Transforming musculoskeletal anatomy learning with haptic surface painting.

Anatomical body painting has traditionally been utilized to support learner engagement and understanding of surface anatomy. Learners apply two-dimensional representations of surface markings directly on to the skin, based on the identification of key landmarks. Esthetically satisfying representations of musculature and viscera can also be created. However, established body painting approaches do not typically address three-dimensional spatial anatomical concepts. Haptic Surface Painting (HSP) is a novel activity, distinct from traditional body painting, and aims to develop learner spatial awareness. The HSP process is underpinned by previous work describing how a Haptico-visual observation and drawing method can support spatial, holistic, and collaborative anatomy learning. In HSP, superficial and underlying musculoskeletal and vascular structures are located haptically by palpation. Transparent colors are then immediately applied to the skin using purposive and cross-contour drawing techniques to produce corresponding visual representations of learner observation and cognition. Undergraduate students at a United Kingdom medical school (n = 7) participated in remote HSP workshops and focus groups. A phenomenological study of learner perspectives identified four themes from semantic qualitative analysis of transcripts: Three-dimensional haptico-visual exploration relating to learner spatial awareness of their own anatomy; cognitive freedom and accessibility provided by a flexible and empowering learning process; altered perspectives of anatomical detail, relationships, and clinical relevance; and delivery and context, relating to curricular integration, session format, and educator guidance. This work expands the pedagogic repertoire of anatomical body painting and has implications for anatomy educators seeking to integrate innovative, engaging, and effective learning approaches for transforming student learning.

[Types of medicine paintings in herbaceous and woody medicines in Ben Cao Tu Jing].

A total of 568 paintings of herbaceous plants and woody plants as medicine were involved in Ben Cao Tu Jing, accounting for 60% of the total drug illustrations and 76% of the botanical medicine paintings. These medicinal paintings can be classified into four types: original plant paintings, medicinal material paintings, plant and medicinal material paintings, and plant and their habitat paintings. The original plant paintings can be specifically divided into five sections: the whole plant paintings with roots, partial aerial part paintings with roots, plant paintings with ground lines, rootless plant paintings, and broken branch paintings. Among them, the drawings of " the broken branch paintings " and " the whole plant paintings with roots " are consistent with the basic principles of collecting plant specimens. Additionally, "the plant and medicinal material paintings " and "the medicinal material paintings "reflect that they were drawn based on the market survey of medicinal materials or collected medicinal materials specimens. These medicine painting demonstrate rich characteristics of medicinal plants and medicinal materials and a high artistic quality with realistic details.These paintings in Ben Cao Tu Jing echoes Tu Jing, combine the art of painting with the cognition ofnatural science, as the rudiment of early paintings of plant science.

A damned soul with goiter. "The life of Christ" (c. 1480) by Giovanni Martino Spanzotti.

The church of San Bernardino in Ivrea (Piedmont) houses a cycle of frescoes of "The Life of Christ" by the Italian painter Giovanni Martino Spanzotti. In the painting, a damned soul of the Hell with a large bi-lobar goiter is represented, confirming the interest of Renaissance artists towards thyroid diseases.

Cozinhando mudanças: os significados do ato de cozinhar para mulheres de um Grupo de Agricultura Urbana da zona leste da cidade de São Paulo / Cooking up changes: the meanings of the act of cooking for women in an urban agriculture group in the east side of the city of São Paul

Introdução: O ato de cozinhar envolve diversos símbolos e significados, sendo uma prática social legítima que pode ser vista como um espaço criativo do cotidiano. Esse ato pode englobar dimensões culturais, ambientais, sociais, econômicas e políticas, sendo um espaço promissor para promoção de diálogos, aprendizados e transformações. Junto a isso, compõe um dos princípios do Marco de Educação Alimentar e Nutricional e é recomendado pelo Guia alimentar para a população brasileira, como uma ação que deve ser valorizada e um passo para se ter uma alimentação saudável. Sendo assim, o ato de cozinhar corrobora com o cumprimento de agendas públicas, o que justifica o desenvolvimento deste estudo. Objetivo: Compreender os significados do ato de cozinhar para as mulheres de um grupo de agricultura urbana (GAU), da zona leste da cidade de São Paulo e entender a relação que estabelecem entre o ato de cozinhar e suas atividades agrícolas. Métodos: O método utilizado foi os mapas corporais narrados, o qual faz uso de desenho, pintura e outras técnicas baseadas na arte, junto a narrativas orais, para representar aspectos da vida das pessoas e também do mundo em que vivem. Participaram do estudo sete mulheres que compõem o grupo "Mulheres do GAU", as quais desenvolvem ações relacionadas à agricultura e ao cozinhar. Os dados gerados foram analisados por meio de análise temática. Resultados: Os resultados são apresentados em duas partes. Parte I: apresentação dos sete mapas corporais narrados construídos. Parte II: apresentação dos resultados e discussão, agrupados em três temas: (I) Os ingredientes do trabalho coletivo, que aborda a relação do cozinhar com o afeto, a fé e as tradições e origens das Mulheres do GAU; (II) O preparo de mesas fartas, no qual se discute a relação das atividades dessas mulheres com a troca e a produção de conhecimentos, junto às transformações que essas práticas geram em suas vidas; (III) Servindo e compartilhando as preparações, que aborda as conexões do ato de cozinhar com a prática de agricultura urbana e como essas atividades se relacionam com o entorno onde vivem e os sistemas alimentares. Conclusão: A partir dos resultados analisados, entende-se que o cozinhar, para as Mulheres do GAU, é uma atividade que engloba mais do que técnicas e habilidades, resgatando, por meio de sua prática, a ancestralidade e a cultura dos envolvidos. O cozinhar proporcionou mudanças em diferentes áreas das vidas dessas mulheres, como em relação aos hábitos alimentares e situação financeira. Também estabeleceu relações com a comunidade onde vivem e outros contextos, além de ser um conector do campo à mesa, fortalecendo as atividades de agricultura que realizam. Nesse sentido, o cozinhar traz a comida para o centro das discussões, oferecendo a oportunidade de aprender e discutir assuntos relacionados aos temas citados acima, como identidade cultural, valorização de conhecimentos e sistemas alimentares sustentáveis. O ato de cozinhar pode ser, então, uma ação propícia para promover saúde no seu sentido mais amplo, contemplando o bem-estar biopsicossocial em consonância com questões de sustentabilidade social, econômica e ambiental.

Introduction: The act of cooking involves different symbols and meanings, being a legitimate social practice that can be seen as a creative space in everyday life. This act can encompass cultural, environmental, social, economic, and political dimensions, being a promising space for promoting dialogues, learning, and transformations. Along with this, it is one of the principles of the Reference Landmark of Food and Nutrition Education for Public Policies and is recommended by the Dietary Guidelines for the Brazilian Population as an action that should be valued and a step towards healthy eating. Thus, the act of cooking corroborates the fulfillment of public agendas, which justifies the development of this study. Objective: To understand the meanings of the act of cooking for women in an urban agriculture group (GAU in Portuguese) in the eastside of São Paulo city and to understand the relationship they establish between the act of cooking and their agricultural activities. Methods: The method used was body-map storytelling, which makes use of drawing, painting and other art-based techniques, together with oral narratives, to represent aspects of people's lives and also of the world in which they live. Seven women who make up the group 'Women of GAU' and develop actions related to agriculture and cooking participated in the study. The generated data were analyzed through thematic analysis. Results: Results are presented in two parts. Part I: presentation of the seven built narrated body maps. Part II: presentation of results and discussion, grouped into three themes: (I) The ingredients of collective work, which addresses the relationship between cooking and Women of GAU's affection, faith, traditions and origins; (II) The preparation of full tables, in which the relationship of their activities with the exchange and production of knowledge is discussed, together with the transformations that these practices generate in their lives; (III) Serving and sharing preparations, which addresses the connections of the act of cooking with the practice of urban agriculture and how these activities relate to the environment where they live and to the food systems. Conclusion: Based on the analyzed results, it is understood that cooking, for the Women of GAU, is an activity that encompasses more than techniques and skills since it rescues the ancestry and culture of those involved. Cooking has brought changes in different areas of these women's lives, such as in the eating habits and financial situation. It has also established relationships with the community where they live and other contexts, in addition to being a field-to-table connector, strengthening the agricultural activities they carry out. In this sense, cooking brings food to the center of discussions, offering an opportunity to learn and discuss issues related to the themes mentioned above, such as cultural identity, valuing knowledge and sustainable food systems. The act of cooking can then be an appropriate action to promote health in its broadest sense, contemplating biopsychosocial well-being in line with issues of social, economic and environmental sustainability.

[The Ophthalmology-centered medical industry in Suzhou in the Ming and the Qing Dynasties - from the Painting Album of Cityscapes and Business].

The Painting Album of Cityscapes and Business was finished in the early Qing Dynasty with realism. This painting album described the prosperity in business and everyday life in Suzhou during the late Ming and the early Qing Dynasties. They were drawn and painted retrospectively, ie, the content of the pictures was based on existing paintings handed down. In the painting album, more than ten medical-related elements were specifically depicted, such as traditional Chinese medicine clinics and pharmacies and seven ophthalmology-related elements including one clinic specialized in ophthalmology, two spectacle shops, two people wearing eyeglasses and three blind people. Up to now, no specialized ophthalmology clinics and spectacle shops have been found in earlier literature and paintings. It can be speculated that the Painting Album of Cityscapes and Business is the earliest album of paintings depicting clinics specialized in ophthalmology and spectacle shops in China. This painting album provides important information for the study of the medical industry in Suzhou in the late Ming and the early Qing Dynasties, particularly, in terms of ophthalmology-related diagnosis and treatment.

Ages for Australia's oldest rock paintings.

Naturalistic depictions of animals are a common subject for the world's oldest dated rock art, including wild bovids in Indonesia and lions in France's Chauvet Cave. The oldest known Australian Aboriginal figurative rock paintings also commonly depict naturalistic animals but, until now, quantitative dating was lacking. Here, we present 27 radiocarbon dates on mud wasp nests that constrain the ages of 16 motifs from this earliest known phase of rock painting in the Australian Kimberley region. These initial results suggest that paintings in this style proliferated between 17,000 and 13,000 years ago. Notably, one painting of a kangaroo is securely dated to between 17,500 and 17,100 years on the basis of the ages of three overlying and three underlying wasp nests. This is the oldest radiometrically dated in situ rock painting so far reported in Australia.

Raphael at the Temple.

Raphael, in his painting "Healing of the Lame Man" shows one lame man encountering St. Peter and St. John while another lame man waits his turn. Children with unusually muscular bodies are also depicted in the painting. The possible causes of lameness in the men and muscle hypertrophy in the children are discussed.

The Anthroposophic Art Therapy Assessment Paint (AART-ASSESS-P): A peer-report instrument to assess patients' pictorial expression during Anthroposophic Painting Therapy.

OBJECTIVE: Anthroposophic painting therapy (APT) is a specific form of art therapy that aims to activate self-healing capacities through painting aquarelles. METHODS: The Anthroposophic Art Therapy Assessment-Paint' (AART-ASSESS-P) was developed to measure pictorial expression and validated in the framework of a comprehensive cohort design study. The validation study examined 68 breast cancer patients with fatigue. Art therapists made pre- and post-assessments of spontaneously drawn water-color paintings with a preliminary version of the AART-ASSESS-P (58 items). Inter-rater reliability (IRR) for the items was examined with Cohen's weighted Kappa (κw). Additionally, a reliability- and factor analysis (FA) were conducted. Convergence criteria were patients' self-report measures: the Satisfaction with Painting Therapy, Inner Correspondence with Painting Therapy and the Self-Regulation Questionnaire. RESULTS: IRR for the items was heterogeneous (κw= 0.09-0.89, Mean κw= 0.40, SD = 0.17). Thirty-six items were excluded due to insufficient IRR and item-total correlation (κw= < 0.30, ρitem-total< 0.30). A FA with 22 items revealed 5 subscales: Shape Development (6 items), Shape Arrangement (6 items), Order and Symmetry (5 items), Color Application (3 items), and Color Quality (2 items) explaining 61% of total variance. Psychometric properties for the AART-ASSESS-P were satisfying with Cronbach's alpha coefficients (rα = 0.60-0.81) across subscales. Due to weak inter-subscale correlations (r = 0.18-0.48, p < 0.05) and the ambiguity of face validity a sum-score was not formed. Correlations between subscales and self-reports were small (all p < 0.05). CONCLUSION: The AART-ASSESS-P is the first reliable instrument to measure pictorial expression during APT.

The Tomb of the Diver and the frescoed tombs in Paestum (southern Italy): New insights from a comparative archaeometric study.

The Tomb of the Diver has been subject for many decades of fierce debate among archaeologists and classicists. Since its discovery in 1968, some scholars have considered it a unique example of the lost tradition of Greek painting, others have emphasized Etruscan or Italic parallels. More recently, a possible local production has been suggested. With the aim of trying to solve the archaeological question, an archaeometric comparison among this well-known artwork and several frescoed tombs coming from Hellenistic and Lucan necropolis was carried out. The multi-analytical study was focused on the identification of peculiar features of executive techniques and raw materials since the first period of the archaeological site. The analytical investigation has been preliminary based on a non-destructive approach, performed in-situ by portable equipment including imaging diagnostics and compositional spectroscopic techniques for identifying pigments and the conservation state of original painted surface; subsequently, a further deepening by using destructive techniques was performed in-lab for the mortar-based supports characterization. Archaeometric study suggested that technological choices slightly changed in a time span of about two centuries, highlighting important markers that allow clustering the contemporary artistic productions. Moreover, a comparison with mortars from temples decorations was provided to better understand the whole artistic context. The archaeometric data showed that the Tomb of the Diver could be traced back to a local artisanal tradition and therefore is neither Etruscan nor Greek, but the first and foremost an expression of the local elite culture of Paestum.

Australia's mysterious rock paintings.

Jack Pettigrew spent much of his time and energy over the last decade after his retirement exploring the mysterious Bradshaw figures, which are part of the rock art found in the Kimberley region of Western Australia.

[Improved instrumental activities of daily living in acquired savant syndrome patient after developing interest in drawing].

We performed examinations of a 73-year-old, right-handed man who developed herpes simplex encephalitis, with cognitive dysfunction including severe Wernicke's aphasia. Although he had never previously been interested in arts, use of a coloring book, recommended by his wife, led him to start drawing. A few years after the onset of brain disease, the patient began to copy pictures of landscapes. The lesion was in the left hemisphere and his work showed a strongly realistic tendency, thus we think that this case demonstrated characteristics of acquired savant syndrome. Along with the increase in drawing ability, instrumental activities of daily living (IADL), such as shopping and use of public transport, were also considerably improved in this patient. On the other hand, results of neuropsychological tests, such as the Standard Language Test of Aphasia, were not improved. We concluded that a sense of accomplishment from the drawing activity and communication with supporters might have led to improvement of IADL in this case.

Increased blood lead level induces oxidative stress and alters the antioxidant status of spray painters.

Background The aim of this study was to know the present scenario of blood lead level and its effect on serum lipid peroxide and antioxidant parameters of spray painters. Methods We included 42 male spray painters and 50 control subjects with an age range of 20-45 years. Blood lead level, serum lipid peroxide and antioxidant parameters, i.e. erythrocyte catalase, superoxide dismutase (SOD), plasma ceruloplasmin, nitric oxide, uric acid and bilirubin, were quantified by standard methods. Results We observed the significant elevated blood lead (p < 0.001, 458%), lipid peroxide (p < 0.001, 170%), uric acid (p < 0.001, 25.6%) and bilirubin (p < 0.01, 24.5%) and the significant decrease in antioxidant enzymes like SOD (p < 0.001, -50.4%), catalase (p < 0.001, -34.33%), ceruloplasmin (p < 0.001, -32.7%) and nitric oxide (p < 0.001, -39.58%) in the study group as compared to control. A significant positive correlation coefficient (r) of blood lead level with lipid peroxide (r = 0.44, p < 0.001), uric acid (r = 0.33 p < 0.05) and bilirubin (r = 0.35, p < 0.05) and a negative correlation with SOD (r = -0.32, p < 0.05), catalase (r = -0.33, p < 0.05), ceruloplasmin (r = -0.27, p < 0.05) and nitric oxide (r = 0.30, p < 0.05) were observed. Conclusions Elevated blood lead level induces serum lipid peroxide and alters the antioxidant enzymes of spray painters. Therefore, it is necessary to reduce the blood lead level by taking proper precautions while spraying the paints, and additional antioxidant supplementation like vitamin C, multivitamin and multiminerals will be useful in reducing oxidative stress.

[Analysis of medicine paintings of fruit, vegetable and rice sections of Ben Cao Tu Jing].

Ben Cao Tu Jing is the earliest version of block-printed edition for herbals so far, with 933 medicinal paintings. In this paper, it analyzed the medicine paintings in the Fruit, Vegetable and Rice Sections of Ben Cao Tu Jing, as well as discussed the types of medicine paintings and relevant information when they were drawn. There are a total of 76 paintings in the fruits, vegetables and rice sections of Ben Cao Tu Jing, which can be divided into four types: broken branch paintings, ground paintings, rootless plant paintings and the whole plant with root paintings. The first three paintings were similar to the paintings of Tang and Song, and the paintings of the whole plant with root can be called the type of medicine paintings with Chinese characteristics created by Ben Cao Tu Jing. These four types of paintings had a profound impact on the later illustrations of medicinal materials, such as Lv Chan Yan Ben Cao, Jiu Huang Ben Cao, Ben Cao Pin Hui Jing Yao, Zhi Wen Ben Cao, Zhi Wu Ming Shi Tu Kao. The two types that had the greatest impact on later generations are the broken branch paintings and the whole plant with roots paintings, which had been inherited and developed in contemporary Chinese pharmacy books such as Zhong Yao Cai Pin Zhong Lun Shu and Zhong Hua Ben Cao. The paintings of the fruits, vegetables and rice sections are highly realistic and artistic, not only carrying the role of conveying medicinal knowledge, but also having unique aesthetic value. It can be inferred that the fruits, vegetables and rice sections had the participation of professional painters at least. In addition, through the highly consistent drawing styles of several sets of paintings, it is concluded that the paintings without place names were likely to be drawn uniformly by the editing team, and the local paintings may have been revised and improved by the editing team lately.

A new identification of the monkeys depicted in a Bronze Age wall painting from Akrotiri, Thera.

Bronze Age Aegean (ca. 3500-1100 B.C.) wall paintings from the islands of Crete and Thera depict monkeys in a variety of roles such as running wild in nature, possibly following (trained) commands, and participating in sacred activities. These images, while stylistically Aegean, are traditionally considered closely related to-and descendant from-Egyptian, Near Eastern, and Mesopotamian monkey imagery. While monkey depictions in the latter regions may provide species-specific characteristics, Aegean wall paintings typically lack this level of detail. In an attempt to better understand the relationships between the monkeys depicted in Aegean wall paintings and the species that were encountered by the Aegean, Mesopotamian, and Egyptian peoples, a collaborative team of primatologists, a taxonomic illustrator, and an art historian/archaeologist identified species-indicative visual characteristics. This collaborative approach led us to identify a new region that serves as a source for monkey iconography: the Indus River Valley. With an emphasis on the primatological aspect and the growing corpus of possible Indus goods and possible species found in the Aegean, a broader iconographic and socioreligious sphere of interaction emerges. In this expanded system, Mesopotamia functions as an intermediary that enables the movement of goods, raw materials, people, and iconography between the east and west. Mesopotamia may have even afforded an opportunity for Aegean peoples to encounter the creatures themselves, first-hand. Of primary importance to the methodology employed for this project is the cooperation of scholars from disparate disciplines-the stitching together of various projects and experiences in attempt to answer both new and previously unanswerable questions. This type of interdisciplinary approach can be applied to other species, sites, paintings, and objects to hone our understanding of period, place, animal, movement, and trade.

Analysis of medicine paintings of fruit, vegetable and rice sections of Ben Cao Tu Jing / 中国中药杂志

Ben Cao Tu Jing is the earliest version of block-printed edition for herbals so far, with 933 medicinal paintings. In this paper, it analyzed the medicine paintings in the Fruit, Vegetable and Rice Sections of Ben Cao Tu Jing, as well as discussed the types of medicine paintings and relevant information when they were drawn. There are a total of 76 paintings in the fruits, vegetables and rice sections of Ben Cao Tu Jing, which can be divided into four types: broken branch paintings, ground paintings, rootless plant paintings and the whole plant with root paintings. The first three paintings were similar to the paintings of Tang and Song, and the paintings of the whole plant with root can be called the type of medicine paintings with Chinese characteristics created by Ben Cao Tu Jing. These four types of paintings had a profound impact on the later illustrations of medicinal materials, such as Lv Chan Yan Ben Cao, Jiu Huang Ben Cao, Ben Cao Pin Hui Jing Yao, Zhi Wen Ben Cao, Zhi Wu Ming Shi Tu Kao. The two types that had the greatest impact on later generations are the broken branch paintings and the whole plant with roots paintings, which had been inherited and developed in contemporary Chinese pharmacy books such as Zhong Yao Cai Pin Zhong Lun Shu and Zhong Hua Ben Cao. The paintings of the fruits, vegetables and rice sections are highly realistic and artistic, not only carrying the role of conveying medicinal knowledge, but also having unique aesthetic value. It can be inferred that the fruits, vegetables and rice sections had the participation of professional painters at least. In addition, through the highly consistent drawing styles of several sets of paintings, it is concluded that the paintings without place names were likely to be drawn uniformly by the editing team, and the local paintings may have been revised and improved by the editing team lately.

Goiter in Brazilian modernism paintings / Bócio em pinturas da arte moderna brasileira

Objective: To evaluate Di Cavalcanti's artworks in which goiters are represented before and after the introduction of iodized salt to the Brazilian population. Methods: One hundred and thirty paintings by Di Cavalcanti from the 20's to 70's demonstrating necks were evaluated. All the paintings were observed in reproductions. The neck circumference in the paintings was measured. Since there were no standard thresholds of neck circumference, cutoffs were based on the median. Baseline characteristics of artworks were compared based on high and normal neck circumference categories using Student's t-test, Mann-Whitney-Wilcoxon test, or chi square test. Results: We analyzed 29 artworks which portray the neck of 60 women (84.5%), 8 men (11.3%) and 3 children (4.2%). The analyses of the neck circumference showed 23.3% of women (14/60), 12.5% of men (1/8), and 33.3% of children (1/3) with an abnormal profile of the neck circumference. The neck circumference ratio in 29 paintings showed that the relative sizes of the necks painted between the 1920's and 1950's (r=0.45; p=0.03), and painted between the 1960's and 70's (r= 0.54; p=0.003) have linearly decreased. The decades in which the artworks were painted explained 40.0% of the variation in size of the neck circumference (p=0.002). Conclusion: Art imitates life. Di Cavalcanti was not a physician, and probably did not have the intention to illustrate a pathological condition, although the images observed in this study should be considered as goiter or enlarged neck.

Objetivo: Avaliar as obras de Di Cavalcanti em que bócios estão representados, antes e após a introdução da iodação do sal para a população brasileira. Método: Foram avaliadas 130 pinturas de Di Cavalcanti entre os anos 1920 e 1970 demonstrando pescoços. Todas as pinturas foram observadas em reproduções. A circunferência do pescoço nas pinturas foi mensurada. Como não existia limite-padrão da circunferência do pescoço, os limites foram baseados na mediana. As características básicas das obras de arte foram comparadas por categorias da circunferência do pescoço em elevadas e normais, usando o teste t de Student, o teste de Mann-Whitney-Wilcoxon ou o teste qui-quadrado. Resultados: Analisamos 29 obras de arte que representavam o pescoço de 60 mulheres (84,5%), 8 homens (11,3%) e 3 crianças (4,2%). Ao analisar a circunferência do pescoço, 23,3% das mulheres (14/60), 12,5% dos homens (1/8) e 33,3% das crianças (1/3) demonstraram perfil anormal dela. A relação da circunferência do pescoço em 29 pinturas demonstrou que as circunferências do pescoço relativas aos pescoços pintados entre os anos 1920 e 1950 (r=0,45; p=0,03) e pintados entre os anos 1960 e 1970 (r=0,54; p=0,003) reduziram linearmente. As décadas em que as obra foram pintadas explicaram 40,0% da variação no tamanho da circunferência do pescoço (p=0,002). Conclusão: A arte imita a vida. Di Cavalcanti não era médico e, provavelmente, não tinha intenção de ilustrar uma condição patológica, embora as observações das imagens, neste estudo, tenham sido consideradas como bócio ou com aumento de volume do pescoço