May 17, 2008
BehindTheMedspeak: Medical Imaging With a Cellphone
Long story short: scientists have developed a relatively inexpensive medical scanner ($1,000 v $70,000 for a conventional ultrasound machine) that can be plugged into a cellphone, which transmits raw scan data to a remote computer processor. The computer converts the data into images which are then sent back to the cellphone for viewing on its screen.
This could bring First World medicine to the Third World and can't happen too soon.
Windsor Genova's May 1, 2008 AllHeadlineNews.com story follows.
- Cell Phone Finds Use As Diagnostic Tool In Areas Without Ultrasound, X-Ray Machines
A professor of bioengineering at the University of California, Berkeley and his colleagues have developed a cheaper way to perform medical imaging using a cellular phone.
Boris Rubinsky's team has developed a portable medical scanner that can be plugged into a cellular phone, which transmits raw ultrasound or X-ray scanning data to a remote computer processor. The computer then converts the data to images and relays these back for viewing on the cell phone screen.
The innovative concept, which was described in Wednesday's issue of the journal PLoS ONE, is a cheaper and easier alternative to conventional medical scanning service because one computer server does the imaging for many scanners.
Traditional ultrasound and X-ray machines are bulky because their components consist of a computer, video monitor and scanner. These are also very expensive; an ultrasound machine costs about $70,000 while a portable scanner will only cost $1,000.
According to Foxnews.com, Rubinsky said the portable scanners "could open up whole new avenues of health care for the developing world. Health professionals in rural clinics could affordably get the tools they need to properly diagnose and treat their patients."
Here's a link to an interview with Rubinsky.
Here's a link to a video featuring Rubinsky.
Here's the abstract of Rubinsky's paper, published in the April 30, 2008 issue of Public Library of Science ONE.
- A New Concept for Medical Imaging Centered on Cellular Phone Technology
According to World Health Organization reports, some three quarters of the world population does not have access to medical imaging. In addition, in developing countries over 50% of medical equipment that is available is not being used because it is too sophisticated or in disrepair or because the health personnel are not trained to use it. The goal of this study is to introduce and demonstrate the feasibility of a new concept in medical imaging that is centered on cellular phone technology and which may provide a solution to medical imaging in underserved areas. The new system replaces the conventional stand-alone medical imaging device with a new medical imaging system made of two independent components connected through cellular phone technology. The independent units are: a) a data acquisition device (DAD) at a remote patient site that is simple, with limited controls and no image display capability and b) an advanced image reconstruction and hardware control multiserver unit at a central site. The cellular phone technology transmits unprocessed raw data from the patient site DAD and receives and displays the processed image from the central site. (This is different from conventional telemedicine where the image reconstruction and control is at the patient site and telecommunication is used to transmit processed images from the patient site). The primary goal of this study is to demonstrate that the cellular phone technology can function in the proposed mode. The feasibility of the concept is demonstrated using a new frequency division multiplexing electrical impedance tomography system, which we have developed for dynamic medical imaging, as the medical imaging modality. The system is used to image through a cellular phone a simulation of breast cancer tumors in a medical imaging diagnostic mode and to image minimally invasive tissue ablation with irreversible electroporation in a medical imaging interventional mode.
Here's a link to the full paper for those who can't get enough.
[via Shawn Lea]
Apple G3 Mailbox
Kool-Aid and Reality Distortion Field
bookofjoe MoneyMaker™ — Episode 2: Rupert Murdoch takes my suggestions and axes the weakest links in the WSJ's Weekend Journal
Just one week after my detailed suggestions on how to improve his Saturday feature section, today's iteration reveals he's done precisely what I urged, completely eliminating two of the three areas of print deadwood I observed were simply taking up space.
Here's the relevant part of last Saturday's post:
- Three ways to instantly improve the Wall Street Journal
3) Bag the entire second page. Who cares about what five films Kim Cattrall considers her favorite romantic comedies? If Murdoch wants to lower the average age of his readers from the geriatric park set, stuff like this has got to disappear. It certainly doesn't warrant nearly half a page.
The Art report about jitters in the art market, rehashing the week's auction news, is tired.
And Picks Online, offering links to the paper's own art blog, is irrelevant to the reader holding the dead tree version.
2) Power Tables, which occupies a full quarter page — above the fold, no less — is from the days of Hedda Hopper and Walter Winchell.
Does anyone but those namechecked in the feature really give a hoot about which tables in restaurants masters of the universe prefer?
Give us a break, already.
3) Masterpiece: Anatomy of Classic, in which someone deconstructs a fairy tale or some such foolishness, is so out of place on the back page of the section, where it takes up nearly half the page — once again above the fold — that I can't even begin to imagine what the section editor was thinking.
Everything feature and column noted above in items 1 & 2 is gone, disappeared and good riddance.
The only thing still standing is "Anatomy of a Classic" on the back page — but at least now it's not about some book of fairytales.
Good job, Murdoch.
Even if you didn't have the courtesy to thank me.
I understand how it is.
Face and shame and all are the driving forces for the great majority of actions taken by all of us.
In that respect at least, you're hoi polloi.
Oh, joe, you're way too full of yourself.
I'm sure it's just a coincidence.
I'm with the late, great Gilda Radner and Carl Jung — there are no coincidences.
What is it?
Answer here this time tomorrow.
BeerMenus.com — 1,391 beers on 270 New York City beer menus
You put your beer of choice into the search box and voila — up pops a list of places in Manhattan or Brooklyn you can get one.
Gotcha Insect Sprayer — Gives new meaning to 'action at a distance'
True, it looks silly but it's better than having a nest full of angry wasps in your face.
From the website:
- Gotcha Insect Sprayer
Keep your distance while dealing with pesky insects
Now you can take care of pesky insect nests without getting up close and personal.
Also a great idea for sealing pruned trees, cleaning hard-to-reach windows, etc.
Just attach the Gotcha Sprayer to any standard-thread broom or mop handle (or choose our telescoping 12 foot pole), attach your spray can, and pull the string to spray.
Adjusts to hold any standard aerosol can.
David Byrne on Robert Rauschenberg's 'Reality Distortion Field' — 'Silly, Profound and Beautiful'
- Bob the Builder
I approached Bob Rauschenberg in the mid-’80s to design a cover for the Talking Heads record “Speaking in Tongues.” I had recently seen some of his black-and-white photo collages at Leo Castelli’s gallery on West Broadway and thought they were amazing, and I wondered what he would do with an LP cover.
It was not unusual for a pop musician to approach a fine artist in those days; other contemporary artists had collaborated with pop bands in the late ’60s and early ’70s. I was pleasantly surprised, though, when Bob, who died this week, eschewed simply reproducing a work on the album jacket in favor of re-envisioning what the whole LP package could be.
His package consisted of a conceptual collage piece in which the color separation layers — the cyan, magenta and yellow images that combined to make one full-color image — were, well, deconstructed. Only by rotating the LP and the separate plastic disc could one see — and then only intermittently — the three-color images included in the collage. It was a transparent explication of how the three-color process works, yet in this case, one could never see all the full-color images at the same time, as Bob had perversely scrambled the separations.
Needless to say, the design posed some production problems for Warner Bros. Records, so it ended up a limited, but very large, 50,000-copy edition, released in addition to the regular, mass-produced version. Luckily, everyone shared in the crazy idea of making radical art that could also be popular. Nowadays there might be concerns about the return on investment, but at that time the label let these matters slide.
I later became friends with Bob and his collaborators, and it was an incredible world to enter. I sensed immediately that Bob had never become cynical about his work. Even after he found success, he continued to see the world as a work of art that simply hadn’t been framed yet.
Bob’s way of talking was a challenge to many — he spoke in constant puns and metaphors, like a stream-of-consciousness poet, and one had to suspend traditional forms of speech, understanding and discourse and go with the flow. It was liberating, if you could hang in there, and never mundane. Conversation was like one of his pieces: a crazy mishmash of images, multiple layers and references, and a spray of allusions that were simultaneously silly, profound and beautiful — he was the Neal Cassady of the art world. His life, and his relation to those around him, was just like his work; there was no separation and he never went out of character. The love of the world that was in the work was also in the man.
Bob drank heavily. In the ’80s, I discovered him once at his studio on Lafayette Street, in mid-afternoon, with a glass of Jack in his hand. I, rock ’n’ roll guy, was amazed to see an established artist living one aspect of the rock ’n’ roll life much more intensely than I ever dared. I did wonder if some of the beautiful jumps and leaps in his conversation were partly alcohol-related, but his output remained transcendent, so I figured he was managing it.
Being around Bob was often like being on some kind of ecstatic drug — he inspired those around him to not only think outside of the box, but to question the box’s very existence. He was driven to challenge himself. For his globe-spanning project, Rauschenberg Overseas Cultural Interchange, Bob collaborated with artisans and small factories in Chile, China, Cuba, Germany, Japan, Malaysia, Mexico, the Soviet Union, Tibet and Venezuela over many years. In pre-“it is glorious to be rich” China, Bob worked with the oldest paper manufacturer in the world, while in India he worked with mud-manure straw clay. Suspicious of Bob’s motives, some countries forced him to wade through red tape, and his open attitude toward materials and creativity occasionally confounded his traditional artisan collaborators. The results, though, were sometimes wonderful, especially when he managed to break his own mold.
Bob was extraordinarily generous. I don’t mean he gave away art — though he did that, too — but he was generous with his time and with his ideas and spirit. He started Change Inc., a foundation that awards grants to emerging artists who can’t pay their rent, utility or medical bills. No questions asked.
He was, of course, famous for making art out of everyday junk he found on the street. One summer I went down to Captiva Island, Fla., where Bob had his main studio. I stayed across the road in one of the houses he had “saved,” and I spent a week or so writing a few songs. When I returned to New York, I left behind a pair of worn-out tennis shoes. A ghostly image of them showed up in a painting not long after.
Bob’s generosity of vision was, it seemed to me, more profound than the financial kind. His openness and way of seeing was contagious and inspired others in their own work — not to imitate and make pseudo-Rauschenbergs, but to see the whole world as a work of art. As corny as that may sound, that’s what he sometimes did.
Paint Roller Power Washer
Special tools for special jobs.
From the website:
- Paint Roller Power Washer
The easiest way to clean paint rollers
No more mess!
Finally there’s an easy, effective way to clean paint rollers.
Attaches to your faucet or garden hose and uses water pressure to deep clean your paint rollers.
Just insert your roller, turn on the water, and the roller will be clean in a minute or two.
Works with all rollers up to 1-1/2” nap.
$29.95 (paint roller not included).