By Maaike Bleeker
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Extra resources for Anatomy live : performance and the operating theatre
Something perhaps that eludes the surety of vision ... something seen and unseen, something known and not known, hovering in the darkness of Aris Kindt ’s open, unbreathing mouth. An empty frame, except for an upright human figure in the middle distance, on the far right of the screen; just discernible: some kind of wire and steel apparatus from which the figure is suspended. The figure is back-lit: a crisp, silver arc defines the crown of its head, outlining both shoulders, defining the outside of the right arm and, spilling, is caught in a slight fuzz of chest hair.
668). The Visible Human, he claims, offers a standard model for twenty-first-century anatomy, enabling students to obtain valuable clinical training without the need for prepared cadavers. Real cadavers are expensive, perishable, and commonly tainted by diseases. Moreover, cutting into dead bodies remains an uncomfortable experience for students, many of whom are bothered by feelings of uneasiness when confronted with corpses. Anatomical illustrations, for their part, reduce anatomical structures to two-dimensional flat surfaces and are therefore insufficient as teaching tools.
Richard Satava, for instance, claims that operations of the future will be mostly computer-directed operations in so-called virtual bodies. See Satava, 1996. Thacker (1998) argues that the primary concern behind the VHP is as much about informatics as it is about anatomy. Anatomical atlases and the relationship between the artist and anatomist were very much a sixteenth-century, post-Vesalian phenomenon. An example of a famous Dutch collaboration between anatomist and illustrator was that of the anatomist Albinus and illustrator Jan Wandelaar.