This article considers the roles played by brain images (e.g., from PET scans) in mass media as experienced by people suffering from mental illness, and as used by scientists and activist groups in demonstrating a biological basis for mental illness. Examining the rhetorical presentation of images in magazines and books, the article describes the persuasive power that brain images have in altering the understanding people have of their own body—their objective self. Analyzing first-person accounts of encounters with brain images, it (...) argues that people come to understand themselves as having neurotransmitter imbalances that are the cause of their illnesses via received facts and images of the brain, but that this understanding is incomplete and in tension with the sense that they are their brain. The article concludes by querying the emergence of a pharmaceutical self, in which one experiences one's brain as if on drugs, as a new form of objective self-fashioning. (shrink)

This volume offers interdisciplinary perspectives on contemporary biomedicine as a cultural practice.

The ArgumentIn this article I argue that brain images constructed with computerized tomography (CT) and positron emission tomography (PET) are part of a category of “expert images” and are both visually persuasive and also particularly difficult to interpret and understand by non-experts. Following the innovative judicial analogy of “demonstrative evidence” traced by Jennifer Mnookin (1998), I show how brain images are more than mere illustrations when they enter popular culture and courtrooms. Attending to the role of experts in producing data (...) in the form of images, in selecting extreme images for publication, and in testifying as to their relevance, I argue that there is an undue risk in courtrooms that brain images will not be seen as prejudiced, stylized representations of correlation, but rather as straightforward, objective photographs of, for example, madness. (shrink)

We report on the performative score “Sharing Perspectives” from the art/science research collaboration, Experimenting, Experiencing, Reflecting. Sharing Perspectives is developed as a score, inspired by choreography and the postmodern dance form Contact Improvisation, to stage exploration and improvisation, exploring uncertainty, creativity, togetherness, and the relationship between bodies and between bodies and space and artworks. The SP score acts as an experiment in how a brief intervention may affect the way art exhibitions are experienced, exploring how deeper and more sensorial engagement (...) with art may be facilitated, for the benefit of visitors, galleries and artists. Based on questionnaires and qualitative interviews with participants during the Olafur Eliasson exhibition “In Real Life” at the Tate Modern in London in November 2019, we explore how the SP score modulates a playful mode of being, enhancing the experience of a museum art exhibition as a space of transformation and reflection. We find that the SP score encourages curiosity, which allows participants to recognize their habits for art and instead experience art slowly, recognize their comfort zones and move past them. As the score enacts a sensorial and playful approach to the exploration of the exhibition, participants experience a breaking of boundaries between each other, toward the other visitors, as well as to the artworks and the space itself, prompting an experience of being part of the exhibit as a whole. We discuss how the SP score invites a slowness and curiosity that takes on characteristics of play, which can change the participants’ appreciation of an art space. (shrink)