PMC

(Top) The Sonic Flashlight, separated into 3 pieces, from left to right: hood, mirror with holder, and base. (Bottom) The assembled Sonic Flashlight with the plastic probe cover enveloping only the base.

(Top) Virtual image of 2 simulated vessels in a phantom seen through the half-silvered mirror with the plastic probe cover over the base only. (Bottom) The same virtual image seen through the half-silvered mirror with the plastic probe cover over the mirror. Note the degradation of image quality.

(a) Phase 1 of the experiment showing the nozzle spray bottle, angle of dispersion (dotted lines) of simulated aerosols which were captured using UV flashlight. (b) showing the area of safe zone around a plastic sheet (white circle) within which no aerosol could be detected. (c) Set-up of the clinician wearing protective gear in black for the qualitative assessment of the shields. (d) Phase 2 experiment with Safe Slit lamp Shield (SSS), droplets did not cross beyond the shield. Clear areas can be seen around the aerosols showing the extent of spread. (e-f) Phase 3 experiment with smaller shields proved that aerosols transferred to head cap and palm of the clinician. (g) Use of SSS for the same experiment showed clear hands of the clinician

Grando and his colleagues collected artefacts for his museum for nearly two decades. He used to drive across the country in his old “Pobeda” car, visiting provincial hospitals and pharmacies and always carrying a flashlight in his pocket. He was particularly interested in the attics of old buildings, where he sometimes found valuable artefacts among the rubbish. In Stry, a small provincial town in the Lvov region, he discovered an unchanged interior (from porcelain jars to a record journal) of a pharmacy from the middle of 19th century, which was due to be demolished. Grando transported the pharmacy interior to Kiev and decided to enliven it by placing a figure of a chemist inside (which was ironically named by visitors as “a monument to the unknown apothecary”). His idea was to achieve maximum authenticity. Unlike at the Madame Tussauds' museums, effigies in Kiev are made not of wax but of dental plastic material and placed in historical interiors (“living scenes”). Grando found a sculptor (Spartak Britan), who worked as a props designer at the Kiev Opera. It took the latter two years of experimenting to find the right plastic.