Pain drawings in somatoform-functional pain

Background Pain drawings are a diagnostic adjunct to history taking, clinical examinations, and biomedical tests in evaluating pain. We hypothesized that somatoform-functional pain, is mirrored in distinctive graphic patterns of pain drawings. Our aim was to identify the most sensitive and specific graphic criteria as a tool to help identifying somatoform-functional pain. Methods We compared 62 patients with somatoform-functional pain with a control group of 49 patients with somatic-nociceptive pain type. All patients were asked to mark their pain on a pre-printed body diagram. An investigator, blinded with regard to the patients’ diagnoses, analyzed the drawings according to a set of numeric or binary criteria. Results We identified 13 drawing criteria pointing with significance to a somatoform-functional pain disorder (all p-values ≤ 0.001). The most specific and most sensitive criteria combination for detecting somatoform-functional pain included the total number of marks, the length of the longest mark, and the presence of symmetric patterns. The area under the ROC-curve was 96.3% for this criteria combination. Conclusion Pain drawings are an easy-to-administer supplementary technique which helps to identify somatoform-functional pain in comparison to somatic-nociceptive pain.

Effect of the Various Degrees of Stress on Childrens Art Expression Through Drawings

One of the aims of this project was to understand the way in which external environment or situation affects children's behaviour. Emotional experiences are developed and acquired under the influence of the environment, and a good family relationship is necessary for young people to grow, develop and socialise at all ages. Stress causes specific negative emotions, including concern, anxiety, sorrow and hostility. A pathologic environment in childhood forces the development of special abilities, both creative and destructive, It supports the development of an abnormal state of mind in which the usual relations between body and mind, reality and imagination, knowledge and memory are changed. Here the environment considered was that of the war and aggression in Bosnia & Herzegovina, where children, particularly those from Podrinje, witnessed arrests, killing, deforming and slaughtering of adults and children, in many cases members of their immediate families. Sehovic analysed the content of drawings by children exposed to various degrees of stress, to discover how these indicate various degrees of stress with the aim of using these as a projective technique in diagnostic work with children. The sample included around 600 children expelled from their homes, of both sexes aged between 6 and 12.

A picture paints a thousand words: Heart drawings reflect acute distress and illness perception and predict posttraumatic stress symptoms after acute myocardial infarction

The aim of this study was to examine whether heart drawings of patients with acute myocardial infarction reflect acute distress symptoms and negative illness beliefs and predict posttraumatic stress symptoms 3 months post-myocardial infarction. In total, 84 patients aged over 18 years drew pictures of their heart. The larger the area drawn as damaged, the greater were the levels of acute distress (r = 0.36; p < 0.05), negative illness perceptions (r = 0.42, p < 0.05), and posttraumatic stress symptoms (r = 0.54, p < 0.01). Pain drawings may offer a tool to identify maladaptive cognitions and thus patients at risk of posttraumatic stress disorder.

A Catalogue of One Thousand Fine & Valuable Books Manuscripts, Autograph Letters, Prints and Drawings [Third Part] Offered at the Net Prices Affixed by Joseph Baer & Co. No. 750 .

Indexheft beiliegend

An investigative and interpretive study, with paintings, drawings and prints, of "All Saints' Day" and "All Souls" Day" in Mexico

"In Mexico, the first two days of November are set aside each year for the commemoration of the dead. This fete, called All Saints' Day and All Souls' Day, is observed throughout the world; however, in Mexico, it is celebrated in a manner peculiar to that country and to the various localities within that country . This holiday is sanctioned by both government and church; and is celebrated by practically all Mexicans, whether they be Catholic, pagan, relilious or irreligious. These are the two days when that contrast which is the essence of Mexico becomes obvious: the "triste~alegria" (sad-happiness). During these days , art objects are abundant and arresting ; and religious ceremonies, rites and fiestas blossom forth! Urban and folk arts, in every field, find full expression at this time. The religious, social, political, and artistic manifestations of the holiday are not only stimulating in themselves, but are exciting as subjects for painting, drawings, prints, and any other form of artistic expression!"

Performed acculturation at Fort Marion : a case study of Zotom's drawings

This study examines how Native American warriors imprisoned at Fort Marion in St. Augustine, Florida, between 1875 and 1878, used their drawings to perform acculturation. I use the Kiowa warrior Paul Caryl Zotom’s drawings as a case study to demonstrate how the prisoners became methodical and formulaic in their subject matter and artistic style. Euro-American visitors to Fort Marion appreciated particular drawings over others, thereby directing subject matter. Prisoners adopted European artistic standards, thus, connected with their White audience further. Zotom’s embrace of both the subject matter and artistic style that the Euro-American audience appreciated most indicates his desire to demonstrate how successful he and his fellow prisoners were at adopting the white man’s road. I argue that much of the apparent change displayed visually in Zotom’s drawings was performed rather than true acculturation.

Are drawings dead? …and performance over aesthetics?

When the act of 'drawing' became what can only be called formalised, (whose growth can be said to have blossomed during the Renaissance), there developed a separation between the drawing and its procurement. Recently, David Ross Scheer, in his book ‘The Death of Drawing, Architecture in the Age of Simulation’ wrote: ‘…whereas architectural drawings exist to represent construction, architectural simulations exist to anticipate building performance.’ Meanwhile, Paolo Belardi, in his work ‘Why Architects Still Draw’ likens a drawing to an acorn, where he says: ‘It is the paradox of the acorn: a project emerges from a drawing – even from a sketch, rough and inchoate - just as an oak tree emerges from an acorn.’ He tells us that Giorgio Vasari would work late at night ‘seeking to solve the problems of perspective’ and he makes a passionate plea that this reflective process allows the concept to evolve, grow and/or develop. However, without belittling Belardi, the virtual model now needs this self-same treatment where it is nurtured, coaxed and encouraged to be the inchoate blueprint of the resultant oak tree. The model now too can embrace the creative process going through the first phase of preparation, where it focuses on the problem. The manipulation of the available material can then be incubated so that it is reasoned and generates feedback. This paper serves to align this shift in perception, methodologies and assess whether the 2D paper abstraction still has a purpose and role in today’s digital world!

Report on the Florida reefs / by Louis Agassiz ; accompanied by illustrations of Florida corals from drawings ...

v.7:no.1 (1880)

Aleutian islanders; Eskimos of the north Pacific / by George I. Quimby, Curator of Exhibits, Dept. of Anthropology. Drawings by Helen Z. Quimby.

no.35(1944)

Prehistoric men / by Robert J. Braidwood, Research Associate, Old World Prehistory; Associate Professor, Oriental Institute and Dept. of Anthropology, University of Chicago. Drawings by Susan T. Richert.

no.37(1948)

Mummies / by Richard A. Martin, Curator, Near Eastern Archaeology. Drawings by the author.

no.36(1945)