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Disclaimer: The entire contents of the web 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 information on this website isn't meant to replace a one on one relationship with a qualified health care professional and isn't intended as medical advice. It's intended as a sharing of wisdom and data 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 drugs, or have a medical condition, consult your health care professional before using products based on this particular content.

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

Afflictions, most of which are now rare in the Western world organize the Sick Rose: cholera, gout, tuberculosis, advanced phases of syphilis. Online, the patients' anguish runs the danger of being seen as classic"---almost comical in its awful extremity and its space from our own time. In a blog post about the process of assembling and after marketing The Sick Rose, Barnett admitted to a sense of unease" about sending the pictures away into the world, worrying concerning 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 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 envisioned."

As historic medical images go digital, scholars and archivists are being forced to consider the advantages of disseminating the certainly important and interesting record of the development of medical practice with matters the pictures will probably be misused and misunderstood. Making the pictures accessible will almost certainly result in some tone-deaf uses, lacking empathy and respect at best---using the shock value of a disfigured face or body at worst. On the other hand, digitization of the types of images that were once accessible only to researchers with the resources to travel to archives can do lots of good. Such visibility can raise awareness about previous wrongs, ease the families of former patients and links between historians supply us with a fresh strategy to think about our own mortality. (Because there are excellent arguments on both sides, and because these medical images may be disturbing to some readers, we have decided to set the photographs we are publishing with this article behind an electronic scrim, allowing you, the reader, to decide whether to view them.)

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Here's one instance that demonstrates how much such digitized photographs can steal from their contexts. 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 component treating injuries that demanded maxillofacial surgery. Gillies commissioned photographers and artists to document his patients' presurgical harms, using the images to plan his team's approach.

These pictures 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 financed 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 with inspiration from these archives later formed the foundation of an exhibition at London's National Army Museum. The endeavor, Hartley writes on his web site , was intended to explore the effect of veterans' wartime injuries and subsequent facial surgeries on their lives.

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Nevertheless, the digital images had another life after the exhibition had closed. Some photos from the Project Faade archive ended up used in the design of the genetic mutants (splicers") that players of the videogame BioShock must battle. Among the patients in the photographs, a pilot trainee, Henry Lumley, lived with his harm for a year and was injured on the day of his graduation from flying school before being declared to Gillies' care. 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 nearest Tuscola. Does this matter, 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 departure in battle as glorious, but facial mutilation was seen as almost shameful---a fate worse than death"---and images of soldiers injured in this way were censored, lest they reduce morale. So if gamers never understand that the characters they're seeing on screen were once actual guys, it can nevertheless feel like these guys, ostracized in life, are being wronged again when they're trotted out as digitized monsters. Tuscola, MI 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 later similar pictures are used to frighten folks in a computer game, gives us a peek into what life should have been like for people who endured such disfiguring injuries." (She adds: How courageous these guys were to permit themselves to be photographed with extensive injuries, and to get treatments that often made them look worse before they appeared better.")

Std test in Tuscola. 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 men in the circumstance of the game was an appalling way to treat the memory of veterans," Bamji wrote. He apologized and assured me that no further such pictures would be used, and there the matter ended." Bamji drew a clear distinction between the usage of such pictures 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 Michigan. I have no problem with all the display of images in a historical context, as without this folks don't comprehend what war can do."

Should we limit accessibility to upsetting digital images to folks who we can be certain will perceive 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 quiet medical movies from between 1929 and 1945 , a few of which symbolize what Sappol calls challenging themes": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 picture made at Cook County Hospital in Chicago , which shows four children who are dying of rabies. Fight, 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 occupation of the librarian or archivist to determine that the people can not handle looking at such pictures. We're stewards of these historical materials," he told me. They do not belong to us. They belong to everybody. ... I wouldn't like to act on behalf of the subjects and arrogate to myself the job of being some sort of officer of 'who can view.' " With the NLM's electroshock therapy films from the 1930s, Sappol says, Some of the men and women in this film ... seem like they surely don't consent to the procedure, and it is disturbing to see. I could say 'This person 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 asserts, is not black, but simply human.

The problem is further complicated by the fact that visibility is preferred by some subjects. This really is the case with all the Thalidomide Trust archive, which contains medical case files on folks produced 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 happen with their case files fluctuate widely, but some undoubtedly need their files and pictures made accessible for research as a purposeful action to open up discourse."Of course, there's no means to ask the patients whose bodies appear in The Sick Rose whether they'd prefer to be seen or stay concealed. But the modern case of thalidomide demonstrates that we must not assume that publication is tantamount to breach.

Nor should we assume 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 dedicated to making her sources freely available. Tuscola, MI 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 pictures. 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 viewers to choose a second look at the before" images of patients, which Freeman presented for his own goals as broken," she may have the capacity to show that these faces contain more possibilities than Freeman ever saw." A commenter on the post of Posner wrote that he'd lately learned that his grandfather, 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 a picture of my grandpa, never, ever, and I really don't care if it is an image of him having this done I only desire and need to see a picture of him so MUCH. Can you tell me how to get to these archives?" It might have been much more difficult for the commenter to find her if Posner had not gone with Science Friday; the link might not have been made. Std Test in Tuscola.

Finally, there's a spiritual argument for making such images accessible. MI United States Std Test. Even if medical pictures may be misused, Michael Sappol says, I don't need that chance to prevent these things that are really amazing records of the human encounter from being seen. ... We can learn from them, they are able to redeem us in some way. They can provide 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 is a power behind these images, there's a power they have over us, and we have to acknowledge 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, images like those in the Sick Rose might remind us: This is the body, and the end that we all come to."

Still, a vanitas demands 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 method 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 contemplate mortality. But she wondered how this might function---or fail to work---in a modern society," where space allowed for being serious is difficult to come by." One wonders what she may have made of Pinterest if she thought that about books, art galleries, and television.

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BTW I've also been suffering from red & swollen foreskin (area close to the bottom of glans / frenulum region) with occasional paper cuts since 1.5 years - particularly after intercourses. Have done evaluations for fungi & STD but all negative. Have been trying cream against fungi and steroid cortisone but nothing has helped. Std Test nearby Michigan, United States. Now I'm suspecting 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 - hopefully soon.

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