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The experience of looking at The Sick Rose, which is a well-curated print display of images that are available on the Wellcome Images site, raises questions about historic medical pictures, and when and in what media it is proper to look at them. It's one thing to take a beautifully bound book apart into a quiet armchair and have a one-on-one encounter with with a dignified man with a bulbous, untreated pendant tumour, or the face of a baby wizened by tertiary syphilis. It's another to see the exact same faces detached from the context of Barnett and flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated images -supplying scholarship.
The Sick Rose is organized by afflictions, most of which are now rare in the Western world: cholera, tuberculosis, gout, advanced phases of syphilis. Online, the patients' suffering runs the danger of being seen as classic"---almost funny 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 feeling of unease" about sending the pictures away into the planet, worrying about the kitsch, understanding, 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 occurred to someone somewhere. They're not envisioned."
As historic medical pictures go archivists, scholars and digital are being compelled to weigh the advantages of disseminating the definitely important and interesting record of the progression of medical practice with matters that the images will be misunderstood and misused. Making the images available will almost certainly lead to some tone-deaf uses, lacking empathy and regard at best---manipulating the shock value of an at body disfigured face or On the other hand, digitization of the types of pictures that were once available only to researchers with the means to travel to archives can do lots of good. Such visibility can raise awareness about past wrongs, facilitate links between historians and also the families of former patients supply us with a new approach to think about our own mortality. (Because there are great arguments on either side, and because these medical images can be disturbing to some readers, we've chosen to put the photographs we are printing with this article behind an electronic scrim, which allows you, the reader, to decide whether to see them.)
Here's one case 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 pictures 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 special component treating injuries that required maxillofacial surgery. Gillies commissioned photographers and artists to record his patients' presurgical harms, using the pictures to plan the approach of his team.
These photos ended up on the Web as a portion of a mid-2000s exhibit titled Project Faade (now archived through the Wayback Machine ). The project, which was funded by the Wellcome Trust's SciArt Production Award, was a cooperation 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 artwork that Hartley made from these archives with inspiration later formed the foundation of an exhibit at the National Army Museum in London. The project, Hartley writes on his site , was intended to learn more about the effect of veterans' wartime injuries and following facial operations on their lives.
After the exhibit had closed but the digital images had another life. Some pictures from the Project Faade archive ended up used in the design of the genetic mutants (splicers") that players of the videogame BioShock must battle. One of many patients in the pictures, a pilot trainee, Henry Lumley, lived with his injury for a year and was injured on the day of his graduation from flying school before being admitted to Gillies' care. Lumley died of postoperative complications, at age 26. (Here's his page on the Project Faade website And here's a picture 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.
Std Test in Weir. Does this issue, given that many (most?) BioShock players WOn't ever know who these guys were in real life? Biernoff writes that British culture during the World War I perceived departure in battle as glorious, but facial mutilation was seen as virtually shameful---a fate worse than death"---and images of soldiers injured in this way were censored, lest they decrease morale. So even if gamers never understand the characters they are seeing on screen were once actual guys, it can still feel when they are trotted out as digitized monsters, like these guys, ostracized in life, are being wronged again. Weir KS United States std test. As Wellcome Library archivist Natalie Walters pointed out in a post on the connection between BioShock along with the Gillies Archive: That almost 100 years after comparable images are used to frighten folks in a computer game, gives us a glance into what life must have been like for people who sustained such disfiguring injuries." (She includes: How brave these guys were to let themselves to be photographed with extensive injuries, and to get treatments that frequently made them look worse before they looked better.")
Std Test in Weir. Dr. Andrew Bamji, the Gillies Archives' curator, told me over e-mail that he approached the game's developers after finding out about this use and succeeded in contacting one. I pointed out that using identifiable guys in the circumstance of the game was an appalling approach to treat the memory of veterans," Bamji wrote. He apologized and assured me that no additional such pictures would be used, and there the matter finished." Bamji drew a clear distinction between the use of such images in a job like BioShock, where they were disassociated from the names and stories of the patients, and the Project Faade of Hartley. Std Test nearest Kansas. I don't have any issue with the display of pictures in a historic context, as without this folks don't understand what war can do."
Should we limit access to upsetting digital images to individuals who we can be certain will see them in appropriate context? Michael Sappol , a historian at the U.S. National Library of Medicine who has written about historic and modern medical display, has an argument to the contrary. The NLM's digital sets have recently posted a string of silent medical films from between 1929 and 1945 , a few of which symbolize what Sappol calls difficult themes": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 film made at Cook County Hospital in Chicago , which shows four kids who are dying of rabies. Fight, the patients convulse, bleed from the mouth; they are inconsolable, even as gloved adult hands reach from off screen to hold them or offer them water.
Sappol doesn't think it should be the occupation of the librarian or archivist to determine that the public can't handle looking at images that are such. We're stewards of these historical materials," he told me. They don't belong to us. They belong to everybody. ... I wouldn't like to play on behalf of the areas and arrogate to myself the occupation of being some kind of officer of 'who can view.' " With the NLM's electroshock therapy movies from the 1930s, Sappol says, Some of the people in this film ... appear like they definitely don't consent to the procedure, plus it is disturbing to see. I could say 'This man does not desire to be on camera, they are being humiliated.' But this is from. If we never get to see this, who gets to know?" The fascination we feel about such pictures, he asserts, isn't black, but just human.
The matter is further complicated by the fact that visibility is preferred by some subjects. This is actually the case with the Thalidomide Trust archive, which comprises medical case files on individuals 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 perspectives of thalidomiders themselves on what should happen with their case files vary widely, but some undoubtedly need their files and pictures made available for research as a willful action to open up discussion."Of course, there is not any method to ask the patients whose bodies appear in The Sick Rose whether they would prefer to be viewed or stay concealed. Nevertheless, the modern example of thalidomide shows that we shouldn't assume that publication is tantamount to violation.
Nor should we presume that 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 dedicated to making her sources freely accessible. Weir KS std test. In 2010, Posner posted about the ethical quandary she faced when requested to collaborate with a producer at NPR's show Science Friday on a slideshow of lobotomy photos. Neurologist Walter Freeman, who carried out more than 3,500 of the processes, photographed and filmed his patients before and after their operations.
But Posner finally went ahead with the Science Friday slideshow, reasoning that by asking observers to choose a second look at the before" images of patients, which Freeman presented for his own goals as broken," she might have the capacity to reveal that these faces feature more possibilities than Freeman ever saw." A commenter on the post of Posner wrote that he'd lately discovered that his grandpa, who he'd never met, had been institutionalized and lobotomized in West Virginia, where Freeman did some of his work. The commenter wrote: I don't care if it is a graphic of him having this done I only desire and need to see a picture of him so MUCH, and I have not seen a picture of my grandfather, never, ever. Can you tell me the best way to get to these archives?" If Posner had not gone ahead with Science Friday, it might have been much harder for the commenter to find her; the connection might not have been made. Std test in Weir.
Finally, there is a spiritual argument for making such images accessible. KS United States std test. Even if medical images may be abused, Michael Sappol says, I do not need that possibility to prevent these things that are really amazing documents of the human experience from being seen. ... We can learn from them, they can redeem us in some way. They can provide us with some sort of curriculum 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 honor this at some point." He compares the images to a secular 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, pictures like those in the Sick Rose might remind us: This is the body, and also the end that we all come to."
However, a vanitas demands space for contemplation---a space the Web looks ill prepared to offer. Susan Sontag's closing book, Regarding the Pain of Others (2003), was composed as the Web was in the process of scattering pictures to the four winds. Sontag wrote that photographs of suffering might be a memento mori " and serve as a still point around which to consider mortality. But she wondered how this could function---or fail to work---in a modern society," where space allowed for being serious is tough to come by." If she thought that about television, novels, and art galleries, one wonders what she might have made of Pinterest.
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