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Your search for all content returned 1,622 results

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  • Anatomy Review of the Human HeartGo to chapter: Anatomy Review of the Human Heart

    Anatomy Review of the Human Heart

    Chapter

    This chapter presents the anatomy review of the human heart. The human heart is a hollow four-chambered muscle that is responsible for pumping blood throughout the body. The heart lies in the mediastinum in the thorax, pointing toward the left of the midline. The heart consists of four main layers: the pericardium, epicardium, myocardium, and endocardium. The epicardium is the outermost layer of the heart muscle. The middle layer of the heart is called the myocardium. The innermost layer of the heart is the endocardium. The heart is divided into right and the left side. The right side of the heart contains the right atrium and right ventricle. The left side of the heart contains the left atrium and left ventricle. The heart has four valves: tricuspid valve, mitral valve, aortic valve, pulmonary valve; acting as tiny doors that keep the blood moving in one direction.

    Source:
    12-Lead Ekg Confidence: A Step-by-Step Guide
  • Axis—The Science of DirectionGo to chapter: Axis—The Science of Direction

    Axis—The Science of Direction

    Chapter

    The chapter explores how to measure the electrical direction for the P wave, the QRS complex, and the T wave, as well as for other forces. It provides a method for determining the direction of the electrical force for any of these waves, or complexes, on the electrocardiograph (EKG). The heart produces electrical and mechanical energy on a continuous basis. Both forms of energy come from specialized cardiac muscle fibers. These fibers provide electrical signals and mechanical energy that physically pumps the blood. Although the EKG does not show that mechanical energy, it can be used to measure a variety of electrical events. When a force is abnormal in size or direction, it may indicate that the specific part of the heart producing the force is abnormal. Therefore, learning the normal electrical direction of forces in the heart provides a simple and scientific way of understanding and interpreting an EKG.

    Source:
    12-Lead Ekg Confidence: A Step-by-Step Guide
  • Junctional Rhythm, Heart Block, and PacemakersGo to chapter: Junctional Rhythm, Heart Block, and Pacemakers

    Junctional Rhythm, Heart Block, and Pacemakers

    Chapter

    This chapter explains various types of heart blocks such as premature atrial contraction, sinus arrest and asystole. It explains various types of pacemakers such as ventricular pacemaker and artrial pacemakers. Junctional rhythm is a regular rhythm. A P wave is frequently not seen because the rhythm originates in the AV junctional node. Junctional rhythm may be a manifestation of digitalis toxicity, sick sinus syndrome, and acute inferior wall infarction. Pauses are most commonly caused by premature atrial contractions (PACs) that do not conduct down to the ventricle and generate a QRS complex. These are called nonconducted PACs (NCPACs). Asystole is a prolonged period of no electrical activity. Cessation of function of the sinus node is called sinus arrest. Normally, when sinus arrest occurs, another pacemaker must take over, such as the junction or the ventricles. Ventricular pacemaker rhythm demonstrates a vertical electrical artifact (EA) at the beginning of the QRS.

    Source:
    12-Lead Ekg Confidence: A Step-by-Step Guide
  • Left Ventricular HypertrophyGo to chapter: Left Ventricular Hypertrophy

    Left Ventricular Hypertrophy

    Chapter

    This chapter presents the case examples of pressure and volume overload on the left ventricle and provides list of criteria for the diagnosis of Left Ventricular Hypertrophy (LVH) on the electrocardiogram (EKG). It also describes and explains how to identify ST changes in LVH and LVH simulating anterior wall infarction on the EKG. LVH refers to an increase in the wall thickness or dilation of the left ventricle. LVH is often the result of increased pressure, or volume, within the left ventricular chamber. Mitral regurgitation (MR) occurs when the mitral valve allows the backflow of blood from the left ventricle into the left atrium. The most common cause of pressure overload is hypertension (HTN). Hypertrophy of the left ventricle increases the amplitude of the left ventricular forces, because more mass generates more electricity. In LVH, the frontal plane, the horizontal plane, or both may show increased QRS amplitude.

    Source:
    12-Lead Ekg Confidence: A Step-by-Step Guide
  • Questions and AnswersGo to chapter: Questions and Answers

    Questions and Answers

    Chapter
    Source:
    12-Lead Ekg Confidence: A Step-by-Step Guide
  • Creativity 101, 2nd Edition Go to book: Creativity 101

    Creativity 101, 2nd Edition

    Book

    Creativity must represent something different, new, or innovative. It has to be different and also be appropriate to the task at hand. The first chapter of the book deals with the Four-Criterion Construct of Creativity, which attempts to integrate both Western and Eastern conceptions of creativity. This is followed by a chapter which addresses how creativity operates on individual and social/environmental levels, and the effects and outcomes of the creative mind. Chapter 3 discusses the structure of creativity. A key work on creative domains is that of Carson, Peterson, and Higgins, who devised the creativity achievement questionnaire (CAQ) to assess 10 domains. The fourth chapter discusses measures of creativity and divergent thinking tests, Torrance Tests, Evaluation of Potential Creativity (EPOC) and Finke Creative Invention Task. Some popular personality measures use different theories, such as Eysenck’s Personality Questionnaire, which looks at extraversion, neuroticism and psychoticism. Chapter 6 focuses on a key issue, intrinsic versus extrinsic motivation and their relationship to creativity. While the seventh chapter deals with the relationship between creativity and intelligence, the eighth chapter describes three ’classic’ studies of creativity and mental illness which focus on the connection between bipolar disorder and creativity, usage of structured interviews and utilization of historiometric technique. One school admissions area that already uses creativity is gifted admissions—which students are chosen to enter gifted classes, programs, or after-school activities. The book also talks about creative perceptions and dwells upon the question whether creativity is good or bad.

  • Measures of CreativityGo to chapter: Measures of Creativity

    Measures of Creativity

    Chapter

    As everyone knows, true creativity comes from simple formulas and the memorization of data. This chapter focuses on divergent thinking tests, which are still the most common way that creativity is measured. Guilford derived the core ideas behind divergent thinking as well as many popular measures. The people who score the Torrance Tests are specifically trained to distinguish responses that are truly original from those that are just bizarre. There are other tests that measure creativity, but most are either a variation on divergent thinking or use some type of raters. For example, the Evaluation of Potential Creativity (EPOC) has begun to be used in some studies and may be promising, but is still largely rooted in a mix of divergent thinking scoring and raters. Another test is the Finke Creative Invention Task, which is clever but also requires raters for scoring.

    Source:
    Creativity 101
  • Creativity and PersonalityGo to chapter: Creativity and Personality

    Creativity and Personality

    Chapter

    The Big Five, which this chapter discusses in more detail, are extraversion, neuroticism, agreeableness, conscientiousness, and openness to experience. Each of these five factors represents a continuum of behavior, traits, and inclinations. There are some popular personality measures that use different theories, such as Eysenck’s Personality Questionnaire, which looks at extraversion and neuroticism as well as psychoticism. The personality factor most associated with creativity is openness to experience. Indeed, one way that researchers study creativity is by giving creative personality tests. Being open to new experiences may also help creative people be more productive. King found that people who were creative and high on openness to experience were more likely to report creative accomplishments. DeYoung and S. B. Kaufman, of course, are not the only people to blend or split different factors of personality to present new models. Fürst, Ghisletta, and Lubart suggest three factors: plasticity, divergence, and convergence.

    Source:
    Creativity 101
  • Creativity and Mental HealthGo to chapter: Creativity and Mental Health

    Creativity and Mental Health

    Chapter

    This chapter explores three ’classic’ studies of creativity and mental illness. The first is Jamison whose focus is on the connection between bipolar disorder and creativity. The second is Andreasen, who used structured interviews to analyze 30 creative writers, 30 matched controls, and first-degree relatives of each group. The writers had a higher rate of mental illness, with a particular tendency toward bipolar and other affective disorders. The third major work is Ludwig, who utilized the historiometric technique. All three studies have come under serious criticism. Many of the studies of Big-C creators are historiometric, akin to Ludwig’s work. Some such studies claim that eminent creators show higher rates of mental illness. A much more common approach is to look at everyday people and give them measures of creativity and mental health. Typically, researchers look at what are called subclinical disorders—in other words, they’re not clinically significant.

    Source:
    Creativity 101
  • Creativity and Admissions, Hiring, and FairnessGo to chapter: Creativity and Admissions, Hiring, and Fairness

    Creativity and Admissions, Hiring, and Fairness

    Chapter

    One school admissions area that already uses creativity is gifted admissions—which students are chosen to enter gifted classes, programs, or after-school activities. Both education and business play great lip service to creativity. Puccio and Cabra review the literature on creativity and organizations and do a nice job of highlighting how every couple of years, a new report from industry emphasizes the importance of creativity. It is important to note that there is a large inconsistency between gender differences on creativity tests and actual creative accomplishment. Although gender differences on creativity tests are minor or nonexistent, differences in real-world creative accomplishment are large and significant. This chapter shows how creativity can play a role in admissions and hiring. Hiring measures tend to have better validity, even the general mental ability (GMA) measures; even if minorities score lower, the accuracy of prediction is consistent by ethnicity.

    Source:
    Creativity 101

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