Inventing the medical portrait: photography at the 'Benevolent Asylum' of Holloway, c. 1885-1889

In 1885, Holloway Sanatorium, an asylum for the 'mentally afflicted of the middle classes' opened in Egham, Surrey, 20 miles outside London. Until 1910, photographs of about a third of the patients--both those 'Certified Lunatic by Inquisition' and the 'Voluntary Boarders' who admitted themselves--were pasted into the asylum's case books. This paper analyses the photographs that were included in the very first of these, when there was a great uncertainty as to how to represent these patients, or whether to represent them at all. The photographs are unlike any other institutional images of the period, and raise critical questions about the imagined incompatibility between documentary photography and personal agency.

Patients rebuilt: Dr Auguste Rollier's heliotherapeutic portraits, c.1903-1944

This article explores and critically contextualises the photographic production of heliotherapist Auguste Rollier (1874-1954), specifically the 'patient portraits' photographed at his Leysin sanatoria over a substantial period of four decades, c.1903-1944. It argues that these photographs, ignored in secondary literature, were particularly persuasive in communicating the natural healing powers of sunlight and through their international dissemination brought Rollier's work professional acclaim and prestige. Always presenting anonymous patients, and most often children, the images produced for Rollier's work interweave aesthetic and medical interests. Whether through the aesthetics of the photograph, of the positioning and appearance of the patient's body, or of the language used to describe these, issues of beauty and harmony were significant preoccupations for Rollier and the dissemination of his heliotherapeutic practice. The article argues that these aesthetic preoccupations drove his work, that the patient's progress and final cure, and thus the therapy's efficacy, were determined by aesthetic criteria-read through the body itself and its photographic representation. This legibility, of the body and its photography, was crucial to articulating the sun's perceived natural ability to improve, heal and even 'rebuild' individual patients into socially and physically productive citizens. As such, the article contends, Rollier privileged image over word, conceiving the former as possessing an unequalled 'eloquence' to communicate the efficacy and social potential of heliotherapy.

The cerebral cortex of Albert Einstein: a description and preliminary analysis of unpublished photographs

Upon his death in 1955, Albert Einstein's brain was removed, fixed and photographed from multiple angles. It was then sectioned into 240 blocks, and histological slides were prepared. At the time, a roadmap was drawn that illustrates the location within the brain of each block and its associated slides. Here we describe the external gross neuroanatomy of Einstein's entire cerebral cortex from 14 recently discovered photographs, most of which were taken from unconventional angles. Two of the photographs reveal sulcal patterns of the medial surfaces of the hemispheres, and another shows the neuroanatomy of the right (exposed) insula. Most of Einstein's sulci are identified, and sulcal patterns in various parts of the brain are compared with those of 85 human brains that have been described in the literature. To the extent currently possible, unusual features of Einstein's brain are tentatively interpreted in light of what is known about the evolution of higher cognitive processes in humans. As an aid to future investigators, these (and other) features are correlated with blocks on the roadmap (and therefore histological slides). Einstein's brain has an extraordinary prefrontal cortex, which may have contributed to the neurological substrates for some of his remarkable cognitive abilities. The primary somatosensory and motor cortices near the regions that typically represent face and tongue are greatly expanded in the left hemisphere. Einstein's parietal lobes are also unusual and may have provided some of the neurological underpinnings for his visuospatial and mathematical skills, as others have hypothesized. Einstein's brain has typical frontal and occipital shape asymmetries (petalias) and grossly asymmetrical inferior and superior parietal lobules. Contrary to the literature, Einstein's brain is not spherical, does not lack parietal opercula and has non-confluent Sylvian and inferior postcentral sulci.

"The living picture": on the circulation of microscope-slide knowledge in 1903

Microscope slides allowed preparations to circulate among scientific and educational contexts. An extension of the circulation of microscope slides was how they became part of lantern exhibition culture. This article considers an early example of the adoption of microscope lantern show conventions by another medium, the cinema. E Martin Duncan, who was employed by Charles Urban to produce a series of popular-science films beginning in 1903, brought his experience with microphotography to bear on the challenge of adapting cinema to the purpose of public instruction. Duncan's first series of films, entitled "The Unseen World," demonstrated both profound links to the display tradition of the lantern lecture as well as the transformation of that tradition by the cinema's representational possibilities.

Selecting a somatic type: the role of anorexia in the rest cure

A collection of before and after photographs of female patients treated using Weir Mitchell's Rest Cure for neurasthenia shows how important the anorectic body was to the promotion of this specific method of treatment. The photographs document the inevitable weight gain that resulted from the Rest Cure's prescription of absolute bed rest and the consumption of a high caloric diet requiring the ingestion of several quarts of milk daily. In doing this, the photos served a powerful semiotic function, since the plump individual at the end of the treatment presented a dramatic contrast to the emaciated long-term invalid who had begun it. The after treatment photographs also implied that these women were now capable of discharging their roles as wives and mothers, since an additional benefit of the Rest Cure was that severely underweight patients resumed normal menstrual cycles. However, although the Rest Cure undeniably alleviated some physical symptoms, it did not address underlying issues of what had caused so many of these patients to take to their beds in the first place, often for years at a time.

Memories in photography and rebirth: toward a psychosocial therapy of the metaphysics of reincarnation among traditional Esan people of Southern Nigeria

The aim of this article is to show that beyond the need for the justification of the belief in reincarnation, beyond the quest for evidences to prove its reality or otherwise, the idea of rebirth has a pragmatic role in the cultures where it is held. Using the theorization of rebirth among the Esan people of southern Nigeria as a pilot, it asserts that the idea of rebirth plays a psychosocial, therapeutic function of comfort and healing for those traumatized by the death of a loved one. This, it shall be seen, is similar to, even more reliable than, the role of photography in preserving cherished memories. The article does not, therefore, mean to join issues in the myth-reality or truth-falsehood debate on rebirth among scholars but attempts to establish the role of reincarnation, like photography, in bringing the past into the present.

Medical archives and digital culture: from WWI to BioShock

Over the last few years my research has focused on representations of the injured body and face in First World War Britain. Some of the most intriguing cases are those in which art and medicine seem to converge or redefine each other, as in Henry Tonks' delicate pastel portraits of British servicemen with severe facial injuries, and the equally exquisite – and unsettling – prosthetic masks made by the sculptor Francis Derwent Wood for some of these patients to conceal their disfigurement when surgical reconstruction was impossible. In both of these examples, art could be said to ameliorate – and in different ways to aestheticise – the horrors of war, and to humanise men who had suffered what were considered at the time to be the most dehumanising of injuries. In both cases, the sources that have survived contain assumptions – often unspoken – about how, where and by whom the injured body may be seen – assumptions that have changed over time. My current project considers the afterlives of some of these documents. When we encounter medical images in art galleries or on television – or in the pages of an academic journal – what kind of cultural and imaginative work do they perform? Are there ethical considerations raised by their re-deployment or appropriation within the contexts of art and entertainment, education and academic research?

Shooting disabled soldiers: medicine and photography in World War I America

This article challenges conventional theories about the role of medical photography in the early twentieth century. Some scholars argue that the camera intensified the Foucauldian medical gaze, reducing patients to mere pathologies. Others maintain that with the rise of the new modern hospital and its state-of-the-art technologies, the patient fell from view entirely, with apertures pointing toward streamlined operating rooms rather than the human subjects who would go under the knife. The Army Surgeon General's World War I rehabilitation journal, Carry On: A Magazine on the Reconstruction of Disabled Soldiers and Sailors, problematizes these assumptions. Hoping to persuade a skeptical public that the Army's new programs in medical rehabilitation for disabled soldiers provided the best means of veteran welfare, the editorial officials at Carry On photographed patients fully clothed, wounds hidden, engaged in everyday activities in order to give the impression that the medical sciences of the day could cure permanent disabilities. In the end, Carry On shows us that medical doctors could, and did, use photography to conceal as well as reveal the reality faced by injured soldiers. In doing so, they (like other Progressive reformers at the time) hoped to persuade the public that rehabilitation had the power to make the wounds of war disappear.

Look-normal: the colonized child of developmental science

This article provides an analysis of the techniques, methods, materials, and discourses of child study observation to illuminate its role in the sociohistorical colonization of childhood. Through analysis of key texts it explains how early 20th-century child study provided for the transcendence of historical, racial, and social contexts for understanding human development. The colonizing project of child study promoted the advancement of Eurocentric culture through a generic "White" development. What a child is and can be, and the meaning of childhood has been disembodied through observation, record keeping, and analytical processes in which time and space are abstracted from behavior, and development symbolized as a universal ideal.

History and future of visual anthropology

Visual recording of communication processes between communities or individuals by means of filming of photographing is of significant importance in anthropology, as it documents on site the specific features of various social communities in their encounter with the researcher. In terms of film industry, it is a sort of ethno-documentary pursuing originality and objectivity in recording the given subject, thus fulfilling the research mission. However, the potential of visual anthropology significantly exceeds the mere audiovisual recording of ethnologic realities. Modern methods of analysing and evaluating the role of visual anthropology suggest that it is a technical research service aimed at documenting the status quo. If the direction of proactive approach were taken, then the term ,visual anthropology' could be changed to ,anthropology of the visual,. This apparently cosmetic change of name is actually significantly more accurate, suggesting the denoted proactive swift in perceiving visual anthropology, where visual methods are employed to ,provoke< the reaction of an individual or of the community. In this way the "anthropology of the visual, is promoted to a new scientific sub-anthropological discipline.

Prologue: extending study of the visual in the history of sport

This paper highlights the value of images and materiality associated with sport in the past, and explores the range of sociocultural practices associated with them. It provides a critique of the neglect of such sources by many historians and notes that interest is now substantially growing in visuality and visual material. It emphasises the huge breadth and depth of sports-related evidence that can now be accessed, from stamps to stadiums and from posters to sports paraphernalia. It then examines the multiplicity of methodologies that can potentially be used to exploit the visual, its sites of production and sites of reception and seeing.

A botanical group in Lahore, 1864

The sitters in a previously misunderstood nineteenth-century Indian group photograph are identified as four East India Company surgeons with wider interests in natural history: William Jameson, Thomas Caverhill Jerdon, John Lindsay Stewart and Hugh Francis Clarke Cleghorn, taken in Lahore at the Punjab Exhibition of 1864. The image was previously believed to depict the committee of the Madras Literary Society and to have been taken in Madras. No portraits of Jameson or Stewart have previously been known, and Jameson had mistakenly been identified as E.G. Balfour. Brief biographies are given of the individuals figured, the circumstances under which they coincided in Lahore explained, and their roles in forest conservation and the documentation of Indian biodiversity outlined. The photographer is confirmed as Samuel Bourne, and information is provided on the Scottish individuals to whom Cleghorn sent copies of the photography.

Reading photographic portraits of Australian women cyclists in the 1890s: from costume and cycle choices to constructions of feminine identity

During the 1890s, in Australia and around the world, there was a convergence of the cycle, the camera and women. With the advent of the revolutionary safety bicycle, cycling had become a craze. At the same time, photographic technology had undergone changes that meant photographs were cheaper and more accessible. Women became avid consumers of both these new technologies; they became cyclists in unprecedented numbers for the first time, and they also became the popular subjects, and proud owners, of photographic portraits. These two trends converged, resulting in a proliferation of photographic portraits of women cyclists, many of which were published in newspapers and magazines. These bicycle portraits have now become a rich source for historians. More than just visually interesting artefacts, these photographic depictions of the Australian woman cyclist are important windows into the history of Australian women's cycling in the last decade of the nineteenth century. Bicycle portraits provide significant insights into the study of Australian women cyclists, from historical detail ranging from costume, bicycle and cycling activity choices to more complex understandings of the expression of feminine identity among Australian women cyclists in the 1890s.