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The experience of looking at The Sick Rose, which is a well-curated print display of pictures that are available on the Wellcome Images site, raises questions about historic medical pictures, and when and in what media it is appropriate to look at them. It is one thing to take a beautifully bound book aside into a silent armchair and have a one-on-one encounter with all the face of a baby wizened by tertiary syphilis, or with a dignified man with a bulbous, untreated pendant tumor. It's another to see the same faces detached from the circumstance of Barnett and flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated pictures -providing 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' anguish runs the danger of being seen as vintage"---almost amusing in its terrible extremity and its space from our own time. In a blog post about the procedure for assembling and after marketing The Sick Rose, Barnett admitted to a sense of unease" about sending the pictures away into the whole world, worrying in regards to the kitsch, understanding, and emptily ironized attitude" that could greet the pictures. (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 pictures of something that occurred to someone somewhere. They're not visualized."
As historical medical pictures go archivists, scholars and digital are being forced to weigh the benefits of disseminating the definitely significant and fascinating record of the progression of medical practice with matters that the pictures will likely be misunderstood and misused. Making the images available will probably cause some tone deaf uses, lacking empathy and regard at best---using the shock value of an at body disfigured face or worst. On the flip side, digitization of the sorts of pictures that were once accessible only to researchers with the means to travel to archives can do lots of good. Such visibility can raise awareness about previous wrongs, facilitate the families of former patients and links between historians , even provide us with a new approach to think of our own mortality. (Because there are good arguments on both sides, and because these medical images could be disturbing to some readers, we've decided to place the photos we are printing with this particular post behind an electronic scrim, which allows you, the reader, to decide whether to view them.)
Here's one instance that shows how far such digitized photos 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 needed maxillofacial surgery. Gillies commissioned artists and photographers to document his patients' presurgical injuries, using the images to plan the strategy of his team.
These pictures ended up on the Web as part of a mid-2000s exhibition 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 graphics that Hartley made from these archives with inspiration after formed the foundation of an exhibition at the National Army Museum in London. The project, Hartley writes on his website , was intended to explore the effect of veterans' wartime injuries and subsequent facial operations on their lives.
After the exhibition had closed but the digital images had another life. Some pictures from the Project Faade archive ended up used in the plan of the genetic mutants (splicers") that players of the videogame BioShock must battle. Among the patients in the photographs, a pilot trainee, Henry Lumley, was injured on the day of his graduation from flying school and lived with his injury for a year before being admitted to Gillies' attention. 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 compelled to drift about in virtual space, made into monsters for the entertainment of gamers.
Std test closest to Gildford. 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 nearly shameful---a fate worse than death"---and images of soldiers injured in this way were censored, lest they reduce morale. So even if gamers never understand the characters they're seeing on screen were once real men, it can still feel when they're trotted out as digitized monsters, like these guys, ostracized in life, are being wronged again. Gildford MT, United States std test. As Wellcome Library archivist Natalie Walters pointed out in a post on the connection between BioShock as well as the Gillies Archive: That almost 100 years after similar images 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 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 near Gildford. Dr. Andrew Bamji, the Gillies Archives' curator, told me over email that he approached the game's programmers 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 method to take care of the memory of veterans," Bamji wrote. He apologized and assured me that no further such images would be used, and there the matter ended." Bamji drew a clear distinction between the usage of such pictures in a project like BioShock, where they were disassociated from the names and stories of the patients, and Hartley's Project Faade. Std test near Montana. I have no issue with the display of pictures in a historical 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 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 number of quiet 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 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 think it should be the job of the librarian or archivist to decide that the people can't handle looking at pictures that are such. 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 act on behalf of the areas and arrogate to myself the job of being some kind of officer of 'who can view.' " With the NLM's electroshock therapy movies from the 1930s, Sappol says, A Number of the folks in this picture ... look like they definitely do not consent to the process, also it is disturbing to see. I could say 'This person 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 understand?" The interest 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 case with the Thalidomide Trust archive, which comprises 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 viewpoints of thalidomiders themselves on what should occur with their case files vary widely, but some definitely need their files and pictures made available for research as a deliberate act to open up debate."Of course, there is no way to ask the patients whose bodies appear in The Sick Rose whether they would prefer to be observed or remain concealed. But the modern case of thalidomide reveals that we must not suppose that publication is tantamount to breach.
Nor should we presume 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. Gildford, MT 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 photographs. 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 ultimately went ahead with the Science Friday slideshow, reasoning that by asking viewers to choose a second look at the before" pictures of patients, which Freeman presented for his own goals as broken," she may have the ability to show that these faces comprise more possibilities than Freeman ever saw." A commenter on the place of Posner wrote that he'd lately discovered that his grandpa, who he had never met, had been institutionalized and lobotomized in West Virginia. The commenter wrote: I actually 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 an image of my grandfather, never, ever. Can you tell me the best way to get to these archives?" It might have been much tougher for the commenter to locate her, if Posner hadn't gone ahead with Science Friday; the connection might not have been made. Std Test nearby Gildford.
Eventually, there is a spiritual argument for making such images available. MT, United States std test. Even if medical pictures might 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 could redeem us in some way. They could supply us with some form of curriculum of human suffering. ... Looking at them makes life richer and deeper." Barnett, despite his misgivings, concurs on this particular point: There is a power behind these pictures, there is a power they have over us, and we have 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, images like those in the Sick Rose might remind us: This Is Actually the body, as well as the conclusion that we all come to."
Still, a vanitas demands space for contemplation---a space the Web looks 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 photos 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 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 believed that about art galleries, novels, and television.
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