Een goed voorbeeld is het verhaal en de relatie tussen mij en mijn opa. Ik heb hem letterlijk 3 keer gezien, hij zei geen woord, ik kende hem niet maar voelde me erg verbonden door het idee dat ik uit hem voort kom. Toen hij overleed heeft mijn vader een stukje van zijn haar voor mij ''bewaard'' waar ik een sierdaad van wil maken. Uit verhalen die mijn ouders mij vertelde en mijn ontmoetingen met hem heb ik een beeld van hem kunnen vormen, bijvoorbeeld ook dat hij waarschijnlijk osteoporose had en droeg hij elke dag een goud kleurige ketting met een kruis er aan. In zijn huis stonden alle kamer deuren altijd open, behalve 1. Ik heb nooit geweten wat er achter die deur ''verscholen'' ging, behalve dat ik wist dat er in ieder geval een klein kamertje achter zat. Na mijn vader er naar te vragen kreeg ik een verassend antwoord: Mijn opa was een verzamelaar van 'troep’. Spullen die hij vond en bewaarde in zijn kleine kamertje waar hij veel waarde aan hechte…
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| − | ===== Relatie - Vriend - Afstand=====
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| − | Ik heb meer dan 6 jaar lang een relatie gehad met een man die soms in totaal 6 maanden in het jaar in het buitenland zat. Je hebt een emotionele band met iemand die je niet vaak ziet.. Ik heb toen een sieraad gemaakt. Twee ringen met haar van ons beide in giethars gegoten als prototype voor een rouwsieraad van mijn opa..
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| − | ===== Sense of Self=====
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| − | --------------------
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| − | De ring werd op een gegeven moment mijn op maat gemaakte/persoonlijke 'talisman'. Het werd een 'tool’ dat ik bij mij droeg waar ik een '''emotionele band''' mee heb, het werd een '''psychische ondersteuning''' en een (positieve) herinnering van een '''persoon en gevoel die ik bij me droeg'''. het maakt het '''object persoonlijk op een bijna egoïstische manier''' omdat je het bij je draagt voor je eigen gemoed stand.
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| − | Het gaat mij niet om het stukje DNA, niet om de code, maar om het '''menselijke'''.
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| − | ==Onderzoek==
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| − | Kern woorden die voorkomen in de omschrijving:
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| − | *Emotionele band
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| − | *Moment
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| − | *Herinnering
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| − | *Emotionele waarde
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| − | *Psychische ondersteuning
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| − | *(Object) egoïstisch op een persoonlijke manier
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| − | *Menselijk
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| − | *'Een stukje van de persoon bewaren'
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| − | Woorden die ik associeer met 'bij je dragen & preserveren'
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| − | BIJ JE DRAGEN:
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| − | *Zak
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| − | *Organen
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| − | *Urine - Vloeistof
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| − | *Bloed
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| − | *Bloedvaten
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| − | *Hol -Gevuld
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| − | *Holle dingen
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| − | '''preserveren (ww):''' ''1) Bewaren 2) Beveiligen 3) Behoeden ''
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| − | PRESERVEREN:
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| − | *Tijd
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| − | *Houdbaarheid
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| − | *Intact
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| − | *Koelen
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| − | *Buisjes
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| − | *DNA
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| − | *DNA bewaren voor later
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| − | *Pekelen
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| − | '''talisman''':[zelfstandig naamwoord]• voorwerp dat je beschermt tegen ongeluk
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| − | '''OBJECT''' - ''Een object is elk ding dat zich aan de menselijke zintuigen voordoet, of het is een zaak, proces of persoon waarover men aan het spreken of denken is.
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| − | Objecten kunnen zowel werkelijk bestaand als denkbeeldig zijn.''
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| − | '''VOORWERP''' - ''Een voorwerp is een tastbaar en handelbaar levenloos object. Het kan elk ding zijn dat zich aan de menselijke zintuigen voordoet.''
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| − | '''''Een object is dus altijd iets wat geen leven bevat en in dat opzicht geen waarde heeft. Het krijgt pas waarde na dat de 'eigenaar' er emotionele waarde aan toevoegt. De context moet daar door veranderd worden. Dat veranderd door de persoonlijke belevenis, gevoel en omgeving waar het object is gevonden of ontwikkelt is. Dat zorgt voor een verbintenis (gevoel) tussen de persoon en 'zijn of haar' object.''''' (Subjectief)
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| − | '''PERSOON''' - ''Behalve als een ontwikkeld biologisch systeem wordt de mens door velen ook beschouwd als een wezen met een 'geestelijk leven'. De mens heeft zeer goed ontwikkelde hersenen, waarmee hij in staat is tot abstract nadenken, taal, introspectie, probleemoplossing en emotie.''
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| − | '''persoon''' (zn):
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| − | ''eenling, enkeling, individu, mens, particulier, persoonlijkheid, sterveling,wezen, ziel''
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| − | Wat maakt een persoon?
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| − | *'''Emoties [http://nl.wikipedia.org/wiki/Emotie#Onderzoek_naar_emoties] & Gevoel''' [http://nl.wikipedia.org/wiki/Gevoel]
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| − | *Identiteit -Culturele achtergrond -Opvoeding [http://nl.wikipedia.org/wiki/Identiteit_%28eigenheid%29]
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| − | *'''Ziel''' [http://nl.wikipedia.org/wiki/Ziel_(filosofie)]
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| − | *'''Uiterlijke kenmerken'''
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| − | *Karakter
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| − | *Gedachtes
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| − | *Leeft
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| − | *Ademt
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| − | ==Voorbeelden==
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| − | ====Objecten die menselijke 'resten' bevatten ====
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| − | =====mourning jewelry=====
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| − | Mourning jewelry has been around since at least the 16th century, but it is widely associated with the Victorian Era, when mass production made it affordable. The trend reached its high point after the death of Prince Albert in 1861, when Queen Victoria, as well as members of her court, wore black clothing and matching mourning jewelry for decades.
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| − | Some of the most interesting examples of mourning jewelry included hairwork, which describes bracelets, necklaces, and rings made from woven human hair. The hair was not necessarily from the deceased—in the middle of the 19th century, 50 tons of human hair a year was imported into England for use by the country’s jewelers. To create a connection to a deceased loved one, their initials were often discreetly woven into the object.
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| − | Lockets were also popular. Some contained a lock of the deceased person’s hair. Other lockets held a photo of the departed. The photo lockets were actually descendants of miniature portraits, which had been very popular early in the century and had historically been used in mourning jewelry to honor deceased monarchs. Carved cameos or silhouettes were another way to remember someone. [http://www.collectorsweekly.com/fine-jewelry/mourning]
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| − | "People started making memorial jewelry because there was no photography, and if your loved one died you wanted something as a touchstone to remember them every day." You could also get a painting made of your loved one, and later on there was a fad in "death photography" — but before photography came along, this was the main way that people remembered their departed loved ones. These items weren't limited to women, either; men could have memorial cufflinks or pocket watch fobs with parts of the deceased person's hair braided in. [http://io9.com/love-after-death-the-beautiful-macabre-world-of-mourn-1498829544]
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| − | ======Haar======
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| − | [[File:Fine georgian gold & white enamel mourning ring inscribed eliz cottam 1778 a 32.jpg |225px]] [[File:RARE VICTORIAN 15CT GOLD MOURNING LOCKET PENDANT FOB WITH HAIR ART INSIDE 1860's.jpg |175px]] [[File:The 1881 envelope mourning ring showing how it opened to allow hair to be put inside as a keepsake.jpg |200px]] [[File:Il 570xN.189855599.jpg |240px]] [[File:Antique Victorian gold enamel onyx sea pearl hair mourning brooch pendant.JPG |220px]]
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| − | ======Tanden & Haar======
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| − | [[File:ANA FINEL HONIGMAN´S INFATUATION WITH LOVED TO DEATH.jpg | 190px]] [[File:Memento Mori Unusual Victorian braided hair and milk teeth gold mourning ring.jpg |200px]]
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| − |
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| − | ======Tranen======
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| − | A Victorian-era lachrymosa, also called lachrymatory, tear catchers, or tear vials. Sometimes worn on a necklace, sometimes merely held, they were used the gather the tears wept by mourners at funerals. One type of lachrymosa had a special top which allowed the tears to evaporate (signifying the time to stop mourning), others had a sealed top to allow the tears to last for a year, at which point they would be poured on the grave of the person whom the tears were wept for.
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| − | [[File:81d83d401b43a2e722eba07278a15a27.jpg |180px]] [[File:A Victorian-era lachrymosa, also called lachrymatory.jpg |200px]] [[File:0d2532a697990e00b772beafa392e64c.jpg |170px]]
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| − |
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| − | ======As======
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| − | [[File:A7KOevx 700b.jpg |300px]] [[File:A7KOevx 700b-2.jpg |220px]] [[File:A7KOevx 700b-1.jpg |110px]]
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| − | =====sentimental jewelry=====
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| − | A close cousin of mourning jewelry is sentimental jewelry. Sometimes the forms were used interchangeably. For example, that lock of hair might have come from one’s fiancée, so determining whether a piece of jewelry is true mourning or merely sentimental can be tricky.
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| − | Other pieces, though, are clearly classifiable as sentimental. For example, acrostic rings, in which the first letters of multiple stones spelled out words like “dearest” (from left to right: diamond, emerald, amethyst, ruby, emerald, sapphire, and topaz), were exchanged by lovers and partners who were very much alive.
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| − | =====hedendaagse sentimentele sieraden=====
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| − | [[File:Nikki Stott.jpg |260px]] [[File:Nikki Stott1.jpg |150px]] [[File:Tumblr lp5exg5xvf1qzynklo1 1280.jpeg |230px]] [[File:Screen shot 2012-05-13 at 6.03.10 PM.png |400px]]
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| − | ====hedendaagse voorbeelden====
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| − | [[File:Schermafbeelding 2014-12-17 om 19.53.26.png]] [[File:Lehtinen.jpg | 320px]] [[File:Davaid-cata.jpg |420px]]
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| − | '''Prezence''' - ''Soul Jewels'': objects for balance and fulfillment in everyday life. The objects help you with: being in the present moment, mastering your mind and to live in contact with your values and dreams. They support you on the journey of a conscious mind- and lifestyle. The purpose of our products is to bring beauty and joy into everyday Mindfulness rituals. It’s realized trough precious crafted design, rich combination of pure materials and meaningful technology. The objects are like jewels, not for the body but for your inner being. We believe that we all can benefit from better contact and care for our inner selves.
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| − | '''Heini Lehtinen''' - ''Seeking Hedone'' – Journeys to Pleasure and Sense of Touch in Design is a Master of Design graduation project on connections of mental wellbeing and design, physical and social touch, and on pleasure as a concept of mental wellbeing. The outcome of the project is a manuscript of a book on concepts of pleasure and the role of design in enhancing mental wellbeing through physical and social touch. In the book, experiences of pleasure and stages of primitive, functional and reflective pleasures from seduction to commitment and from tension to eruption and balance are reflected to design projects, design theory and states of mental wellbeing.
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| − | '''David Catá''' - ''Overexposed Emotions'' - David Catá uses his body as a canvas for writing an autobiographical diary. the performance cum-sculptural self-inflicted pieces that make up the series ‘a flor de piel’ are portraits of the faces of people who have left their mark on the artist’s life — family, friends, partners and teachers — sewn into the palm of his hand. ‘their lives have been interwoven with mine to build my history’ catá says, ‘every moment lived stays in the memory to finally be forgotten. somehow, this fact is painful, since there are only material things and traces that people leave behind.’ the woven flesh work establishes a symbiosis between union, separation, pain and love — a performatic and symbolic action of loss, and preserves the memories through memorial, corporal and videographic footprints.
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| − | [[File:Estudio Guto Requena.jpg | 570px]] [[File:Estudio Guto Requena1.jpg |310px]]
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| − | '''A Team Of Artists Are 3D-Printing Their Emotions As Abstract House Decorations'''
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| − | A team of artists at the Brazilian Estudio Guto Requena are using 3D printing to physically manifest the brainwaves that represent human emotion. Spearheaded by architect and studio founder Guto Requena, The Love Project uses portable scanners to measure said brainwaves—as well as heartbeats and voice fluctuations—while a subject speaks about a person that he or she cares deeply, and subsequently turns that data into house decorations.
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| − | [[File:Schermafbeelding 2014-12-18 om 11.49.29.png |300px]]
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| − | '''Magnet''' creates a bond between two people. It provides a secure connection that carries shared intimacy and significant meaning. The action is simple: When you touch Magnet it vibrates briefly then lights up on your partner’s Magnet in that same pattern. What Magnet really communicates is emotion. Use Magnet to tell your partner something special that only the two of you understand.
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| − | [[File:Daniel-sher-saying-things-that-cant-be-said-designboom-09.jpg |300px]]
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| − | '''Daniel Sher''' - Present day technology allows us to hear, text, see, and use pictures and icons to express how we feel. however, there are physical and emotional dimensions that exist only when we’re close to loved ones. in response to this problem, daniel sher asked herself, ‘how can I use technology to bring people closer in a different yet familiar way? it was important to me not to try to reenact the feelings of touch, pressure and warmth we feel when we hug of caress our loved one. trying to imitate that will always feel fake.’ with this understanding of human interaction, she wanted to create new experiences for those who wish to express their love and affection. as a result, for her final project at holon institute of technology, sher, along with ben hagin, has developed ‘saying things that can’t be said’, a series of objects that revolve around people in long-distance relationships.
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| − | ==Ontwerp proces==
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| − | Tijdens deze minor zal ik het eerste onderdeel, familie uitwerken tot een tool specifiek gericht op mijn opa. Ik zal een prototype ontwerpen die passend is bij zijn verhaal.
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| − | Na onderzoek te doen naar het principe 'iemand bij je dragen' en op welke manier dat mogelijk zou kunnen zijn beperkte ik me letterlijk aan de oppervlakte van het lichaam wat voor mij gevoel niet erbij paste. Het letterlijk iemand bij je dragen is niet waar mijn onderzoek over ging. Het gaat meer over het emotionele en psychisch bij je dragen van een persoon en dat uitwerken tot iets visueel in de vorm van een object dat gekoppeld is aan het lichaam.
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| − | Mijn groot vader leed aan een vervelende ziekte die er voor zorgde dat hij broze botten had, ook wel bekend als osteoporose. Zijn botten hadden van binnen dan een bijna kant-achtige structuur.
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| − | [[File:10pairs-lot-Last-Toe-Separator-Stretchers-Alignment-Bunion-Toe-Gel-Pain-Relief.jpg |200px]] [[File:-Min-order-5-Daily-shoes-medical-silica-gel-sub-toe-thumb-pad-toe-care-tool.jpg |200px]] [[File:Genuine-new-special-hallux-valgus-bicyclic-thumb-orthopedic-font-b-braces-b-font-to-correct-daily.jpg |200px]] [[File:3. duimbrace CAFP06ZI.jpg |200px]] [[File:Brace.jpg |200px]]
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| − | ==Story Boards==
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| − | [[File:TARONA NINA SUBS.jpg]]
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| − | ====Links ====
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| − | Brainwave sensor: http://thecreatorsproject.vice.com/blog/artist-manipulates-48-pools-of-water-with-her-mind?utm_source=tcpfbus
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| − | https://www.vice.com/read/big-brain-connectome-interview
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| − | http://www.dazeddigital.com/artsandculture/article/17940/1/3d-print-creations-ana-rajcevic
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| − | http://thecreatorsproject.vice.com/nl/blog/is-this-the-artful-solution-to-long-distance-relationships
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| − | http://www.nydailynews.com/life-style/health/app-lets-long-distance-lovers-hear-heartbeats-article-1.1428259
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| − | http://greatist.com/happiness/bond-bracelets-for-long-distance-relationships-110113
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| − | http://news.nationalgeographic.com/news/2014/11/141116-dna-human-history-genealogy-eugenics-health-science-ngbooktalk/?utm_source=Facebook&utm_medium=Social&utm_content=link_fb20141116news-dnabooktalk&utm_campaign=Content&sf5805396=1
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| − | http://anonhq.com/dna-stored-cloud/
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