The surprise element: A hallmark of creativity in scientists, artists, and comedians.

Truly creative works of science and art produce unexpected and surprising results-just like the punch line of a good joke that generates an unfamiliar twist on a familiar idea. Surprise stimulates curiosity, which triggers a search to reveal the mystery of things unknown.

The Veiled Virgin illustrates visual segmentation of shape by cause.

Three-dimensional (3D) shape perception is one of the most important functions of vision. It is crucial for many tasks, from object recognition to tool use, and yet how the brain represents shape remains poorly understood. Most theories focus on purely geometrical computations (e.g., estimating depths, curvatures, symmetries). Here, however, we find that shape perception also involves sophisticated inferences that parse shapes into features with distinct causal origins. Inspired by marble sculptures such as Strazza's The Veiled Virgin (1850), which vividly depict figures swathed in cloth, we created composite shapes by wrapping unfamiliar forms in textile, so that the observable surface relief was the result of complex interactions between the underlying object and overlying fabric. Making sense of such structures requires segmenting the shape based on their causes, to distinguish whether lumps and ridges are due to the shrouded object or to the ripples and folds of the overlying cloth. Three-dimensional scans of the objects with and without the textile provided ground-truth measures of the true physical surface reliefs, against which observers' judgments could be compared. In a virtual painting task, participants indicated which surface ridges appeared to be caused by the hidden object and which were due to the drapery. In another experiment, participants indicated the perceived depth profile of both surface layers. Their responses reveal that they can robustly distinguish features belonging to the textile from those due to the underlying object. Together, these findings reveal the operation of visual shape-segmentation processes that parse shapes based on their causal origin.

Biofilm colonization of stone materials from an Australian outdoor sculpture: Importance of geometry and exposure.

The safeguarding of Australian outdoor stone heritage is currently limited by a lack of information concerning mechanisms responsible for the degradation of the built heritage. In this study, the bacterial community colonizing the stone surface of an outdoor sculpture located at the Church of St. John the Evangelist in Melbourne was analysed, providing an overview of the patterns of microbial composition associated with stone in an anthropogenic context. Illumina MiSeq 16S rRNA gene sequencing together with confocal laser microscope investigations highlighted the bacterial community was composed of both phototrophic and chemotrophic microorganisms characteristic of stone and soil, and typical of arid, salty and urban environments. Cardinal exposure, position and surface geometry were the most important factors in determining the structure of the microbial community. The North-West exposed areas on the top of the sculpture with high light exposure gave back the highest number of sequences and were dominated by Cyanobacteria. The South and West facing in middle and lower parts of the sculpture received significantly lower levels of radiation and were dominated by Actinobacteria. Proteobacteria were observed as widespread on the sculpture. This pioneer research provided an in-depth investigation of the microbial community structure on a deteriorated artistic stone in the Australian continent and provides information for the identification of deterioration-associated microorganisms and/or bacteria beneficial for stone preservation.

Biocontamination and diversity of epilithic bacteria and fungi colonising outdoor stone and mortar sculptures.

Microbial communities colonising outdoor sculptures form intricate and dynamic ecosystems, which can accelerate the deterioration processes of the artworks and pose challenges to their conservation. In this study, the bacterial and fungal communities colonising the surfaces of five contemporary outdoor sculptures were characterised by high-throughput sequencing. The sculptures, made of marble, granite, Ançã limestone and mortar, are in urban parks and squares in the district of Porto, Portugal. The analysis of the microbial populations revealed great taxonomic diversity and species richness, including in well-preserved sculptures showing few visible traces of contamination. Proteobacteria, namely the genera Pseudomonas and Sphingomonas, were the core taxa common to all the sculptures, while Massilia and Aureobasidium were dominant only in granite. An abundance of pigment-producing microorganisms, such as Deinococcus, Methylobacterium, Rhodotorula and Sporobolomyces, was also found in granite. These are relevant taxonomic groups that can negatively impact stone and mortar artworks. The study was complemented with colourimetric analyses and bioluminescence assays to measure the adenosine triphosphate (ATP) content of samples collected from specific contaminated areas of the sculptures. The characterisation of the microbiomes of sculptures can provide further knowledge on the deterioration risks of this type of artwork in the region and help outline future targeted conservation strategies. KEY POINTS: • Rich and abundant microbiomes expose sculptures' vulnerability to deterioration. • Well-preserved sculptures are at risk of deterioration by pigment-producing taxa. • ATP and colourimetry quickly identified the most relevant contaminated areas.

Reflections on observing faces in art.

The experience of art provides the visitor of a museum or gallery with the opportunity to contemplate and share the human condition both from the physical and psychological point of view. Because of the accessibility and the number of museums throughout Europe, classical European art as both sculpture and painting, affords the viewer the opportunity to experience life from one part of the world over centuries of history. These museums occasionally exhibit pieces showing a person with a human disorder and physical differences. On viewing such artwork, practitioners of health care, especially dysmorphologists, usually find themselves observing such pieces within the context of their practice. In this essay, the coauthors reflect on paintings and sculptures which remind us of our patients with similar physical and medical conditions. Various works of art also provide the opportunity to observe and view the human face from many vantage points and times in history. Several paintings are cited to illustrate the central themes of the Commentary: the human circumstance of disease and differences and the skill of observing and describing the human face.

The portrayal of people with dwarfism in Chinese art.

Dwarfism has been depicted in various Chinese art forms including literature, sculpture, and painting. This article examines several representative Chinese works of art from different ages of Chinese history, in order to glimpse the living situations of people with dwarfism, their professions and social status, as well as the social attitude toward them in China. We highlight "" (Shan Hai Jing, translated as the Classic of Mountains and Seas), a remarkable collection of myths and illustrations which documented the existence of dwarf communities where the residents were capable of producing high-quality grains. Representations from sculptures and paintings frequently captured the images of individuals with dwarfism in royal courts, which showed their remarkable performance skills and social ability. There are also works of art associating dwarfism with rituals. In addition to portraying ordinary individuals with humble social status, there was one particular individual with dwarfism named Yan Zi () who was highly regarded as a figure of wisdom. Throughout the long Chinese history, dwarfism had been portrayed in art as either positive, neutral or derogatory, which reflected the fact that people with dwarfism, while short in stature, are usually intellectually normal, generally skillful, and often talented, in short, like the general population.

CERAMIC transmission 2020.

Since the Covid-19 pandemic 2020 we have experienced so much of our lives through our computer and phone screens - including the 1,787,366 people have shared the image of the Mona Lisa on social media. I consider how we can design artworks to communicate digitally utilising a range of senses testing the notion that if you enable visitors to galleries and museums to touch sculptures it should enable greater understanding about complex ideas. The focus of my artworks was the history of the transmission of disease. I original designed ceramic sculptures that incorporated touch sensitive electronic sound components. Touching objects and visiting galleries became off limits during the pandemic so the touch hypothesis could not be tested, and instead QR codes were used to allow the digital viewer to extend their experience beyond the visual. The project started as an art in science experiment in incorporating sound, sight and touch into sculpture, but finally became my personal memorial to 2020 pandemic and a tribute to the many we have lost to Covid-19.

Will the shepherd be able to play the alpine horn with that huge goiter (XVI century)?

PURPOSE: There are many of the representations in iconography of individuals with goiters reported in the literature. METHODS: The article describe a unique representation of goiter, as observed by the authors in a sculpture in Italy. RESULTS: In a Nativity, in the upper part of the altar of the Church of the Annunciata, Boccioleto (Val Sermenza, Piedmont, Italy), a horn player with a huge goiter, gladdens the Holy Family. Wooden work by Francesco Antonio d'Alberto, 1694. CONCLUSION: This is an appropriate example of the iconography of "real goiter," since in this case the sculptor had the aim of showing person with goiter.

At the origin of "Endocrinology and Art": Woman's Head (third century BCE).

In 1911, the Danish physician Hans Christian Gram (1853-1938) sustained to have found signs of hyperthyroidism in a marble head of a Roman woman that he observed in the Ny Carlsberg Glyptotek in Copenhagen. It could be one of the first examples of a clinical diagnosis of an endocrine disease in an ancient statue.

African statue with goiter.

INTRODUCTION: Representations of thyroid swelling, intended as an enlarged anterior neck in the artworks of various periods are sporadically reported in the literature. MATERIALS AND METHODS: An African statue belonging to the African Yoruba culture has been analysed. RESULTS: Members of Ogboni Society in Yoruba culture used this statues to represent a real subject and to communicate between the living and dead. CONCLUSION: The statue reported seems to represent a case of real goiter.

The antiquity of hydrocephalus: the first full palaeo-neuropathological description.

The Pathology Museum of the University of Florence houses a rich collection of anatomical specimens and over a hundred waxworks portraying pathological conditions occurring in the nineteenth century, when the museum was established. Clinical and autopsy findings of these cases can still be retrieved from the original museum catalogue, offering a rare opportunity for retrospective palaeo-pathological diagnostics. We present a historical case of severe hydrocephalus backed by modern-day anthropological, radiological and molecular analyses conducted on the skeleton of an 18-month-old male infant deceased in 1831. Luigi Calamai (1796-1851), a wax craftsman of La Specola workshop in Florence, was commissioned to create a life-sized wax model of the child's head, neck and upper thorax. This artwork allows us to appreciate the cranial and facial alterations determined by 30 lb of cerebrospinal fluid (CSF) accumulated within the cerebral ventricular system. Based on the autopsy report, gross malformations of the neural tube, tumours and haemorrhage could be excluded. A molecular approach proved helpful in confirming sex. We present this case as the so-far most compelling case of hydrocephalus in palaeo-pathological research.

Neuroaesthetical Changes in Sculpture: The Case of Yannoulis Halepas (1851-1938).

The theoretical conceptualization of artistic ingenuity and creativity, as reflections of the highest-level cognitive functions in the human brain, has recently evolved from a purely philosophical pursuit to a compelling neuroscientific undertaking. Changes in artistic style have been extensively studied in association with brain dysfunction in the presence of neurological and psychiatric diseases in famous artists. This paper presents the case of Yannoulis Halepas (1851-1938), who is widely regarded as the most influential sculptor of modern Greek art. At the age of 27, already at the peak of his fame, Halepas abruptly abandoned the sculpture world after developing schizoaffective disorder, only to resurge onto the art scene after an almost 40-year-long hiatus with a fundamentally reformed artistic style. Two distinct periods have preoccupied art critics: Halepas's early premorbid years (1870-1878), which were imbued with the principles of neoclassicism, and the later postmorbid years (1918-1938), which mark the artist's transcendence to expressionism and contemporary art. From a neuroaesthetical perspective, the extensive and multifaceted oeuvre that Halepas produced in his lifetime allows a close study of his artistic development throughout and beyond mental disease. In addition, his lifework is a unique account in the history of art of the struggle of artistic genius with the limits of the rational mind and its conscious reality.

The Hippocratic Doctrine of "the Acute Brain Suffering" as the Brain Stroke.

BACKGROUND: The ancient Greek term "apoplexy" as is repeatedly mentioned by the Hippocratic School of Medicine, included a cluster of diseases, mainly those concerning the central nervous system. The term was wrongfully infiltrated in Western European medicine as synonymous to what is called today a "stroke" of the brain. OBJECTIVE: While in "Corpus Hippocraticum" the definition of the stroke was rather ambiguous; our study aims to unveil those fragments referring to it, in order to compose the Hippocratic theory of what it stood for "Acute Brain Suffering" (Greek: Οξείες Οδύνες του Εγκεφάλου) during the Classical era of ancient Greece. METHOD: A bibliographic research of the "Hippocratic Collection" was conducted during our study in order to connect all fragments from the original ancient Greek text, and reconstruct the "Hippocratic Stroke Theory". Three editions have been used as reference. French edition by Littré, and two Greek ones by Kaktos and Pournaropoulos. RESULTS: The "Acute Brain Suffering" seems to be the entity we call "Stroke" in modern clinical practice. Edema (collection of fluids-humours theory) was considered to be the most significant element which though could have been addressed by a cranial decompression for the symptoms to improve. The symptoms in question were, acute brain pain, diplopia, vertigo, ataxia, saliva, and urine loss as well as feces incontinence. CONCLUSION: Both therapeutic approach and symptomatology exhibited significant similarities with the modern concept of the stroke. The Hippocratic School was a scientifically advanced sect of medicophilosophers who promoted global medicine.

Monuments to Cajal in Madrid, Spain: Rejection of public tributes.

During Santiago Ramón y Cajal's lifetime, two monuments to him were erected in Madrid. However, Cajal excused himself from attending their inaugurations for reasons that have so far remained unexplained. The present report has therefore investigated the political context and personal circumstances that might account for his behavior. The first monument is a fountain in El Retiro Park, the work of sculptor Victorio Macho, inaugurated in 1926 during a major confrontation between progressive intellectuals and physicians against the dictatorship of Miguel Primo de Rivera. An official press release warned of a prison sentence for those who attempted a second (illegal) inauguration. The second monument appeared in 1931, barely a month after the establishment of the Second Spanish Republic. This full-body statue, standing>3m (around 10ft) high on a narrow pedestal, was financed by medical students and sculpted by Lorenzo Domínguez, a Chilean medical student. Its unlikely height and thinness earned it the nickname 'The Pencil'. At present, it flanks the entrance to Cajal's old classroom at the Madrid College of Physicians. Closer inspection reveals fractures as evidence of its having been broken into pieces at some point, presumably during bombings that took place in 1936. The calcareous Novelda stone used in its construction and its exposure to the elements may also partly explain its deterioration. A few metres away, a second sculpture, apparently a replica of the original, was inaugurated in 1998. Cajal's excuses for not attending the inaugurations of both his monuments may have different explanations. Regarding the fountain, it was probably a gesture of solidarity against those (many of whom were doctors) opposing the dictatorship whereas, when The Pencil was inaugurated, Cajal was 79 years old, and his physical limitations might have accounted for his inability to attend the ceremony. Thus, given the different political context in which each inauguration took place, Cajal's attitude was presumably in line with his politics, but also the result of his age-related infirmities.

Cervico-facial dystonia as depicted in sculpture before its scientific description.

The authors describe a sculpture from Daumier, called "Le Hargneux" (The peevish one), whose physiognomic study evokes hitherto unrecognized cranial-cervical dystonia. It is probably the first representation of dystonia in sculpture, before its scientific identification by Horatio Wood, in 1887.

A Crouzon syndrome from the Classic period of Maya civilization?

This article describes a retrospective diagnosis through an artistic representation of a pre-Columbian Central America bowl figuring a child with clinical characteristics of Crouzon syndrome. The report also highlights the importance of icono-diagnosis for a better description of the existing diseases into ancient societies.

Auguste Renoir, Sculptor With Hired Hands: A Masterful Artistic Cooperation Overshadowed by Legal Issues and Copyright Infringement.

The coping with rheumatoid arthritis of the famous French impressionist painter Pierre-Auguste Renoir (1841-1919) is described in former publications. The heavily handicapped painter has in his last years created sculptures in cooperation with the sculptor Richard Guino (1890-1973). The extraordinary genesis of the sculptures through a masterful artistic cooperation, as well as the resulting legal issues and shameful copyright infringements, is reported. Renoir's decision to create sculptures with the help of Guido can be attributed to his remarkable artistic vision, vitality, optimistic nature, and strong will and is also a further testimonial of creative coping of an artist overcoming the physical handicap due to rheumatoid arthritis of his final years, so far not described in detail in the medical literature.