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The experience of looking at The Sick Rose, which is a well-curated print display of images that are freely accessible on the Wellcome Images website, raises questions about medical images that are historic, and when and in what media it is proper to look at them. It is one thing to take a beautifully bound book aside into a quiet armchair and have a one on one encounter with the face of an infant wizened by tertiary syphilis, or with a dignified man with a bulbous, untreated pendant tumor. It is another to see the exact same faces flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated images and detached from Barnett's circumstance -supplying scholarship.
Afflictions, most of which are now rare in the Western world organize the Sick Rose: cholera, gout, tuberculosis, advanced stages of syphilis. On the Internet, the patients' suffering runs the risk of being seen as vintage"---nearly amusing in its awful extremity and its space from our own time. In a blog post about the method of assembling and after marketing The Sick Rose, Barnett admitted 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 images. (When Wired ran a slideshow of photos 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 aren't imagined."
As historic medical images go archivists, scholars and digital are being compelled to weigh the advantages of disseminating the interesting and undoubtedly important record of the evolution of medical practice with concerns the images will likely be misused and misunderstood. Making the pictures accessible will almost certainly lead to some tone deaf uses and respect at best---using the shock value of an at body disfigured face or worst. On the flip side, digitization of the kinds of pictures that were once accessible only to researchers with the resources to travel to archives can do a great deal of good. Such visibility can raise consciousness about previous wrongs, ease the families of former patients and also connections between historians supply us with a new method to think about our own mortality. (Because there are excellent arguments on both sides, and because these medical images could be upsetting to some readers, we've chosen to put the photos we are printing with this post behind an electronic scrim, allowing you, the reader, to choose whether to view them.)
Here's one case that demonstrates how much such digitized photographs can steal 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 special component treating injuries that needed maxillofacial surgery. Gillies commissioned photographers and artists to record his patients' presurgical harms, 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 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 art that Hartley made with inspiration from these archives afterwards formed the basis of an exhibition at the National Army Museum in London. The project, Hartley writes on his website , was meant to explore the effect of veterans' wartime injuries and subsequent facial operations on their lives.
Following the exhibition had closed, but the digital images had another life. Some photos from the Job 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 the patients in the photos, 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 an image of the BioShock character in question) Lumley and his fellow patients are now forced to wander about in virtual space, made into monsters for the amusement of gamers.
Std test in Boyes. Does this matter, 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 departure in battle as glorious, but facial mutilation was seen as virtually shameful---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 the characters they're seeing on screen were once real men, it can nevertheless feel when they're trotted out as digitized monsters, like these guys, ostracized in life, are being wronged again. Boyes MT 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 almost 100 years later similar pictures are used to frighten folks in a computer game, gives us a glimpse into what life must have been like for individuals who endured such disfiguring injuries." (She adds: How courageous these guys were to enable themselves to be photographed with extensive injuries, and to experience treatments that frequently made them look worse before they seemed better.")
Std Test closest to Boyes. 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 guys in the context of the game was an appalling way to treat the memory of veterans," Bamji wrote. He apologized and assured me that no additional such images would be used, and there the matter finished." Bamji drew a clear distinction between using such pictures in a job like BioShock, where they were disassociated from the names and stories of the patients, and Hartley's Project Faade. Std test near Montana. I don't have any issue with the display of pictures in a historic context, as without this people do not 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 groups have recently posted a string of hushed medical pictures from between 1929 and 1945 , a few of which signify what Sappol calls hard themes": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 movie 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're inconsolable, even as gloved adult hands reach from off screen to hold them or offer them water.
Sappol doesn't believe 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 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 areas and arrogate to myself the job of being some type of policeman of 'who can view.' " With the NLM's electroshock therapy movies from the 1930s, Sappol says, A Number of the people in this picture ... look like they surely don't consent to the process, also it's disturbing to see. I really could say 'This individual doesn't need to be on camera, they are being humiliated.' But this is something we can learn from. If we never get to see this, who gets to know?" The curiosity we feel about such pictures, he argues, is not shameful, but just human.
The problem is further complicated by the fact that some subjects favor visibility. This is the situation with the Thalidomide Trust archive, which includes medical case files on folks produced withsevere birth defects after their mothers took the drug thalidomide to alleviate 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 vary widely, but some undoubtedly need their files and pictures made available for research as a deliberate act to open up argument."Of course, there's no method to ask the patients whose bodies appear in The Sick Rose whether they would prefer to be viewed or remain concealed. But the modern case of thalidomide reveals that we must not suppose that publication is tantamount to violation.
Nor should we suppose that the Web is a serious medium than the bound-and- book that is printed. Historian Miriam Posner, who wrote her dissertation on medical filmmaking, is also a digital historian committed to making her sources publicly available. Boyes MT Std Test. In 2010, Posner posted about the ethical quandary she faced when requested to collaborate on a slideshow of pictures that were lobotomy with a producer at NPR's show Science Friday. Neurologist Walter Freeman, who carried out more than 3,500 of the procedures, photographed and patients his filmed before and after their operations.
But Posner ultimately 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 motives as broken," she might be able to show that these faces feature more possibilities than Freeman ever saw." A commenter on Posner's place wrote that he'd recently learned that his grandfather, who he had never met, had been institutionalized and lobotomized in West Virginia. The commenter wrote: I have never seen an image of my grandpa, never and I do not care if it's a picture of him having this done I merely want and need to see a picture of him so MUCH. Can you tell me the way to get to these archives?" It might have been much more challenging for the commenter to locate her if Posner had not gone ahead with Science Friday; the connection might not have been made. Std Test closest to Boyes.
Finally, there's a spiritual argument for making such pictures accessible. MT United States Std Test. Even if medical images might be misused, Michael Sappol says, I don't need that possibility to prevent these things that are really amazing files of the human encounter from being seen. ... We can learn from them, they can redeem us in some way. They could provide us with some kind 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 images, there is a power they have over us, and we've got to accept or honor this at some point." He compares the pictures 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 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 final book, Regarding the Pain of Others (2003), was written as the Web was in the process of scattering photos to the four winds. Sontag wrote that photographs of suffering might be a memento mori " and function as a still point around which to consider mortality. But she wondered how this may work---or fail to work---in a modern society," where space allowed for being serious is difficult to come by." One wonders what she might have made of Pinterest if she thought that about novels, art galleries, and television.
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