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Disclaimer: The entire contents of this site are based upon the opinions of Dr. Mercola, unless otherwise noted. Individual articles are based upon the views of the respective author, who retains copyright as marked. The info on this particular website is not meant to replace a one on one relationship with an experienced health care professional and is not intended as medical advice. It is intended as a sharing of wisdom and information from the research and experience of Dr. Mercola and his community. Dr. Mercola encourages you to make your own health care decisions based upon your research and in partnership with a qualified health care professional. If you are indeed pregnant, nursing, taking drugs, or have a medical condition, consult your health care professional before using products based on this content.

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The experience of looking at The Sick Rose, which is a well-curated print display of pictures that are accessible digitally on the Wellcome Images website, raises questions about medical images that are historic, and when and in what media it's appropriate to see them. It's one thing to take a beautifully bound book apart into a silent armchair and have a one on one encounter with all the face of an infant wizened by tertiary syphilis, or with a dignified man with a bulbous, untreated pendant tumour. It's another to see the same faces detached from Barnett's context and flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated images -supplying scholarship.

Afflictions, the majority of which are now rare in the Western world organize the Sick Rose: cholera, gout, tuberculosis, advanced phases of syphilis. Online, the patients' suffering runs the danger of being seen as classic"---almost amusing in its horrible extremity and its distance from our own time. In a blog post about the process of assembling and later marketing The Sick Rose, Barnett acknowledged to a sense of unease" about sending the images away into the planet, worrying in regards to the kitsch, knowing, and emptily ironized approach" that could greet the pictures. (When Wired ran a slideshow of photographs from Sick Rose in May, for example, it was headlined Awesomely Gross Medical Illustrations From the 19th Century") Over Skype, Barnett told me: These are all images of something that happened to someone somewhere. They aren't envisioned."

As historical medical pictures go digital, scholars and archivists are being forced to weigh the advantages of disseminating the definitely important and interesting record of the evolution of medical practice with concerns the images will likely be misunderstood and misused. Making the pictures accessible will most likely result in some tone-deaf uses and respect at best---manipulating the shock value of an at body disfigured face or On the flip side, digitization of the kinds of images which were once available only to researchers with the means to travel to archives can do a lot of great. Such visibility can raise awareness about previous wrongs, ease the families of former patients and also connections between historians provide us with a new method to consider our own mortality. (Because there are excellent arguments on either side, and because these medical images can be disturbing to some readers, we've chosen to place the photographs we're printing with this particular article behind a digital scrim, which allows you, the reader, to decide whether to see them.)

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Here's one instance that demonstrates how much such digitized pictures can slip away from their circumstances. Art historian Suzannah Biernoff has written about the fate of a group of patient images from the Gillies Archives These are the World War I-era records of Queen Mary's Hospital, Sidcup, in the U.K., where plastic surgeon Harold Gillies headed a specific unit treating injuries that needed maxillofacial surgery. Gillies commissioned artists and photographers to record his patients' presurgical injuries, using the images to plan the approach of his team.

These photographs ended up on the Web as part of a mid-2000s exhibit titled Project Faade (now archived via the Wayback Machine ). The project, which was financed by the Wellcome Trust's SciArt Production Award, was a collaboration among artist Paddy Hartley; Dr. Andrew Bamji, a rheumatologist who acts as curator of the Gillies Archives; and Dr. Ian Thompson, a surgeon and designer of facial implants. The art that Hartley made with inspiration from these archives later formed the foundation of an exhibition at the National Army Museum in London. The project, Hartley writes on his website , was intended to learn more about the impact of veterans' wartime injuries and subsequent facial surgeries on their lives.

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Following the exhibit had closed but the digital images had another life. Some photographs from the Job Faade archive ended up used in the plan of the genetic mutants (splicers") that players of the videogame BioShock must battle. Among the patients in the photographs, a pilot trainee, Henry Lumley, was injured on the day of his graduation from flying school and lived with his injury for a year before being admitted to Gillies' attention. Lumley died at age 26, of postoperative complications. (Here's his page on the Project Faade site And here's an image of the BioShock character in question) Lumley and his fellow patients are now compelled to drift around in virtual space, made into monsters for the amusement of gamers.

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Std test in Nucla. Does this issue, given that many (most?) BioShock players WOn't ever understand who these guys were in real life? Biernoff writes that British culture during the World War I perceived death in battle as glorious, but facial mutilation was seen as virtually shameful---a fate worse than death"---and images of soldiers injured in this manner were censored, lest they diminish morale. So if gamers never realize the characters they are seeing on screen were once real men, it can nevertheless feel like these guys, ostracized in life, are being wronged again when they're trotted out as digitized monsters. Nucla CO, United States Std Test. As Wellcome Library archivist Natalie Walters pointed out in a post on the connection between BioShock and the Gillies Archive: That nearly 100 years after similar images are used to frighten folks in a computer game, gives us a peek into what life must have been like for folks who endured such disfiguring injuries." (She adds: How courageous these men were to allow themselves to be photographed with extensive injuries, and to undergo treatments that frequently made them look worse before they seemed better.")

Std test near Nucla. Dr. Andrew Bamji, the Gillies Archives' curator, told me over email that he approached the game's developers after finding out about this use and succeeded in contacting one. I pointed out that the use of identifiable men in the circumstance of the game was an appalling method to take care of the memory of veterans," Bamji wrote. He apologized and assured me that no further such images would be utilized, and there the matter finished." Bamji drew a clear distinction between the utilization of such pictures in a project like BioShock, where they were disassociated from the names and stories of the patients, and Hartley's Project Faade. Std Test closest to Colorado. I don't have any issue with the display of pictures in a historical context, as without this folks do not understand what war can do."

Should we limit access to upsetting digital images to people who we can be certain will perceive them in proper context? Michael Sappol , a historian at the U.S. National Library of Medicine who has written about historic and contemporary medical display, has an argument to the contrary. The NLM's digital collections have lately posted a run of silent medical pictures from between 1929 and 1945 , a few of which signify what Sappol calls hard subjects": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 film made at Cook County Hospital in Chicago , which shows four children who are dying of rabies. Struggle, the patients convulse, bleed from the mouth; they're inconsolable, even as gloved adult hands reach from off screen to hold them or offer them water.

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Sappol does not think it should be the job of the librarian or archivist to decide that the people can not handle looking at such images. We are stewards of these historical materials," he told me. They do not belong to us. They belong to everybody. ... I would not like to act on behalf of the subjects and arrogate to myself the job of being some type of cop of 'who can view.' " With the NLM's electroshock therapy movies from the 1930s, Sappol says, A Number of the people in this movie ... seem like they surely don't consent to the procedure, plus it's disturbing to see. I could say 'This individual doesn't desire to be on camera, they are being humiliated.' But this is from. If we never get to see this, who gets to understand?" The curiosity we feel about such pictures, he argues, is not black, but merely human.

The problem is further complicated by the fact that visibility is preferred by some subjects. This really is the case with the Thalidomide Trust archive, which features medical case files on folks produced withsevere birth defects after their mothers took the drug thalidomide to relieve symptoms of morning sickness in the late 1950s-early-1960s," Wellcome archivist Helen Wakely wrote to me. The viewpoints of thalidomiders themselves on what should occur with their case files fluctuate widely, but some definitely need their files and images made accessible for research as a willful act to open up debate."Of course, there is not any method to ask the patients whose bodies appear in The Sick Rose whether they would prefer to be seen or stay hidden. Nevertheless, the modern example of thalidomide reveals that we must not suppose that publication is tantamount to breach.

Nor should we suppose the Web is a serious medium than the bound-and- printed book. Historian Miriam Posner, who wrote her dissertation on medical filmmaking, is also a digital historian committed to making her sources freely accessible. Nucla CO std test. In 2010, Posner posted about the ethical quandary she faced when asked to collaborate with a producer at NPR's show Science Friday on a slideshow of lobotomy photographs. Neurologist Walter Freeman, who carried out more than 3,500 of the procedures, photographed and patients his filmed before and after their surgeries.

But Posner finally went ahead with the Science Friday slideshow, reasoning that by simply asking viewers to take a second look at the before" images of patients, which Freeman presented for his own purposes as broken," she might have the ability to reveal that these faces feature more options than Freeman ever saw." A commenter on Posner's place wrote that he had recently learned that his grandpa, who he had never met, had been institutionalized and lobotomized in West Virginia, where Freeman did some of his work. The commenter wrote: I have never seen an image of my grandpa, never and I really don't care if it's an image of him having this done I need and just want to see a picture of him so MUCH. Can you tell me the best way to get to these archives?" It might have been considerably harder for the commenter to find her, if Posner had not gone with Science Friday; the connection might not have been made. Std test nearest Nucla.

Eventually, there's a spiritual argument for making such pictures available. CO United States std test. Even if medical pictures may be misused, Michael Sappol says, I do not desire that chance to prevent these things that are actually amazing documents of the human experience from being seen. ... We can learn from them, they can redeem us in some way. They can supply us with some sort of program of human suffering. ... Looking at them makes life richer and deeper." Barnett, despite his misgivings, concurs on this point: There's a power behind these images, there's a power they have over us, and we've got to accept or respect this at some point." He compares the images to a lay vanitas ," referring to the 17th-century Dutch paintings of skulls and other symbols of decay that were meant to remind the viewer of human mortality. For modern viewers, Barnett says, images like those in the Sick Rose might remind us: This is the body, and also the end that we all come to."

Still, a vanitas needs space for contemplation---a space the Web seems ill prepared to offer. Susan Sontag's final book, Regarding the Pain of Others (2003), was composed as the Web was in the procedure for scattering pictures to the four winds. Sontag wrote that photos of suffering could be a memento mori " and serve as a still point around which to contemplate mortality. But she wondered how this may function---or fail to work---in a modern society," where space reserved for being serious is hard to come by." One wonders what she may have made of Pinterest if she believed that about art galleries, publications, and television.

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BTW I've also been suffering from red & swollen foreskin (region near the underside of glans / frenulum place) with occasional paper cuts since 1.5 years - notably after class. Have done all negative although evaluations for fungi & STD. Have been trying lotion against fungi and steroid cortisone but nothing has helped. Std Test in Colorado United States. Now I am suspecting it could be genital psoriasis as the description of this desiese is very close to my symptoms. Already discussed with my doctor about this and I'll get an appointment using a dermatologist - soon.

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