Contemporary art and the ethics of anatomy

The ethics of anatomy bears on the ways in which we present and behold human bodies and human remains, as well as on the duties we have with regard to the persons whose bodies or body parts are presented. Anatomy is also a mode of thought and of social organization. Following Merleau-Ponty's assertion that the human body belongs both to the particular and to the metaphysical, I contend that art's ways of rendering of the particular in human anatomy often bring into relief metaphysical and ethical insights relevant to clinical medicine. This paper discusses the art of Gideon Gechtman, Mary Ellen Mark, Shari Zolla, and Christine Borland. It considers the relationship of these artists to earlier artistic traditions and the implications of their work for contemporary medicine and the biopsychosocial paradigm. Andrew Wyeth, the Visible Male Project, the Isenheim Altarpiece by GrA(1/4)newald, and an anonymous Dutch Baroque portrait are also discussed.     

Schizotypy, creativity and mating success in humans

There is an evolutionary puzzle surrounding the persistence of schizophrenia, since it is substantially heritable and associated with sharply reduced fitness. However, some of the personality traits which are predictive of schizophrenia are also associated with artistic creativity. Geoffrey Miller has proposed that artistic creativity functions to attract mates. Here, we investigate the relationship between schizotypal personality traits, creative activity, and mating success in a large sample of British poets, visual artists, and other adults. We show that two components of schizotypy are positively correlated with mating success. For one component, this relationship is mediated by creative activity. Results are discussed in terms of the evolution of human creativity and the genesis of schizophrenia.     

The influence of genetics on contemporary art

Contemporary visual artists are incorporating genetic concepts into their work, and this work has become prominently featured in numerous museum and gallery exhibitions. Such art uses visual images that represent the language of genomics, the values affected by genetic understanding of the body and the implications of bioengineering. Here, we present various examples of how artists depict aspects of genetics as cultural icons and symbols; in particular, their focus on DNA as information and on the commercialization of genetics research material.     

Adding Value: Rethinking Late 19th-Century Torres Strait Islander Drawings in Anthropological Inquiry

This article focuses on the cultural and artistic value of a collection of Torres Strait Islander drawings that were commissioned and collected in the late 19th century. I argue that these drawings, made during Alfred C. Haddon's “salvage anthropology” expeditions, can provide insight into the nature of Islander graphic systems and the production of contemporary Islander art. By focusing on stylistic links between the drawings and other forms of decorative art, and their role as resources and inspiration for contemporary Islander artists, I explore the role these collections play in investigating regional artistic traditions, and how they act as agents in reaffirming Islander identity.     

Arts and Ageing; Life Expectancy of Historical Artists in the Low Countries

Practising arts has been linked to lowering stress, anxiety and blood pressure. These mechanisms are all known to affect the ageing process. Therefore, we examine the relation between long-term involvement in arts and life expectancy at age 50 (LE50), in a cohort of 12,159 male acoustic, literary and visual artists, who were born between 1700 and 1899 in the Low Countries. We compared the life expectancy at age 50 of the various artists with the elite and middle class of that time. In the birth cohorts before 1850, acoustic (LE50:14.5–19.5) and literary artists (LE50:17.8–20.8) had a similar life expectancy at age 50 compared to the elite (LE50:18.0–19.0). Only visual artists (LE50:15.5–17.1) had a lower life expectancy at age 50 compared to the elite at that time. For the most recent birth cohorts from 1850 through 1899, the comparison between artists and the elite reversed and acoustic and literary artist had a lower life expectancy at age 50, while visual artists enjoyed a similar life expectancy at age 50. Although artists belonged to the middle socioeconomic class and lived predominantly in urban areas with poor living conditions, they had a life expectancy similar to the elite population. This is in line with observed favourable effects of practicing arts on health in the short-term. From our historical analysis, we hypothesize several mechanisms through which artistic creativity could influence the ageing process and life expectancy. These hypotheses, however, should be formally tested before any definite conclusions on effects of arts on ageing can be drawn.     

Who was ... Anna Atkins?

In a previous age of scientific investigation, before images and information were ever captured electronically, the hands and eyes of artists were trained to make botanical and zoological drawings to illustrate the latest advances in human knowledge. The principles of artistic composition and colour were incorporated in their scientifically accurate drawings. These delicate watercolours and fine pen and ink drawings are now much prized for their qualities of beauty and intricate detail and can be found adorning many a drawing-room wall.     

Evaluation of "unique" aspects of human vertebral bodies and pedicles with a consideration of Australopithecus africanus

Recent functional studies of human vertebrae have revealed that loads borne by the axial skeleton during bipedal postures and locomotion pass through the pedicles and posterior elements as well as through the bodies and discs. Accordingly, particular morphological attributes of these vertebral elements have been linked exclusively with bipedalism. In order to test the validity of current form-function associations in human vertebral anatomy, this study considers the morphology of human thoracolumbar vertebral bodies and pedicles in the context of a wide comparative primate sample. The last lumbar vertebra of STS 14 (Australopithecus africanus) is also included in the analysis. Results indicate that certain features of human vertebrae previously thought to reflect bipedalism are characteristic of several nonhuman primates, including those whose posture is habitually pronograde. These features include the decrease in vertebral body surface area and the increase in cross-sectional area of the pedicle between the penultimate and last lumbar vertebra. In addition, although humans have relatively large and wide last lumbar pedicles, the enlargement and widening of the pedicle between the penultimate and last lumbar vertebra is not unique to humans. On the other hand, human vertebrae do exhibit several unique adaptations to bipedal posture and locomotion: (1) the vertebral body surface areas of the lower lumbar vertebrae and the cross-sectional areas of the last lumbar pedicles are large relative to body size, and (2) the last lumbar pedicles are wider relative to length and to body size than are those of nonhuman primates. The last lumbar vertebra of STS 14 does not exhibit any of these human-like vertebral features—its pedicles and body surface areas are relatively small, and its pedicles are not relatively wide, but relatively short.     

Mathematical Model of Biological Order State or Syndrome in Traditional Chinese Medicine: Based on Electromagnetic Radiation within the Human Body

In this study, based on the resonator model and exciplex model of electromagnetic radiation within the human body, mathematical model of biological order state, also referred to as syndrome in traditional Chinese medicine, was established and expressed as: “ \textSy = n/ln(6I + 1) {\text{Sy}} = \nu /\ln (6I + 1) ”. This model provides the theoretical foundation for experimental research addressing the order state of living system, especially the quantitative research syndrome in traditional Chinese medicine.     

Not Without a Cost: Contemporary PNG Art in the 21st Century

This article addresses the life experiences and work of two contemporary Papua New Guinean artists: Saun Anti from the artistically conservative Middle Sepik River area, and Wendi Choulai, from Melbourne, Australia. Anti's story of reprimand, censorship, and banishment, and Choulai's being the antithetical situation, illustrate some hurdles faced by contemporary PNG artists. Anti's and Choulai's art posed a challenge to their people's concept of traditional forms as well as to the preconceptions of collectors and curators. They are artists torn between two worlds: the world of “tradition,” reciprocity, and initiation, and the sophisticated, cosmopolitan world of the international artist.     

Self-Portraits: Smartphones Reveal a Side Bias in Non-Artists

According to surveys of art books and exhibitions, artists prefer poses showing the left side of the face when composing a portrait and the right side when composing a self-portrait. However, it is presently not known whether similar biases can be observed in individuals that lack formal artistic training. We collected self-portraits by naïve photographers who used the iPhone™ front camera, and confirmed a right side bias in this non-artist sample and even when biomechanical constraints would have favored the opposite. This result undermines explanations based on posing conventions due to artistic training or biomechanical factors, and is consistent with the hypothesis that side biases in portraiture and self-portraiture are caused by biologically- determined asymmetries in facial expressiveness.     

Theorizing the nexus of STEAM practice

ABSTRACT

Recent advances in arts education policy, as outlined in the latest National Core Arts Standards, advocate for bringing digital media into the arts education classroom. The promise of such Science, Technology, Engineering, Arts, and Mathematics (STEAM)–based approaches is that, by coupling Science, Technology, Engineering, and Mathematics (STEM) and the arts, new understandings and artifacts emerge that transcend either discipline. Evidence of this can be seen through fundamental shifts in both fields; in the arts, artists are expanding the creative potential for design through computational flexibility, which affords artists the ability to exceed the limitations of their tools. The infusion of the arts into STEM has shown to be equally transformative, with the emergence of tools and communities that not only engender new content understandings but also invite participation from populations historically underrepresented in STEM fields. Drawing on over a decade of research at the intersection of the arts, creativity, and new technologies from the Creativity Labs at Indiana University, this article theorizes the learning that takes place at effective couplings of STEAM to assist today's educators in realizing the potential for transformative experiences for learners of all levels. This article provides a synthesis of this past work across two compelling cases of STEAM-based tools, materials, and activities (i.e., the media-rich programming environment Scratch as well as the work the LilyPad Arduino used to create electronic textiles), incorporating findings from more than 50 peer-reviewed papers and books, and conceptually outlines an approach to “gathering STEAM” in arts education classrooms today. Implications are explored for policy makers in teacher education to think about preservice curriculum and field experiences; policy makers in arts education to think about tools needed in classrooms today; as well as how art education can play a critical role in STEM disciplines and offer solutions to address STEM pipeline challenges. Such efforts extend current and prior discussions in the arts education landscape about the use of new technologies, and draw our attention to how new technologies can be leveraged for artistic expression.     

The evolution of the “Con Artist”

A series of game-theoretical models for the evolution of, what in the folk literature has become known as, the “Confidence Artist” is presented. Con artists are assumed to be noncooperators who move between groups and “prey” on naive cooperators. Cooperators learn about con artists by either direct experience or via cultural transmission about the identity (or behavior) of such individuals. Three types of transmission rules about con artists are modeled: 1) transmission rate that is independent of the frequency of con artists in the metapopulation; 2) transmission such that cooperators, with some probability, can learn about particular con artists who have entered their group; and 3) a type of frequency dependent transmission such that cooperators can identify con artists in proportion to their frequency in the metapopulation.In general, cultural transmission works against con artists by 1) decreasing the critical between travel patch travel time to invade a metapopulation of cooperators or 2) decreasing the equilibrial frequency of con artists (compared to the case of no cultural transmission). Depending on the mode of cultural transmission, con artists may exist at relatively high or low frequencies.     

生物人类学和人体组成学的渊源关系

随着人体组成学中文版的发行和人体组成测量培训班在中国的举行, 中国生物人类学家对人体组成测量方法在科研中的运用有了更大的兴趣。该文对人类学家,如Jindr?ich Matiegka和Stanley MarionGarn在人体组成学发展中的历史贡献做了基本的介绍。此外, 作者还以Garn博士的工作为例, 去激励中国生物人类学家开展人体组成学的研究工作。文章讨论了人体组成成分的测量方法在生物人类学中的用途, 并介绍了人体组成学的基本理论和概念及近年来人体组成学的变化: 如影像技术的发展, 影像技术作为"金标准"对评估其他人体组成测量方法的用途, 双能量x线吸收法的优势, 生物电阻分析法的广泛运用, 和多种人体组成测量方法相辅相成的现象。作者对常用的人体组成测量方法的优缺点做了比较, 并指出人体组成成分测量是人体测量方法的自然延续, 人体组成学和生物人类学的关系渊源已久; 因此中国人类学家应当更多地利用人体组成测量方法对人体差异做更深入的研究, 并注重人体差异同健康疾病和生物医学的关系, 以便让生物人类学更好地为当今社会服务。     

Campylobacter jejuni infection associated with relatively poor condition and low survival in a wild bird

Campylobacter jejuni is the most common foodborne pathogen in industrialized countries. Most human infections come from contaminated poultry, but wild birds are also known to harbor C. jejuni. Wild birds are often described as asymptomatic carriers, but this assumption is based on domestic poultry research. We studied the effects of C. jejuni infection on body condition and survival of adult and nestling American crows Corvus brachyrhynchos in Davis, California. Previous work demonstrated that more than half of the crows in this population are infected with C. jejuni and that at least some of the isolates carried by crows are similar to those found in domestic animals and humans. In this study, we compared the body condition of infected and uninfected individuals at the time of capture among adults (n = 44; 52% infected) and nestlings (n = 97; 77% infected). We subsequently monitored these banded individuals for up to 3 yr and used mark–recapture survival analysis to estimate relationships between infection status and later survival. We found that adult crows infected with C. jejuni were in poor condition relative to uninfected adults: average body mass of infected birds was 12% lower, whereas average body size did not differ between the two groups. Likewise, apparent survival probability was lower for infected adults. In contrast, nestling body condition, fledging success, and survival did not differ by infection status. This is the first study to document adverse effects of C. jejuni infection in a free‐living, wild bird. If these effects are widespread, C. jejuni exposure may be a cause of conservation concern for some species, especially when human activities increase exposure to infections or introduce novel strains to wild bird populations. Our results add to the growing body of work demonstrating hidden long‐term costs of seemingly mild infections in wild populations.     

JOHN BRADBY BLAKE AND JAMES KERR: HYBRID BOTANICAL ART,CANTON AND BENGAL,c. 1770

The collection of botanical paintings commissioned by John Bradby Blake (1745–1773) from a Chinese artist in Canton c. 1770, is one of the star items in the outstanding collection of botanical books and paintings assembled by Rachel Lambert Mellon and now housed in the library of the Oak Spring Garden Foundation. A remarkably similar collection, commissioned from several Indian artists by Dr. James Kerr (1737–1782) in Bengal and Bihar, is now scattered among the collections of the Natural History Museum London, the Royal Botanic Garden Edinburgh and the New York Botanical Garden. Discussion of the Blake and Kerr collections is preceded by some introductory background to the creation of such art – its hybrid nature, its role in the visual documentation of useful plants in European, Asian and colonial contexts, and the botanical and artistic networks in which the two collections were created.     

New thinking: the evolution of human cognition

Humans are animals that specialize in thinking and knowing, and our extraordinary cognitive abilities have transformed every aspect of our lives. In contrast to our chimpanzee cousins and Stone Age ancestors, we are complex political, economic, scientific and artistic creatures, living in a vast range of habitats, many of which are our own creation. Research on the evolution of human cognition asks what types of thinking make us such peculiar animals, and how they have been generated by evolutionary processes. New research in this field looks deeper into the evolutionary history of human cognition, and adopts a more multi-disciplinary approach than earlier 'Evolutionary Psychology'. It is informed by comparisons between humans and a range of primate and non-primate species, and integrates findings from anthropology, archaeology, economics, evolutionary biology, neuroscience, philosophy and psychology. Using these methods, recent research reveals profound commonalities, as well striking differences, between human and non-human minds, and suggests that the evolution of human cognition has been much more gradual and incremental than previously assumed. It accords crucial roles to cultural evolution, techno-social co-evolution and gene-culture co-evolution. These have produced domain-general developmental processes with extraordinary power-power that makes human cognition, and human lives, unique.     

Concentrations of trace elements in the hair of the guinea pig

Various animal models have been employed for research on the significance of measuring trace element concentrations in the human scalp hair. The objects of such research were the establishment of relationships between the concentrations of trace elements in human scalp hair and (1) their concentrations in other compartments of the human body or (2) specific pathophysiological conditions. The guinea pig appears to be the animal of choice for such studies because the elemental composition and growth pattern of its hair parallel those of the human scalp hair.     

Pelvic dimorphism in relation to body size and body size dimorphism in humans

Many mammalian species display sexual dimorphism in the pelvis, where females possess larger dimensions of the obstetric (pelvic) canal than males. This is contrary to the general pattern of body size dimorphism, where males are larger than females. Pelvic dimorphism is often attributed to selection relating to parturition, or as a developmental consequence of secondary sexual differentiation (different allometric growth trajectories of each sex). Among anthropoid primates, species with higher body size dimorphism have higher pelvic dimorphism (in converse directions), which is consistent with an explanation of differential growth trajectories for pelvic dimorphism. This study investigates whether the pattern holds intraspecifically in humans by asking: Do human populations with high body size dimorphism also display high pelvic dimorphism? Previous research demonstrated that in some small-bodied populations, relative pelvic canal size can be larger than in large-bodied populations, while others have suggested that larger-bodied human populations display greater body size dimorphism. Eleven human skeletal samples (total N: male = 229, female = 208) were utilized, representing a range of body sizes and geographical regions. Skeletal measurements of the pelvis and femur were collected and indices of sexual dimorphism for the pelvis and femur were calculated for each sample [ln(M/F)]. Linear regression was used to examine the relationships between indices of pelvic and femoral size dimorphism, and between pelvic dimorphism and female femoral size. Contrary to expectations, the results suggest that pelvic dimorphism in humans is generally not correlated with body size dimorphism or female body size. These results indicate that divergent patterns of dimorphism exist for the pelvis and body size in humans. Implications for the evaluation of the evolution of pelvic dimorphism and rotational childbirth in Homo are considered.     

Clinical anthropometry and canons of the face in historical perspective

Measurements of the human face as part of the body have been performed since the Greek era, and many aspects of ancient measurements can be found in modern clinical anthropometry. A historical appraisal of the use of facial measurements is presented. The influence on modern facial anthropometry of Greek proportion sciences, the golden proportion, canons of important Renaissance artists, physical anthropology, and cephalometry are discussed. The main difference between human measurements in classic times and modern anthropometry is the denial of realistic sizes and proportions in former times. Human forms and canons were depicted in a way the artist or scientist preferred, rather than how they objectively were. For reconstructive and cosmetic surgery, realistic sizes and proportions are assessed using anthropometric techniques and used as guidelines to correct deformities or disproportions.     

Comparative sequence analysis of a single-gene conserved segment in mouse and human

Comparative mapping and sequencing of the mouse and human genomes have defined large, conserved chromosomal segments in which gene content and order are highly conserved. These regions span megabase-sized intervals and together comprise the vast majority of both genomes. However, the evolutionary relationships among the small remaining portions of these genomes are not as well characterized. Here we describe the sequencing and annotation of a 341-kb region of mouse Chr 2 containing nine genes, including biliverdin reductase A (Blvra), and its comparison with the orthologous regions of the human and rat genomes. These analyses reveal that the known conserved synteny between mouse Chromosome (Chr) 2 and human Chr 7 reflects an interval containing one gene (Blvra/BLVRA) that is, at most, just 34 kb in the mouse genome. In the mouse, this segment is flanked proximally by genes orthologous to human chromosome 15q21 and distally by genes orthologous to human Chr 2q11. The observed differences between the human and mouse genomes likely resulted from one or more rearrangements in the rodent lineage. In addition to the resulting changes in gene order and location, these rearrangements also appear to have included genomic deletions that led to the loss of at least one gene in the rodent lineage. Finally, we also have identified a recent mouse-specific segmental duplication. These finding illustrate that small genomic regions outside the large mouse–human conserved segments can contain a single gene as well as sequences that are apparently unique to one genome. The nucleotide sequence data reported in this paper have been submitted to GenBank and assigned the accession numbers AC074224 and AC074041.