Podcasts about graphic medicine manifesto

MK Czerwiec is a nurse, cartoonist, and educator. She is the creator of Taking Turns: Stories from HIV/AIDS Care Unit 371, a co-author of Graphic Medicine Manifesto  and editor of Menopause: A Comic Treatment . MK is also the comics editor for the journal Literature & Medicine.  Follow MK on Twitter @ComicNurse MK co-manages the website, podcast, annual conferences, and online community of GraphicMedicine.org.  Michael Natter is an artist, humanist, and doctor. He utilizes his passion for art and storytelling in his medical life in didactic, humorous, and cathartic ways. He is a graduate of Sidney Kimmel Medical College, completed his Internal Medicine Residency at NYU/Bellevue and is a current Endocrinology fellow at NYU/Bellevue. His work has been featured in media outlets such as The Philadelphia Inquirer, Annals of Internal Medicine, Buzzfeed, and others.  Follow Mike on Twitter @mike_natter

Graphic Medicine refers to the use of graphic novels, comics, and visual storytelling in medical education, patient care, and other applications related to healthcare and the life sciences.   Dr. Shirlene Obuobi is a third year internal medicine resident, rising Cardiology fellow, and creator of the graphic medicine platform, "ShirlyWhirldMD." ShirlyWhirlMD has functioned as a vehicle of self expression during a time of professional growth, as well as a place to critique and discuss elements of medical culture and current events within healthcare.  Follow her on twitter. Website https://shirlywhirlmd.com Dr Ian Williams is a comics artist, writer and doctor who lives in Brighton, UK. His graphic novel, The Bad Doctor, was published in 2014 and followed up in 2019 by The Lady Doctor. He is working on his third, for the same publishers, provisionally entitled The Sick Doctor, which will be published in 2022. He studied Fine Art after medical school and then became involved in the Medical Humanities movement. He named the area of study called Graphic Medicine, building the eponymous website in 2007, which he currently co-edits. He is Founder of the not-for-profit Graphic Medicine International Cooperative and co-author of the Eisner-nominated Graphic Medicine Manifesto. Between May 2015 and January 2017 he drew a weekly comic strip, Sick Notes, for The Guardian. He recently made an animation with Matilda Tristram for The Care Under Pressure project from Exeter University. He has spoken at numerous medical humanities, comic art and literary events.Ian is represented by Kirsty McLachlan of Morgan Green Creatives Follow Ian on twitter Website https://myriadeditions.com/creator/ian-williams/

Susan M. Squier's book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier's book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women's, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier’s book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier’s book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women’s, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices

Susan M. Squier's book, Epigenetic Landscapes: Drawings as Metaphor (Duke University Press, 2017)  is about development— biological and ecological. It explores how the media (paintings, films, graphics) that experts have created to understand development and to communicate without verbal language has shaped—and continues to affect—the worlds in which we live. Squier's book takes its title from a set of images from the embryologist C.H. Waddington, all meant to demonstrate his theory of how life developed—as a dynamic process emerging within multiple scales of time and space. The first Epigenetic Landscape was, literally, a landscape painting—thick and confounding—that Waddington commissioned from the artist John Piper. Over the next twenty years, Waddington created two additional images that suggested a less contextual, more individually focused conception of development. In her creative and persuasive book, Susan Squier follows iterations of the Epigenetic Landscape to spotlight moments of contingency in the new field of epigenetics in the 1960s and 1970s, when scientists had opportunities to follow interdisciplinary approaches, to emphasize multiple scales of time and space, and to take seriously process-oriented knowledge that defied orthodoxies of molecular genetics. Squier argues that attending to visual rhetoric of scientific fields, especially development, is an inroad both to understanding the history of those fields, and to imagining possible, more feminist, futures. In doing so, Squier shows that ways of knowing that have been separated as either “art” or “science” interact more often than is appreciated, and those lines of connection serve as important creative resources. Heeding her own call for transdisciplinary approaches, three chapters document how the Epigenetic Landscape has been used not only into embryology but also landscape design and bioArt. Squier is Brill Professor Emeritus of English and Women's, Gender, and Sexuality Studies at Penn State University. Her previous books include Liminal Lives and The Graphic Medicine Manifesto. This interview was a collaborative effort among participants in the Vanderbilt graduate seminar, Social Studies of Science & Medicine. For information about using NBN interviews as part of pedagogical practice, please email Laura Stark or see the essay “Can New Media Save the Book?” in Contexts (2015). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

This week’s episode features Tyler Page and his presentation from the 2015 Comics & Medicine conference, “Raised on Ritalin.” Keep an eye on your screen as Tyler shared his many slides and they are matched with his talk. Also this week find out what Graphic Medicine Manifesto co-author Susan Squire is currently reading. The Graphic Medicine Podcast is sponsored by Penn State College of Medicine, Department of Humanities, the nation’s oldest Humanities Department within a medical school, pioneers of innovations in medical education since 1967. Download podcast.

Over the past decade Esopus has held true to its mission to “feature content from all creative disciplines presented in an unmediated format,” and in its most recent issue, the magazine explored the intersection between the world of medicine and the world of art by showcasing work by artists, physicians, poets, phlebotomists, musicians, dentists and nurses, among others. This program brings together Esopus editor Tod Lippy, who will talk about putting together Esopus 22: Medicine, as well as contributors Ian Williams (Bad Doctor) and MK Czerwiec: Comic Nurse (co-author of Graphic Medicine Manifesto), and Danielle Spencer and Stephanie Adler Yuan, who collaborated on “Critical Conversations,” a paper which offers a depiction of a health-care experience from multiple perspectives. The event is co-sponsored by the Columbia Program in Narrative Medicine and the Penn State University Press.

This week on the podcast, the 2015 Comics & Medicine conferences’s opening night panel discussion of the Graphic Medicine Manifesto with authors Susan Squier, MK Czerwiec, Ian Williams, Michael Green, and Scott Smith. The panel was moderated by Mita Mahato and introduced by conference host Juliet McMullin. Download podcast.

Physician/author Ian Williams coined the term “graphic medicine” to “denote the role that comics can play in the study and delivery of healthcare.” The robust emerging graphic medicine community can be witnessed in its website and annual conference, as well as in the profusion of fascinating graphic medicine texts created from a range of perspectives, visions, and voices. Graphic Medicine Manifesto (Penn State University Press, 2015)–the first book in the exciting Graphic Medicine series at The Pennsylvania State University Press–introduces graphic medicine as a practice, a movement, and an ethos to the wide and diverse audience it deserves and will surely attract. This interview features three of the authors of the Graphic Medicine Manifesto: MK Czerwiec, Ian Williams, and Susan Merrill Squier. Learn more about your ad choices. Visit megaphone.fm/adchoices

Physician/author Ian Williams coined the term “graphic medicine” to “denote the role that comics can play in the study and delivery of healthcare.” The robust emerging graphic medicine community can be witnessed in its website and annual conference, as well as in the profusion of fascinating graphic medicine texts created from a range of perspectives, visions, and voices. Graphic Medicine Manifesto (Penn State University Press, 2015)–the first book in the exciting Graphic Medicine series at The Pennsylvania State University Press–introduces graphic medicine as a practice, a movement, and an ethos to the wide and diverse audience it deserves and will surely attract. This interview features three of the authors of the Graphic Medicine Manifesto: MK Czerwiec, Ian Williams, and Susan Merrill Squier. Learn more about your ad choices. Visit megaphone.fm/adchoices

Physician/author Ian Williams coined the term “graphic medicine” to “denote the role that comics can play in the study and delivery of healthcare.” The robust emerging graphic medicine community can be witnessed in its website and annual conference, as well as in the profusion of fascinating graphic medicine texts created from a range of perspectives, visions, and voices. Graphic Medicine Manifesto (Penn State University Press, 2015)–the first book in the exciting Graphic Medicine series at The Pennsylvania State University Press–introduces graphic medicine as a practice, a movement, and an ethos to the wide and diverse audience it deserves and will surely attract. This interview features three of the authors of the Graphic Medicine Manifesto: MK Czerwiec, Ian Williams, and Susan Merrill Squier. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Ian Williams (The Bad Doctor) talks with Ian Williams (of The Catskill Review of Books, no relation) about the American release of The Bad Doctor, as well as the Penn State University Press Graphic Medicine Series, and the Graphic Medicine Manifesto. Download podcast