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While I was trying to create a sense of ease so that each patient could tell me their concerns, I was running multiple channels in my head, thinking “could this indigestion be cancer?”, “is there something important this person isn't saying?”, or “am I running late?” The Spanish magician Juan Tamariz writes of invisible threads that connect his eyes with those of the audience, every so often needing a gentle tug. If a doctor is looking at a screen and typing on a keyboard, naturally the patient will look there too, disrupting the invisible thread between clinician and patient. [...]it's important to recognise the effect on the dynamics of each consultation as attention shifts from the patient to a different point.

In her practice as an artist and researcher, Jen Rae navigates the troubled waters of community action, research creation, and environmental activism at a time when the planet is mired in a humanitarian crisis of historic proportions. Of Métis origin, she is the cofounder of the Centre for Reworlding, an activist think tank that, through their Creative Resilience Lab, brings together artists, scientists, and intellectuals around climate-related disaster risk reduction and resilience. In this role, Rae strives to promote the use of decolonializing and multidisciplinary methodologies and epistemologies in order to respond adequately to environmental disasters. Sensitive to the capacity of some communities to come together in the face of adversity and to the catalytic power of art as a generally safe space where such alliances may be developed, Rae interrogates the artist's role as a connective agent in ecological activism.

The treatment of psychiatric patients presents significant challenges to the clinical community, and a multidisciplinary approach to diagnosis and management is essential to facilitate optimal care. In particular, the neurosurgical treatment of psychiatric disorders, or \"psychosurgery,\" has held fascination throughout human history as a potential method of influencing behavior and consciousness. Early evidence of such procedures can be traced to prehistory, and interest flourished in the nineteenth and early twentieth century with greater insight into cerebral functional and anatomic localization. However, any discussion of psychosurgery invariably invokes controversy, as the widespread and indiscriminate use of the transorbital lobotomy in the mid-twentieth century resulted in profound ethical ramifications that persist to this day. The concurrent development of effective psychopharmacological treatments virtually eliminated the need and desire for psychosurgical procedures, and accordingly the research and practice of psychosurgery was dormant, but not forgotten. There has been a recent resurgence of interest for non-ablative therapies, due in part to modern advances in functional and structural neuroimaging and neuromodulation technology. In particular, deep brain stimulation is a promising treatment paradigm with the potential to modulate abnormal pathways and networks implicated in psychiatric disease states. Although there is enthusiasm regarding these recent advancements, it is important to reflect on the scientific, social, and ethical considerations of this controversial field.

Der Autor war eingeladen, seine Studie zur Geschichte der Ohrakupunktur am International Summit Forum on Clinical Application of Acupoints, das vom 25.–28. August 2018 in Beijing stattfand, zu präsentieren und die neueste Ohrkarte von F. Bahr vorzustellen. Der vorliegende Artikel basiert auf diesem Kongressbeitrag ergänzt durch historische Fakten. Die Beziehung zwischen dem Ohr und den Meridianen wurde bereits in dem berühmten Buch Der Innere Klassiker des Gelben Kaisers (Huang Di Neijing) diskutiert. Jedoch erschien die erste chinesische Ohrkarte erst 1888 im Buch Wesentliche Massage Techniken (Lizheng Anmo Yaosu) von Zhang Zhenjun. In den 1950er-Jahren entdeckte Paul Nogier aus Lyon die Ohr-Somatotopie, eine Abbildung des ganzen Menschen auf dem Ohr in der Gestalt eines Homunculus, eines umgekehrten Fötus. Die Karte von Paul Nogier wurde erstmals 1956 publiziert. Eine detailliertere Repräsentation, die Loci Auriculomedicinae, wurde von Paul Nogier, Frank Bahr und René Bourdiol ausgearbeitet und erschien 1974. Ohrakupunktur ist eine ausgezeichnete Methode, aber nur wenn die Ohrpunkte präzise lokalisiert werden. Voraussetzungen hierfür sind eine Kenntnis der Ohranatomie basierend auf einer sehr detaillierten Ohrkarte, wie sie kürzlich von Prof. Bahr erstellt wurde, sowie eine konstante Praxis der Pulstastung nach Nogier mit dem RAC oder VAS.

Randall-Wright reviews Masterpieces in Detail: Early Netherlandish Art from Van Eyck to Bosch by Till-Holger Borchert.

Bassens profiles artist Jan II Verbeeck. The case of the Verbeecks, a South Netherlandish family of artists, is complex. Although they are frequently cited in relation to the work of Hieronymus Bosch (c. 1450-1516) and Pieter Bruegel the Elder (1526/ 30-1569), the names of painters \"Jan Verbeeck\" and \"Frans Verbeeck\" remain shrouded in mystery. This is the story of two artists of the mid-sixteenth century who were active in the city of Mechelen [Malines] in Brabant. Details of their lives remain largely obscure, with only a handful of biographical data furnishing a few clues. Despite the fact that there are two different given names--which ought to have provided something of an evidentiary foothold for art historians--a multitude of artistic namesakes makes a clear division of their personalities practically impossible.

The church of Sint-Jan in the town of ‘s-Hertogenbosch, on the northern frontier of the medieval diocese of Liège, cultivated unique local devotions to the widely venerated apostle St John the Evangelist. Most notable are five annual feasts, two of which are unknown elsewhere in Western Christendom – John's Exile on the Island of Patmos (27 September) and Return from Exile (3 December). Although Patmos figured prominently in the Western iconography of John's prophetic vision and writing of the Apocalypse, this event was largely overlooked in the Western Johannine liturgy. Drawing from an exhaustive study of all extant service books, my comparative analysis of the office chants and readings for John's Exile and Return examines how the ‘s-Hertogenbosch clergy synthesised Eastern and Western narratives of John's evangelical and prophetic activities on Patmos. A previously ignored liturgical imprint sheds new light on local reception of a fifth-century text of Syrian origin – the Acts of John by Prochorus – widely disseminated in Byzantium but little known in the Latin West. The Matins readings from this source contradict the Western prophetic association of Patmos by imagining this island as the locus for John's preaching and writing of the Gospel, yet the concluding versified responsories, unique to ‘s-Hertogenbosch, call on John as both a preacher and a prophet – attributes that merge in the musical form and melodic embellishment of these previously unstudied chants. More broadly, this case study demonstrates how the office liturgy might conflate different hagiographic narratives.

To be able to empathize demands a degree of reflection, and pieces of art allow us time to observe and reflect. [...]art is a good model to acquaint people with, and allow them to consciously practice, the process of empathy. College of Medical, Veterinary and Life Sciences, University of Glasgow, Glasgow, UK. Received December 15, 2016; accepted December 20, 2016. © 2016 American Association for Clinical Chemistry Author Contributions: All authors confirmed they have contributed to the intellectual content of this paper and have met the following 3 requirements: (a) significant contributions to the conception and design, acquisition of data, or analysis and interpretation of data; (b) drafting or revising the article for intellectual content; and (c) final approval of the published article.

Hieronymus Bosch’s painting known as The Ship of Fools (c. 1490–1500) has long provoked questions regarding the meaning behind its absurd tableau of singers. For more than a century, critics have taken Bosch’s representation of Franciscans as a sign of his anticlericalism. This article reevaluates Bosch’s possible motivations, taking into consideration the literary and visual cult of folly, the agency of women song collectors, Franciscan songs and preaching method, and the practice of contrafaction in devotional lyric. Appraising the evidence using an interdisciplinary method reveals a program of symbolic inversion at work in Bosch’s painting that implicates the renowned Franciscan preachers Olivier Maillard and Jan Brugman, their religious contrafacta, and those who sang them. Depicting music as folly, I argue that Bosch may have wished to represent inversely the virtues of Franciscan preaching. What better way to portray a penitential song sung to the tune of a well-known love song than by depicting a friar and a nun singing a lute song while surrounded by symbols of lust? Consequently, one might consider these as jongleurs of God, doing something recognizable and following a tradition that goes back to the founders of the order: preaching penance by converting the folly of secular love songs into tools of piety.

One of the most important contemporary experiences of European societies is undoubtedly the migration crisis. The resulting social fears of 'strangers,' which have been activated, show how important the archetypical 'other-stranger' pattern still is, and that it can be treated as an example of an 'anthropological constant.' The aim of the article is to try to look at the painting \"The Wayfarer\" by Hieronymus Bosch as an illustration of the archetypical 'other-stranger' pattern. It seems that such a reading of this work, rich in symbolic content, on the one hand perfectly justifies the thesis of the archetypical sources of contemporary attitudes towards 'strangers' and, on the other hand, allows one to better understand and explain the current reactions and behaviors of Europeans. This becomes particularly evident when juxtaposing the image of Hieronymus Bosch with the contemporary media images of migrants.