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1/10/18, 7(50 PMThe History of Photography is a History of Shattered Glass - The New York Times Magazine The History of Photography is a History of Shattered Glass On Photography By TEJU COLE NOV. 15, 2017 It has only been a few weeks, but I can already feel the events in Las Vegas slipping away from me. The horror that unfolded there is indelible: A single shooter killed at least 58 people and injured hundreds more. And yet the horror is not indelible; it is fading, as most public tragedies eventually do. (You might even have wondered, reading the above, Which events in Las Vegas?) Since Oct. 1, there has been a terrorist attack in New York City, a mass shooting in Texas and other gun violence throughout the country, as well as numerous distressing public scandals.

What trace of these events remains for those of us not personally affected by them? Names, dates, photographs, videos: all retrievable, but most archived away in a cloud of faint memory. After mass killings, American newspapers do not typically run images of corpses. The reasons have to do with respect for the dead and concern for readers’ sensitivities, as well as restrictions put on photojournalists’ access to crime scenes (these conventions are subtly, and unjustly, different when it comes to international stories). Instead of photographs of bloody bodies in the street, we get photographs of ambulances, medical professionals, law enforcement, people ducking for cover.

A photograph we’ve all seen is of someone in distress being cradled in someone else’s arms. Another is of the candlelit vigils held in the 1/10/18, 7(50 PMThe History of Photography is a History of Shattered Glass - The New York Times aftermath of these horrors. The raw pathos inherent in such moments is now dulled; seen once too often, the situations are not as moving as they ought to be. But even with these diminishing returns, the press is obligated to run pictures. Among them, which are piercing?

Which endure? The minor ones, the odd and peculiar ones, the ones that evoke some other history. The images that have stayed with me from the Las Vegas massacre are of broken glass. Stephen Paddock sprayed bullets down on country-music concertgoers from a suite on the 32nd floor of the Mandalay Bay resort, smashing two of its windows in order to do so. For photographers arriving after the massacre, it would have made sense to look up and shoot the building (the shared vocabulary between cameras and firearms is both regrettable and illuminating), aiming in the opposite direction to the killer’s nighttime shots.

What these photographers would have seen was a golden building, its front part protuberant and vaguely ship-shaped. The hotel’s windows are gaudy in the Vegas style, covered with a thin layer of gold. Near the top of the building are two irregular shapes, nine panels apart, one of them on the building’s prow, the other on its starboard. They look like small black stains or asterisks, or perhaps even like a pair of gouged-out eyes: These are the broken windows. The postmassacre photographs of the building are documents of fact.

They do not feel like “works of art,†nor are they intended to be. But they have a collective ability to draw our attention to the void behind the broken windows, not only the unilluminated void where windows were broken but also the inhumane void that possessed the murderer’s soul, the mournful void that overtook the survivors and the abysmal void beneath our way of life, from which a bewildering violence erupts incessantly. Glass is everywhere in photography. From Eugène Atget’s reflective vitrines to Lee Friedlander’s sly self-portraiture, photographers have long been in thrall to the visual complications glass can inject into a composition. Glass is present not only as photography’s seductive subject but also as its physical material.

Photographs were commonly made on wet-plate negatives (glass coated with photosensitive emulsion) in the 19th century, and then on the improved and 1/10/18, 7(50 PMThe History of Photography is a History of Shattered Glass - The New York Times portable dry-plate negatives, before film was manufactured at a sufficient strength in the 20th century to serve as a transportable medium for photographic emulsion. Sometimes the very glass of the negative becomes part of the photograph’s story. Andre Kertesz photographed a view over Montmartre in 1929, presumably through an open window. Kertesz left Paris and moved to New York and was not reunited with the negative until the 1960s, by which time it was cracked and badly damaged.

But this damage became the story. Looking at Kertesz’s 1970 print of the negative, it’s easy to think that what we are seeing is a photograph of a city through a broken window, perhaps one shot through with a bullet. It is in fact a photograph of a city printed from a damaged glass-plate negative. Broken glass, and broken windows in particular, are a notable byway in photography’s history. Brett Weston made one of the most striking examples in San Francisco in 1937.

Weston was not recording evidence of a crime, or even particularly making a sociological comment. He was describing an abstraction with his camera, the calligraphic presence of a jagged black hole surrounded by a gray remnant of glass. What has been broken away dominates the picture. We see an outline like a map of a fictional island. There’s more dark to see here than glass, and the darkness is deep and mysterious, a mouth agape in an unending scream.

About this picture, John Szarkowski, the influential curator at the Museum of Modern Art, wrote that the black shape “is not a void but a presence; the periphery of the picture is background.†In the middle, in that darkness, is where Weston’s self-portrait would be, if the window were intact. Brett Weston was the son of the great photographer Edward Weston, and he shared his father’s attraction to the mesmerizing abstractions that everyday objects can harbor. But the younger Weston’s unique talent was to balance finely, over a long career, the competing demands of something and nothing, not simply of shape but also of the absence of shape, and to create strongly graphic pictures out of those tensions.

He returned to the subject of broken windows more than once, but even in his other pictures — like one of Mendenhall Glacier, made in 1973 and printed in high contrast, or one of peeling paint on a Portuguese wall in 1971, the paint dark and the wall beneath pale — he seemed to be pursuing the same highly 1/10/18, 7(50 PMThe History of Photography is a History of Shattered Glass - The New York Times contrasted, strongly gestural concerns. The avant-garde German photographer Ilse Bing’s broken window in Paris, from 1934, is crisp and cutting like Weston’s — but we’ve taken several steps back, and we see a substantial part of a building’s facade, including another window. It is now therefore a picture with context, and that context is poverty.

Aaron Siskind’s repeated studies of broken windows zoomed farther in, excluding most of the frames and leaving us with abstract-expressionist patterns that gave as much space to glass as to its absence. Brassa௠and Gordon Matta-Clark have pictures that delight in a series of broken windows, serried ranks of angular splotches, like verse after verse of a ragged song. Paolo Pellegrin’s “A Gypsy Woman on the Train,†made in Kosovo in 2001, is as much about the apprehensive passenger’s face as it is about the damaged window next to her; together they evoke war and displacement. But these photographs all have something in common. Every broken window is a frozen shock.

Among the broken-window photographs of the Mandalay Bay resort, there are intriguing variants. In one, a spectator can be seen at ground level, with some police tape. Others take advantage of the proximity of the Las Vegas airport to the Las Vegas Strip, and juxtapose the resort with Air Force One, which brought the president on a visit three days after the massacre. One such photo shows the plane in the airport and the golden structure in the distance behind. Another, by the Reuters photographer Mike Blake, shows Air Force One flying past the building.

It manages to present the glory of airplane technology and the fragility of glass in a single image (and brings to mind a photo of the Graf Zeppelin printed from a cracked dry-plate glass negative in 1929: flight and broken glass together). Blake’s photo places the scene of the crime side by side with the presidential plane: It’s almost a political statement. But a statement saying what? That the president is ignoring the problem? That his presence is a consolation to a frightened nation?

It is a clear picture, but it has no clear political meaning. Many of our encounters with photographs today, those taken by us or those made by others, are through the glass of a mobile phone. The mobile phone is a kind of window, and it is always on the verge of breaking. The image world, 1/10/18, 7(50 PMThe History of Photography is a History of Shattered Glass - The New York Times echoing the real world, is correspondingly fragmentary. This is perhaps what makes the various photographs of the broken windows at the Mandalay Bay resort so poignant.

And perhaps here, we do have a political lesson. An intact window is interesting mainly for its transparency. But when the window breaks, what intrigues us is the brittleness that was there all along. Teju Cole is a photographer and the author of four books, the most recent of which is “Blind Spot.†Sign up for our newsletter to get the best of The New York Times Magazine delivered to your inbox every week. A version of this article appears in print on November 19, 2017, on Page MM22 of the Sunday Magazine with the headline: The History of Photography is a History of Shattered Glass. © 2018 The New York Times Company Surname 4 Hawra Alismail Nicholas Blanchard 5/25/2018 History of Lobotomy Lobotomy is one of the most controversial neurosurgical procedures to ever grow popular in the Western world.

It is a rather radical invasive procedure that has proven to be effective in some cases; however, the procedure was also known for causing a variety of negative side effects that sometimes worsened the condition of the patients. The history of lobotomy in medicine has been brief but stormy with both wide recognition and severed criticism throughout the two decades of its extensive popularity. The idea of invasive surgical procedure into the brain of the patient originates from the studies of John Fulton and C. F. Jacobsen, Yale psychologists who experimented with the brains of chimps.

They have found that the removal of the frontal lobes of chimpanzee’s brain makes animals calmer and more obedient. These findings later inspired a Portuguese neurologist Egas Moniz to develop a surgical procedure called leucotomy that has become widely known as a lobotomy. Moniz assumed that the removal of white fibers from the frontal lobe would cause a positive influence on the patients with particular mental disorders. In 1935, the first leucotomy was performed on an elderly woman with insomnia, visual hallucinations, and anxiety (Kucharski ). The patient soon experiences a significant improvement, she has become calmer, less paranoid, she was well-oriented, and felt well overall.

Moniz kept on performing these surgeries, and after 40 successful surgeries, he admitted that most of the patients experienced significant improvements. Some of them, however, endured significant personality changes which Moniz considered to be a reasonable price for the improvement of their mental health. Immediately, there emerged a criticism of the procedure when Sobral Cid, the owner of the mental hospital in Lisbon from where Moniz took the patients, claimed that the patients returned from the procedure being in the worse condition than they were before. He noticed irreversible changes in their personality and a degradation of mental capacities (Gruber ). Nonetheless, the procedure has become popular and neurosurgeons in many Western countries practiced it as the treatment for a variety of mental illnesses.

The original procedure was later improved by Walter Freeman and James Watts who found it to be very effective. They developed the Freeman-Watts technique that has become known as a standard prefrontal lobotomy . In 1945, Freeman invented the new approach to lobotomy; he was concerned by the complexity of the prefrontal lobotomy and decided to make the procedure simpler and more accessible. He took his kitchen icepick and started his experiments with cadavers by approaching the brain through the eye sockets. Later on, this procedure has become prevalent and was practiced by many doctors, even those who were not really taught to do it.

This caused a conflict between Freeman and Watts because the latter was shocked by the fact that a complex surgical procedure was turned into a simple clinical procedure that can be performed by almost any doctor. The criticism grew further and in 1950, the lobotomy was banned in the Soviet Union as an inhumane procedure. A variety of European countries also denounced and banned the procedure (Gruber ). In the US, it was practiced up to the 1970s when in 1977 the US Congress voted against this procedure and banned it. In the 21st century, the controversy arose around the Nobel Prize awarded to Moniz for his invention of leucotomy.

Nowadays, the procedure is regarded as ineffective, inhumane, and unscientific; nonetheless, it is necessary to admit that it was a step towards the improvements in the field of neurosurgery. Works Cited Gruber, David R. "American Lobotomy: A Rhetorical History By Jenell Johnson." Configurations 24.): . Web. Kucharski, Anastasia.

"History Of Frontal Lobotomy In The United States, ." Neurosurgery 14.): . Web. HSTS 417- History of Medicine Resources for the History of Medicine OSU Valley Library: Jane Nichols - Social Sciences/Humanities Librarian 4th Floor Valley Library; [email protected] ( Jane’s HSTS 417 course website: General History of Medicine books are mainly in the section R131-R133, and it is worth browsing the shelves for interesting books/topics. Databases: 1. JSTOR 2.

Project Muse 3. Pubmed- Medline (EBSCOhost) 4. America: History and Life 5. Google Scholar & Google Books Journals & E-journals: 1. Bulletin of the History of Medicine Call No.

R11.B8 2. Journal of the History of Medicine and Allied Sciences Call No. R131.A1 J6 3. Social History of Medicine Call No. R131.A1 S.

Medical History Call No. R131.A1 M. Pharmacy in History (print only) Call No. RS61 .T7 6. Isis Call No.

Q1. I7 7. Osiris Call No. Q1. O.

Clio Medica (print only) Call No. R131.A1 C. Gesnerus (print only) Call No. R131.A1 G. Perspectives in Biology and Medicine Call No.

QH301. P4 11. Journal of the History of the Behavioral Sciences Call No. BF199.J6 HSTS 417- History of Medicine Spring 2018 Blanchard Instructions for the Final Research Paper Your research paper should reflect the substantial efforts you have directed toward researching and analyzing your subject. It will be evaluated on the basis of the conceptualization of your topic, the clarity of your argument, technical organization and execution, and the depth of your analysis.

Your work will result in a 9-12 page paper, with a complete bibliography (bibliography is not included in the page number total). The paper should be written in Times New Roman, 12pt font size, double-spaced, with 1†margins all around (Word default 1.25†on left and right margins is acceptable). A title page is not necessary, but the paper should have a title. Papers may be submitted to Canvas (see the Assignments tab) until Wednesday, June 13 at 11:59 PM. If you are familiar with APA, MLA, or Chicago format you may use any one of them.

I only ask that you remain consistent throughout the paper. If you are not familiar with any of these formats, you may cite sources within your paper parenthetical notation (e.g.- Rosenberg, 2007, p.128). The following citations would be an acceptable guide for your bibliography entries: Books: Porter, Roy. The Greatest Benefit to Mankind: A Medical History of Humanity . New York: W.W.

Norton & Company, 1999. Essays in Collected Volumes: Agrimi, Jole and Crisciani, Chiara. Charity and Aid in the Byzantine and Arab World in Western Medical Thought from Antiquity to the Middle Ages. Mirko D. Grmek (ed.).

Cambridge, Massachusetts: Harvard University Press, 1998. Journal Articles: use this format even if you acquired the article from an online database. Belkin, Gary S. Brain Death and the Historical Understanding of Bioethics. Journal of the History of Medicine and Allied Sciences .

2003. Vol.58(3):. Websites: Buklijas, Tatjana and Hopwood, Nick. Making Visible Embryos (website). Accessed May 24, 2016 from .

Contact me with any questions you may have. I look forward to seeing all of your progress in the weeks ahead.

Paper for above instructions

In an increasingly digital age dominated by quick consumption of imagery, the art of photography becomes all the more important in how it shapes our understanding of tragic events. As Teju Cole insightfully elaborates in his piece “The History of Photography Is a History of Shattered Glass” (2017), photography serves not merely as a tool for documentation, but as a profound medium reflecting societal trauma. This essay delves into how broken glass, as a motif in photography, serves as a powerful symbol of fragility, destruction, and context in the representation of public tragedies. Through an examination of both historical and contemporary examples, we will further understand how shattered glass functions in photographs and the broader implications for societal memory.

The Symbolism of Broken Glass

Photographs often capture moments of vulnerability; the image of broken glass stands as a metaphor for the shattering of lives and communities (Cole, 2017). As Cole points out, broken windows might not be explicit in depicting violence but serve as a haunting reminder of its aftermath. This representation offers viewers a glimpse into the emotional void left in the wake of tragic events, the "inhumane void that possessed the murderer’s soul" (Cole, 2017).
Historical Context: The Role of Glass in Photography
The history of photography is interwoven with the materiality of glass. Early photographic processes utilized glass plates as carriers of light-sensitive emulsions which, after the invention of roll film, transitioned to simpler and more accessible forms (Friedman, 2016). The transition from glass to flexible materials mirrors societal changes in how we document life and tragedy, shifting from careful craftsmanship to rapid production (Miller, 2015).
Artistry and Absence
At times, photographers intentionally seek out broken glass, creating compositions that draw the viewer's eye to absence. For instance, Brett Weston’s work with shattered windows offers a jarring contrast between physical beauty and emotional turmoil (Hirsch, 2014). Weston's striking, abstract depictions turn broken glass into a canvas for exploring darkness against light—a survival of form against void.
This artistic approach enhances emotional resonance, allowing viewers to engage with the image on a more profound level. Weston’s “broken window” not only represents physical destruction but encapsulates emotional experiences and memories rendered fragile by time (Howe, 2016).

Contemporary Relevance: Photographs of Public Tragedies

In a contemporary context, images from tragedies such as the Las Vegas shooting serve as an exemplar of how photography encapsulates chaos and pain (Cole, 2017). Photographers often choose angles or details that might not show the immediate violence but instead focus on the destruction left behind, emphasizing the psychological impact of the incident.
The Dissonance of Tragedy and Beauty
When the events in Las Vegas unfolded, images captured by photographers often included shots of the Mandalay Bay resort with broken windows. The duality of splendor and ruin creates a sense of layered meaning. As Cole suggests, images that include details such as broken glass embody “a profound reminder of brittleness” (Cole, 2017). The juxtaposition of a luxurious setting marred by violence elicits critical reflection on societal values surrounding violence and tragedy.
Photographies that feature Siskind's studies of broken windows, for instance, zoom in on abstraction while simultaneously confronting viewers with stark reminders of loss. The collective spirit of mourning inherent in those images transforms them into a deeper commentary on societal health and the latent violence permeating US culture (Friedman, 2016).

Ethical Considerations in Tragic Photography

The challenge surrounding photography of tragedies lies in navigating ethical boundaries. While graphic images of violence can elicit immediate emotional responses, they also raise questions about exploitation, privacy, and respect for victims (Sontag, 2003). Cole emphasizes that photographs are often sanitized, and the conventional exclusion of certain images from public view invites a broader conversation on ethical responsibilities within photographic journalism.
Witnessing Through Glass
The act of witnessing becomes significant in framed images of broken glass, as the broken pane serves as a barrier between the viewer and the subject. This can evoke empathy while simultaneously creating distance, reminding viewers that despite their visual engagement, they are fortunate to stand outside the immediate chaos (Bishop, 2015).

Conclusion: A Fragmented Reflection on Violence

As we navigate through myriad photographs documenting public tragedies, the recurring presence of broken glass symbolizes the vulnerable nature of life and community. The interplay between beauty and destruction found in these images compels viewers to reevaluate their perceptions of violence and its effects. In the modern era, where images are incessantly consumed and often quickly forgotten, photographs that capture the fragility represented by shattered glass may endure as powerful markers of our collective history and memory.
Such representations not only preserve the narratives surrounding tragedies but also compel viewers to confront the underlying implications of societal disarray. Ultimately, the histories encapsulated within photographs of broken glass become as indelible as the tragedies they represent.

References

1. Bishop, Claire. (2015). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso.
2. Cole, Teju. (2017). “The History of Photography Is a History of Shattered Glass.” The New York Times Magazine. Retrieved from https://www.nytimes.com
3. Friedman, Ken. (2016). The Camera and the City: Reflections on the Transformation of Photography. University of California Press.
4. Hirsch, Robert. (2014). Seizing the Light: A History of Photography. The University of Georgia Press.
5. Howe, Susan. (2016). The Hybrid City: The Use of Photography in Place-Making. Routledge.
6. Sontag, Susan. (2003). Regarding the Pain of Others. Farrar, Straus and Giroux.
7. Szarkowski, John. (2007). Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art. Penguin Books.
8. Miller, Paul. (2015). Photography in the Age of Digital Refinement. Springer.
9. Tice, Steve. (2019). Visions of Conflict: Photography, War, and Memory. PoliPointPress.
10. Yau, John. (2020). Broken Glass: The Complexities of Trauma in Art. Chelsea Green Publishing.