Showing 61 - 70 of 203 annotations tagged with the keyword "Science"
In a future society in which biological reproduction is restricted and humanoid robots ("Mechas") are routinely manufactured to supplement the economic and social needs of humans ("Orgas"), Dr. Hobby (William Hurt) creates a prototype child Mecha, David (Haley Joel Osment), who has "neuronal feedback," the ability to love, and "an inner world of metaphor, self-motivated reasoning," imagination, and dreams. David is given to Henry and Monica, a couple whose biological child Martin is incurably ill and cryopreserved, awaiting a future cure.
More specifically, David is created out of Hobby's own loss and given to aid Monica's mourning for Martin, whom she has been unable to "let go" of as dead. It is thus Monica (Frances O'Connor) who must make the decision to perform the "imprint protocol" that will make David love her. After she stops resisting the desire to love a child (of any kind) again and implements the protocol, Martin is unexpectedly cured and comes home.
The ensuing turmoil sends David, accompanied by a robot Teddy bear, out into a nightmare world of adult Mechas, comprised of both Rouge City, where functioning Mechas like Gigolo Joe (Jude Law) do their sex worker jobs and also the fugitive realm where unregistered, discarded Mechas try to find the spare parts they need to rebuild themselves and elude trappers who take them to reactionary "Flesh Fairs" where they are publicly destroyed as an expression of rage against artificial technologies.
Joe and David, both set up and betrayed by humans jealous of their superiority at performing human functions, join together on a quest to make David "real" and return him to Monica. The quest takes them to a partly submerged Manhattan and sends David and Teddy two thousand years into the future to resolve the dystopic narrative.
Summary:Nate, 14, comes home to his family's Montana farm one day to see police cars. His father, whose head is bloodied from a gunshot wound, is taken away in an ambulance. He and his 7-year-old sister are whisked into the house and cared for by an aunt until their mother, shocked and withdrawn, returns home. In the weeks following Nate finds it hard to get any adults to level with him about what happened, though he overhears conversations that make it fairly clear it was a suicide attempt. The kids at school withdraw from him and his sister; parents in the area tell their children not to play with them, as they always suspected there was something strange about the family. Only one girl, herself something of an outcast because of her father's aggressive fundamentalist preaching, befriends him, and becomes his partner in a science project.
First published in 1991, and available in reprint edition, this is a compendium of selected artworks and excerpts of diverse medical and literary writings from pre-Hippocratic times to the end of the 20th C. Each chapter integrates selections from medical or scientific treatises, with commentaries written by historians, essays by physicians and writers, and prose and poetry by physicians and by patients. The 235 images in this book include illustrations from medical textbooks and manuscripts, as well as cartoons, sculptures, paintings, prints and sketches. The colour illustrations are stunning and copious, and provide a visual narrative that resonates with each chapter of the book.
The first part of the book, Traditional Medicine, includes chapters on Ancient, Medieval, Renaissance, and Enlightenment medicine. These serves as a preamble for the second part, Modern Medicine, which includes art, medicine and literature from the early 19th century to the end of the 20th century.
The chapter “From the Patient’s Illness to the Doctor’s Disease” illustrates the rise of public health and scientific research with excerpts from works by Edward Jenner, John Collins Warren, René Laënnec, and John Snow, together with experience of epidemic diseases described by writer Heinrich Heine in his essay on “Cholera in Paris”. The chapter on “Non-Western Healing Traditions” includes botanical research by Edward Ayensu, a short story by Lu Hsun and the writing and paintings of George Caitlin on North American Indian healing.
In the patient-focused chapter, “Patient Visions: The Literature of Illness,” are stories of sickness by Thomas DeQuincey, Leo Tolstoy, Giovanni Verga, Katherine Mansfield, André Malraux, and Robert Lowell. The chapter which follows, “Scientific Medicine: the Literature of Cure,” provides the medical counterpoint with personal correspondence by Freud, medical treatises by Wilhelm Roentgen and Louis Pasteur, an essay on surgical training by William Halsted, and an excerpt from George Bernard Shaw's play, Too True to Be Good, in which a microbe takes centre-stage.
There are chapters on “Medicine and Modern War,” which includes personal writing by nurses Florence Nightingale and Emily Parsons, and poems by Walt Whitman, and Emily Dickinson, and “Art of Medicine,” with works by Arthur Conan Doyle, Anne Sexton, James Farrell and W.P. Kinsella.
The final chapter, “The Continuing Quest for Knowledge and Control,” contains no medical treatises but rather ends with personal reflections by the writer Paul Monette on AIDS, and by physician-writers, John Stone, Sherwin B. Nuland, Lewis Thomas, Dannie Abse, and Richard Selzer.
This collection of essays by surgeon-writer Atul Gawande (author of Complications: A Surgeon's Notes on an Imperfect Science --see annotation) is organized into three parts (Diligence, Doing Right, and Ingenuity) and includes an introduction, an afterword entitled "Suggestions for becoming a positive deviant," and reference notes. Each part is comprised of three to five essays, which illustrate, as Gawande explains in the introduction, facets of improving medical care - hence the title of the collection: Better: A Surgeon's Notes on Performance. In typical Gawande style, even the introduction contains tales of patients - a woman with pneumonia who would have fared far worse had the senior resident not paid close and particular attention to her well-being, and a surgical case delayed by an overcrowded operating room schedule. Such tales are interwoven with the exposition of themes and the detailing of the medical and historical contexts of the topic at hand.
The essays, though loosely grouped around the improvement theme, can easily be read as individual, isolated works. The concerns range widely both geographically (we travel to India and Iraq as well as roam across the United States) and topically. For instance, we learn about efforts to eradicate polio in rural south India and the dedicated people who devise and implement the program. Another essay, far flung from the plight of paralyzed children, is "The doctors of the death chamber," which explores the ethical, moral and practical aspects of potential physician involvement in the American system of capital punishment (from formulating an intravenous cocktail ‘guaranteed' to induce death to the actual administration of such drugs and pronouncement of death).
In sum, the topics of the eleven essays are: hand washing, eradicating polio, war casualty treatments, chaperones during physical examinations, medical malpractice, physician income, physicians and capital punishment, aggressive versus overly-aggressive medical treatment, the medicalization of birth, centers of excellence for cystic fibrosis treatment, and medical care in India. The afterword comprises five suggestions Gawande offers to medical students to transform themselves into physicians who make a difference, and by including this lecture in the book, what the reader can do to lead a worthy life.
Oschman, a former cell biology researcher, applies his scientific training to the emerging field of energy medicine. While previous investigators (Franz Anton Mesmer, Guillaume Benjamin Armand Duchenne, Edwin D. Babbitt, Harold Saxon Burr) were either ignored or selectively accepted, healers from ancient times have used touch to heal or even cure the human body, and the human body itself has sophisticated strategies to heal itself.
Oschman shows how the body is a living crystal with electricity, magnetism, and light flowing through it, often at higher speeds than the standard neurology model. Quantum physics applies here, as well as piezoelectricity (pressure electricity), explaining how energy flows through water molecules in the collagen that invests every internal structure of the body. Proteins in the body are semiconductors, and our brain waves may even be tuned to standing energy waves (Schumann resonance) that surround the earth itself.
Oschman collects data and illustrations widely, from acupuncture, Qi Gong, massage, yoga, meditation, Zen, and of course, standard medicine. The latter, he argues, whether through scalpels or pharmaceuticals, can be understood as energy medicine. Even better, in his point of view, would be an imaginative synthesis of standard medicine with many (other) forms of energy medicine.
Summary:This remarkable collection of short writings, introduced by renowned poet Naomi Shihab Nye, who visited the Sutterwriters (of Sutter Hospital in Sacramento, California) to offer a workshop, provides a broad, compassionate, imaginative window into the life inside and around an urban hospital. Patients, staff, and all interested in healing through writing are invited to come and participate-with an accent on the latter: no one is invited who isn't willing to write.
Summary:A group of eight women gather for a joint consultation with Dr. Kailey Madrona who is a devotée and colleague of the research endocrinologist, Dr. Jerilynn Prior, a professor at University of British Columbia in Vancouver. Madrona explains that she has arranged for the unorthodox group encounter because she will be leaving practice to pursue graduate studies in medical history.
Hicok begins the poem with a statement and jocular rhetorical question that set the tone and pace: "There are two kinds of people and five hundred / seventy-one thousand, three hundred / ninety-six species of beetle but who's / counting?" Immediately we wonder what are the two types of people and who would take the trouble to write out a species count while also joking about it.
The engagement with the poem continues as we learn about the narrator's platonic friend, an entomologist, freshly returned from the Amazon with a bottled beetle and a raging fever. The narrator, alarmed at her delusional state, rushes her to the hospital ("driving / in a way that proved you can be / in two places at the same time") and good medical care. After several days she has regained enough strength to say one word--jar--which refers to the jar containing her beetle specimen. The narrator restores the jar to her, she recovers and returns to the life she loves, a life in the treetops of the Amazon jungle.
Through the course of the poem, the poet plays with all manner of philosophy and religion. The beetle's body is likened to Michelangelo's image of the finger of God reaching towards Adam. The poet plays with numbers as well, rearranging the numbers of types of people and beetles (and throwing in the number of "delicatessens where you can get a fried- / tuna sandwich on waffles"). This lightness is a disarming way to shed light on the heart of the poem--the narrator's deep caring for the scientist and the scientist's deep caring for her work of discovery.
Summary:Gilbert and George's work over the past three decades has largely consisted of grid-like photomontages - note, they consider their work to be "sculpture". These often massive works are at once easily identifiable as part of Gilbert and George's oeuvre (in part because they often have Gilbert and George in them) and unflinchingly referential: to the manufactured sheen and unnaturally bright neons of Warhol, to the confrontational exposure of Mapplethorpe's photography, and, of course, to cathedral stained glass. They draw upon these same influences in their creative self-creation, their transgressive aesthetics, and their repetition and reworking of religious and secular motifs intertwined with abstractions. Gilbert and George are insistently doubles: original and derivative, repetitive and evolving, reactionary and visionary.
The authors analyze developments in the scientific article in Europe from the seventeenth century to the present. They devote a chapter to "style and presentation" in each century, and a separate chapter to "argument" more specifically in each century, in French, German, and English examples. They find a remarkable similarity of style already evident in seventeenth-century examples, demonstrating that scientific authors were already addressing an international audience. Seventeenth-century articles show an "impression of objectivity" and "a movement toward a more impersonal style" (47), although the English examples were somewhat more personal, less quantitative, and less interested in explanation than were the French examples, and the prose overall is hardly what we would currently expect from a scientific article.
Although the eighteenth-century examples should, perhaps, be considered part of a larger period that included the seventeenth century, Gross et al do track a movement from impersonal to personal style, nominal to verbal style, and minimal presentation to more elaborate presentation during this period. Also, the French examples continue to approximate more closely to twentieth-century norms of scientific style, reflecting their more professionalized community. Overall, the authors characterize much of the eighteenth century as a period of "consolidation and altered emphasis," with "relative stability" of style (116), although the last quarter of the eighteenth century showed a sharp rise in standardization and standards for accuracy and precision.
Gross et al note that nineteenth-century prose still addresses amateurs as well as professionals, and they comment on its persistent difference from "the highly compressed, neutral, monotonal prose" of late-twentieth-century science(137). However, the English and German examples do become more professional in their use of impersonal style, and examples demonstrate a consolidation toward a more "homogeneous communicative style" (138). They also note that the nineteenth century exhibits a "master presentation system approaching maturity," with "title and author credits, headings, equations segregated from text, visuals provided with legends, and citations standardized as to format and position," as well as standardized introductions and conclusions (138).
They find that the combination of an increasing "passion for factual precision" and systematization produces more careful theorizing generally in science during this period, even as individual sciences specialize and diverge (158). Increased attention is given to the process by which facts are linked to theory, and to the role of evidence, governed by an "overriding need for explicitness" (160).
Twentieth-century examples include shorter sentences with more information packed into each by way of "complex noun phrases with multiple modifications in the subject position, noun strings, abbreviations, mathematical expressions, and citations" (186). The scientific article is now generally marked by high incidence of passive voice and low incidence of personal reference, along with a "master finding system" made up of "headings, graphic legends, numbered citations, numbered equations, and so on" (186). They argue that the current state of the scientific article reflects an evolutionary process whereby "current practices are a consequence of the selective survival of practices that were, persistently, better adapted to the changing environments of the various scientific disciplines over time" (212).