Professional Documents
Culture Documents
Introduction
Rntgens discovery of X-rays in 1895 made it possible to access the human body
without dissection, thus dismantling its holiest parts such as the sex organs and
brain (Kevles 1997: 27); consequently, the idea was born that the human body can be
completely transparent and visible for medical diagnoses without damaging its integrity (Van Dijck 2005). With this discovery, which according to Slatman initiated
a new area, the Enlightenment of the body (Slatman 2009: 107), it became possible to experience and to confront visually not only ones own inner body but also
the bodies of others, producing a turning point from the use of anatomical images of
dissected cadavers to the visualisation of the interior of the living body (Doyle 2007).
Since that time, many other more sophisticated computer-assisted medical imaging technologies such as computed tomography (CT), magnetic resonance imaging (MRI), positron emission tomography (PET), and ultrasound have been developed (Slatman 2009: 107) that are routinely used in current clinical practice. Furthermore, in todays media society, through the popularisation of medicine, these
medical images have been disseminated into popular culture so that also the public
can look inside the body, which was formerly the preserve of the medical profession. This has created what Jos van Dijck has called the myth of the transparent
body (Van Dijck 2005), i.e. the assumption that self-transparency means that the
human body is more understandable or more familiar to everyone, and that these
images can bring us closer to knowing what constitutes the human body.
By visualising the most intimate part of us, the interior of our body, these technologies have contributed to a new way of perceiving, experiencing, understanding,
and defining our bodies (Slatman 2009: 107). Thus, they not only play an increasingly important role in clinical practice but also acquire a cultural presence and
meaning, becoming a new influential phenomenon (Zwijnenberg 2010: 31; Van
Dijck 2005: 9). This can be seen by the trend that many contemporary artists are
becoming increasingly interested in the incorporation of medical images from their
own or others bodies into their work.
In the history of art, there has always been an exciting connection between the
fields of art and science, in which art played an important role in the cultural dis-
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Conclusion
The use of medical imaging technologies by artists demonstrates that the scanned
inner body has become a complex, cultural construction which challenges our experience of the body and physicality, as well as our notion of self-identity and provokes questions on the cultural level such as how to integrate our bodys interior
image into our general notion of body and self (Zwijnenberg 2010: 31).
Medical imaging technologies have made our body transparent without damaging its integrity, thus creating a myth of the transparent body (Van Dijck 2005).
Artists challenge this notion in their works and the idea that seeing is equated with
knowing and understanding. Exposing the lightness of its layers and borders, while
fragmenting and virtualising each part, artists show that the body becomes transparent, but not necessarily more comprehensive.
Their artworks do not transmit a clearly defined idea of the human body that is
easy to identify with. They are fragmented and transient with fluid boundaries between the body and the outside world, and appear indefinite and problematic, thus
offering us increased uncertainty about our bodies and physicality.
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