Dr. Charles Limb is an otolaryngologist, and he’s also on the faculty at the Peabody Conservatory of Music. Wanting to study creativity on the neurological level, he used fMRI to scan the brains of musicians while improvising along with them. Here he describes the experiment, including the building of an MRI-compatible electronic keyboard:
Google has released an awesome in-browser anatomy viewer to demo the new 3D graphics capabilities of their Chrome development version. It lets you explore the human body in all its glory in a Google Earth-like fashion. Individual anatomic layers (skin, muscles, bones, etc.) can be selected or deselected for viewing, but can also be made semi-transparent on an individual level. Labels can be displayed, and all anatomy is fully searchable.
The catch is you will need a WebGL enabled browser to try it. WebGL is a technique that enables 3D graphics within the browser without the use of plugins. Chrome 9 Dev Channel, Chrome Canary Build and Firefox 4 beta have this enabled by default. In Chrome 8 (the current stable version), you can enable it by going to about:flags (type it in the address bar), and from there enable WebGL. Below are two videos, one demonstrating the body browser, and one of a presentation by the developers.
I’m diligently writing a detailed note in the patient’s chart as he speaks of his multiple concerns — severe depression, headaches, and dizziness. I’m not making good eye contact. Often this is effective because I can resist the allure of passively following his narrative to its own diagnostic suspicions. Instead I can record his intuitive guesses without persuasion, formulating my own independent ideas even as I value his. Except that as I write in his chart I notice streaks of red blood appearing among the black script. Am I hallucinating? Am I capable of making paper bleed? Am I, the doctor, bleeding?
With closer inspection I notice three small cuts on my chapped knuckles and fingers, products of the incessant and obsessive handwashing compelled by modern medicine. We are obliged to wash our hands before and after each patient contact, which leads to about 60 hand washings per day. In the dry winter air this can become punishing to the integrity of the skin barrier.
I apologize to the patient for marring his chart, yet it almost seems symbolic — physician blood spilled upon a script of human affliction. I know I should tear the page out of his chart and write a clean new one, yet the scrawls of black ink and stripes of red blood look like art. It is a poem, punctuated with living iron and crimson flourish. Despite having made poor eye contact in an attempt to distance and strengthen my consideration of his symptoms, ironically I see the commonality of our bleeding.
The puppeteer skit features the interaction between a young man with a rash and his older physician. The patient is an informed kind of guy: He’s checked his own medical record on the doctor’s website, read up on rashes in the Boston Globe, checked pix on WebMD, seen an episode of “Gray’s Anatomy” about a rash and, most inventively, checked iDiagnose, a hypothetical app (I hope) that led him to the conclusion that he might have epidermal necrosis.
“Not to worry,” the patient informs Dr. Matthews, who meanwhile has been trying to examine him (“Say aaahhh” and more): He’s eligible for an experimental protocol. After some back-and-forth in which the doctor — who’s been quite courteous until this point, calling the patient “Mr. Horcher,” for example, and not admonishing the patient who’s got so many ideas of his own — the doctor says that the patient may be exacerbating the condition by scratching it, and questions the wisdom of taking an experimental treatment for a rash. Read more »
The New York Timespublished an article (with VIDEO) about molecular animators, scientists who can visualize the microscopic segments of life in a professional way:
If there is a Steven Spielberg of molecular animation, it is probably Drew Berry, a cell biologist who works for the Walter and Eliza Hall Institute of Medical Research in Melbourne, Australia. Mr. Berry’s work is revered for artistry and accuracy within the small community of molecular animators, and has also been shown in museums, including the Museum of Modern Art in New York and the Centre Pompidou in Paris. In 2008, his animations formed the backdrop for a night of music and science at the Guggenheim Museum called “Genes and Jazz.”
“Scientists have always done pictures to explain their ideas, but now we’re discovering the molecular world and able to express and show what it’s like down there,” Mr. Berry said. “Our understanding is just exploding.”
*This blog post was originally published at ScienceRoll*
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