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1.
IEEE J Biomed Health Inform ; 18(3): 907-19, 2014 May.
Article in English | MEDLINE | ID: mdl-24132029

ABSTRACT

Breast augmentation was the most commonly performed cosmetic surgery procedure in 2011 in the United States. Although aesthetically pleasing surgical results can only be achieved if the correct breast implant is selected from a large variety of different prosthesis sizes and shapes available on the market, surgeons still rely on visual assessment and other subjective approaches for operative planning because of lacking objective evaluation tools. In this paper, we present the development of a software prototype for augmentation mammaplasty simulation solely based on 3-D surface scans, from which patient-specific finite-element models are generated in a semiautomatic process. The finite-element model is used to preoperatively simulate the expected breast shapes using physical soft-tissue mechanics. Our approach uses a novel mechanism based on so-called displacement templates, which, for a specific implant shape and position, describe the respective internal body forces. Due to a highly efficient numerical solver we can provide immediate visual feedback of the simulation results, and thus, the software prototype can be integrated smoothly into the medical workflow. The clinical value of the developed 3-D computational tool for aesthetic breast augmentation surgery planning is demonstrated in patient-specific use cases.


Subject(s)
Computer Simulation , Imaging, Three-Dimensional/methods , Mammaplasty/methods , Surgery, Plastic/methods , Adult , Breast/anatomy & histology , Breast/surgery , Esthetics , Female , Finite Element Analysis , Humans , Preoperative Period , Young Adult
2.
Ber Wiss ; 31(3): 195-210, 2008 Sep.
Article in German | MEDLINE | ID: mdl-20027767

ABSTRACT

The study of acoustics, harmonics and of music has been providing scientific models since Greek Antiquity. Since the early modern ages, two separate cultures began to emerge out of the study of music: a technical acoustics and an aesthetically and philosophically inspired musical criticism. In the writings of Johann Friedrich Herbart (1811) a scientific approach to musical aesthetics and to music perception is taking shape that reinstalls the listening process as a highly complex and logical phenomenon. By opening music for a scientific psychological investigation, Herbart pioneered the physiologically and acoustically grounded seminal work by Hermann von Helmholtz On the sensations of tone (1863) which the author considered a prerequisite for musical aesthetics and music theory. Helmholtz in turn inspired the philosopher and psychologist Carl Stumpf to further investigate musical perception (beginning in 1883). To Stumpf, it provided a paradigm for experimental psychology as mental functions and phenomena could be studied in detail. These functions and phenomena are the actual objects of scientific study in Stumpf's inductive and descriptive psychology. Combining insights from statistics, ethnology, anthropology, psychoacoustics and the cultural history of mankind, Stumpf and his team developed a new blend of science which absorbs styles of reasoning, analytical procedures and academic convictions from natural history, the natural sciences and the humanities but at the same time identifies shortcomings of these approaches that fail to grasp the complexities of psychic functions. Despite their reliance on the quasi-objective phonograph and despite their commitment to objectivity, precision and measurement, mental phenomena relating to tonal perception and to music provided too complex a challenge to be easily articulated and shared by the scientific community after 1900. The essay illustrates these tensions against the background of a history of objectivity.


Subject(s)
Music/history , Psychoacoustics , Psychology, Experimental/history , Auditory Perception/physiology , Esthetics/history , History, 19th Century , Humans , Music/psychology , Research/history
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