Gromet's Plaza Latex Stories
The Academy Museum
by Ultraprene
 
© Copyright 2003 - Ultraprene - Used by permission
Storycodes: F/mf+; museum; latex/ultraprene; suits; bond; encased; statues; exhibit; display; sex; denial; climax; cons; X
The Academy Museum by Ultraprene F/mf+; museum; latex/ultraprene; suits; bond; encased; statues; exhibit; display; sex; denial; climax; cons; X
 

The Academy of Erotic Arts and Sciences has long been exploring and experimenting with the outer fringes of human sexuality. Most of their work is done with members, and while the results are published in certain "inside" journals, the research facilities are not open to the curious public. The exception is the Erotic Art Museum. Here are displayed all sorts of erotic art from European and Asian classics to modern creations, including some by Academy members.

The Museum has occasionally put "living exhibits" on display using volunteer bondage enthusiast members. These were always exciting events since only those "in the know" were aware that the sculptures actually contained real people under the visible shell of rubber, leather, or plaster. To the general public they were just life-size statues. However, the practice was quite limited since the subjects had to be taken out after a few hours to attend to their physical needs. 

Two major discoveries changed all this: The first was a polymer called Ultraprene, which, as manufactured, could be prepared with any consistency between a viscous liquid and a rubber-like solid.

However, when the material was exposed to a bright ultraviolet light, an almost instantaneous catalytic reaction would propagate through the material and cause it to polymerize throughout. It would then turn completely hard and rigid. Thereafter, it could be cut and shaped with standard woodworking tools.

The second invention was a drug called Hibernex originally developed in the space program. It was to be given to astronauts on long missions to reduce life-support requirements. The idea was that once the spacecraft was settled on its interplanetary course, this potion would put the crew into a sort of hibernating state. They would not need to eat or eliminate waste for several weeks, and their oxygen requirements would be reduced as well. After a certain time, the drug would wear off and the astronauts would wake up spontaneously, or one could inject an antidote to wake them up at any time before that. 

The animal tests of Hibernex appeared successful. There were no adverse side effects and the only remarkable observation was an apparent state of sexual arousal in the subjects. Human tests, however, showed that the subjects were not really asleep. While their physical processes were slowed down and their muscles were deeply relaxed, they remained semi-alert and their senses continued to be active. In fact, the sense of touch was actually made more sensitive. The humans also felt and exhibited the same erotic stimulation that had been observed in the animal tests. Increasing the dose was not a good answer either. The subjects did become unconscious, and their biological functions were further slowed, but it took them several hours, and in some cases a day or more, to recover full function even with the antidote. An astronaut, would need to be "brought out of it" promptly in case of an emergency. Given these difficulties along with cuts in funding for deep-space missions, the Space Program published their findings but then abandoned Hibernex research. 

When Cynthia, Curator of the Museum, learned of these products, she rather quickly saw their potential for her living exhibits. The volunteers could be dressed in Ultraprene and given a dose of Hibernex, which would take effect in a few minutes.  During this time she could pose the subjects in their bondage. This usually (but not always) meant hardening their Ultraprene suits. They could then be kept on display almost as long as one wanted. 

It turns out that Ultraprene became available first, and the Academy of Erotic Arts and Sciences quickly adopted it to manufacture body molds for erotic research and, quite frankly, for fun. Cynthia and her staff would dress the subject in an Ultraprene suit. The material still had a rubber-like texture. After achieving a perfect wrinkle-free fit and positioning the subject, they would harden the Ultraprene. Then, using a surgical cast cutter, Cynthia and her staff cut the hardened mold very carefully into front and back halves, which they lined with soft rubber. The two pieces were then fitted with flanges and toggle latches. In addition to breathing holes, the mold was generally cut to have access for sex.  Thus, a male mold had a hole in the front through which his tool could protrude. A removable sheath covered the penis and joined the front of the mold by a bolted flange. If the penis sheath was made of hard material, his partner would remove it to use him. If it was made of (non-hardening) rubber she could either remove the sheath or keep it in place. 

The female mold could have openings for her sex, and removable cones over the nipples. Cynthia enjoyed making love to her slaves while they were so encased. However, the split molds were generally unsuitable for free-standing sculptures since the flanges and latches spoiled the lines. They did find some use in bas-reliefs by casting the back of the subject into the background and using the hardened Ultraprene to contain the front. The flange of the front half of the mold would then attach to the background with numerous screws through the flange to contain the subject.

As soon as the Academy was able to procure its first shipment of Hibernex, they began the first experiments involving both products. The early projects were simple statues in classical poses often taken from sports or performing arts. Thus a man was posed as a javelin thrower "frozen" at the peak of his throw. A ballerina was set in the midst of a pirouette. 

A more interesting experiment involved a woman volunteer who had been on a diving team. She was dressed in an extremely tight head-to-toe Ultraprene suit with only breathing holes for her nose. She was told to dive from a 3-meter board into a pool. In mid-flight, while she was in a perfect diving position, Cynthia triggered a brilliant ultraviolet flash and the suit hardened before the diver hit the water. Assistants immediately fished out the rigid form. Cynthia then put her on display in her head-down pose by suspending the mold with wires. After a few minutes, she asked the diver whether her inverted position was causing any distress. While she could not speak, she communicated by agreed-upon grunts that she was quite comfortable.

Apparently, the tight pressure of the mold prevented her internal fluids from rushing to her head. An attendant checked on her twice an hour and found no problems so she was able to remain on exhibit a full day. When taken out, she reported that the sudden hardening of the suit was almost like a shock or jolt, even though it was expected. The tight and immovable confinement at first was a little scary, but soon, once she realized that she was in no danger, she relaxed and the perfect support became extremely soothing.

While she knew she was upside-down, there was none of the expected discomfort; this was undoubtedly due to the tight compression. She had slept off and on during the 24 hours, and the time seemed to pass quite fast. In fact she was surprised when she first felt the vibration of the cast saw.

The ballerina inspired the first attempt at a dynamic exhibit. This involved an ice skater who was encased in Ultraprene, including the boots of her skates. Her suit fit her perfectly except that the breast cups (or more accurately, cones) extended out beyond her actual breasts. She was told to execute a fast spin on the toe of one skate. As soon as she was up to speed, Cynthia froze her suit and attendants grabbed her before she could fall and carried her to the workshop. There they attached a steel shaft to the skate so as to extend its axis of rotation. The figure was now mounted on top of a plinth containing a vertical-shaft motor. She was then set spinning considerably faster than she had been at the moment her Ultraprene shell had hardened. Inside, the woman felt the centrifugal force pressing her outward against the unyielding case. Her breasts, however, swelled outward to fill the excess volume of the cups. This resulted in a strange, though not unpleasant, sensation.

These first sculptures were mainly tests to try out the technique and were kept for a maximum of only a few days. The subjects at first enjoyed the total relaxation and complete support their bodies received from the hard shells, but after about a day, the lack of sensation led to boredom. The volunteers spent much of their time dozing.

This did not trouble Cynthia too much because she had already thought out the next phase and was confident it would solve this problem. She called her new idea the duet sculpture, a concept much more in tune with the Museum's erotic theme. 

Starting off rather simply, Cynthia asked a young couple if they would like to participate in the first duet sculpture. They volunteered enthusiastically because they loved to mix their kinky interests, with their fascination with technology. In fact, Cynthia had met the two at a local ham radio club. And, as you will see, her selection of this couple was not arbitrary.

Both were dressed in complete Ultraprene suits, including helmets which overlapped the collars. The man's suit covered him completely except for breathing holes, and a snug-fitting opening through which his sex protruded. His partner was similarly dressed with the opening at her sex just large enough for the male to penetrate. Each suit also contained sensors for physiological monitoring. This would insure that the volunteers were suffering no adverse physical effects, and it would allow the Academy researchers to investigate their reactions. 

Cynthia took a broad paint brush and slathered the fronts of the suits with thick liquid Ultraprene. She also forced some into the area where the helmets overlapped the suit collars. The Curator handed the man a rubber sheath (ordinary latex, not Ultraprene) with a flange around the base. She told him to put it on and press the flange against the front of his Ultraprene suit where it was already wet with liquid Ultraprene. 

The couple mated in a classic "missionary" position. The man, being a dedicated fetishist had been hard from the moment he had dressed in the tight-fitting outfit, and his lover was moist and lubricated as well. 

After the couple were well under way, Cynthia told the man to thrust as deeply as possible and then instantly froze both suits. Not only did the Ultraprene garments rigidize, but the liquid between them hardened as well, bonding the two figures into a single rigid form. The Hibernex now took effect and they were set for a two-week display. 

Inside the mold, neither partner could move the slightest bit so "pumping" was impossible. The only stimulation either could give or receive was by contracting the muscles of their sex organs, and this was limited by the Hibernex-induced muscle relaxation. Thus, while both were highly excited, it was quite impossible for either to reach climax. One of Cynthia's predictions did work out. Within a few hours, the partners were communicating by contracting their internal muscles in Morse code. The conversations went on intermittently for most of the two weeks of the display. A few curious members of the Staff asked Cynthia to decode the messages, but she told the busy-bodies to mind their own business. She felt the content had no scientific significance and was about as "private" as any conversation could be.

At the end of the exhibit, both partners were given Hibernex Antidote. At long last, their internal movements were strong enough to produce an explosive long-awaited climax. The technicians carefully cut the molds apart. This resulted in three pieces: the back of the male, the back of the female, and the joined fronts. After the couple recovered, they begged the Academy staff to fit the cut mold pieces with flanges and latches so they could repeat the experience on over-night sessions.

Encouraged by this first success of a duet sculpture, the Curator selected two more volunteers for an even more advanced display. In this case, they were picked separately; neither was told who the other partner was. Once again, however, Cynthia chose her subjects well. Both were among the several Academy members into wheel bondage. That is, they loved to be strapped to a vertical rotating wheel and spun while being sexually teased. As a result of this bizarre predilection, both had been conditioned to endure extended periods of rotation with no adverse effects. Each, in fact, sometimes slept the night on a wheel.

As with the first couple, Cynthia dressed them in full Ultraprene suits with monitoring instruments built in. Again, the male protruded, covered by a thin latex sheath with its flange cemented to his suit. While the man's suit was extremely tight, the woman's was slightly less snug from the midriff to mid-thigh and wet on the inside with a lubricating fluid. 

Cynthia gave the man his Hibernex and led him to the wheel. It was a wooden disk about 8 feet in diameter. For the moment it lay horizontal, supported on saw horses. The face of the wheel was deeply padded with foam Ultraprene and painted thickly with Ultraprene liquid. When the man lay on his back on the wheel face, he sank into the padding almost to the half-line of his body. Cynthia and her assistants positioned him in a spread-eagle position and held his arms and legs down while they hardened the Ultraprene. Not only did the suit harden, but so did the padding and the liquid, bonding everything together. As the Hibernex took effect, the male was fused into a spread eagle and was one-piece with the wheel face.

Cynthia applied a second layer of thick Ultraprene liquid all over the man's front and brought in the female volunteer. She was given her Hibernex and instructed to lie face down on top of the male, but end-for-end so that her hands reached toward his feet and vice versa. She then lowered herself on the erect tool and settled herself into as comfortable a spread eagle position as she could. The man's tool was now pointed at a relative downward angle as it entered her sex. Once she indicated her readiness, Cynthia flashed the ultraviolet lamp and froze the exhibit. This not only hardened the woman's shell, but also the liquid Ultraprene between the partners. The wheel, the man, and the woman were now a single rigid inflexible structure.

The final step was to hoist the wheel to a vertical position and lock its hub to the horizontal axle of the motor drive. As the wheel picked up speed, the woman found that the slightly loose fit of her shell allowed her middle to slide just slightly toward the foot end of her mold as she turned head-up and toward the head end as she turned upside down. Her partner, however, was held motionless by his much tighter mold. Thus with each revolution, she slid just slightly up and down on the man's rubber-clad organ thereby creating the expected stroking action.

Cynthia speculated that the combined stimulation of the tight confinement and rotation added to the induced pumping would probably bring both partners to climax in a relatively short time were they in a normal state of consciousness, but the Hibernex allowed much more stimulation before this limit was reached. Nevertheless, The Curator realized that while the woman's orgasms would have little effect on the exhibit, it was important to keep her partner from coming and then going soft. She therefore transmitted the subjects’ physiological monitoring signals through slip rings from their spinning world to instruments in the control room. A computer processed the data to give an arousal index for each partner, but it was the man's index that was fed back to the speed control for the wheel motor. Thus as he got close to release, the rotation slowed down or stopped and the stimulation diminished.

In this way, it was possible to maintain the exhibit for the full three weeks. In order to achieve this, though, the man was kept continuously erect. Most of the time, the stimulation was just sufficient for erection, but often Cynthia would manipulate the arousal set-point so he was kept at the brink for hours but not allowed to pass over the edge.

During these times the man knew that coming would end this wonderfully sensual experience, At the same time he was screaming inside for release of the building tension. However, he also knew that, unlike in ordinary love making, he did not have the choice to make. The matter was entirely out of his control. It was like being on a wild amusement ride where even if you have had enough, you are on it till the end.

It was only at the end of the three weeks that Cynthia neutralized the Hibernex, bypassed the automatic controls, and maintained maximum speed until the explosive release. 
 
 

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06.03.03

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