Uso de colores en ilustraciones de anatomía para relacionar estructuras, función y patología en el aprendizaje de anatomía humana / Use of colors in anatomy illustrations to relate structures, function and pathology in human anatomy learning

Introducción: El aprendizaje de anatomía humana se ha realizado a lo largo de la historia, de forma teórica y práctica, a través de la disección cadavérica. Diversas teorías de aprendizaje señalan que el uso de claves de colores resulta esencial para mejorar el reconocimiento de estructuras complejas. Por este motivo, el objetivo de este artículo es presentar esta propuesta y describir algunas percepciones de los estudiantes de medicina de una universidad peruana ante esta estrategia. Sujetos y métodos: La estrategia se basa en el uso de diferentes colores para relacionar músculos con sus respectivas inserciones óseas y los nervios que los inervan. En el mismo sentido se hace uso del color para resaltar la dirección y relaciones de las arterias. En última instancia, se hace una relación de la misma clave de color con la función ejercida por determinado grupo muscular y la patología derivada del daño de dicha estructura. Para evaluar la aceptación del método y las percepciones que generó en los estudiantes, se aplicó una breve encuesta con motivos exploratorios en estudiantes de segundo a sexto año de medicina que hubieran usado estas ilustraciones. Resultados: Un 85,6% respondió que las ilustraciones 'son útiles como resumen gráfico de segmentos corporales', y un 84,9%, que 'pueden reproducirlas con facilidad y constituyen una ayuda nemotécnica en el estudio'. Conclusión: Se presenta un método sobre el uso de los colores como recurso para la relación de estructuras, función y patología en las ilustraciones de anatomía humana, el cual genera percepciones positivas en los estudiantes

Introduction: The learning of human anatomy has been carried out throughout history in a theoretical and practical way, through cadaveric dissection. Several learning theories point out that the use of color keys is essential to improve the recognition of complex structures, for this reason the objective of this article is to present this proposal, and to describe some perceptions of the medical students of a Peruvian university before this strategy. Subjects and methods: The strategy is based on the use of different colors to relate muscles with their respective bony inserts and the nerves that innervate them. In the same sense, color is used to highlight the direction and relationships of the arteries. Ultimately, a relation of the same color key is made with the function exerted by a certain muscle group and the pathology derived from the damage of said structure. To evaluate the acceptance of the method and the perceptions it generated in the students, we applied a brief survey with exploratory reasons in students from the second to the sixth year of medicine who have used these illustrations. Results: A 85.6% answered that 'they are useful as a graphic summary of body segments', and a 84.9%, that 'they can reproduce them easily, being a mnemonic aid in the study'. Conclusion: We present a method on the use of colors as a resource for the relationship of structures, function and pathology in human anatomy illustrations, which generates positive perceptions in students

Diagnosticar en el arte / Diagnosing in art

El objetivo de este artículo es presentar una atractiva herramienta de enseñanza en la imagenología mamaria, utilizando las musas de los artistas del Renacimiento y el Barroco. Los ejemplos aquí descritos ilustran cómo se puede conjugar la medicina y el arte para despertar el interés de quien se introduce en el aprendizaje de la lectura mamográfica

The aim of this article is to present an appealing tool for teaching breast imaging that uses the muses of Renaissance and Baroque artists. The examples described here show how medicine and art can be combined to arouse interest in newcomers to breast imaging

Visual Narrative and Jargon Minimization Underpin Anatomy Teaching to Animation/VFX Industry Professionals and Health Professions Students.

Whether diagrammatic or deeply detailed, most anatomical illustration adheres to established archetypes-identical views of similar dissections, exhibiting neither variability nor originality. These conventional views are replicated from one generation of anatomy textbooks, atlases, and now digital sources, with little modification or reference to original dissection. In this paper, I argue that more effective communication in the field of anatomy requires rethinking conventional anatomical images and avoiding over-reliance on anatomic terminology. The ubiquity and emphasis on the image in the emerging digital learning ecosystem challenges science educators to revisit their use of the conventional visuals. The tools of narrative creating engaging science communication can also be used in constructing better images. After brief review of the role of anatomical jargon and its discontents, I present several examples of "readable" images. These examples have been refined in the course of communicating detailed anatomy and movement for two decades to medical and other health professions students, as well as to character designers, modelers, riggers, and animators in the animation and gaming industries. That "reading an image" promotes understanding without jargon is both anecdotally self-evident and yet scientifically largely untested. Rather than subsisting on images of convenience, the intersection of narrative tools and anatomical imagery provides the opportunity to structure images with intentionality and ultimately evaluate their impact. Such key images and their stories will ultimately require testing to validate the extensive anecdotal evidence that visual stories promote learning.

Teaching by stealth: utilising the hidden curriculum through body painting within anatomy education

This study considers the hidden curriculum within anatomy education, with a specific focus on body painting. Body painting is not only utilised within anatomy education for teaching surface anatomy and clinical examination, but also to provide a platform for the development of other skills, primarily through the hidden curriculum. The hidden curriculum is the unplanned curriculum transmitting tacit messages to students on values, attitudes, principles and organisation. This may lend itself to deliver values in line with General Medical Council UK registration requirements of 'safety and quality', 'communication', 'partnership and teamwork', and 'maintaining trust' in the undergraduate medical curriculum. This qualitative study explored faculty perceptions of the use of body painting as a teaching tool. The hidden curriculum appeared spontaneously as a major advantage of utilising painting. Four major themes emerged; trait development, socialisation, tacit learning and script formation. Anatomy education lends itself to an environment in which to study the hidden curriculum. Results from this study demonstrate faculty awareness of, and deliberate use of, the hidden curriculum as a method to 'teach by stealth', and therefore by actively employing the term pushing at the boundaries of the hidden curriculum concept

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Human Anatomy in ancient Indian sculptures of Gandhara art illustrating the fasting Buddha

The present article intends to report the surface anatomical features in the three fasting Buddha sculptures and also tries to understand the anatomical knowledge of these ancient Indian sculptors by observing the digital images of the sculptures of the Gandhara art depicting the fasting Buddha. Close examination of the colour 2D digital photographs of the fasting Buddha which are available freely at Google Cultural Institute, the British Museum and the Metropolitan Museum web portals. Our observations demonstrate that the bones and joints of the thoracic cage, pectoral girdle, the extremities, particularly the upper limb, the skull and the pelvis were distinctly shown in the sculptures. Muscles of the neck (sternocleidomastoid, trapezius), shoulder (deltoid), thoracic cage (pectoralis major), limbs (arm and forearm), and anterior abdominal wall were clearly carved into the sculptures. The trachea was correctly placed in the neck. The boundaries of the axilla, and triangles of the neck were also clearly seen. Our observations demonstrate that ancient Indian artists of the Gandhara region had a basic knowledge of human anatomy, especially surface anatomy and musculoskeletal features. They also possessed knowledge of the approximate size and position of the bones, joints and muscles, including their approximate origin and insertion points. However, certain errors of anatomical knowledge including an extra number of ribs and a segmented sternum were noticed. Further, they also seemed to have some basic ideas about the physiological changes that occur during starving, as it is evident in the Buddha sculptures, which are skinny and emaciated

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Medical Students' Assessment of Eduard Pernkopf's Atlas: Topographical Anatomy of Man.

INTRODUCTION: To date, there has been no study examining the perceptions of first-year medical students regarding Eduard Pernkopf's atlas, particularly during their study of gross anatomy and prior to coursework in medical ethics. We present a discussion of Pernkopf's Atlas: Topographical Anatomy of Man from the perspective of U.S. medical students, and sought to determine whether medical students view Pernkopf's Topographical Anatomy of Man as a resource of greater accuracy, detail, and potential educational utility as compared to Netter's Atlas of Human Anatomy. METHODS: The entire first-year class at Drexel University College of Medicine (265 students) was surveyed at approximately the midpoint of their gross anatomy course and 192 responses were collected (72% response rate). RESULTS: Of these, 176 (95%) were unaware of the existence of Pernkopf's atlas. Another 71% of students found the Pernkopf atlas more likely complete and accurate, whereas 76% thought the Netter atlas more useful for learning (p<.001). When presented with a hypothetical scenario in which the subjects used in creating Pernkopf's atlas were donated, or unclaimed, but with knowledge that Pernkopf was an active member of the Nazi party, 133 students (72%) retained their original position (p=.001). About 94% desired discussion of Pernkopf within a medical school bioethics course. The relationship between level of self-reported knowledge and whether or not students would advocate removal of the atlas was statistically significant (p=.013). CONCLUSION: Discussing ethical violations in medical history, especially the Pernkopf atlas, must attain a secure place in medical school curricula, and more specifically, within a bioethics course.

History of Western Artistic Anatomy in the 19th Century: Prehistory of Artistic Anatomy in Japan.

The study of artistic anatomy was established in the 17th century, and its education techniques were developed in the 19th century and brought to Japan in the Meiji era. Books of artistic anatomy published in the 19th century have been collected and classified into three periods. In the early period before 1828, education of artistic anatomy proper was preliminarily tried, and in the middle period before 1869, new educational methods were invented to adapt the education in the curriculum of the artistic academy. In the late period, various educational methods of artistic anatomy were combined and systematized to provide modem educational materials which are still in use. Medical illustration was developed in the 20th century, and is clearly distinguished from artistic anatomy. The present study reveals the genealogy of Western artistic anatomy as well as the historical background of artistic anatomy in Japan.

[Modelling science. The ceroplastics of Ignacio Lacaba in the Colegio de Cirugía de San Carlos, Madrid]. / Modelando ciencia. La ceroplástica de Ignacio Lacaba en el Colegio de Cirugía de San Carlos de Madrid.

Models made of wax had enormous diffusion in the anatomical teaching of the 18th century. It transcended the borders of a science that impregnated with scientific knowledge the artistic expression of beauty. Based on this premise, the San Carlos Royal College of Surgery created in Madrid a large collection of anatomical models, which is currently maintained by the Javier Puerta Anatomy Museum in the School of Medicine at Madrid Complutense University. The collection began in 1786 with Ignacio Lacaba, the first dissector of the Surgery College of Madrid, whose artistic sensibility and deep knowledge of anatomy contributed and facilitated harmonization between the work of the wax sculptors and language and anatomical expression.

The spatial rhetoric of Gustav Zeiller's popular anatomical museum.

This article focuses on the public experience of science by studying the exhibition practice of a small popular anatomy museum. The owner, Gustav Zeiller, a little-known German model maker and entrepreneur, opened his private collection in Dresden in 1888 with the aim of providing experts and laymen alike with a scientific education on bodily matters and health care. The spatial configuration of his museum environment turned the wax models into didactic instruments. Relying on the possible connexion between material culture studies and history of the emotions, this article highlights how Zeiller choreographed the encounter between the museum objects and its visitors. I argue that the spatial set up of his museum objects entailed rhetorical choices that did not simply address the social utility of his museum. Moreover, it fulfilled the aim of modifying the emotional disposition of his intended spectatorship. I hope to show that studying the emotional responses toward artefacts can offer a fruitful approach to examine the public experience of medicine.

The public display of plastinates as a challenge to the integrity of anatomy.

Anatomy has been thrust into the public domain by the highly successful public displays of dissected and plastinated human bodies. This is anatomy in modern guise, anatomy as perceived by the general public. If this is the case, the message it is giving the public about the nature of anatomy is that it is an impersonal analysis of the human body of value within a medical and health care environment. While this is in part true, and while it reflects important aspects of anatomy's history, it fails to reflect the humanistic strands within an increasing swathe of contemporary anatomy. These are manifested in growing recognition of the centrality of informed consent in the practice of anatomy, awareness of the personal dimensions and relationships of those whose bodies are being dissected, and manifested in thanksgiving ceremonies involving staff and students. The notion that the bodies undergoing dissection can be students' first teachers and/or patients is gaining ground, another indication of the human dimensions of the anatomical enterprise. Exhibitions such as Body Worlds ignore these dimensions within anatomy by dislocating it from its clinical and relational base. The significance of this is that loss of these dimensions leads to a loss of the human face of anatomy by isolating it from the people whose body bequests made this knowledge possible. What is required is greater transparency and openness in the practices of all who deal with the dead human body, trends that owe much to the writings of scholars from within a range of humanities disciplines as they have responded to the public displays of dissected plastinated bodies. Anatomists have much to learn from these debates.

Student perceptions and effectiveness of an innovative learning tool: Anatomy Glove Learning System.

A trend in anatomical education is the development of alternative pedagogical approaches to replace or complement experiences in a cadaver laboratory; however, empirical evidence on their effectiveness is often not reported. This study aimed to evaluate the effectiveness of Anatomy Glove Learning System (AGLS), which enables students to learn the relationship between hand structure and function by drawing the structures onto a worn glove with imprinted bones. Massage therapy students (n = 73) were allocated into two groups and drew muscles onto either: (1) the glove using AGLS instructional videos (3D group); or (2) paper with palmar/dorsal views of hand bones during an instructor-guided activity (2D group). A self-confidence measure and knowledge test were completed before, immediately after, and one-week following the learning conditions. Self-confidence of hand anatomy in the 3D group gradually increased (3.2/10, 4.7/10, and 4.8/10), whereas self-confidence in the 2D group began to decline one-week later (3.2/10, 4.4/10, and 3.9/10). Knowledge of hand anatomy improved in both groups immediately after learning, (P < 0.001). Students' perceptions of AGLS were also assessed using a 10-pt Likert scale evaluation questionnaire (10 = high). Students perceived the AGLS videos (mean = 8.3 ± 2.0) and glove (mean = 8.1 ± 1.8) to be helpful in improving their understanding of hand anatomy and the majority of students preferred AGLS as a learning tool (mean = 8.6 ± 2.2). This study provides evidence demonstrating that AGLS and the traditional 2D learning approach are equally effective in promoting students' self-confidence and knowledge of hand anatomy.

Applied neuroanatomy elective to reinforce and promote engagement with neurosensory pathways using interactive and artistic activities.

One in six Americans is currently affected by neurologic disease. As the United States population ages, the number of neurologic complaints is expected to increase. Thus, there is a pressing need for more neurologists as well as more neurology training in other specialties. Often interest in neurology begins during medical school, so improving education in medical neural courses is a critical step toward producing more neurologists and better neurology training in other specialists. To this end, a novel applied neuroanatomy elective was designed at the University of Texas Health Science Center at San Antonio (UTHSCSA) to complement the traditional first-year medical neuroscience course and promote engagement and deep learning of the material with a focus on neurosensory pathways. The elective covered four neurosensory modalities (proprioception/balance, vision, auditory, and taste/olfaction) over four sessions, each with a short classroom component and a much longer activity component. At each session, students reviewed the neurosensory pathways through structured presentations and then applied them to preplanned interactive activities, many of which allowed students to utilize their artistic talents. Students were required to complete subjective pre-course and post-course surveys and reflections. The survey results and positive student comments suggest that the elective was a valuable tool when used in parallel with the traditional medical neuroscience course in promoting engagement and reinforcement of the neurosensory material.

The art of human anatomy: Renaissance to 21st century.

This session examines the relationship between the art and science of anatomy from the time of Vesalius to the present with particular emphasis on the role of the medical artist and the changing nature of anatomical illustration over the last five centuries. Pivotal changes in the art of anatomy will be examined including the evolution of media and brain imaging from Golgi to Geschwind.

Learning brainstem anatomy: a mnemonic device.

Basic brainstem neuroanatomy can be recalled through the application of 3 simple rules. Rule of 5: localizes a nucleus to the midbrain, pons, or medulla. Rule of 12: localizes a nucleus to the medial or lateral brainstem. Rule of M/S: establishes if a long tract in the brainstem courses laterally or medially

The place of surface anatomy in the medical literature and undergraduate anatomy textbooks.

The aims of this review were to examine the place of surface anatomy in the medical literature, particularly the methods and approaches used in teaching surface and living anatomy and assess commonly used anatomy textbooks in regard to their surface anatomy contents. PubMed and MEDLINE databases were searched using the following keywords "surface anatomy," "living anatomy," "teaching surface anatomy," "bony landmarks," "peer examination" and "dermatomes". The percentage of pages covering surface anatomy in each textbook was calculated as well as the number of images covering surface anatomy. Clarity, quality and adequacy of surface anatomy contents was also examined. The search identified 22 research papers addressing methods used in teaching surface anatomy, 31 papers that can help in the improvement of surface anatomy curriculum, and 12 anatomy textbooks. These teaching methods included: body painting, peer volunteer surface anatomy, use of a living anatomy model, real time ultrasound, virtual (visible) human dissector (VHD), full body digital x-ray of cadavers (Lodox(®) Statscan(®) images) combined with palpating landmarks on peers and the cadaver, as well as the use of collaborative, contextual and self-directed learning. Nineteen of these studies were published in the period from 2006 to 2013. The 31 papers covered evidence-based and clinically-applied surface anatomy. The percentage of surface anatomy in textbooks' contents ranged from 0 to 6.2 with an average of 3.4%. The number of medical illustrations on surface anatomy varied from 0 to 135. In conclusion, although there has been a progressive increase in publications addressing methods used in teaching surface anatomy over the last six to seven years, most anatomy textbooks do not provide students with adequate information about surface anatomy. Only three textbooks provided a solid explanation and foundation of understanding surface anatomy.

The importance of being Florentine: a journey around the world for wax anatomical Venuses.

This article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.

Developing observational skills and knowledge of anatomical relationships in an art and anatomy workshop using plastinated specimens.

One of the strong trends in medical education today is the integration of the humanities into the basic medical curriculum. The anatomy program is an obvious choice for using the humanities to develop professionalism and ethical values. They can also be used to develop close observational skills. Many medical schools have developed formal art observation training in conjunction with nearby art museums to enhance the visual diagnostic skills of their medical students. We report here on an art and anatomy workshop that paired medical and art students who did drawing exercises from plastinated anatomical specimens and the animated face to hone observational skills. Each member of the pair brought a different perspective and expertise to the work that allowed each to be a mentor to the other. The workshop had three sessions: the first involved drawings of plastinated specimens that allowed an intimate experience with authentic human material; the second involved drawings of the human face; and the third included examination of anatomical texts of important anatomist-artists, a lecture on contemporary artists whose work involves anatomy, and a film demonstrating the facial muscles. We propose workshops such as these will help students increase their ability to detect details. This will assist the medical student in developing diagnostic skills for identifying disease and the art student in using the human body as subject. We further propose that these programs will help students develop humanistic sensitivities and provide an outlet for expression of the emotional aspects of dealing with disease and mortality.