Children: FACE the past, future, your social media, Capitalism

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MENTAL HEALTH and WELLBEING LIFELONG LEARNING   KEY LITERACIES  PSHE EDUCATION -  Personal, Social,  Health and Economic

The Face

'Apps such as TikTok and Instagram are filled with videos of young girls and teenagers advising their peers on elaborate skincare routines, especially through a popular line of content called "Get Ready with Me". Parents have sounded the alarm over this trend, while recent medical literature has recognised the phenomenon of "cosmeticorexia", also called "dermorexia", defined as a culturally reinforced preoccupation or obsession with achieving "flawless" skin that can lead to "excessive, age-inappropriate or compulsive use of cosmetic products".'

'Italy is investigating a beauty retailer and make-up brand owned by French luxury group LVMH over claims their marketing has fuelled "cosmeticorexia", an unhealthy obsession with skincare among young girls. The Italian Competition and Market Authority (AGCM) said yesterday it was probing Sephora and Benefit Cosmetics for suspected "unfair commercial practices" with the promotion of skincare products such as face masks, serums and anti-ageing creams to girls as young as 10 years old. Those marketing campaigns were carried out mainly via social media, the  regulator said, leading young girls to "compulsively" buy such products.'

My sources: Amy Kazmin, LVMH's Sephora probed in Italy over fuelling young girls' skincare obsession, FTWeekend, 28-29 March 2026, p.1. FTWeekend and The Times. Reviews.

See also: Kazmin et al. Beauty industry scrutinised over age-inappropriate teen marketing. FTWeekend. 11-12 April, 2026, p.14. 

London visit February. Waterstones, Foyles, Hatchards & others.

Book image: https://www.amazon.ca/Face-Cultural-Fay-Bound-Alberti/dp/1538766531
 

Previously: 'health' : 'face' : 'child' : 'obsession' : 'social media'

'Realization' in Training and Simulation

'Some time in the late 1800s, the body of a young woman was pulled from the River Seine. Lacking any signs of struggle or foul play, her death was ruled a suicide. She was displayed on a slab of marble in the window of the Paris morgue - standard procedure for corpses awaiting identification. At the time, the morgue was a popular, albeit gruesome, attraction which drew more daily visitors than the Louvre. ... Apparently, the forensic scientist assigned to the drowned girl's cadaver became so captivated by her that he paid a moulder to make a plaster cast of her face.' p.16.

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'The face is important. The face: pleasant, delicate features, all languid curves, a relaxed, even blissful expression. Her long, matted eyelashes stuck, as if still wet, to plump cheeks. Her mouth curved into an enigmatic smile. The face, gone unclaimed, triggered an intense, cultish frenzy across Europe. She was dubbed the L'Inconnue de la Seine (the Unknown Woman of the Seine). ... The advent of mechanical reproduction allowed the mask to be copied and sold on a massive scale. ... Widely replicated in plaster, wax and then plastic, L'Inconnue's dead face was used as a model for artists at the Ecole des Beaux-Arts, and apprentices at beautician training schools.' p.16.

'You may have seen her face yourself. In fact, odds are you've kissed it - indeed, 300 million people have. In 1955, tasked with the job of creating a life-size doll for teaching mouth-to-mouth resuscitation, Norwegian toymaker Åsmund Lærdal thought back to a death mask he'd noticed years ago, hung in his wife's family home. Lærdal wanted the face to be inviting, not dead-looking. It had to be female, of course, the kind of face men undergoing CPR training would be inclined to kiss. L`Inconnue was, perhaps, the obvious choice for Resuscì Anne, the doll that is still used in schools and swimming pools across the UK and US. Lærdal's website nods to the mask's origins, writing that "the face of death became the face of life".' p.16.

Ack. Sarah Haque, https://www.sarahhaque.co.uk/ 

The strange allure of L'Inconnue de la Seine, FT Magazine, 1,149, November 1, 2025. p.16-17. https://www.ft.com/content/64c930ac-b2b7-4314-b915-eb93c87a451f

See also: Wikipedia - L'Inconnue de la Seine

"Quod" by Barbad Golshiri

c/o Artist and 2014 Tate Liverpool/British Museum?

"I have made several works based on Malevich. One of these is called Quod 2010, which features words in Persian of the prison memories of A’ezam, a political prisoner of the 1980s, retold by Akbar Sardouzami. Quod is a rectangular diminishing spiral, and, unlike exotic and commodified calligraphies, is deeply rooted in the unique experience of reading it - which in itself stimulates nausea.

A’ezam has been degraded and tortured, living in timelessness and facelessness. She has nothing, and has turned to nothing, she says. Then one day she finds a rusty pin in her solitary confinement. She starts to draw squares, and the squares become her world: ‘Then I saw if I draw a square within another square and reach the depth, the square turns to a point. The cell was too dark, but I could see a point in the middle of the square that helplessly looked up at me and said: you should testify that I’ve been a square. You are the only one who knows that I have been and still am a square.’"

Please see:
TATE ETC 15 AUGUST 2014. Barbad Golshiri on Malevich.

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	QUOD 2010

Source:

My notebook from 2014, with sincere thanks to Barbad Golshiri and (ack.) Tate Liverpool & British Museum. I'm unclear on the exact source for this post. It may be both Tate and British Museum, as when in London I always try to visit room 90(a) at the latter.

This is still part of working through books, papers, notebooks - prior to moving.

Raisonnement circulaire ...?

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"Essential oils: Meditation 626, a sculpture by Seo Young-Deok made from bicycle chains, is part of an exhibition of Korean art at London's Opera Gallery until April 18", The Times, March 11, 2022, p.12.

Image source: Seo Young-Deok

c/o Boccioni - "Empty and Full Abstract of a Head"

"The destruction, in 1927, of a number of plaster and mixed-media sculptures by the Futurist artist Umberto Boccioni (1882-1916) was a tragic loss for avant-garde art. Of the many ground-breaking sculptures he created between c.1913 and 1915, only a handful remain in existence today. Now, using a combination of vintage photographic material and cutting-edge 3D printing techniques, digital artists Matt Smith and Anders Rådén have recreated four of Boccioni’s destroyed works: a volumetric study of a human face titled Empty and Full Abstracts of a Head, and three of the artist’s iconic striding figures. This ground-breaking display enables modern audiences to ‘see’ these lost masterpieces for the very first time."

https://www.estorickcollection.com/exhibitions/boccioni-recreating-the-lost-sculptures

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Umberto Boccioni Study for ‘Empty and Full Abstracts of a Head’, 1912	Matt Smith and Anders Rådén Digital rendering (contour) of Empty and Full Abstracts of a Head

See also:

https://www.ardi.se/ 

https://www.uniqueforms.net/


Art Images:
https://www.widewalls.ch/boccioni-recreated-sculptures-estorick-collection/

Coin:
https://twitter.com/CorriereQ/status/1252646124898398209?s=20

Cuttings, Back to the Futurism, Printmaking Today, 2019, 28: 112, p.6.

Lucian identity ii

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Lucian Freud, Interior with Hand Mirror (Self-Portrait), 1967. Oil on canvas. 25.5 x 17.8 cm. Private collection. © The Lucian Freud Archive / Bridgeman Images.	Painting as Process process as painting

See also:

Post: Lucian identity i

Lucian Freud Archive
http://lucianfreud.com/index.html

Royal Academy Lucian Freud: The Self-portraits
https://www.royalacademy.org.uk/exhibition/lucian-freud-self-portraits

My source:
Campbell-Johnston, R. The secrets that still lie in the paint-strewn lair of Lucian Freud, The Times, Saturday Review, October 19 2019, pp.4-5.

Lucian identity i

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Lucian Freud, Self Portrait, c.1956 (oil on canvas)	Painting Process
peer (painting)	peer supervision

"... [Lucian Freud's] most precious works are perhaps his unfinished portraits. ... The two painters [Francis Bacon] often used each other as models preferring to depict each other’s psychological states rather than physical. ...

Then there is the unfinished self-portrait from around 1956. (Image #4 in the slideshow) These paintings should be looked at as precious gifts that offer an unprecedented access to Freud’s very personal process. Notice how his loose pencil marks, more like broad guidelines for the final portrait gain volume and become imbued with emotion at the hand of the master. You can see that Freud started each portrait with the most expressive feature of the human face – the eyes, and moved radially outwards from there."

 With my emphasis and image source:
 http://www.galleryintell.com/lucian-freud-portraits-kunsthistorisches-museum/

See also:

Lucian Freud Archive
http://lucianfreud.com/index.html

Royal Academy Lucian Freud: The Self-portraits
https://www.royalacademy.org.uk/exhibition/lucian-freud-self-portraits


My source:
Campbell-Johnston, R. The secrets that still lie in the paint-strewn lair of Lucian Freud, The Times, Saturday Review, October 19 2019, pp.4-5.

Keith Arnatt Reflected Shadows

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Self-Burial with Mirror, 1969	Invisible Hole, Revealed by the Shadow of the Artist, 1968

Keith Arnatt Estate
http://www.keitharnatt.com/

Images:  Keith Arnatt: the conceptual photographer who influenced a generation, British Journal of Photography.

My source: Knight, J. SNAPSHOT, Life&Arts, FT Weekend, 29-30 August 2015, p.16.

'Gaps' a poem by Philip Holmes - Journal of Humanistic Mathematics

Gaps

Philip Holmes

pholmes at math.princeton.edu 

Take a line and take away
the middle third, and then
the middle thirds of two thirds
left behind, and middle thirds
of those four ninths remaining.
Go on and on: what’s left at last
is utterly disjoint – beginnings,
ends – each point divided from
the next, but oh! so close,
infinitely numerous
as what you started with
and carefully have pried apart.
Will there be time to measure up
this dust of unremembering?

* *

Take a line and take away the middle third,
and then the middle thirds of two thirds
left behind, and middle thirds of those four
ninths that still remain. Reiterate:
what’s left at last is utterly disjoint –
beginnings, ends and more – each point
divided from the next and yet uncountable
and numerous as what you had before.
Take a life and take the most part out,
for so it happens; only the best-rehearsed
of memories remain: a voice transformed
among the absences, a face, a hand.
You brought me here, but there was more:
dust that blows away, gaps that captivate.

Journal of Humanistic Mathematics Vol 1, No 1, January 2011.

Editors: Mark Huber, Claremont McKenna College; Gizem Karaali, Pomona College

Used with permission of Philip Holmes and JoHM with thanks.

Most typical face in the world revealed (amid deep irony)

National Geographic Magazine has revealed what the most typical human on the planet looks like.…

There is a deep irony here (since we are talking about 'skin') in that as the global demographics flow across the decades to alter this typical face, there is a growing proportion of the population who hope that health and social care delivery is not typical and a 'composite'.

They hope that health, nursing and social care is truly personal and individual - taking in their preferences, needs and priorities.

Having said that though - would it be progress if everyone could expect at least to receive what is deemed a 'standard' level of basic nursing care that is in a way 'typical'?

more to follow - more will follow - are we ready?

Hodges' model - How many interfaces are there?

If you were stood at the centre of Hodges' model - the nexus - where exactly is that 'place'? Looking out from there what would you see?

In a way from that vantage point our senses and imagination should encounter precisely whatever the model is capable of modelling?

One of the four reasons for the creation of the model was to assure an holistic approach. Well consider this a mind experiment, a test. So, what do you think?
Would you be at the heart of SOME-things, or the heart of ALL-things?

You would certainly be at the heart-of and part-of an interface.

This (possibly daft?) question needs to be asked. Why? Well, because an effective interface should be - at least - two-way.

So what interface(s) does Hodges' model need to handle? If h2cm provides the scaffold, what are we then able to build?

When Brian posed the initial questions when formulating the model he conducted a scoping exercise. The outcome determined the scope of the model, but what sort of scope? Is this scaffold sufficient to model the many situations, phenomena and issues encountered within health, social and pastoral care and without?

On the website I've identified six interfaces that I believe can be accommodated within Hodges' model:

FACE 2 FACE [person - person] HUMAN 2 MACHINE [person - device] PERSON 2 EARTH INDIVIDUAL 2 GROUP PERSON 2 SPIRITUAL REASON 2 REALITY

When you wrap up these interfaces, you've created quite a curriculum! Looks like we are back where we started in previous posts - a house of ideas!

No surprise there then; and of course there aren't just one or two dice being thrown here. Time and information: the messengers between the interfaces changes our priorities constantly...

"Never a dull moment!" Of course no wonder, that's what makes health and social care so interesting!