Organs-without-body: a study on the genealogy of vision leading to the posthuman age

The paper begins by establishing the historical context of Lam Qua's medical portraits, commissioned by the American medical missionary Peter Parker in 1834. These portraits, initially displayed in Parker's hospital, documented patients' deformities and unique features. While previous research has focused on the historical or critical discourse aspects, this paper aims to delve into the underlying visual thinking. The study analyzes 80 digitized portraits from Yale University, systematically examining the observational habits and discursive formations behind them. The introduction connects Lam Qua's work to broader historical trends, referencing Susan Sontag's *Illness as Metaphor* to illustrate how changing notions of illness and identity influenced the representation of the body, particularly the grotesque and diseased parts, in the 18th and 19th centuries. The paper frames Lam Qua's portraits as an "index of foundational content" upon which forms of knowledge can be applied, interpreting them both as surgical observation cases and as part of a freak show system. This dual interpretation serves as a foundation for the analysis.

The paper draws on the works of several scholars, including Bartlett (1916) on Parker's medical missions, Heinrich (2008) and Wagner (2015) on visual culture and cultural exchange, Gilman (1986) and Rachman (2005) on critiques of the medical portraits, Sontag (1978) on illness as metaphor, and Foucault (2012, 2013) on the archaeology of knowledge and the concept of the archive. It also references works by scholars examining medical illustrations in the 18th and 19th centuries, including discussions of Pinel, Alibert, and the evolution of medical visualization techniques. The literature review establishes a framework for understanding the historical and theoretical context of Lam Qua's work and its connection to broader artistic and cultural trends in fashion and modern dance.

The methodology centers on Foucault's archaeology of knowledge, a systematic analysis of the statements that link similar images across different periods. The study analyzes 80 medical portraits by Lam Qua, identifying recurring themes and visual conventions. It traces the genealogy of visual representation of the body, particularly diseased or abnormal organs, from early medical illustrations like Pinel's and Alibert's work to Lam Qua's paintings and finally to contemporary fashion and dance art. The paper employs a comparative approach, juxtaposing medical illustrations, freak show imagery, fashion designs, and dance performances to demonstrate a continuity of visual thought and discursive formations related to the representation of the body. The concept of "organs-without-body" is introduced as a framework for understanding how detached information gains significance and shapes cultural representations. The analysis includes detailed visual descriptions of selected works by Lam Qua, Alibert, and Kawakubo to exemplify its argument.

The key findings center on the concept of "organs-without-body." The paper demonstrates how the emphasis on specific diseased organs in medical illustrations, originating in the tradition of case studies by Pinel and Alibert, transitioned into a form of visual display similar to freak shows. This focus on individual, often grotesque, organs, detached from the complete body, became a recurring theme. The analysis reveals how this approach influenced subsequent cultural representations, particularly in fashion design (Rei Kawakubo) and modern dance (Merce Cunningham). Kawakubo's deconstruction of traditional body ideals and Cunningham's abstraction of movement showcase how the emphasis on partial information, rather than the complete body, aligns with posthuman thinking. The paper further explores the ambiguous and often problematic nature of this emphasis, highlighting the exploitation of bodily differences in colonial contexts (e.g., the case of Sarah Baartman) and the paradoxical appeal of the grotesque in fashion. The study shows how the focus on specific organs created a discourse that transcended the original context, creating a system where information overrules material reality.

The findings address the research question by demonstrating how the historical trajectory of visualizing the body, from medical case studies to contemporary art, reveals a consistent emphasis on partial information. The discussion focuses on the implications of this "organs-without-body" approach, particularly its connection to posthuman thought. By analyzing the work of Kawakubo and Cunningham, the paper highlights how the deconstruction and recontextualization of bodily information challenges traditional notions of the body and self. The significance of the results lies in the articulation of a new framework for understanding the intersection of visual culture, medical discourse, fashion, and dance, showcasing how historical representations of the body inform contemporary artistic and cultural expressions and foreshadow posthuman perspectives. The discussion acknowledges the inherent complexities and potential ethical issues associated with the detachment of information from the body, particularly in colonial and contemporary contexts.

This paper contributes to our understanding of the evolution of visual thinking regarding the human body and its relationship to technology, media, and culture. It proposes the "organs-without-body" metaphor as a valuable lens for examining the transition towards posthuman thought. Future research could explore the broader implications of this concept in other fields, such as technology and virtual reality, analyzing how the detachment of information from the physical body continues to shape our perceptions and interactions with the world.

The study primarily focuses on a specific set of visual representations, limiting its generalizability to other cultural contexts or forms of visual expression. The interpretive framework relies heavily on Foucault's archaeology of knowledge, which may not encompass all aspects of the complex interplay between medical discourse, cultural representation, and artistic expression. The selection of case studies, while illustrative, may not capture the full spectrum of visual practices related to the representation of the body.