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.

'Picture imperfect': the motives and uses of patient photography in the asylum.

In the nineteenth century, photography became common in psychiatric asylums. Although patient photographs were produced in large numbers, their original purpose and use are unclear. Journals, newspaper archives and Medical Superintendents' notes from the period 1845-1920 were analysed to understand the reasons behind the practice. This revealed: (1) empathic motivation: using photography to understand the mental condition and aid treatment; (2) therapeutic focus on biological processes: using photography to detect biological pathologies or phenotypes; and (3) eugenics: using photography to recognise hereditary insanity, aimed at preventing transmission to future generations. This reveals a conceptual move from empathic intentions and psychosocial understandings to largely biological and genetic explanations, providing context for contemporary psychiatry and the study of heredity.

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.

Ver para pensar: la construcción visual de las enfermedades “raras” / Seeing is thinking: the visual construction of rare diseases

A partir del concepto de dominios escópicos se estudian las visualidades hegemó-nicas (científica y social) que han intervenido en la construcción de la categoría “enfermedades raras”. Para ello se han investigado, entre 1940 y 2015, los tratados médicos por su papel en la creación del concepto icónico de enfermedad y su transmisión mediante su uso pedagógico y la prensa diaria, por la difusión social de las imágenes generadas. Entre los siete mil problemas de salud integrantes de la categoría se han seleccionado el Síndrome de Turner y las Enfermedades de Depósito Lisosomal. Metodológicamente se han adaptado las bases del análisis de contenidos con formulación de criterios de inclusión y exclusión a la investigación histórica, creación de corpus, de libro y hojas de códigos, su aplicación y análisis cuantitativo y cualitativo. El Síndrome de Turner se ha hallado en los tratados médicos entre 1952 y 2009, analizando el mecanismo de construcción icónica a través de la selección de mujeres repre-sentativas de la entidad, generando así una estereotipación, estigmatización e infantilización con consecuencias en la práctica médica, el entorno social y las propias pacientes. En la prensa diaria se han encontrado imágenes de enfermedades de depósito lisosomal entre 1982 y 2015, con una relevancia mediada por el valor noticiable de la proximidad y dos representaciones principales (la de las madres —como reivindicadoras de los derechos de sus hijos a la asisten-cia y el tratamiento— y la de los niños afectados como motivadores de campañas solidarias para recaudar fondos para ensayos clínicos de fármacos experimentales) condicionadas por coyunturas históricas como los recortes en las ayudas a la dependencia (AU)

Joseph von Gerlach-A Reminder of One of the Pioneers of Histochemistry on the Occasion of His 200th Birthday.

Joseph von Gerlach was an eminent German anatomist and pioneer of histology. He devised various techniques to assess the fine structure of tissues, most notably a procedure of staining histologic sections that marked the beginning of routine staining in histology. Gerlach was also one of the pioneers of microphotography.

Photography's Underappreciated Contributions to Neuropsychiatry: The Photographs of W. Eugene Smith in Minamata, Japan.

Photographers and filmmakers have made important contributions to the international mental health community through documentation and social commentary, leveraging the power of visual imagery. To illustrate, this article uses the example of W. Eugene Smith who photographed the catastrophic effects of methylmercury poisoning from industrial pollution in the region around Minamata Bay, Japan. Although many art forms have been comfortably integrated into mainstream psychiatry and neuropsychiatry, photography has been underappreciated and underutilized.

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.

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.

From postcard to book cover: illustrating connections between medical history and digital humanities.

This article illustrates the value and impact of collaboration among scholars, archivists, and librarians working across universities and government institutions, and how changes in medium-from a born-physical photograph and printed postcard to a digital reproduction to a simultaneously born-digital and printed book-create new possibilities for scholarly analysis, interpretation, and dissemination, which in turn suggest future directions for research and engagement across fields of inquiry. In doing so, this article argues that history matters by illuminating past networks that, through humanistic inquiry, continue to connect people, ideas, and institutions in the present and into the future.

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.

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.