Charles Harrison

HYPERTENSIVE AND ISCHÆMIC HEART DISEASE: A COMPARATIVE CLINICAL AND PATHOLOGICAL STUDY

Hypertension and coronary sclerosis have been the subject of extensive study, yet they have many aspects that are still poorly understood. In the present work we have tried to ascertain how far they are dissociated and how far they overlap, and in particular we have studied their effects on the circulatory capacity of the coronary tree by injection and radiography. Over a period of four years, from 1935 to 1939, we made a careful clinical study of most of the cases of ischemic and hypertensive heart disease admitted to the wards of the Hammersmith Hospital. A total of 189 cases was analysed, of which 55 per cent were hypertensive, 30 per cent were ischaemic, and 15 per cent were mixed. Sooner or later some of these cases came to autopsy and so provided our chief material. Each patient was classified in an arbitrary fashion, on clinical grounds, before the necropsy was made: those with angina pectoris or with myocardial infarction being considered to have ischemic heart disease whatever the level of the blood pressure; those with high blood pressure and without angina or myocardial infarction being considered to have hypertensive heart disease. The diagnosis of angina pectoris was made entirely on the history; that of myocardial infarction rested on well-known electrocardiographic criteria. Only patients with systolic blood pressures over 200 mm. and diastolic blood pressures over 100 mm., known to have been persistent, were included in the hypertensive series. In all there were twenty-seven hypertensive and fifteen ischemic cases. In addition, twelve normal hearts were included in the pathological study to serve as controls. In the hope of learning something about the factors governing cardiac enlargement, and in order to facilitate correlation between the clinical and pathological findings, an attempt was made to divide the cases into subgroups. Subdivision of the fifteen ischemic cases proved too difficult, however, and was finally abandoned in favour of Table I; for it was not clear whether a profitable subdivision should be based on the height of the blood pressure, on the duration of myocardial ischemia, or on the duration of heart failure; moreover, the blood pressure was not known prior to myocardial infarction in some instances. The twenty-seven hypertensive cases, which followed a simpler course, were subdivided according to their stage of development when death intervened as follows. (1) No cardiac symptoms: Cases 24, 47, 60, and 69. Death was from pulmonary embolism in Case 24, from cerebral hmemorrhage in Case 47, and from uremia in Cases 60 and 69. (2) Effort dyspnoea only: Cases 23, 36, 39, 43, 44, and 65. Death was from cerebral hemorrhage in Cases 23 and 44, from herniotomy in Cases 36 and 39, from pneumonia in Case 43, and from hzematemesis from peptic ulcer in Case 65. (3) Left ventricular failure: Cases 11, 13, 19, 41, 45, and 68. Death was from cerebral hzemorrhage in Case 11, from uremia in Cases 13, 19, 41, and 45, and from bronchopneumonia in Case 68. (4) Full course-death in congestive heart failure: Cases 8, 32, 38, 58, 62, and 63 followed previous manifestations of left ventricular failure; Cases 28, 48, 49, 50, and 53 had no such previous manifestations.

Modern art and modernism : a critical anthology

PART ONE: MODERN LIFE, MODERNIT[ac]E AND MODERNISM PART TWO: THE DEVELOPMENT OF MODERNISM PART THREE: ABSTRACTION PART FOUR: EXPRESSIONISM PART FIVE: ART AND SOCIETY

On the Surface of Painting

den-who are the artists of Art & Language-painted pictures that ended up white. Though these works were not viewed without irony, and though few of them survived the exercise of self-criticism, the intuition has persisted that the problemfield of the project was generated by some significant conditions of art. At an early stage in this phase of work, Baldwin and Ramsden happened across a snow scene

A Place to Work

Published in the name of Art & Language, the article considers the expansion of artistic and curatorial practices that followed in the wake of the Conceptual Art movement of the late 1960s and early 1970s. As the site of production moved from the studio to the museum, there was a massive increase in the power of the institution to determine the production of art (comparable to the tendency of higher-educational institutions increasingly to determine intellectual production). It is suggested that the means to a qualified resistance might be found in a mode of conversational practice with a necessarily recursive dimension.

The Difficulty of Rothko

Books reviewed in this article: David Anfam, Mark Rothko: The Works on Canvas Jeffrey Weiss, (ed.) Mark Rothko Sheldon Nodelman, The Rothko Chapel Paintings: Origins, Structure, Meaning

Now They Are Surrounded

Abstract The article considers questions of internality, autonomy and institutional theory. Against the malign appropriations of institutions, it proposes a possible resistance by artworks through their internality. A certain form of internality is proposed; one that is necessary for autopoeisis and therefore one that knows about itself, is recursive, and ‘as a consequence of this’ is empowered to know about the world outside. It is in virtue of this dialectical internality that the work of art can work to resist entry by those agencies whose secular power rests on the solipsistic arbitrariness of meaning. The article is in three parts. In the first part, some of the circumstances that gave rise to the production of an artwork titled Now They Are Surrounded are described and an attempt is made to situate the practice of Art & Language relative to contemporary artistic culture. In the second part, Now They Are Surrounded is described in the context of its installation in the Guildhall Art Gallery. The discussion is specifically concerned with a distinction between external- and internal-type descriptions of the artwork. Now They Are Surrounded is a work that addresses its own external and unwanted conditions even as it endeavours to sustain a degree of internality; a work that would attract to itself the predicates of art in thrall to the institution while nevertheless maintaining a measure of critical distinctness from work of that kind. The third part goes on to ask if a change in the circumstances and the form in which Now They Are Surrounded is exhibited would change the modalities of looking and reading and of figure and ground, as well as the works internal description. This article was given to the symposium ‘What Work Does the Art Work Do? II’ in June 2005. The symposium was held at The Guildhall Art Gallery, London in connection with an exhibition by Art & Language at the same location. The work exhibited had been made specifically for the occasion. It was envisaged, however, that the work would be installed in altered configurations in other circumstances. One such circumstance occurred at ZKM, Karlsruhe in November 2005, the article was modified accordingly.

Modernity and Modernism: French Painting in the Nineteenth Century@@@Primitivism, Cubism, Abstraction: The Early Twentieth Century@@@Realism, Rationalism, Surrealism: Art between the Wars@@@Modernism in Dispute: Art since the Forties

Modern practices of art and modernity, Nigel Blake and Francis Franscina impressionism, modernism and originality, Charles Harrison gender and representation, Tamar Garb.

MODERNISM AND MODERN ART HISTORY

The Story of Modern Art by Norbert Lynton, Oxford: Phaidon Press, 1980, 382 pp., 212 ills, 85 colour pls, £13.95 The Shock of the New; Art and the Century of Change by Robert Hughes, London: BBC Publications, 1980, 69 ills, 192 colour pls, £15.15