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Neurologically Operated Robotic Automoton, or N.O.R.A. was meant to be Victor's solution to both preserving his beloved wife, and allowing her to continue to function in the world while he could focus on finding her a cure. Only the years as a human snow cone and constant battles Batman have not been kind to Nora. While technically still alive, her body and mind have suffered extensive tissue damage, and she can no longer control N.O.R.A. Instead Victor has taken over the controls. Now outfitted with a mammoth freeze cannon, hurling pissed off polar bears, and a doomsday failsafe that will trigger a cataclysmic nuclear winter, N.O.R.A. Will become the vehicle of Victor's ultimate revenge against Batman and a world whose heart has grown cold.
The last remaining Ravenswood abandoned hospital is finally being rehabbed. Work started recently to make this old hospital into new retirement senior living, apartments will be made into supportive living. Before it closed, this building of the hospital was being used for Neurologic and Orthopedic spinal and brain care. I was born in Ravenswood hospital in the section that was demolished and turned into a french school. Lycee Francais
50 sec exposure shot on Olympus E-30.
- Perpetual events may be mistaken for continuous actions depending on the amount of time between each cycle or separate actions. This is the case with consciousness when we observe it from a quantified perspective. The flow of time is nothing but our perception on the changes in observable values.
NEUROLOGICAL REHABILITATION - a doctor supervised program for people with nervous system diseases, trauma or disorders.
We Keep You Moving.
#NEUROREHAB - #Neurological #Clinic at #FocuzAyurCentre
~My son Dylan Sharp has a Rare Neurological Movement Disorder. Dylan first got hospitalized in February of 2015, & we knew it was some type of a movement disorder when he was 9 years old. We waited, then Dylan's other test results came in September & was officially confirmed in Nov. of 2015 that our son has a Rare Neurological Movement Disorder @ the age of 10. Dylan's results showed us nothing any of our Dr's here had ever seen before, we don't even have a name for what Dylan's disease is, other than it falls under a type of movement disorder, and that it's rare.
Carte de visite by Carl Caspar Giers of Nashville, Tenn. This portrait of two U.S. Army assistant surgeons in Union-occupied Nashville opens a window into the emerging field of neurology—the study of nervous disorders we know today as post traumatic stress disorder, or PTSD.
Both recent college graduates, their shared history traces back to medical school in Philadelphia, the same date of promotion in U.S. Army, and their assignment to military hospitals in Nashville, where they were exposed to difficult cases of battlefield wounds and disease.
For the taller officer standing on the left, Washington Benson Trull, his deployment marked the beginning of a military journey that went beyond the Civil War in America. Known as Ben to his friends, Trull was born in 1839 into a Massachusetts family that arrived in America during colonial times. His great-grandfather, the celebrated Capt. John Trull, led a company of Tewksbury minutemen against the British at Lexington and Concord in 1775.
Ben’s ancestors gravitated to higher education and the sciences, and he followed in their footsteps. He attended college preparatory school in Newton Centre, Mass., and, in 1857, entered Brown University. There he excelled in the chess club and as president of Alpha Delta Phi fraternity. Upon his graduation in 1861—the year the Civil War began—he joined Boston’s First Corps of Cadets for duty guarding the state house and arsenal.
Before the end of the year, Ben took a leave of absence from the Corps and embarked on the study of medicine at the Jefferson Medical College in Philadelphia, and finished his coursework at the University of Pennsylvania. During this period, he volunteered as a medical cadet at the U.S. Army General Hospital in West Philadelphia, and this allowed him to graduate early, earning his degree in 1863.
The intersection of his medical training and the need for surgeons to deal with the massive numbers of sick and injured opened up the next chapter in his life. Ben joined the ranks of acting assistant surgeons in the U.S. Army in Nashville, and passed the examining board to earn a commission as assistant surgeon on July 6, 1863, just a few weeks shy of his twenty-fourth birthday. He spent the rest of the war tending to soldier-patients in Nashville and Vicksburg.
Several of Ben’s cases, all fatal head injuries, are documented in the Medical and Surgical History of the War of the Rebellion.
Another case documented by Ben appears in a postwar letter published in the Boston Medical and Surgical Journal. Titled “Euthanasia in War,” the case involves an unnamed soldier who suffered a gunshot or shell fragment wound that destroyed his eyes and nose, obliterating a significant part of his face and head. Ben’s report raises questions about medical ethics and the possibility that the body’s immune system could be triggered by emotion and feeling to turn against itself.
Ben began by noting a study of Peyer’s glands, or Peyer’s patches, which are located in the small intestine and are part of the immune system’s defense against antigens in the gut. He also references an order about post-mortem exams.
Here’s Ben’s full report:
In the summer of 1864, we were making instructive studies of Peyer’s glands, with the hope of giving more successful treatment to the many cases of chronic diarrhea in the Cumberland U.S.A. General Hospital at Nashville. A senseless alarm was sent to the War Department about the “cutting up” of deceased comrades and the receipt of an order that forbade post mortem examinations. I was, therefore, unable, in the following case, to ascertain the deeper lesions, the condition of the optic commissure, etc.
The patient came to us with about 700 other acute cases of gunshot injuries, on the night of the first day’s fight at Nashville in December, 1864. Some of the men were brought in ambulances, but more in hay wagons without springs, a mile from the field, over frozen roads, deeply rutted by the wheels of batteries and supply trains of previous days. As acting executive officer, I was called to examine a man in one of the wards, who was persistently clamoring for euthanasia.
When I reached him, sitting on a stool in the midst of a crowd, he asked me to stoop down, look at him and then listen to his request. I found that considerable parts of both optic cones had been shot away, including the arch of the nasal bones. There was now no arterial hemorrhage, no complaint of pain beyond a sense of soreness, no special constitutional disturbance. Pulse was notably small.
Deformity of face was extraordinary. One eye ball had been carried off in the progress of the missile; the other rested on the cheek (half way down the face) held by its optic nerve.
He began at once to argue his claim, in a slow, deliberate and low voice. He exhibited no hysterical haste to die, though it was evident that for him life and not death was “the king of terrors.” He steadily maintained that life would be insupportable should he get about again. I listened as carefully as possible in the confusion of cries for attention of forty or more on the floor and the beds of the ward; doctors and nurses were embarrassed by their urgency.
Не was quiet. The clear working of the mind, the normal sequence of thought surprised me, looking down upon such ruin of structures in the very neighborhood of the anterior cerebral lobes. He politely paused for an answer. I cannot state verbatim what I said, but the gist of it was that none of us could previse the course of his case, nor be justified in hastening the approach of death by medical or surgical procedure.
He died that night in coma.
The pith of all this is in two points: First, the gravity of the injury so close to the supposed region of cerebration, the anterior lobes, without disturbing mentality. Second, the cause of death. The word coma explains nothing: was it the over-topping hopelessness, an object repulsive to look at and even more so, to think of: the state of mind, producing excessive secretion in certain glands, thrown into the circulation as a toxin paralyzing innervation?
There questions tucked into Ben’s narrative: Did patient’s state of mind produce a lethal toxin that killed him? Did he commit a form of suicide? Did he euthanize himself? Ben seemed to have no question on ethics: As a trained physician familiar with the Hippocratic Oath, he interpreted his role to do good for the patient and not cause harm. It is easy to imagine that he did not expect the man to live, which made I easier for him to deny the man’s request to be euthanized.
Ben remained in Nashville until the war’s end. He returned to Massachusetts and melted back into civilian life as a surgeon in practice with a cousin. His peers elected him to various state boards.
Ben might have remained in Boston for the rest of his days. However, he had one military assignment to fulfill. In 1870, at the outset of the Franco-Prussian War, the German Army needed surgeons. A number of German-born American physicians volunteered, and Ben joined them. He arrived in the village of Pont-à-Mousson and attended to French prisoners of war, many of whom had served in the Army of the Rhine under Marshal François Bazaine and been surrendered after the two-month Siege of Metz ended in Prussian victory. Ben spent about a year on duty before returning the United States.
Perhaps inspired by wanderlust from his travels during two wars, he spent time on the Pacific Coast before heading back East to New England. He married in 1874 and settled into medical practice in the Boston suburb of Brookline. Politically an independent and an Episcopal by faith, he died in 1925 at age 85.
For the officer standing beside Ben, Jerome Keating Bauduy, Nashville is where he met his future wife. Born in 1840 in Cuba, where his wealthy Philadelphia family of French descent had various business investments, the Bauduys associated with another family of French origins, the du Ponts, who had become prominent gunpowder manufacturers.
Jerome followed his father, Peter, into the study of medicine. Jerome’s higher education journey started at Georgetown College in Washington, D.C., then to the Université Catholique de Louvain in Belgium, the University of Pennsylvania, and finally Jefferson Medical College. The start of the Civil War briefly interrupted his studies. In the summer of 1861, his name appeared on a list of Regular Army appointments to second lieutenant in the 4th U.S. Artillery. However, evidence suggests he did not accept the opportunity, choosing instead to finish his education.
In early March 1863, Jerome graduated from Jefferson Medical College. His thesis, “Erysipelas as connected with Gunshot Wounds,” suggests he, like Ben, volunteered as a medical cadet at one of the Philadelphia military hospitals, which allowed him to compete his coursework early.
On March 12, two days after graduation, Jerome accepted a position as a contract surgeon in the U.S. Army and reported to Nashville for duty, tending patients with Ben in the wards of military hospitals, and passing the examination board to become a commissioned assistant surgeon.
Unlike Ben, Jerome did not serve out the entire war. Medical issues forced his resignation in December 1863. But rather than return to Philadelphia, he remained in Nashville. The likely cause was Caroline Bankhead. Her father, James, an Irish immigrant, had settled in Nashville and rose to prominence as a merchant with business interests in New Orleans. Jerome and Caroline met at some point and began a courtship that blossomed and led to their marriage in June 1864. Five months later, Caroline gave birth to a baby boy in St. Louis. Caroline and Jerome named him James K. Bauduy, likely for Caroline’s father and Jerome’s middle name, which was also his mother’s maiden name. The infant died a day after he came into the world, according to city death records.
After the war ended, Jerome and Catherine permanently relocated to St. Louis, where 10 more children were born to them, eight of whom lived to maturity. In 1865, Jerome accepted a position as attending physician at St. Vincent’s Institution for the Insane, a private facility established by the Catholic Sisters of Charity. It is possible that Jerome’s mother, Amelia, played a role in landing this job for Jerome. She had entered into monastic life as a Discalced Carmelite in Philadelphia following the death of her husband in 1856, becoming Mother Ignatius.
In St. Louis, Jerome prospered at St. Vincent’s. He became fascinated by the study of neurology, or the treatment of issues connected to the nervous system. Its western origins in Europe had first caught the attention of American physicians in the middle part of the century, and the Civil War played a significant role in neurology’s emergence as a distinct field. Battlefield wounds, particularly to the spinal column and head, and related emotional conditions that came to be known in the 20th century as PTSD, fueled intense interest in the American medical establishment during and after the war.
Jerome’s practical experience treating soldier-patients and postwar cases and research led to the publication, in 1876, of the clinical textbook Diseases of the Nervous System. The book launched him into the spotlight as a leader in the field.
In one passage, Jerome references the impact of war on the nervous system: “The excitements incident to war, and its disastrous consequences, have afforded ample evidences of insanity consequent upon undue violence of the emotions. In a word, whenever the mind of an individual is subjected to undue strain, or the passions are extraordinarily roused, other conditions being favorable, mental alienation may ensue.”
Jerome also lectured and authored a number of papers on the subject. In 1890, he released an updated edition of the book. The full catalog of Jerome’s research touched on depression and the use of cocaine as a treatment, alcoholism, multiple sclerosis, and much more. As chair of Diseases of Mind and the Nervous System at Missouri Medical College, he taught neurology and psychiatry for three decades. He also appeared as an expert witness in a number of murder cases and other sensational courtroom trials, and he received handsome pay for his testimony. He ended his career as emeritus professor at Washington University in St. Louis.
Jerome experienced his own violent streak, as evidenced in an 1894 report that he attacked a fellow physician who reportedly insulted or assaulted one of his daughters. Jerome reportedly struck the doctor several times with a heavy cowhide whip, while pointing a revolver at him.
This incident may suggest that Jerome’s pursuits in the field of neurology may have been driven, at least in part, by his own search for answers.
Tragically, and perhaps ironically, Jerome died in 1914 in an asylum in Buffalo, N.Y. He was 74.
It may be fairly stated that the Civil War service in Nashville’s hospitals profoundly shaped the futures of Jerome and Ben, whose careers intersected with neurology, albeit in very different and unexpected ways.
I encourage you to use this image for educational purposes only. However, please ask for permission.
The last remaining Ravenswood abandoned hospital is finally being rehabbed. Work started recently to make this old hospital into new retirement senior living, apartments will be made into supportive living. Before it closed, this building of the hospital was being used for Neurologic and Orthopedic spinal and brain care. I was born in Ravenswood hospital in the section that was demolished and turned into a french school. Lycee Francais
Wessex Neurological Centres Iveco daily emergency transfer ambulance seen here en route to Southampton General Hospital.
This has had a Double Dash Light added since I last saw it.
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations in language that nature uses. If “E” stand for “energy” and “=” stand for “equal to” and “m” for “mass” and so on, than in my flashes some wood or earth texture juxtaposed with some toy or any object could be some explanation of some phenomena in language that nature is accustomed to. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist.
For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension, which is one of the aspect, useful for scientific community to explore. For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology. For detail see at: quranicarchaeology.blogspot.com/ Please see my few recorded Flashes on address: www.flickr.com/photos/art-science-works/
Here I just want to share my personal recent refinement on my own analysis (with which you are free to agree or not), that perhaps I should confine myself to Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Science or Spirituality, I do not know yet. So I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. IN DADA AND SUR-REALISM WE DO READ ABOUT DREAMS AND DRUG INFUSED RANDOM THOUGHTS, BUT NOT FLASHES, SO FAR NO WORD ABOUT FLASHES I FIND EVEN IN FREUD OR JUNGIAN PSYCHOLOGY, THEY TALK ABOUT DREAM IMPORTANCE. And in Christian art history SO FAR I've only observed mixing of dream and inspiration from Bible. No body so far I have read in dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. But after seeing the difference between Flashes and work based on MIXING of imagination or experimentation, now I can pin point the Flash, mixed or unmixed*, so please never mix me with William Blake, Sohail Tassaduq, De Chirico, Carra, Magrette, because I am not competing in sur-realism, art aesthetic, or in painterly compositions, I have no experience of spirituality, so I request please do not also confuse me with any oriental mystic artists. MY WORK FROM (1974-81) OF INSTALLATIONS, PERFORMANCES BASED ON FLASHES IS STILL UNPUBLISHED, so new writers do not know about it. IN PAKISTANI ART ALSO SO FAR, NO ARTIST HAS EVER CLAIMED FLASHES mixed or un-mixed. For future science world, un-mixed FLASHES will be more important. If you come up with something related to SCIENCE OF FLASHES, please refer it. * NOTE: After seeing the difference between two, that is: (1)Pure Flashes and (2) some of my work based on MIXING of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My unmixed are pure Flashes and to my mixed work(that is no:2) you can call it sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
And another relevant thing here is about physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore. Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. From Rudolf Arnheim's essay: Complementarity from the outside. May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything.
In between, some works in form of small photo with ink or other media are what I called these: Today’s Miniature Works, it’s personal feeling that any other like me can also claim we never know what time can prove but thing should be recorded, this is what I am doing here. One of the experiments was a debate on miniature art, I told many, it should be saturated with current and regional issues or concepts, which I painted with brush and camera, etc. and called it Today’s Miniature Art, long before it became a trend. Indeed now it is much refined by our younger generation of artists, I hope they remember my small contribution untold to them. such miniatures along with other experiments of early 70’s I had shown to Bashir Mirza, Ali Imam, Ahmed Pervez, Jamil Naqsh, Imran Mir, Iqbal Jaffery, Naseem Ahmed Khan, Muhammad Ali Bhatti, Dr. Sajid Khan, Iqbal Durrani, Mohsin Zaidi and other artists and art collectors. But BM and Imam refused to exhibit these experiments (flashes) on ground that these experiments will become important in future, first I should make my name famous with super realistic sort of works, which they were selling easily, so I had to exhibit these experiments (flashes) at PACC, Karachi, Jan 8, 1979, about which Daily News reported: "Artist Bashir.Mirza inaugurated an exhibition of paintings by Saleem Mansoor, a 19-year old student at the PACC yesterday. Saleem has .a distinct talent in Art. He has painted old colonial houses in a remarkably sound representational style, he has to stick to this style in order to develop his aesthetic sense instead of delving into different styles".Daily News, Jan 9, 1979 This above small press coverage is evidence of my habit of delving into different styles and evidence of how brutally my Pakistani- avant gaurd works (that I did between 1974-1978 which were displayed in this 1979 exhibition) were brutally ignored by media. I invited Dr. Akbar Naqvi the only art critic I knew at that time, but he did not came, perhaps due to reason of event of Dec. 1974, when Ali Imam told me that Dr. Akbar is offering four hundred for your painting of nine hundred rupee, but I refused, after that I was never introduced to any art critic, nor Dr, Akbar wrote a word on me and not even in his book and other art historian also not included me in their books, and no comment I see in the catalogue of 2007- National exhibition, but can history ignore the influence of my Flashes recorded in an unmistakable solid resources other than these local sources ? If conceptualy analysed what Fine Art is all about ? than even two or three flashes from my 70's or early 80's (which Dr. Naqvi has seen) will have more wheight than works represented in local art books. This is not proudness on myself this is an admiration of gift from nature that I got in form of Flashes, although my depiction of Flashes is bad, because I have no proffessional art training nor I am better artist than many artists represented in local art books, on this ground Dr. Akbar Naqvi, S. Amjad Ali, Ejazul Hassan, Salwat Ali are right in not including me in their books. But I depict or record Flashes with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. When I put all these before Marjorie she replied my email with these highly rewarding words: " What you have to say is extremely important, but you have always been way ahead of your time and environment. Mansoor, it is very hard to be a pioneer, but you are in the best of company in art history. Do not despair"---Marjorie Hussain, 5. 19. 2008, 9.03.am. Marjorie perhaps discovered me in 1983 through BM and Imam as her this recording shows:
"Saleem Mansur is an extremely interesting artist: "an artist's artist' as Ali Imam used to say. Bashir Mirza who juried Mansur's thesis work at the Central Institute of Arts and Crafts in 1983, was also numbered among the artist's admirers and on that occasion was greatly excited by the audacious innovations of the young "avant-garde' artist. Mansur was even then into installations, happenings and conceptual art, ....... In spite of the success in terms of the work, Mansur returned totally to the conceptual language that few understood. Those who did, considered him the most innovative and promising artist of his generation." ---Marjorie Hussain, Art Views, page.146. Published by fomma. And according to founder of fomma: Imran Mir (who knew me scince 1975) use to say... "because of his "Garage Series" Mansur was an artist before admission at CIAC" . To some extent he is right, since then I am like a scientist trying to record or understand the phenomenae of Flashes which immenssly influenced even the senior artists and since than I am enjoying the ripple effects of my Flashes that I exhibited between 1974-80, because of these years' work, Imam and BM passed highly praised words to Marjorie in my 1983 show at Pakistan Arts Council, Karachi, which Dr. Akbar Naqvi also saw (in 1984 display at the same place), but avoided to write and said I will see your next show. despite all these I still like him and all other art critics because of their love with fine art.
In late 70's some art students from KSA and CIAC came to my house and told me they have taken address from the back of my canvas at BM and Indus Galleries and developed a friendship and insisted me to take admission in their art school, I told them I am refusing my father who has managed my addmission in NCA on ground that I can not work on others' assignment, but among them Mohsin Zaidi gave me inside story and assurrance that at CIAC I will have full freedom to do my own experiments, I decided to register at CIAC in 1981 where for new audience I repeated most of my earlier works for photo and film recording the facility of which I found among new friends and all these recording I took NCA (1981) to show it there as well to check the ripple effect of my Flashes and later I exhibited at NAG, Islamabad, Al-Hamra, Lahore (1984) about which Yasin Muhammad, Salima Hashmi, Ghulam Nabi and others wrote good comments. For press coverage Click Here
It was not important for me to call my small size works as "todays miniature art", because these recording of flashes are blue print for performmance, installations, 3D animation, etc., and these are blue print for science as well as specialist of quantum physics Thomas Young says, if we isolate light particle from other particle than its duplicate takes its place and that duplicate comes from other universe or from else we do not know yet but it certainly shows we all have our duplicates including universe within universe. Beyond particle there is particle-Less field in atom to which Euorpean physicst call God-particle, this field if it is realy particle-Less perhaps is a curtain between the world and the other worlds of spirits, jins, angels, etc. visible after death only and not through telescope, space ship, microscope, etc. so flashes could be the LINK with the other worlds we have yet to understand. It looks to me all the flashes came to me in one night of 1973 or 1974 and scince then I am trying to somehow to capture them in notes or in illustration and in this effort flashes do come back one by one but still my energy and skill is not sufficient to record all those moving and still flashes, I hired one video recorder in 1981 through Sadiq of CIAC to record such Flashes but budget did not allowed to refine it or to produce more. What ever Flashes I recorded between 1974-1982 is my work that has immense ripple effects without any economical reward.
A year before Metric and much before Diploma in fine art, my art works (flashes) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my art and science works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984). Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan. "Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avnet Garde" also shows his wit." (—page 123, Ejazul Husan) "The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan).
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque also absorbed important elements from my flashes but both only absorbed postmodern art-elements from my flashes (but they absorbed postmodern element from other sources also like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc), which not much is my concerned. During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Despite their ignorance I still like IVSAA for their spirit to move forward.
Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma, VASL and VSDKU works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me If media is free or they have no lobby system, than why merit is ignored in my case, why Dawn's Gallery, The News, Jung, avoid covering my art shows. I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc. Etc. All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market Forces but I have to make (for science) what I receive in form of flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too, but not artchowk.com, I admire the support I am getting from people behind artchowk. I need Du'a to continue the mission, if possible Inshallah. ......MS
FROM DUBAI BASED ART GALLERY YOU CAN ACQUIRE MY FLASHES FROM: www.artchowk.com/Views/gallery/exhibition
This is a pseudo-colored image of high-resolution gradient-echo MRI scan of a fixed cerebral hemisphere from a person with multiple sclerosis.
Credit: Govind Bhagavatheeshwaran, Daniel Reich, National Institute of Neurological Disorders and Stroke, National Institutes of Health
I have a neurological condition that makes my hands shake. Sometimes quite badly. This normally is a pain for making pictures. In this case I think it worked as an advantage. I like the effect anyway. Maybe photoshop could develop a filter called hand tremor.
Illustration of the neurological connections in the brain controlling speech production.
Credit: Stefan Fuertinger and Kristina Simonyan, Icahn School of Medicine at Mount Sinai
This image is not owned by the NIH. It is shared with the public under license. If you have a question about using or reproducing this image, please contact the creator listed in the credits. All rights to the work remain with the original creator.
NIH support from: National Institute on Deafness and other Communication Disorders
Published: shop.gen-ethisches-netzwerk.de/gid-zeitschrift/75-gid-252...
Frankfurt Uniklinik Neurologie / University Hospital Neurology
'SOMA' is a representation of two neurons communicating with each other, magnified to monumental proportions. Erected along the Embarcadero on San Francisco's waterfront, it prompts us to ask fundamental questions about neurological transmission and how it translates into human thought and consciousness. How can simple electrical impulses, which individually seem so small and inconsequential, come together to create something as incomparably complex as the human mind?
This large-scale work of interactive art was created by a group called 'The Flaming Lotus Girls', a San Francisco-based volunteer organization. The group combines sculpture, kinetics, robotics, pyrotechnics and electronics to inspire and invite viewers into an environment of participation.
Seen in the background is the San Francisco–Oakland Bay Bridge, known locally as the 'Bay Bridge'. The western section of the bridge, in view here, is officially known as the 'Willie L. Brown Jr. Bridge' after the former San Francisco Mayor and California State Assembly Speaker. It connects downtown San Francisco to Yerba Buena Island. The recently rebuilt eastern, and as yet unnamed, portion of the bridge connects Yerba Buena Island to the City of Oakland.
Brain medicine mental health care concept as hands holding an open pill capsule releasing gears to a human head made of machine cog wheels as a symbol for the pharmaceutical science of neurology and the treatment of psychological illness.
The last remaining Ravenswood abandoned hospital is finally being rehabbed. Work started recently to make this old hospital into new retirement senior living, apartments will be made into supportive living. Before it closed, this building of the hospital was being used for Neurologic and Orthopedic spinal and brain care. I was born in Ravenswood hospital in the section that was demolished and turned into a french school. Lycee Francais
Neurology is a branch of medicine dealing with disorders of the nervous system. Neurology deals with the diagnosis and treatment of all categories of conditions and disease involving the central and peripheral nervous system including their coverings, blood vessels, and all effector tissue, such as muscle. Neurological practice relies heavily on the field of neuroscience, which is the scientific study of the nervous system.
Read about The ‘Giant’ Scope of ‘Mini’ Brains - bit.ly/2eEvDze
Robert Morris Sapolsky is an American neuroendocrinology researcher and author. He is a professor of biology, neurology, neurological sciences, and neurosurgery at Stanford University.
Neurologically Operated Robotic Automoton, or N.O.R.A. was meant to be Victor's solution to both preserving his beloved wife, and allowing her to continue to function in the world while he could focus on finding her a cure. Only the years as a human snow cone and constant battles Batman have not been kind to Nora. While technically still alive, her body and mind have suffered extensive tissue damage, and she can no longer control N.O.R.A. Instead Victor has taken over the controls. Now outfitted with a mammoth freeze cannon, hurling pissed off polar bears, and a doomsday failsafe that will trigger a cataclysmic nuclear winter, N.O.R.A. Will become the vehicle of Victor's ultimate revenge against Batman and a world whose heart has grown cold.
My entry for FBTB's Mech Madness 2012
I spent yesterday taking Janice to the neurologist for her routine exam, and then my dad to an orthopedist, to plan for knee surgery. Fortunately, I had my point-and-shoot! Here are some objects on the table in the first exam room.
This is Pablo, he has a little neurological problem that makes him a very peculiar cat... he has little convulsions while he sleeps and he has no measure of his force, so his bites when he plays can turn a bit strong... but he is a very affectionate cat, and saved his house from a fire cause he was the only cat to notice - and tell- that the eletric socket had a short circuit! He started to meow to tell something wrong was going on, and he never talks!
Human: Claudia Porto
Have you ever read this book by Oliver Sacks? It's a group of case studies about people who suffer from various neurological disorders. It's a pretty interesting read if you're interested in that kind of thing. Anyway, this photo has nothing to do with that book except that its the first thing that popped into my head when I saw this gentleman striding along last Friday. He was setting a pretty cracking pace so I had to power walk to catch up. He stood out in the crowd because of his hat. Nice that he took his wife out for a stroll.
Mercury can enter the food chain either from agricultural products or from seafood. It was widely used in agriculture, and at least 459 people are known to have died in Iraq after grain treated with a fungicide containing mercury was imported in 1971 and used to make flour (Greenwood, 1985). Those who showed the greatest effects were the children of women who had eaten contaminated bread during pregnancy. Human groups at risk include the millions of ASGM miners across the world, where mercury compounds are used in production. However, a far greater number of people whose main source of protein is fish or other marine creatures may be exposed to contamination (UNEP-WHO, 2008). The Food and Agriculture Organization says: “Just over 100 million tonnes of fish are eaten world-wide each year, providing two and a half billion people with at least 20% of their average per capita animal protein intake. This contribution is even more important in developing countries, especially small island states and in coastal regions, where frequently over 50% of people’s animal protein comes from fish. In some of the most food-insecure places – many parts of Asia and Africa, for instance – fish protein is absolutely essential, accounting for a large share of an already low level of animal protein consumption” (FAO, 2010). Mercury can seriously harm human health, and is a particular threat to the development of fetuses and young children. It affects humans in several ways. As vapour it is rapidly absorbed into the blood stream when inhaled. It damages the thyroid, kidneys, lungs, immune system, eyes, gums and skin. Neurological and behavioural disorders may be signs of mercury contamination, with symptoms including tremors, insomnia, memory loss, neuromuscular effects, headaches, and cognitive and motor dysfunction. Recent studies have also shown mercury to have cardiovascular effects (McKelvey and Oken, 2012). In the young it can cause neurological damage resulting in symptoms such as mental retardation, seizures, vision and hearing loss, delayed development, language disorders and memory loss.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: GRID-Arendal
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UCL Institute of Neurology, Queen Square, London WC1. Completed 1978.
Sony A7 + Canon FD 35mm f/2.0 SSC.
Capt. (Dr.) Wesley Reynolds studies a patient’s computed tomography scan at the Mike O’Callaghan Federal Medical Center March 18, 2014, at Nellis Air Force Base, Nev. March is brain injury awareness month. According to the Brain Injury Association of America, about 75 percent of traumatic brain injuries are concussions or other forms of mild TBIs. Reynolds is a 99th Medical Operations Squadron neurologist. (U.S. Air Force photo by Senior Airman Jason Couillard/Released)
The last remaining Ravenswood abandoned hospital is finally being rehabbed. Work started recently to make this old hospital into new retirement senior living, apartments will be made into supportive living. Before it closed, this building of the hospital was being used for Neurologic and Orthopedic spinal and brain care. I was born in Ravenswood hospital in the section that was demolished and turned into a french school. Lycee Francais
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
Chronic prostatitis is really a disease with longtime treatment duration and high rate of recurrence, inflammatory cytokines in CPPS patients could even cause depression. The traditional Chinese medicine Diuretic and Anti-inflammatory Pill can kill inflammatory cytokines through the elimination of inflammation to stop sufferers from depression and largely reduce the probability of its recurrence to fix patients difficulties for treating.
When people discuss chronic prostatitis, they mention chronic pelvic pain syndrome(CPPS), it's the most frequent form of prostatitis. The condition is marked by urinary and genital pain not less than three of the past few months, along with pelvic pain. In addition, pain may radiate for the back and rectum, causing uncomfortable sitting. Doctors haven't found the certain source of CPPS, existing research shows that climate, food allergies, the neurological system could be to blame for chronic prostatitis/CPPS. Unhealthy lifestyles like drinking, sedentary, staying out will make symptoms worse. Patients are doomed to be terrible mood since the uncertain cause and bothering the signs of CPPS.
Although the certain reason for chronic nonbacterial prostatitis has not been found, many means have been supplied for treatments of computer. Antibiotics has to be essentially the most traditionally used medicine for treating CPPS due to the strong function in killing bacteria reducing inflammation, patients can also use non-antibiotic medicine for anti-inflammatory reducing pain. Prostate massage is also a good choice for patients who would like to improve the prostate blood circulation, hyperthermia is the one other strategy to accelerate prostate the circulation of blood, nonetheless it is often a little expensive. Surgical treatment can be used for severe cases of CPPS and for men whose swollen prostate is blocking the flowing urine. Almost not one of them get obvious success for common CPPS sufferers' treatments. It can be a truth that antibiotics have strong power in killing bacteria in a short time and prostate massage can improve over-swelling conditions inside the prostate, nonetheless it has become mentioned that chronic prostatitis/CPPS is a disease while using high rate of recurring, these treatments can only improve the signs of patients, not get rid of the root reason for their diseases. So that patients could find their CPPS appear and disappear repeatedly, making them anxious and worried.
It can be a conflict that remain in pleasure is helpful inside the process inside the treating chronic prostatitis/CPPS however it is quite challenging for many of CPPS patients for this because CPPS will largely influence their mental health insurance mood. This view originates from an experiment which used CPPS rats for the model as well as experimental conclusion is published in Nature reported by Hu, C.et al. www.nature.com/articles/srep28608 In this experiment, CPPS rats showed anxiety and depression-like symptoms while healthy rats didn't, the final results revealed that, in CP/CPPS patients with significant Mental Health Disorders. As another research of Nicole Lichtblau and Frank.M Schmidt says inflammatory cytokines are biomarkers in depressive disorder. tandfonline.com/doi/full/10.3109/09540261.2013.813442 Besides, anyone who is affected with pain has to be very miserable, staying in pleasure turns into a tough task for them while it's beneficial for their diseases. Longtime pain and inflammatory cytokines bring physiological pain and psychological anxiety to CPPS patients.
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Here is often a case about curing CPPS successfully by Diuretic and Anti-inflammatory. A men with fifteen-year CPPS and it has seen all types of doctors and tried all kinds of methods for getting eliminate his CPPS without results, during his attempt, he has to experience urinary frequency and urgency, lower back pain, anxiety, and depression. He has suffered an excessive amount of so he decided to do their own research, that is how he meets Diuretic and Anti-inflammatory. A good luck comes upon him after he actually starts to take premature ejaculation pills, his pain becomes milder with one-month medication, two-month medication changes his urinary frequency and urgency largely, five months after he took delay pills, his genital and pelvic pain are removed. When he finished all his treating course, his pain disappeared and his awesome prostate has not been infected again. Diuretic and Anti-inflammatory cures his fifteen-year CPPS in a year, this has to be one from the luckiest moments in their life. More testimonials are here: www.diureticspill.com/Testimonials/Prostatitis/
Diuretic and Anti-inflammatory Pill is a national patent medicine with unique formula, that is manufactured by Lee Xiaoping, a health care provider with thirty-year experience in the men and women genitourinary system disease, like prostatitis, orchitis, epididymitis, seminal vesiculitis, chlamydia, bladder infection(UTI), IC and male infertility that is due to oligospermatism, necrospermia etc., which are also the diseases that Diuretic and Anti-inflammatory pill can cure.
About Dr. Lee Xiaoping
prostatitisradicalcure.com/a/About_us/ graduated from Hubei College of Traditional Chinese Medicine, China. She qualified being an herbalist 30 years ago and can be a highly experienced doctor for various chronic, complicated and drug resistant prostate diseases. She specializes within the field of female and male reproductive and urinary system diseases. She has devoted three decades to her clinic and worked on the formula of Diuretic and Anti-inflammatory Pill for decades.
04:21 and I cannot sleep...
I have been allowed home for the weekend after being blue-lighted to hospital on Tuesday. I have to go back to the ward (known as a Station in Germany) on Sunday for more tests. Nobody really knows what is wrong, just that for a very scary and bizarre few hours my eyes stopped working properly. Essentially only the left side of my eyes was making any sense, everything else was at best a blur, or at worst a sort of flickering nothing. I explained it as if my peripheral vision had shut down, but it was much more than that.
So far I have had ECG, EEG, MRI, multiple bloods taken and all sorts of other neurological tests. Three days of being poked and prodded by efficient German doctors, and efficient German nurses (Schwesterin) opening the window of my bedroom for me.
Obviously being stuck in hospital was no excuse not to get some photography done :-)
Artist: Michael G. Abraham, MD, FAHA, Associate Professor, Departments of Neurology and Radiology
Category: Music
Full video is at: youtu.be/6EjOZ0PJ_LM?rel=0
I wrote this song after watching a solo, online live performance by Dave Matthews. It was a new song of his and he was expressing his own views on the pandemic. While watching it in April, I thought of how the pandemic affected us. At first everything was so new, and the lockdown was in effect. I, along with most other people, have never experienced a lock down. Though it was difficult, I realized that my wife and I could spend more time at home with each other and with our 2 young boys. We are both physicians at KUMC so time with them can be limited. With all my elective surgeries cancelled, I was able to spend more time with my family. It was frustrating at first to have such restriction but the more time in the restriction, I realized that this is ideally how it should be - returning home and returning to together.
Lyrics:
Together with you
Together with me
Together it’s we.
Crowded in an uncrowded house
Learning this new rhythm
That should not be so new
That should not be so foreign.
It is not easy, it is the in between
Of what maybe it should be.
It seems it feels it vibes off kilter
Off the balance that we once knew.
But maybe possibly just a little we are
Returning home.
To where the ceremony first began.
Is there a map, or maybe a nap to remember.
The original reality of what made you and me and we.
Let us embrace, the difficulty of this time.
Let us not shy away or close our eyes.
Grab your glass, take the reigns, salud the [mighty] sun.
Run fast, run slow, run in between the there and now.
This is where, we, you and me,
Come back to each other.
Tempers, tantrums, tickles, tumbles, in time.
This is where the red autumn leaf meets the air.
Where the rain drop first kisses the sky’s breath.
Sunny side up days and alphabet soup nights.
Make believes and swinging jungle trips.
We fly to the sky only to stay up again.
We cannot let this time flash before our eyes,
We cannot let these breaths be to blow off dust.
Let us embrace, the difficulty of this time.
Let us not shy away or close our eyes.
Grab your glass, take the reigns, salud the [mighty] sun.
Run fast, run slow, run in between the there and now.
This is where, we, you and me,
Come back to each other.
Bio: www.ninds.nih.gov/find_people/ninds/bio_walter_koroshetz.htm
Credit: National Institute of Neurological Disorders and Stroke