Anatomy Live: Performance and the Operating Theatre by Maaike Bleeker

By Maaike Bleeker

Gross anatomy, the learn of anatomical constructions that may be noticeable via unassisted imaginative and prescient, has lengthy been an issue of fascination for artists. for many smooth audience, notwithstanding, the anatomy lesson—the technically detailed province of scientific surgeons and clinical faculties—hardly turns out the right kind breeding flooring for the hybrid workings of artwork and idea. We omit that, in its early levels, anatomy pursued the hugely theatrical spirit of Renaissance technological know-how, as painters similar to Rembrandt and Da Vinci and clinical teachers like Fabricius of Aquapendente shared audiences dedicated to the workings of the human physique. Anatomy Live: Performance and the working Theatre, a impressive attention of recent advancements at the degree, in addition to in modern writings of theorists resembling Donna Haraway and Brian Massumi, turns our sleek notions of the dissecting desk on its head—using anatomical theatre as a method of acquiring a clean point of view on representations of the physique, conceptions of subjectivity, and personal wisdom approximately technological know-how and the degree. severely dissecting famous exhibitions like Body Worlds and The noticeable Human Project and that includes contributions from a few assorted students on such topics because the development of spectatorship and the results of anatomical background, Anatomy Live isn't to be overlooked by way of an individual with an curiosity during this enticing intersection of technology and inventive practice.

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THE VISIBLE AND THE VISCERAL 53 as locked not so much in a dialectical embrace, but chiasmatically intertwined in a struggle for the real, for the potential to tell a story about the world. ) certainty of a proto-Linnean typology; conversely, science established its audience through its capacity to mobilize the kind of performative engagement more conventionally associated with the fairground. Goodall writes colourfully of the delicate and not-so-delicate negotiations of showmanship in which museums, competing for their audience market share, were required to indulge.

The provenance of cadavers, in Western teaching hospitals, is regulated by strict protocols and is rarely a subject of discussion; as a rule, the cadaver’s anonymity is guaranteed, so students can concentrate exclusively on the scientific dimension of the dead body. By the same token, scientific articles referring to the Visible Human omit any information regarding the creation of these databases. However, the provenance of these digital bodies – the actual DIGITAL CADAVERS AND VIRTUAL DISSECTION 35 bodies on which they are based – forms a crucial subtext for understanding the historical and cultural roots of the Visible Human Project.

José van Dijck is a Professor of Media and Culture at the University of Amsterdam and Dean of the Humanities Department. Her research areas include media and science, (digital) media technologies, and television and culture. She is the author of several books, including Manufacturing Babies and Public Consent. Debating the New Reproductive Technologies (New York, New York University Press, 1995); ImagEnation. Popular Images of Genetics (New York, New York University Press, 1998). The chapter ‘Digital Cadavers’ was taken from her book The Transparent Body.

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