By Maaike Bleeker
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Additional info for Anatomy Live: Performance and the Operating Theatre
Even though meno- DIGITAL CADAVERS AND VIRTUAL DISSECTION 39 pause is not the pathological equivalent of a missing testicle, the Visible Female is not considered representative of the average female body. Significantly, the gender-specific cultural criteria that we use to differentiate between living men and women are unilaterally projected onto these virtual cadavers. The major paradoxes prevalent in Renaissance anatomy resonate in the VHP. Like the Renaissance anatomical theatre, the VHP is bound up with the criminal court system.
Sebald, 2002, p. 13) Sebald’s first observation about the painting is a familiar one. Kindt was a thief, and the use of his body for this anatomical demonstration constituted part of the sentence he suffered for his crime. Those present at the dissection look beyond the body to an open anatomical atlas; the cadaver is a mere exemplar of a superior, abstract knowledge: mere flesh, subordinate to the ideal, as rendered material in the bound pages of a book. The art of anatomy, as exemplified in Rembrandt ’s painting, Sebald observes, ‘was not least a way of making the reprobate body invisible’ (Sebald, 2002, p.
The studio set-up — with its dramatic lighting, flatscreen video panels and displays of various anatomical sections and renderings, the studio-audience (to which, again, the editor cuts to capture key expressions: grins full of wonder, guilty smirks, overt delight) on three sides, the black-clad camera crews skating around the various dissection tables and paraphernalia — is slick and tightly packaged. Remarkable animations are projected onto live models; the cameras plunge us deep into the harrowed-out body cavities of the dissectees, capturing every fold and glistening crevice.
Anatomy Live: Performance and the Operating Theatre by Maaike Bleeker