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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 opinions of the individual author, who retains copyright as marked. The information on this particular site isn't intended to replace a one-on-one relationship with a qualified health care professional and is not intended as medical advice. It's intended as a sharing of knowledge 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. In the event that you are pregnant, nursing, taking medication, 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 good-curated print presentation of images that are available on the Wellcome Images site, raises questions about historical medical pictures, and when and in what media it's proper to look at them. It's one thing to take a beautifully bound book aside into a silent armchair and have a one on one encounter with the face of a baby wizened by tertiary syphilis, or with a dignified man with a bulbous, untreated pendant tumor. It is another to see exactly the same faces flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated pictures and detached from the context of Barnett -providing scholarship.

Afflictions, most of which are now rare in the Western world organize the Sick Rose: cholera, gout, tuberculosis, advanced stages of syphilis. Online, the patients' anguish runs the danger of being seen as vintage"---almost funny in its awful extremity and its distance from our own time. In a blog post about the procedure for assembling and later promoting The Sick Rose, Barnett admitted to a feeling of unease" about sending the images away into the world, worrying about the kitsch, understanding, and emptily ironized attitude" that could greet the images. (When Wired ran a slideshow of pictures 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're not visualized."

As historic medical pictures go archivists, scholars and digital are being compelled to weigh the advantages of disseminating the fascinating and definitely important record of the development of medical practice with issues that the images will likely be misunderstood and misused. Making the pictures available will probably lead to some tone-deaf uses and respect at best---using the shock value of a disfigured face or body at On the flip side, digitization of the types of pictures that were once available only to researchers with the resources to travel to archives can do lots of great. Such visibility can raise consciousness about previous wrongs, ease the families of former patients and also connections between historians , even provide us with a fresh method to think about our own mortality. (Because there are great arguments on either side, and because these medical images could be disturbing to some readers, we have chosen to set the pictures we're printing with this specific post behind a digital scrim, allowing you, the reader, to choose whether to view them.)

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Here's one case that shows how far such digitized photographs can slip 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 necessitated maxillofacial surgery. Gillies commissioned artists and photographers to document his patients' presurgical harms, using the images to plan the approach of his team.

These pictures ended up on the Web as a portion of a mid-2000s exhibit titled Project Faade (now archived via the Wayback Machine ). The job, which was funded 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 visuals that Hartley made with inspiration from these archives afterwards formed the basis of an exhibition at the National Army Museum in London. The endeavor, Hartley writes on his website , was meant to learn more about the impact of veterans' wartime injuries and subsequent facial operations on their lives.

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After the exhibit had closed, but the digital images had another life. Some photos from the Project Faade archive ended up used in the plan of the genetic mutants (splicers") that players of the videogame BioShock must battle. Henry Lumley, one of many patients in the photographs, a pilot trainee, lived with his injury for a year and was injured on the day of his graduation from flying school before being declared to Gillies' attention. Lumley died at age 26, of postoperative complications. (Here's his page on the Project Faade site And here's a picture 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 amusement of gamers.

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Std test nearby Abell. 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 death in battle as glorious, but facial mutilation was seen as virtually black---a fate worse than death"---and pictures of soldiers injured in this way were censored, lest they diminish morale. So even if gamers never understand that the characters they are seeing on screen were once actual men, it can nevertheless feel like these guys, ostracized in life, are being wronged again when they are trotted out as digitized monsters. Abell, MD, 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 later similar pictures are used to frighten people in a computer game, gives us a glimpse into what life should have been like for folks who sustained such disfiguring injuries." (She adds: How courageous these men were to allow themselves to be photographed with extensive injuries, and to experience treatments that frequently made them appear worse before they appeared better.")

Std test nearest Abell. 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 use of identifiable guys 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." Where they were disassociated from the names and stories of the patients, and Hartley's Project Faade Bamji drew a clear distinction between using such pictures in a project like BioShock. Std Test near me Maryland. I have no issue with the display of pictures in a historical context, as without this people don't comprehend what war can do."

Should we limit accessibility to upsetting digital images to individuals who we can be sure will see them in appropriate 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 series of hushed medical films from between 1929 and 1945 , a few of which symbolize what Sappol calls tough themes": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 picture made at Cook County Hospital in Chicago , which shows four kids who are dying of rabies. The patients convulse, fight, bleed from the mouth; they are inconsolable, even as offer them water or gloved adult hands reach from off screen to hold them.

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Sappol does not believe it should be the job of the librarian or archivist to determine that the people can't 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 wouldn't like to play on behalf of the areas and arrogate to myself the job of being some kind of cop of 'who can view.' " With the NLM's electroshock therapy films from the 1930s, Sappol says, A Number of the people in this movie ... seem like they certainly don't consent to the process, plus it is disturbing to see. I could say 'This individual doesn't need to be on camera, they are being humiliated.' But this is from. If we never get to see this, who gets to understand?" The interest we feel about such images, he claims, isn't shameful, but only human.

The matter is further complicated by the fact that a few subjects prefer visibility. This really is the situation with all the Thalidomide Trust archive, which features medical case files on folks born 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 occur with their case files fluctuate widely, but some undoubtedly want their files and pictures made accessible for research as a deliberate act to open up discourse."Of course, there's no way to ask the patients whose bodies appear in The Sick Rose whether they would prefer to be seen or remain concealed. But the modern example of thalidomide shows that we should not presume 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 committed to making her sources publicly accessible. Abell MD Std Test. In 2010, Posner posted about the ethical quandary she faced when asked to collaborate on a slideshow of photos that were lobotomy with a producer at NPR's show Science Friday. Neurologist Walter Freeman, who carried out more than 3,500 of the processes, photographed and patients his filmed before and after their surgeries.

But Posner ultimately went ahead with the Science Friday slideshow, reasoning that by simply asking observers to choose a second look at the before" images of patients, which Freeman presented for his own motives as broken," she might manage to reveal that these faces include more options than Freeman ever saw." A commenter on the place of Posner wrote that he had lately learned 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 have never seen a picture of my grandfather, never, ever, and I actually don't care if it is a graphic of him having this done I only desire and desire 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 locate her if Posner hadn't gone with Science Friday; the connection mightn't have been made. Std test nearest Abell.

Eventually, there is a spiritual argument for making such pictures available. MD United States std test. Even if medical pictures may be misused, Michael Sappol says, I don't desire that possibility to prevent these things that are actually amazing records of the human encounter from being seen. ... We can learn from them, they can redeem us in some way. They are able to provide us with some kind of program of human suffering. ... Looking at them makes life richer and deeper." Barnett, despite his misgivings, agrees on this point: There's a power behind these images, there's a power they have over us, and we've got to acknowledge or honor this at some point." He compares the pictures 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 Actually the body, along with the end that we all come to."

However, a vanitas needs space for contemplation---a space the Web seems 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 photographs to the four winds. Sontag wrote that photos of suffering could be a memento mori " and function as a still point around which to consider mortality. But she wondered how this might work---or fail to work---in a modern society," where space allowed for being serious is challenging to come by." If she thought that about television, publications, and art galleries, one wonders what she may have made of Pinterest.

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

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