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At three works of art in possession of the Germanic National Museum, Nürnberg, the attempt was made of diagnosing dermatologic alternations. The three paintings show naevi pigmentosi, basaliomas and varicosis.
Burn care and burned people are probably the least likely candidates as subjects of fine art. To disprove this notion, three paintings are offered as examples of artistic treatment of an unlikely issue.
Curie point pyrolysis with gas chromatography/mass spectrometry has been employed to characterize some proteinaceous media used in the art field as painting binders: milk casein, egg yolk, egg albumin, bone glue, skin glue, rabbit glue and fish glue. A careful analysis of the gas chromatograms so obtained has led to the distinction of the different proteinaceous binders in terms of different chromatographic profiles. Some of the pyrolysis products have been identified by library search.
An ethnological controversy over the origin and evolution of decorative art is documented for the period 1896-1904 and is used to test the relevance in anthropology of Thomas Kuhn's outline of the structure of scientific revolutions. Using a combination of archival materials and content analysis of professional periodicals, both the appropriateness and the limitations of Kuhn's scheme are explored. The conclusion is that paradigms and scientific revolutions are valid and useful concepts for use in the history of anthropology, but that for the particular period under study they are insufficient. Nonparadigmatic aspects of anthropology's supporting communities must also be considered, especially anthropology's "permeable boundaries".
This study uses seven well-analyzed dreams to establish three empirical generalizations about dreams and works of art nested in dreams: (1) Those dreams attempt to deny a painful reality in some way depicted in the nested element; (2) they present an antithetical view of that reality (both denying and affirming); and (3) they are consistently associated with the problem of reality (the problem of deciding what is real or true). The explanation of these empirical generalizations is based on a hypothesis derived from Freud's 1911 formulation of the dream within a dream.
BACKGROUND: Children with leukemia undergo painful procedures such as lumbar puncture and bone marrow aspiration. To overcome pain, certain units offer total anesthesia; others offer generic support; others offer no preparation at all. Since September, 1997, we have provided leukemic children with art therapy (AT), a nonverbal and creative modality that develops coping skills. Our goal is to prevent anxiety and fear during painful interventions as well as prolonged emotional distress. PROCEDURE: We treated 32 children aged 2-14 years. The modes of AT before, during, and after the punctures were as follows: clinical dialogue to calm children and help them cope with painful procedures; visual imagination to activate alternative thought processes and decrease the attention towards overwhelming reality and raise the peripheral sensitivity gate; medical play to clarify illness, eliminate doubts, and offer control over threatening reality; structured drawing to contain anxiety by offering a structured, predictable reality (the drawing) that was controllable by children; free drawing to allow children to externalize confusion and fears; and dramatization to help children accept and reconcile themselves to body changes. RESULTS: Children hospitalized before September, 1997, exhibited resistance and anxiety during and after painful procedures. By contrast, children provided with AT from the first hospitalization exhibited collaborative behavior. They or their parents asked for AT when the intervention had to be repeated. Parents declared themselves better able to manage the painful procedures when AT was offered. CONCLUSION: AT was shown to be a useful intervention that can prevent permanent trauma and support children and parents during intrusive interventions.
The purpose of this study was to gather data on the efficacy of a newly developed psychosocial group intervention for cancer patients, called mindfulness-based art therapy (MBAT). One hundred and eleven women with a variety of cancer diagnoses were paired by age and randomized to either an eight-week MBAT intervention group or a wait-list control group. Ninety-three participants (84%) completed both the pre- and post-study measurements. As compared to the control group, the MBAT group demonstrated a significant decrease in symptoms of distress (as measured by the Symptoms Checklist-90-Revised) and significant improvements in key aspects of health-related quality of life (as measured by the Medical Outcomes Study Short-Form Health Survey). This investigation of MBAT provides initial encouraging data that support a possible future role for the intervention as a psychosocial treatment option for cancer patients.
Optical and scanning electron microscopy, comparative anatomy, data from modern and Pleistocene carnivore accumulations, and analysis of archeological materials show that some of the pieces interpreted by various scholars as engraved or perforated bones from European Lower and Middle Paleolithic sites (such as Pech de l'Azé II, Stránska Skála, Kulna, Bois Roche and Cueva Morin) are not early manifestations of non-utilitarian behavior. Putative engravings are in fact vascular grooves, while perforated pieces are partially-digested bones regurgitated by hyenas. The current debate on art origins has often been centered on the symbolic value and cognitive implications of these and similar pieces without a first-hand analysis of the objects to provide convincing demonstration of the human origins of the marks. Such demonstration is a necessary prerequisite to any discussion of their significance for the evolution of symbolic behavior.
Investigations have shown that 75% of children aged 3-6 years, who have not as yet acquired the ability to write, tend to draw and sketch from the left to the right side. The same tendency has also been found in adults with regard to drawing, which indicates a dominance of the left field of vision when the cerebral optical analysis is used, as it invariably is for the appreciation of three-dimensional figures. The tendency to draw from the left to the right side can be traced back to works of art that date from as far back as the 6th century B.C. Before the 6th century B.C. and way back into the prehistoric period, the direction seems to have been the reverse, i.e. there was a tendency to draw from the right to the left side. Evidence showing that this was true in up to 80% of cases can be found on vase paintings with either geometric shapes or animals. These findings, together with those of earlier publications, are interpreted as evidence that a shift of dominance has taken place during the history of mankind. It is assumed that together with the increasing significance of language and writing, associated with the left cerebral hemisphere, there was also a development toward a right-sided dominance as regards optical analysis.
This article explores the manifestations of sexuality in Samona as they are revealed through songs, poetry, dance, gestures, verbal expressions, stories, and games. For each of these art forms, texts, and translations of original material are presented, as an aid to discerning the uses and functions of sexuality as they are applied by Samoans for Samoans; to this end, formulalized joking of various types is seen as the medium through which the humorous element of sexuality is expressed. Elsewhere, sexuality functions to achieve and sustain individual attention. The explicitly sexuality functions to achieve and sustain individual attention. The explicitly sexual references in duneral and marriage songs, on the other hand, constitute affirmations of social values, incorporated in long-established rites. In what is tantamount to artistic license, performance of song, poetry, and dance containing sexual elements or references that would be prohibited in other contexts is constituted as acceptable behavior. In marked contrast to nineteenth-century writings, and the opinions of the popular press, sexuality in Samoa is far from free in its modes of expression, but rather adheres to traditional formalized patterns which determine its occasions, participants, and verbal and kinetic limits. Although not indispensable as a means of personal expression, it generally provides additional opportunities for the creative and aggressive individual to demonstarate his artistic talents and therby contribute to his own social elevation. As an element of verbalized group sentiment, it is a positive assertion of Samoan values, astatement of social solidarity.
Quite frequently clinicians avail themselves of works of well known artists in order to illustrate certain diseases. In contrast, pathologists find it harder to use art to demonstrate morphology. My approach to compensate for this is twofold: on the one hand, with 8 mostly three dimensional wooden objects with either mirror or aluminium elements, on the other with 449 collages consisting of pictures exclusively with a medical background (histology, radiology, nuclear medicine) or showing a combination of histological or cytological photos with pictures of flowers, trees or landscapes. My experience is that this technique arouses interest in complex medical issues even with medically unqualified individuals.
An informational landscape refers to an array of information related to a particular theme or function. The Internet is an example of an informational landscape designed by humans for purposes of communication. Once it exists, however, any informational landscape may be exploited to serve a new purpose. Listening Post is the name of a dynamic multimedia work of art that exploits the informational landscape of the Internet to produce a visual and auditory environment. Here, I use Listening Post as a prototypic example for considering the creative role of informational landscapes in the processes that beget evolution and science.
The rapid growth of medical knowledge during the past few decades has created many potential advances in the therapeutics of chronic disease, and cardiovascular disease has been at the center of this phenomenon. Translation of these advances into everyday care of patients with chronic disease continues to be problematic. Guideline development has emerged as a major strategy to improve utilization of new and existing therapeutic modalities of proven benefit. To be effective, practice guidelines must not only clearly delineate which therapies are efficacious, but also consider the many practical aspects necessary for implementation of specific therapeutics in the actual care of patients. In this way, both the art and the science of medicine can be employed to obtain better patient outcomes in cardiovascular diseases long associated with severe mortality, morbidity, and poor quality of life. This review examines the difficulties inherent in translating new advances into standards of care. The recent guideline process for a specific chronic cardiovascular disease, heart failure, is used for illustration of the translation process.
This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of "Nature's wisdom" which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting in "deep sciences". Deduction and induction will remain the methodology for deep sciences and will include conventional experiments and aesthetic and sentient experiences. Perception becomes the decisive factor with the senses as operators for the building of consciousness through the subconscious. In this paper, an attempt at integrating the concepts of the "true", the "right" and the "beautiful" with the aid of Nature's wisdom is explained in more detail along with consequences.
Disabled people often do not use leisure time productively. Past research has focused on teaching specific recreational activities isolated from related skills that would provide subjects a functional independent living repertoire. In the present study disabled subjects were taught the art of macrame. Additionally, they role-played related shopping skills such as buying materials, engaging in appropriate social-interpersonal skills, making monetary transactions, and securing their own transportation to and from the store. Subjects were taught six basic macrame knots using an instructional manual, series of error-correction procedures, and social reinforcement. After mastering those basic knots they independently used the instructional materials to make three complete macrame projects without direct instruction on the projects themselves. Subjects also demonstrated skill maintenance and generalization by making a novel project after independently engaging in all relevant shopping behavior. Two varieties of the multiple baseline design were employed. The importance of teaching a leisure skill cluster and adapting instructional materials were emphasized.
Falls to the side and those with impact on the hip are risky for hip fractures in the elderly. A previous study has indicated that martial arts (MA) fall techniques can reduce hip impact force, but the underlying mechanism is unknown. Furthermore, the high impact forces at the hand used to break the fall have raised concerns because of the risk for wrist fractures. The purpose of the study was to get insight into the role of hand impact, impact velocity, and trunk orientation in the reduction of hip impact force in MA techniques. Six experienced judokas performed sideways falls from kneeling height using three fall techniques: block with arm technique (control), MA technique with use of the arm to break the fall (MA-a), and MA technique without use of the arm (MA-na). The results showed that the MA-a and MA-na technique reduced the impact force by 27.5% and 30%, respectively. Impact velocity was significantly reduced in the MA falls. Trunk orientation was significantly less vertical in the MA-a falls. No significant differences were found between the MA techniques. It was concluded that the reduction in hip impact force was associated with a lower impact velocity and less vertical trunk orientation. Rolling after impact, which is characteristic for MA falls, is likely to contribute to the reduction of impact forces, as well. Using the arm to break the fall was not essential for the MA technique to reduce hip impact force. These findings provided support for the incorporation of MA fall techniques in fall prevention programs for elderly.
From the beginning of the 16th century the use of the padded cap to prevent injuries of the middle-face and skull in infants during their period of learning to walk is documented in art and medicine. Especially the painters of the Dutch and Flemish schools left beautiful paintings and drawings showing children with head-pads. Till the end of the 18th century the use of the head-pad was widely spread over Europe. In the 19th century the educational concepts of Rousseau and Kant probably induced a rejection and an abolition of this useful protective cap, which has been rediscovered during the past 20 years.
This article discusses the art of medicine as it relates to effective teaching. Valuable contributions to such teaching are made through applying ethical considerations to situations unique to emergency medicine. The author includes several appendices for further information on this vital topic.