viz.

                                                                                   Image Credit: Archives of General Pyschiatry

When historians seek gathering metaphors to describe the French Revolution--with its violent upheavals, experiments in re-arranging calendar time, and, of course, the demands for liberty and equality that underwrote these events--they rarely describe the atmosphere or environment of the period as particularly stable or "sane." And yet the work of Philippe Pinel--a progressive French physician who helped lay the groundwork for a major shift in mental health treatment--has been nonetheless remembered as a figurative crystallization of the Revolution's lofty, humanist goals--goals which in turn influenced the trajectory of ninenteenth century psychiatry. Today, I seek to briefly explore how 19th century visual re-enactments of Pinel's participation in a highly mythicized (and mostly apocryphyl) event--a ritualized "unchaining" of the captive patients-- were used to remind French citizens of the virtues of republican government during times of national upheaval.

Image Credit: Laura Kalman, Cystic Acne, Back (2009)

Via Bioephemera

In a post earlier this week, Cate discusses “Freeze! Revisted,” an art project that literalizes our consumption of violence. In response to the “sensual suicide” of mod-pixie models sucking on gun-shaped popsicles, I offer these blinged-out (and beautiful?) representations of diseased female bodies.

Image Credit: Radiology Art

H/T to The New York Times

In The Order of Things, Foucault argues that the formation of biology (as discipline, discourse) out of 18th-century natural history hinged on a new conceptualization of “life,” which insisted upon “the dividing-line between organic and inorganic…the antithesis of living and non-living.” However, two intriguing contemporary art projects suggest that our 21st-century visualizations of Life can no longer resist the vital hum of objects.