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Read, Watch and Listen

(c) Katarina Kelsey, no title, translation of Auriol's image, 18-25 March 2015:

“I was given some contextual background to Auriol’s translation of Sam’s piece that I initially thought I would base my translation on. However I felt unable to translate her narrative and realised I would only be interpreting it. Ultimately I turned to a material translation to translate some of the key themes of her work. Taking inspiration from translations such as Hölderlin's Antigone and Christian Hawkey’s Ventrakl, I hope my material translation can convey Auriol’s piece to you.” 
http://katarinakelseybookarts.tumblr.com/

(c) Matt Rowe, no title, translation of Briony's image, 6-13 May 2015:

“My translation into a three-dimensional ceramic object continues the core narrative of the resampling of the environment and the suggested ownership of a natural object. I constructed a chalice-like ceramic vessel and fired it using combustive fuel harvested from the seashore, which leaves a carbon imprint on the body of the ceramic. Within the temple-like structure of the kiln I attempted a reprocessing of materials abundant within the seascape of my hometown Folkestone.” http://mattroweportfolio.co.uk 

Drawing of Ardashir I's investiture relief at Naqsh-e Rostam in southern Iran (224-242 AD), from R. Ker Porter (1821) Travels in Georgia, Persia, Armenia, Ancient Babylonia... 1817-1820 vol. I, pl.23; Longman & Co., London

The rise of the Sasanians in southern Iran brought the Parthian Empire to an end in 224 AD. On this rock relief, the royal crown is passed from the supreme Zoroastrian deity Ahura Mazda (right) to the new king Ardashir I (left). While the God’s horse treads on Ahriman (the embodiment of Evil), Ardashir’s tramples his defeated Parthian opponent. The horses touch poignantly. The relief establishes which king has been granted the khvarnah and is favoured by the divine world.

The Melancholy Cataleptic

Albert Londe, Clinique des Maladies du Système Nerveux, 1889. This photograph is of a cataleptic patient in the midst of a seizure. Her rigid limbs have most likely been posed in this position by the photographer or an attendant. She looks like a dancer without a partner. The capturing of these images was common in European hospitals in the later nineteenth century and they signify a relationship between doctor and patient of domination and passivity, where the patient is reduced to their medical condition. © Wellcome Library, London. Creative Commons CC-BY.

Peculiarities of Safety

Alexander Morison, The Physiognomy of Mental Diseases, 1838. The epileptic patient above, staring out at the artist, suffered from mania with epilepsy and is pictured in a straightjacket and an oddly thick headband. This item of medical clothing was designed to mitigate head injuries in patients suffering from seizures. The image captures the ambiguities inherent in the relationship between medical technology and humanity. A poignant illustration like this one highlights the very slender but significant differences between intention and experience. © Bibliothèque nationale de France (BnF).

Ethics of Research

A. Cartaz, “Du somnambulisme et du magnétisme à propos du cours du Dr Charcot à la Salpêtrière”, 1879. Research with patients was shot through with problems of power, care and responsibility. Here, the leading French neurologist Charcot examines the relation between seizures and sound (perhaps with the same patient photographed in Image 1). The illustration speaks to the particular gender politics of male physician and female patient and to emerging cultures of bodily display, the latest incarnations of which can be found in the ‘body spectacle’ genre of medical television. © Bibliothèque nationale de France (BnF).

My Name is Angeline

M. Lannois, “Dermographisme chez des épileptiques atteints d’helminthiase intestinale”, 1901. Look carefully: the woman pictured has her name scratched into her chest and back. The writing was probably done by her physician. Angeline Donadieu was an epileptic patient at the turn of the twentieth century. She is exemplifying a particular condition known as dermographism – skin that retains the imprint of marks traced onto it. Yet the image speaks most powerfully of the relation between medical and personal identity. © Wellcome Library, London. Creative Commons CC-BY.

Seizures in Performance

D. Younger, The Magnetic and Botanic Family Physician, 1887. Employing cataleptics or epileptics to perform particular medical roles shaded into wider performance in the later nineteenth century. Although this image shows a purportedly “scientific” experiment using mesmerism on a cataleptic subject it appears far more like the stage show of a magician. Regarding seizures as material for popular performance shifted them from the realm of medicine into the public sphere and made them subject to industries of entertainment. © Wellcome Library, London. Creative Commons CC-BY.

Picturing Seizures 1

Paul Richer, Études cliniques sur l'hystéro-épilepsie ou grande hystérie, 1881. This, and the illustration following, depict attempts by medical artists to provide an illustrative account of an epileptic seizure. The physical, high-speed movements of the body are difficult to capture in a static image. Nevertheless, the artist has managed to give a visually striking picture of the stresses under which the human body contorts. The stark line drawing makes clear how such images are an intertwining of medical and artistic representation. © Wellcome Library, London. Creative Commons CC-BY.

Picturing Seizures 2

Paul Richer, Études cliniques sur l'hystéro-épilepsie ou grande hystérie, 1881. Richer’s illustrations (in the previous image and here) also defamiliarize our assumptions. The figures are both athletic and balletic but also monstrously deformed and racked with pain. These images depict the wonder as well as the abjection of the material human condition. © Wellcome Library, London. Creative Commons CC-BY.