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The experience of looking at The Sick Rose, which is a well-curated print presentation of images that are freely accessible digitally on the Wellcome Images site, raises questions about historical medical pictures, and when and in what media it's proper to view them. It's one thing to take a beautifully bound book apart into a quiet 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 tumor. It's another to see the exact same faces flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated pictures and detached from the circumstance of Barnett -supplying scholarship.
Afflictions, most of which are now rare in the Western world organize the Sick Rose: gout, cholera, tuberculosis, advanced phases of syphilis. On the Internet, the patients' suffering runs the danger of being seen as classic"---almost comical in its dreadful extremity and its distance from our own time. In a blog post about the procedure for assembling and later promoting The Sick Rose, Barnett acknowledged to a sense of unease" about sending the pictures off into the planet, worrying regarding the kitsch, understanding, and emptily ironized approach" that could greet the images. (When Wired ran a slideshow of photographs from Sick Rose in May, for instance, it was headlined Awesomely Gross Medical Illustrations From the 19th Century") Over Skype, Barnett told me: These are all pictures of something that happened to someone somewhere. They're not visualized."
As historical medical pictures go archivists, scholars and digital are being compelled to consider the benefits of disseminating the interesting and undoubtedly important record of the development of medical practice with concerns the pictures will probably be misused and misunderstood. Making the images accessible will probably lead to some tone-deaf uses and respect at best---manipulating the shock value of a disfigured face or body at On the other hand, digitization of the kinds of images which were once accessible only to researchers with the means to travel to archives can do a great deal of good. Such visibility can raise consciousness about past wrongs, facilitate the families of former patients and also connections between historians , even provide us with a brand new way to consider our own mortality. (Because there are excellent arguments on either side, and because these medical images may be disturbing to some readers, we have decided to set the photographs we are publishing with this particular article behind a digital scrim, allowing you, the reader, to choose whether to see them.)
Here's one case that demonstrates how far such digitized photographs can slip from their contexts. 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 particular unit treating injuries that demanded maxillofacial surgery. Gillies commissioned photographers and artists to document his patients' presurgical harms, using the images to plan the approach of his team.
These pictures 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 afterwards formed the foundation of an exhibition at London's National Army Museum. The project, Hartley writes on his site , was meant to learn more about the impact of veterans' wartime injuries and subsequent facial operations on their lives.
Following the exhibit had closed, nevertheless, 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. Henry Lumley, one of the patients in the photos, a pilot trainee, was injured on the day of his graduation from flying school and lived with his injury for a year before being admitted to Gillies' care. Lumley died at age 26, of postoperative complications. (Here's his page on the Project Faade website And here's an image of the BioShock character in question) Lumley and his fellow patients are now forced to wander around in virtual space, made into monsters for the entertainment of gamers.
Std Test near Bingham. Does this issue, given that many (most?) BioShock players will never understand who these men 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 almost black---a fate worse than death"---and pictures of soldiers injured in this manner were censored, lest they decrease morale. So even if gamers never understand that the characters they're seeing on screen were once actual guys, it can nevertheless feel when they are trotted out as digitized monsters, like these men, ostracized in life, are being wronged again. Bingham ME, 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 people in a computer game, gives us a peek into what life should have been like for people who sustained such disfiguring injuries." (She adds: How courageous these guys were to let themselves to be photographed with extensive injuries, and to experience treatments that often made them appear worse before they appeared better.")
Std test near Bingham. 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 the usage of identifiable men in the circumstance of the game was an appalling way to heal the memory of veterans," Bamji wrote. He apologized and assured me that no additional such pictures would be utilized, and there the matter ended." Bamji drew a clear distinction between the usage 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 Maine. I don't have any problem with the display of pictures in a historical context, as without this people do not understand what war can do."
Should we restrict accessibility 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 historical and modern medical display, has an argument to the contrary. The NLM's digital groups have recently posted a run of quiet medical films from between 1929 and 1945 , some of which symbolize what Sappol calls challenging subjects": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 movie made at Cook County Hospital in Chicago , which shows four children who are dying of rabies. The patients convulse, struggle, bleed from the mouth; they are inconsolable, even as gloved adult hands reach from off screen to hold them or offer them water.
Sappol does not believe it should be the occupation of the librarian or archivist to determine that the people can not handle looking at such pictures. We are stewards of these historical materials," he told me. They don't belong to us. They belong to everybody. ... I would not like to act on behalf of the subjects 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 men and women in this film ... look like they definitely do not consent to the procedure, and it is disturbing to see. I could say 'This individual doesn't want to be on camera, they're being humiliated.' But this is from. If we never get to see this, who gets to know?" The curiosity we feel about such images, he claims, is not shameful, but merely human.
The problem is further complicated by the fact that a few subjects prefer visibility. This really is the situation with the Thalidomide Trust archive, which comprises medical case files on people born withsevere birth defects after their mothers took the drug thalidomide to ease symptoms of morning sickness in the late 1950s-early-1960s," Wellcome archivist Helen Wakely wrote to me. The views of thalidomiders themselves on what should occur with their case files vary widely, but some definitely need their files and pictures made accessible for research as a willful act to open up disagreement."Of course, there is no way to ask the patients whose bodies appear in The Sick Rose whether they'd prefer to be viewed or remain concealed. But the modern case of thalidomide demonstrates that we must not assume that publication is tantamount to infringement.
Nor should we presume that the Web is a less serious medium than the bound-and- book that is printed. Historian Miriam Posner, who wrote her dissertation on medical filmmaking, is additionally a digital historian committed to making her sources publicly accessible. Bingham, ME 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 pictures that were lobotomy. Neurologist Walter Freeman, who carried out more than 3,500 of the procedures, photographed and filmed his patients before and after their surgeries.
But Posner ultimately went ahead with the Science Friday slideshow, reasoning that by asking observers to choose a second look at the before" pictures of patients, which Freeman presented for his own purposes as broken," she might be able to show that these faces contain more options than Freeman ever saw." A commenter on Posner's post wrote that he had lately 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 really don't care if it's a picture of him having this done I just want and desire to see a picture of him so MUCH, and I haven't seen an image of my grandpa, never, ever. Can you tell me the best way to get to these archives?" It might have been much more difficult for the commenter to locate her if Posner hadn't gone ahead with Science Friday; the link mightn't have been made. Std Test closest to Bingham.
Eventually, there is a spiritual argument for making such pictures available. ME, United States Std Test. Even if medical images might be abused, Michael Sappol says, I don't desire that chance to prevent these things that are really amazing records of the human experience from being seen. ... We can learn from them, they can redeem us in some way. They could supply us with some type of curriculum of human suffering. ... Looking at them makes life richer and deeper." Barnett, despite his misgivings, agrees on this point: There is a power behind these pictures, there is a power they have over us, and we've got to accept or respect this at some point." He compares the images to a laic 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 conclusion that we all come to."
However, 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 process of scattering photographs 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 might work---or fail to work---in a modern society," where space allowed for being serious is hard to come by." If she believed that about art galleries, books, and television, one wonders what she may have made of Pinterest.
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BTW I Have also been suffering from red & swollen foreskin (area near the underside of glans / frenulum place) with occasional paper cuts since 1.5 years - especially after intercourses. Have done all negative although evaluations for STD & fungi. Have been trying creme against fungi and steroid cortisone but nothing has helped. Std Test near Maine, United States. Now I am guessing as the description of this desiese is very close to my symptoms, it could be genital psoriasis. Already discussed with my doctor about this and I'll get an appointment with a dermatologist - soon.
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