This article is an investigation into the ways in which anatomico-medical bodies are produced through means of public mediation and spectacle technologies. The examples of `RealVideo surgery' (surgical operations broadcast live over the Web) and the early modern anatomy theaters, provide two instances where `the body' enframed by science is mediated via technology. Referencing the genealogical work of Michel Foucault, and through an analysis of the anatomy theaters and RealVideo surgery, this article attempts to show how such institutionally framed and (...) legitimizing science practices do not simply produce `the body', but are rather involved in multiply articulating different types of technoscientific bodies. At issue in such instances are the ways in which practices and habits of reading, decoding and recognizing bodies are being reconfigured in the utilization of such technologies as the Internet and Web, and the possible modes of critical analysis which may develop from within such instances. (shrink)

This article addresses the pedagogical practices of the Worshipful Company of Barber-Surgeons of London during the seventeenth century. As artisans—trained by apprenticeship—their teaching and learning was embedded in the embodied actions performed in their anatomy theatre. The Barber-Surgeons held regular public anatomies for the benefit and ‘greater learning’ of the masters and apprentices of the Company, performed on the bodies of up to four felons per annum granted to them by the sovereign. The space in which these anatomies were performed (...) and the practices by which that knowledge was imparted, shaped the ways in which the human body was understood—in a slow and uneven process—by which the body was subjected to a process of abstraction. (shrink)

In 1669, Malpighi published the first systematic dissection of an insect. The manuscript of this work contains a striking water-colour of the silkworm, which is described here for the first time. On repeating Malpighi's pioneering investigation, Swammerdam found what he thought were a number of errors, but was hampered by Malpighi's failure to explain his techniques. This may explain Swammerdam's subsequent description of his methods. In 1675, as he was about to abandon his scientific researches for a life of religious (...) contemplation, Swammerdam destroyed his manuscript on the silkworm, but not before sending the drawings to Malpighi. These figures, with their rich and unique use of colour, are studied here for the first time. The role played by Henry Oldenburg, secretary of the Royal Society, in encouraging contact between the two men is emphasized and the way this exchange reveals the development of some key features of modern science -- replication and modern scientific illustration -- is discussed. (shrink)