Biomedical Visualisation: Volume 13 – The Art, Philosophy and Science of Observation and Imaging

Preface
Contents
Editors and Contributors
Part I: The History and Philosophy of Medical Imaging
1: Re: Viewing Observation. The Philosophy of Medical Imaging
1.1 Introduction
1.2 The Received View
1.3 A Survey of the Philosophy of Visualisation
1.3.1 Phenomenology
1.3.2 Logical Empiricism
1.3.3 Postempiricism
1.3.4 Naturalism
1.3.5 Postphenomenology
1.4 Biomedical Visualisation and the Contemporary Philosophy of Technology
1.4.1 Philosophy of Technology: Background
1.4.2 Visualisation as Technology
1.4.3 Visualisation and Ontology
1.4.4 Constructive Empiricism
1.4.5 Technological Mediation
1.4.6 Ontological Enactment
1.4.7 Discussion
1.4.8 Conclusion
References
Part II: Innovation in Imaging Technologies
2: Emerging Imaging Techniques in Anatomy: For Teaching, Research and Clinical Practice
2.1 Introduction
2.2 Imaging in Biomechanics
2.2.1 Ultrasound Elastography
2.2.2 Digital Image Correlation
2.2.2.1 Digital Volume Correlation
2.2.2.2 Displacement-Encoded MRI
2.2.3 Dissection, Digitisation and 3D Modelling: Utilisation in Clinical Anatomy
2.3 Imaging to Aid in Anatomy Visualisation for Education and Practice
2.3.1 Ultrasound in Anatomy Education
2.3.2 Radiography in Anatomy Education
2.3.3 Surface Based: Photogrammetry and 3D Scanning
2.3.4 Virtual Anatomy Applications and 3D Software Systems
2.3.4.1 HoloLenses (Mixed Reality)
2.3.4.2 Application to Education and Practice
2.4 Conclusion
References
3: Mapping of Orthopaedic Fractures for Optimal Surgical Guidance
3.1 Importance of Fracture Visualisation for Surgical Practice
3.2 Different Methods for Developing Fracture Patterns and Maps
3.2.1 Two-Dimensional (2D) Methods of Fracture Pattern Generation
3.2.2 Three-Dimensional (3D) Methods
3.2.3 Ex Silico Method Using Additive Manufacturing
3.2.4 Digitising Fracture Maps to Create Heat Maps
3.3 Implementation of Fracture Maps in Surgery
3.3.1 Surgical Planning
3.3.2 Optimised Implant Design
3.3.3 Fracture Classifications
3.4 Conclusion
References
4: Visualising the Dural Venous Sinuses Using Volume Tracing, a Novel Approach
4.1 Introduction
4.2 The Anatomy
4.2.1 Developing Structures
4.2.2 The Dural Venous Sinuses
4.2.2.1 Superior Sagittal Sinus
4.2.2.2 Transverse Sinuses
4.2.2.3 Sigmoid Sinuses
4.3 Visualising the Cerebral Venous System
4.3.1 Angiography
4.3.2 Magnetic Resonance Venography (MRV)
4.3.3 Contrast-Enhanced Imaging
4.3.3.1 Gadolinium
4.3.3.1.1 Limitations of Magnetic Resonance Imaging, Including Venography
4.3.4 Visualising the Dural Venous Sinuses: From Foetus to Adult
4.3.4.1 Foetus
4.3.4.1.1 Limitations of Imaging in Foetuses
4.3.4.2 Child
4.3.4.2.1 Limitations of Imaging in Children
4.3.4.3 Adult
4.3.4.3.1 Limitations of Imaging in Adults
4.4 A Novel Way of Seeing
4.4.1 Inclusion and Exclusion Criteria
4.4.1.1 Inclusion Criteria
4.4.1.2 Exclusion Criteria
4.4.2 Sample Size
4.4.3 Ethical Considerations
4.4.4 Current Approach
4.4.5 Tracing Protocol
4.4.5.1 General Considerations
4.4.6 Tracing the Venous Dural Sinuses
4.4.6.1 The Superior Sagittal Sinus
4.4.6.2 The Transverse Sinus
4.4.6.3 The Sigmoid Sinus
4.5 Practical Applications of Constructing Three-Dimensional Dural Venous Sinuses
4.5.1 Academic Teaching of Anatomy
4.5.2 Clinical Applications
4.5.2.1 Determining Venous Sinus Volume
4.5.2.1.1 Volume Differences (in cm3) Between the Sexes
4.5.2.1.2 Volume Differences Between Age Groups
4.5.2.1.3 Pooled Venous Volume on the Right and Left Side
4.6 Conclusion
4.6.1 Pathology of the Cerebral Venous System
4.6.1.1 Infantile Subdural Haemorrhage (SDH)
4.6.1.2 Dural Venous Sinus Thrombosis
4.6.1.3 Developmental Venous Anomaly
4.6.2 Application in Surgical Interventions
4.6.2.1 Radical Neck Dissection
4.6.2.2 Stereotactic Radiotherapy
4.6.3 Venous Occlusion Mimics
4.6.3.1 Flow Artefacts
4.7 Final Thoughts
References
5: Placental Morphology and Morphometry: Is It a Prerequisite for Future Pathological Investigations?
5.1 Introduction
5.2 Development of the Placenta
5.3 Macroscopic Anatomy of the Placenta
5.4 Variations in the Macroscopic Anatomy
5.5 Placental Surfaces
5.6 Microscopic Anatomy of the Placenta
5.6.1 Amnion
5.6.2 Chorionic Plate
5.6.3 Placental Villi
5.6.3.1 Histological Features
5.6.3.2 Types of Villi
5.6.3.2.1 Mesenchymal Villi
5.6.3.2.2 Immature Intermediate Villi
5.6.3.2.3 Stem Villi
5.6.3.2.4 Mature Intermediate Villi
5.6.3.2.5 Terminal Villi
5.6.3.3 Placental Villi Pathology
5.6.3.4 Trophoblast Inclusinoids
5.6.3.5 Viral Infection (COVID-19 and HIV Infection)
5.6.3.6 Extrauterine Placental Pathology
5.6.4 Basal Plate
5.6.5 The Placental Bed
5.6.6 The Placental Bed Biopsy
5.6.6.1 The Decidua
5.6.6.2 The Myometrium
5.7 Placental Angiogenesis
5.8 Mechanism of Angiogenesis
5.9 Normal Placental Growth and Angiogenesis
5.10 Dysregulated Angiogenesis in Placental Anomalies
5.11 Quantitative Histologic Evaluation of the Placental Villi
5.12 Imaging of the Human Placenta
5.13 Conclusion
References
Part III: Art-based Practice and Body Science
6: Drawing: A Dialogue across Disciplines
6.1 Drawing: A Dialogue across Disciplines
6.1.1 Drawing as a Collaboration between Artist and Surgeon
6.1.1.1 Drawing in Clinic and Theatre
6.1.2 Drawing and Medical Education
6.1.3 Drawing as a Tool of Teaching and Learning
6.1.4 The Role of Drawing in Training to Support Observation and Visual Skills
6.1.5 Drawing to Learn Anatomy
6.1.6 Discussion
References
7: Visualizing the Human Body Using an Artistic Approach
7.1 Challenges of Biomedical Science Education
7.2 Why the Arts?
7.3 The Course Design
7.4 Becoming the Exquisite Corpse
7.5 New Possibilities, No Expectations
7.5.1 Developing an Inquiring Mindset
7.5.2 Thinking of the Big Picture
7.6 How we Achieve Practice-Led, Interdisciplinary Teaching
7.6.1 The Expectation Trap
7.6.2 Trust in the Process: Drawing by Connection
7.6.3 Seeing What Lies Beneath: The Skeleton
7.6.4 Touching on Flexibility
7.6.5 The Independent Project and Exhibition
7.7 Visualising New Perspectives
7.7.1 The Social Conditions of the Exquisite Corpse Undergraduate Course
7.7.1.1 Collaboration
7.7.1.2 Uncertainty
7.7.2 Student Reflection Data
7.7.2.1 Participants
7.7.2.2 Research Instrument and Process
7.7.2.3 Analysis
7.7.3 Results and Discussion
7.7.3.1 Resilience
7.7.3.2 Tolerance for Uncertainty
7.7.3.3 Collaboration
7.7.3.4 Subgroup Experiences
7.7.3.4.1 The Science Student Experience
7.7.3.4.2 The Visual Arts Student Experience
7.7.3.4.3 The Interdisciplinary Student Experience
7.8 Conclusion
References
8: Construction of Facial Composites from Eyewitness Memory
8.1 Introduction
8.2 History of Face Composition
8.2.1 Portrait Artists
8.2.2 Bertillon´s Portrait Parlé and Anthropometry
8.2.3 Galton´s Composite Images
8.3 Solutions from the Twentieth Century
8.3.1 Manual Systems
8.3.1.1 Identi-Kit
8.3.1.2 Photo-Fit
8.3.2 Computerised Feature-Based Systems
8.3.2.1 Mac-a-Mug pro
8.3.2.2 Faces
8.3.2.3 E-FIT and PRO-Fit
8.3.3 Research Evaluation of Computerised Systems and Sketch
8.3.3.1 Improving Computerised Systems and Sketch
8.3.3.1.1 Combining Memories
8.3.3.1.2 Recalling the Environmental Context
8.3.3.1.3 Facilitating Holistic Face Processing
8.3.3.1.4 Increasing the Focus on Internal Facial Features
8.3.3.1.5 Overcoming Changes of Appearance
8.3.3.1.6 Facilitating Recognition of Finished Composites
8.3.3.1.7 Combining Techniques
8.4 Solutions in the Twenty-First Century
8.4.1 Eigenface Theory
8.4.2 Systems
8.4.2.1 Id
8.4.2.2 EvoFIT
8.4.2.2.1 Police Assessment
8.4.2.2.2 Case Study
8.4.2.3 EFIT-v
8.4.3 Research Evaluations of Eigenface Systems
8.5 The Cutting Edge
8.5.1 Enhancements to Eigenface Technologies
8.5.1.1 Facilitating Holistic Face Processing
8.5.1.2 Increasing the Focus on Internal Facial Features
8.5.1.3 Focus on the Eye Region
8.5.1.4 Population Size
8.5.1.5 Replication and Combining Techniques
8.5.2 Generative Adversarial Networks
8.5.2.1 Limitations of GANs
8.6 Do Composites Damage Memory?
8.7 Are Face Composites Better than Descriptions of Faces?
8.8 The Ethics of Face Composition
8.9 Discussion and Conclusion
References