toys

"I don't remember ever going to a toy store as a child. Although specialty toy stores existed in major cities like New York and Chicago as early as the 1860s, in the towns and suburbs where I lived no store had the primary purpose of selling toys to kids. ... I remember s that sold electric train sets and model-building kits, s where you could buy bikes and baseballs, and s and s that had toy departments, but these stores sold merchandise primarily to adults, not to children. Something radical happened in the intervening thirty-pls years in the marketing and selling of toys. Giant toy stores now dot the landscape, offering huge selections and low prices on toys made all over the world."

"In a way the establishment in 1760 of what, as , was to become the world's most famous toyshop, symbolised the new world that opened up for British toy makers from the middle of the eighteenth century. It was only one of a new toy outlets established in London in the years after 1750. By 1822 the capital possessed no fewer than seventy-one retail toy shops and thirteen wholesalers. ... Such was the proliferation by 1800 that some degree of specialisation emerged, with at least two concentrating solely on ."

"Children of my day, even in s, had very little in the way of toys. Toy shops were almost unknown; modern mechanical playthings, which furnish their own activity, had hardly come into existence. One might, of course, buy oneself a hobby-horse, but generally speaking an individually selected knotty stick from the woods, upon which imagination might work freely, was dearer to the heart. We were not observers, as children today seem to be from birth, of their own accord; and not utilizers, as they are brought up to be; we were creators. Our knotty stick, for all working purposes, in appearance and as far as actual horsepower went, came nearer to and eight-hoofed , or to himself, than any magnificently decorated horse from a smart store."

"The object was to help these young students to not be fearful of medical procedures if they have to visit the hospital. And I hope we were successful."

"the kids come up with ideas on how not to be scared"

"Our goal is to familiarize children with the hospital environment so that they can experience the doctor-patient relationship without anxiety and distress. As a result we also hope our students improve their communication skills and learn how to interact with children."

"We dissect nature along lines laid down by our native language. The categories and types that we isolate from the world of phenomena we do not find there because they stare every observer in the face; on the contrary, the world is presented in a kaleidoscope flux of impressions which has to be organized by our minds—and this means largely by the linguistic systems of our minds."

"Human affairs are wonderfully like a kaleidoscope, with its combinations of colours constantly changing."

"Picture yourself in boat on a river, With tangerine trees and marmalade skies. Somebody calls you, you answer quite slowly, A girl with kaleidoscope eyes."

"Of draughtmanship – the draughmanship of movement, the draughmanship of the colourists – there is no question; the limbs of all his little figures behave for all the world like bundles of rags, or like arms or legs scattered in a railway accident. I would rather have a kaleidoscope... It is true that M. Diaz is a colourist; but enlarge his frame by a foot, and his strength will fail him, because he does not recognize the necessity for general color. That is why his pictures leave no memory behind them."

"I have made a simple flicker machine. You look at it with your eyes shut and the flicker plays over your eyelids. Visions start with a kaleidoscope of colours on a plane in front of the eyes and gradually become more complex and beautiful, breaking like surf on a shore until whole patterns of colour are pounding to get in. After a while the visions were permanently behind my eyes and I was in the middle of the whole scene with limitless patterns being generated around me. There was an almost unbearable feeling of spatial movement for a while but it was well worth getting through, for I found that when it stopped I was high above earth in an universal blaze of glory. Afterwards I found that my perception of the world around me had increased very notably. All conceptions of being dragged or tired had dropped away..."

"you show me The world as it could be Through your kaleidoscope It's beautiful"

"The original of the yellow rose is clad (you've guessed it) in canary yellow. The lemon-meringue confection has been poured into yellow slacks and yellow shirt, an immaculate yellow-blonde barbie-doll with 'EFG- Follies-Girl' written all over her."

"You are so plastic you could be a Barbie Doll. You walk you talk just like them all."

"I hate men. They're stupid, ignorant animals with stupid ignorant hobbies. And they hated me. But I didn't need them. I had Barbie."

"I love having a kid [...] They don’t let you think about yourself. [The one drawback of being a mum in America is that] Mabel wants Barbie, one of those bloody awful dolls. No vaginas, no nipples and they're bulimic. This is what femininity is? [...] Ever tried to assemble a Barbie barbecue stand? [...] Fortunately, Mabel already knows that Ken's just Mr. Barbie. She already cut his hair punk style. She knows that ... Ken's an idiot."

"But ultimately Barbie is like the Disney princess, an unshakeably enduring childhood fantasy that is impervious to feminism and reality, the ultra-processed food of children's toys that creates an insatiable appetite for more. Arguments about whether she teaches girls how women should look, or whether girls are instinctively drawn to blonde and pretty representations of femininity, are chicken-and-egg arguments. Or rather, they’re irrelevant, because both statements are true."

"My whole philosophy of Barbie was that through the doll, the little girl could be anything she wanted to be. Barbie always represented the fact that a woman has choices."

"I enjoy getting dressed as a Barbie doll. ~ Vanna White"

"Political fascism in Europe, beginning in the 1930’s, affected German and Austrian sex researchers, forcing many to shut down research and development institutes and flee their countries. The Berlin Institute for Sexual Science was destroyed by fascist gangs in 1933 (Meyenburg & Sigusch, 1977). The psychological community has contributed little to literature on the sex-doll phenomenon. The sex research at the turn of the 20th century described the use of sex dolls and statues as a pathology, without supporting empirical evidence (Schewe & Moreno, 2011). Iwan Bloch and Havelock Ellis likened statue love to necrophilia: “Closely allied to these necrophilist tendencies is the remarkable ‘Venus statuaria’...apart from certain aesthetic motives...we have to do, for the most part, with the same motives that give rise to necrophilia—sadistic, masochistic, and fetishistic” (Bloch, 1908. p. 467)"

"A popular urban legend claims the German Navy became the first creator of the modern sex-doll, Model Borghild (Ferguson, 2010; Lenz, n.d.; Pulham, 2008; Wolf, 2010). According to rumor and urban myth, the doll was part of the Nazi’s “field-hygienic project,” initiated to counterbalance the sexual drive of storm troopers (Lenz, n.d.). However, the existence of the author, “Lenz”, and the reports on the so-called Borghild doll are unverifiable, and are possibly hoaxes (Ferguson, 2010; Schewe & Moreno, 2011). The Japanese had a version of a dames de voyage, called a do-ningyo. A description is cited from a Japanese work titled “The Art of Quickly Seducing a Novice” in Tabori’s book, The Humor and Technology of Sex (1969): A man who is forced to sleep alone can obtain pleasure with a do-ningyo. This is the body of a female doll, the image of a girl of thirteen or fourteen with a velvet vulva. But these dolls are only for people of high rank. (p. 337) Dolls and statues created and used for sexual purposes are cross-cultural phenomena in various forms for centuries. The absence of historical information about production, distribution, and sales, or customer satisfaction data on sex dolls leaves the history of sex dolls open to considerable speculation. Until the emergence of the modern sex dolls, records of sales are found only in rumored accounts of sex doll use, and antique advertisements, such as the one translated by Henry Carey from a Paris circular in 1902. It advertises the sale of a complete, custom sex doll made to fit customer specifications: “All moves, arms, legs, buttocks, head, eyes; a perfect likeness of the person whose photograph is sent...the complete apparatus, guaranteed against breakage, man or woman, 3000 francs” (Cary, 1922, p. 50)."

"In an interview by Scott for Metro Online, forensic psychologist and Leicester University lecturer Vincent Egan commented on doll-owners: “They need to think more about their relationships with the people they say they find sexually exciting,” he says. “Perhaps they can't fantasize easily themselves and the dolls help.” When contacted via email by this author to clarify his statements Dr. Egan said: Any prosthesis is an adaptation to a problem (or perceived problem). Some people may use sex dolls due to disturbed attachments; others may simply not have attachments to start... For men, who may program their sexuality to rely on appearance via pornography, the appearance of the doll will become the key to the eroticism, rather than the (sometimes) emotional, playful, dynamic and interactive physicality of sex (Dr. Vincent Egan, personal communication, July, 2011)."

"From my experience, kids are most interested in movie merchandise from about three to eight years old,” says Lisa Wragg, who worked in children’s licensing for many years. “At about eight, it tends to wane as they get more into music, artists and social media."

"حَدَّثَنَا مُحَمَّدٌ، أَخْبَرَنَا أَبُو مُعَاوِيَةَ، حَدَّثَنَا هِشَامٌ، عَنْ أَبِيهِ، عَنْ عَائِشَةَ ـ رضى الله عنها ـ قَالَتْ كُنْتُ أَلْعَبُ بِالْبَنَاتِ عِنْدَ النَّبِيِّ صلى الله عليه وسلم وَكَانَ لِي صَوَاحِبُ يَلْعَبْنَ مَعِي، فَكَانَ رَسُولُ اللَّهِ صلى الله عليه وسلم إِذَا دَخَلَ يَتَقَمَّعْنَ مِنْهُ، فَيُسَرِّبُهُنَّ إِلَىَّ فَيَلْعَبْنَ مَعِي‏.‏"

"It is a common belief in Japan that dolls are mirrors. The dolls show their owner’s true self."

"How exactly, in the last half decade, has the "action figure", in all of its myriad cross-marketed incarnations, captured the imaginations of children and adults? What "discrepancy" of scale, schema, sex, and spirit thus makes miniaturized men, women, and monsters of resin, plastic, lead, rubber, or wood so functionally prevalent in global commerce and individual fantasy? In Sherry Turkle's view, "evocative objects" such as action figures "bring philosophy down to Earth. When we focus on objects, physicians and philosophers, psychologists and designers, artists and engineers are able to find common ground in everyday experience" (Turkle 8). Applying Levi-Strauss' notion of the bricoleur, or a "practitioner of the science of the concrete" who "manipulates a closed set of materials to develop new thoughts" out of bricolage in tandem with Piaget's assessment of instructive play rooted in "close to the object thinking" meant to heighten awareness of the "number, space, time, causality, and life" of things, Turkle provides a profoundly simple perspective on how "object play-for adults as well as children-engaged the heart as well as the mind" (Turkle 308-309). How can we examine our unique attraction to miniature plastic effigies and their contexts?"

"It’s no accident that #Metoo started in the entertainment and television-news businesses, where women are required to look as much like Barbie and Bratz dolls as possible, with the help of personal trainers, makeup artists, hair stylists, personal shoppers, and surgeons."

"Before Barbie, dolls were babies, to be fed and burped and bathed and wheeled around in prams and put down for naps."

"Japan’s oldest “love doll” manufacturer wants to strip the sex toys of their seedy image and encourage people to see them as works of art instead. “Even now there is still a stigma,” said a spokesperson for Tokyo-based sex doll maker Orient Industry, which recently celebrated its 40th anniversary with a three-week exhibition showing the evolution of its dolls that drew over 10,000 visitors. “But at our exhibition there were lots of men and women visitors — more women than men, in fact,” he said. “There were young and old, men and women, a really wide range of people. I think people came because they had heard the reputation of how beautiful our dolls are. We want to get rid of the stigma.”"

"I think it’s massively important for children to see diversity in the toy box, for disabled children to see themselves represented positively. It’s very affirming for them to see that they can be a fairy, they can be a wizard in a wheelchair, and all that kind of fun and possibility is open to them as well, and it’s also really important for children without disabilities, to see disability as a normal, fun thing, it’s not just something that exists in hospital or medical settings, it exists everywhere, and its time that thee toy manufacturers started to take note and include disabled children in their products."

"Rosie Eggleston, from the National Deaf Children's Society said: "Deafness is often misunderstood and deaf children usually grow up knowing few people, with first-hand experience of what they're going through. "It's so important for them to see deafness represented in as many areas as possible, because it helps them understand that there are other people just like them.""

"Noted photographers such as Laurie Simmons and Kishin Shinoyama have made the company’s dolls the subject of books and exhibitions, with the latter showing his work at Orient Industry’s anniversary event that ran from May 20 to June 11 at Shibuya’s Atsukobarouh gallery. The spokesperson believes that validation from the art world is helping to shift attitudes toward sex dolls. “We get a lot of different customers,” he said. “Some are only interested in buying dolls for sex, some want to buy them so they can take photos of them, and some want to take them out and about with them. Some have blogs where they write about living with them."

"We find in the story of the Sand-Man the other theme on which Jentsch lays stress, of a doll which appears to be alive. Jentsch believes that a particularly favourable condition for awakening uncanny feelings is created when there is intellectual uncertainty whether an object is alive or not, and when an inanimate object becomes too much like an animate one. Now, dolls are of course rather closely connected with childhood life. We remember that in their early games children do not distinguish at all sharply between living and inanimate objects, and that they are especially fond of treating their dolls like live people. In fact, I have occasionally heard a woman patient declare that even at the age of eight she had still been convinced that her dolls would be certain to come to life if she were to look at them in a particular, extremely concentrated, way. So that here, too, it is not difficult to discover a factor from childhood. But, curiously enough, while the Sand-Man story deals with the arousing of an early childhood fear, the idea of a ‘living doll’ excites no fear at all; children have no fear of their dolls coming to life, they may even desire it. The source of uncanny feelings would not, therefore, be an infantile fear in this case, but rather an infantile wish or even merely an infantile belief. There seems to be a contradiction here; but perhaps it is only a complication, which may be helpful to us later on."

"In this connection we may refer to fornicatory acts effected with artificial imitations of the human body, or of individual parts of that body. There exist true Vaucansons in this province of pornographic technology, clever mechanics who, from rubber and other plastic materials, prepare entire male or female bodies, which, as hommes or dames de voyage, subserve fornicatory purposes. More especially are the genital organs represented in a manner true to nature. Even the secretion of Bartholin's glans is imitated, by means of a "pneumatic tube" filled with oil. Similarly, by means of fluid and suitable apparatus, the ejaculation of the semen is imitated. Such artificial human beings are actually offered for sale in the catalogue of certain manufacturers of "Parisian rubber articles.""

"The Toy Story movies are true to the toys they represent, as we learn from the movies the kind of lessons we learn in life, and work though emotionally and intellectually with action figures: learning our place in the scheme of the world through self-knowledge, the choice between protecting our hearts by isolating ourselves emotionally from others or risking heart-break, accepting abandonment, old age and death. My own realization of growing up came when I realized that my huge Lego diorama, much like the one the dad has in The Lego Movies was not something adults had, and that in growing up I would have to give it up. But in the modern world the toys we play with are not faceless dolls. The toys are G.I. Joe and Barbie, Pokemon, Batman and Superman, The X-Men and Spiderman and The Hulk, all owned by a handful of megacorporations. For many Americans childhood imitations are not of weddings and festivals, but of things seen on screens, TV shows and movies, things also owned by that same handful of mega-corporations. The blockbuster film industry, with its endless parade of nostalgic heroes from childhood and an attendant emotional maturity, is the playground for 35-year-old- ticket buyers who are told they never have to leave these things behind."

"Wordsworth's child plays with his toys in a world unconcerned with brand power, and he tells his own stories, using public domain situations. Star Wars was not designed to sell toys, but Lucas was smart enough to keep the merchandising rights, and, with help from Kenner, a toy empire was founded. The story came first, but the merchandising threatened to takeover. In the case of Transformers, the action figures were absolutely primary, the show was made to drive toy sales. But as the generation raised on Star Wars and Transformers became filmmakers in their own right, the primary-secondary relationship became blurry. In an interview with filmmaker Kevin Smith, Paul Dini, who created the cartoon Young Justice among other, talked about a problem he had with the executives at the Cartoon Network. They cancelled his show, Tower Prep even though his audience was on the rise. The reason: the audience numbers were on the rise because girls were watching the show and that's a problem because girls don't buy the toys, and the money comes from the toys. Because the relationship between action figures and movies and television are symbiotic it is hard to know if this is a case of the tail wagging the dog. When a 37-year-old director, whose childhood bedroom was littered with Transformers and Star Wars figures, steps up to direct the latest feature from Marvel, to what extend is he simply playing with action figures on a gigantic budget? To what extent is Chris Pratt a very expensive action figure, to be posed and moved around with the other toys?"

"As Kozinski would write in his opinion in Mattel v. MGA, it’s possible to make dolls that don’t look like porn stars but “there’s not a big market for fashion dolls that look like Patty and Selma Bouvier”—a reference to Lisa Simpson’s big-nosed, wide-waisted, thick-ankled aunts."

"Empowerment feminism is a cynical sham. As Margaret Talbot once noted in these pages, “To change a Bratz doll’s shoes, you have to snap off its feet at the ankles.” That is pretty much what girlhood feels like. In a 2014 study, girls between four and seven were asked about possible careers for boys and girls after playing with either Fashion Barbie, Doctor Barbie, or, as a control, Mrs. Potato Head. The girls who had played with Mrs. Potato Head were significantly more likely to answer yes to the question “Could you do this job when you grow up?” when shown a picture of the workplaces of a construction worker, a firefighter, a pilot, a doctor, and a police officer. The study had a tiny sample size, and, like most slightly nutty research in the field of social psychology, has never been replicated, or scaled up, except that, since nearly all American girls own a Barbie, the population of American girls has been the subject of the scaled-up version of that experiment for nearly six decades."

"The Sex doll industry has been transformed by advances in computer generated images (CGI) and silicone technology. Hollywood special effects technicians began using advances in these technologies to create realistic corpses for films. (Ferguson, 2010). These mannequins were the beginnings of the realistic, functional sex doll."

"In Shinto, everything has a soul. Even if you don't want the dolls anymore, you can’t abandon them. There is a special ceremony that is performed for them at a shrine. It’s like a ceremony for a dead person. Since dolls have a human form, they must be treated as such."

"Competition from video and mobile games has diminished the interest in action figures, allow a child to fantasise about taking on the role of a heroic character. Video and mobile games greatly enhance that ability. The age appeal of action figures has been declining for decades due to the rise of video games."

"In 2000, only two films in the top 10 US box office hits would have been likely to generate a licensed character toy, X-Men and How the Grinch Stole Christmas, perhaps Mission: Impossible II. But in 2017, nine out of the 10 top films had licensed characters associated with them, from Star Wars to Beauty and the Beast to Wonder Woman to Thor. So, consumers are spending about the same amount of money on toys in total, but now they have far more choices to spend it on. The battle is over the share of a parent’s pocketbook."

"To start, the most abject Happy Meal toy lost in the deepest layers of the toy bin still signifies the epitome of polysemic postmodern participatory commodity culture. At the same time, the expertly-graded, mint-in-blisterpack Star Wars rebel of Ideal Posin' Supergirl cocooned for eternity within its EcoStar PC50 Recycled PET acryllic clam shell against all possible risk, play, or abuse can command thousands of dollars on the collector/investor/speculator market. From garage sales and Goodwill fodder to certified collectibles and international Internet auction houses, the action figure circulates through complex aesthetic, psychological, and socio-economic conditions of unusual scope and power. Its defining characteristics seem obvious enough. An action figure is generally a manufactured personality or character built to a diminished scale. It is usually, though not necessarily humanoid, and often designed to encourage manipulation, posing, or play including movable body parts, interchanging costumes, accessories, weapons, prosthetics, and related apparatus. At times, these accoutrements can expand to include elaborate vehicles, carrying cases, and playsets so ingeniously and engineered that they are sometimes more engaging in their miniaturized discrepancy than the figured body or character itself. Certain bases, expanded worlds, and microcosmic mock-ups tend to develop their own specialized mythologies. Iconic examples include Shredder and Krang's Technodrome of mechanized evil from the Teenage Mutant Ninja Turtles franchise and G.I. Joes remarkably Space Shuttle Defiant. From the figures themselves to the gear, couture, and conveyances that enable and transport them, the action figure always signifies a larger spectacle well beyond its tiny idealized body."

"The modern sex doll may has a direct antecedent in the cotton sex doll created and used by sailors on long voyages, referred to as dames de voyage (Bloch, 1908; Ferguson, 2010; Wolf, 2010). These dolls were created by French and Spanish sailors during the height of their naval empires in the seventeenth century (Ferguson, 2010). The navies of Imperial Germany and Japan reportedly sanctioned the widespread use of dames de voyage, as preferable to homosexuality. Both navies reportedly manufactured their own versions of the dames de voyage (Wolf, 2010)."

"According to Orient Industry, the company sells approximately 50-80 dolls per month and estimates there are over 20,000 doll-owners in Japan alone (Galbraith, 2008; Maeda, 2007). A spokesman for Orient Industry reports that nearly all of the people who buy these dolls are single men and about 60 percent of them are over the age of 40 (Maeda, 2007). "Nowadays, women are sometimes more dominant than men in the real world, and they don't always pay attention to men," said Hideo Tsuchiya, the company's president. "More and more men are finding themselves miserable so we're making these dolls partly in support of men" (Maeda, 2007). Since the 1950’s the Japanese government began using sex dolls to enhance the lives of its workers in remote outposts such as the South Pole (Galbraith, 2008)."

"In spring the little boys look up and stare To see me ride so proudly in the air. My strength all goes when once the bond is parted, And on the wind I drift off broken-hearted."

"Children return home in haste after school, Eager to fly kites when there is yet wind."

"Some U.S. officials and analysts contend that the widespread proliferation of armed drones is inevitable, and that any efforts to influence their use will fail. This assertion disregards the diplomatic, domestic, political, and, for some, technological restraints that have limited the spread of other military capabilities, and the logistical, normative, and legal principles that affect whether and how they are used."

"In a new report called “Limiting Armed Drone Proliferation,” published by the Council on Foreign Relations, Micah Zenko and Sarah Kreps argue that the time has arrived for the U.S. to set regulatory limits on the use of drones. Because drones do not have pilots, they write, the threshold for launching war is lower -- and the planes cannot avoid sudden danger as easily. Countries may also fire on manned fighter planes -- confusing them with drones."

"“Given that countries are getting access to larger drones that can operate with larger payloads, and some of those countries have nuclear weapons, how should we be reacting?” says Paul Scharre, project director for the 20YY Warfare Initiative at the Center for a New American Security (CNAS). “It hasn’t gotten much attention in the U.S. defense community because it’s considered a crazy idea, but other countries may think about this quite differently.”"