Museum of Hunting and Fishing (Deutsches Jagd und Fischereimuseum), Munich, Germany; Guest Post by Eric Huang

One of my favorite people in all the world--the delightful and intrepid Eric Huang (aka dinoboy)--took a trip to the Munich Museum of Hunting and Fishing (Deutsches Jagd und Fischereimuseum) a few weeks ago. His findings were so interesting that I asked him to write a guest post for the readers of Morbid Anatomy:

Munich's Museum of Hunting and Fishing (Deutsches Jagd und Fischereimuseum) houses hunting artefacts. There are vintage knives, drinking horns, paintings, and taxidermy galore. Cool stuff, sure, but at first glance the museum is profoundly ... meh. Other museums tackle the topic in more extensive, confronting, beautiful ways. That said, Deutsches Jagd und Fischereimuseum is worth a visit for two reasons.

The museum is on consecrated ground (top 2 images), namely a 13th century church in disrepair called Augustinerkirche. Taxidermy mounts replace stations of the cross, an Irish Elk skeleton stands in place of a crucifix in the nave, and a collection of the Snow Queen's finest hunting sleds forms the the altar.

Even better than the location is something that makes the Munich museum truly unique: wolpertingers (images 5-7). The size of a rabbit, often winged, antlered, sometimes fanged and reptilian, always dangerous: wolpertingers are rabbit-like animals from Bavarian folklore. Jackalopes are arguably North American wolpertines, though much less terrible than the Bavarian varieties.

The first wolpertinger encounter is in a diorama nestled between the native bird and mammals sections of the museums. Later on, wolpertines get their own room - oddly adjacent to a depiction of prehistoric humans. The exhibition also includes prints  illustrating the anatomy and dissection of a wolpertine. This bottom photo shows two animals in the act of creating a wolpertinger!

There was also a temporary exhibit of human hunting archetypes. The focus was on Vikings, culminating in an entire wall about Thor with Marvel comics and movie posters from the latest film. Asterix also makes an appearance. It reminded me of a school fair.
To find out more about the Munich's Museum of Hunting and Fishing (Deutsches Jagd und Fischereimuseum), click here. To find out more about the delightful Eric Huang, click here.

Source:
http://morbidanatomy.blogspot.com/2013/07/museum-of-hunting-and-fishing-deutsches.html

Street Anatomy Store Artist Feature: Giselle Vitali

Giselle Vitali product feature at the Street Anatomy Store

Born in Caracas, Venezuela Giselle Vitali has been illustrating her entire life with whatever medium she could find. She studied illustration at the Design Institute of Caracas and while there realized that anatomy was the main theme emerging through many of her illustration and sculptural projects. Giselle eventually moved to Barcelona to complete postgraduate work in illustration and a Master’s in 3D illustration/ animation.

Her passion continues to be human anatomy which she pushes to the boundaries of surrealism while keeping the sense of the anatomical intact.

We fell in love with Giselle’s work and incredibly passionate personality when we featured her work in our Dissecting Art, Intersecting Anatomy gallery show with Squid3 back in March, 2013. We’re happy to have her art on the Street Anatomy Store! Enjoy!

 

“Soy + Saludable” Giclée Print

Giselle Vitali Soy + Saludable print available at the Street Anatomy Store

  • 9.375″ x 12″ Giclée print on Hahnemühle Photorag 308 with 1/2″ border
  • Gorgeous print quality on artistic paper gives the print a hand painted feel
  • Signed by artist
  • Available for $55

 

 

“Uppsala” Giclée Print

Giselle Vitali Uppsala print available at the Street Anatomy Store

  • 9.375″ x 12″ Giclée print on Hahnemühle Photorag 308 with 1/2″ border
  • Gorgeous print quality on artistic paper gives the print a hand painted feel
  • Signed by artist
  • Available for $55

 

 

“Heart Individuus” Key Chains

Giselle Vitali Heart Individuus key chain available at the Street Anatomy Store

Giselle Vitali hand sculpted these hearts based on her illustration of an iconically shaped anatomical heart. Always wanting to take one of her illustrations and turn it into a 3D piece, the Heart Individuus Design Objects were born.

 

View more of Giselle’s gorgeous work on Behance and her blog!

 

 

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/sAbTKgtsszY/

Victorian Anthropomorphic Taxidermist Walter Potter Documentary Teaser

 

Here is a rough graphic treatment for some of the stills along with the musical tone by the ever amazing Real Tuesday Weld - just a quick fun little piece - if we can raise some additional funds i have a fantastic visual effects team who have offered a very good rate to make this piece the work of art it needs to be!  thanks so much for your support!

The above just in from Ronni Thomas, director of the upcoming documentary on British Victorian anthropomorphic taxidermist Walter Potter (more on that here.)

For those of you who have been following this Kickstarter campaign, Ronni has reached his base number and is now campaigning to raise additional funds which will enable him to film more collections around the world and make this the best film it can be.

If you have not already done so, I implore you to join me in supporting this very worthy project!

You can find out more--or make a donation!--by clicking here.

Source:
http://morbidanatomy.blogspot.com/2013/07/victorian-anthropomorphic-taxidermist.html

Danse Macabre and Santa Muerte (Saint Death!) in Week Devoted to Anthropomorphized Death at London’s Morbid Anatomy Lecture Series at The Last Tuesday Society

The Morbid Anatomy Lecture Series
Macabre-minded Brooklynites Morbid Anatomy pay a flying visit to London, to deliver a series of talks. Cinematic vampires, folk medicine, mythical beasts and the cult of Santa Muerte (Saint Death) all feature on the agenda ...
--Eurostar's Metropolitan Magazine, July 2013

This week begins, I am very sad to announce, the final month of The Morbid Anatomy Lecture Series at London's Last Tuesday Society and, perhaps appropriately, the focus of this week is the figure of anthropomorphized death. Tomorrow night--Tuesday, July 9th--Alexander L. Bieri will present an illustrated lecture on the history of the "Danse Macabre," an art form popularized during the Bubonic Plague years in which an anthropomorphized figure of Death leads peasants, princes, popes and kings in a merry dance to the grave (2nd image down). The very next evening, Wednesday July 10th, Dr. R. Andrew Chesnut--author of Devoted to Death: Santa Muerte, the Skeleton Saint--will introduce us to the fascinating Mexican-based religion devoted to Santa Muerte, or literally, "Saint Death" (top image), "a branch of Catholicism which takes at its central figure the most powerful of all saints--Saint Death herself, the saint all must, after all, one day answer to."

In the following weeks, we also have an illustrated lecture on the amulet and charm collection of Edward Lovett by The Welcome Library's Ross MacFarlane (Monday July 15th); A cinematic survey of "The Vampires of London with the BFI's William Fowler and Mark Pilkington of Strange Attractor (Thursday, July 18th); a collection of short films from the BFI pertaining to British folk customs (Wednesday July 24th) and an illustrated lecture on the natural history of mythical creatures such as satryrs in early modern illustrated books.

Following are full details for all of these few remaining nights of the Morbid Anatomy Lecture Series at The Last Tuesday Society; Hope very much to see you at one or more!
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The Coming of Age of the Danse Macabre on the Verge of the Industrial Age: Illustrated lecture with Alexander L. Bieri
9th July 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here
During the middle ages, the danse macabre developed into an independent art form, most often in the shape of murals which adorned the walls of cemeteries. These depictions of death followed a strict rulebook and generally were a representation of the class system of the time, which was based on nobility or – to be more precise – the estate-based society. The advent of the bourgeois during the 1700s and the upcoming industrialisation put a question mark not only behind the societal system, but quite naturally also behind many of the established art forms. The danse macabre was widely regarded to be an outdated concept and a discussion evolved whether the skeleton still was the appropriate epitome for death. One of the proponents of this discussion was the Swiss artist Johann Rudolf Schellenberg, who created the first modern danse macabre in 1785, far away from the old class system, a work of art which still has an uncanny actuality and addresses many of the modern fears still extant in society at present. His trailblazing work updated the genre overnight and can be seen as the master source of all similar works of art to follow. A complete set of the plates is held by the Roche Historical Collection and Archive in Basel, which also holds one of the world’s oldest anatomical collections. The lecture not only discusses Schellenberg’s danse macabre in detail, but also gives an insight into the current fascination with vanitas and its depictions, especially focusing on the artistic exploitation of the theme and takes into consideration the history of anatomical dissection and preparation.
Alexander L. Bieri (*1976) is the curator of the Roche Historical Collection and Archive, a department within Roche Group Holdings. He assumes this position since 1999. Based in Basel, Switzerland but active as a consultant throughout the world, he has published many books and articles both on Roche-related and other themes. He also is responsible for a variety of Roche in-house museums and curated special exhibitions in Switzerland and abroad. In his capacity as an expert for 20th century architecture and design, he is a member of ICOMOS. In 2012, he was appointed lecturer for exhibition design at the Basel University.
More here.
________________________________ 
Photo courtesy of
Tonya Hurley
Viva la Muerte: The Mushrooming Cult of Saint Death": Illustrated lecture and book signing with Andrew Chesnut
10th July 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here
The worship of Santa Muerte, a psuedo Catholic saint which takes the form of a personified and clothed lady death, is on the rise and increasingly controversial in Mexico and the United States. Literally translating to “Holy Death” or “Saint Death,” the worship of Santa Muerte–like Day of the Dead–is a popular form of religious expression rooted in a rich syncretism of the beliefs of the native Latin Americans and the colonizing Spanish Catholics. Worshippers of "The Bony Lady" include the very poor, prostitutes, drug dealers, transvestites, prison inmates and others for whom traditional rel
igion has not served, and for whom the possibility of unpredictable and violent death is a very real part of everyday life. In the view of her worshippers, Santa Muerte is simply a branch of Catholicism which takes at its central figure the most powerful of all saints--Saint Death herself, the saint all must, after all, one day answer to. The Catholic Church sees it, however, as, at best, inadvertent devil worship, with the worship of death--and the manifestation of a saint from a concept rather than an individual--as heretical to its core tenants. Tonight, R. Andrew Chesnut, author of Devoted to Death: Santa Muerte, the Skeleton Saint and Chair in Catholic Studies at Virginia Commonwealth University, will detail his research into the history and ongoing development of this fascinating "new religion."
Copies of Devoted to Death: Santa Muerte, the Skeleton Saint will be available for sale and signing.
Dr. R. Andrew Chesnut earned his Ph.D degree in Latin American History from the University of California, Los Angeles in 1995 and joined the History Department faculty at the University of Houston in 1997 where he quickly became an internationally recognized expert on Latin American religious history. His most recent book is Devoted to Death: Santa Muerte, the Skeleton Saint (Oxford University Press, 2012). It is the first in-depth study of the Mexican folk saint in English.
More here
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From Blue Beads to Hair Sandwiches: Edward Lovett and London's Folk Medicine: An Illustrated lecture with Ross MacFarlane, Research Engagement Officer in the Wellcome Library
15th July 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here
During his life Edward Lovett (1852-1933) amassed one of the largest collections of objects pertaining to 'folk medicine' in the British Isles.  Lovett particularly focused his attention on objects derived from contemporary, working class Londoners, believing that the amulets, charms and mascots he collected - and which were still being used in 20th century London - were 'survivals' of antiquated, rural practices. Lovett, however, was a marginal figure in folklore circles, never attaining the same degree of influence as many of his peers.  Whilst he hoped in his lifetime to establish a 'National Museum of Folklore', Lovett's sizeable collection is now widely dispersed across many museums in the UK, including Wellcome Collection, the Science Museum, the Pitt Rivers Museum and the Cuming Museum.  This paper will offer an overview of the range of healing objects Lovett collected, the collecting practices he performed and recent efforts to rehabilitate his reputation.
Ross MacFarlane is Research Engagement Officer in the Wellcome Library, where he is heavily involved in promoting the Library's collections, particularly to academic audiences.  He has researched and given public talks on such topics as the history of early recorded sound and the collecting activities of Henry Wellcome and his members of staff.  Ross is a frequent contributor to the Wellcome Library's blog and has had led guided walks around London on the occult past of Bloomsbury and the intersection of medicine, science and trade in Greenwich and Deptford.
More here.
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The Vampires of London: A Cinematic Survey with William Fowler (BFI) and Mark Pilkington (Strange Attractor)
18th July 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here
This heavily illustrated presentation and film clip selection explores London's Highgate Cemetery as a locus of horror in the 1960s and 1970s cinema, from mondo and exploitation to classic Hammer horror.
William Fowler is curator of artists' moving image at the BFI National Archive and co-programmes the cult cinema strand at Flipside at BFI Southbank.
Mark Pilkington runs Strange Attractor Press and is the author of 'Mirage Men' and 'Far Out: 101 Strange Tales from Science's Outer Edge'. 
More here
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"Here's a Health to the Barley Mow: a Century of Folk Customs and Ancient Rural Games" Screenings of Short Films from the BFI Folk Film Archives with William Fowler
24th July 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here
Tonight, the British Film Institute's William Fowler will present a number of rare and beautiful short films from the BFI National Archive and Regional Film Archives showing some of our rich traditions of folk music, dance, customs and sport. Highlights include the alcoholic folk musical Here's a Health to the Barley Mow (1955), Doc Rowe’s speedy sword dancing film and the Padstow Mayday celebration Oss Oss Wee Oss (Alan Lomax/Peter Kennedy 1953).
The programme provides a taste of the BFI's 6-hour DVD release 'Here's a Health to the Barley Mow: a Century of Folk Customs and Ancient Rural Games', a rich and wide-ranging collection of archive films from around the UK.
William Fowler is curator of artists' moving image at the BFI National Archive and co-programmes the cult cinema strand at Flipside at BFI Southbank.
More here.
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Of Satyrs, Horses and Camels: Natural History in the Imaginative Mode: illustrated lecture by Daniel Margócsy, Hunter College, New York
25th July 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here
This talk argues that the creative imagination played a crucial role in the development of science during the scientific revolution. Modern, natural knowledge emerged from the interaction of painters, printmakers, artisans, cartographers, and natural historians. All these practitioners carefully observed, pictured and cataloged all the exotic naturalia that flooded Europe during the Columbian exchange. Yet their collaboration did not end there. They also engaged in a joint, conjectural guesswork as to what other, as yet unknown plants and animals might hide in the forests of New England, the archipelago of the Caribbean, the unfathomable depths of the Northern Sea, or even in the cavernous mountains of the Moon. From its beginnings, science was (and still is) an imaginative and speculative enterprise, just like the arts. This talk traces the exchange of visual information between the major artists of the Renaissance and the leading natural historians of the scientific revolution. It shows how painters’ and printmakers’ fictitious images of unicorns, camels and monkfish came to populate the botanical and zoological encyclopedias of early modern Europe. The leading naturalists of the age, including Conrad Gesner, Carolus Clusius and John Jonstonus, constantly consulted the oeuvre of Dürer, Rubens and Hendrick Goltzius, among others, as an inspiration to hypothesize how unknown, and unseen, plants and animals might look like.
Daniel Margocsy is assistant professor of history at Hunter College – CUNY. In 2012/3, he is the Birkelund Fellow of the New York Public Library’s Cullman Center for Scholars and Writers. He has co-edited States of Secrecy, a special issue of the British Journal for the History of Science on scientific secrecy, and published articles in the Journal of the History of Ideas, Annals of Science, and the Netherlands Yearbook of Art History.
More here.
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All talks and workshops take place at The Last Tuesday Society at 11 Mare Street, London, E8 4RP map here) unless otherwise specified; please click here to buy tickets. More on all events can be found here. Click on images to see larger versions.

Top image: Santa Muerte figurine, © Joanna Ebenstein
Bottom image: Danse Macabre; found hereSource:
http://morbidanatomy.blogspot.com/2013/07/danse-macabre-and-santa-muerte-saint.html

Helen Zille – Daily Maverick

In this post-truth era, it is becoming increasingly difficult to distinguish real scandals from bogus ones. Spotting the difference has become more important than ever, given the ease with which scandals are created, escalated and sent into orbit through social media.

In the parasitic relationship between social and conventional media, fake news is often used to generate outrage, and fake outrage, in turn, to generate news. Things that should generate outrage often pass unnoticed.

Outrage manufacturing becomes particularly marked in the months before political parties hold elective conferences for new leadership. During this period, internal jockeying for positions includes candidates raking as much muck on their opponents as possible.

Healthy scepticism is, therefore, a useful attitude with which to approach the many revelations that make their way into the media as South Africas major political parties approach their congress season.

It is fascinating to watch the links between some politicians and those journalists who are prepared to provide a public platform for their schemes. A few journalists even become pro-active agents in a partys internal battles and vendettas.

It was in this frame of mind that I read an article in last weeks Sunday Times headlined: Contractors paid for DA MECs bash.

The opening paragraph read, Acting DA provincial leader Bonginkosi Madikizela is facing allegations of impropriety after a swanky birthday bash in his honour was apparently partially funded by construction companies that benefit from projects financed by his department.

Despite the inclusion of a denial from Mr Madikizela himself, who is the provincial Minister of Human Settlements, the overwhelming impression left by the headline and the article is that contractors funded a party for the political head of a department that awards contracts and tenders worth billions annually. If that were true, it would (at the very least) be improper. At worst, it would indicate corruption.

So confident was the journalist of the latter that he publicly predicted the unfolding scandal would end Madikizelas career.

Before long, the lines were buzzing. Journalists wanted comment. The party hierarchy advised me to take urgent and immediate action.

The next day, the story escalated with a breathless front-page headline in the Cape Times screaming: Madikizela birthday party sleaze, followed by an article dripping in insinuations.

Experience, lifes best teacher, cautioned me to proceed carefully, gather as many facts as possible, and speak to the individuals involved before determining a course of action or making a public statement.

I knew at least two things:

So if it turned out that there were contractors who thought they could buy favours by sponsoring the event, they would end up sorely disappointed.

Nevertheless, if there had been such an attempt, it would have been wrong and action would be required. It was obviously important to establish the facts.

My first discussion was with Bonginkosi himself. I told him I was going to investigate the issue in as much detail as possible, so that I could determine an appropriate course of action. He welcomed my approach. He told me the party had been organised as a surprise for him. He thought he was going out to a birthday dinner with a group of friends, only to walk into a room full of guests shouting surprise.

What he knew about the background was as follows: He has, for years, been part of a 20-strong network of friends who support each other, specifically in times of celebration and bereavement, helping to raise money for events ranging from parties to funerals. This group (loosely based on the traditional stokvel saving model) meets on a regular basis. When Bonginkosi was elected the DAs interim Western Cape leader, they wanted to throw a celebration party for him.

Bonginkosi vetoed the idea. He said it was not appropriate in the circumstances, and could potentially be interpreted as lauding it over other candidates. They accepted his reservations, and later hatched a plan to give him a surprise birthday party instead. It was a closely guarded secret. After the event, when he enquired who had paid for it, they told him that a fundraising subcommittee had called on people to make donations. He accepted their word and thought nothing further of it. This was normal in his friendship circle, he said.

He confirmed the newspapers claim that Ms Pumla Zantsi, a partner in a construction firm doing business with the province, had contributed a multilayered, multicoloured cake, worth R3,000. That was the only contractor involved as far as he was aware.

Bonginkosi told me that he and Pumla were part of the mutually supporting friendship circle. They had been friends for 20 years, from the time they were both activists in Khayelitsha and long before he had even thought of joining the DA. For her part, Pumla had been a contractor to the province long before Bonginkosi became provincial Minister of Human Settlements. She had never used her presence in their stokvel network to seek a business advantage or political favour.

In any event, said Bongikosi, do you think that I can be bought for a birthday cake?

I thought about our conversation. A long-standing friend buys you (an admittedly expensive) cake, from her own pocket, and it turns into a scandal because her company does work for the province, and has done for years prior to your arrival on the scene? This put a completely different spin on a story that had been touted as a career-ending scandal.

But of course, there could conceivably be more to the story than that, so I investigated further. A party at the One & Only hotel does not come cheap. I started by making contact with Pumla Zantsi. She immediately agreed to meet and was entirely forthcoming. She explained that the group of friends had met over many weeks to organise the party. They had nominated a fund-raising committee who had approached prospective donors. She gave me the full donor list, ranging from people who had contributed to the incidentals (such as tea and coffee at their planning meetings) to those who had paid for the big ticket items such as the hotels bar tab. I then submitted the donors names (and the companies with which they are associated) to the Chief Financial Officer of the Department of Human Settlements, to determine if any of them are contractors to the Department or the Province. None, he responded.

I managed to get the telephone number of the major donor, a Mr G, who is based in Durban, where Bonginkosis sisters live, and where he once lived himself. He still has a large friendship network there. Mr G confirmed that he had covered the lions share of the cost, and that he has no business interests in the Western Cape and none in construction, and that he had elicited further donations from his network in Durban. None did work for the Western Cape either, he assured me.

Next, I had to check whether the people who said they were donors were the ones that actually paid for the party, so I contacted the relevant hotel manager and asked to see copies of the invoices and receipts. He was unable to give them to me, due to client confidentiality, so I asked the party organisers to source the documents for me.

They promptly did, and my office undertook a reconciliation which showed the accuracy of the information we had been given.

Next I scoured some of the photographs from the party and, with the help of the Department of Human Settlements, identified two contractors who attended as guests: Mr M and Mr P. Neither had been on the donor list, but I called them nevertheless to find out whether they had been asked to contribute, and whether they had done so. I wasnt asked for a cent and I didnt pay a cent, replied Mr M. He had been invited to the party because he had known Bonginkosi through political circles from the time he was still a member of the ANC.

Mr P
told a similar story. He was a subcontractor to Mr M, who had phoned during the festivities to encourage him to pop into the party. Mr P did.

By then, I had followed all the leads open to me. And I am confident that, on the information available, there is no more to the story than that. Meanwhile, the impression has been indelibly created in the minds of the newspaper-reading public that the minister has been involved in shady dealings involving contractors to his department paying for a lavish birthday party. The ineluctable deduction is that he is corrupt.

The ANC has reported the allegations to the Public Protector who has powers to probe the matter even more deeply than I did. I will pass on everything I have to assist her. And if anything further emerges, I will study it very carefully.

The one question I have not answered to my satisfaction is where, from inside the DA, this allegation came from in the first place. The newspaper has kept its sources anonymous. I have said it before and I say so again: when it is established that informants have leaked fake news to the media, they (and their motives) should become the focus of the story, because they have not acted in the public interest, only in their own.

It is time that this becomes standard practice in the media. Too much damage is done by anonymous sources spreading fake news, aided and abetted by journalists who know, if they are honest, that their revelations have nothing to do with speaking truth to power. DM

Read more:
Helen Zille - Daily Maverick

Saturday Comic-Con Schedule: TVD, True Blood and More!

Here we go again.

On the heels of Comic-Con releasing its full THURSDAY SCHEDULE and FRIDAY SCHEDULE, television fans are now scrambling to organize their afternoons on Saturday, July 20, as that date will feature the following panel discussions...

Comic-Con TVF Logo

Bates Motel: 10:00am - 11:00am, Room 6A
Attending: Producers Carlton Cuse and Kerry Ehrin; stars Vera Farmiga (Norma Bates), Freddie Highmore (Norman Bates), Max Thieriot (Dylan), Olivia Cooke (Emma), and Nestor Carbonell (Sheriff Alex Romero).

Once Upon a Time in Wonderland: 10:15am - 11:00am, Ballroom 20
Attending:  Co-creators and executive producers Edward Kitsis (Lost and Tron: Legacy) and Adam Horowitz.

Futurama: 12:00pm - 12:45pm, Ballroom 20
Attending: Billy West, John DiMaggio, Katey Sagal, Maurice LaMarche, Tress MacNeille, David Herman, Phil LaMarr and Lauren Tom.

How I Met Your Mother: 12:00pm - 1:00pm, Indigo Ballroom
Attending: Producers Carter Bays, Craig Thomas, and Pamela Fryman; stars Josh Radnor, Jason Segel, Cobie Smulders, Neil Patrick Harris and Alyson Hannigan.

The Simpsons: 12:45pm - 1:30pm, Ballroom 20
Attending: Creator Matt Groening, executive producer Al Jean, supervising director Mike Anderson and consulting producer David Silverman.

The Originals: 1:00pm - 2:00pm, Indigo Ballroom
Atending: Producer Julie Plec; stars Joseph Morgan, Daniel Gillies, Claire Holt, Phoebe Tonkin and Charles Michael Davis.

Family Guy: 1:45pm - 2:30pm, Ballroom 20
Attending: Seth Green, Alex Borstein and executive producer Rich Appel.

American Dad: 2:30pm - 3:15pm, Ballroom 20
Attending: Wendy Schaal, Rachael MacFarlane, Scott Grimes, Dee Bradley Baker.

Grimm: 2:40pm - 3:50pm, Room 6BCF
Attending: David Giuntoli, Russell Hornsby, Bitsie Tulloch, Silas Weir Mitchell, Reggie Lee, Sasha Roiz, Bree Turner, Claire Coffee; executive producers/writers Jim Kouf, David Greenwalt, Todd Milliner and Norberto Barba.

True Blood: 3:30pm - 4:15pm, Ballroom 20
Attending: Producers and cast members.

Person of Interest: 4:00pm - 4:45pm, Room 6BCF
Attending: Executive producers Jonathan Nolan and Greg Plageman; various cast members.

Being Human: 4:00pm - 5:00pm, Indigo Ballroo
Attending: Cast members Sam Witwer, Meaghan Rath, Sam Huntington, Kristen Hager; and executive producer Anna Fricke.

The Vampire Diaries: 4:30pm - 5:15pm, Ballroom 20
Attending: Nina Dobrev, Paul Wesley, Ian Somerhalder, Candice Accola and Kat Graham; executive producers/writers Julie Plec and Caroline Dries.

Revolution: 4:50pm - 5:50pm, Room 6BCF
Attending: Stars and producers.

Warehouse 13: 5:00pm - 6:00pm, Indigo Ballroom
Attending: Stars Eddie McClintock, Joanne Kelly, Saul Rubinek, Allison Scagliotti; producer Jack Kenny.

Arrow: 5:15pm - 6:00pm, Ballroom 20
Attending: Stars Stephen Amell, Katie Cassidy, David Ramsey, Emily Bett Rickards and Colton Haynes; executive producers Greg Berlanti, Marc Guggenheim and Andrew Kreisberg.

The Tomorrow People: 5:55pm - 6:55pm, Room 6BCF
Attending: Stars Robbie Amell, Peyton List and Mark Pellegrino; executive producers Greg Berlanti, Phil Klemmer and Danny Cannon.

Source:
http://www.tvfanatic.com/2013/07/saturday-comic-con-schedule-tvd-true-blood-and-more/