Category Archives: Anatomy

Daredevil # 18 Cover. 2012. Inked by Joe Rivera.
with digital color on Marvel board, 11 × 17.25″

Fantastic Daredevil cover designed Eisner Award-winning American comic book artist Paolo Rivera.

This is a really cool stylized look at the arterial network that supplies blood to all of those well-defined superhero muscles! I used to love drawing superheroes when I was little. Drawing the extremely defined and exaggerated musculature was my first foray into the appreciation of anatomy!

[via Symbiartic]

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/xv_qAteJwTQ/

Thanks to good friend and genius writer Richard Faulk--author of the unfortunately named but no less wonderful Gross America--The Morbid Anatomy Library has just been awarded the dubious honor of being voted one of the top 7 "Grossest Wonders of the USA" on CNN.

You can read Mr. Faulk's entire list, and his entry on The Morbid Anatomy Library, by clicking here. You can find out more about the elegantly and eruditely written book--and even buy a copy of your own!--by clicking here.

To find out more about the library, click here; for those curious to see this "weird art and antique medicine cum gallery and lecture space [which] hosts occasional classes in anthropmorphic taxidermy," please stop by open hours this Sunday, 1-6. More on that here.

Source:
http://morbidanatomy.blogspot.com/2012/10/morbid-anatomy-library-one-of-7.html

Source:
http://morbidanatomy.blogspot.com/2012/10/care-and-conservation-of-early-19th.html

ARS MORIENDI
Loreto Prague, Loretánské nám.7,  118 00 Praha 1 – Hrad?any
Exhibition extended until 30th November.

The aim of the exhibition is, above all, to introduce to the public the hitherto unknown space of the crypt for benefactors beneath the church of the Nativity of Our Lord. A fascinating discovery in the crypt revealed unique Baroque mural paintings depicting motifs of Death and Resurrection – allegories of Time, symbols of fragility and transience of human existence. These frescos of exceptional quality were created in 1664 by the means of the special technique of chiaroscuro – employing exclusively the shades of black and grey. The work of their author, perhaps a Capuchin order painter, was derived from the Flemish and Dutch prints and was commissioned by the then patroness of Loreto, Countess Elisabeth Apollonia of Kolowrat. The main scene depicting the Raising of Lazarus was based on the famous etching by Rembrandt, which later inspired numerous artists across the centuries, including Van Gogh – the Loreto fresco is remarkable because it is a very early reaction to Rembrandt’s work created while he was still alive...

... Part of the presentation will be dedicated to other interesting exhibits associated with the burial practices in Loreto – for example the unknown ground plan of the Lobkowicz crypt of patrons beneath Santa Casa, design of Castrum Doloris created in 1698 for the burial of the Count Václav Ferdinand of Lobkowicz, collection of the Baroque funerary textiles or several reliquary crosses which were part of the Loreto treasure and had not yet been exhibited.

The exhibition will also introduce the customs related to burying in the Capuchin order crypts. Borrowed for this occasion from the Brno crypt were Baroque coffin lids with painted decoration, portraits and coats of arms of selected donors who sought their final resting place with the Capuchins. The perception of the order spirituality of Franciscan observance in the funerary sphere is broadened by the presentation of two Baroque Franciscan convent mortuaries.

It rarely happens that an entirely unknown monument in the centre of Prague is discovered. The Loreto exhibition offers an opportunity to get more closely acquainted with the impressive crypt space decorated with unique paintings and with the Baroque ARS MORIENDI – The Art of Dying – the inner grasp of the end of human existence as a gate to eternal life.

Source:
http://morbidanatomy.blogspot.com/2012/10/ars-moriendi-art-of-dying-loreto-prague.html

For the new Anatomy Learning Center at UCSF's Parnassus campus, school officials sought to integrate high-tech tools with the classic cadaveric dissection.

The result: Instead of paper manuals, each lab table has an iPad uploaded with the manual, interactive graphics and quizzes. Faculty use mobile cameras to beam images of a cadaver wirelessly to TV screens and the iPads throughout the room. And students can watch surgeries taking place somewhere else on campus.

"It's about making the lab extend beyond the walls," said Chandler Mayfield, director of technology-enhanced learning in the university's School of Medicine.

The university and designers consulted with students and faculty for months to find out what they wanted to see in the $7.5 million learning center, which opened in August and was paid for with public and private funding. In addition to the lab, it includes offices, a classroom with wireless video capabilities, and a memorial wall where students can commemorate those who donated their bodies for their education.

The university shut down the old anatomy lab in September 2010 because its ventilation system was so outdated that chemical levels got too high. For the past two years, while the new center was being designed and built, students and faculty had to make do sharing the School of Dentistry's lab.

The old lab was a relic of the 1950s. The tables were made mostly of wood and were too tall for many students. The lights provided uneven lighting for students dissecting cadavers. And the circulation problems left the smelly embalming chemicals hanging in the air.

"Your hair would reek, your clothes would reek," said anatomy Professor Kimberly Topp. "You would get into the elevator, and everyone knew where you had been."

The new 3,500-square-foot lab is in the same place as the old lab on the medical school's 13th floor. Wall-to-wall windows look out onto Golden Gate Park and into Marin. It feels light and spacious, despite the 30 exam tables with four students buzzing around each.

Six 72-inch TV screens line the wall opposite the windows, and whiteboards with handwritten lists of muscles, bones and ligaments cover much of the remaining wall space. The ceiling is dotted with wireless routers, retractable extension cords and surgical lights that students can maneuver over their cadavers.

Architect Malvin Whang of the firm Harley Ellis Devereaux said he tried to create a warm and inviting space where students would want to study and that also met the functional needs of an anatomy lab.

See original here:
UCSF anatomy center's high-tech upgrade

There were a couple exciting moments in the presidential debate last night when President Obama and Mitt Romney revealed they do not like each other very much. One of those was on the not-typically-emotionally-charged issue of energy permits. Relive it in our GIF anatomy of the fight.

RELATED: Ryan Better Liked Than Biden Ahead of Debate

Setup:

RELATED: Conservatives Will Love Moderate Mitt as Long as He's Winning

Romney responds to a question about gas prices by saying that Obama hasn't pursued an energy policy that would drive prices down. Obama responds that he's encouraged growth in all energy sectors, both clean and dirty, and that that will create jobs. "That's the strategy you need, an all-of-the-above strategy, and that's what we're going to do in the next four years."

RELATED: A Second-by-Second Preview of What Romney Will Do at the Debate

Step 1: The provocation.

RELATED: Debate Recap: Obama's Second Chance

Romney cuts in. "But that's not what you've done in the last four years. That's the problem.In the last four years, you've cut permits and licences on federal lands and federal waters in half."

RELATED: Mark Your Calendars for Presidential Debate Season

Here is the original post:
Anatomy of a Debate Fight: The Energy Question