This June and July, Morbid Anatomy is delighted to announce a second series of London-based events, workshops, special tours, screenings and spectacles surveying the interstices of art and medicine, death and culture produced for Hackney's own Wunderkammer The Last Tuesday Society.

The series will feature Morbid Anatomy's signature mix of museum professionals, professors, librarians, artists, rogue scholars, and autodidacts--many flown in direct from Morbid Anatomy's base in Brooklyn, New York--to elucidate on a wide array of topics including (but not limited to!) The Neapolitan Cult of the Dead; "human zoos;" "speaking reliquaries;" why music drives women mad; eccentric folk medicine collections; Santa Muerte (or "Saint Death); dissection and masturbation; dissection and magic; Victorian memorial hair jewelry; the "hot nurse" in popular fiction; The Danse Macabre; "a cinematic survey of The Vampires of London;" and anatomical waxworks and death.

There will be also two special backstage tours: one of the legendary Blythe House, home of the vast and incredible collection of Henry Wellcome and the other of the Natural History Museum's zoological collection, featuring the famously gorgeous Blaschka invertebrate glass model collection; a special magic lantern show featuring "the weirdest, most inappropriate and completely baffling examples of lantern imagery" conjured by collector and scholar Professor Heard, author of Phantasmagoria- The Secret Life of the Magic Lantern; a screening of rare short films from the BFI National Archive documenting folk music, dance, customs and sport; and workshops in the creation of Victorian hair work, lifelike wax wounds, and bat skeletons in glass domes.

Our wide range of esteemed presenters include wax artist Eleanor Crook; Simon Chaplin and Ross Macfarlane of The Wellcome Library; James Kennaway of Oxford University; Mervyn Heard, author of Phantasmagoria-The Secret Life of the Magic Lanterns; Mike Jay, author of High Society: Mind-Altering Drugs in History and Culture; Mark Pilkington of Strange Attractor; Will Fowler of The British Film Instutute; The Florence Nightingale Museum's Natasha McEnroe; Laurens de Rooy of Amsterdam's Vrolik Anatomical Museum; The Science Museum's Phil Loring; Deputy Director of the Centre for Death and Society at the University of Bath John Troyer; Betsy Bradley, author of Knickerbocker: The Myth Behind New York; Patricia Philbeam, author of Madame Tussaud and the History of Waxwork; and CUNY's Daniel Margócsy.

The schedule as it now stands follows; there might very well be more additions as we near our launch date, so keep checking back here and here--and on this blog--for updates.
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Bubonic Plague by workshop teacher Eleanor Crook

Wax Wound Workshop with medical artist Eleanor Crook
2nd June 2013
1 to 5pm
Ticket price £120 - all materials included; Tickets here

Let acclaimed sculptor Eleanor Crook guide you in creating your very own wax wound. Crook has lent her experience to professionals ranging from forensic law enforcement officers to plastic surgeons, so is well placed to help you make a horrendously lifelike scar, boil or blister. More details to be confirmed shortly.

Eleanor Crook trained in sculpture at Central St Martins and the Royal Academy and makes figures and effigies in wax, carved wood and lifelike media. She has also made a special study of anatomy and has sculpted anatomical and pathological waxworks for the Gordon Museum of Pathology at Guy's Hospital, London's Science Museum, and the Royal College of Surgeons of England. She exhibits internationally in both fine art and science museum contexts. In the interest of making figures more lifelike than the living, using a generous grant from the Wellcome Trust she developed the incorporation of electronic animatronics systems into the sculptures so that her moribund and macabre creations now can twitch and mutter. She is artist in residence at the Gordon Museum of Pathology, a member of the Medical Artists' Association, runs a course in Anatomy drawing at the Royal College of Art and lectures on the M. A. Art and Science course at Central St Martins School of Art in London.

More here.
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Image: Wax Head by Clemente Susini; Copyright: University of Cagliari, Italy

Art, Wax, Death and Anatomy : Illustrated lecture with art historian Roberta Ballestriero
3rd June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

Wax modelling, or ceroplastics, is of ancient origin but was revived in 14th century Italy with the cult of Catholic votive objects, or ex votos. With the rise of Neoclassicism this art became repulsive to artistic sensibilities; it did, however, continue to survive in a scientific environment, where it flourished in the study of normal and pathological anatomy, obstetrics, zoology and botany. Interest in anatomical wax models spread throughout Europe during the eighteenth century leading to the creation of beautiful collections where art and death harmonically cohabit. In today's illustrated lecture, Art Historian Roberta Ballestriero will discuss the art and history of wax modeling sacred and profane; she will also showcase many of i
ts greatest masterworks, such as the anatomical head by Clemente Susini (1754-1814) seen above.

Roberta Ballestriero is an associate lecturer in History of Art for the Open University, in U.K. She graduated from the Academy of Fine Arts of Venice, and had her a European PhD for the Complutense University of Madrid. Her research concerns the history of Ceroplastic and wax figures throughout the centuries, (with emphasis on the ‘body of wax’). She started her research on the art of ceroplastics in 1995 and since 2004 she has presented at numerous conferences and has published several articles on her thesis subjects.

More here.
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Music Driving Women Mad: The History of Medical Fears of its Effects on Female Bodies and Minds: Illustrated lecture with Dr. James Kennaway
4th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

For many doctors since the eighteenth century, women's supposedly weak nerves made them especially vulnerable to over-stimulation, which could lead to a variety of complaints from the vapours to neurasthenia. One surprisingly common focus of these concerns was music. Over the past few centuries, countless physicians and writers have asserted that music could cause very serious medical problems for the 'weaker sex'. Not only could it bring on symptoms of nervousness and hysteria, it could also cause infertility, nymphomania and even something called 'melosexualism'. This talk will give an outline of this strange debate, using the raciest stories to be found in gynaecological textbooks.

Dr James Kennaway is a lecturer in the History of Medicine at the University of Oxford. He has previously held posts at Stanford University, the University of Vienna and the University of Durham. His book "Bad Vibrations: The History of the Idea of Music as a Cause of Disease" was published last summer.

More here.
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Solitary vice? Sex and Dissection in Georgian London Illustrated Lecture with Dr Simon Chaplin
5th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

In his watercolour of a 'Persevering Surgeon' (see left), the British artist Thomas Rowlandson made no bones about the darkly erotic nature of anatomical dissection. Poised over the body of a naked woman, erect knife in hand, Rowlandson's anatomist conjured images of the other solitary vice that consumed later 18th century moralists and medical men. But like Rowlandson - who combined popular satirical illustration with a more discreet trade in pornographic imagery - anatomists maintained a delicate balance between personal pursuits and public propriety. In this lavishly illustrated lecture, Simon Chaplin explores the sexual undertones of the anatomy schools of Georgian London, in which students dissected grave-robbed bodies in the back-rooms of their teachers' houses, while their masters explored new strategies for presenting their work to polite audiences through museums and lectures.

Dr Simon Chaplin is Head of the Wellcome Library in London. Before joining the Wellcome he was Director of the Hunterian Museum in London, one of the world's oldest anatomy collections. His research interests include the history of anatomy, surgery and museums, and his doctoral thesis explored the relationship between dissection and display through the work of the Hunterian Museum's founder, the surgeon John Hunter (1728-1793).

More here.
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Heartthrobs of the Human Zoo: Ethnographic Exhibitions and Captive Celebrities of Turn of the Century America: An Illustrated Lecture with Betsy Bradley
6th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

The ethnographic exhibitions that became popular in late Victorian Europe gave white visitors the chance to gaze upon entire villages of naturmenschen, temporarily imported from distant (usually colonial) lands and going about their daily lives in recreated habitats, much like their animal counterparts at the zoo. The Busby Berkeley scale of these colonial show-and-tells was designed to make a statement: instead of one displayed person, here were tribes of them, "villages negres," to quote the French. But the pointed anonymity of these living diorama could not prevent the media and the public from making stars out of their favorite "savages," particularly in the United States. From ransomed Congolese pygmies to winsome Eskimo babies, the American world's fairs and patriotic expositions  present history with a number of troubling ethnographic celebrities, and their stories offer a rare glimpse inside the psychology and culture of imperial America at the turn of a new century.

Betsy Bradley is a Brooklyn-based writer whose interests include the hidden histories of New York City and the intersection of literature, science, and American popular culture. She is the author of Knickerbocker: The Myth Behind New York, and a contributor to the Cambridge Companion to the Literature of New York, among other anthologies. She has written for Edible Manhattan, Edible Brooklyn, Bookforum, and The New York Times.  Bradley is the author of a forthcoming guidebook about New York to be published by Reaktion Books (UK) and is at work on a history of eugenics and its impact on American society, from sideshows to compulsory sterilization.

More here.
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The Astounding Collection of Henry Wellcome: Blythe House Backstage Tour with Selina Hurley, Assistant Curator of Medicine, The Science Museum
7th June 2013
This event is limited to only 15 participants and will begin at 15:00 at Blythe House, 23 Blythe Road, West Kensington
Ticket price £20; Tickets here

Henry Wellcome (1853 – 1936)----early pharmaceutical magnate and man behind the Wellcome Trust, Collection, and Library--was the William Randolph Hearst of the medical collecting world. Upon his death, he had collected over one million objects--many still in unopened crates in far-flung warehouses--related in the broadest sense to the history of medicine. His curators reduced that number by around to around 100,000 keeping only the very best. That collection, possibly the finest medical collection in the world, now resides in Blythe House, kept in trust by The Science Museum on permanent loan from the Wellcome Trust.

Today, a lucky fifteen people will get a rare chance to see this collection, featuring many artifacts of which have never before been on public view, in this backstage tour led Selina Hurley, Assistant Curator of Medicine at The Science Museum.

More here.
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Neapolitan Cult of the Dead with Chiara Ambrosio
10th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

.. Naples, the most macabre of cities. Naples, the mouth of Hades. The dead are played with there like big dolls...
--The Necrophiliac, Gabrielle Wittkop

Naples is a unique city in which the sacred and the profane, Catholicism and paganism, beauty and decay blend and contrast in intriguing ways. No practice illustrates this tangle of ideas better than what is known as "The Neapolitan Cult of the Dead" in which devout Catholics--generally poor women--adopt anonymous skulls found in charnel houses and clean, care for, and sometimes house them, offering up prayers and offerings to shorten that soul's time in purgatory before reaching paradise, where, it is hoped, it will assist its earthbound caretaker with special favors. The macabre artifacts of this cult can be seen in the Cimitero delle Fontanelle (see above) and the crypt of the church of Saint Mary of Purgatory.

In tonight's illustrated lecture, Italian artist and filmmaker Chiara Ambrosio will elucidate this curious and fascinating "Neapolitan Cult of the Dead" and situate it within a the rich death culture and storied history of Naples.

Chiara Ambrosio is a visual artist working with video and animation. Her work has included collaborations with performance artists, composers, musicians and writers, and has been shown in a number of venues including national and international film festivals, galleries and site specific events. She also runs The Light and Shadow Salon is a place for artists, writers and audience to meet and share ideas about the past, present and future of the moving image in all its forms.

More here.
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I am Amazed and Know Not What to Say! - A Vile Vaudeville of Gothic Attractions: Illustrated lecture by Mervyn Heard, author of Phantasmagoria- The Secret Life of the Magic Lantern
11th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

An illustrated talk in which writer and showman ‘Professor’ Mervyn Heard waxes scattergun- sentimental over some of the more bizarre, live theatrical experiences of the 18th, 19th and early 20th century – from the various ghastly manifestations of the phantasmagoria to performing hangmen, self-crucifiers and starving brides.

Mervyn Heard is the author of Phantasmagoria- The Secret Life of the Magic Lantern (2006), was responsible for designing the phantasmagoria intallation for the Tate Britain’s Gothic Nightmare (2006), and has staged bespoke magic lantern performances worldwide in playhouses, cinemas, department stores, museums, tents and dissecting theatres.

More here.
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Professor Heard's Most Extraordinary Magic Lantern Show with Mervyn Heard
12th June 2013
First performance begins at 7pm
Second performance begins at 9pm
Ticket price £10; Tickets here

Professor Heard is well known to patrons of the Last Tuesday Lecture programme for his sell-out magic lantern entertainments. In this latest assault on the eye he summons up some of the weirdest, most inappropriate and completely baffling examples of lantern imagery, lantern stories and optical effects by special request of Morbid Anatomy. These he will present on a magnificent mahogany and brass magic lantern projector perfectly suited for the purpose.

Mervyn Heard is the author of Phantasmagoria-The Secret Life of the Magic Lantern (2006), was responsible for designing the phantasmagoria installation for the Tate Britain’s Gothic Nightmare (2006), and has staged bespoke magic lantern performances worldwide in playhouses, cinemas, department stores, museums, tents and dissecting theatres.

More here.
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"Speaking Reliquaries" and Christian Death Rituals: Part One of "Hairy Secrets" Series With Karen Bachmann
13th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

In this 3-part series on human relics and Victorian mourning jewelry--master jeweler and art historian Karen Bachmann will focus on what are termed "speaking" reliquaries: the often elaborate containers which house the preserved body parts--or relics--of saints and martyrs with shapes which reflect that of the body-part contained within. Bachmann will examine these fascinating objects from an art historical perspective, and discuss their relationship to concepts of human body parts as icons of the immortal. They will be put into the larger context of Christian death rituals, in particular the veneration of saints body parts as sacred and magical relics. Also discussed will be the
extremely odd proclivities of a variety of renaissance saints, such as Catherine of Sienna who drank pus from open sores. This will serve as the genesis in our further discussions of human hair, teeth, and nails as icons of the immortal.

Karen Bachmann is a fine jeweler with over 25 years experience, including several years on staff as a master jeweler at Tiffany and Co. She is a Professor in the Jewelry Design Dept at Fashion Institute of Technology as well as the School of Art and Design at Pratt Institute. She has recently completed her MA in Art History at SUNY Purchase with a thesis entitled “Hairy Secrets; Human Relic as Memory Object in Victorian Mourning Jewelry”. In her downtime she enjoys collecting biological specimens, amateur taxidermy and punk rock.

More here.
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Hair Art Workshop Class: The Victorian Art of Hair Jewellery With Karen Bachmann
14th, 15th, and 16th June 2013 from 1 - 5pm
Ticket price £50; Tickets here (14th June), here (15th June), and here (16th June)

Hair jewellery was an enormously popular form of commemorative art that began in the late 17th century and reached its zenith during the Victorian Era. Hair, either of someone living or deceased, was encased in metal lockers or woven to enshrine the human relic of a loved one. This class will explore a modern take on the genre. The technique of "palette working" or arranging hair in artful swoops and curls will be explored and a variety of ribbons, beads, wire and imagery of mourning iconography will be supplied for potential inclusion. A living or deceased person or pet may be commemorated in this manner. Students are requested to bring with them to class their own hair, fur, or feathers; all other necessary materials will be supplied. Hair can be self-cut, sourced from barber shops or hair salons (who are usually happy to provide you with swept up hair), from beauty supply shops (hair is sold as extensions), or from wig suppliers. Students will leave class with their own piece of hair jewelry and the knowledge to create future projects. 

More here.
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The History of the Memento Mori and Death's Head Iconography: Part Two of "Hairy Secrets" Series: Illustrated lecture with Art Historian and Master Jeweler Karen Bachmann
14th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

In tonight's lecture--the second in a 3-part series on human relics and Victorian mourning jewelry--master jeweler and art historian Karen Bachmann will explore the development of the memento mori,objects whose very raison d'être is to remind the beholder that they, too, will die. Bachman will trace the symbolism and iconography of the memento mori and death's head imagery in both Medieval and Renaissance art, focusing on jewelry. She will also discuss the development of the "portable relic" -- a wearable form of body part reliquary, will be the focus of this lecture. The importance of hair in contemporaneous art of the period will be addressed, as well as the development of bereavement jewelry with hair.

More here. 
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The Victorian Love Affair with Death and the Art of Mourning Hair Jewelry and Part Three of “Hairy Secrets” Series: Illustrated lecture with Art Historian and Master Jeweler Karen Bachmann
17th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

The Victorians had a love affair with death which they expressed in a variety of ways, both intensely sentimental and macabre. Tonight’s lecture–the last in a 3-part series on human relics and Victorian mourning jewelry–will take as its focus the apex of the phenomenon of hair jewelry fashion in the Victorian Era as an expression of this passion. Nineteenth century mourning rituals will be discussed, with a particular focus on Victorian hairwork jewelry, both palette worked and table worked. Also discussed will be the historical roots of the Victorian fascination with death, such as high mortality rates for both adults and children, the rise of the park cemetery, and the death of Queen Victoria’s beloved Prince Albert and her subsequent fashion-influencing 40-year mourning period. Historical samples of hair art and jewelry from the lecturer’s personal collection will also be shown.

More here.
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Dissection and Magic with Constanza Isaza Martinez
18th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

This lecture examines images of human corpses in Early Modern European art in relation to two specific themes: the practice of ‘witchcraft’ or ‘magic’; and the emergent medical profession, particularly anatomical dissection. As the images demonstrate, the two practices were closely linked during this period, and the corpses were a source - albeit fraught with anxieties - of power and knowledge for the figures of the witch and the anatomist.

Constanza Isaza Martinez is an artist, photographer, and independent researcher. She gained her BA in Photographic Arts from the University of Westminster, and her MA in History of Art from the Courtauld Institute. Both her art and her research have frequently explored themes of mortality, mutability, death, and decay. For more information, please visit http://www.constanzaisaza.com.

More here.
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‘She Healed Thei
r Bodies With Her White Hot Passions’: The Role of the Nurse in Romantic Fiction with Natasha McEnroe: Illustrated lecture Natasha McEnroe, Director of the Florence Nightingale Museum
19th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

“She stood by, handing him the required instruments while he stitched up an ice-pick stabbing that had by some miracle barely missed a woman’s heart. She heard the woman’s thick voice as she went under the anaesthetic: ‘My man didn’t really mean to hurt me, Doc. He was just mad account of I didn’t have him a meat supper when he got home from work.’” [Society Nurse, 1962].

Under such dramatic circumstances, it is no wonder that passion flares between the beautiful young nurse and her handsome doctor colleague. The figure of the nurse in romance fiction is a powerful one, her starched white apron covering a breast heaving with suppressed emotion. Victorian portrayals of the nurse show either a drunken and dishonest old woman or an angelic and devoted being, which changes to a 20th-century caricature just as pervasive – that of the ‘sexy nurse’. In this talk, Natasha McEnroe will explore the links between the enforced intimacy of the sickroom and the handling of bodies for more recreational reasons.

Natasha McEnroe is the Director of the Florence Nightingale Museum. Her previous post was Museum Manager of the Grant Museum of Zoology and Comparative Anatomy and Curator of the Galton Collection at University College London. From 1997 – 2007, she was Curator of Dr Johnson’s House in London’s Fleet Street, and has also worked for the National Trust and the Victoria and Albert Museum. Natasha has lectured widely at venues including the Royal Society, the British Museum and the Hunterian Museum.

More here.
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Future Death. Future Dead Bodies. Future Cemeteries: Illustrated lecture by Dr. John Troyer, Deputy Director of the Centre for Death and Society at the University of Bath
20th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

Approximately 1500 people die every day across the United Kingdom, roughly one person a minute. And unless you are a person who works in a profession connected to the dying, chances are good you rarely (if ever) see any of these 1500 dead bodies. More importantly-- do you and your next of kin know what you want done with your dead body when you die? In the future, of course, since it's easier to think that way. Dr. John Troyer, from the Centre for Death & Society, University of Bath, will discuss three kinds of postmortem futures: Future Death, Future Dead Bodies, and Future Cemeteries. Central to these Futures is the human corpse and its use in new forms of body disposal technology, digital technology platforms, and definitions of death.

Dr. John Troyer is the Deputy Director of the Centre for Death and Society at the University of Bath. His interdisciplinary research focuses on contemporary memorialisation practices, concepts of spatial historiography, and the dead body?s relationship with technology. Dr. Troyer is also a theatre director and installation artist with extensive experience in site-specific performance across the United States and Europe. He is a co-founder of the Death Reference Desk website and a frequent commentator for the BBC. His forthcoming book, Technologies of the Human Corpse (published by the University of North Carolina Press), will appear in 2013.

More here.
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Face lift or face reconstruction? Redesigning the Museum Vrolik, Amsterdam's anatomical museum: An illustrated lecture with Dr. Laurens de Rooy, curator of the Museum Vrolik in Amsterdam
24th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

Copies of the book Forces of Form: The Vrolik Museum will be available for sale and signing.

Two skeletons of dwarfs, rare Siamese twins, cyclops and sirens, dozens of pathologically deformed bones, the giant skull of a grown man with hydrocephalus, the skeleton of the lion once owned by king Louis Napoleon, as well as the organs of a babirusa, Tasmanian devil and tree kangaroo – rare animals that died in the Amsterdam zoo ‘Artis’ shortly before their dissection. Counting more than five thousand preparations and specimens, the Museum Vrolikianum, the private collection of father Gerard (1775-1859) and his son Willem Vrolik (1801-1863), was an amazing object of interest one hundred and fifty years ago. In the 1840s and 50s this museum, established in Gerard’s stately mansion on the river Amstel, grew into a famous collection that attracted admiring scientists from both the Netherlands and abroad. After the Vrolik era, the museum was expanded with new collections by succeeding anatomists and the museum now houses more than 10,000 anatomical specimens.

Since 1984, the museum has been located in the academic Hospital of the University of Amsterdam. In 2009 the museum collections were portrayed by the photographer Hans van den Bogaard for the book Forces of Form. This book was the starting point for the creation of a new 'aesthetic' of the museum and its collection, eventually resulting in the grand reopening of the renovated and redesigned permanent exhibition in September 2012. For the first time since the death of father and son Vrolik, all of their scientific interests - the animal anatomy, the congenital malformations and the pathologically deformed human skeletons can all be viewed together, thus giving an impression of what that mid-19th century anatomy was all about. In this talk, Museum Vrolik curator will take you on a guided tour of the new museum, and give an overview of all the other aspects of the 'new' Museum Vrolik.

Dr. Laurens de Rooy (b. 1974) works as a curator of the Museum Vrolik in the Academic Medical Centre in Amsterdam. He studied Medical Biology, specializing in the history of science and museology. during his internship he researched the collection of father and son Vrolik. In 2009 he obtained his PhD in medical history.

More here.
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The Walking Dead in 1803: An Illustrated Lecture with Phil Loring,
Curator of Psychology at the Science Museum in London
25th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

A visiting Italian startled Londoners at the turn of the 19th century by making decapitated animals and executed men open their eyes and move around, as if on the verge of being restored to life. This was not magic but the power of electricity from the newly invented Galvanic trough, or battery. It was also the dawn of the modern neurosciences, as the thrust behind these macabre experiments was to understand the energy that moved through the nerves and linked our wills to our bodies. This talk will discuss a variety of historical instruments from the Science Museum's collections that figured in these re-animation experiments, including the apparatus used by Galvani himself in his laboratory in Bologna. This will be a partial preview of an upcoming Science Museum exhibition on nerve activity, to open in December 2013.

Phil Loring is BPS Curator of Psychology at the Science Museum in London. He has a Master's degree in Medical Anthropology from Harvard University and is currently completing his Ph.D. in the History of Science, also from Harvard, with a dissertation on psycho-linguists in Cambridge, Massachusetts, after the Second World War. Phil has been at the Science Museum since 2009, and during that time he has been particularly committed to sharing artefacts related to psychology and psychiatry with adult audiences. He's currently preparing an exhibition on the history of nerves, to open in December 2013.

More here. 

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The Influencing Machine: James Tilly Matthews and the Air Loom with Mike Jay
26th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

Confined in Bedlam in 1797 as an incurable lunatic, James Tilly Matthews’ case is one of the most bizarre in the annals of psychiatry. He was the first person to insist that his mind was being controlled by a machine: the Air Loom, a terrifying secret weapon whose mesmeric rays and mysterious gases were brainwashing politicians and plunging Europe into revolution, terror and war. But Matthews’ case was even stranger than his doctors realised: many of the incredible conspiracies in which he claimed to be involved were entirely real. Caught up in high-level diplomatic intrigues in the chaos of the French revolution, he found himself betrayed by both sides, and in possession of a secret that no-one would believe…

Mike Jay is an author, historian and curator who has written widely on the history of science and medicine, and particularly on drugs and madness. As well as The Influencing Machine, he is the author of Emperors of Dreams: Drugs in the Nineteenth Century and High Society: Mind-Altering Drugs in History and Culture, which accompanied the exhibition he curated at Wellcome Collection.

More here.
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A Waxen France: Madame Tussaud’s Representations of the French: Illustrated Lecture by Pamela Pilbeam  Emeritus Professor of French History, Royal Holloway, University of London and author of Madame Tussaud and the History of Waxworks
27th June 2013
Doors at 6:30 / Talk begins at 7:00 pm
Ticket price £7; Tickets here

`You perceive that this is some sort of holy of holiest, the nearest Victorians got to a Cathedral, with its saints enniched within’. The chief saint in Madame Tussaud’s exhibition was Bonaparte, the chief villains were Robespierre and his revolutionary colleagues. When she arrived in Britain in 1802 for a short tour that lasted until she died in 1850, her exhibition was an exploration of the evils of the French Revolution. She had modelled the guillotined revolutionaries, as well as Louis XVI and Marie-Antoinette, from their severed heads- and brought a model of a guillotine and the Bastille fortress to expose the short comings of the French. The British, busily at war with their nearest neighbour, loved this critical exposure. Later the focus of her collection became her `Shrine to Napoleon’ consisted of two rooms dedicated to the Emperor. Napoleon had always had a leading role in her touring company, but in 1834, when she was a well-established figure in the world of entertainment and about to open a permanent museum in Baker Street, Madame. Tussaud began to amass large quantities of Napoleonic memorabilia. She built up a collection which Napoleon III acknowledged, when he tried abortively to buy it from the Tussauds, to be the best in the world. Madame Tussaud’s presentation of French politics and history did much to inform and influence the popular perception of France among the British. This paper will explore that view and how it changed during the nineteenth century.

Pamela Pilbeam is Emeritus Professor of French History, Royal Holloway, University of London.   She is the author of Madame Tussaud and the History of Waxworks.

More here.
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© The Natural History Museum, London 2012. All Rights Reserved.

Backstage Tour of the Zoological Collection of the Natural History Museum with Miranda Lowe
28th June 2013
Limited to 10 participants; Time 3:00 - 4:00
Ticket price £20; Tickets here

Today, ten lucky people will get to join Miranda Lowe, Collections Manager of the Aquatic Invertebrates Division, for a special backstage tour of The Natural History Museum of London. The tour will showcase the zoological spirit collections in the Darwin Centre, some of Darwin??
?s barnacles and the famed collection of glass marine invertebrate models crafted by Leopold and Rudolf Blaschka in the 19th and early 20th century.

Miranda Lowe is the Collections Manager of the Aquatic Invertebrates Division, Life Sciences Department, The Natural History Museum (NHM), London. Within Zoology Miranda specifically manages the Crustacea collections as well as the team of curators responsible for the Invertebrate collections. Darwin barnacles and the Blaschka marine invertebrate glass models are amongst some of the historical collections that are her interests and under her care. In 2006, she was part of the organising committee and invited speaker at the 1st international Blaschka congress held in Dublin. Miranda collaborated with the National Glass Centre, Sunderland, UK in 2008 to exhibit some of the Museum’s Blaschka collection alongside contemporary Blaschka inspired art. She also has an interest in photography, natural history - past and present serving on a number of committees including the Society for the History of Natural History (SHNH) and the Natural Sciences Association (NatSCA).

More here. 
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Bat in Glass Dome Workshop: Part of DIY Wunderkammer Series : With Wilder Duncan (formerly of Evolution Store, Soho) and Laetitia Barbier, head librarian at The Morbid Anatomy Library
29th June and 30th June 2013, 1 to 5pm
Ticket price £200; Tickets here (29th) and here (30th)

In this class, students will learn how to create an osteological preparation of a bat in the fashion of 19th century zoological displays. A bat skeleton, a glass dome, branches, glue, tools, and all necessary materials will be provided for each student, but one should feel welcome to bring small feathers, stones, dried flowers, dead insects, natural elements, or any other materials s/he might wish to include in his/her composition. Students will leave the class with a visually striking, fully articulated, “lifelike” bat skeleton posed in a 10” tall glass dome. This piece can, in conjunction with the other creations in the DIY Wunderkammer workshop series, act as the beginning of a genuine collection of curiosities! This class is part of the DIY Wunderkammer workshop series, curated by Laetitia Barbier and Wilder Duncan for Morbid Anatomy as a creative and pluridisciplinary exploration of the Curiosity Cabinet. The classes will focus on teaching ancient methods of specimen preparation that link science with art: students will create compositions involving natural elements and, according to their taste, will compose a traditional Victorian environment or a modern display. More on the series can be found here.

Wilder Duncan is an artist whose work puts a modern-day spin on the genre of Vanitas still life. Although formally trained as a realist painter at Wesleyan University, he has had a lifelong passion for, and interest in, natural history. Self-taught rogue taxidermist and professional specimen preparator, Wilder worked for several years at The Evolution Store creating, repairing, and restoring objects of natural historical interest such as taxidermy, fossils, seashells, minerals, insects, tribal sculptures, and articulated skeletons both animal and human. Wilder continues to do work for private collectors, giving a new life to old mounts, and new smiles to toothless skulls.

Laetitia Barbier is the head librarian at The Morbid Anatomy Library. She is working on a master’s thesis for the Paris Sorbonne on painter Joe Coleman. She writes for Atlas Obscura and Morbid Anatomy.

More here (29th) and here (30th).
________________________________ 

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 Mushr
ooming 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 religion 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 Sain 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. 
________________________________

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.
________________________________

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. 
________________________________

"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.
________________________________

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.
________________________________ 

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.Source:
http://morbidanatomy.blogspot.com/2013/03/morbid-anatomy-presents-in-london-this_30.html

Anatomy of a Stealth Game: Designing Mark of the Ninja
Mark of the Ninja was one of our favorite games of 2012, so when we learned that Klei Entertainment #39;s creative director was coming into town for GDC 2013, we...

By: Rev3Games

Continued here:
Anatomy of a Stealth Game: Designing Mark of the Ninja - Video

I seriously cannot wait to read Rupert Thomson's new novel Secrecy, which takes as muse the enigmatic work and mysterious life of one of my all time favorite artists, the 17th-century Sicilian abbot Gaetano Giulio Zummo aka Zumbo (1656 – 1701). It also seems to be a good book, or so at least asserts the review in The Guardian, which describes it as "a visionary tale of waxworks and court intrigue set in a sinister and baroque Florence" and mentions its author in same breath as JG Ballard, Dickens and Buñuel.

Fugitive pieces
By Rupert Thomson
How the macabre works of Gaetano Giulio Zumbo, a mysterious 17th-century Sicilian wax modeller, inspired Rupert Thomson’s new novel ‘Secrecy’

 
...Driving back to England two months later, I stopped in Florence. Opened in 1775, La Specola is the oldest scientific museum in Europe, and the first 24 rooms are filled with extraordinary zoological specimens. There is a 17th-century hippopotamus that the Grand Duke used to keep in the Boboli Gardens. For some reason, the taxidermist had given the hippopotamus what appeared to be the feet of a dog. There is also a manatee, and a basilisk in a jar. In the two months since the birth of my daughter I’d had little sleep, and I was so deeply tired that I felt at times as if I were hallucinating. I hurried on, eager to see the waxes Jan had spoken of. All I remember from that day is walking into a room that was dominated by three hip-high glass cases. Each case contained a life-size woman made of wax. They were naked except for delicate pearl necklaces, and their heads rested on satin pillows. They had real human hair, and eyes of coloured Venetian glass. Their skin, a sallow golden-yellow, gleamed as if they had just broken out in a light sweat. Though I knew nothing of their provenance or their purpose, they seemed distinctly ambiguous, walking a fine line between the medical and the erotic. I came away from La Specola fascinated by wax as a medium; the way it mimicked human flesh – in his Natural History, Pliny calls it “extreme resemblance” – was uncanny, disquieting.

Towards the end of that year, I went to the Spectacular Bodies exhibition at the Hayward Gallery in London. I still have the page of scribbled notes I made that day. Though I recorded the names of several wax artists – among them Joseph Towne, Anna Morandi, Petrus Koning and Clemente Susini (who had made the three women in La Specola) – almost a quarter of my notes related to Gaetano Giulio Zumbo, whose “Dissection of a Head” was on display, and who was described in the catalogue as an “eccentric Sicilian wax-modeller”. I learnt that several of Zumbo’s most important works were kept in La Specola, and felt stupid for not having noticed them in March. As I left the Hayward, I resolved to learn more.

I quickly discovered that Zumbo is perhaps most celebrated for his plague pieces, which are wooden cabinets – or teatrini – that are filled with the macabre yet oddly tactile bodies of the dead and dying. When I first saw them, as photographs, I was reminded of nativities – though their subject is obviously human not divine, death not birth. Zumbo’s figures sprawl on a rubble of broken tombs and scattered bones, and their flesh is green, yellow, brown or black, depending on the degree of decomposition. The detail is intricate, obsessive – rats tug at entrails, eyeballs are festooned with maggots – so much so that art historians suspect Zumbo of using a magnifying glass when he was modelling; there is a secret, hidden element to the work, just as there was in society, knowledge being the prerogative of the few in those pre-Enlightenment days. Each tableau Zumbo made contrives to be both rich and desolate, and each has a painted backdrop – one of his innovations – which affords the dying a “view” of the landscape beyond the grotto, a last glimpse of the world they are about to leave. Though most of the figures would fit on the palm of your hand, they look more like individuals than specimens, and have an unnerving flamboyance or sensuality that borders on exhibitionism.

Jorge Luis Borges once said that great art always has a certain ambiguity about it. Here, in that case, was great art. Here, also, was a conundrum. And, as a writer, that is precisely where a novel begins for me. Something seems to open out in front of me, something I feel driven to explore, and the only tools I have are sentence...

... By the late 17th century, the glories of the Renaissance were long gone. Florence had entered a profound economic slump – it was an age of austerity, not unlike our own – and the mood was neurotic, disapproving and suspicious. In order to survive, you had to dissimulate, cultivating a gap between your thoughts and actions. During his travels Zumbo may have come to see himself as an outsider but in Florence he was definitely a foreigner as well, and the graphic, gruesome nature of his plague pieces, which teetered on the brink of horror, would also have marked him out as an oddity. To Cosimo III, famously morbid, Zumbo’s work spoke of the transience of life – it was cautionary, meditative – but in centuries to come, opinions would differ wildly. Predictably, perhaps, it appealed to both Lord Byron and the Marquis de Sade. De Sade’s description of the plague pieces – their “fearful truth”, as he put it – was used in Juliette, or Vice Amply Rewarded, a context that mingled desire, cruelty and death. “So powerful is the impression produced by this masterpiece,” de Sade wrote, “that even as you gaze at it your other senses are played upon; moans audible, you wrinkle your nose as if you could detect the evil odours of mortality.” But Herman Melville, who mentioned Zumbo’s work in Journal up the Straits some 50 years later, took a different view: “A moralist, this Sicilian,” was his measured response. To this day, however, a sense of unease remains.

And what of Zumbo’s private life? The devil doesn’t appear in Zumbo’s work, and he makes no reference to salvation or paradise. His focus is specifically terrestrial. For Zumbo, the threat is not sin, but time. His anatomical pieces were forensic but they were also, quite clearly, sensual – or, as the art historian Roberta Panzanelli puts it, “love-letters to life itself”...

Excerpt and images from The Financial Times article "Fugitive Pieces;" You can read the entire piece by clicking here. The top four photos are drawn from the piece, and were taken by Nick Ballon, while the bottom image was sourced on the from Musesplorando website; Full captions follow, top to bottom. You can read The Guardian's review of the novel by clicking here. You can find out more--and order a copy of the book--by clicking here,.

Thanks so much to George Loudon and James Kennaway for bringing this amazing looking new book to my attention.

1. Gaetano Giulio Zumbo’s miniature wax tableau ‘The Plague’
2. ‘The Triumph of Time’
3. ‘The Transience of Human Glory’
4. ‘Syphilis’
5. Anatomical head by Gaetano Giulio Zumbo; found here.

Source:
http://morbidanatomy.blogspot.com/2013/03/finally-novel-based-on-17th-century.html

Grey #39;s Anatomy Sneak Peek 9.19 - Can #39;t Fight This Feeling (2)
"Can #39;t Fight This Feeling" - A gas tanker explodes on a Seattle highway, causing multiple injuries -- including paramedic Matthew; Meredith and Jo help a fra...

By: BlueSky6134

Link:
Grey's Anatomy Sneak Peek 9.19 - Can't Fight This Feeling (2) - Video

Grey #39;s Anatomy Sneak Peek 9.19 - Can #39;t Fight This Feeling (3)
"Can #39;t Fight This Feeling" - A gas tanker explodes on a Seattle highway, causing multiple injuries -- including paramedic Matthew; Meredith and Jo help a fra...

By: BlueSky6134

Read the original:
Grey's Anatomy Sneak Peek 9.19 - Can't Fight This Feeling (3) - Video

Heart Anatomy Lab
heart.

By: Jil Karr

Originally posted here:
Heart Anatomy Lab - Video

iMovie English For IT 2 Fourth Meeting Insect Anatomy
Komala Dwi Pertiwi 1212472648 Sistem Informasi Bussines Intelligence.

By: Komala Dwi Pertiwi

Excerpt from:
iMovie English For IT 2 Fourth Meeting Insect Anatomy - Video

anatomy and physiology chapter 9 part 1
education.

By: van vu

See more here:
anatomy and physiology chapter 9 part 1 - Video

As teased in this Vampire Diaries promo for "American Gothic," the game is about to be fully on this Thursday night.

But before Team Damon and Stefan can track down Team Elena and Rebekah on their way to Katherine, they'll need to fill up on gas. And Stefan will need to give his brother a hard time for letting Elena go in the first place.

Watch some fun brotherly back and forth from the episode now:

 

The Vampire Diaries Clip: Fill 'er Up!

As for what else you can expect from this installment, check out a shirtless Klaus in a round of TVD photos and prepare for the return of another Original.

Yes, Fanatics, it's Elijah!

Source:
http://www.tvfanatic.com/2013/03/vampire-diaries-sneak-peek-road-trip-interrupted/

It's what the judges tell us every year on American Idol, isn't it?

Forget the drama. Forget the bickering. Forget the fashion or pyrotechnics. This competition is all about the singers.

And this week, it was all about The Beatles, as Candice Glover, Burnell Taylor and company sang tracks from the Paul McCartney and John Lennon handbook.

Below, in what will become a weekly tradition throughout the rest of Season 12, we've made it easier than ever for readers to download the singles covered by this year's finalists. Browse around and click that mouse now:

	Song	Artist
	With A Little Help From My Friends	Kree Harrison
	Let It Be	Burnell Taylor
	She's Leaving Home	Amber Holcomb
	Come Together	Candice Glover
	Eleanor Rigby	Paul Jolley
	In My Life	Lazaro Arbos
	Yesterday	Angie Miller
	The Long And Winding Road	Devin Velez
	I Will	Janelle Arthur

Source:
http://www.tvfanatic.com/2013/03/american-idol-sings-the-beatles-download-now/

"Mr. Sandman" didn’t bring any dreams or cute things to Portland.

This is Grimm, after all. Why bring dreams when you can bring death and blindness?

The case of the week proved to be one of the greater investigations of Grimm Season 2. The idea of a man stealing the sight of people who are in periods of grief and, literally, having them lose their way all so he can find his own is pretty compelling.

It’s a metaphor not only for the case, but also where Grimm is at this point in its story arcs. Almost every element was accounted for: Juliette is experiencing grief over her forgotten memories or fearing what she just can’t seem to remember. Team Nick is doing its best to figure out where it fits in to Renard’s master plan, as it speculated around the dinner table, but sometimes they’re just going into things blindly.

Hopefully the metaphor ends before the stabbing.

The more thought-provoking development of the case was the precedent it potentially sets for Nick as a Grimm. When Andre blinded Nick, his sense of hearing overcompensated; and even after the cure, his heightened hearing remained. It opens up the idea of Grimms being able to absorb or inherit abilities from other Wesen in certain situations, and it’ll also come in handy when Renard talks to his brother or whispers on the phone.

Adalind is still in Vienna, and still very much pregnant. The only difference now is she’s unsure of who the father is: Renard or his brother. No matter who ends up being the father, Adalind secured herself a piece of the Wesen good life by carrying a royal.

Finally, there’s Juliette. Her hallucinations are beginning to take shape, in Nick form no less. It reminds me of an episode of The OC when Che took Seth to the woods to find his spirit animal. Anyways, if these hallucinations are indeed Juliette’s spirit animal, it is high time he leads her right back to her memories.

I’m wondering if the key to making sure Renard can break free of Juliette’s pull is also tied to her memories because, as we saw in his dream, Renard still has some infatuation with Juliette.

A Few More Thoughts:

• That looked more like a spork to me than a spoon.
• Love when the medical examiners pops in for a case.
• Rosalee is quickly becoming my favorite Nick sidekick.
• NBC, your massive ads during shows for your upcoming shows is getting out of hand. I love Revolution and The Voice, but I don’t need to see Charlie running across my screen or watch the chairs swivel in every day.

Source:
http://www.tvfanatic.com/2013/03/grimm-review-enter-mr-sandman/

Our TV Fanatic review made it as clear as can be: Beauty and the Beast just keeps getting better and better.

How will this ever-improving CW drama follow up on "Insatiable?" By pitting partner against partner in the aptly-titled "Partners in Crime."

Look for Tess to confront Cat next Thursday, and for the former to admit things to her friend in order to salvage their relationship. Watch the official network teaser now:

 

Beauty and the Beast Promo: "Partners in Crime"

In the following sneak peek, meanwhile, Gabe will grow suspicious of everyone in the department, specifically the aforementioned duo.

And he won't be satisfied until he gets some answers, as you can see here:

 

Beauty and the Beast Clip: Cornered Cat

Source:
http://www.tvfanatic.com/2013/03/beauty-and-the-beast-preview-and-clip-tess-vs-cat/

Next week on Grey's Anatomy, a gas tanker explodes on a highway, resulting in multiple injuries.

Jo and Meredith try to help a frantic woman, whose child has a mysterious illness. Sarah Chalke (Scrubs) guest stars in the role, and from the looks of the promo below, it will be a powerful one.

Watch ABC's first preview for "Can't Fight This Feeling" and see what you think of it below:

 

Grey's Anatomy 'Can't Fight This Feeling' Promo

It's the story "every mother needs to see." That teaser alone tells you how emotional it'll get.

Meanwhile, Alex is forced to work with Jo's boyfriend, which should be interesting and fun.

For a full rundown on all of last night's events (it's a boy!), read our Grey's Anatomy review of "Idle Hands." Then share your comments and predictions for next week with us below ...

Source:
http://www.tvfanatic.com/2013/03/greys-anatomy-promo-calm-down/

She went up against Cyrus on this week's episode of Scandal.

But Olivia Pope will partner with a different enemy on next Thursday's "Snake in the Garden," agreeing to work with Hollis Doyle after his daughter gets kidnapped and held for ransom.

Elsewhere, look for Olivia and Jake to take their relationship to that next level, while Cyrus is intent on getting back into the President's good graces and Mellie makes it clear to Fitz: he needs to make some changes.

Watch the ABC promo for this Scandal Season 2 installment now:

 

Scandal Promo: "Snake in the Garden"

Source:
http://www.tvfanatic.com/2013/03/scandal-preview-dealing-with-the-devil/

Drew Thompson may have been in US Marshal custody, but the Detroit mob wasn't ready to give up the chase. "Decoy" was an epic showdown between those protecting Drew and those that wanted him dead.

In this edition of the TV Fanatic Round Table, staff members Dan Forcella, Christine Orlando, Jim Garner, and Carla Day discuss the magnificient bantering, showdowns, and Bob's unexpected strength. 

----------------------------------

What will happen to Johnny now that his secret allegiance is out?
Dan: He will be forgiven by Boyd, feel a bit too comfortable, and then meet his maker at the most unlikely moment.

Jim: He may be joining Devil, we saw how it worked out for Devil to try and double cross Boyd.

Christine:  I'm with Dan on this one. Boyd will make him feel safe before taking him out ... or if he's smart he'll run, so to speak.

Carla: Boyd's got trouble all around him and will need all the help he can get. I wouldn't be surprised if he offers Johnny a deal for redemption. 

What was your favorite scene from "Decoy"?
Dan: My favorite scene was definitely watching Tim Gutterson do his thing in circling the wagons.

Jim: I loved Raylan and Boyd discussing the Astronaut. It reminded me that they are very similar and just took different paths. 

Christine:  There were so many in this episode but I've got to go with my girl Ava. She kept her head, never let him bait her and then took her shot and ended up walking out the door.  That's my girl.

Carla: I've grown to love it whenever Tim is on the screen. He was brilliant and witty in his manipulation of Colt. 

Were you surprised by Bob's ability to hold strong while being pummeled?
Dan: Surprised?  Yes.  I was also excited, giddy, and especially proud.

Jim: Totally shocked by it. I take back what I've said about him in the past. Dan, you clearly saw more in him than I did.

Christine:  Absolutely.  Bob's the man. Who knew?  Even Raylan was forced to live up to his example.

Carla: Never would have guessed. I have a whole new respect for him. Bob proved that sometimes there's more to a person than you possibly imagine. I'm a bit in awe of him right now.

Who had the best banter and why? Tim and Colt? Raylan and Boyd? Bob's "Drewisms"? Or, Ava and Nick?
Dan: Oh this was definitely Tim and Colt.  How coy each was while chatting about the situation was fantastic.  I loved the Lt. Dan remark.

Jim: I really enjoyed Tim and Colt. But then Colt was in rare form when he turned lemons in to lemonade by tricking his mafia counterpart into giving him the rifle.

Christine:  Tim and Colt were awesome but I'm going to go with Raylan and Boyd. Somehow it feels like they're bantering when they're not even in the same room.  That's how well they know one another. I loved how they both made it to the high school and immediately started talking about the astronaut. Their relationship is what makes this show so special.

Carla: They were all outstanding. Tim and Colt was my favorite, but I have to give props to Bob for adding some humor to his pummeling. Drewbacca anyone?

On the our normal episode grading scale of 1-5, what do you give the Drew Thompson storyline?

Dan: I give it a 4.0. I thought it dragged on a bit too long, so it doesn't get the 5 that many Justified plots would, but it was still too good to give anything lower than a 4.

Jim: Giving it a solid 4. I enjoyed that Drew turned out to be someone we've known for a while and still likable in the end. 

Christine:  Overall, it was a pretty good mystery. I'll give it a 4. And I like Shelby. I hope he somehow survives all of this. I loved the end of this episode where Rachel's taking him out of Harlan by train. That just seemed perfect.

Carla: I agree with Dan that it went on a little too long. The last couple episodes though were highlights. And, the reveal that Shelby was Drew Thompson and he had redeemed himself throughout the years was a positive.

What will happen to Johnny now that his secret allegiance is out?
Dan: He will be forgiven by Boyd, feel a bit too comfortable, and then meet his maker at the most unlikely moment.

Jim: He may be joining Devil, we saw how it worked out for Devil to try and double cross Boyd.

Christine:  I'm with Dan on this one. Boyd will make him feel safe before taking him out ... or if he's smart he'll run, so to speak.

Carla: Boyd's got trouble all around him and will need all the help he can get. I wouldn't be surprised if he offers Johnny a deal for redemption. 

What is the biggest threat to Boyd and Ava now? The Detroit mob? Ellen May? Or, something else?
Dan: The biggest threat to Boyd and Ava is the frozen yogurt boom.  With another one popping up everywhere you look, how will their new Dairy Queen franchise stand a chance?

Jim: I would say YES ... Boyd and Ava are up to their ears in it and there is no telling what's going to pull them under.

Christine:  Oh come on Dan. How can anything compete with a Peanut Buster Parfait?  Although where Ellen Mae might be bought off with some ice cream, I doubt the same can be said for the Detroit mob.

Carla: With no sheriff in town, Ellen May probably won't be an immediate risk. The Detroit mob will make a point of making Boyd pay. It might be a good time for the couple to elope and go on a nice long honeymoon.

Source:
http://www.tvfanatic.com/2013/03/justified-round-table-decoy/

A new alliance was formed.

A dozen witches perished.

And Lexi got screwed on the roof by Damon... twice!

In this edition of The Vampire Diaries Round Table, staffers Matt Richenthal, Dan Forcella, Miranda Wicker and Steve Marsi breakdown "Because the Night." Won't you pull up a virtual chair and join them?

-------------------------------------------

What was your favorite scene from the episode?
Matt: The opening. Psycho Killer, indeed! (Shameless Plug Alert: Visit our Vampire Diaries music section for even more from the episode!)

Dan: More of a moment: For some reason I was absolutely giddy at the way Rebekah smashed that one dude's head against the wall when he just so much as attempted to make a play at her. She is viciously attractive like that.

Miranda: Not a favorite scene, but a favorite quote: Caroline: "Do you even know how to read a map?" Klaus: "Yes, and do you know who taught me? My good friend Magellan."Oh, Snarky Klaus. You're better than Christmas.

Steve: Anything with Klaus and Caroline. I love their chemistry, even if it's more hateful and bitter than romantic these days.

The teams have shifted. Who is now most likely to get the cure: Rebekah/Elena, Silas/Klaus or Damon/Stefan?
Matt: Wesley Snipes taught me to always bet on black. But a lesser known caveat to that advice? When it's not an option, think pink. I'm on Team Elena.

Dan: While I want the new dynamic duo of Elena/Rebekah to get to it, I'm on board with it being the Salvatore siblings. Why would you count them out?

Miranda: I'm going with Damon/Stefan. The brothers always come through when they work together, even if they have different ideas about how to make their plans work.

Steve: Silas and Klaus. While they'd be more entertaining as adversaries, clearly the most agile, gifted and powerful of supernatural creatures cannot be defeated when they screw over the rest of the league by teaming up. Just look at the Heat. 24 wins in a row! The joke is on us.

Did Lexi make a welcome return?
Matt: Not especially. The flashback offered little insight and really made Lexi look pretty bad, if you think about. All it took was one Damon line and stare for her to fall prey to his sexual advances? Granted, that would work on 99% of warm-blooded females. But I expected more from her.

Dan: Welcome? Sure. Memorable? Not really.

Miranda: At least we got an explanation as to why Damon killed her? I feel like she's become a Flashback Fairy and I find it incredibly unlikely that she would've fallen for Damon.

Steve: Not really. It felt like a gimmicky way to show more flashbacks and have Elena turn the tables on Damon, but that's it. Made for a fun episode, but not one of the season's best by a long shot.

Who would make the better boyfriend, Damon or Stefan?
Matt: Matt. He'd do all the work in the kitchen and he's gotta be close to owning his own Grill franchise by now, right?

Dan: The correct answer is always Damon. For as much as everyone thinks Stefan cares, Damon does just as much, and he does it while being hotter and funnier.

Miranda: It pains me to say thi...s but Stefan. Damon's a little too love-em-and-leave-em, I think. But it would certainly be hot for however long it lasted.

Steve: Depends what she's looking for. Both rippers, but one is reformed, the other unabashed. One is stable, the other unpredictable. One the epitome of love, dedication and emotional support, the other the embodiment of unbridled passion and lust. Who will she choose?! NOTE: This is basically the Vampire Diaries Season 1 synopsis.

Now that Silas is done with her, what role will Bonnie the Plot Device play next?
Matt: She'll join Rebekah and Elena in the search for Katherine. Not because she cares about the cure. Because she needs advice on how to do this whole plot device thing from somebody who knows.

Dan: Bonnie will play the role of the teenage witch who makes valiant attempts to be as annoying as possible so that the audience of the television show she is a character on has someone to despise. The Vampire Diaries wouldn't be the quality television program it is today without our need to sigh every time Bonnie comes on screen.

Miranda: She won't. Her dad will probably ship her off to Hogwarts and we won't see her for three episodes.

Steve: Wasting her life away in the Stoner Pit and doing the thing where her eyeballs turn 100 percent white just to freak out the other slackers and make them give her free cigarettes.

Do you like Elena's new hair?
Matt: Yes. I am with nearly 80% of TV Fanatics (as of this writing). The streaks suit her rebellious personality. And they are a bit less risque than last week when she actually went streaking, sort of, in front of Damon, Caroline and Stefan.

Dan: I'm not looking at her hair.

Miranda: I. Love. It. So much so that I pinned it as inspiration for my next hair appointment.

Steve: I was pleasantly surprised. I wasn't like, "oh, I need to live Tweet about #elenashair and Pin the s--t out of this right now," but I found myself liking it a lot more than when other stars attempt the random color streaks.

Source:
http://www.tvfanatic.com/2013/03/the-vampire-diaries-round-table-because-the-night/

It hasn’t been all that long since we last saw John Noble grace our TV screens on the series finale of Fringe.

But the beloved actor will take on a new role Sunday night, coming on board The Good Wife Season 4 as Matthew Ashbaugh, an erratic and litigious attorney who is murdered early on in "Death of a Client."

Via flashbacks, Alicia will attempt to piece together who might have killed a man who unfortunately made many enemies.

The always gregarious Noble jumped on the phone with me this week to talk about the new role, as well as how he is adjusting to life post-Walter Bishop and Fringe...

TV Fanatic: When I first heard you were on The Good Wife, I thought ‘oh, this will be very different from Walter’ and after seeing it I thought ‘maybe this isn’t so different after all.’ Can you tell me about your character?
John Noble: Yeah, he’s kind of eccentric. Obviously very wealthy, eccentric guy who is very litigious and he’s constantly seeing himself as a victim and he continually sues people for simply trivial things like a dog barking and so there’s a whole lot of people that are extremely outraged for him doing this, but he does it anyway.

He went to the firm and is put up with Alicia and formed a real bond with her, frankly, and then became rather attached to her and continually went back with other issues. It was a terrific relationship to play. His attachment to this woman despite his extraordinary eccentric ways and the battle of him being attacked in courtrooms, it’s a fun character to play in this episode. This particular fellow has been killed and so Alicia is approached the police to say well, is there anyone that might want this man dead and she says “Oh, yes. Lots of people.”

TVF: He has an interesting way of playing some music when he’s in a room, right?
JN: Well, you know he walks around with a jam box. [laughs] He’s playing Bach the whole time. When he is done playing the song he starts it over again and the reason being that he thinks he’s going to bore the CIA to death because he felt they’re obviously listening to everything he does. ‘They’ll get sick of listening to me,’ he thinks, ‘so I’ll play these over and over again.’ And that thing is playing at all times when he’s onscreen.

TVF: How was it just stepping into the show?
JN: Oh, it was really wonderful. I’m a genuine admirer of the show and I think that the cast is outstanding. I mean, really fine actors and the writing has been constantly at a very high standard in my opinion. But I also had an advantage of knowing lots of people involved in the crew because a lot of those people were our crew in our first year with Fringe.

So in some way it was fantastic going back and seeing all these people that I’ve known quite intimately when I was there [in New York]. It was really quite wonderful going back to that situation and being back in New York again. So the whole experience was extremely comfortable and quite joyous catching up with all these people after four years or five years.

TVF: Are most of your scenes with Julianna Margulies or do you have any scenes with any of the other actors?
JN: No, all of the stuff was with Julianna. In one scene, Josh Charles, he’s a lovely bloke. I know Josh and respect him enormously. Within the scene, it was in such a way that my character didn’t even look at him so I can’t really say that I worked with Josh Charles even though we did a scene together. My character completely ignored him, didn’t even look to him. [laughs]

But Julianna is such an amazing actress, frankly, and we just had really good chemistry going. We certainly enjoyed working together. It was a very pleasant experience, really. She’s just a fantastic actress.

TVF: It’s too bad they gave you such a great character and then they killed him off right away, right?
JN: [laughs] It was so funny at the time. People said “Oh, you should come back.’ And I’d say ‘I can’t unless I can come back from the dead!’ But it was terrific. In some ways, it’s at the top of my wish list coming out of Fringe. My wife loves the show. She said ‘Oh, John, try and get onto The Good Wife, try to get onto The Good Wife.’ So we barely landed back in Australia and stopped to take a few deep breaths and I got the call. ‘Can you come back and do The Good Wife?’ So I came to them and now I’m going to go home and try and catch up on some of that break that I didn’t get at the end of the show.

TVF: Well, since you brought up Fringe, tell me now that a little time has passed since the final episode aired and you stopped shooting, how was it kind of settled in for you as far as just any emotions you’re feeling about the experience being over?
JN: You know, the main thing is that having been so intensely involved for five years, it’s kind of getting used to not being occupied on a daily basis with a complex character and obviously the hours and demands of shooting that type of show.

So it’s sort of at loose ends and jumping out of bed and expecting to be busy and then saying, ‘No, hang on…’ I’ve talked to a couple of the other cast members and that’s the reaction from them as well. It’s really quite strange coming off something that’s so intense and so involved.

Source:
http://www.tvfanatic.com/2013/03/john-noble-previews-eccentric-character-unique-appearance-on-the/

Noah Scalin, the genius behind Skull-A-Day and many many other creative ventures, also happens to be a rockstar in the band, League of Space Pirates. Animated and directed by Georgiy Kuznetsov. This is their latest music video for the song Elegant Universe that follows the journey of the Detritus, the League of Space Pirates’ tour ship as it travels through uncharted territories, namely a human body.

Elegant Universe takes it name from the title of the seminal book on string theory by physicist Brian Greene. It is one of the two tracks on the new Book & Record single/comic book, which was released by the band earlier this month.

This action-packed book & record set includes TWO original songs by League of Space Pirates illustrated as comic stories on 16 full-color pages and ONE 7 inch 45 rpm record. Read along as you listen, following the record lyric for lyric and join the fight against Übercorp!

Buy the book & record set here!

NEWS UPDATE:
Skull-A-Day and Street Anatomy are teaming up to bring you Skull Appreciation Day 2013 in Chicago! More news to come!

Stay updated on all of our gallery shows/events by signing up for Your Daily Dose of Street Anatomy!

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/mDc7dWrn8DY/

Via The Attic:

Museum Studies: Museum Origins Course
Summer Course for MAs or PhDs in Italy

--Do you ever wonder why people collect things?
--How did 15th century private desires to own collections lead to the museum as we know it today?
--Why is Florence, Italy, considered one of the birthplaces of the modern museum?
--Find out this summer in Museum Origins!

June 10- August 3: An 8-week course that blends online learning with onsite investigation (in ITALY!) and scholarly research.

Open to current graduate students and alumni of master's or Ph.D. programs in any field from any college or university

Great for students in art, art history, literature, history, public history, anthropology, psychology, museum studies, library & information science, classics - all majors welcome!

• First three weeks: Course readings and discussions online.
• Middle two weeks: You go to "class" in museums in Italy.(How cool is
• that?!)
• Last three weeks: You write a research paper.
• After the course: An experience that lasts a lifetime.
• APPLY NOW! Applications are due April 1!

And more, from the Kent State website

Class limit: 15 participants
Open to: Graduate students at any institution
Alumni of any graduate program (master’s or Ph.D.)
NOW ACCEPTING UPPER-DIVISION UNDERGRADUATES FROM ANY INSTITUTION, ANY MAJOR! 

Itinerary in Florence:
Morning: Visits to museums
Afternoon: Discussions and lectures at Kent State Florence Palazzo de Cerchi

Course Description
While the collecting of objects can be found as far back as ancient times in various parts of the world, the birth of the modern museum finds its roots in Europe, especially in Italy. In the context of today’s world, students will “go back in time” to understand the origins of Western museums and the meaning of publicly shared collections through a series of competing dualisms in knowledge creation and organization. Students will explore the history of the modern museum and spend two weeks visiting actual sites and collections that played a role in this history. Exploring the past in this way is geared specifically to help today’s museum workers gain a better understanding of their own role and purpose in their community, society and nation.

This course is part of a Museum Studies specialization within the Master of Library and Information Science degree at Kent State School of Library and Information Science. Museums, like libraries, are in the information business. The museum studies courses at Kent State employ a holistic approach to the study of museums as institutions that generate and perpetuate knowledge. Students will gain an understanding of museums in context as dynamic, interactive information systems composed of people, objects, and activities. Because the SLIS courses are structured within a library and information science framework, students are able to cut across the spectrum of traditional academic disciplines, which strengthens the skills of future museum professional by giving them a broader perspective, a larger knowledge base, and more flexibility. Students in the Museum Origins class do not need to be in the M.L.I.S. program, but should understand this unique approach to the discipline of museum studies.

More here.

Image: "The Tribuna degli Uffizi," Johann Zoffany, 1772-1779; found here. Click in image to see larger, more detailed version.Source:
http://morbidanatomy.blogspot.com/2013/03/dream-summer-course-in-florence-museum.html

Eric Franklin is a Portland based artist who works with light and glass. His latest creations are glowing glass skulls made from “flameworked borosilicate glass, ionized neon and mercury, wood, electronics.”

Previously, Franklin has created glass skeletons and other parts of the human body.

You can see more of his work at ericfranklin.com.

[via BuzzFeed]

Source:
http://feedproxy.google.com/~r/streetanatomy/OQuC/~3/N5A3jIXIAu4/