Fringe Review: Disappearing Again

"Five-Twenty-Ten" reintroduced us to the beacon used in past Fringe seasons that looked like a giant silver bullet, although I can't quite figure out how it will help save the world.

Walter continued to both hate himself and treat others poorly in some sort of a vicious catch-22, while Peter carried on with his ultimate Observer revenge mission, and we finally had a visit from the always welcome Nina Sharp.

A Fringe Event

Walter's ugliness was definitely resurfacing. When he was speaking to Nina, Walter had no idea that the love he and Peter had for each other was worthless, as they were both experiencing the feeling of omnipotence. When two men begin to feel like God, which one wins in the end?

The first time it happened, Walter opted to remove parts of his brain. If Walter did it again, would that round out to Peter turning into William Bell the Second? Would Olivia be left behind like Nina once was? How would Walter explain away that relationship falling apart, when he once believed so deeply in their love?

It was perfect that the only thing in Bell's safe other than the beacon finder was a photo of Nina. That photo of the woman he loved was protecting the prize the team was hunting for. So much for Walter not turning in the man he was afraid to be, even just last week when he spoke with Peter on the bus. Kudos to him for delivering the photo to Nina, admitting he was wrong. Begging for her to take his brain apart again was agonizing.

The whole time Walter was worrying about himself, I was equating William Bell and Nina Sharp with Peter and Olivia. Things are so very, very different than they were last year, when Peter met with September and learned that he had always been home, but everything was different because he had been erased. It was with one of the beacons they discovered with Bell's safe that Peter called to September and was able to discover the truth about the world. Olivia learned the feelings she had for this man she didn't know were real, because she had known him.

That was in "A Short Story About Love." The future seemed to bright then, as if nothing could come between Peter and Olivia. The Observers ripped him out of the universe. Completely destroyed him from ever being a part of anything and still, the strength of the love people had for Peter kept him alive. 

Where are we now?

Peter is being erased from the universe again, but at his own hands instead of the Observers. He's also using bio weapons from the past, their very first Fringe investigation together. He's not using them on people, but on ... the kind he's becoming. He's obsessed and out of control. He's no longer a loving husband or son.

Peter's on a mission on revenge. I'm not even sure what's driving it at this point. Is it really Peter, or is it the wicked Observer he has become? Would the Peter we've grown to know and care for really be so full of hate? My answer is no. What we are witnessing now isn't Peter Bishop. It's a byproduct of a stupid move made in a vulnerable moment.

That's what putting that tech into his head was. It was stupid. He was grieving. He was alone when he should have been with his wife and father. His pedigree, both Walter Bishops, have shown again and again that taking on the world by yourself can lead to dire circumstances. You can't get much more dire than changing from a human into an Observer; the very things your daughter hated and fought against all her life.

Olivia finally looked afraid of Peter. She should be. He's been lying to them all, and nobody knows what he is capable of at this point. Losing him must look like more of a reality than she even imagined, and she knows very few people in the world to turn to for help with Peter's situation. By the end, he wasn't talking like Peter and he was losing his hair. Realistically, he should be sinking into group think at a rather quick rate. He'll probably be looking for himself soon, with his own photo up on the board next to Windmark's.

Walter will, no doubt, think of some way to reverse the effects of the tech. Peter most likely won't die an Observer. He may die, but not before returning to his normal self. In the meantime, we'll be forced to watch his family suffer as he runs rogue and puts himself and others into danger. The Observers are pathetic creatures. I didn't feel much excitement in seeing their faces melt off.

To live (or whatever it is they do) without ever knowing love, freedom or individuality is sad to me. Attacking them in a blaze of glory isn't what I thought it would be. Instead, I just feel heartsick. If Walter can't fix it, or Olivia's love (and nothing I've seen with the Observers so far leads me to believe love will play a part in this particular rescue) that's Peter's future we're looking at, and it's not a very pleasant thought at all.


Source:
http://www.tvfanatic.com/2012/11/fringe-review-disappearing-again/

The Vampire Diaries Round Table: Making His Mark

The Vampire Diaries featured a break up, a hallucinatory return and one seriously bloody axe murder this week.

Indeed, with an awakened hunter in town and a shady professor wanting to know his every move, there's plenty for this week's Round Table team of Matt Richenthal, Leigh Raines, Miranda Wicker and Steve Marsi to discuss.

Pull up a virtual chair now and gather around, TV Fanatic. Let's talk about "We All Go a Little Mad Sometimes."

-------------------------------------------

What was your favorite scene from the episode?

Matt: I'm holding a tumbler of bourbon in my hand as I type this and acknowledging two more references to Alaric. I absolutely love how the show hasn't forgotten about everyone's favorite history teacher. These small touches expose Damon's soft side... and mine, dammit! I really miss that guy.

Leigh: Elena's fight with Katherine. Considering it was a really a fight with her own psyche, it was like a schizophrenic therapy session on steroids. It was all of Elena's own thoughts, so it was really interesting to hear her admit certain things.

Miranda: Elena and Damon on the bridge. He was the only one she could actually see during her hallucinations. The only one who didn't appear to her as someone else. I have theories in my head about why this is, none of which would probably turn out to be true. Runner-ups are Alaric mentions and the hint of a Damon/Matt Bromance. Am I the only one who thinks that'd be awesome? Because I think that'd be awesome.

Steve: Matt and Miranda have already discussed the best two, so I'll go with the random, almost off-handed line by Klaus that The Five once haunted him for 52 YEARS before they "just stopped." Took the new generation of hunters quite a while to find a vampire to murder, I guess. As Damon said, Klaus is like a billion years old. Half centuries are like drops in the bucket of undead life for that guy.

Vampire Diaries Round Table logo

More surprising: Jeremy killing Chris with an axe, Jeremy making a funny joke about killing Damon or there being a worthwhile storyline involving Jeremy?

Matt: That Van Helsing line killed me. We've been building for a bit toward Jeremy as an axe-swinging hunter... but who knew he could also crack me up? Who is this guy and what did producers do with the old Jeremy Gilbert?!?

Leigh: Don't you have to behead hybrids to kill them? Jeremy knows enough by now to do things right. I guess overall it would be Jeremy having a worthwhile storyline.

Miranda: Jeremy killing Chris with an axe. I thought his weapon of choice was the meat cleaver. But really? They had the element of surprise on their side and Jeremy's first kill couldn't have been a good, old fashioned stake-to-the-heart? Lame.

Steve: He really was killing it last night in many respects. Glad Jer is finally getting a storyline - arguably the show's most intruging one no less. So many directions this could go in.

Will you miss Chris?

Matt: Yes. Can we just move on? I can't talk rationally about losing him yet.

Leigh: Who?!? Just kidding. I think Caroline needs to care a little more about Tyler and Hayley in mourning. Everyone is always trying to save Elena. Other people suffer losses, too!

Miranda: I shed exactly no tears. Someone had to die and it obviously wasn't going to be one of our main vamps. Sorry, Chris. It was for the greater good.

Steve: I feel bad for the guy and all, but the writing was on the wall. Or Jer's wrist. Epitaph: R.I.P. Chris, The First of Many Supernatural Beings Dispatched In The Name of Young Gilbert's Mark Filling In.

React to Elena splitting with Stefan.

Matt: It was very well done. I think we all grew tired of the love triangle last year, but Elena's turn had already freshened it up on The Vampire Diaries Season 4. I was shocked here by how open and honest she was with Stefan. An adult, mature, sensible conversation?!? It looks like Elena learned something from Hayley about teen drama. She doesn't have time for it at this point and had to just cut to the Damon-loving chase.

Leigh: Natural progression. They love each other but it wasn't working anymore. It would've been unfair for Elena to stay with Stefan when she knew she had feelings for someone else.

Miranda: YES! FINALLY! Sorry. I've been waiting for them to break up so we can have more hot balcony scenes with Damon and Elena. Stefan and Elena haven't sizzled for me outside of The Vampire Diaries Season 1, but Damon and Elena? The hotness. It burns.

Steve: Unlike the overblown, underwhelming "choice" Elena struggled with throughout The Vampire Diaries Season 3, her enhanced connection with Damon has felt organic this fall, and has been integrated nicely into the season's overall narrative. I also like that they broke up abruptly last night when this could've dragged on for months. Stelena vs. Delena needs to be kept fresh in order to remain interesting.

Who should Stefan date next?

Matt: Let's just say he has a history with her; she's desperate for love; she's already lying in wait for someone to awake her from a slumber; and her name rhymes with Treebekah.

Leigh: Hmmm, let's get a sexy guest star up in here!

Miranda: Easy. Dr. Fell. Stefan likes his girlfriends human and she needs a vamp-blood supplier. It's a win-win. And then this show would be so meta it hurts.

Steve: Hayley. Tyklarolineley is just not getting it done as a Love Square. Add Stefan and make it a Love Pentagon, though? Feel the excitement.

On a scale of 1-10, how evil is Professor Shane?

Matt: I'm going as low as 1.5. I don't believe he's actually evil. His intentions are likely pure, he may think he actually has the best interests of the town in mind. But that doesn't mean he's not a danger to our supernatural heroes and heroines. (NOTE: Either that, or the answer is 49 because he's somehow Silas The Witch and just wants to live forever and everyone is screwed!)

Leigh: I'm going with 5 because I still haven't made my mind up about him yet. Need more info.

Miranda: 11.5. If I didn't trust him after seeing the map on his wall, I really don't trust him after hearing that Silas talk. And I think he witchy ju-ju'ed Bonbon with that "come to me" business. And Matt doesn't trust him. I'm thinking he's the keeper, or bringer, of the greater evil coming to Mystic Falls. Plus, an exhibit on the occult at a high school? No. That doesn't happen. Creepy creeper.

Steve: I'm with Leigh here. TVD has done a nice job of keeping us guessing with Shane; shrouding his motives, past and well of knowledge in ambiguity makes for a definitive, non-committal 5.


Source:
http://www.tvfanatic.com/2012/11/the-vampire-diaries-round-table-making-his-mark/

The Vampire Diaries Flashback Photos: Welcome Back, Lexie!

The Vampire Diaries is taking another trip through time on December 6.

As previously teased via this photo of Damon in uniform, the eighth installment of Season 4 will flashback to the World War II era, apparently in New Orleans considering the just-announced title of the episode: "We'll Always Have Bourbon Street."

The episode will also feature the wildly anticipated return of Arielle Kebbel as Lexie, along with the appearance of Madeline Zima as a character named Charlotte. What brings the show to this era?

No official synopsis has been released yet, so it's hard to say. But staring at these favorites in their retro attire certainly isn't hard on the eyes. Click through photos from the upcoming hour now:

Salvatores in the 40s

Return of LexieDamon in the 40sStefan in Uniform

Lexie and DamonLexie, Stefan and DamonMadeline Zima as Charlotte


Source:
http://www.tvfanatic.com/2012/11/the-vampire-diaries-flashback-photos-welcome-back-lexie/

Janina Gavankar Cops Role on Arrow

Just when we thought we couldn't love Arrow any more...

Janina Gavankar - a TV Fanatic favorite based on this amazing Comic-Con interview - will recur on The CW hit as a tough vice cop in Starling City named McKenna Hall.

Look for the character to have a complicated history with a certain hood-wearing son of a billionaire, according to Zap2It.

Janina Gavankar on True Blood

Hall will spring into action when Seth Gabel debuts as this season's major villain. She will get involved with a new street drug called Vertigo.

Gavankar is best known as Luna True Blood and will also appear on Fox's The Goodwin Games this spring, though that show recently had its initial episode order cut.


Source:
http://www.tvfanatic.com/2012/11/janina-gavankar-cops-role-on-arrow/

Anatomic Fashion Friday: Skingraft Vertebrae Bracelets

Large Vertebrae Bracelet by Skingraft | Street Anatomy

Stacked Vertebrae Bracelet by Skingraft | Street Anatomy

These are some real beauties. Clothing company Skingraft has some new vertebrae bracelets in their Fall 2012 collection that are outstanding. Shown above are the Massive Vertebrae ($198) and three stacked Vertebrae bracelets ($121); all are made of white bronze. I love that you can wear one or a group. Singularly they almost seem sculptural.

There is next to no info on Skingraft; their Facebook page mentions that home is Los Angeles. The clothing line has some great pieces, and there are leggings with a spine printed on them that should definitely be checked out.

 

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/rIaKoDeHmMc/

Grey’s Anatomy Episode Preview: Lending a Hand

Grey's Anatomy is off next week before returning November 29 with "I Was Made For Lovin' You."

After last night's change of heart (see our Grey's Anatomy review of "Second Opinion"), Callie recanted and began to offer up numerous ways Derek could recover from his possibly career-ending injury.

Will he get that chance? That remains to be seen, but from the looks of the upcoming episode trailer, he and Callie are prepared to go all-out in pursuit of a solution and the stakes are impossibly high.

Meanwhile ... April's late. Gulp. Think this is for real, or classic misdirection by the producers?

Oh, and there's a bombshell coming in the final five minutes that no one will see coming and which may forever alter the fabric of Seattle Grace (that's us channeling our inner Shonda Rhimes there).

Check out ABC's first promo for the episode and share your comments with us below:


Source:
http://www.tvfanatic.com/2012/11/greys-anatomy-episode-preview-lending-a-hand/

"’Morbid Anatomy Anthology’: Brooklyn Art Group Seeks Funding For Curious New Book," The Huffington Post

From today's Huffington Post:

Morbid Anatomy Anthology': Brooklyn Art Group Seeks Funding For Curious New Book

Mummified remains, taxidermied animals, jarred body parts. These are the images that greet you when you visit the Kickstarter page for Morbid Anatomy.

The curiously named organization, housed in the Proteus Gowanus Gallery space in Brooklyn, is an arts-meets-science, subcultural playhouse that hosts lectures, performances and art exhibits all in the name of, well, oddities. Officially described as a survey of "the interstices of art and medicine, death and culture," Morbid Academy is really just a creative laboratory where curious scientists, artists, writers and weirdos get together to explore the underworld of scholarship that no one else gives a second glance. From anthropodermic bibiopegy (books bound in human skin) to extreme taxidermy to death-themed cabaret in 18th century Paris, the group covers just about any macabre topic you could imagine.

Morbid Anatomy showcases its esoteric findings in two ways -- a library/pocket museum that showcases the books, photographs and ephemera of its obscure researchers and a presentation and lecture series titled "Morbid Anatomy Presents." But now the "rogue morticians" are seeking to add a third platform, announcing on their Kickstarter plans for a "Morbid Anatomy Anthology." The illustrated book will feature the best of the Morbid Anatomy Presents series, like the work of Anthropomorphic Mouse Taxidermy Class teacher Sue Jeiven or "Stuffed Animals and Pickled Heads" author Stephen Asma.

The Kickstarter launched today, already exceeding it's goal by over $15,000. Check out the video above to learn more about the project of Joanna Ebenstein and Colin Dickey. What do you think, readers? Does Morbid Anatomy lean in the direction of beauty or horror?

To read the entire article and see a slideshow on the work of the lovely Tessa Farmer, click here. To donate to the campaign and secure a copy of the book for your very own, click here.

Source:
http://morbidanatomy.blogspot.com/2012/11/morbid-anatomy-anthology-brooklyn-art.html

Danny Quirk Self Dissections Print Release

AshleyChristina, and Candice are available for $30
at the Street Anatomy store.

Danny Quirk Candice print available at the Street Anatomy Store
Candice by Danny Quirk 11×14″ digital print

Danny Quirk Candice print available at the Street Anatomy Store

Danny Quirk Candice print available at the Street Anatomy Store

Danny Quirk Christina print available at the Street Anatomy Store
Christina by Danny Quirk 11×14″ digital print

Danny Quirk Christina print available at the Street Anatomy Store

Danny Quirk Ashley print available at the Street Anatomy Store

Ashley by Danny Quirk 11×14″ digital print

Danny Quirk Ashley print available at the Street Anatomy Store

Danny Quirk water color Self Dissection Series from Street Anatomy's OBJECTIFY THIS exhibition from September 2012

We’re excited to release AshleyChristina, and Candice prints from Danny Quirk’s Self Dissection series on the Street Anatomy store! Originally available at the OBJECTIFY THIS exhibition back in September 2012, Danny’s prints were an instant favorite among the gallery audience.

Using dramatic chiaroscuro lighting, this gorgeous series of surreal portraitures expose underlying anatomy by means of self dissection.

  • 11 x 13.75″ with 1 1/2″ white border
  • Digital print on fine art paper
  • Limited edition of 20 prints, signed and numbered
  • Exclusive to Street Anatomy

 

Ashley, Christina, and Candice are available for $30 at the Street Anatomy store.

Feel free to contact Vanessa at vanessa [a] streetanatomy.com with any questions! For other shipping inquires, please see our store’s FAQ section.

 

 

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/Wog3DVAm3E8/

Locked Up – Uniting the arts and sciences for LGBTQ health

Locked Up: Demystifying the marginalized among us through art, science, and community Chicago 2012

Street Anatomy is proud to be a part of the University of Illinois at Chicago’s 2nd annual QUEERHEALTH event hosted by UIC Queers & Allies in Medicine. We are loaning gorgeous anatomical art for a night filled with art, burlesque by our favorite Vaudezilla ladies, queer focused science research, delicious free food and drinks, and much more all in a very cool Chicago industrial type loft.

Locked Up: demystifying the marginalized among us through art, science, and community
November 17, 2012  7 PM – 11 PM
High Concept Laboratories
1401 W. Wabansia

Please RSVP at http://highconceptlabs.ticketleap.com/queer-health

 

 

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/mrD-uudR76Y/

"Death: A Self Portrait," The Wellcome Collection, Through February 24, 2013

In some way death in our culture happens offstage in private, but this show looks at the ways in which people have explored death much more face on. --Kate Forde, Curator of "Death: A Self Portrait," The Wellcome Collection, BBC Magazine

My last night in London, I had the honor and delight to attend the preview of "Death: A Self Portrait," the Wellcome Collection's spectacularly amazing new exhibition which officially opens today.

Beautifully and thought-provokingly curated by Kate Forde (who also curated the Wellcome's 2009 Exquisite Bodies), the exhibition uses as its base and its muse the extensive, broad, and rather profound death-themed collection of Chicago-based Richard Harris. Harris' collection is comprised of all things death, ranging from valuable artistic masterworks to the lowest-brow of popular culture, bringing to mind the collection of none other than Henry Wellcome, the man behind the Wellcome Collection. To its merit, "Death: A Self Portrait" draws deftly from both extremes as well as all that is located in between; the result is an exhibition that is at a lovely, provocative, fascinating, witty, and thoughtful investigation into the human obsession with imagining and coming to terms with that greatest and most unknown of absolutes: DEATH.

"Death: A Self Portrait" is divided up into five sections: The first, "Contemplating Death," is a collection of memento mori themed work; The second, "The Dance of Death," gathers works responding to notions of the danse macabre or death as the great equalizer; "Violent Death" features a variety of artistic responses to war, including Goya's Disasters of War series; "Commemoration" concerns itself with burial, morning, and our responses the particular dead; My personal favorite, "Eros and Thanatos," is an unusual addition to a public discussion of death, and showcases "works expressing our strange fascination with 'things at the outer limits of life and death, sexuality and pain."

Above are just a very few images from this wonderful exhibition; there are many, many more excellent artworks, objects and artifacts to be seen; I simply cannot more highly recommend checking out this jaw-dropper before its closing date on February 24th!
You can find out more about the show on the Wellcome Collection website by clicking here; To hear the lovely illustrated interview with curator Kate Forde from which the above quote was drawn, click here.

Also, for the interested among you: both collector-of-death Richard Harris and curator Kate Forde will be contributors to the Morbid Anatomy Anthology, a new lavish book immortalizing in words and images the best of Morbid Anatomy Presents; you can secure your own copy--and find out more--by clicking here. For more on the Richard Harris collection, click here to learn about a recent exhibition using his collection as its base at The Chicago Cultural Center.

All images ©  Wellcome Images, Courtesy The Richard Harris Collection; captions, top to bottom:

  1. Metamorphic Postcard, c.1900 
  2. Skeleton puppet. Wood and cotton
  3. Bathel Bruyn the elder, 'A Skull in a Niche', c.1535-55 Oil on panel
  4. When Shall we Meet Again?Gelatin silver print Size, c.1900
  5. Louis Crusius, Antikamnia, 1900 Paper: calendar series of 6, 1900
  6. Marcos Raya, Untitled (family portrait: woman in yellow dress), 2005 Collage: vintage photo with mixed media
  7. Dana Salvo, From the series 'The Day, the Night and the Dead': 'Home altar atop table commemorating ancestors', 1990-2004 Photograph
  8. Alfred Rethel, 'Death the Enemy', 1851 Wood engraving
  9. Memento Mori, unknown artist, late 18th-century Engraving
  10. Mors Ultima Linea Rerum (Death the Final Boundary of Things), c.1570 Engraving, 
  11. Ivo Saliger 'Der Artz (The Doctor), c.1921 Colour etching on brown paper
  12. Marcos Raya, Untitled (family portrait: grandma), 2005

Source:
http://morbidanatomy.blogspot.com/2012/11/death-self-portrait-wellcome-collection.html

"Diableries” (or “Devilment”) Stereo Views, 19th Century

Some of you might recall my recent desperate search for hi-resolution images of “Diableries” (or “Devilment”) 19th century 3D stereo views. Morbid Anatomy reader Corey Schjoth kindly obliged, sending me the photographs you see above, demonstrating both front- and back-lit views of a particularly wonderful card.

Corey is also a photographer of haunted places; you can find out more about he and his work by clicking here, and check out his Etsy shop by clicking here.

I highly recommend clicking on the image to see larger, finer versions. And if you want to know more about these enigmatic and fantastic Diableries, you could do worse than to watch the Midnight Archive featurette on the topic by clicking here. Also, stay tuned for a heavily-illustrated article about "Diableries” in the upcoming Morbid Anatomy Anthology! More on that here.

Source:
http://morbidanatomy.blogspot.com/2012/11/diableries-or-devilment-stereo-views.html

"Held," Jane Fradgley, Guy’s Hospital, London, Through March 2013

“I was fascinated by the seemingly comforting strong dresses, and related this form of protective care to my own experiences in hospital and encounters with modern day psychiatric care. My aim was to create a representation of the pieces which lay somewhere between documentary and poetry, incorporating my love of abstraction yet offering a clear portrayal of the pieces for the viewer to interpret themselves." --Jane Fradgley, Held
Last week a friend brought me to see a wonderful exhibition of photography by artist Jane Fradgley; the body of work, entitled "Held," responds to a collection of "strong clothing"--i.e. restraint clothing used in 19th century asylums--kept in the stores of Bethlem Royal Hospital and Museum. The exhibition will be on view in Atrium 2 of Guy's Hospital through March 8, 2013. You can see a few of Fradgley's strikingly uncanny photographs above, but I highly recommend you visit them in person if you can to get a real sense of scale (they are printed life-sized) and emotive impact.
Full information follows:

Held                 
by Jane Fradgley
Funded by Guy’s & St Thomas’ Charity
Atrium 2
Guy’s Hospital
7th November 2012 – 8th March 2013

This new photographic exhibition by artist Jane Fradgley is informed by the collection of strong clothing housed at the Bethlem Royal Hospital Archive & Museum, Beckenham, Kent. The history of this largely unexplored area of mental health care is both powerful and poignant. Through investigation, the artist’s intention is to open new dialogue and debate around protection and restraint in mental health practice. With a background as a fashion designer and a passionate interest in functional and tailored garments, Fradgley was inspired to delve into the archive after seeing Victorian portrait photographs of patients at Bethlem wearing unusual quilted dresses. 

“I was fascinated by the seemingly comforting strong dresses, and related this form of protective care to my own experiences in hospital and encounters with modern day psychiatric care. My aim was to create a representation of the pieces which lay somewhere between documentary and poetry, incorporating my love of abstraction yet offering a clear portrayal of the pieces for the viewer to interpret themselves. ?I enjoyed the intimacy when alone with the garments, and felt closer to them by zooming in on details. One by one the pieces were carefully brought to me like offerings for my lens. They appeared reverential and it seemed fitting to respect this when arranging them in a staged setting in the studio. As each session passed I grew very fond of the pieces, perhaps my own projection but I felt as though they had certain characters. I hoped to convey the essence of the people who wore each garment as I felt great energy from the textiles - possibly there were many wearers and many stories never to be told. I had never imagined that these old garments would hold so much emotive substance. For me the purpose of the strong clothing was not to invoke or exacerbate fear or anxiety in the patient, rather the attention to detail in creating such well constructed garments was to bring some dignity, serenity, peace and tranquility ?to the wearer as an antidote to their anguish. Wishing to engage with that sense of calm, I explored soft lighting techniques, however some of the garments responded best in the darkness of the shadows, ?a reminder of the inevitable blackness of mental illness”.

Strong clothing was a rather euphemistic term used to describe certain forms of restraint used in late 19th century asylums. While chains, strait-jackets (known as strait-waistcoats) and similar garments were outlawed during the ‘non-restraint’ movement of the 1840s and ’50s, other methods of ‘mechanical restraint’ were permitted by the Commissioners in Lunacy (the government body who inspected and licensed asylums for much of the 19th century). The intention of strong clothing (including strong dresses and padded gloves) was to protect patients, both preventing self-inflicted injury and the destruction of their clothing.

“Strong dresses,” as described by Bethlem Superintendent George Savage in 1888, were “made of stout linen or woollen material, and lined throughout with flannel. The limbs are all free to move, but the hands are enclosed in the extremities of the dress, which are padded. …There are no strait-waistcoats, handcuffs, or what may be called true instruments of restraint in Bethlem”. Savage claimed that, by avoiding recourse to the use of sedatives or padded cells for violent or destructive patients, many “were thus really granted liberty by means of the slight restraint put upon them”.

The terms, descriptions and types of garment used were fraught with meaning for contemporaries, many of whom saw themselves as enlightened humanitarians. Others, however, did not agree, and the ‘principle of non-restraint’ remained an ongoing matter of debate. By the turn of the 20th century strait-jackets appeared to have returned ?to some institutions. Although the exact dates of the garments seen in these photographs are unknown, given the types of garments reported by the Commissioners in Lunacy as in use at this time, it is likely that they were adopted in the period 1880 –1920.

Through this historical perspective, held reminds us of the difficulty of placing a clear line between care, cure and control in a mental health context. Treatment providers invariably have to make extremely difficult decisions, indicating the importance of opening up debate around physical restraint and chemical intervention in mental health care today.

We are planning a symposium on the subject in 2013, if you would like to be informed about ?or participate in that symposium contact Sarah Chaney at s.chaney@ucl.ac.uk.

You can find out more about Jane Fradgley's work by clicking here.Thanks so much to Jane for the images and materials, and to Phil Loring for introducing me to her work.

Source:
http://morbidanatomy.blogspot.com/2012/11/held-jane-fradgley-guys-hospital-london.html

"Morbid Fears and Compulsions," H.W. Frink, 1921, The Wellcome Library

Morbid fears and compulsions : their psychology and psychoanalytic treatment / by H.W. Frink ; with an introduction by James J. Putnam
London : Kegan Paul, Trench, Trubner, 1921 (Torquay : Devonshire Press.)
Open shelves     Medical Collection WM170 1921F91m
Physical description   
xxiii, 344 p., [4] leaves of plates : ill. ; 22 cm.
Note   
Includes index
Some of the material was previously published in various journals.-cf. Pref
"Reprinted (by arrangement with Messrs. Moffat, Yard & Co., of New York) from the American edition"
Bibliography: p. 337-341.

From the wonderful Wellcome Library.

Source:
http://morbidanatomy.blogspot.com/2012/11/morbid-fears-and-compulsions-hw-frink.html

A Trip to the 19th Century Popular Anatomical Museum: "La leçon d’hygiène," Félicien Rops, Late 19th Century

Whilst doing research in the wonderful and amazing Wellcome Library in London last week, I came upon a mention of the wonderful and underknown painting shown above, "la leçon d'hygiène" by Belgian decadent artist Félicien Rops. The painting is a rare fine-art depiction of a visit to a 19th century popular anatomical museum. I could find out precious little about it, but Wikimedia claims it is in a private collection and was painted between 1878 and 1881.

If anyone knows anything more about it, please email me at morbidanatomy [at] gmail.com. I also highly recommend that you click on the image to see larger, finer version.

Source:
http://morbidanatomy.blogspot.com/2012/11/a-trip-to-19th-century-popular.html