Podcast appearances and mentions of susan squier

Tonight on the Last Word: The January 6 Committee subpoenas top House Republican Kevin McCarthy. Also, The New York Times reports the Justice Department is investigating Donald Trump's handling of classified records. Plus, Rep. Hakeem Jeffries accuses Justice Thomas of hypocrisy. And former classmates of Justice Alito criticize his draft opinion. Rep. Adam Schiff, Daniel Goldman, Tim O'Brien, Susan Squier and Cecile Richards also join Lawrence O'Donnell.

In this episode, Susan Squier and MK Czerwiec chat about Graphic Medicine in 2019 and what  they look forward to 2020.  Links below to what we discuss and much more we didn’t have time to mention but want to highlight. Be sure to check out the main post for this episode on the Graphic Medicine website – there are full links to all we discuss PLUS much more bonus content. Support for this podcast comes from 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... Read More

This month’s episode features Susan Squier’s full keynote from this year’s Graphic Medicine conference at the Center for Cartoon Studies in White River Junction, Vermont. Her talk is titled “Graphic Medicine: The Scales of Comics Work.” You will hear Susan introduced by Juliet McMullin. The images Susan cites directly in her talk can be found on the Graphic Medicine webpage that features this episode. Stay tuned to the end of Susan’s talk for a special announcement! Download episode.

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

In this podcast, we discuss Graphic Medicine, which can be defined as the use of comics (graphic narratives) in health sciences education and patient care. Our guests are Susan Squier and Ellen Forney. Susan Squier is Professor Emerita of English and Women's Studies at Penn State University, where she taught graphic narratives (comics!) to graduate students. She is now Visiting Fellow at the Freie Universität, Berlin (the Free University, that is) where she is part of a collaboration called the PathoGraphics project, a study of the relations between illness narratives (also called pathographies) and comics about medicine, illness, disability and caregiving. She is a co-editor of the Graphic Medicine book series at Penn State Press, which publishes long form graphic narratives, graphic narratives for classroom use, and scholarly studies of works of graphic medicine. Ellen Forney is the author of the New York Times bestseller "Marbles: Mania, Depression, Michelangelo, and Me," a graphic memoir about her bipolar disorder. Her new book, the follow-up to Marbles, is a self-help guide to maintaining stability with a mood disorder. It’s called "Rock Steady: Brilliant Advice from My Bipolar Life," and will be out this May. She teaches comics at Cornish College of the Arts in Seattle.

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.