Todd Meyers – författare

The injuries suffered by soldiers during WWI were as varied as they were brutal. How could the human body suffer and often absorb such disparate traumas? Why might the same wound lead one soldier to die but allow another to recover? In The Human Body in the Age of Catastrophe, Stefanos Geroulanos and Todd Meyers uncover a fascinating story of how medical scientists came to conceptualize the body as an integrated yet brittle whole. Responding to the harrowing experience of the Great War, the medical community sought conceptual frameworks to understand bodily shock, brain injury, and the wildly divergence between patients. Geroulanos and Meyers carefully trace how this emerging constellation of concepts became essential for thinking about integration, individuality, fragility, and collapse far beyond medicine: in fields as diverse as anthropology, political economy, psychoanalysis, and cybernetics. Moving effortlessly between the history of medicine and intellectual history, The Human Body in the Age of Catastrophe is an intriguing look into the conceptual underpinnings of the world the Great War ushered in.

The injuries suffered by soldiers during WWI were as varied as they were brutal. How could the human body suffer and often absorb such disparate traumas? Why might the same wound lead one soldier to die but allow another to recover? In The Human Body in the Age of Catastrophe, Stefanos Geroulanos and Todd Meyers uncover a fascinating story of how medical scientists came to conceptualize the body as an integrated yet brittle whole. Responding to the harrowing experience of the Great War, the medical community sought conceptual frameworks to understand bodily shock, brain injury, and the wildly divergence between patients. Geroulanos and Meyers carefully trace how this emerging constellation of concepts became essential for thinking about integration, individuality, fragility, and collapse far beyond medicine: in fields as diverse as anthropology, political economy, psychoanalysis, and cybernetics. Moving effortlessly between the history of medicine and intellectual history, The Human Body in the Age of Catastrophe is an intriguing look into the conceptual underpinnings of the world the Great War ushered in.

Despite increasingly nuanced understandings of the neurobiology of addiction and a greater appreciation of the social and economic conditions that allow drug dependency to persist, there remain many unknowns regarding the individual experience of substance abuse and its treatment. In recent years, novel pharmaceutical therapies have given rise to both new hopes for recovery and renewed fears about drug diversion and abuse. In The Clinic and Elsewhere, Todd Meyers looks at the problems of meaning caused by drug dependency and appraises the changing terms of medical intervention today.By following a group of adolescents from the time they enter drug rehabilitation treatment through their reentry into the outside world-the clinic, their homes and neighborhoods, and other institutional settings-Meyers traces patterns of life that become mediated by pharmaceutical intervention. His focus is not on the drug economy but rather on the therapeutic economy, where new markets, transactions of care, and highly porous conceptions of success and failure come together to shape addiction and recovery. The book is at once a meditative work of anthropology, a demonstration of the theoretical and methodological limits of medical research, and a forceful intervention into the philosophy of therapeutics at the level of the individual.Watch the trailer: http://www.youtube.com/watch?v=-Nfyy21fxp8&list=UUge4MONgLFncQ1w1C_BnHcw&index=12&feature=plc

Despite increasingly nuanced understandings of the neurobiology of addiction and a greater appreciation of the social and economic conditions that allow drug dependency to persist, there remain many unknowns regarding the individual experience of substance abuse and its treatment. In recent years, novel pharmaceutical therapies have given rise to both new hopes for recovery and renewed fears about drug diversion and abuse. In The Clinic and Elsewhere, Todd Meyers looks at the problems of meaning caused by drug dependency and appraises the changing terms of medical intervention today.By following a group of adolescents from the time they enter drug rehabilitation treatment through their reentry into the outside world-the clinic, their homes and neighborhoods, and other institutional settings-Meyers traces patterns of life that become mediated by pharmaceutical intervention. His focus is not on the drug economy but rather on the therapeutic economy, where new markets, transactions of care, and highly porous conceptions of success and failure come together to shape addiction and recovery. The book is at once a meditative work of anthropology, a demonstration of the theoretical and methodological limits of medical research, and a forceful intervention into the philosophy of therapeutics at the level of the individual.Watch the trailer: http://www.youtube.com/watch?v=-Nfyy21fxp8&list=UUge4MONgLFncQ1w1C_BnHcw&index=12&feature=plc

The study of facial expression and its musculature undertaken by Guillaume-Benjamin Duchenne de Boulogne in 1862, an attempt to secure biological meaning in the natural language of the emotions, resulted in the pioneering Méchanisme du physiognomie humaine. Duchenne, who used photography to document his experiments, inspired Charles Darwin's Expression of the Emotions in Man and Animals (1872) and had a significant influence on artists (his teachings were incorporated into the curriculum of the École Normale Supérieur des Beaux Arts). Through Duchenne, François Delaporte provides a remarkable philosophical and historical examination of expressive physiology during the mid-nineteenth century and considers the science of emotion as a means of revealing inner life upon the surface of the face. The central concern of Anatomy of the Passions is how techniques of studying facial musculature became a point of contact between existing and novel understandings of the body's expressive anatomy. Delaporte shows that Duchenne entirely reordered the knowledge and limits of expressive physiology in science and art. The face became a site where the signs of inner life are silently revealed, not yet betrayed by speech, but brought forth by reflexive physiology or by technical manipulation.

The study of facial expression and its musculature undertaken by Guillaume-Benjamin Duchenne de Boulogne in 1862, an attempt to secure biological meaning in the natural language of the emotions, resulted in the pioneering Méchanisme du physiognomie humaine. Duchenne, who used photography to document his experiments, inspired Charles Darwin's Expression of the Emotions in Man and Animals (1872) and had a significant influence on artists (his teachings were incorporated into the curriculum of the École Normale Supérieur des Beaux Arts). Through Duchenne, François Delaporte provides a remarkable philosophical and historical examination of expressive physiology during the mid-nineteenth century and considers the science of emotion as a means of revealing inner life upon the surface of the face. The central concern of Anatomy of the Passions is how techniques of studying facial musculature became a point of contact between existing and novel understandings of the body's expressive anatomy. Delaporte shows that Duchenne entirely reordered the knowledge and limits of expressive physiology in science and art. The face became a site where the signs of inner life are silently revealed, not yet betrayed by speech, but brought forth by reflexive physiology or by technical manipulation.

Best known for his pioneering work in theories of self-organization and complexity, the biophysicist and philosopher Henri Atlan has during the past thirty years been a major voice in contemporary European philosophical and bioethical debates. In a massive oeuvre that ranges from biology and neural network theory to Spinoza's thought and the history of philosophy, and from artificial intelligence and information theory to Jewish mysticism and contemporary medical ethics, Atlan has come to offer an exceptionally powerful philosophical argumentation that is as hostile to scientism as it is attentive to biology's conceptual and experimental rigor, as careful with concepts of rationality as it is committed to rethinking the human place in a radically determined yet forever changing world.This is the first volume to bring together the major strands of Atlan's work for an English-language audience. It is an indispensable compendium for those seeking to clarify the joint stakes and shared import of philosophy and science for questions of life and the living—today and tomorrow.

Benjamin Christensen's Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female "hysterics" and the mentally ill.In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of "documentary" and "fiction." Baxstrom and Meyers reveal how Christensen's attempt to tame the irrationality of "the witch" risked validating the very "nonsense" that such an effort sought to master and dispel. Häxan is a notorious, genre-bending, excessive cinematic account of the witch in early modern Europe. Realizing the Witch not only illustrates the underrated importance of the film within the canons of classic cinema, it lays bare the relation of the invisible to that which we cannot prove but nevertheless "know" to be there.

Benjamin Christensen's Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female "hysterics" and the mentally ill.In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of "documentary" and "fiction." Baxstrom and Meyers reveal how Christensen's attempt to tame the irrationality of "the witch" risked validating the very "nonsense" that such an effort sought to master and dispel. Häxan is a notorious, genre-bending, excessive cinematic account of the witch in early modern Europe. Realizing the Witch not only illustrates the underrated importance of the film within the canons of classic cinema, it lays bare the relation of the invisible to that which we cannot prove but nevertheless "know" to be there.

A Cultural History of Medicine presents an authoritative survey from ancient times to the present. The set of six volumes covers over 2500 years of history, charting the changes in medical experience, knowledge and practices throughout history.This volume, A Cultural History of Medicine in the Modern Age, explores medicine as a cultural practice from 1920 to the present day. As with all the volumes in the illustrated Cultural History of Medicine set, this volume presents essays on the environment, food, war, animals, objects, experiences, authority and the mind.A Cultural History of Medicine in the Modern Age is the most authoritative and comprehensive survey available on medicine in the modern period.

A Cultural History of Medicine presents anauthoritative survey from ancient times to the present. The set of six volumescovers over 2500 years of history, charting the changes in medical experience,knowledge and practices throughout history.This volume, ACultural History of Medicine in the Modern Age, explores medicine as acultural practice from 1920 to the present day. As with all the volumes in the illustrated Cultural History of Medicineset, this volume presents essays on the environment, food, war, animals, objects,experiences, authority and the mind.A Cultural History of Medicine in the Modern Age is the most authoritative andcomprehensive survey available on medicine in the modern period.

In the 1950s the colonial British government in Northern and Southern Rhodesia (present-day Zambia and Zimbabwe) began construction on a large hydroelectric dam that created Lake Kariba and dislocated nearly 60,000 indigenous residents. Three decades later, Pamela Reynolds began fieldwork with the Tonga people to study the lasting effects of the dispossession of their land on their lives. In The Uncaring, Intricate World Reynolds shares her field diary, in which she records her efforts to study children and their labor and, by doing so, exposes the character of everyday life. More than a memoir, her diary captures the range of pleasures, difficulties, frustrations, contradictions, and grappling with ethical questions that all anthropologists experience in the field. The Uncaring, Intricate World concludes with afterwords by Jane I. Guyer and Julie Livingston, who critically reflect on its context, its meaning for today, and relevance to conducting anthropological work.

In the 1950s the colonial British government in Northern and Southern Rhodesia (present-day Zambia and Zimbabwe) began construction on a large hydroelectric dam that created Lake Kariba and dislocated nearly 60,000 indigenous residents. Three decades later, Pamela Reynolds began fieldwork with the Tonga people to study the lasting effects of the dispossession of their land on their lives. In The Uncaring, Intricate World Reynolds shares her field diary, in which she records her efforts to study children and their labor and, by doing so, exposes the character of everyday life. More than a memoir, her diary captures the range of pleasures, difficulties, frustrations, contradictions, and grappling with ethical questions that all anthropologists experience in the field. The Uncaring, Intricate World concludes with afterwords by Jane I. Guyer and Julie Livingston, who critically reflect on its context, its meaning for today, and relevance to conducting anthropological work.

While studying caregiving and chronic illness in families living in situations of economic and social insecurity in Baltimore, anthropologist Todd Meyers met a woman named Beverly. In All That Was Not Her Meyers presents an intimate ethnographic portrait of Beverly, stitching together small moments they shared scattered over months and years and, following her death, into the present. He meditates on the possibilities of writing about someone who is gone-what should be represented, what experiences resist rendering, what ethical challenges exist when studying the lives of others. Meyers considers how chronic illness is bound up in the racialized and socioeconomic conditions of Beverly’s life and explores the stakes of the anthropologist’s engagement with one subject. Even as Meyers struggles to give Beverly the final word, he finds himself unmade alongside her. All That Was Not Her captures the complexity of personal relationships in the field and the difficulty of their ending.

While studying caregiving and chronic illness in families living in situations of economic and social insecurity in Baltimore, anthropologist Todd Meyers met a woman named Beverly. In All That Was Not Her Meyers presents an intimate ethnographic portrait of Beverly, stitching together small moments they shared scattered over months and years and, following her death, into the present. He meditates on the possibilities of writing about someone who is gone-what should be represented, what experiences resist rendering, what ethical challenges exist when studying the lives of others. Meyers considers how chronic illness is bound up in the racialized and socioeconomic conditions of Beverly’s life and explores the stakes of the anthropologist’s engagement with one subject. Even as Meyers struggles to give Beverly the final word, he finds himself unmade alongside her. All That Was Not Her captures the complexity of personal relationships in the field and the difficulty of their ending.

In Gone Gone, Todd Meyers reckons with grief in the face of overdose death and with the afterlives of loss created by the opioid crisis. Through conversations with friends, lovers, and family members of those who are gone, Meyers brings readers into an inquiry about lives shared, told through tenderness and tragedy. Meyers seeks to find methods to record and convey the many experiences of grief in ways that do not simply consign sorrow to the world of drugs and addiction. Blending prose, poetry, and ethnography, Gone Gone is a lucid and devastating record that reminds readers that the grief felt by those who lose ones they love to overdose is varied and untamable.

In Gone Gone, Todd Meyers reckons with grief in the face of overdose death and with the afterlives of loss created by the opioid crisis. Through conversations with friends, lovers, and family members of those who are gone, Meyers brings readers into an inquiry about lives shared, told through tenderness and tragedy. Meyers seeks to find methods to record and convey the many experiences of grief in ways that do not simply consign sorrow to the world of drugs and addiction. Blending prose, poetry, and ethnography, Gone Gone is a lucid and devastating record that reminds readers that the grief felt by those who lose ones they love to overdose is varied and untamable.