[Photography, medicine and corporeality: the device of the image in the forms of discursive apprehension of the disease]

To study about and reflect on the disease is to highlight the ways of seeing and saying what can a body and its power to be affected before fingerprints or traces that degrade it. This article exposes epistemological research on social representations brackets (where register know doctor) disease from the registry of Clinical Dermatology in the second half of the 19th century. This is resorted to an analysis of medical photographs preserved in archives of Colombia and Spain taking as discursive forms of seeing and saying the disease who have disfiguring effects in the body.

Watching birds: observation, photography and the 'ethological eye'

The article reflects upon the observational practices and methods developed by the early exponents of ethology committed to naturalistic field study and explores how their approaches and techniques influenced a wider field of popular natural-history filmmaking and photography. In doing so, my focus is upon three aspects of ethological field studies: the socio-technical devices used by ethologists to bring birds closer to them, the distinctive observational and representational practices which they forged, and the analogies they used to codify behaviour. This assemblage of elements included hides or screens from which to watch wild birds without disturbing them, optics to extend human vision, pens and paper to sketch and fix patterns of behaviour, watches to record timings, photography to capture action and freeze movement, and illustration and photographs to visualize behaviour. Carried through natural-history networks, the practices, methods and theories of ethologists like Huxley and Tinbergen influenced popular natural-history filmmaking and photography more broadly from the 1940s, driving a behavioural turn in these cultural practices. This popularization of the 'ethological eye' was further facilitated by the convergence of socio-technical devices, forms of observation and dramatization in the work of the early exponents of naturalistic field studies of birds and the popular filmmakers.

On the Cover: Showcasing China's On-the-Job Training in Rural Africa

The cover of this issue of Technology and Culture illustrates how China implemented-and promoted-on-the-job training in Africa. The image shows a Tanzanian dentist practicing dentistry under the supervision of a Chinese doctor in rural Tanzania, probably in the 1970s. Despite the ineffectiveness of the on-the-job training model, the photograph attempts to project the success of the dental surgery techniques exchanged between China and Tanzania, using simple medical equipment rather than sophisticated medical knowledge. The rural setting reflects the ideological struggle of the Cold War era, when Chinese doctors and rural mobile clinics sought to save lives in the countryside, while doctors from other countries engaged in Cold War competition worked primarily in cities. This essay argues that images were essential propaganda tools during the Cold War and urges historians of technology to use images critically by considering the contexts that influenced their creation.

The history of motion photography to video electroencephalography in the study of functional seizures and related seizure disorders: The first 100 years

This historical note highlights pivotal events of technology progressing between the late 19th and the 20th century to capture functional seizures and other related seizure episodes. From Charcot's initial use of photography for his study of hysteria at the Salpêtrière to the development of cinematography by Muybridge and Marey to study motion to the initial use of video electroencephalography (vEEG) through a pairing of cinematography with EEG, and the advent of EEG telemetry to eventually the development of modern epilepsy monitoring unit through the adoption of cameras and an improved long-term monitoring vEEG system.

The photographers' gaze: the Mobile Radioisotope Exhibition in Latin America (1960-1965)

During the IAEA's Mobile Radioisotope Exhibition (1960-1965) through the eventful roads of five Latin American countries (Mexico, Uruguay, Argentina, Brazil, and Bolivia), a variety of photographs were taken by an unknown Mexican official photographer, and by Josef Obermayer, a staff driver from Vienna. The exhibition carried not only bits of nuclear sciences and technologies, but also the political symbolism of the 'friendly atom' as a token of modernization. The photographs embarked on different trajectories, though all of them ended up at the training and exchange official's desk in charge of the exhibition, Argentinian physicist Arturo Cairo. The ones taken in Mexico also had a local circulation as propaganda intended to promote radioisotope applications. The two sets of images were intended to show the contrast between modernity and traditional society, but they did it from different gazes. Our paper argues that, in the case of Mexico, the photographer reinforced representations of the country which were already popularized by Hollywood for foreign and local audiences. On the other hand, the Viennese photographer's gaze delivers an autoethnography of his dutiful journey. We also argue that Obermayer's projection is one of what Roger Bartra has conceptualized as the 'salvage on the mirror'.

What faces reveal: Hugh Diamond's photographic representations of mental illness

Hugh Diamond was a psychiatrist, antiquarian, and photographer, who was the first person to take photographs of female asylum patients. These photographs, using the newly invented technology of the camera, were intended to be objective and accurate visual indicators of mental illness. Considering Diamond's overlapping interests, his project must be understood within the larger cultural and historical context and the tensions inherent in medical photography and portraiture. Despite the goal of capturing "objective, scientific data," the photographs instead relied on traditional iconography dating back to the Greeks and Middle Ages and can be analyzed from an art historical perspective. As an antiquarian, Diamond collected portraits of his patients just as he collected various other objects. As such, while Diamond may be considered a humanistic leader of the moral treatment movement, his work in capturing these "specimens," the female patients, reflects a perpetuation of the stigmatization of mental illness to be put on display for the Victorian audience.

Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay

In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis - the colour, texture, and patterns of primary chancres or secondary rashes - was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations. Yet photography's relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient's skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection.

Capturing Racial Pathology: American Medical Photography in the Era of Jim Crow

This article focuses on the untapped, complicated, fragile, and fluid visual archives of the elite White surgeon Rudolph Matas, a large proportion of which was produced during the late 19th and early 20th century, a time when he was a resident at New Orleans' Charity Hospital in Louisiana and a professor of general and clinical surgery at Tulane University's Medical Department. The article's main aim is to understand the role of visual materials in the production, uses, circulation, and impact of a form of knowledge that Matas termed "racial pathology." A small but representative sample of visual materials from the Matas collection are placed in context and examined in order to make known this untold chapter from the life story of "one of the great pioneers" in American surgery. The article reveals that many of the photographs were most significant in having been produced and assembled in parallel with the making, publication, dissemination, reception, and use of Matas' racialized medical research, in particular his influential 1896 pamphlet, The Surgical Peculiarities of the American Negro.

Henry Granger Piffard, MD and his photogenic pistol cartridges

A leading physician in New York during the last quarter of the 19th century, Henry G. Piffard, MD, was a pioneer dermatologist in New York. He had a propensity to invent, and he used that ability to advance the nascent field of instantaneous photography. The recent discovery of a few survivors of Piffard's patented "photogenic (flash) cartridges" prompted an examination of his connection to a leading photographic supply house of his time. The study provided insights into his system and revealed that Piffard had combined the use of his patent with his passion for skin diseases. As a result, Piffard's publications were among the first to document diseases of the skin photographically.

A pioneer in two worlds: Thomas Keith (1827-1895) photographer and surgeon

Thomas Keith, an Edinburgh surgeon, was an early and successful exponent of the operation of ovariotomy (ovarian cystectomy). He published detailed accounts of all of the patients on whom he carried out this procedure and his published success rate proved to be amongst the best in the world. The leading American surgeon J Marion Sims, who visited Keith to determine the reasons for this success, concluded that Keith's achievement resulted from meticulous attention to detail and his emphasis on the cleanliness of the instruments and the operating field, before this was generally adopted. His friendship with Joseph Lister led to his early use of Listerian antisepsis, which further improved these results. Yet, his medical colleagues and his obituarists seemed unaware of his other significant pioneering contribution, as a gifted photographer and pioneer of the waxed paper technique of photographic processing. That same attention to detail resulted in photographs of the highest quality whose significance has since been appreciated by photographic historians.

Old photos offer hope for the future of the elusive angel shark

Georgina Mills explains how angel sharks may be living closer to home than first thought.

“The Anaesthetist” 1933—An Iconic Australian Medical Photograph

Harold Cazneaux was the greatest Australian photographer of the early 20th century. In 1933, he took this image entitled ‘The Anaesthetist’. It is an important documentation of a clinical anaesthetist of the era and was exhibited internationally. Such photographs of specific medical scenarios are rare and valuable. The anaesthetist is Dr Frederick J. Bridges who worked at Royal Prince Alfred and Royal North Shore Hospitals in Sydney. He is using a Clements ether vaporizer which was Australian made. The patient is Cazneaux's daughter. Cazneaux has captured perfectly the care and concern of the anaesthetist for his patient.

Constructed Realities: Claude Cahun's Created World in Aveux Non Avenus

In her 1930 publication, Aveux non Avenus, Claude Cahun used the relationship between her inwardly focused poetic writing and symbolic photomontages to construct a unique reality for self-expression. This article focuses on three chapters and respective photographic images from the publication to relate Cahun's, and by association her partner Marcel Moore's, discussion on sexuality and gender expression. The utopian dreamscape created investigates issues of narcissism and otherness, female homosexuality, dandyism and going beyond gender, individual and social critique, mocking the antiquated views of art and writing, accepting and breaking taboos, while allowing for other departures from the accepted norm. Through analysis of the publication and supporting evidence from early influences, it can be seen that Cahun created a world in Aveux non Avenus where she could exist in a space between the established feminine-masculine binary of 20th-century Europe.

Scientific Study of Magic: Binet's Pioneering Approach Based on Observations and Chronophotography

In 1894, French psychologist Alfred Binet (1857-1911) published an article titled "The Psychol- ogy of Prestidigitation" that reported the results of a study conducted in collaboration with two of the best magicians of that period. By using a new method and new observation techniques, Binet was able to reveal some of the psychological mechanisms involved in magic tricks. Our article begins by presenting Binet's method and the principal professional magicians who par- ticipated in his studies. Next, we present the main psychological tools of magicians described by Binet and look at some recent studies dealing with those mechanisms. Finally, we take a look at the innovative technique used by Binet for his study on magic: the chronophotograph.

Medical History's Moment in Art Photography (1920 to 1950): How Lejaren à Hiller and Valentino Sarra Created a Fashion for Scenes of Early Surgery

Two groups of black-and-white photographs are found in medical rare book rooms and the collections of historically minded physicians. They were created by artists Hiller and Sarra to bring medical history to life for members of the health professions and, to some extent, for a wider public. These were not didactic illustrations for a textbook, but elegant scenes of great figures from Antiquity to the nineteenth century, evocation not documentation even though they were based on research. As pieces of fine art, cherished in portfolios or framed on the wall, the quality prints were intended to stimulate curiosity about the achievements of the figures portrayed. While familiar to some archivists and librarians, these photographs have received almost no attention in the scholarship of medical history. Only one short article examined them in 1983. In recent years these photographers have been given new consideration by scholars of advertising and photography. Using those works and primary sources, this article expands both men's biographies, and it explores their working methods, their artistry, and their achievements. An appreciation of these photographs enlarges our understanding of the place of medical history in American culture during the first half of the twentieth century.

'She sits all day in the attitude depicted in the photo': photography and the psychiatric patient in the late nineteenth century

The links between mental state and art in all its various forms and media have long been of interest to historians, critics, artists, patients and doctors. Photographs of patients constitute an extensive but largely unexplored archive that can be used to recover patient experience in the late nineteenth and early twentieth century. The camera and the photograph became tools to communicate information about mental ill health between doctors, their patients and their colleagues. They were published in textbooks and journals, exhibited, exchanged and pasted into medical case books alongside case notes. But they were also used by patients to communicate their own experiences, identity and sense of self. This article uses published and case book photographs from c. 1885-1910 to examine the networks of communication between different stakeholders and discourses.

[Workers with signs of smallpox in the collection of Regional Office of Labor, Rio Grande do Sul, 1933-1944]

Work Register Booklet was created in Brazil in 1932. Soon, Regional Labor Inspectorates emerged - after renamed as Regional Office of Labor. In Rio Grande do Sul, this office was settled in 1933 in Porto Alegre. Procedures for making this booklet consisted of filling a professional qualification form with workers' personal and professional information. One of the fields consisted of requester's distinguishing signs, like visible marks and lack of limbs. The purpose of this article is to analyse the presence of one of these distinguishing signs. We use 3x4cm photos of workers who presented smallpox signs, as well as other information written in the fields of their forms.

The presentation of plastic surgery visual data from 1816 to 1916: The evolution of reproducible results

All scientific data should be presented with sufficient accuracy and precision so that they can be both analyzed properly and reproduced. Visual data are the foundation upon which plastic surgeons advance knowledge. We use visual data to achieve reproducible results by discerning details of procedures and differences between pre- and post-surgery images. This review highlights how the presentation of visual data evolved from 1816, when Joseph Carpue published his book on nasal reconstruction to 1916, when Captain Harold Gillies began to treat over 2000 casualties from the Battle of the Somme. It shows the frailties of human nature that led some authors such as Carl von Graefe, Joseph Pancoast and Thomas Mutter to record inaccurate methods or results that could not be reproduced, and what measures other authors such as Eduard Zeis, Johann Dieffenbach, and Gurdon Buck took to affirm the accuracy of their results. It shows how photography gradually supplanted illustration as a reference standard. Finally, it shows the efforts that some authors and originators took to authenticate and preserve their visual data in what can be considered the forerunners of clinical registries.

Artistic representations of short stature, a tentative diagnosis

Throughout human history, disease-related short stature has represented a source of fascination. Following the recent advances in genetics and molecular biology, several hundreds of possible causes are now to be considered. We present herein a few examples of the diagnosis approach of such cases from art sources (sculptures, paintings or photographs for the most recent periods), associated or not with biographical data, allowing semiological and anthropological analyses. The explored period spans from antic great civilizations to 19th Century Western societies. The palaeopathological diagnosis method is based upon medical approach. It includes a search for possible associated abnormalities and the distinction between proportioned, mainly related to hormonal disorders (particularly growth hormone deficiency), and non-proportioned cases especially associated with genetic skeletal dysplasias. Among this latter category, achondroplasia is the most represented cause of short stature. Other more exceptional etiologies are also reported.

Psychicones: Visual Traces of the Soul in Late Nineteenth-Century Fluidic Photography

The article discusses attempts to visualise the soul on photographic plates at the end of the nineteenth century, as conducted by the French physician Hippolyte Baraduc in Paris. Although Baraduc refers to earlier experiments on fluidic photography in his book on The Human Soul (1896) and is usually mentioned as a precursor to parapsychological thought photography of the twentieth century, his work is presented as a genuine attempt at photographic soul-catching. Rather than producing mimetic representations of thoughts and imaginations, Baraduc claims to present the vital radiation of the psyche itself and therefore calls the images he produces psychicones. The article first discusses the difference between this method of soul photography and other kinds of occult media technologies of the time, emphasising the significance of its non-mimetic, abstract character: since the soul itself was considered an abstract entity, abstract traces seemed all the more convincing to the contemporary audience. Secondly, the article shows how the technological agency of photography allowed Baraduc's psychicones to be tied into related discourses in medicine and psychology. Insofar as the photographic plates displayed actual visual traces, Baraduc and his followers no longer considered hallucinations illusionary and pathological but emphasised the physical reality and normality of imagination. Yet, the greatest influence of soul photography was not on science but on art. As the third part of the paper argues, the abstract shapes on Baraduc's plates provided inspiration for contemporary avant-garde aesthetics, for example, Kandinsky's abstract paintings and the random streams of consciousness in surrealistic literature.

[Enrico Modigliani and the Institution of maternal assistance: a study of the social factors of illegitimate motherhood during early Twentieth century]

Enrico Modigliani (1877-1931) was an Italian paediatrician of the early Twentieth century whose work anticipated modern concepts of maternal and child health. Convinced of the importance of creating a network of health and social care for children born out-of-wedlock, he began by providing care to single mothers and their babies at his home on Sundays. In 1918, in Rome, he established the Institution for Maternal Assistance, which aim was to provide single mothers with basic health information as well as tools to face their socioeconomic situation. The Opera encouraged breastfeeding and maternal acknowledgement of the child and promoted the establishment of lactation rooms and nurseries within factories. Moreover, women were supported to find a job which was compatible with their situation. In the first five years of activity, over 1,000 unmarried women were assisted; 95% of them acknowledged their children and 52% found a job. The infant mortality rate fell to 11%, which was much lower than the 35% observed at the time among the social classes which Modigliani called the most miserable. This article reviews Modigliani's paper, in which the paediatrician reported the first five years of activity of the Institution of Maternal Assistance and where he largely focused on the social factors surrounding illegitimate motherhood. The paper was structured like a modern scientific report, with photographic documentation and statistical data, and proposed a point of view regarding social inequality which is surprisingly up-to-date.