有什么不对劲

IF 0.2 4区 文学 0 LITERATURE LITERATURE AND MEDICINE Pub Date : 2023-03-01 DOI:10.1353/lm.2023.a911441
Rachel Fein-Smolinski
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Dr. Bailey: Thank you.\" —Grey's Anatomy, Season 6, Episode 15 (2010) Fun fact: Something is wrong, and it has been for a long time. The epigraphs are from Barbara Hammer's final lecture on death, illness, and art as a prolific experimental filmmaker living with cancer, and Dr. Miranda Bailey, a fictional surgeon who values her patients' voices more than any other character in the medical drama Grey's Anatomy. In Hammer's lecture she used the term palliative artmaking to describe her practice. Palliative care is a medical practice focused on comfort, support, and symptom relief as opposed to cure. Reframing art making (and life) with those goals in mind informs how I make work as a chronically ill artist and educator. The many hours I have spent watching Grey's Anatomy—and other sexy, utopian (at least the early seasons) healthcare fantasies—informs this work as well. [End Page 26] Art and medicine are estranged siblings. Photographs are good at decontextualizing their subjects from the world that they exist in. A medical exam room is good at decontextualizing a person from the world they exist in. A person becomes a patient when their first-person experience is translated into third-person narrative. When looking at medical archives, the preservation of the historical context of the experiences of patients is a vital job of archivists and researchers. I collect and make images of the visual codices of illness, and share my own archive of experiences as a sick artist to explore mythologies of recovery. I began visiting medical archives in 2018 while I was working a 9 to 5 job, teaching part time, and unsuccessfully trying to manage worsening chronic pain that I have had since I was a child. I started going to the Archives and Special Collections at SUNY Upstate Medical University Health Sciences Library in the morning before work to photograph objects from their collections and to look through unprocessed negatives, usually large-format portraits of patients. Through this I have found a deep well of documentation of intimate patient experience in a field whose narrative is often told from the perspective of the clinician. I have been hearing the term \"evidence-based\" a lot lately, mostly from my health insurance company when denying authorization for treatment. I thought I was the evidence. In the fine art photography world many theory-based workers focus on interrogating the indexicality (presumed truth value) of the photographic image. While evidentiary value is vital, for it to function, trust must be built. Before we used the verb \"to photoshop\" to describe the act of manipulating a photograph we used the verb \"to doctor\": as in, \"This image looks like it's been doctored.\" The words \"doctor\" and \"document\" are derived from the same Latin verb docere, meaning to teach. These linguistic overlaps inform my relationship to both the evidentiary value of photography and the power of context, and become acutely visible in educational practices in both hard and soft sciences. First-person narratives are central, after all, to both art and medicine, and evidentiary function is not reliant on a value-neutral concept of objectivity. When those narratives are used to educate—which happens in both the hard and soft sciences—the people they belonged to are no longer present. Every clinical photograph with a patient's face is of someone presumed dead because of the date of the photograph. While on...","PeriodicalId":44538,"journal":{"name":"LITERATURE AND MEDICINE","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Something Is Wrong\",\"authors\":\"Rachel Fein-Smolinski\",\"doi\":\"10.1353/lm.2023.a911441\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Something Is Wrong Rachel Fein-Smolinski (bio) \\\"Relief from pain through palliative artmaking can save us from the discomfort of living with this injustice and violence that we see every day, but it does not treat the basis for the pain. […] Is the artist perhaps unconsciously at first trying to fight inevitable death by stacking up the artworks? 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I collect and make images of the visual codices of illness, and share my own archive of experiences as a sick artist to explore mythologies of recovery. I began visiting medical archives in 2018 while I was working a 9 to 5 job, teaching part time, and unsuccessfully trying to manage worsening chronic pain that I have had since I was a child. I started going to the Archives and Special Collections at SUNY Upstate Medical University Health Sciences Library in the morning before work to photograph objects from their collections and to look through unprocessed negatives, usually large-format portraits of patients. Through this I have found a deep well of documentation of intimate patient experience in a field whose narrative is often told from the perspective of the clinician. I have been hearing the term \\\"evidence-based\\\" a lot lately, mostly from my health insurance company when denying authorization for treatment. I thought I was the evidence. 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引用次数: 0

摘要

蕾切尔·芬-斯莫林斯基(传记)“通过缓和性的艺术创作来缓解痛苦,可以让我们摆脱每天都看到的不公正和暴力带来的不适,但它并没有解决痛苦的根源。”[…]也许艺术家最初无意识地试图通过堆积艺术品来对抗不可避免的死亡?隐藏着早已被抹去的肉体?”——芭芭拉·哈默,《死亡的艺术或(焦虑时代的缓和艺术创作)》(2018)贝利医生:治疗过程中最重要的一步是什么?有人知道吗?艾弗里医生:体格检查。贝利医生:不,不给你巧克力。杨医生:实验室和放射学评估。贝利医生:哦,别这样。现在你让我难堪了。格蕾医生:病史。贝利医生:谢谢。”——《实习医生格蕾》,第六季,第15集(2010)有趣的事实:有些事情不对劲,而且已经不对劲很长时间了。这些引文来自芭芭拉·哈默(Barbara Hammer)的最后一场讲座,主题是死亡、疾病和艺术,她是一位多产的实验电影制作人,身患癌症;还有米兰达·贝利(Miranda Bailey)医生,她是虚构的外科医生,在医疗剧《实习医生格蕾》(Grey’s Anatomy)中,她比其他任何角色都更重视病人的声音。在哈默的演讲中,她用缓和艺术创作这个词来描述她的实践。姑息治疗是一种专注于安慰、支持和症状缓解的医疗实践,而不是治愈。带着这些目标重新构建艺术创作(和生活),告诉了我作为一名患有慢性病的艺术家和教育家是如何工作的。我花了很多时间看《实习医生格蕾》,以及其他性感、乌托邦式(至少是前几季)的医疗幻想,也为我的研究提供了素材。艺术和医学是疏远的兄弟姐妹。摄影擅长将拍摄对象从他们所处的世界中分离出来。医学检查室擅长将一个人从他们所处的世界中分离出来。当一个人的第一人称经历被转换成第三人称叙述时,他就成了病人。在查看医疗档案时,保存患者经历的历史背景是档案保管员和研究人员的重要工作。我收集和制作疾病的视觉图像,并分享我自己作为一个生病的艺术家的经历档案,探索康复的神话。我从2018年开始访问医疗档案,当时我做着朝九晚五的工作,兼职教学,并试图控制我从小就患有的不断恶化的慢性疼痛,但没有成功。上班前的早晨,我开始去纽约州立大学北部医科大学健康科学图书馆的档案和特别收藏馆,给馆藏中的物品拍照,并浏览未经处理的底片,通常是病人的大幅肖像。通过这一点,我发现了一个深井的亲密的病人经验的文件,在这个领域的叙述往往是从临床医生的角度来讲述。最近我经常听到“循证”这个词,主要是在我的健康保险公司拒绝批准治疗时听到的。我以为我就是证据。在美术摄影界,许多以理论为基础的工作者关注于对摄影图像的索引性(假定的真值)的质疑。虽然证据价值至关重要,但要使其发挥作用,必须建立信任。在我们用“photoshop”这个动词来描述对照片进行处理之前,我们用了“to doctor”这个动词:比如,“这张照片看起来像是被处理过的。”“医生”和“文件”这两个词来源于同一个拉丁语动词“docere”,意思是教授。这些语言上的重叠告知了我与摄影的证据价值和背景力量的关系,并在软硬科学的教育实践中变得非常明显。毕竟,第一人称叙述是艺术和医学的核心,证据功能并不依赖于价值中立的客观性概念。当这些故事被用于教育时——这在硬科学和软科学中都有发生——他们所属的人不再存在。每一张有病人脸的临床照片都是由于照片的日期而被推定死亡的人。在…
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Something Is Wrong
Something Is Wrong Rachel Fein-Smolinski (bio) "Relief from pain through palliative artmaking can save us from the discomfort of living with this injustice and violence that we see every day, but it does not treat the basis for the pain. […] Is the artist perhaps unconsciously at first trying to fight inevitable death by stacking up the artworks? Hiding the foregone erasure of the body?" —Barbara Hammer, The Art of Dying or (Palliative Art Making in the Age of Anxiety) (2018) "Dr. Bailey: What is the most important step in the treatment process? Anyone? Dr. Avery: Physical Exam. Dr. Bailey: No, no chocolate for you. Dr. Yang: Lab and radiology evaluation. Dr. Bailey: Uh, oh, come on people. Now you're embarrassing me. Dr. Grey: Patient history. Dr. Bailey: Thank you." —Grey's Anatomy, Season 6, Episode 15 (2010) Fun fact: Something is wrong, and it has been for a long time. The epigraphs are from Barbara Hammer's final lecture on death, illness, and art as a prolific experimental filmmaker living with cancer, and Dr. Miranda Bailey, a fictional surgeon who values her patients' voices more than any other character in the medical drama Grey's Anatomy. In Hammer's lecture she used the term palliative artmaking to describe her practice. Palliative care is a medical practice focused on comfort, support, and symptom relief as opposed to cure. Reframing art making (and life) with those goals in mind informs how I make work as a chronically ill artist and educator. The many hours I have spent watching Grey's Anatomy—and other sexy, utopian (at least the early seasons) healthcare fantasies—informs this work as well. [End Page 26] Art and medicine are estranged siblings. Photographs are good at decontextualizing their subjects from the world that they exist in. A medical exam room is good at decontextualizing a person from the world they exist in. A person becomes a patient when their first-person experience is translated into third-person narrative. When looking at medical archives, the preservation of the historical context of the experiences of patients is a vital job of archivists and researchers. I collect and make images of the visual codices of illness, and share my own archive of experiences as a sick artist to explore mythologies of recovery. I began visiting medical archives in 2018 while I was working a 9 to 5 job, teaching part time, and unsuccessfully trying to manage worsening chronic pain that I have had since I was a child. I started going to the Archives and Special Collections at SUNY Upstate Medical University Health Sciences Library in the morning before work to photograph objects from their collections and to look through unprocessed negatives, usually large-format portraits of patients. Through this I have found a deep well of documentation of intimate patient experience in a field whose narrative is often told from the perspective of the clinician. I have been hearing the term "evidence-based" a lot lately, mostly from my health insurance company when denying authorization for treatment. I thought I was the evidence. In the fine art photography world many theory-based workers focus on interrogating the indexicality (presumed truth value) of the photographic image. While evidentiary value is vital, for it to function, trust must be built. Before we used the verb "to photoshop" to describe the act of manipulating a photograph we used the verb "to doctor": as in, "This image looks like it's been doctored." The words "doctor" and "document" are derived from the same Latin verb docere, meaning to teach. These linguistic overlaps inform my relationship to both the evidentiary value of photography and the power of context, and become acutely visible in educational practices in both hard and soft sciences. First-person narratives are central, after all, to both art and medicine, and evidentiary function is not reliant on a value-neutral concept of objectivity. When those narratives are used to educate—which happens in both the hard and soft sciences—the people they belonged to are no longer present. Every clinical photograph with a patient's face is of someone presumed dead because of the date of the photograph. While on...
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期刊介绍: Literature and Medicine is a journal devoted to exploring interfaces between literary and medical knowledge and understanding. Issues of illness, health, medical science, violence, and the body are examined through literary and cultural texts. Our readership includes scholars of literature, history, and critical theory, as well as health professionals.
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