Relevant bibliographies by topics / Visual medical history

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Visual medical history'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Visual medical history"

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Endrődy-Nagy, Orsolya. "Visual History of Childhood– Medical History Aspects." Kaleidoscope history 9, no. 16 (2018): 28–38. http://dx.doi.org/10.17107/kh.2018.16.28-38.

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Mizota, Atsushi, Noriko Asaumi, Michihiko Takasoh, and Emiko Adachi-Usami. "Pattern visual evoked potentials in Japanese patients with multiple sclerosis without history of visual pathway involvement." Documenta Ophthalmologica 115, no. 2 (June 5, 2007): 105–9. http://dx.doi.org/10.1007/s10633-007-9062-0.

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Case, Gretchen A. "X‐rays and Catholic schoolgirls: Performing medical and personal history." Contemporary Theatre Review 11, no. 3-4 (January 2001): 149–58. http://dx.doi.org/10.1080/10486800108568644.

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Holroyd, Suzanne. "Visual Hallucinations in a Geriatric Psychiatry Clinic: Prevalence and Associated Diagnoses." Journal of Geriatric Psychiatry and Neurology 9, no. 4 (December 1996): 171–75. http://dx.doi.org/10.1177/089198879600900403.

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Visual hallucinations are associated with a variety of psychiatric, medical, neurologic, and ophthalmologic disorders. One hundred forty outpatients presenting to a geriatric psychiatric clinic were screened for visual hallucinations and assessed on a number of descriptive variables, medical history, ophthalmologic history, psychiatric diagnosis, and cognitive score. The data revealed that 14 patients (10%) experienced visual hallucinations. Presence of visual hallucinations was significantly associated with diagnoses of dementia or delirium, living in a nursing home, lower cognitive score, and presence of auditory hallucinations and delusions. There was no association to number of medications, age, gender, or presence of eye disease. No patient had ‘insight’ into their visual hallucinations. Despite the numerous disorders that are associated with visual hallucinations, the most common causes in a geriatric psychiatry clinic are dementia and delirium. Clinicians assessing older patients with visual hallucinations should first carefully evaluate for these disorders.
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Lévesque, Andrée. "Visual History Review: Osler's McGill: Medical Education, 1870-1885. Redpath Museum, McGill University. December 1999." Canadian Historical Review 81, no. 3 (September 2000): 468–69. http://dx.doi.org/10.3138/chr.81.3.468.

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Jackson, Mark. "Images of deviance: visual representations of mental defectives in early twentieth-century medical texts." British Journal for the History of Science 28, no. 3 (September 1995): 319–37. http://dx.doi.org/10.1017/s0007087400033185.

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In his Feeblemindedness in Children of School-Age, first published in 1911, Charles Paget Lapage, physician to the Manchester Children's Hospital, wrote that one ‘only has to watch a group of feebleminded children to see that most of them have some peculiarity’. These words appear towards the end of an extensive discussion of the physical characteristics that could be found in feeble-minded children and are accompanied by a plate comprising four photographs of ‘Feebleminded Children showing Defective Expression’ (Figure 1).
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Higdon, Emily, Jennifer D. Twilla, and Christopher Sands. "Moxifloxacin-Induced Visual Hallucinations: A Case Report and Review of the Literature." Journal of Pharmacy Practice 30, no. 3 (March 21, 2016): 375–77. http://dx.doi.org/10.1177/0897190016637987.

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Fluoroquinolones are extensively used to treat a variety of common bacterial infections. Due to their extensive use in clinical practice, increases in neuropsychiatric events have been reported. We discuss the case of a young female who developed visual hallucinations after 2 doses of moxifloxacin. After discontinuation of the moxifloxacin, the patient’s symptoms completely resolved. While one other case report exists with moxifloxacin, this case is unique in comparison. Our patient was a young female with no kidney dysfunction, no drug abuse history, absence of polypharmacy, and no previous psychological history that would have put her at an increased risk of drug-induced psychosis. Due to the prevalence of medication-induced hallucinations, it is imperative that clinicians are able to recognize offending medications in an effort to prevent misdiagnosis of a psychiatric illness.
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Simpson, D. A., and J. L. Crompton. "The visual fields: An interdisciplinary history I. The evolution of knowledge." Journal of Clinical Neuroscience 15, no. 2 (February 2008): 101–10. http://dx.doi.org/10.1016/j.jocn.2007.09.005.

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Simpson, D. A., and J. L. Crompton. "The Visual Fields: An Interdisciplinary History II. Neurosurgeons and Quantitative Perimetry." Journal of Clinical Neuroscience 15, no. 3 (March 2008): 229–36. http://dx.doi.org/10.1016/j.jocn.2007.09.017.

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Turovskaya, N. G. "Mental Development of Children with Non-epileptic Paroxysmal States in Medical History." Psychological-Educational Studies 7, no. 3 (2015): 82–95. http://dx.doi.org/10.17759/psyedu.2015070309.

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The author studied mental functions disorders in children with a history of paroxysmal states of various etiologies and compared mental development disorder patterns in patients with epileptic and non-epileptic paroxysms. Study sample were 107 children, aged 6 to 10 years. The study used experimental psychological and neuropsychological techniques. According to the empirical study results, non-epileptic paroxysms unlike epileptic much less combined with a number of mental functions disorders and intelligence in general. However, non-epileptic paroxysmal states as well as epileptic seizure associated with increasing activity exhaustion and abnormal function of the motor analyzer (dynamic and kinesthetic dyspraxia). Visual memory disorders and modal-nonspecific memory disorders have more pronounced importance in the mental ontogenesis structure in children with convulsive paroxysms compared to children with cerebral pathology without paroxysms history.
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Dissertations / Theses on the topic "Visual medical history"

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Bonanno, Grace. "The Importance of a Pictorial Medical History in Assisting Medical Diagnosis of Individuals with Intellectual Disabilities: A Telemedicine Approach." NSUWorks, 2015. http://nsuworks.nova.edu/gscis_etd/51.

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When face-to-face physical medical exams are not possible, virtual physical exams, in the form of a pictorial medical exam/history, can be substituted, and telemedicine can be the means to deliver these virtual exams. The goal of this work was to determine if presence in the form of a visual and/or pictorial medical history can be of benefit to clinicians in the diagnosis of medical conditions of individuals with developmental disabilities (DDs) and/or intellectual disabilities (IDs), in particular those who cannot, because of their cognitive and/or physical disabilities, verbally relate their illness to a clinician. Virtual exams can also be useful in cases where clinicians may need additional advice from fellow experts, especially if those experts are not physically present. A web-based telemedicine application used for treating persons with DD/IDs was developed. This application includes a visual medical history component incorporated into an electronic medical records application. The purpose is to allow the clinician to use an environment that integrates a written and visual representation of a patient’s medical history and physical findings to aid the clinician in determining a medical diagnosis. Twenty-two clinicians and five direct service aids of a New York State Developmental Disabilities Services Office facility, who deliver healthcare to DD/ID patients on a daily basis, accessed the telemedicine application instead of their traditional hardcopy/paper medical history when examining patients. A comprehensive survey was distributed to the clinicians to determine the effectiveness of the application as well as help answer the primary questions proposed by this research. The results of this study showed that presence in the form of a video medical history is preferred by clinicians rather than having just a written medical history of the patient. Clinicians felt the visual medical history component of the telemedicine application was useful and informative for delivering healthcare to individuals with DD/ID and enabled them in diagnosing a patient as well as lessened the need to transfer patients to the emergency room, resulting in a significant cost savings.
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Nukaga, Yoshio. "The visual transcription of "family disease" : a comparison of the use of medical pedigrees in genetic counseling practices in Canada and Japan." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23729.

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In recent years, with the development of DNA tests and genetic knowledge, there has been a growth of genetic counseling services and research in Canada and Japan. Although the uniqueness of genetic services in medicine lies in the preliminary assessment of the entire family rather than a single patient, few attempts have been made by social scientists to examine the technical and social construction of family trees and medical pedigrees. The purpose of this thesis is to analyze how the family data taken by genetic counselors are transcribed as medical pedigrees and used by associated health care workers in different cultural settings. The comparative analysis was based on an ethnographic approach that included participant-observation in genetic counseling sessions, interviews with clinical workers, and content-analysis of medical textbooks. The findings include three major points: (1) cultural views of the family are taken for granted by genetic counselors; (2) the process of documenting family data consists of four stages: primary transcription, secondary transcriptions, combination and publications; (3) the clinical workers' use of medical pedigrees results in the construction of family history as part of the present family illness.
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Nichols, Chelsea. "Human curiosities in contemporary art and their relationship to the history of exhibiting monstrous bodies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ba167028-a762-4846-a016-dd26870f0b5c.

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This thesis analyses the representation of so-called human curiosities in recent visual art, by drawing a connection to historical practices of exhibiting 'monstrous' and deformed bodies within institutions such as freak shows, anatomical collections and medical museums. The last two decades have witnessed a surge of scholarly interest in the histories of these institutions, particularly through the work of Robert Bogdan, Rosemarie Garland-Thomson, Rachel Adams, Richard Sandell and Samuel J.M.M Alberti, whose research can be situated in interdisciplinary humanities fields such as disability studies, museology, history of science and literary and visual studies. Concurrently, a remarkable number of contemporary artists have also turned to the history and imagery of these spaces to explore the politics of display in exhibitions of non-normative bodies. This study addresses the critical gap between these two parallel domains of inquiry, drawing upon recent studies concerning historical exhibitions of monstrous bodies to analyse how contemporary artists have simultaneously confronted and extended these traditions through their artworks. In order to show that the very notion of 'monstrous bodies' is inextricably bound up in the curious display practices that frame them, I analyse the representation of human curiosities in the work of Zoe Leonard, Joanna Ebenstein, Diane Arbus, Mat Fraser, Pauline Boudry & Renate Lorenz, Marc Quinn and John Isaacs. Each chapter examines a distinct institutional context – the anatomical collection, the freak show, the art gallery, and the contemporary medical museum – to investigate how these artists challenge the meanings conferred upon extraordinary bodies within each space, bestowing new significance upon these forms within the context of their various art practices. I argue that, by doing so, artists themselves can take on roles like curious collectors, freak show talkers and teratologists, revealing the potential for 'art' to act as yet another display framework that imposes a particular set of meanings onto anomalous bodies.
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Dussauge, Isabelle. "Technomedical Visions : Magnetic Resonance Imaging in 1980s Sweden." Doctoral thesis, Stockholm : Filosofi och teknikhistoria, Philosophy and the History of Technology, Kungliga Teknsika högskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4671.

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Iannaccone, Antonietta Louise. "Cutting Out Worry: Popularizing Psychosurgery in America." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/517.

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We think of the lobotomy as utterly primitive and brutal; we shudder at the idea of it. The archetypal image of creepiness, violence, and unnecessary brutality was expressed in the book and movie One Flew Over the Cuckoo’s Nest. This procedure weighs heavy on America’s conscience but in 1945 the procedure was characterized as being as gentle as ‘cutting through butter’ and the therapeutic effect was described as ‘cutting out worry’. How did the lobotomy gain such widespread acceptance? One part of the answer is that Walter Freeman advocated for it not just among his colleagues, but through the popular media outlets of his day as well. In this thesis I will claim that, starting in 1936, Walter Freeman influenced the positive portrayal of lobotomies in the American press. He participated in visual culture that promoted a convergence between medical culture and the popular press by cultivating a representation of the procedure that could appeal to both. His tools included narrative accounts, images, and a public dramatization of himself that was hard to resist. I will show how these efforts were quite successful in the beginning, but that by 1947 he started to lose control of the perceptions and narrative he had worked so hard to construct.
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Takahashi, Yukako. "Visually-rated medial temporal lobe atrophy with lower educational history as a quick indicator of amnestic cognitive impairment after stroke." Kyoto University, 2019. http://hdl.handle.net/2433/242906.

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Jülich, Solveig. "Skuggor av sanning : tidig svensk radiologi och visuell kultur /." Linköping : Univ, 2002. http://www.bibl.liu.se/liupubl/disp/disp2002/arts255s.pdf.

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Slipp, Naomi Hood. "'The Secret Figure': artistic anatomy and the medical body in nineteenth-century American culture." Thesis, 2015. https://hdl.handle.net/2144/15995.

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This dissertation examines nineteenth-century American art and visual and material culture, interrogating the ways that art communicated medical knowledge to artists, doctors, and the public. Attention is paid to the relationships forged between medical professionals and artists via joint endeavors towards understanding human anatomy and picturing the body. These collaborations produced works of art that legitimized American professional medicine and arts pedagogy. Chapter one, which focuses on the display of classical casts at Massachusetts General Hospital, Harvard Medical School, and the Boston Athenæum, claims that these idealized sculptures accomplished surprisingly similar ideological ends, enforcing cultural capital while affecting ideas about corporeality. The second chapter analyzes four Southworth & Hawes daguerreotypes and one print from 1846-47 that depict the first public ether demonstration and two subsequent surgeries in the Massachusetts General Hospital amphitheater. By attempting to photograph ether and pain's absence, their production linked medicine with technological and chemical advancements. Chapter three surveys a selection of anatomy illustrations painted between 1849 and 1854 by Oscar Wallis for Dr. Henry Bigelow's lectures at Harvard Medical School. These diagrams relate to the development of visual diagnostics, a core goal of the American Medical Association. Chapter four concentrates on the U.S. Army Medical Museum and explores two sets of engravings, fragmented Vesalian torsos and renderings of plaster casts of Civil War amputations, from The Medical and Surgical History of the War of the Rebellion (1861-65). Chapter five evaluates artistic anatomy instruction at the Pennsylvania Academy of the Fine Arts and analyzes Thomas Eakins's plaster and bronze anatomical cadaver casts. They mark a significant transition in corporeal representation away from the model elaborated upon in chapter one, which relied on visual translation centralized around idealized proportions and classical models, and towards a tactile understanding of the human body as a medically complex three-dimensional organism. In assessing methods for corporeal representation across the nineteenth century, this dissertation claims that the study of anatomy affected representations of the human body and, through their dissemination, the American publics' notions about what the human body looked like, how it functioned, and how it should be represented.
2022-07-31T00:00:00Z
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Kowalski, Sara. "Imag(in)ing the cancerous body: representations of cancer in medical discourse and contemporary visual art." Master's thesis, 2010. http://hdl.handle.net/10048/1249.

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This thesis examines representations of cancer in contemporary art, with a particular focus on unruly, un-idealized bodies at risk. In bringing together the discourses of art history and medicine, its aim is to engage conventions of visualizing cancer, and more importantly, to highlight the ways in which contemporary artists challenge dominant representations, re-imagining the cancerous body from an embodied perspective. Chapter One provides a context for images of cancer by examining an artistic account of how medicine constructs the body against an artists representation of her own cancerous body. Theorizing cancer as an abject condition, Chapter Two examines representational strategies for visualizing cancer that trouble distinctions between inside/outside, self/other, subject/object, healthy/diseased. Building on themes of gender, health, and identity, Chapter Three considers representations of chemotherapy-induced hair loss and baldness as the most visible signs of cancer, but highly unstable and performative ones that call the representational status of the disease into question.
History of Art, Design and Visual Culture
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Books on the topic "Visual medical history"

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Chung, Esther K. Visual diagnosis and treatment in pediatrics. 2nd ed. Philadelphia: Lippincott Williams & Wilkins, 2010.

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1946-, Ackerman Michael J., and Folkenberg Judith, eds. Human anatomy: A visual history from the Renaissance to the digital age. New York: Abrams, 2011.

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A natural history of vision. Cambridge, Mass: MIT Press, 1998.

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Screening the body: Tracing medicine's visual culture. Minneapolis: University of Minnesota Press, 1995.

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Imagining illness: Public health and visual culture. Minneapolis, MN: University of Minnesota Press, 2010.

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Emison, Patricia. Moving Pictures and Renaissance Art History. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036.

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Film, like the printed imagery inaugurated during the Renaissance, spread ideas – not least the idea of the power of visual art – across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.
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History as a visual art in the twelfth-century renaissance. Princeton, N.J: Princeton University Press, 1990.

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Giallongo, Angela. L' avventura dello sguardo: Educazione e comunicazione visiva nel Medioevo. Bari: Dedalo, 1995.

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Peter, Lord. The visual culture of Wales. Cardiff: University of Wales Press, 1998.

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The visual culture of Wales. Cardiff: University of Wales Press, 2003.

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Book chapters on the topic "Visual medical history"

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Norman, G. R., L. R. Brooks, J. P. W. Cunnington, V. Shali, M. Marriott, and G. Regehr. "Expert-Novice Differences in the Use of History and Visual Information from Patients." In Advances in Medical Education, 625–28. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-011-4886-3_189.

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Driver, Martha W. "Inventing Visual History: Re-presenting the Legends of Warwickshire." In Medieval Texts and Cultures of Northern Europe, 161–202. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.tcne-eb.3.2768.

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Moxey, Keith. "Nostalgia for the real: the troubled relation of art history to visual culture." In Medieval Texts and Cultures of Northern Europe, 45–55. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.tcne-eb.3.2012.

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Finch, Julia A. "Visual Literacy and Art History: Teaching Images and Objects in Digital Environments." In Essentials of Teaching and Integrating Visual and Media Literacy, 251–64. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-05837-5_13.

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Pickett, Jordan. "Conflict Architecture: Making History at the Tomb of the Patriarchs, Hebron." In Architecture and Visual Culture in the Late Antique and Medieval Mediterranean, 177–90. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.ama-eb.5.124441.

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Šimik, Ondřej. "Analysis of Visual Components in Czech History Textbooks for Lower Grades of Elementary Schools." In Textbooks and Educational Media: Perspectives from Subject Education, 119–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80346-9_10.

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Gowanlock, Jordan. "Conclusion: Engineering Movies." In Palgrave Animation, 171–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_7.

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AbstractThe conclusion to Animating Unpredictable Effects argues for the importance of understanding engineering and R&D as a part of animation and visual effects production, in opposition to critics who dismiss these as mere tools for hyperrealism. This provides for a better understanding of a diverse range of contemporary digital media production practices that involve extensive technical work, but it also sheds light on film production practices going back a century. Using the example of practical special effects, like puffs of smoke or splashing waves in a studio water tank, which create unpredictable motion under artificial conditions, the conclusion draws a long history of practices that represent the world by making artificial mechanisms rather than capturing or drawing images.
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"Medical Horror: Visual Documents From the History of Lobotomy." In Ethics and Images of Pain, 232–48. Routledge, 2012. http://dx.doi.org/10.4324/9780203125908-23.

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"'Classic, Characteristic or Typical': The Skin and the Visual Properties of External Anthrax Lesions." In A Medical History of Skin, 209–22. Routledge, 2015. http://dx.doi.org/10.4324/9781315654591-20.

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Wirtschafter, Jonathan D., and Thomas J. Walsh. "Anatomic Basis and Differential Diagnosis of Field Defects." In Visual Fields. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195389685.003.0007.

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The purpose of any medical test is to confirm or rule out a diagnosis based on the clinical facts. In performing perimetry, the printout of the defect is not the end of the test. For even the most experienced reader, the test results at best tell the location of the defect. The next step is to consider the causes of such a defect in that part of the vision system. The experienced perimetrist will look at the results and suggest a differential list of causes. The primary diagnostic list is frequently aided by adding to the perimetry the medical history and other physical signs. The results of both then lead to the next step: ordering tests to confirm the cause of the field defect. It may require the ordering of a magnetic resonance (MR) image, but that may not be the proper test if the original differential diagnosis is faulty. Sedimentation rate and C-reactive protein may be more appropriate tests if the clinical facts suggest cranial arteritis. If carotid disease is suspected, a computed tomography (CT) angiogram may be more appropriate. In the following discussion of these defects, there has been a melding of a discussion explaining anatomically why these defects occur in certain areas. Because the course and relations of the primary visual sensory pathway have been frequently and well described (including in other chapters of this monograph), this chapter concentrates on the multiple anatomic substrates that may explain each particular pattern of visual field abnormality. Visual field abnormalities are represented by three categories: monocular, binocular, and junctional. Monocular field defects include those that can be caused by lesions of one eye or optic nerve. Binocular field defects include those that may result from single or multiple lesions at one or more points along the visual pathway. Junctional field defects include three types of visual field defects resulting from a lesion at the junction of the optic nerve and optic chiasm or of the optic tract and optic chiasm.
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Conference papers on the topic "Visual medical history"

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Gorgeri, Fabiola. "Memory and change through Le Corbusier. Fragments of urban views." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.927.

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Abstract: In the urban project of Le Corbusier the relationship between new and existing is opportunity of poetic composition. The real traces of the past of one place are transformative tools by which the new project is developed. The projects after World War II, like reconstruction project of Saint-Dié, are occasions to reflect about the new urban developments, rapid and extensive, and the relation of them with the landscape in a new territorial vision. The fragments of past and the new buildings are seen like belonging to a same context of reference and the entire urban composition forming part of a landscape on more large scale. Therefore, the urban project is an ensemble of architectural objects and nature that are held together by calculated visual relation. It is a kind of montage of urban views related to the dimension and measure of the human subject, like visual points or pedestrian paths. Memory and change are linked together by the natural history process and commensurate also to the human measure by a three dimension urbanism where the architecture can anew make the city. Resumen: En el proyecto urbanístico de Le Corbusier la relación entre la nueva y la existente es la oportunidad de la composición poética. Las huellas reales del pasado de un lugar son herramientas de transformación por el que se desarrolla el nuevo proyecto. Los proyectos después de la Segunda Guerra Mundial, como el proyecto de reconstrucción de Saint-Dié, son ocasiones para reflexionar acerca de los nuevos desarrollos urbanos, rápidas y amplias, y la relación de ellos con el paisaje en una nueva visión territorial. Los fragmentos del pasado y los nuevos edificios son vistos como pertenecientes a un mismo contexto de referencia y toda la composición que forma parte urbana de un paisaje de más gran escala. Por lo tanto, el proyecto urbano es un conjunto de objetos arquitectónicos y la naturaleza que se mantienen unidas por la relación visual calculada. Es una especie de montaje de vistas urbanas relacionadas con la dimensión y la medida del ser humano, al igual que los puntos visuales o caminos peatonales. La memoria y el cambio están unidos entre sí por el proceso de la historia natural y acorde también a la medida humana por un tres dimensiones urbanismo donde la arquitectura de nuevo puede hacer de la ciudad. Keywords: urban project; landscape; memory; Saint-Dié. Palabras clave: proyecto urbano; paisaje; memoria; Saint-Dié. DOI: http://dx.doi.org/10.4995/LC2015.2015.927
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Guerrera, Brittany, Samantha Farrow, Gloria Zeng, and Sally F. Shady. "Multiple Sclerosis Symptom Analyzer." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66217.

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Multiple Sclerosis (MS) is a chronic neurodegenerative disease of the central nervous system. MS is typically diagnosed between the ages of 20 and 40. There is no known cause of the disease and each individual experiences varying signs and symptoms depending on the severity of their disease. The most common symptoms include tremor, debilitated gait, visual impairment, or cognitive and emotional disturbances. Current methods used to treat MS include oral medication and surgical treatment. The issues with oral medication are the unwanted side effects to otherwise healthy tissue and the lack of patient adherence. Surgical treatment can be invasive and require longer recovery times. An alternate strategy to treat MS is by increasing the knowledge base of the practitioner to potentially treat specific symptoms. Currently, physicians use observations and MRI scans of the brain and spinal cord to help diagnose and track the progression of MS. There are several studies that analyze existing assistive technology to aid in the treatment of MS tremors. Most of these studies did not involve large test groups, therefore it is difficult to prove their validity. Additionally, none of the current devices are able to track symptoms while simultaneously creating medical history records. The goal of the design is to create a new device that will obtain the frequency and amplitude of tremors, while analyzing the effects of temperature and heart rate on the intensity of the tremor. With this data, the device will advance further MS research and lead to better diagnosis and treatment.
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Vidal Alamar, Maria Dolores, and Roberto Vicente Giménez Morell. "INTUICIÓN Y PERSPECTIVA GEOMÉTRICA EN LA DESCRIPCIÓN NARRATIVA." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5159.

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En la presente comunicación nos planteamos analizar la conexión entre dos conceptos perspectivos, intuición y proyección, que a veces van de la mano pero que en distintas épocas de la historia del arte se han desvinculado uno del otro, al menos aparentemente. Las preguntas que nos haríamos serían ¿en qué medida y de qué manera la intuición es el motor que mueve los resortes gráficos para describir una situación concreta en la que entran personajes y entorno?, ¿En qué medida los recursos gráficos y pictóricos con respecto a uno u otro concepto, contribuyen a dicha descripción y al contenido narrativo? Aunque es cierto que la experiencia visual determina una imagen mental de la realidad, no es menos cierto que la intuición, que hace germinar el proceso creativo, está presente en el proceso de representación de la escena y en el discurso narrativo. En la dualidad existente entre la realidad visual y la imagen creada, vemos también la relación global – local como dos términos que tienen que ver con la diferencia existente entre un conjunto de códigos “objetivos” empleados en la perspectiva geométrica, y otro conjunto de códigos que calificaríamos de “subjetivos” que transmiten un mundo más personal e individualizado. Así la visión entendida como una proyección de imágenes del mundo exterior expresada por medio de una serie de formas geométricas que participan de ciertas leyes visuales, se opondría a una visión interior en la que las experiencias más íntimas y personales conformarían otros elementos que contribuirían al resultado de la obra artística. Presentaremos una serie de obras que nos van a dar las respuestas a las preguntas planteadas, entre ellas analizaremos una miniatura persa, un fragmento de El Bosco, un artista típicamente renacentista como Crivelli y entre la pintura moderna Salvador Dalí, Marc Chagall, y los contemporáneos Moebius y El Hortelano.http://dx.doi.org/10.4995/ANIAV.2017.5159
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Tosyalı, Hikmet. "Political Communication in the Digital Age: Algorithms and Bots." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.004.

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Technology is one factor that has formed the basis for change in the media throughout history. Analog data and information shared by verbal, visual or written methods are now stored, processed, reproduced and shared in digital format due to developments in information technologies. On the other hand, social media, which is an important part of the digital media system, has become an important medium for political communication studies due to its prevalence and big data. As political actors better understand the value of data sets of millions of users, their interest in social media has also increased. However, this growing interest has also brought concerns such as digital profiling, informatics surveillance, systematic disinformation, and privacy violations. It has long been discussed that the practices of governments and technology companies for creating a structure similar to the gatekeeping in traditional media by taking social media under control. In recent years, some of these discussions are (ro)bot accounts on social media because online social networks are no longer just connecting people. Machines talk and interact with people, and even machines do this with other machines. Automatic posts made by bot accounts through algorithms to imitate people’s behavior on social media are liked, reposted or commented on by people and other bots. Bots that make political shares are also used by political actors worldwide, especially during election periods. Politicians use political bots to appear more popular on social media, disrupt their rivals’ communication strategies, and manipulate public opinion. This study aimed to reveal the effects of bots on political communication. After explaining the concepts of propaganda, algorithm, bot and computational propaganda, how political bots could affect the public sphere and elections were discussed in the light of current political communication literature.
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Gil-Fournier Martínez, Abelardo. "La tierra está en el aire. Imagen y colonización interior." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5836.

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Un proceso de colonización es entendido habitualmente como un movimiento de dentro a fuera, como una extensión porosa de las fronteras. Colonización es sin embargo un concepto que ha sido también empleado para referirse a procesos hacia adentro, de transformación de dominios propios. En la historia reciente de España, el Instituto Nacional de Colonización operó entre los años 1939-1973 una conversión del paisaje rural en numerosas zonas de la Península. A través de canalizaciones, desecaciones y construcción de pueblos y embalses, facilitó la explotación del territorio en términos productivos, abriendo el paisaje a nuevas prácticas agrícolas y tecnológicas.Este despliegue de infrastructuras coincidió con los vuelos que dieron paso al primer registro ortofotográfico completo del Estado. La transformación del paisaje tuvo lugar entonces junto a una nueva forma de mediación, la de la visión aérea. La extensión simultánea de estas dos superficies, la de un terreno reorientado a la producción y la de su impresión fotográfica desde el aire, permite entender esta doble interacción de la luz con la tierra en términos de lo que el teórico de los media Jussi Parikka ha denominado medianatures. Una doble relación en la que, por un lado, la visión aérea ejerce su "poder para transformar, redefinir e hibridizar naciones, territorios y culturas" - en palabras de la teórica de los media Lisa Parks-, y en la que por otro lado la visión aparece como expresión misma de una relación material con la superficie; citando a Ryan Bishop: "si algo es visible, tocable, entonces es de facto una superficie y dependiente de otra entidad, otro suelo como soporte, no visible o inteligible."Esta comunicación presenta la Colonización Interior como una genealogía material de la visualidad contemporánea, fijando así a la producción de imágenes hoy una historia de trabajos forzados y de explotación del medioambiente.http://dx.doi.org/10.4995/ANIAV.2017.5836
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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.

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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Boyano lopez villalta, Delia. "El desplazamiento del icono: estrategias de revisión y actualización de la tradición en el audiovisual contemporáneo." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8980.

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La tradición cuenta que Santa Casilda de Toledo era hija de un rey musulmán del siglo XI, que tras convertirse al cristianismo comenzó a llevar pan a los presos cristianos. Cuando un día la detuvieron ante las sospechas de su traición y le pidieron que mostrara su mercancía, los panes que llevaba en su delantal se transformaron, milagrosamente, en rosas. Dentro de la Historia del arte, la hagiografía de la santa es revisada en el siglo XVII por el maestro barroco Francisco de Zurbarán, que la retrata como parte de una serie de cuadros dedicados a mártires cristianas que portan sus objetos de martirio. En la pieza performativa “But when she unfolded her apron…” parto de ambas referencias para realizar una actualización de la leyenda medieval. La pieza consiste en una mesa alargada y estrecha con una secuencia de dibujos sobre ella y un rail sobre el que se desliza un rodillo. Durante la performance, la figura de la santa se desplaza a la de la artista/performer que asume su papel dentro de la historia al tomar el rodillo entre sus manos y deslizarlo como si amasara el pan prohibido. Es esta relación cuerpo versus objeto el punto de partida de la actualización de la historia, pues como conexión entre el personaje mítico y yo misma, posibilita dicho desplazamiento. Al manipular el objeto no solo me convierto en la santa sino que además me hago partícipe de su sufrimiento. A lo largo de la ponencia analizaremos el desplazamiento de la figura de la santa a la performer/artista como estrategia de actualización del mito. Me propongo para ello relacionarla con otros desplazamientos en obras de artistas como Cindy Sherman, Coco Fusco o Pilar Albarracín, que emplean este mismo recurso de enmascarar o vestir su identidad con distintos enfoques y resultados.
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De la Torre Oliver, Francisco. "Imágenes de otros mundos. La alianza entre pintura y videojuego." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9013.

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La industria del videojuego ha encontrado en la pintura el medio donde visualizar sus propios mundos ¿Podría suponer el desarrollo de los videojuegos AAA una revalorización de la pintura naturalista convirtiendo al concept artist en el nuevo pintor del siglo XXI? Objetivos que nos planteamos:Revisar la creación de imágenes de mundos en la pintura.Estudiar el papel del concept artist en la industria del videojuego.Desarrollar el análisis de un caso práctico actual. El arte tiene la capacidad de representar una imagen del mundo coherente con los planteamientos ideológicos desde los que se desarrolla. La pintura ha satisfecho, a lo largo de su historia, la necesidad del hombre de crear una imagen del mundo, una representación del mundo e imaginar nuevos mundos. Una práctica que conectaría con el concepto de Mundo abierto desarrollado en los videojuegos actuales.Realizaremos una breve revisión de la representación de mundos en la pintura a través de su historia, desde la idealización en la Edad Media a los planteamientos experimentales de la vanguardia artística del siglo XX. Actualmente, el concept artist representaría al agente de la industria del entretenimiento encargado de desarrollar la visualización del mundo en el que se desarrollan los videojuegos. La labor de encarnar estas imágenes se realiza a través de la pintura, mediante técnicas tradicionales o digitales. De este modo, se estaría produciendo una revisión de las claves pictóricas clásicas con el objetivo de resolver problemas de representación actuales, replanteando las relaciones entre arte y diseño o cultura y entretenimiento. Para profundizar en estas cuestiones, planteamos estudiar el caso de Red Dead Redemption 2 y su relación con la Hudson River School.
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Baixauli Romero, Raquel, and Esther González Gea. "Fotógrafos anónimos. Una aproximación a la fotografía encontrada." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6734.

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A finales del siglo XIX, la fotografía se convirtió en el pasatiempo perfecto de las clases altas gracias a los avances técnicos que transformaron el medio. Se calcula que en el Madrid de entresiglos existían no menos de mil fotógrafos amateurs y hasta más de tres mil en Barcelona. A medida que avanzaron los años, el aparato fotográfico pasó a ser un objeto común, hasta tal punto que, pasada la primera mitad del siglo XX, cualquier familia de clase media contaba con una cámara en sus hogares. Este hecho propició la progresiva acumulación de imágenes fotográficas y condicionó el destino de muchas de ellas: el olvido.Entrado el siglo XXI, y ante la imposición de generar cada vez más material dentro del marco de la iconosfera, nos afanamos por rescatar imágenes del pasado condenadas al silencio gracias, entre otros factores, a la reciente preocupación por la memoria, la imposición de la llamada cultura digital y el auge de los estudios visuales, tratando de hacer justicia a aquellos nombres obviados en la resbaladiza Historia de la fotografía. En los últimos años hemos asistido a la puesta en valor del trabajo de fotógrafos desconocidos. El caso más sonado ha sido el de la fotógrafa americana Vivian Maier, aunque en el ámbito nacional también hemos visto resurgir las obras de fotógrafos que han puesto en relieve esta disyuntiva, como Virxilio Vieitez, Luis Ramón Marín, Milagros Caturla o Ximo Berenguer.La denominada fotografía vernácula genera cada vez mayor interés entre los aficionados y teóricos de la fotografía, como Robert Flynn Johnson, conservador jefe de la Fundación Achembach para las Artes Gráficas de San Francisco, dado su carácter utilitario, doméstico y heterotópico, siguiendo a Clément Chéroux. La escasa atención que suscita la autoría de estas imágenes silenciosas, silenciadas, nos obliga a respondernos a una pregunta que aparece repetidamente. ¿Cuál es el factor que verdaderamente determina que una fotografía ingrese en el olimpo de las obras maestras?En esta línea camina la presente comunicación, cuyo objetivo fundamental es cuestionar los paradigmas que rigen la noción misma del valor fotográfico y su propia naturaleza ambivalente; preguntándonos dónde se encuentran los límites entre lo válido y lo excluido, reformularemos la idea de un archivo fotográfico vivo, que se hace extensible a la Historia como disciplina, una disciplina viva que continúa reescribiéndose.
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Pérez García, Juan Carlos. "‘El vecino 4’: “superhéroes” de barrio." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4949.

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‘El vecino’ es una serie de novelas gráficas que realizo en colaboración con el guionista Santiago García (Premio Nacional de Cómic de 2015 por ‘Las meninas’). Planificada para cinco libros, hasta ahora se han publicado tres (Ediciones Astiberri), con un cuarto en proceso. El vecino está protagonizado por dos vecinos en una ciudad no identificada, una gran urbe occidental del siglo XXI, mezcla sublimada de Madrid y Málaga. La obra pretende arrojar una mirada tragicómica, a veces extrañada, hacia la vida cotidiana y las relaciones personales en la contemporaneidad, con la particularidad de que uno de los protagonistas es el “superhéroe” de la ciudad. Sin embargo, siempre que este se marcha para atender a la “tarea del héroe”, sus hazañas quedan fuera de la vista para el lector, un dogma creativo de la obra. De este modo, el elemento fantástico es solo un marco mítico que funciona como contrapunto poético a la cotidianidad. ‘El vecino’ investiga asimismo posibles significados sociales e ideológicos de los clichés de superhéroes a través de una lectura crítica, no exenta de ironía pero también de fascinación hacia uno de los géneros de ficción fundamentales en la historia del cómic. Sin embargo, ‘El vecino 4’ planteará una “vuelta de tuerca” en las estrategias artísticas previas, en la medida en que por primera vez muestra la ACCIÓN de los superhéroes de una manera franca que también se pretende inédita, con escenas insólitas en el género y con una forma experimental de múltiples lenguajes y texturas (dibujo, pintura, fotografía, collage digital, etc.). La comunicación expondrá el proceso creativo de este cuarto volumen.El Vecino obtuvo el Premio a Autor revelación (Pepo Pérez) en Expocómic de Madrid (2004) y fue nominado a diversos premios del Salón Internacional del Cómic de Barcelona: Mejor cómic español (2005; 2009) y Autor revelación (2005). Parte de la obra se ha expuesto en muestras nacionales e internacionales (Festival Internacional de Bande Dessinée de Angoulême, 2011; Instituto Cervantes de Varsovia, 2012; La Maison des Auteurs de Angoulême, 2015, entre otras).http://dx.doi.org/10.4995/ANIAV.2017.4949
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Reports on the topic "Visual medical history"

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Rodríguez Borda, Nadia del Pilar, and María Isabel Porras Torres. Vivencias de la discapacidad en estudiantes universitarios de la modalidad virtual de la zona centro Boyacá como factor protector en salud pública. Universidad Nacional Abierta y a Distancia - UNAD, 2021. http://dx.doi.org/10.22490/ecisa.4765.

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El objetivo de la presente investigación es Interpretar las vivencias de la discapacidad, a partir de la narrativa de estudiantes universitarios de la modalidad virtual del departamento de Boyacá. Esta investigación se inscribe en el paradigma de naturaleza cualitativa, enfoque hermenéutico. Se seleccionarán a los participantes por bola de nieve o en cadena hasta la saturación teórica. Se recolectará la información por medio de una entrevista a profundidad, no estructurada basada en un derrotero temático afín a las categorías de análisis. Cada entrevista será grabada, transcrita y analizada. Posteriormente se realizará la codificación y categorización, para estructurar la historia de vida de cada participante. Este análisis e interpretación de los datos, requiere de un proceso de categorización y triangulación de los mismos, la comparación constante en cada uno de los pasos, y la ejecución de un análisis de contenido y un análisis visual. Así mismo se deberá elaborar matrices, que permitan la interpretación de la información, para finalmente comunicar los resultados obtenidos. Se realizará la comunicación de los resultados en primera medida a los participantes de la investigación quienes validarán la información y en segunda medida se realizará la comunicación relativa a los informes de corte académico.
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