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Ultrasonic Fat Cavitation is a safe, comfortable, and non-invasive procedure with virtually no side effects. You will feel slight tingling and buzzing in the ear and may feel some mild heat during the treatment. Results are gradual over a number of weeks as your body clears broken down fatty tissue. Viewed up close, at reading distance, it displays an image war: on a strange, bulbous hill, along its terraces and in its hollows, swarming figures engage in religious practices of the type that Protestant reformers branded as idolatry. Viewed from afar, from the distance not of reading but of beholding, the print displays an altogether different aspect: the grotesque icon of a tonsured monk.
Results can be long lasting provided you follow a healthy diet and exercise programme but it's very easy to deposit fat into the tissues again if you over-eat or don’t exercise.
Like mists or dews, brief yet patient jellies come forth momentarily and with difficulty form a substance lately imperturbable: they are evanescent pharmacies, doomed victims of the elements, about to melt or dry up, leaving behind only a savor or a stain. Soon after comes the first domestication of minerals, the few ounces of limestone or silica needed by an undecided and threatened substance in order to build itself protection or support: on the outside, shells and carapaces, and on the inside, vertebrae that are immediately articulated, adapted, and finished down to the last detail.
Even metal has insinuated itself into the cells and channels from which life has long since disappeared. Image-breakers thus become image-makers, especially when they seek to publish their endeavors.
The seven sacraments of the Roman Church, along with such Catholic uses as pilgrimage, bell-ringing, the sale of indulgences and image-veneration itself, are each described with an ethnographer’s precision.
The ultrasound energy is designed to target fatty tissues beneath the skin only, which doesn't affect blood vessels or nerves. The treatment works very well on cellulite using low frequency ultrasound and also on tightening the skin.


Result svary depending on each person's different tissue structure the area treated, age, metabolism, medication and hormone changes. The body takes about 72 hours to eliminate the fat from each session therefore we recommend a maximum of 2 treatments per week. A turbulent, spasmodic sap, a presage and expectation of a new way of being, breaking with mineral perpetuity and boldly exchanging it for the doubtful privilege of being able to tremble, decay, and multiply. The minerals have changed their employ, been drawn from their torpor, been adapted to and secreted by life, so afflicted with the curse of growth – only for a brief spell, it is true.
Compact and insensible matter has replaced the other kind in its last refuge, taking over its exact shapes, running in its finest channels, so that the first image is set down forever in the great album of the ages.
Marcus Gheeraerts the Elder, a Calvinist iconophobe with an immense imagination, gave defacement an unforgettable face.
In their Archimbaldesque interplay, the etching’s dual aspects as place (landscape of iconoclash) and as person (icon of monk) at once perform and undo defacement.
Produced in the immediate wake of Protestant iconoclasm in the Low Countries in 1566, when within weeks a good proportion of Netherlandish church art was smashed and burned, his large anamorphic etching is the most dialectical icon of sixteenth-century iconoclasm. Instances of idolatry are fitted into appropriate zones of the face which they (the little structured scenes themselves) reciprocally shape and reinforce. An obstinate alchemy, making use of immutable models, untiringly prepares for an ever-new flesh another refuge of support. Surviving today in only one impression (in the British Museum), it presents to the eye two distinct images, the one forming and deforming the other. The Eucharist is elevated in the monster’s mouth, where the wheaten disk will be received, and confession is heard in his ear.
Every abandoned shelter, every porous structure combines to form, through the centuries and centuries of centuries, a slow rain of sterile seeds.


At the base of his print, in the undulating flatlands from which the hill of idolatry rises, Gheeraerts repudiates what he displays. And right between his cavernous eyes - which are filled, and thus blinded, by the (to Protestant eyes) unbiblical sacraments of marriage and orders - stands a venerated crucifix: Christ on the cross as the veritable icon of icons.
They settle down, one stratum upon another, into a mud composed almost entirely of themselves, a mud that hardens and becomes stone again. Ammonites of all sizes, from a lentil to a millwheel, flaunt their cosmic spirals everywhere. A fossil trunk, turned jasper and opal like a frozen fire, clothes itself in scarlet, purple, and violet. Now, even though their shape may still occasionally be recognized in the cement where they are embedded, that shape is no more than a cipher, a sign denoting the transient passage of a species.
Dinosaurs’ bones change their petit-point tapestries into ivory, gleaming pink or blue like sugared almonds. Iconophilia is its own defacement, creating through its own energy the etching’s festive furore.
Clearing things away to unmask a monster, they disenchant a world that, even after their toil, will be haunted still.



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