Podcasts about Wellcome Collection

In this episode Jayda and Jocelyn explore the intricate intersections of climate science, social justice, and technology, with Jocelyn offering really interesting perspectives on finding hope for the climate. Joycelyn shares her journey from an unconventional background in astrophysics and journalism to her groundbreaking work in conservation technology. Delving into her platform, Climate in Colour, and her PhD research in bioacoustics, Joycelyn discusses the importance of centring indigenous knowledge and addressing environmental racism. She also unpacks how our perceptions of success are deeply impacted by colonialism and the need to shift towards more inclusive, just frameworks. This episode tackles the nuanced concept of hope within the climate movement, emphasising that hope is a discipline involving stamina and long-term commitment rather than immediate wins. Tune in for an inspiring conversation that offers new perspectives on building a just and hopeful future through community and innovation.Follow Jocelyn LongdonFollow Jayda GFollow Here's Hoping PodcastMore on our guestJocelyn Longdon's websiteJoycelyn is an award-winning environmental justice technologist, communicator, and PhD candidate at the University of Cambridge. She researches conservation tech with forest communities in Ghana, using bioacoustics—like Shazam for nature.She founded Climate in Colour, an inclusive climate education platform, and has worked with the UN, Channel 4, and the Wellcome Collection. A TEDx speaker, she won the 2022 Emerging Designer Medal at the London Design Festival, was featured in British Vogue's ‘Forces for Change' issue, and named a 2024 Climate Creator to Watch. Her debut book, Natural Connection, What Indigenous Wisdom and Marginalised People Teach Us About Environmental Action, was published in April 2025. Hosted on Acast. See acast.com/privacy for more information.

We are pulling out the only board game you can play on family game night with your great great grandparents! In this episode, Tim talks about some truly spine-tingling experiences of using an Ouija Board. Late Night Legends is a paranormal podcast and stream which believes Spooky Season should be all year long. Listen every week to learn what paratopic the Legends are getting into.Join our Discord!https://discord.gg/jcEGgpZHqELate Night Legends is for a mature audience and can discuss topics which may not be suitable for all audiences. Please take care of yourself!Sources: The Strong Museum of Play. "S-T-R-O-N-G: Investigating the History of the Ouija Board at The Strong Museum." https://www.museumofplay.org/blog/s-t-r-o-n-g-investigating-the-history-of-the-ouija-board-at-the-strong-museum/BuzzFeed. "17 Ouija Board Horror Stories That'll Literally Scare The Hell Out Of You." https://www.buzzfeed.com/annakopsky/ouija-board-horror-stories-thatll-scare-the-shit-out-of-yBBC Future. "How the ouija board really moves." https://www.bbc.com/future/article/20130729-what-makes-the-ouija-board-moveStafford, Tom. "The psychology of Ouija." Wellcome Collection. https://wellcomecollection.org/stories/the-psychology-of-ouijaDiscover Magazine. "What's The Spooky Science Behind The Ouija Board?" https://www.discovermagazine.com/mind/the-science-behind-ouija-boarPacific Paranormal Investigations. "Ouija Boards: A History." https://www.pacificparanormal.com/index.php/menu-btn-articles-essay/105-article-ouija-boards-historyBaltimore Magazine. "The Dark History Behind Ouija Boards." https://www.baltimoremagazine.com/section/artsentertainment/the-dark-and-fascinating-history-of-the-ouija-board-baltimore-origins/The Hustle. "The strange business history of the Ouija board." https://thehustle.co/the-strange-business-history-of-the-ouija-boardSmithsonian Magazine. "The Ouija Board Can't Connect Us to Paranormal Forces—but It Can Tell Us a Lot About Psychology, Grief and Uncertainty." https://www.smithsonianmag.com/history/the-ouija-board-cant-connect-us-to-paranormal-forces-but-it-can-tell-us-a-lot-about-psychology-grief-and-uncertainty-5860627/5/2Music licensed from Lickd.Lost (Instrumental) by Linkin Park, https://lickd.lnk.to/JDjTt9ID License ID: l71MPn5N8XE

Artist Jason Wilsher-Mills has lived with pain and chronic polyneuropathy since he was a child. In this interview he talks about his recent exhibition at the Wellcome Collection in London called "Jason and the Adventure of the 254"

ollowing on from opening her exhibition at the Whitney Museum of American Art, which continues until August, the US-born, Berlin-based artist Christine Sun Kim this week opened a show in London in collaboration with Thomas Mader. The exhibition, 1880 THAT, uses a notorious historic conference in Milan in 1880, which effectively outlawed sign language in Deaf education, as a springboard to explore languages and stigma in Deaf and hearing cultures today. Ben Luke discusses the show with Kim and Mader. In Abu Dhabi, the latest museum devoted to the interactive art of the Japanese collective teamLab opens this week in the Saadiyat Cultural District. The Art Newspaper's reporter in the Middle East, Melissa Gronlund, has visited the museum and tells us more about teamLab's newest immersive experience. And this episode's Work of the Week is Young Woman seated at a Virginal (1670-75), a painting by Jan Vermeer that may be the very last picture he ever made. Our special correspondent, Martin Bailey, tells us how new conservation of the picture has revealed that 17th-century pollution may hold the key to dating the painting.1880 THAT: Christine Sun Kim and Thomas Mader, Wellcome Collection, London, until 16 November; Christine Sun Kim: All Day All Night is at the Whitney Museum of American Art, New York, until 6 July.teamLab: Phenomena, Abu Dhabi, opens 18 April.From Rembrandt to Vermeer: Masterpieces from The Leiden Collection, H'ART Museum, Amsterdam, until 24 August.Subscription offer: enjoy a three-month digital subscription to The Art Newspaper for just £3/$3/€3. Get unrestricted access to the website and app, including all digital monthly editions dating back to 2012. Subscribe here.https://www.theartnewspaper.com/subscriptions-3FOR3?utm_source=podcast&promocode=3FOR3 Hosted on Acast. See acast.com/privacy for more information.

Five years ago, in response to the Covid pandemic, the government mandated a series of lockdowns, with the closure of schools and businesses and social distancing. Tom Sutcliffe is joined by guests to discuss how such a monumental event could have had affected brain cognition, and whether there have been lasting effects on young people. But he also hears tales of resilience among neurodiverse communities.The neuroscientist Daniel Yon looks at the cognitive impact of unprecedented events in his forthcoming book, A Trick of the Mind - How the Brain Invents Your Reality (published, June 2025). He explains how times of instability and uncertainty upset the brain's ability to understand the world, and make people more susceptible to conspiracy theories. The Covid-19 Social Study was the largest study exploring the psychological and social effects of the pandemic on the UK population. Dr Daisy Fancourt, Associate Professor of Psychobiology and Epidemiology at University College London explains what they learnt about the impact of social isolation. The developmental psychologist at Cambridge University, Professor Claire Hughes, has looked more closely at families with young children, across six different countries, with very different lockdown policies. Although there was a link between family stress related to the pandemic and child problem behaviours, more recent work questions whether the lockdown has had longer term effects. The artist and zinemaker Dr Lea Cooper has co-curated a new exhibition at the Wellcome Collection, Zines Forever! DIY Publications and Disability Justice (until 14th September). Zines are self-published works, and Dr Cooper says several on display were created during lockdown, and showcase personal stories of resistance and self-expression.Producer: Katy HickmanPart of BBC Radio 4's series of programmes exploring Lockdown's Legacy

Marie Stopes' “Mother's Clinic” opened its doors in Holloway, on March 17th, 1826. Stopes was a trailblazer, her birth control clinic providing working-class women with access to contraception and advice for the first time. However, her organisation's full name - "The Society for Constructive Birth Control and Racial Progress" - reveals her disturbing underlying belief in selective breeding for racial progress; a commitment that only strengthened as time went on, and she corresponded with Hitler. In this episode, The Retrospectors consider Stopes's pioneering work on female desire and sexual health in her bestselling book, "Married Love,"; explain how she pivoted from paleobotany to reproductive health and racism; and ask why Marie Stopes International waited until the 21st century to rebrand itself… Further Reading: • ‘Family planning in the 1920s: Marie Stopes and the ‘wise precaution of delay'' (The National Archives blog, 2022): https://blog.nationalarchives.gov.uk/20speople-family-planning-in-the-1920s-marie-stopes-and-the-wise-precaution-of-delay/ • ‘Marie Stopes: a turbo-Darwinist ranter, but right about birth control' (The Guardian, 2011): https://www.theguardian.com/theguardian/2011/sep/02/marie-stopes-right-birth-control • ‘Marie Stopes' Eugenics, Feminism and Birth Control' (Wellcome Collection, 2022): https://www.youtube.com/watch?v=PPqog-EV9jI This episode originally aired in 2024 Love the show? Support us!  Join 

Episode No. 694 features artists Tacita Dean and Ilana Harris-Babou. The Menil Collection, Houston is presenting "Tacita Dean: Blind Folly," the first major museum survey of Dean's work in the United States. The exhibition examines a range of Dean's production, with a special emphasis on her drawing practice. "Blind Folly" includes new works informed by Dean's time in Houston, including her residency at (and in!) the Menil's Cy Twombly Gallery. It is on view through April 19. The Menil, MACK, and Dean have produced several books related to the Menil exhibition: Why Cy, an artist's book of images Dean produced during her residency in the Twombly Gallery. Within it is a small booklet of notes and drawings that Dean conceived during the same residency. Tacita Dean: Blind Folly, a book by exhibition curator Michelle White that addresses Dean's practice and oeuvre in a strikingly legible, almost narrative way. Why Cy is available from Amazon for about $95; White's Blind Folly is available from Amazon for about $28 - or just $10 on Kindle. Dean is one of Britain's most celebrated artists. She has been the subject of solo exhibitions at museums such as the Bourse de Commerce, Pinault Collection, Paris, the J. Paul Getty Museum, Los Angeles, and the Kunstmuseum Basel. In 2011 Dean's work FILM was shown in the Tate Modern's Turbine Hall. Harris-Babou's 2018 Reparation Hardware is included within "Project a Black Planet: The Art and Culture of Panafrica" at the Art Institute of Chicago. The exhibition, which was curated by Antawan I. Byrd, Elvira Dyangani Ose, Adom Getachew, and Matthew S. Witkovsky, survey's Pan-Africanism's cultural manifestations across 350 objects made over the last 100 or so years. It is on view through March 30. Reparation Hardware, which was made for DIS.ART, is streamed below. Harris-Babou has been included in group shows at the Wellcome Collection, London, Apex Art, New York, and at The Aldrich Contemporary Art Museum, Ridgefield, Conn. Her work is in the collections of museums such as the Whitney Museum of American Art, New York.

It's time to go back to the beginning and take another look at the story of Dr Lamson and the Dundee Cake!Revisited are new bonus episodes where we re-record and refresh early episodes of The Poisoners' Cabinet to improve quality and offer new perspectives - and drinks!This week it's the story of Dr George Lamson, the Wimbledon Poisoner. Why was this decorated war hero so bad at his job? What is the deal with Bournemouth? And are YOU a swell pill-taker? The secret ingredient remains...a Dundee cake!Sources include The Wimbledon Museum, The Secret Poisoner by Linda Statmann, The Proceedings of the Old Bailey, The Wellcome Collection, The Bournemouth Echo, Bournemouth.co.uk subscribing to The Poisoners' Cabinet wherever you get your podcasts. Find us and our cocktails at www.thepoisonerscabinet.com Join us Patreon: https://www.patreon.com/thepoisonerscabinet Find us on TikTok: https://www.tiktok.com/@thepoisonerscabinet Follow us on Instagram: https://www.instagram.com/thepoisonerscabinet/ Find us on Facebook: https://www.facebook.com/ThePoisonersCabinet Listen on Youtube: https://www.youtube.com/@ThePoisonersCabinet Hosted on Acast. See acast.com/privacy for more information.

In this History of Prints (HoP) episode, Tru and I finish talking about the life and work of William Hogarth, the father of Western sequential art.  We look at and pick apart three series: Industry and Idleness, The Four Stages of Cruelty, and Humours of an Election. Timely, no? Hogarth continues to point out society's faults and baser instincts. He never stopped trying to teach the masses about comportment and judgment. Episode image: William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. Useful Links Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF Beer Street and Gin Lane from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 x 38.5 cm. (19 ½ x 15 ¼ in.). Musée du Louvre. Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. (36 x 46 in.). Musée du Louvre. Paris. Inigo Jones (British, 1573–1652). Banqueting House, 1622. London. William Hogarth (British, 1697–1764). The South Sea Scheme, 1722. Etching and engraving. Sheet: 10 ¼ x 12 15/16 in. (26.1 x 32.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, 1732 or before. Series of 6 etchings with engraving. Sheet (each): 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 paintings. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Series of 8 etchings with engraving. Sheet (each): 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Marriage A-la-Mode, c. 1743. Series of 6 paintings. Each: 66.9 x 90.8 cm. The National Gallery, London. After William Hogarth (British, 1697–1764). Marriage A-la-Mode, 1745. Series of 6 etchings with engraving. Plate (each): 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Mr. Garrick in the Character of Richard III, 1746. Etching and engraving. Sheet: 16 3/8 x 20 1/2 in. (41.6 x 52 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. S curves from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate I from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). Plate II from The Analysis of Beauty, written with a view to fixing the fluctuating ideas of taste. London: J. Reeves, 1743. William Hogarth (British, 1697–1764). The Fellow ‘Prentices at their Looms, plate 1 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 7/16 in. (26.4 x 34.2 cm.); sheet: 10 5/8 x 14 in. (27 x 35.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Performing the Duty of a Christian, plate 2 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentices at Play in the Churchyard, plate 3 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 1/4 x 13 9/16 in. (26 x 34.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice a Favourite and Entrusted by his Master, plate 4 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 1/2 in. (26.3 x 34.3 cm.); sheet: 10 11/16 x 13 7/8 in. (27.1 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Turned Away and Sent to Sea, plate 5 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 13 11/16 in. (26.4 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Out of his Time and Married to his Master's Daughter, plate 6 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 3/8 x 13 9/16 in. (26.4 x 34.4 cm.); sheet: 10 9/16 x 13 7/8 in. (26.8 x 35.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Returned from Sea and in a Garret with a Common Prostitute, plate 7 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 5/16 x 13 5/8 in. (26.2 x 34.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Grown Rich and Sheriff of London, plate 8 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 1/4 x 13 1/2 in. (26 x 34.3 cm.); sheet: 10 3/8 x 13 3/4 in. (26.3 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplices, plate 9 from the series Industry and Idleness, 1747. Etching and engraving. Plate: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm.); sheet: 10 9/16 x 13 3/4 in. (26.9 x 35 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Alderman of London, The Idle One Brought Before Him and Impeached by his Accomplices, plate 10 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Idle ‘Prentice Executed at Tyburn, plate 11 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 3/8 x 15 3/4 in. (26.4 x 40 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Industrious ‘Prentice Lord Mayor of London, plate 12 from the series Industry and Idleness, 1747. Etching and engraving. Sheet: 10 9/16 x 15 13/16 in. (26.9 x 40.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The First Stage of Cruelty, 1751. Etching and engraving. Sheet: 14 3/4 x 12 1/2 in. (37.5 x 31.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Second Stage of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 9/16 in. (38.8 x 31.9 cm.); sheet: 16 1/16 x 13 1/4 in. (40.8 x 33.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Cruelty in Perfection, 1751. Etching and engraving. Plate: 15 1/4 x 12 11/16 in. (38.8 x 32.2 cm.); sheet: 15 13/16 x 13 3/16 in. (40.2 x 33.5 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Reward of Cruelty, 1751. Etching and engraving. Plate: 15 1/4 x 12 5/8 in. (38.8 x 32 cm.); sheet: 15 3/4 x 13 1/16 in. (40 x 33.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1754–55. Oil on canvas. 101 x 128 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1754–55. Oil on canvas. 102.3 x 131.4 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1754–55. Oil on canvas. 102.2 x 131.1 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1754–55. Oil on canvas. 103 x 131.8 cm. Sir John Soane's Museum, London. William Hogarth (British, 1697–1764). The Humours of an Election I: An Election Entertainment, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election II: Canvassing for Votes, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election III: The Polling, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. William Hogarth (British, 1697–1764). The Humours of an Election IV: Chairing the Member, 1755. Engraving. 40.5 x 54 cm. Royal Academy of Arts, London. George Caleb Bingham (American, 1811–1879). The Verdict of the People, 1854–55. Oil on canvas. 46 x 55 in. (116.8 x 139.7 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). Stump Speaking, 1853–54. Oil on canvas. 42 1/2 x 58 in. (108 x 147.3 cm.). Saint Louis Art Museum, St. Louis. George Caleb Bingham (American, 1811–1879). The County Election, 1852. Oil on canvas. 38 x 52 in. (96.5 x 132.1 cm.). Saint Louis Art Museum, St. Louis. William Hogarth (British, 1697–1764). Tailpiece, or the Bathos, 1764. Engraving. 261 x 323 mm. Royal Academy of Arts, London.

In this History of Western Prints (HoP) episode, Tru and I begin to explore the life and work of William Hogarth, the first British artist featured on Platemark's HoP series. Hogarth, renowned as the father of Western sequential art, is discussed through detailed analyses of three of his best known series: A Harlot's Progress, A Rake's Progress, and Marriage A-la-Mode. The episode delves into 18th-century London's morality, capturing the societal and artistic context of Hogarth's work. Highlights include discussions on the intricacies of Hogarth's prints, his depiction of social issues, the impact of his work on English law (copyright laws finally established!), and his mixed successes in various art forms. This first of two episodes on Hogarth sets the stage for part two when we look at his images around elections in Enlightenment England. Harlot's Progress video from Paul Mellon Centre for Studies in British Art. https://youtu.be/VPQze0EbpdQ  Harlot's Progress video from Reading the Past. https://youtu.be/u1rtBD0qvPY?si=DkVatOJ5-vEyrIqF  Beer Street and Gin Lane video from Reading the Past. https://youtu.be/A3-Je-lSKrE?si=C9igJSDSvYVyRabY Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   After Anton von Maron (Austrian, 1733–1808). Johann Winkelmann, after 1768. Engraving. After Allan Ramsay (British, 1713–1784). Portrait of William Hunter, 1760. Engraving. Wellcome Collection. William Hogarth (British, 1697–1764). The Painter and his Pug, 1745. Oil on canvas. 35.4 x 27.5 cm. Tate Britain, London. Jean-Baptiste-Siméon Chardin (French, 1699–1779). Saying Grace, c. 1740. Oil on canvas. 49.5 × 38.5 cm. (19.5 in × 15.2 in.). Louvre, Paris. Jean-Baptiste Greuze (French, 1725–1805). The Village Bride, 1761. Oil on canvas. 92 x 117 cm. Louvre, Paris. The Banqueting House, London. Saint Paul's Church, London. William Hogarth (British, 1697–1764). Self-Portrait, c. 1735. Oil on canvas. 21 1/2 x 20 in. (54.6 x 50.8 cm.). Yale Center for British Art, New Haven. William Hogarth (British, 1697–1764). An Emblematic Print on the South Sea, late 18th century. Engraving and Etching. Plate: 10 13/16 x 13 3/8 in. (27.4 x 33.9 cm.); sheet: 11 5/16 x 14 in. (28.7 x 35.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 1, 1732 or before. Etching and engraving. Sheet: 12 5/16 x 15 1/8 in. (31.3 x 38.4 cm.). Metropolitan Museum of Art, New York. Chart identifying elements in Harlot's Progress Plate 1. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 2, 1732 or before. Etching and engraving. Sheet: 12 3/8 x 14 13/16 in. (31.4 x 37.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 3, 1732 or before. Etching and engraving. Sheet: 12 11/16 x 15 3/8 in. (32.2 x 39 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 4, 1732 or before. Etching and engraving. Sheet: 13 1/8 x 15 3/16 in. (33.3 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 5, 1732 or before. Etching and engraving. Sheet: 13 3/8 x 16 3/16 in. (34 x 41.1 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Harlot's Progress, Plate 6, 1732 or before. Etching and engraving. Sheet: 12 1/2 x 15 3/16 in. (31.7 x 38.6 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 1, 1735. Etching and engraving. Sheet: 15 13/16 x 19 1/16 in. (40.2 x 48.4 cm.). Metropolitan Museum of Art, New York. Gérard Jean-Baptiste Scotin (French, Paris 1698–after 1755), after William Hogarth (British, 1697–1764). A Rake's Progress, Plate 2, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 3, 1735. Etching and engraving. Sheet: 13 7/8 x 15 7/8 in. (35.2 x 40.4 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 4, 1735. Etching and engraving. Sheet: 14 3/16 x 16 1/4 in. (36.1 x 41.3 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 5, 1735. Etching and engraving. Sheet: 15 5/8 x 18 13/16 in. (39.7 x 47.8 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 6, 1735. Etching and engraving. Sheet: 14 x 16 in. (35.5 x 40.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 7, 1735. Etching and engraving. Sheet: 15 5/8 x 18 3/4 in. (39.7 x 47.7 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, Plate 8, 1735. Etching and engraving. Sheet: 15 9/16 x 18 13/16 in. (39.6 x 47.8 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). A Rake's Progress, 1735. Eight oil on canvas paintings. Sir John Soane's Museum, London. Louis-François Roubiliac (French, 1702–1762). William Hogarth, c. 1741. Terracotta bust. Overall: 28 1/2 x 17 3/4 in. (72.4 x 45.2 cm.). National Portrait Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 1, The Marriage Settlement, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 2, The Tête-à-Tête, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 3, The Inspection, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 4, The Toilette, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 5, The Bagnio, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. William Hogarth (British, 1697–1764). Marriage A-la-Mode: 6, The Lady's Death, c. 1743. Oil on canvas. 66.9 x 90.8 cm. The National Gallery, London. Gérard Jean-Baptiste Scotin (French, 1698–after 1755), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 1, 1745. Etching and engraving. Sheet: 15 3/16 x 18 5/16 in. (38.5 x 46.5 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 2, 1745. Etching and engraving. Sheet: 15 1/16 x 18 1/4 in. (38.3 x 46.3 cm.). Metropolitan Museum of Art, New York. Bernard Baron (French, 1969–1762), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 3, 1745. Etching and engraving. Plate: 15 3/8 x 18 1/2 in. (39 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 4, 1745. Etching and engraving. Plate: 15 1/4 x 18 1/2 in. (38.7 x 47 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 5, 1745. Etching and engraving. Plate: 15 1/4 x 18 7/16 in. (38.8 x 46.9 cm.). Metropolitan Museum of Art, New York. Simon Francis Ravenet, the elder (French, 1706–1774), after William Hogarth (British, 1697–1764). Marriage A-la-Mode: Plate 6, 1745. Engraving. Plate: 15 3/16 x 18 3/8 in. (38.6 x 46.7 cm). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Beer Street, 1751. Engraving. Sheet: 15 1/8 x 12 11/16 in. (38.4 x 32.2 cm.). Metropolitan Museum of Art, New York. William Hogarth (British, 1697–1764). Gin Lane, 1751. Etching and engraving. Sheet: 15 1/16 x 12 1/2 in. (38.3 x 31.7 cm.). Metropolitan Museum of Art, New York.

Kathy Chater takes us through a discussion about mental health and disability in the late 18th and 19th centuries and how to find ancestors who may have had these issues. We talk about the differences between private and public asylums, how and where ancestors may have been treated, where to find records and how the poor were treated as well as those who could afford to pay for treatment. There is a transcript of this interview on Substack together with a list of the resources mentioned.

I am joined by the artist duo Matterlurgy to talk about Water! Matterlurgy are a research-based artist duo composed of Helena Hunter and Mark Peter Wright. Some of their projects have responded to sites such as a hydropower station, disused steelworks, a laboratory for ice simulation, an abandoned copper mine, as well as galleries and museum collections. Examining ways of sensing, translating and representing environmental change.Our conversation focused on some of their projects that surround water.. From viewing ocean water under the microscope and the invisible activity which we are unable to see through the naked eye, through to complex river ecosystems. We discussed how they use installation, sculpture and film to bring this research into gallery/museum spaces, and the mediums that enable them to share these ideas.. LinksMatterlurgy website: https://www.matterlurgy.net/projectsMatterlurgy Instagram: https://www.instagram.com/matterlurgy_studio/Mark Peter Wright artist website: https://markpeterwright.net/Helena Hunter artist website: https://www.helenahunter.net/Instagram: https://www.instagram.com/_helena_hunter/?hl=enMIMA (Middlesbrough Museum of Modern Art): https://mima.art/The Seili project was hosted by Contemporary Art in the Archipelago: https://contemporaryartarchipelago.org/Sensitives Steam, website link: https://sensitives.stream/Arts Catylist: https://artscatalyst.org/ Flom Sang: https://www.matterlurgy.net/flom-sangMuseum of Sheffield artist's page: https://www.sheffieldmuseums.org.uk/whats-on/meet-the-artists-matterlurgy/Bakewell Old House Museum: https://www.oldhousemuseum.org.uk/Wellcome Collection: https://wellcomecollection.org/?gad_source=1&gclid=Cj0KCQjwsc24BhDPARIsAFXqAB00eCUGltjjED65pjkD0CpUH1MnHFEyh9s57mUx30ZR0o6jikMFT9QaAj9wEALw_wcB Hosted on Acast. See acast.com/privacy for more information.

Is there actually any moral value to hard work? From the Dignity of Labour to CEO Mindset, Girlbossing and Instagram Hustle propaganda, our entire culture is full of messages that working hard and 'loving what you do' will make you a good person. Aspiring idlers Kasia and Dan are here to tell you why that's wrong. Prompted in part by the Wellcome Collection's new 'Hard Graft' exhibition, we discuss bullshit jobs, proper binmen, modern slavery, and the horrifying frequency with which people are injured, maimed and killed in their line of work, from children in 19th century cotton mills, to exploited migrant workers and climate-related heat deaths in the 21st century. More light-heartedly, we discuss our most hated teenage jobs, and what the ideal length for a working week would be - 2 days? 3 days? What happened when Pret told their workers they needed to show they "aren't just here for the money"? And why does Keir Starmer think that workers and their bosses are 'on the same side'? Some links, as promised: The Four Yorkshiremen sketch Who remembers Proper Binmen? David Graeber's Bullshit Jobs Sarah Jaffe's Work Won't Love You Back Paul Myerscough on Pret and affective labour Please watch the amazing film Office Space! *** For the full-length episode, and 30-odd more exclusive episodes –  please join our Patreon!! ** ONLY £4 A MONTH TO SUPPORT YOUR FAVOURITE CULTURAL HISTORIANS ** **** Theme music: Mr Beatnick Artwork: Archie Bashford

Cultural historian Elsa Richardson discusses her book, Rumbles: A Curious History of the Gut. It looks at our relationship over the centuries with a very intimate part of the body but one for which many know little more about than having a general gut feeling. Richardson is Lecturer of History at the University of Strathclyde and holds a Chancellor's Fellowship in the History of Health and Wellbeing at the Centre for the Social History of Health and Healthcare. In addition to lecturing in the history of medicine and her own research, she also curates arts and science events for public institutions, including the Wellcome Collection. Joining Richardson in conversation for this episode is the historian Helen Carr, an award-nominated writer and broadcaster specialising in medieval history and public history. Her popular books include The Red Prince and the upcoming Sceptered Isle. We are sponsored by Indeed. Go to Indeed.com/IS for £100 sponsored credit. If you'd like to become a Member and get access to all of our longer form interviews and Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events - Our member-only newsletter The Monthly Read, sent straight to your inbox ... Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series ... Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. ... Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Et maintenant, on part à l'époque médiévale ! Adhérez à cette chaîne pour obtenir des avantages : https://www.youtube.com/channel/UCN4TCCaX-gqBNkrUqXdgGRA/join Pour soutenir la chaîne, au choix: 1. Cliquez sur le bouton « Adhérer » sous la vidéo. 2. Patreon: https://www.patreon.com/hndl Musique issue du site : epidemicsound.com Images provenant de https://www.storyblocks.com Abonnez-vous à la chaine: https://www.youtube.com/c/LHistoirenousledira Les vidéos sont utilisées à des fins éducatives selon l'article 107 du Copyright Act de 1976 sur le Fair-Use. Sources et pour aller plus loin: Philippe Brenot et Laetitia Coryn, Sexe Story. La première histoire de la sexualité en BD, Montréal, Guy Saint-Jean, 2016 Reay Tannahill, Le sexe dans l'histoire, Paris, Marabout, 1982. Maryse Jaspard, Sociologie des comportements sexuels, Paris, Découverte, 2005. Sylvie Steinberg (dir.), Une histoire des sexualités, Paris, PUF, 2018 Robert Muchembled, L'orgasme et l'Occident, Paris, Seuil, 2015. Lo Duca, Histoire de l'érotisme, Paris, Pygmalion, 1979. Yvonne Knibiehler, La sexualité et l'histoire, Paris, Odile Jacob, 2002. Ollie Wells, « Amour, Sexe et Mariage en Grèce Antique », World History Encyclopedia, 25 mars 2021. https://www.worldhistory.org/trans/fr/2-1713/amour-sexe-et-mariage-en-grece-antique/#:~:text=Les%20Grecs%20anciens%20ne%20considéraient,relation%20avec%20un%20autre%20homme. Michel Foucault, Histoire de la sexualité, t. I La Volonté de savoir, Paris, Gallimard Gérard Lomenec'h, L'érotisme au Moyen Âge, Rennes, Éditions Ouest-France, 2018. Jean-Claude Bologne, La Naissance interdite, stérilité, avortement, contraception au Moyen âge, Paris, O. Orban, 1988. Katherine Harvey, The Fires of Lust. Sex in the Middle Ages, London, Reaktion Books, 2021, Didier Lett, « L'Occident médieval », dans Une histoire des sexualités, sous la dir. de Sylvie Steinberg, Paris, PUF, 2018, p.95-167. Didier Lett, Hommes et femmes du Moyen Âge. Histoire du genre XIIe-XVe siècle. Paris, Armand Colin, 2023. Jean-Louis Flandrin, Un temps pour embrasser. Aux origines de la morale sexuelle occidentale (VIe-XIe siècle), Paris, Seuil, 1983. Jacques Rossiaud, Amours vénales : la prostitution en Occident, XIIe-XVIe siècle, Paris, Aubier-Flammarion, 2010. Jacques Rossiaud, Sexualités au Moyen Âge, Gisserot, 2002. Jacques Rossiaud, « Comment on faisait l'amour au Moyen Âge », L'Histoire, août 1999. https://www.lhistoire.fr/comment-on-faisait-lamour-au-moyen-age Arnaud De la Croix, L'érotisme au Moyen Âge, le corps, le désir, l'amour, Paris, Tallendier, 1999. Jean Verdon, S'amuser au Moyen Âge, Paris, Tallendier, 2003 (1980). Jean Verdon, La vie quotidienne au Moyen Âge, Paris, Perrin, 2015. Jean Verdon, Le plaisir au Moyen Âge, Paris, Perri, 1996. Jean Verdon, L'amour au Moyen Âge. La chair, le sexe et le sentiment, Paris, Perrin, 2006. Bernard Ribémont, Sexe et amour au Moyen Âge, Genève, Klincksieck, 2007. Cyrille Vogel, Le pécheur et la pénitence au Moyen Âge, Paris, Cerf, 1982. Ferrucio Bertini, Les femmes au Moyen Âge, Paris, Hachette, 1991. Danielle Jacquart et Claude Thomasset, Sexualité et savoir médical au Moyen Âge, Paris, PUF, 1985. Mark Jordan, L'invention de la sodomie dans la théologie médiévale, Paris, Epel, 2007 (1997). Ruth Mazo Karras, Sexuality in medieval Europe. Doing unto others, New York and London, Routledge, 2005. Leah Otis, Prostitution in Medieval Society: the History of an Urban Institution in Languedoc, Chicago, 1985. Christian-Georges Schwentzel, Débauches antiques. Comment la Bible et les Anciens ont inventé le vice, Paris, Vendémiaire, 2023. Thomas Tentler, Sin and Confession on the Eve of the Reformation, Princeton, 1977. Eleanor Janega, The Once and Future Sex, going Medieval on Women's Roles in Society, New York, W.W. Norton & Company inc., 2023. Jack Hartnell, Medieval Bodies. Life, Death and Art in the Middles Ages, London, Wellcome Collection, 2018. R. Nelli, L'érotique des troubadours, Toulouse, Privat, 1984 (1963). Jean-Pierre Poly, Le chemin des amours barbares. Genèse médiévale de la sexualité européenne, Paris, Perrin, 2003. Priscille Lamure, « Le pénitentiel de Worms, pour une approche décomplexée de la sexualité au Moyen Âge », Savoir d'histoire, 27 juin 2015. https://savoirsdhistoire.wordpress.com/2015/06/27/le-penitentiel-de-worms-pour-une-approche-decomplexee-de-la-sexualite-au-moyen-age/ François Gagnon, « Le Corrector sive Medicus de Burchard de Worms (1000-1025) : présentation, traduction et commentaire ethno-historique », Mémoire de l'Université de Montréal, 2010. Autres références disponibles sur demande. #histoire #documentaire #sexualité #moyenage #sexuality middleage

5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Dr Agnes Arnold-Forster has worked at McGill University, at the Centre for the History of Emotions at Queen Mary University of London and as a visiting researcher at the Max Planck Centre for Human Development in Berlin. She is the author of an academic history of cancer and has written widely for academic, medical and mainstream outlets. She has also appeared on BBC Radio, consulted for television dramas and documentaries, and worked closely with the Science Museum, the Wellcome Collection, and the Royal College of Nursing. She lives in London. In hew new book, Nostalgia: A Biography, Arnold-Forster blends neuroscience and psychology with the history of medicine and emotions to explore the evolution of nostalgia. With thanks for your support for 5x15 online! Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

In this episode, we take a closer look at museum visitor teams with Dickon Moore, Visitor Experience Manager at Wellcome Collection in London. Discover how these teams master the art of informal engagement, creating meaningful interactions that enhance visitors' museum experiences.Key Points:Understanding the importance of informal engagement in fostering meaningful interactions.How the role of visitor teams has changed over time from a more security-focused role to their current role as facilitators of engagement.Insights into the strategies and techniques employed by museum visitor teams, for informal, spontaneous interactions and structured engagements.Why visitor teams are uniquely placed to engage with museum visitorsHow museum visitor teams expertly navigate interactions with strangers, based on curiosity and open questioning.Learn about the three areas of impact: how visitors might think differently, feel differently, or act differently after engaging with museum content or staff.Discover how museum visitor teams are supported during challenging interactions, including skills development, duty manager support, de-escalation techniques, and reflective practice sessions.Episode 127 LinksWellcome Collection https://wellcomecollection.org/Dickon Moore on LinkedIn - www.linkedin.com/in/dickonmooreTranscript available here: The Art Engager Links:Sign up for my Curated newsletter - a fortnightly dose of cultural inspirationJoin the Slow Looking Club CommunitySupport the show here https://www.buymeacoffee.com/clairebownDownload my free resources: How to look at art (slowly)- 30+ different ways to look at art or objects in the museumSlow Art Guide - six simple steps to guide you through the process of slow lookingUltimate Thinking Routine List - 120 thinking routines in one place If you have any suggestions, questions or feedback, get in touch with the show!

In this episode of the HRchat show we discuss ways to support the physical and mental wellbeing of employees. The guest this time is Dr. Ally Jaffee, a multi-award-winning NHS Doctor and mental health speaker featured on Channel 4, the BBC, The Times and more.Ally is a passionate Mental Health Content Creator with over 18,000 followers across her social media platforms. She has spoken at high-level events including Google London, Royal Society of Medicine, University of Cambridge, University of Oxford, Imperial College London, The House of Lords,The Wellcome Collection, Soho House and Soho Theatre. She has spoken about Mental Health on GB News, in The Times and elsewhere.Feature Your Brand on the HRchat PodcastThe HRchat show has had 100,000s of downloads and is frequently listed as one of the most popular global podcasts for HR pros, Talent execs and leaders. It is ranked in the top ten in the world based on traffic, social media followers, domain authority & freshness. The podcast is also ranked as the Best Canadian HR Podcast by FeedSpot and one of the top 10% most popular shows by Listen Score. Want to share the story of how your business is helping to shape the world of work? We offer sponsored episodes, audio adverts, email campaigns, and a host of other options. Check out packages here. Follow us on LinkedIn Subscribe to our newsletter Check out our in-person events

In this episode we're scooping fish liver oil out of a bucket of offal in the name of health. We're also exploring the myth of Prometheus and some votive offerings and exploring just what they can tell us about the regeneration of the liver. And we're going to dig into some old country offal in the form of haggis – and what it can tell us about anti-Scottish sentiment in 1700s England. Subscribe to our newsletter to keep up to date with our latest podcasts, videos and events. Subscribe here: https://www.rcpe.ac.uk/heritage/sign-our-heritage-newsletter Website: www.rcpe.ac.uk/heritage Twitter: twitter.com/RCPEHeritage Credits Researcher and presenter: Laura Burgess has been a volunteer with RCPE Heritage since 2021 after completing her MA in History from UNC Charlotte. Editor and producer: Sarah E Hayward completed her PhD in Museums and Heritage Studies at Kingston University London in 2023. She has been a volunteer with RCPE Heritage since 2021. She has a passion for archival research and she loves to explore creative ways to assemble and share the hidden stories she uncovers. Researcher and presenter: Olivia Howarth is a volunteer with RCPE Heritage, a recently qualified archivist, heritage enthusiast and self-proclaimed lifetime nerd with an interest in medical history. Historical clip: Frank Rowntree compilation recordings. Part 1, Track 14. Wellcome Collection. Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)

Have tweens always been this interested in beauty products? And how is ageism affected by classism?In this extra special episode of the podcast, Ione and Gina are joined by writer, editor and brand strategist Funmi Fetto to discuss Wellcome Collection's exhibition The Cult of Beauty. Tracking how we went from religious obsession with the visuals of virtuousness to generation alpha purchasing retinols, Funmi, Ione and Gina are asking why people have always been obsessed with looking good.The Cult of Beauty is a free exhibition running until the 28th April 2024 at Wellcome Collection, more info here. Have an opinion and want to be featured on an upcoming episode? We want to hear from YOU! Leave a review, send us your thoughts on this episode to ione@polyesterzine.com, or drop us a DM on Instagram Hosted on Acast. See acast.com/privacy for more information.

We're baaaack! And we're feeling FIT, while also reassuring you that it's what's inside that counts. Kasia and Dan return with a new series, where today we're talking about the beauty industry, vanity and gender, and - following a Cursed Objects outing to the Wellcome Collection's new exhibition The Cult of Beauty - early modern German wife-prettying windmill technology.  From the masterful make-up artists of Glow Up: Britain's Next Make-Up Star to the hall of rubbish mirrors of the Palace of Versailles, this episode has it all. We also hear about the beauty industry exhibits in the Museum of Transology – as liberatory objects that affirm a sense of self in a culture that would too often deny it to trans people.  Also: if pretty privilege is really a thing, shouldn't the parliamentary Conservative Party be a party of hotties?   *** FOR THE FULL EPISODE, join our Patreon!! *** ONLY £4 A MONTH TO SUPPORT YOUR FAVOURITE CULTURAL HISTORIANS - AND GET 25+ BONUS EPISODES AND A CURSED OBJECTS STICKER PACK!   Theme music and production: Mr Beatnick Artwork: Archie Bashford

To sweat or not to sweat? Was sweating good or bad? Was it a treatment or a symptom? Was it something to be encouraged or prevented? The answer to all these questions is a resounding ‘Yes'. In this episode we explore the strange history of sweating sickness, what arsenic can do to your armpits and the creation of a market for underarm shaving. We also explore the history of deodorant – and its cynical marketing to women to improve their attractiveness and to men in the 1920s as a way to avoid unemployment and poverty. Subscribe to our newsletter to keep up to date with our latest podcasts, videos and events. Subscribe here: https://www.rcpe.ac.uk/heritage/sign-our-heritage-newsletter Website: www.rcpe.ac.uk/heritage Twitter: twitter.com/RCPEHeritage Credits Researcher and presenter: Laura Burgess has been a volunteer with RCPE Heritage since 2021 after completing her MA in History from UNC Charlotte. Editor and producer: Sarah E Hayward completed her PhD in Museums and Heritage Studies at Kingston University London in 2023. She has been a volunteer with RCPE Heritage since 2021. She has a passion for archival research and she loves to explore creative ways to assemble and share the hidden stories she uncovers. Researcher and presenter: Olivia Howarth is a volunteer with RCPE Heritage, a recently qualified archivist, heritage enthusiast and self-proclaimed lifetime nerd with an interest in medical history. Historical clip: Frank Rowntree compilation recordings. Part 4, Track 16. Wellcome Collection. Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)

Watch an interview with author Mike Jay about his two most recent books, "Psychonauts: drugs and the making of the modern mind," and "Mescaline: a global history of the first psychedelic." "Mike Jay has written widely on the history of science and medicine, with a specialist interest in the mind sciences, mental health and psychoactive drugs. Alongside Mescaline and Psychonauts, his books include High Society: Mind-Altering Drugs in History and Culture and This Way Madness Lies: The Asylum and Beyond, both of which accompanied exhibitions he curated at Wellcome Collection in London. He writes regularly for New York Review of Books and London Review of Books and is an Honorary Research Fellow at the Centre for Health Humanities, University College London." More at his website, mikejay.net This event took place on November 27, 2023. For more information, https://hds.harvard.edu/ A transcript is forthcoming.

Charles Hecker on Suella Braverman's uncertain future, whether the tide is changing on the US stance in the Middle East and Iceland's state of emergency. Plus: which factors change our perception of beauty? Monocle's Steph Chungu speaks to Janis Li, the curator of the new Wellcome Collection exhibition, ‘The Cult of Beauty'. Join Georgina Godwin every week to discover the latest global news and culture.

Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Ana Brígida for The New York Times Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow at AI Now, an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo. Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery. Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.

The writer and academic Emma Dabiri encourages unruliness in her latest book, Disobedient Bodies. She puts the origins of western beauty ideals under the spotlight and explores ways to rebel against and subvert the current orthodoxy. The book is accompanied by an exhibition, The Cult of Beauty, at the Wellcome Collection from 26 October 2023 to 28 April 2024. It was in the Wellcome's archive that the filmmaker Carol Morley came across the works and writings of the artist Audrey Amiss. In her new film, Typist Artist Pirate King, Morley creates an imaginative tribute to an unjustly neglected and misunderstood artist. The norm in the world of medical research has been the male body, but in her latest work the scientist and author Cat Bohannon focuses exclusively on women. In Eve: How the Female Body Drove 200 million Years of Human Revolution she looks at everything from birth to death. Producer: Katy Hickman

In s3e39, Platemark host Ann Shafer speaks with Sue Coe, an artist and social activist. The pair were joined in the conversation by Tru Ludwig (Sue is one of Tru's art heroes) at Sue's home in the Catskill Mountains, New York.   Sue creates art that goes right to the heart of an issue, whether it be animal cruelty, capitalism, authoritarianism, women's rights or any other progressive ideal. Images are sometimes difficult, (TRIGGER WARNING) and the conversation touched on some topics that may be distressing for listeners. Please know the discussion ranges from slaughterhouses and mass killings of animals to sexual violence against women, along with a number of other tough topics. There are also plenty of expletives coming from all corners. Consider this fair warning.   Sue, Ann, and Tru talked about veganism, the environment, Käthe Kollwitz, Galerie St. Etienne and famed dealer Hildegard Bachert, placing work at an institution (Sue calls Ann “you poor, sad creature”), and starting a museum just for printmaking. It's quite a conversation. Sue Coe on her deck, our temporary recording studio, Deposit, NY. Sue Coe (English, born 1951). Auschwitz Begins…, 2009. Woodcut. Sheet: 15 ½ x 52 in. (39.4 x 132.1 cm.). Galerie St. Etienne. Sue Coe (English, born 1951). Depopulation, 2020. Linoleum cut. Sheet: 10 3/8 x 8. ½ in. (26.4 x 21.6 cm.). Galerie St. Etienne. Shiko Munakata (Japanese, 1903–1975). The Visit, 1959. Woodcut. Sheet: 130 1/16 x 15 in. (33.2 x 38.1 cm.) Museum of Modern Art, New York. James Gilray (British, 1756–1815). Edward Jenner vaccinating patients in the Smallpox and Innoculkation Hospital of St. Pancras; the patients develop features of cows, 1802. Etching with watercolor. Wellcome Collection, London.   Sue Coe (English, born 1951) and Eric Avery (American, born 1949). Zoonotic Spillover, 2023. Linoleum cut with hand coloring. Sheet: 30 x 36 ¾ in. (76.2 x 93.3 cm.). Published by Tarantula Press, Texas A&M University. Sue Coe's carving station. Sue Coe in her studio. Sue Coe pulls open the flat files. Sue Coe (English, born 1951). Fighting the New Jim Crow, 2021. Woodcut. Sue Coe (English, born 1951). Woman Walks into Bar–Is Raped by Four Men on the Pool Table–While 20 Watch, 1983. Mixed media. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm.). Museum of Modern Art, New York. Otto Dix (German, 1891–1969). Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924. Etching, aquatint, and drypoint, from a portfolio of fifty prints. Plate: 7 5/8 x 11 5/16 in. (19.3 x 28.8 cm.); sheet: 13 11/16 x 18 5/8 in. (34.8 x 47.3 cm.). Museum of Modern Art, New York. Sue Coe (English, born 1951). Bush Aids, 1990. Photoetching. Sheet: 15 x 10 7/8 in. (38.1 x 27.6 cm.). Pennsylvania Academy of Fine Arts, Philadelphia. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants' War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Sue Coe (English, born 1951). Woman Tied to Pole, 1984. Photoetching. 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.). Installation shot from Sue Coe: Graphic Resistance. MoMA PS1, June 3–September 9, 2018. Ann Shafer and Sue Coe, June 3, 2023.

Dr. Erin Griffey is a specialist in early modern visual and material culture at the University of Auckland and a fellow of the Society of Antiquaries. She has published widely on court culture, especially the early seventeenth-century British queen Henrietta Maria and the Stuart court. She has written On Display: Henrietta Maria and the Materials of Magnificence (Yale University Press, 2015) and her forthcoming work includes chapters on beauty in the forthcoming Bloomsbury Cultural History of Beauty. She won the Renaissance Studies Article Prize for her article 'The Rose and Lily Queen: Henrietta Maria's Fair Face and the Power of Beauty at the Stuart Court' (2022). She is writing a book titled Facing Decay: Beauty, Wrinkles and Anti-Aging in Early Modern Europe, (Penn State University Press, forthcoming) and she is also collaborating with colleagues in Chemistry on the Beautiful Chemistry Project in recreating a selection of early modern cosmetic recipes in the lab.  Erin's work: You can find out more about Erin and her team's recreation of recipes at https://www.beautifulchemistryproject.com/ For her article on Henrietta Maria and beauty: Griffey, E. (2021). ‘“The Rose and Lily Queen”: Henrietta Maria's fair face and the power of beauty at the Stuart court.' Renaissance Studies, 35(5), 811-836.For a general introduction to beauty at court, see Griffey, E. (2022). ‘Beauty.' In Erin Griffey (ed.), Early Modern Court Culture. Routledge. Keep an eye out for Erin's forthcoming work on beauty: Griffey, E. (forthcoming). ‘Beautiful Experiments: Reading and Reconstructing Early Modern Cosmetic Recipes.' In Sara Bendall and Serena Dyer (eds.), Embodied Experiences of Making in Early Modern Europe: The Body, Gender and Material Culture. Amsterdam: Amsterdam University Press. Griffey, E. (forthcoming). ‘Art and Beauty and ‘Ideas of Beauty'. In Sarah Toulalan (ed.), A Cultural History of Beauty. Bloomsbury. Griffey, E. (forthcoming). Facing Decay: Beauty, Wrinkles, and Anti-Aging in Early Modern Europe. Penn State University Press.  Also check out: Burke, Jill. (2023). How to be a Renaissance Woman: The Untold History of Beauty and Female Creativity. Profile Books.Forthcoming exhibitions on beauty: In Love with Laura: A Mystery in Marble, Kunsthistoriches Museum:https://www.tiqets.com/en/KHM-kunsthistorisches-museum-tickets-l141961/in-love-with-laura-a-mystery-in-marble-e46826/ The Cult of Beauty, The Wellcome Collection:https://wellcomecollection.org/exhibitions/ZJ1zCxAAACMAczPA

In this episode we explore how central the lungs were to Ancient Greek and Roman ideas about medicine and the body. Renaissance illustrations of the lungs were detailed and beautiful – but understanding of exactly what the lungs did and how they worked was still to be developed. We also discuss the historical treatment of asthma with ‘medicinal' cigarettes, along with other supposed uses of tobacco to protect from the plague and as an antidote to poisoning. We also explore some of the most unusual lung-based medicines, including breast milk, sugar candy and liquorice! Subscribe to our newsletter to keep up to date with our latest podcasts, videos and events. Subscribe here: https://www.rcpe.ac.uk/heritage/sign-our-heritage-newsletter Website: www.rcpe.ac.uk/heritage Twitter: twitter.com/RCPEHeritage Credits Researcher and presenter: Laura Burgess has been a volunteer with RCPE Heritage since 2021 after completing her MA in History from UNC Charlotte. Editor and producer: Sarah E Hayward completed her PhD in Museums and Heritage Studies at Kingston University London in 2023. She has been a volunteer with RCPE Heritage since 2021. She has a passion for archival research and she loves to explore creative ways to assemble and share the hidden stories she uncovers. Researcher and presenter: Olivia Howarth is a volunteer with RCPE Heritage, a recently qualified archivist, heritage enthusiast and self-proclaimed lifetime nerd with an interest in medical history. Historical clip credit: Defeat tuberculosis. Wellcome Collection. Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)

The tongue has long been viewed as a meaning-laden symbol as well as a flappy mouth muscle. In this episode we explore the history of the scold's bridle – a tongue-based punishment usually used against women for talking out of turn. We also uncover the supposed historical causes of stuttering – from too much tickling to looking in a mirror. And we explore some pleasant sounding tongue-related historical treatments – from sugar candy and wine drinking to cinnamon water and honey. Finally, a change from all the dung-based recipes we've been looking at! Subscribe to our newsletter to keep up to date with our latest podcasts, videos and events. Subscribe here: https://www.rcpe.ac.uk/heritage/sign-our-heritage-newsletter Website: www.rcpe.ac.uk/heritage Twitter: twitter.com/RCPEHeritage Credits Researcher and presenter: Laura Burgess has been a volunteer with RCPE Heritage since 2021 after completing her MA in History from UNC Charlotte. Editor and producer: Sarah E Hayward completed her PhD in Museums and Heritage Studies at Kingston University London in 2023. She has been a volunteer with RCPE Heritage since 2021. She has a passion for archival research and she loves to explore creative ways to assemble and share the hidden stories she uncovers. Researcher and presenter: Olivia Howarth is a volunteer with RCPE Heritage, a recently qualified archivist, heritage enthusiast and self-proclaimed lifetime nerd with an interest in medical history. Historical clip: Oesophageal speech after laryngectomy. Wellcome Collection. Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)

This is I Am Milk, a special episode inspired by an exhibition at the Wellcome Collection in London entitled, Milk. It explores our relationship with milk and its place in politics, society, and culture. Judaeo-Christian legends are filled to the brim with stories about milk from lactating saints to a promised land of milk and honey and a Christian morality that developed around the symbolism of the white liquid. I Am Milk is a special Saint Podcast episode that delves into the link between saints' legends and milk, featuring co-curators from the Wellcome Collection, Honor Beddard and Marianne Templeton. If you enjoy Saint Podcast, please consider supporting us at Patreon - and unlock bonus episodes, merch, and other behind-the-scene content.

In this first episode of a new series of A brush with…, Ben Luke talks to Larry Achiampong about his influences—from writers to film-makers, musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Achiampong was born in London in 1984 to parents from Ghana, and he explores his personal and communal heritage through media including film, sculpture, installation, sound and performance. He uses diverse visual languages, drawn from popular culture like gaming, comics and Hollywood movies, as well as video art and conceptualism, to explore the legacies of colonisation and entrenched inequalities in contemporary society relating to class, gender and race. He veers from documentary to speculative fiction, often within the same piece. Achiampong discusses the profound early influence of Adrian Piper's art and the films of Spike Lee, the poetry of Claudia Rankine, how he draws on video games and comics as well as art, and his rejection of the term Afrofuturism. Plus, he gives insight into his life in the studio, and reflects on our usual questions, including the ultimate: what is art for?Larry Achiampong: Wayfinder, BALTIC, Gateshead, UK, until 29 October 2023; Larry Achiampong and David Blandy: Genetic Automata, Wellcome Collection, London, until 11 February 2024. Hosted on Acast. See acast.com/privacy for more information.

In this episode we explore the history of the breast. We'll unpick some myths about Amazonian warriors and supposed witches, before uncovering the complex power dynamics of wet nursing and breast-feeding culture. Gender and class collide with disablism when you dig into who breast fed their own child. And if that doesn't sound like enough we explore the strange things that were believed to come out of the nipples and what they were thought to indicate! Subscribe to our newsletter to keep up to date with our latest podcasts, videos and events. Subscribe here: https://www.rcpe.ac.uk/heritage/sign-our-heritage-newsletter Website: www.rcpe.ac.uk/heritage Twitter: twitter.com/RCPEHeritage Credits Researcher and presenter: Laura Burgess has been a volunteer with RCPE Heritage since 2021 after completing her MA in History from UNC Charlotte. Editor and producer: Sarah E Hayward completed her PhD in Museums and Heritage Studies at Kingston University London in 2023. She has been a volunteer with RCPE Heritage since 2021. She has a passion for archival research and she loves to explore creative ways to assemble and share the hidden stories she uncovers. Researcher and presenter: Olivia Howarth is a volunteer with RCPE Heritage, a recently qualified archivist, heritage enthusiast and self-proclaimed lifetime nerd with an interest in medical history. Historical clip: Frank Rowntree compilation recordings. Part 1, Track 14. Wellcome Collection. Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)

In The Evidence on the BBC World Service, Claudia Hammond will be exploring the concept of solastalgia; broadly defined as the pain or emotional suffering brought about by environmental change close to your home or cherished place. Made in collaboration with Wellcome Collection, Claudia Hammond and an expert panel examine this relatively new concept, one that might be increasingly heard about as the effects of climate change are felt. Claudia will be hearing stories of solastalgia from communities in Kenya and Indonesia and examining where storytelling fits in with other types of evidence when it comes to health and wellbeing. What kind of impact can personal stories of loss have on policy makers? On stage with Claudia and in front of a live studio audience, are artist Victoria Pratt, Creative Director of Invisible Flock; Daniel Kobei, Director of Ogiek People's Development Program; epidemiologist Dr Elaine Flores from the Centre on Climate Change and Planetary Health at the London School of Hygiene and Tropical Medicine; former prime minister of Australia Julia Gillard and environmental activist Laetania Belai Djandam Produced by: Helena Selby and Geraldine Fitzgerald Studio Engineers: Emma Harth and Duncan Hannant Photo: Man standing in grey climate whilst looking towards bright climate. Credit: Getty Images.

This episode comes from the Rosenberg Library Conversation series where J.R. Shaw sat down with historians to talk about some interesting historical events and people in Galveston and Texas history. Thanks to the Rosenberg Library for allowing Galveston Unscripted to hold live podcast conversations in the library. This conversation series was such a great experience and we captured some awesome interviews.Dr. Paula Summerly is an Adjunct Assistant Professor in the Department of Pathology at the University of Texas Medical Branch at Galveston. Her primary appointment is as the manager of the Old Red Medical Museum, McGovern Academy, Office of the President (UTMB). Prior to holding these positions, she completed scholarships and fellowships at the Institute for Health Humanities (UTMB) the Feinberg School of Medicine, Northwestern University, and the Dittrick Medical History Center, Case Western Reserve University. She curated a permanent medical exhibition for the Hunterian Museum, University of Glasgow, Scotland (2005) and has served as a curatorial consultant both nationally and internationally including Visual Pathology, Galveston Arts Center (2018), the Wellcome Collection's Forensics: Anatomy of Crime (2015), Dirt: The Filthy Reality of Everyday Life (2011), exhibited at the Wellcome Building, London, UK. Dr. Summerly is working as part of a team to establish a new medical museum in Old Red (the 1890 Ashbel Smith Building) at the heart of the UTMB Galveston campus. Support the showGalveston Unscripted Digital Market

This week, Markus Hippi speaks to Jon Rotheram, co-founder of new London restaurant Lasdun, Ivan Carvalho catches up with acclaimed chef João Rodrigues in the Minho region of Portugal and Sophie Monaghan-Combs heads to the Wellcome Collection's new exhibition ‘Milk'. Plus: the week's top food and drink headlines. See omnystudio.com/listener for privacy information.

We meet Péjú Oshin, a British-Nigerian curator, writer and lecturer born and raised in London. Her work sits at the intersection of art, style & culture with a keen interest in liminal theory and diasporic narratives. Core to her practice is working with visual artists, brands and people globally. Since starting her career working in arts & culture in 2015, Péjú has worked broadly in engaging audiences through public programming, exhibitions, and outdoor art projects in a number of cultural spaces and institutions with a history of supporting artists at various stages of their careers. Péjú is the curator of the forthcoming Gagosain exhibition Rites of Passage which brings together nineteen artists with shared histories of migration.Her previous work and projects include managing the delivery of the Workshop Artists in Residence programme, curating live performance Stillness: We Invoke the Black to Rest (2020), Beyond Boundaries (2021), Late at Tate Britain: Life Between Islands (2021), Late at Tate Britain: Hew Locke (2022) and in-person and online programming at Tate. Leading Barbican's first Young Curators Group (2019-2020) and delivering a number of public-facing events at Wellcome Collection in response to exhibitions such as Living with Buildings and Being Human. As a writer, Péjú has written texts for artists which have been used in exhibitions and solo presentations of artists internationally. She has also been commissioned to write for various platforms and published her first collection of poetry and prose Between Words & Space (2021) which explores performativity, a fear of vulnerability both in public and private spheres and relationships in their varying complexities through the nuances of culture, liminality and where we find home.In 2021 Péjú was shortlisted for the Forbes 30 Under 30 Europe list in the Arts & Culture category and nominated and selected for one of fifteen memberships to AWITA sponsored by Martin Millers Gin, the Adara Foundation and Hauser & Wirth (2021). Péjú currently works at @Gagosian as Associate Director (2022 - present), is an Associate Lecturer at Central Saint Martins. She previously worked at Tate (2018-2022) most recently as Curator: Young People's Programmes.Follow @PejuOshin on InstagramVisit: www.pejuoshin.com and https://gagosian.com/exhibitions/2023/rites-of-passage/ Hosted on Acast. See acast.com/privacy for more information.

We are a teeming mass of interconnected microbes and the impact of this microscopic universe on our health, our minds, even our moods, is profound. Made in collaboration with Wellcome Collection, Claudia Hammond and an expert panel explore one of the fastest moving areas of science and what it means for modern medicine. Recorded in front of a live audience at Wellcome's Reading Room in London, Claudia discovers how our microbes could be harnessed to improve our mental and physical health. And along with the scientific insights, there are important answers to questions everybody wants to know the answer to, such as why some peoples' “emissions” smell so badly and how having a dog or cat enriches your microbiome. On stage with Claudia are immunologist Professor Sheena Cruickshank from the University of Manchester, microbiologist Professor Glenn Gibson from the University of Reading and neuroscientist Professor John Cryan from University College Cork in Ireland. Produced by: Fiona Hill and Elisabeth Tuohy Studio Engineer: Bob Nettles and Emma Hearth Image: Scanning electron micrograph (SEM) of bacteria cultured from a sample of human faeces. Credit: Steve Gschmeissner/Science Photo Library/Getty Images

“Look at me with thy large brown eyes, Philip, my King.”

Louis Wain's cat-centric art was extremely popular in the late 19th and early 20th centuries, and some of his later work became an inspiration for the psychedelic movement of the 1960s. Research: Beetles, Chris. “Louis Wain's Cats.” Chris Beetles and Canongate Books. 2011, 2021. Benge-Abbott, Bryony. “Louis Wain's Cryptic Cats.” Wellcome Collection. 5/19/2020. https://wellcomecollection.org/articles/Xrqh1BAAACMAhHcl Bethlem Museum of the Mind. “Louis Wain (1860-1939).” https://museumofthemind.org.uk/collections/gallery/artists/louis-william-wain Brill, Marta Wiktoria. “Louis Wain and His Weird Cats.” Daily Art Magazine. 8/8/2022. https://www.dailyartmagazine.com/louis-wain-cats/ Dale, Rodney. “Louis Wain: The Man Who Drew Cats.” Michael O'Mara Books Limited. 1968, 1991. Damiani, Stefano. “The Cats of Louis Wain: A Thousand Ways to Draw One's Mind.” American Journal of Psychiatry 175:4, April 2018. Henry Boxer Gallery. “Louis Wain.” https://www.outsiderart.co.uk/artists/louis-wain Hibbard, Ruth. “‘Paw-some' cat drawings by Louis Wain.” Victoria and Albert Museum. 1/18/2022. https://www.vam.ac.uk/blog/museum-life/paw-some-cat-drawings-by-louis-wain Illustration Chronicles. “Cute Cats and Psychedelia: The Tragic Life of Louis Wain.” https://illustrationchronicles.com/cute-cats-and-psychedelia-the-tragic-life-of-louis-wain Jablensky, Assen. “The diagnostic concept of schizophrenia: its history, evolution, and future prospects.” Dialogues in clinical neuroscience vol. 12,3 (2010): 271-87. doi:10.31887/DCNS.2010.12.3/ajablensky McGennis, Aidan. “Louis Wain: his life, his art and his mental Illness.” Irish Journal of Psychological Medicine. Volume 16 Issue 1. Milton, Joseph. “How a mental disorder opened up an invisible world of colour and pattern.” Scientific American. 12/22/2011. https://blogs.scientificamerican.com/creatology/how-a-mental-disorder-opened-up-an-invisible-world-of-colour-and-pattern/ Parkin, Michael. "Wain, Louis William (1860–1939), artist." Oxford Dictionary of National Biography. Oxford University Press. Date of access 2 Nov. 2022, https://proxy.bostonathenaeum.org:2261/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-36677 Stokes, Tim. “Louis Wain: The Artist Who Changed How We Think About Cats.” BBC. 12/28/2021. https://www.bbc.com/news/uk-england-london-59518847 Tambling, Kirsten. "The man who drew cats: Louis Wain's series of 'Kaleidoscope Cats' are often regarded as the acme of 'asylum art', but the tendency to pathologise his drawings may obscure what makes them so arresting and technically original." Apollo, vol. 194, no. 702, Nov. 2021, pp. 34+. Gale General OneFile, link.gale.com/apps/doc/A689978465/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=fe018abc. Accessed 1 Nov. 2022. Tambling, Kirsten. “Louis Wain, the man who drew cats.” Apollo Magazine. 12/15/2021. https://www.apollo-magazine.com/louis-wain-the-man-who-drew-cats/ Tassell, Nige. “Louis Wain: the cat-loving artist who forever changed the way that we see our feline friends.” History Extra. 3/2/2022. https://www.historyextra.com/period/modern/louis-wain-cat-artist-caricature-mental-health-benedict-cumberbatch/ The Expositor. “Cabbages and Kings By the Walrus.” 7/29/1939. https://www.newspapers.com/image/733377488/?terms=Louis%20Wain&match=1 Holcombe, A.N. “The Telephone in Great Britain.” : The Quarterly Journal of Economics , Nov., 1906, Vol. 21, No. 1 (Nov., 1906). https://www.jstor.org/stable/1883751 See omnystudio.com/listener for privacy information.

I first came across Rosie Barnes's photography through her exhibition ‘No you're not' a striking series of portraits and statements from autistic women who have been successful in academia and business. Two images from this series have been included in the prestigious Taylor Wessing Photographic Portrait Prize at the National Gallery in London. Rosie is a  documentary and fine art photographer with a particular interest in our relationship with the natural world. She also makes work about disability, difference, community and family. She has exhibited internationally, most recently in Sweden and China and has been commissioned by the Guardian, the FT, and the Wellcome Collection, amongst others. We talk about her work and the images of autistic women, the value of shyness, Rosie's route into photography, her funny, haunting work around nature and our relationship to it, what it's like to see her work exhibited on a huge scale, and Rosie's fascinating project to create a truly integrated, community housing project.Rosie's website is www.rosiebarnes.comRosie's Instagram is @rosiebarnesphotoThe No You're Not series can be seen at https://wellcomecollection.org/articles/Yd8L-hAAAIAWFxqaMore information about Katehttps://www.katecodrington.co.uk/Instagram @kate_codringtonSecond Spring: the self-care guide to menopause is available from your favourite bookshopMusicTrust Me (instrumental) by RYYZNCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / StreamMusic promoted by Audio LibraryArtworkKate's portrait by Lori Fitzdoodles

Clint Dyer discusses directing Othello starring Giles Terera at the National Theatre, the first Black director to do so. He talks about how he is approaching the racism and misogyny in the play, and the history of previous productions. In the second of Front Row's interviews with the artists nominated for this year's Turner Prize, Ingrid Pollard discusses her work, Carbon Slowly Turning, and how she explores themes of nationhood, race, history and identity through portraiture and landscape. And as the Wellcome Collection decides to close an exhibition described as sexist, racist and ableist, Front Row discusses whether museums should display historical objects that may offend gallery visitors. Presenter: Samira Ahmed Producer: Eliane Glaser Image: Giles Terera as Othello and Rosy McEwan as Desdemona. Image credit: Myah Jeffers

Old Red walkthrough with Dr. Paula Summerly VIDEO: https://youtu.be/CBJ42nW1Bs0The 1920 Bubonic Plague outbreak of Galveston with Dr. Paula Summerly | An infected needle mishap, rat proofing the island, and trailblazing women in the medical field : https://www.galvestonunscripted.com/paula-summerly-bubonic-plagueGalveston Unscripted Youtube Channel: https://www.youtube.com/channel/UCgv9bESX7tTtsLlwHe0H3ogDr. Paula Summerly is an Adjunct Assistant Professor in the Department of Pathology at the University of Texas Medical Branch at Galveston. Her primary appointment is manager of the Old Red Medical Museum, McGovern Academy, Office of the President (UTMB). Prior to holding these positions, she completed scholarships and fellowships at the Institute for Health Humanities (UTMB) the Feinberg School of Medicine, Northwestern University and the Dittrick Medical History Center, Case Western Reserve University. She curated a permanent medical exhibition for the Hunterian Museum, University of Glasgow, Scotland (2005) and has served as a curatorial consultant both nationally and internationally including Visual Pathology, Galveston Arts Center (2018), the Wellcome Collection's Forensics: Anatomy of Crime (2015), Dirt: The Filthy Reality of Everyday Life (2011), exhibited at the Wellcome Building, London, UK. Dr. Summerly is working as part of a team to establish a new medical museum in Old Red (the 1890 Ashbel Smith Building) at the heart of the UTMB Galveston campus.More on Dr. Summerlyhttps://www.utmb.edu/pathology/faculty/paula-summerly-msc-phd

In today's episode, because I am obsessed with books, I want you guys to meet Salma ElWardany. Egyptian-Irish-South Asian writer, poet, and BBC radio host Salma has presented two TEDx Talks, collaborated with Edinburgh University on the Dangerous Woman project, and partnered with The British Library and The Wellcome Collection. She routinely collaborates with international brands to increase awareness through poetry and dialogue. She is the author of the amazing book These Impossible Things, which has landed on so many global lists of books to read in 2022! And she is a contributor to the critically acclaimed bestseller It's Not About the Burqa. I am a huge fan of her book which really puts the modern Arab woman in a story that the world talked about and read, bought and bragged about! I had the absolute pleasure of having her on my podcast and get to meet her IRL next week! The episode is about real talk and she leads the conversation in ways that keep you wanting more! We also talked about her background and her process of writing. I hope you enjoy the conversation as much as I did and let me know if you read the book and your thoughts. Links Salma El-Wardany's social: Instagram • LinkedIn Book “These Impossible Things” on Amazon

In this special episode, broadcaster Rob Crossan takes a look back over some of our London-based episodes, including Siobhán McSweeney at the Wellcome Collection, Lolita Chakrabarti at the Horniman Museum & Gardens, Mel Giedroyc at Pitzhanger Manor, and Lemn Sissay at the Foundling Museum.Wherever you go in London this autumn there is so much to love and enjoy. Be inspired, calmed, enthralled and entertained. Make a date with London. #LoveLondon Hosted on Acast. See acast.com/privacy for more information.

In this podcast Owen Bennett-Jones and psychoanalyst Daniel Pick discuss brainwashing, thought control and group think. In the case of totalitarian political systems, do dissidents prove that brainwashing cannot be guaranteed to work? Or do the techniques used by advertisers and political leaders in fact mean people are being manipulated and can do nothing about it? Pick is the author of Brainwashed: A New History of Thought Control (Wellcome Collection, 2020).  Owen Bennett-Jones is a freelance journalist and writer. A former BBC correspondent and presenter he has been a resident foreign correspondent in Bucharest, Geneva, Islamabad, Hanoi and Beirut. He is recently wrote a history of the Bhutto dynasty which was published by Yale University Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Good luck with the start of another academic year: you are not alone. Mental health is often falsely presented as irrelevant to people of colour. Dr. Samara Linton and Dr. Rianna Walcott's brilliant The Colour of Madness explores mental health for and by people of colour across art, essays, poetry, and stories. Together with PhDiva Xine they discuss bridging the STEM/humanities divide through their collaboration and the uses of the book to communities, teaching, and health care professionals. The Colour of Madness https://linktr.ee/TheColourofMadness https://www.instagram.com/colourofmadness/?hl=en https://twitter.com/madnesscolourof?lang=en Support PhDivas on Patreon: www.patreon.com/phdivaspodcast Dr Samara Linton (she/her) is an award-winning writer, researcher, and multidisciplinary content producer. Her work includes The Colour of Madness: Mental Health and Race in Technicolour (2022) and Diane Abbott: The Authorised Biography (2020). Samara writes for various publications, including gal-dem, Huffington Post UK, The Metro, New Economics Foundation, Fawcett Society, and the Royal College of Psychiatrists. Her published research includes an influential report on Ebola-affected communities for the Africa All-Party Parliamentary Group (2016). She also sat on the editorial board for the British Medical Journal's award-winning Racism in Medicine special issue (2020). Samara worked as a junior doctor in east London before joining the BBC, where she worked in production. A University of Cambridge (BA Hons.) and University College London (MBBS) graduate, she is currently completing an MA in Health Humanities at University College London. You can find out more about Samara's work at www.samaralinton.com, and she tweets at @samara_linton. Rianna Walcott (she/her) is an LAHP alumna and PhD candidate at Kings College London researching Black British identity formation in digital spaces. Rianna combines digital work, decolonial studies, arts and culture, and mental health advocacy in her work, with a deep commitment to outreach work and public engagement. She co-founded projectmyopia.com, a website that promotes inclusivity in academia and a decolonized curriculum, and is the UCL writing lab's Scholar-in-Residence for 21-22. Rianna frequently writes about race, feminism, mental health, and arts and culture for publications including The Wellcome Collection, The Metro, The Guardian, The BBC, Vice, and Dazed. Rianna is co-editor of an anthology about BAME mental health - The Colour of Madness (2022), and in the time left over, she moonlights as a professional jazz singer. Rianna will be based at The Black Communication and Technology (BCaT) Lab at the University of Maryland-College Park. Research at this new lab will focus on race and technology, as well as the development of a pipeline program to introduce undergraduates and those in the wider community to the field of Black digital studies with the aim of working toward a more equitable digital future. You can find out more about Rianna's work at www.riannawalcott.com, and she tweets at @rianna_walcott.

Today The Evidence goes green as Claudia Hammond and her panel of experts discuss plant power, how nature and the natural environment affect our mental health. Produced in collaboration with Wellcome Collection and recorded in front of a live audience in the Reading Room at Wellcome in London, the programme addresses that widely-held view, even intuition, that plants and nature directly impact on our emotional wellbeing. As always, Claudia and her panel of experts are interested in the evidence behind such beliefs, and as they reveal, proving this link scientifically, is fiendishly difficult. The evidence base is growing (especially studies which show being in nature improves your mood) and there is much emerging research which gives tantalising glimpses into exactly which elements in nature could help to produce that green feel-good factor (and which elements can actually make us feel worse). On stage at Wellcome, Tayshan Hayden-Smith, a 25 year old semi-professional footballer shares how he first put his hands in the soil after the Grenfell Tower fire in North Kensington in London five years ago, when 72 people lost their lives and left his community traumatised. Tayshan tells Claudia that nature saved him, and many others, as they planted seeds, re-claimed spaces and built new gardens in the aftermath of the tragedy. All children and young people, he says, should have access to the healing power of nature and he calls on the horticultural establishment to open its doors much wider to enable this to happen. Beth Collier too, believes that nature should be a meaningful part of everyday life for all. The connection with nature, she says, is fundamental to healing mental distress. A psychotherapist and ethnographer, Beth founded Wild in the City to encourage those who live in urban environments, especially people of colour, to re-connect with nature. Claudia's other guests are Kathy Willis, former Director of Science at the Royal Botanic Gardens, Kew, now Professor of Biodiversity at the University of Oxford and author of a soon-to-be-published book called Prescribing Nature and Birgitta Gatersleben, Professor of Environmental Psychology at the University of Surrey and a leading researcher studying the relationship between the natural environment and human wellbeing. Produced by: Fiona Hill and Maria Simons Studio Engineers: Duncan Hannant and Emma Harth (Photo: Footpath through a forest Credit: Nik Taylor/UCG/Universal Images Group/Getty Images)

Kathy Clugston and the panel are in London. Fielding your horticultural queries this week are Anne Swithinbank, Pippa Greenwood and James Wong. This week, the team get suitably scientific as they answer questions from a live audience at Wellcome Collection, London, a museum exploring health and the human experience. The panel share their knowledge on vernalisation, chimeral variegation, and the process that makes watermelons from Bulgaria taste so sweet. They'll also be offering up some adventurous recommendations for climbers to grow in total shade and planting on a narrowboat. Away from the questions, curator Emily Sargent shows regular panellist James Wong around the Rooted Beings exhibition at Wellcome Collection, an exhibition which asks us to reconsider our relationship to the plants we take for granted in our everyday life. Producer: Dominic Tyerman Assistant Producer: Bethany Hocken A Somethin' Else production for BBC Radio 4

From a death row prisoner to the schemes to raise money dreamt up by his father: human rights lawyer Clive Stafford Smith has written a memoir exploring the impact of mental health on his family, his clients in the legal system and himself. New Generation Thinker Sabina Dosani is a Consultant Child and Adolescent Psychiatrist. She writes a postcard for Mental Health Week about Radclyffe Hall's The Well of Loneliness. Curator George Vasey discusses activism on air pollution and curator James Taylor-Foster explains the sensations of ASMR. Anne McElvoy hosts. Trials of the Moon: My Father's Trials by Clive Stafford Smith is out now. Sabina Dosani is a 2022 New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council to turn research into radio https://sabinadosani.com/ In the Air runs at the Wellcome Collection from 19 May 2022—16 October 2022 Weird Sensation Feels Good: The World of ASMR runs at the Design Museum from May 13th Producer in Salford: Cecile Wright You can find a new Music & Meditation podcast on BBC Sounds or take some time out with BBC Radio 3's Slow Radio podcast. And Radio 3's Essential Classics has a slow moment every weekday at 11.30am There is also a Free Thinking episode called Breathe hearing from Writer James Nestor, saxophonist Soweto Kinch, Imani Jacqueline Brown of Forensic Architecture and New Generation Thinker Tiffany Watt Smith https://www.bbc.co.uk/programmes/m000xszq