{"id":95934,"date":"2013-06-27T04:39:02","date_gmt":"2013-06-27T08:39:02","guid":{"rendered":"http:\/\/www.immortalitymedicine.tv\/anatomy\/morbid-anatomy-lecture-series-at-last-tuesday-society-in-yesterdays-hackney-citizen.php"},"modified":"2024-08-17T17:26:54","modified_gmt":"2024-08-17T21:26:54","slug":"morbid-anatomy-lecture-series-at-last-tuesday-society-in-yesterdays-hackney-citizen","status":"publish","type":"post","link":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/anatomy\/morbid-anatomy-lecture-series-at-last-tuesday-society-in-yesterdays-hackney-citizen.php","title":{"rendered":"Morbid Anatomy Lecture Series at Last Tuesday Society in Yesterday’s "Hackney Citizen""},"content":{"rendered":"
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Kill time at death talks: Morbid Anatomy lecture series at Last Tuesday Society<\/b>
Batty events for those with grave concerns take in such subjects as the Neapolitan cult of the dead and London’s folk medicine<\/p><\/blockquote><\/div>

The summer months have heralded the arrival of a new lecture series. <\/div><\/blockquote>
The subject is death.

Proceedings at the Morbid Anatomy Lecture Series, which began last month and is continuing through July at The Last Tuesday Society in Mare Street, have included a “wax wound workshop” and a talk on the Neapolitan cult of the dead.<\/p>

Still to come are talks on the “danse macabre” and London’s folk medicine, and there will be an opportunity to create your very own bat in glass dome – using a real dead bat....<\/p><\/div><\/blockquote>

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Read the entire article--by Hannah Langworth in yesterday's Hackney Citizen<\/i>--by clicking here<\/a>.

Following is a list of the remaining events in the Last Tuesday Society<\/a>'s Morbid Anatomy Lecture Series; Hope to see you at one or more of these terrific events!<\/p>

The image you see above is a fresco of \"The Triumph of Death\"  in Palermo, painted by an unknown artist around 1446 and seen in the Regional Gallery of Palazzo Abatellis.<\/p>

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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<\/b><\/div>
29th June and 30th June 2013, 1 to 5pm<\/div>
Ticket price £150; Tickets here<\/a> (29th) and here<\/a> (30th)<\/div>
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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. <\/div>
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Wilder Duncan<\/a> 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.<\/div>
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Laetitia Barbier<\/a> is the head librarian at The Morbid Anatomy Library<\/a>. She is working on a master’s thesis for the Paris Sorbonne on painter Joe Coleman. She writes for Atlas Obscura and Morbid Anatomy.<\/div>
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More here<\/a> (29th) and here<\/a> (30th).<\/div>
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The Coming of Age of the Danse Macabre on the Verge of the Industrial Age:<\/b> Illustrated lecture with Alexander L. Bieri<\/b><\/b><\/div>
9th July 2013<\/div>
Doors at 6:30 \/ Talk begins at 7:00 pm <\/div>
Ticket price £7; Tickets here<\/a><\/div>
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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.<\/div>
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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 ca
pacity 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.<\/div>
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More here<\/a>.<\/div>
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Photo courtesy of
Tonya Hurley<\/a><\/td><\/tr><\/tbody><\/table>
Viva la Muerte: The Mushrooming Cult of Saint Death\": Illustrated lecture and book signing with Andrew Chesnut<\/b><\/div>
10th July 2013<\/div>
Doors at 6:30 \/ Talk begins at 7:00 pm <\/div>
Ticket price £7; Tickets here<\/a><\/div>
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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<\/i><\/a> and Chair in Catholic Studies at Virginia Commonwealth University, will detail his research into the history and ongoing development of this fascinating \"new religion.\"<\/div>
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Copies of Devoted to Death: Santa Muerte, the Skeleton Sain<\/i><\/a> will be available for sale and signing. <\/div>
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Dr. R. Andrew Chesnut<\/a> 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<\/i><\/a> (Oxford University Press, 2012). It is the first in-depth study of the Mexican folk saint in English.<\/div>
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More here<\/a>.  <\/div>
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<\/a>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<\/b><\/div>
15th July 2013<\/div>
Doors at 6:30 \/ Talk begins at 7:00 pm <\/div>
Ticket price £7; Tickets here<\/a><\/div>
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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.<\/div>
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Ross MacFarlane<\/a> 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<\/a> 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.<\/div>
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More here<\/a>.<\/div>
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The Vampires of London: A Cinematic Survey with William Fowler (BFI) and Mark Pilkington (Strange Attractor)<\/b><\/div>
18th July 2013<\/div>
Doors at 6:30 \/ Talk begins at 7:00 pm <\/div>
Ticket price £7; Tickets here<\/a><\/div>
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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.<\/div>
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William Fowler<\/a> is curator of artists' moving image at the BFI National Archive and co-programmes the cult cinema strand at Flipside at BFI Southbank.<\/div>
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Mark Pilkington<\/a> runs Strange Attractor Press and is the author of 'Mirage Men' and 'Far Out: 101 Strange Tales from Science's Outer Edge'.  <\/div>
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More here<\/a>.  <\/div>
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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<\/div>
24th July 2013<\/div>
Doors at 6:30 \/ Talk begins at 7:00 pm <\/div>
Ticket price £7; Tickets here<\/a><\/div>
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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).<\/div>
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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.<\/div>
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William Fowler<\/a> is curator of artists' moving image at the BFI National Archive and co-programmes the cult cinema strand at Flipside at BFI Southbank.<\/div>
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More here<\/a>.<\/div>
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Of Satyrs, Horses and Camels: Natural History in the Imaginative Mode: illustrated lecture by Daniel Margócsy, Hunter College, New York<\/b><\/div>
25th July 2013<\/div>
Doors at 6:30 \/ Talk begins at 7:00 pm <\/div>
Ticket price £7; Tickets here<\/a><\/div>
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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. <\/div>
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Daniel Margocsy<\/a> 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<\/i>, and the Netherlands Yearbook of Art History<\/i>.<\/div>
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More here<\/a>.<\/div>
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All talks and workshops take place at The Last Tuesday Society at 11 Mare Street, London, E8 4RP map here<\/a>) unless otherwise specified; please click here<\/a> to buy tickets. More on all events can be found here<\/a>. Click on images to see larger versions.<\/div><\/div>

Source:
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Kill time at death talks: Morbid Anatomy lecture series at Last Tuesday SocietyBatty events for those with grave concerns take in such subjects as the Neapolitan cult of the dead and London’s folk medicineThe summer months have heralded the arrival … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"limit_modified_date":"","last_modified_date":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[577281],"tags":[],"class_list":["post-95934","post","type-post","status-publish","format-standard","hentry","category-anatomy"],"modified_by":null,"_links":{"self":[{"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/posts\/95934"}],"collection":[{"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/comments?post=95934"}],"version-history":[{"count":0,"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/posts\/95934\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/media?parent=95934"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/categories?post=95934"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.euvolution.com\/futurist-transhuman-news-blog\/wp-json\/wp\/v2\/tags?post=95934"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}