Store it at room temperature and away from excess heat and moisture (not in the bathroom). Keep this medication in the container it came in, tightly closed, and out of reach of children. Do not cover the treated areas with a bandage or dressing unless your doctor tells you to.ĭo not apply fluorouracil cream or topical solution to the eyelids or the eyes, nose, or mouth. If you apply fluorouracil cream with your finger, be sure to wash your hands well immediately afterwards. Do not stop using fluorouracil unless your doctor has told you to do so.Īpply fluorouracil cream with a nonmetal applicator, a glove, or your finger. This is a sign that fluorouracil is working. This usually takes at least 3 to 6 weeks, but may take as long as 10 to 12 weeks.ĭuring the first few weeks of treatment, the skin lesions and surrounding areas will feel irritated and look red, swollen, and scaly. If you are using fluorouracil to treat basal cell carcinoma, you should continue using it until the lesions are gone. However, the lesions may not be completely healed until 1 or 2 months after you stop using fluorouracil. If you are using fluorouracil to treat actinic or solar keratoses, you should continue using it until the lesions start to peel off. Do not apply more or less of it or apply it more often than prescribed by your doctor. Follow the directions on your prescription label carefully, and ask your doctor or pharmacist to explain any part you do not understand. To help you remember to use fluorouracil, apply it around the same times every day. It is usually applied to the affected areas twice a day. 209–11 (© 2017 Olafur Eliasson).Fluorouracil comes as a solution and a cream to apply to the skin. This is an edited extract from ‘Your monochromatic listening’, pp.What strange, new worlds might emerge then? For a moment, we can imagine what it might be like to become colour-blind or another species of animal or even more radically other. By reducing experience to the minimum, the monochrome allows us to reflect on what is happening when we perceive something, on how perception is also a type of world-making. Understanding how we see colour can make us reconsider how we constitute the world. It makes us aware of the limits of our senses and helps us to see the relativity of our colour perception. The experience of monochromatic light offers us an opportunity of imagining another perspective, of viewing the world with a recalibrated perceptual apparatus. Installation view at Moderna Museet, Stockholm, in 2015 Olafur Eliasson. Olafur Eliasson’s Room for one colour (1997). The late Francisco Varela, whose work on empathy and embodiment has been deeply influential to me as well as to many scientists and philosophers, argued that the gulf between what we humans experience of colour and what birds experience is so great that we cannot even imagine it it is like telling someone who only perceives the world in two dimensions that there is a third. Research into colour perception in animals and the colour-blind has shown us the importance of colour for how we grasp and relate to the world. Imagine, for example, if we could see infrared or ultraviolet light in addition to the spectrum that we can perceive. If our perceptive apparatus were altered, the world would appear different to us. Colour and consciousness of colour are not fixed things, set in stone like all aspects of our reality, they are relative. The experience may vary, but the most obvious impact of the yellow light is the realisation that reality outside is very much conditioned by our perception of it: vision itself is not objective, and this realisation can help us begin to see ourselves and our world in a different light.Ī very clear example of this is how the brain adjusts the colour of known objects to make them appear the same colour in radically different lighting conditions: experiments have shown that if we look at a desaturated image of a bunch of bananas, for instance, our brain corrects what we see according to what we know, tinting the bananas yellow. Once you become comfortable with this situation, with the degree of abstraction it entails, you can start to pay attention to what is actually happening with your vision as such. At first you see only a saturated yellow light that makes all colours appear to be shades of yellow, grey and black. In the installation, Room for one colour (1997), the entire space is bathed in light from mono-frequency lamps that emit light of around 589 nanometres in wavelength, in the yellow region of the visible spectrum.
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