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The experience of looking at The Sick Rose, which is a good-curated print presentation of pictures that are freely available on the Wellcome Images site, raises questions about medical images that are historic, and when and in what media it is appropriate 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 all with a dignified man with a bulbous, untreated pendant tumour, or the face of an infant wizened by tertiary syphilis. It is another to see the same faces flit by on Pinterest, Tumblr, or Twitter, in a jumble of other unrelated images and detached from the circumstance of Barnett -providing scholarship.
The Sick Rose is formed by afflictions, the majority of which are now rare in the Western world: cholera, gout, tuberculosis, advanced phases of syphilis. Online, the patients' suffering runs the risk of being seen as classic"---nearly funny in its horrible extremity and its distance from our own time. In a blog post about the process of assembling and later promoting The Sick Rose, Barnett acknowledged to a feeling of unease" about sending the images off into the entire 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 happened to someone somewhere. They aren't envisioned."
As historic medical pictures go digital, scholars and archivists are being forced to consider the benefits of disseminating the undoubtedly important and interesting record of the evolution of medical practice with matters the pictures will be misunderstood and misused. Making the pictures available will probably cause some tone deaf uses, lacking empathy and aspect at best---using the shock value of a disfigured face or body at worst. On the other hand, digitization of the types of pictures which were once available 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 connections between historians and the families of former patients , even supply us with a brand new approach to think of our own mortality. (Because there are great arguments on both sides, and because these medical images may be upsetting to some readers, we've chosen to place the pictures we are publishing with this article behind a digital scrim, allowing you, the reader, to decide whether to see them.)
Here's one case that shows how much such digitized photos can steal away 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 particular component treating injuries that demanded maxillofacial surgery. Gillies commissioned photographers and artists to document his patients' presurgical injuries, using the pictures to plan the strategy of his team.
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 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 graphics that Hartley made with inspiration from these archives after formed the basis of an exhibit at the National Army Museum in London. The job, Hartley writes on his website , was intended to learn more about the impact of veterans' wartime injuries and subsequent facial surgeries on their lives.
After the exhibit had closed but the digital images had another life. Some photographs from the Endeavor Faade archive ended up used in the plan of the genetic mutants (splicers") that players of the videogame BioShock must battle. One of many patients in the photographs, Henry Lumley, 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' attention. Lumley died of postoperative complications, at age 26. (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 roam around in virtual space, made into monsters for the amusement of gamers.
Std test nearby Nashua. 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 departure in battle as glorious, but facial mutilation was seen as nearly black---a fate worse than death"---and images of soldiers injured in this way were censored, lest they reduce morale. So even if gamers never realize 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. Nashua, MT United States Std Test. As Wellcome Library archivist Natalie Walters pointed out in a post on the connection between BioShock and also the Gillies Archive: That nearly 100 years later similar images are used to frighten folks in a computer game, gives us a glance into what life should have been like for people who sustained such disfiguring injuries." (She adds: How courageous these men were to enable themselves to be photographed with extensive injuries, and to experience treatments that often made them look worse before they seemed better.")
Std Test near Nashua. Dr. Andrew Bamji, the Gillies Archives' curator, told me over e-mail that he approached the game's programmers after finding out about this use and succeeded in contacting one. I pointed out that using identifiable men in the context of the game was an appalling approach to take care of 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 the use of such pictures in a project like BioShock, where they were disassociated from the names and narratives of the patients, and the Project Faade of Hartley. Std test near Montana. I don't have any problem with the display of images in a historic context, as without this folks do not comprehend what war can do."
Should we confine access to upsetting digital images to people who we can be sure will see them in proper context? Michael Sappol , a historian at the U.S. National Library of Medicine who has written about historic and modern medical display, has an argument to the contrary. The NLM's digital groups have lately posted a series of silent medical films from between 1929 and 1945 , a few of which represent what Sappol calls challenging subjects": leprosy, electroshock, schizophrenia. Sappol mentions, in particular, this 1929 picture made at Cook County Hospital in Chicago , which shows four kids that are dying of rabies. The patients convulse, fight, 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 decide that the public can not 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 occupation of being some kind of policeman of 'who can view.' " With the NLM's electroshock therapy films from the 1930s, Sappol says, Some of the people in this picture ... look like they surely don't consent to the procedure, also it's disturbing to see. I really could say 'This individual doesn't desire to be on camera, they're being humiliated.' But this is something we can learn from. If we never get to see this, who gets to understand?" The curiosity we feel about such images, he argues, isn't shameful, but simply human.
The problem is further complicated by the fact that a few subjects prefer visibility. This is the situation with the Thalidomide Trust archive, which comprises medical case files on individuals 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 viewpoints of thalidomiders themselves on what should occur with their case files fluctuate widely, but some definitely want their files and images made accessible for research as a purposeful action 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 viewed or stay concealed. Nevertheless, the modern example of thalidomide demonstrates that we shouldn't presume that publication is tantamount to infringement.
Nor should we assume 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 also a digital historian committed to making her sources publicly accessible. Nashua, 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 photos. 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 finally went ahead with the Science Friday slideshow, reasoning that by simply asking audiences to take a second look at the before" images of patients, which Freeman presented for his own goals as broken," she might have the ability to reveal that these faces include more options 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. The commenter wrote: I haven't seen an image of my grandpa, never, ever, and I really don't care if it is a picture of him having this done I need and merely desire to see a picture of him so MUCH. Can you tell me the way to get to these archives?" If Posner hadn't gone with Science Friday, it might have been much tougher for the commenter to locate her; the link mightn't have been made. Std test near me Nashua.
Eventually, there is a religious argument for making such pictures available. MT, United States Std Test. Even if medical images may be abused, Michael Sappol says, I don't need that chance to prevent these things that are actually amazing documents of the human experience from being seen. ... We can learn from them, they are able to redeem us in some way. They can supply us with some form of program of human suffering. ... Looking at them makes life richer and deeper." Barnett, despite his misgivings, agrees on this particular point: There's a power behind these images, there's a power they have over us, and we've got to acknowledge or respect 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 conclusion that we all come to."
Still, a vanitas demands space for contemplation---a space the Web looks ill to offer. Susan Sontag's closing book, Regarding the Pain of Others (2003), was written as the Web was in the procedure for scattering pictures to the four winds. Sontag wrote that photos of suffering might be a memento mori " and serve as a still point around which to contemplate mortality. But she wondered how this may work---or fail to work---in a modern society," where space allowed for being serious is tough to come by." If she believed that about art galleries, books, and television, one wonders what she might have made of Pinterest.
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