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Roger Forshaw

Hesyre was a high court official in ancient Egypt and lived about 2650 bc during the reign of King Djoser. He managed to combine religious as well as secular posts, and has the distinction of being the first recorded physician and firstknown dentist in history. Healthcare developed at an early period in ancient Egyptian history as is supported by the evidence from the skeletal and mummified remains, from the artistic record, as well as from inscriptional and textual sources. These textual sources, the medical papyri, provide details of medical procedures undertaken, drugs employed and treatments provided - some of which have influenced modern medical practice. What we know about Hesyre comes from his impressive tomb at Saqqara, the walls of which are brightly decorated with items of daily life. Additionally, the tomb contained six fine wooden panels listing Hesyres titles, among them those relating to his practice of medicine and dentistry.

Bulletin of the John Rylands Library
Rethinking art, media, and the audio-visual contract

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

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Refracting control from virtual reality to the digital battlefield
Timothy Lenoir
Luke Caldwell

‘image operations’ by applying the same strategy of combining virtual reality systems, 3D modelling, robotics and real-​time imaging to surgery. The vision pursued at the HIT lab and several other research labs, including the Stanford Research Institute (SRI), the Johns Hopkins Institute for Information Enhanced Medicine, the Mayo Clinic and the MIT Artificial Intelligence Laboratory, was heavily nurtured by funds from DARPA, the NIH and NASA. Dr Richard Satava, who spearheaded the DARPA programme, aimed to develop ‘telepresence’ workstations that would allow surgeons

in Image operations
Griselda Pollock

that Monroe learned she was pregnant. By six weeks she was in acute pain and Miller rushed to the city, where a doctor diagnosed a tubular pregnancy and operated to save her life. She woke from surgery to be informed that the embryo had been surgically removed. Doctors explained to her the child she had lost would have been a son. She would never entirely recover from this experience and, ironically, she would die five years hence on the anniversary of this miscarriage. The desire to have children was intense for

in Killing Men & Dying Women
Open Access (free)
Janet Wolff

California, I was ambushed by another surprising thought. When a routine medical exam at Kaiser Permanente Hospital disclosed a lump on my thyroid gland, the nurse-practitioner sent me for a follow-up check. The oncologist called to say that a fineneedle biopsy showed a malignancy. After meetings with her and with the surgeon, it was agreed that I could postpone surgery for a few weeks so that I could keep a commitment to a three-week visiting appointment at the University of California in Davis, and eventually I was operated on on 13 June that year. Thyroid cancer has an

in Austerity baby
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Dominic Johnson

project involving tattooing and elective cosmetic surgery, among other works of performative photography – he enacts an extreme position to provoke a seemingly violent conceptual slippage. When the case against Ulay came to trial in Berlin in early 1977, he recounts, ‘I was convicted and sentenced to 36 days in prison, or a fine of 3,600 Deutsche Mark. I chose neither’ (Johnson 2015: 22, emphasis in original). Ulay conscientiously assumed his crime, larceny, for the theft of what art historians Rosemarie and Rainer Hagen have called ‘the German painting best-loved by

in Unlimited action
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Mechthild Fend

, the father takes the unworldly girl to a party where she is approached and raped by a young man himself spaced out by party drugs. The daughter – traumatised again – hides even from her father and returns to hospital. Seeking revenge, the surgeon kidnaps the culprit – Vicente (Jan Cornet) – and uses him for a gruesome experiment: he completely remodels his body, castrating him in a sex change surgery, and grafting an artificial skin made from a mixture of animal and human genes, thus effectively turning Vicente into an artificially engineered body. Ironically

in Fleshing out surfaces
Open Access (free)
Tania Anne Woloshyn

involved ultraviolet radiation inserted directly into the vagina. British practitioners were guided by German methods, such as those developed by Dr Wilhelm Flaskamp of Erlangen University’s Gynaecological Clinic. He spoke at the second International Conference on ‘Light and Heat in Medicine and Surgery’, held at the University of London in 1928 and organised by Drs William Russell and Richard King-Brown (the latter Bermondsey

in Soaking up the rays
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Exquisite corpses
Elza Adamowicz

Hirst, Mother and Child, Divided, 1993), endoscopy (Mona Hatoum, Corps étranger, 1994), surgery and digital manipulation (Orlan’s Self-hybridizations), performance (Marina Abramovic) or post-human mutation (Dino and Jake Chapman, Zygotic Acceleration. Biogenetic De-sublimated Libidinal Model, 1995). At times, Dada’s own bodies have been subjected to critical or playful transformation in post-Dada appropriations where artists take up the images which the Dadaists themselves had already recycled, subjecting them to further reworkings. This continuity is evident, for

in Dada bodies
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The impossible machine
Elza Adamowicz

(Kriegskrüppel) veterans shattered both the traditional comforting concept of the organic unity of the body and the integrity of the self, and the belligerent modernist ideal of the hero as machine, enshrined in Ernst Jünger’s armoured soldier as a model of masculinity. Prosthetic surgery, which developed rapidly, aimed at reintegrating the warwounded individual into the labour market. In his satirical ‘Prothesenwirtschaft: Gedanken eines Kap-Offiziers’ (1920: 669–70; 1982: 137–8), Raoul Hausmann cynically lists the advantages of ‘a prosthetic economy’. The Prothetiker was

in Dada bodies