Anatomy Live: Performance and the Operating Theatre (Mediamatters)
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dissecting theatres like Padua and Leiden, as evinced in Francois Salle’s painting The Anatomy Lesson at the Ecole des Beaux-Arts, Paris (1888). In the life classes at revered art institutions such as The Royal Academy, the model took the place of the cadaver, and artists were seated closer according to experience and social status. Following the Second World War, artists began to abandon traditional art forms such as figurative painting and drawing in favour of abstraction and new forms of
Unnatural Selection, the result of Chadwick’s residency at the IVF unit at King’s College Hospital London. Following the artist’s unexpected and sudden death, the installation was exhibited posthumously, emphasizing the memento mori associations of the artwork. A series of gemlike, cibachrome photographs set in clear perspex, Unnatural Selection is highly suggestive of the allegorized womb (think again of the Vesalian womb in Fabrica) integrating actual fertilized human eggs discarded by the IVF
to reach and teach their audiences. Not only did they perform their work in the often elaborately decorated setting of anatomy theatres, they also worked with artists to produce representations of their anatomy lessons as well as images and atlases in which the anatomical understanding of the human body was demonstrated. In the course of time, however, the connection between art and science got lost as representations of the human body in anatomy and medicine became more and more ‘objective’. As
early, architectural model of the fraught relationship between man and the world available to him as knowledge, and therefore evidence of an incipient phenomenology. While the structure may be interpreted OCULAR ANATOMY, CHIASM, AND THEATRE ARCHITECTURE 133 as a tool for the enhancement of memory and elocution, it also attempts to aggregate all possible knowledge into a hierarchically-layered grid, both positing an order to knowledge as such and groping at the limits of that knowledge.
humans and other autonomous evolving creatures. The meltdown of registers of presence and modes of communication brought about by biotechnologies, and the correlative emergence of search patterns through live information spaces, demand platforms to reconcile bodies and spectres, life-lines and codes, signals and signs, anticipating and projecting new languages. Skenabiotopes are a theatrical manifestation of such platforms, which integrate and model physical life processes and behaviours, and