What is the “culture” body interior?
From an Information Collection to an Adventure Museum
2. The Heritage
How was and is the body interior depicted and why?
What is our visual body heritage
3. The Receiver
What are the influences on the viewer of today?
What “changed”, what “remained” and what should be “restored” again?
4. The Visual
Body/heritage-VR-visualizations in general.
How to bring together the main issues – body, viewer, experience – into a VR-medium?
Visualization of the body experience
How to judge the outcome?
How to place it and me as its designer in the field?
In order of appearance
From the cultural collection of body interior depictions
to an adventure museum for one’s mind
The downfall of our culture is that it has developed much more materially than spiritually. Its balance is disturbed.
Scenario 1: The heritage, the receiver and the visual
Being an average healthy person in a first world country sometimes offers one problem: After a relaxing walk through your memory and world of thought on your sofa, you feel something that hurts inside of you. Physical pain suddenly makes you aware of your body. That it is vulnerable. That it is flesh and blood. And suddenly the sweeping and world conceiving thoughts you just had do not help at all. You just want to know what happens inside of you, go mad and directly ask the internet doctor.
On the other side, you are happy that everything is so neatly closed, you got used to it. And like Kafka already wrote so in 1920, it is “interesting” when your blood leaves your body. Nothing holy, nothing extremely dangerous, just unfamiliar/peculiar and of strange colour…
And a few days later – you saw the doctor and it was just a pinched nerve – you lean back and stray through your mind palace again. Accidentally you encounter the visit at the doctor’s. But you quickly drift further, imagine your body interior in bright colours – like you remembered this one series you watched as a child –, in bright colours – like you remember out of your biology books in high school – and busy chemicals moving through eternal labyrinths – with the grace of an animated explanatory video clip…
Scenario 2: The museum, your house and the 360-degree-reality
It rains. You wanted to do something highly cultural today; go to the museum. The close one – you surely don’t have the time to plan a whole city trip only for a museum. Now you are strolling through the internet instead. The articles facing you are: “Interactive Go-Pro-Tour through the Grand Canyon – Join the experience! – for only 45 Dollars “, „Anna makes her first panorama photo from out the back of her horse” and “The British Library Puts 1,000,000 Images into the Public Domain – See them all under the following link!”. Which would you look up first? Depends on your interests, you say? Well, depends on the provided medium/form, I say! The first sounds hot, but too expensive, the last is highly informative, but very cold. And you are trained for pastime and amusement. So, you see Anna grinning at you, turn around with the mouse, see a lot of trees. And of course, you are checking this out, because your eyes are curious; it’s a new experience. And although the picture has over 100.000 clicks, it feels individual, self-controlled, to look in any angle you like and whenever you like.
Those and similar thoughts convinced me to dive deeper into the topic of body interior perceptions and visualisations, and VR and museums as media.
The body and its interior is something natural and is, for us as humans, omnipresent and essential. It does not have the glory of the outer body, but it still gets depicted. And people get something back from the depictions that are mostly of scientific nature. And because we can say very little about our inner body without visualizations from a third person, these facts make the body interior a highly cultural place!
On the other side, the body interior is highly subjective, at least in the relation of the self to the own body. This gives it an importance/status that is not quite appreciated by the significance of current inner body depictions. Nevertheless, this circumstance brings me, as the potential designer of those body interior visualisations, in a highly responsible position. Especially as an illustrator and animator of products that are often half educational and half entertaining, it is important for me to know where certain visualisations come from and how much they are shaped and how much they shape themselves. So, regarding the “cultural inner body”, I want to investigate body visualisations, peoples’ connections to it and possible new visualisation forms.
So, the question that I approach in my research is: How can I improve todays people’s perception of and the connection to their cultural body interior, with the help of redesigned anatomic visual heritage and contemporary design tools? Or in short:
How to visualize a “cultural” body interior experience contemporarily?
I’ll research and try to answer this question in three parts:
- Focus on the heritage: How was and is the body interior depicted and why?
This will be an investigation and understanding of the evolution of visualisations from the antiquity to the presence, regarding the scientific, the metaphysical and the artistic approach.
- Focus on the receiver: How does this cultural heritage influences the viewer of today that will be my audience? What “changed”, what is “lost” and, most important, what “remained”?
- Focus on the visual: How to bring together the main issues – body, viewer, experience – into a VR-medium? The current scene of body/heritage-VR-visualisations. How does the viewer interact with his body and 360-degree-spaces? Construction of the final visual of a heart/body experience.
Concluding, I will outline how to classify the research and visual outcome, how to place it and me as its designer in the field and what the perspectives are.
So, at the end there may be a solution to encourage people to interact with their natural but cultural heritage.
The imaginative mind-body relationship on the one side and the crucial current scientific developments (especially those in the field of neuroscience) on the other side, can be easily matched with my design work that has enchanting and educational emphases. With the help of VR-techniques I will create an educational product, that is likewise an immersive experience you like to remember.
My interest in explanimations and other educational illustrations as well as designs and stories of atmospheric worlds and journeys will be expressed and further developed in this project.
Also, it is a good opportunity to learn more about the cultural topics heritage, the mind-body relationship and scientific progress, that fascinate me.
The topics ancient history and digital era are also favoured inspiration sources of mine, what I can perfectly express during this research and visualisation project.
My main sources will be Hugh Aldersey-Williams book “Anatomies: The Human Body, Its Parts and the Stories They Tell“ which provides a good mixture of scientific and entertaining body interior explorations, “Dream Anatomy” from Michael Sappol which has a huge collection of historic inner body illustrations, Richard Sennett’s “Flesh and Stone: The Body and the City in Western Civilisation” that gives good historic background knowledge about mind-body and human-space relationships, and a lot of contemporary illustrations and animations from the public space.
The focus on the strong European/US-American shaped discovery can be seen as a first initial step to build on, be it a segmentation into more regional developments or a comparison or additional research about.
My research methods are a mixture of historic research and visual experiments and analysis. I will turn the rational informative into the experimental adventurous. From 2D-Illustrations that tried to explain everything and show a truth, to an animation concept that interacts with the viewer and gives him the possibility to explore and perceive on his own… And with the attached visuals this research document step by step changes into a research globe.
 Albert Schweitzer was a French-German doctor, culture philosopher, theologian and musician and awarded the Nobel Peace Prize of 1952.
 Translation of „Das Verhängnis unserer Kultur ist, daß sie sich materiell viel stärker entwickelt hat als geistig. Ihr Gleichgewicht ist gestört.“. In Albert Schweitzer, Kulturphilosophie, I und II (1923), 2007, 90
 Franz Kafka, Briefe an Milena (Vollständige Ausgabe): Ausgewählte Briefe an Kafkas große Liebe, 2015, chapter “28. Juli 1920”
 My sources are almost exclusively out of these areas
.2. The Heritage – The Closed Body
How was and is the body depicted and why?
What is our visual body heritage?
What are the different streams?
The whole is greater than the sum of its parts.
The Mind-Body Connection
The archive of body depictions I will show and classify in this chapter reach from the antiquity to the presence – from the times when Aristotle wrote “The Metaphysics” from which later on the above-noted, famous sentence emerged, that can also be transferred into “The Body is more than the sum of its parts” and that is a mark for the mind-body duality (HEAD / BODY) – over the time when the discovery of the blood cycle marked the transition from the heart focused to the head focused body (HEART / HEAD) – to the present times of moving interactive cell animations (HEAD / EYES).
The different streams
I will take up a few facts and discoveries, regarding its theory state (the medical approach), the more abstract metaphysical statement (cultural construction approach) and the visual elaboration (the artistic approach). These I formed out of a mind-map I constructed out of keywords I encountered on my way:
When we look at the visual development of inner body depictions in a linear timeline research we can get easily confused, because history is multithreaded and of course NOT linear. So, it is more effective to order after main characteristics, so suddenly depictions of the antiquity stand next to those of modernism…
Clashing and Merging
Like you will see, the body visualisations combine art, science, spirit, matter, life and death that are permanent clashing and merging (see image [PIC] – Here you see all together in harmony in 1687). And all gain a part of their power out of the reason that the body interior cannot be absolutely defined.
 Free after Aristotle, The Metaphysics, trans. John H. McMahon, 2007, book 8
 Ursus Wehrli, Die Kunst, Aufzuräumen, 2011, part of the inside cover. Retrieved from
 Fay Bound Alberti, Matters of the Heart: History, Medicine, and Emotion, 2010, 39
 John Browne (anatomist), Myographia nova…, 1687, frontpiece. Retrieved from
In the beginning was the closed body
The closed body
The sign of blood mostly meant death, well into the 17th/18th century. And in most religions, the body became the temple of the soul. So, it would be a blasphemous or a holy ritual to open it. You can see a depiction of the sense of power and wonder that accompanies the opening of the human body in the first illustration from 1523 (PIC1 – a radiant light of wonder).
But first the opening of the body meant pain and death and was mostly unbelievable and forbidden. (PIC2 – desecration of a grave by an anatomist) Surgical practice in medicine involved immense suffering until the introduction of anaesthetics in 1840s brought more effective chemicals for reducing pain. And until Rontgen discovered the X-radiation in 1895 (PIC3 – Rontgen’s wife’s hand) it always meant a certain amount of harm (PIC4 – cut off skin).
Apart from opened, suffering people, the early access came about only through the engagement with bones. (PIC5 – early commented illustration) That brought a strong connection between anatomy and death with it. This connected the special interpretation and art style of the Danse Macabre (PIC6 – death looks at anatomy) to the inner body. And the association continued in art anatomy even as it waned in medical texts. And it persists in human association: When Roentgen’s first accidental x-ray scanned and depicted the hand of his wife in 1895, she supposedly said she have seen her own death because she saw her skeleton. 
Today the biggest comprehensional and moral borders appear to have been overcome, when we look at the today’s extreme of body openings with “human bodies – the exhibition”, where preserved human bodies are not simply displayed, but in natural poses that gives an extra “experience” to the exhibits (PIC7).
The Living Body
In the anatomy book “De humani corporis fabrica” of 1543, Andreas Vesalius depicted highly detailed versions of body interiors. It is interesting to see his human figures, like the one depicted above (PIC1), move like they were still alive. Vesalius was one of the first to conclude that the human must be dissected, that animals are not enough!  To see and depict the living inner body promised to understand its structures and functions and sense much better.
Although anatomy was a science of researching the dead matter for a long time, the man always put a lot of living moving things in it. Therefore, the inner body was always a living inner body.
In Hindu Yogic, Shakta, Buddhist Tantric traditions and many other doctrines, the body contains chakra, moving energy you can feel and actively lead (PIC2). And the temples, the origins of the different chakras, are located at precise places in your body. The (central chakra, the) heart chakra is even named after an organ.
And even after it was already common to see the “real” things move in it; it was a common method to explain the body interior by leaving or putting “extra” life in it. PIC3 is an early example by the nature scientist and visionary Fritz Kahn I will introduce at the end of this chapter.
Rontgen’s x-ray was the first real time photographic anatomy depiction without any harm. Today we have techniques like tomographic (PIC4) and ultrasound screening (PIC5). These depictions are highly technical, but still, we automatically interpret them in certain ways. Rontgen’s blurry photograph transports an eerie atmosphere that fits the depiction of the skeleton hand, and the many different colours that the shape of a moving brain scan has can be connected to our abstract world of thoughts.
 Jacopo Berengario da Carpi (author), Isagoge breves perlucide ac uberime, in anatomiam humani corpis…, 1535, plate of. Retrieved from https://www.nlm.nih.gov/exhibition/historicalanatomie[…] full link in 6. Sources
 Jacques Bénigne Winslow (author), A grave robber flees from a corpse that has come to life, 1746. In Michael Sappol, Dream Anatomy, 2006
 Wilhelm Conrad Röntgen, Röntgen x-ray of his wife’s hand, 1895. Retrieved from
 Andreas Vesalius (anatomist, artist), De humani corporis fabric, 1543, plate of. Retrieved from http://faculty.fullerton.edu/cmcconnell/302A/Anatomy.html
 Hans von Gersdorff. Feldtbüch der Wundartzney: newlich getruckt und gebessert, 1528. In: Sappol, Dream Anatomy, 2006
 Berengario (author), Hugo da Carpi (artist), Isagoge breves…, 1523. Retrieved from https://www.nlm.nih.gov/exhibition/historicalanatomies/berengario_home.html
 Shannon Stapleton, Photograph of exhibit of the exhibition “Bodies” in New York, 2005. Retrieved from
http://news.nationalgeographic.com/2015/10/151011-medicine-crucifixion[…] full link in 6. Sources
 Hugh Aldersey-Williams, Anatomies: The Human Body, Its Parts and the Stories They Tell, trans. Christophe Fricker, 2013, 187
 Michael Sappol, Dream Anatomy, 2006
 Frank Patalong, Wilhelm Conrad Röntgen: Das Leiden der Strahlen-Pioniere, Spiegel Online, 12. November, 2015 (2:44 pm). Retrieved from http://www.spiegel.de/einestages/wilhelm[…] full link in 6. Sources
 Johann Georg Gichtel, Theospophia Practica, 1696, colour chart. Retrieved from https://it.wikipedia.org/wiki/Johann_Georg_Gichtel#/media/File:Theosophia_Practica_-_Gichtel.jpg
 Fritz Kahn, How dessert cleans the tongue, 1943. Retrieved from
 firstname.lastname@example.org, 22. July, 2014, “Never, never, never give up”, The Stand Blog, Figure 3. Retrieved from
 Corinna Calls Ramsay, 5. February, 2008, “Baby Ramsay – Zweiter Ultraschall”, Ein Breitengrad verbindet Blog, Figure 2. Retrieved from
Micro- and macrocosms
Let’s shortly go back in time again and look at the depictions of various known things and phenomenons people projected into the human body – that was not explored at all – to give “sense” to it: Here micro- and macrocosms play a crucial role. Theories and interpretations about what is and is going on in your body and the connection between its parts, have a long history and take partially strange and chaotic shapes and weird chapters and anecdotes.
In his Metaphysics Plato said the human shall be a scaled-down reproduction of the universe. The macrocosm, the world order on a large scale, corresponds to the microcosm of the human body. In the shown illustration, out of the first so called “anatomy book” (PIC1), you see the body parts corresponding to stellar constellations – from Aries for the head, to Pisces for the feet. We often see big natural phenomenons reflected in the borders of the body organism. For example, in PIC2 out of the first anatomy book by Frederic Ruysch, there are plants resembling organs.
With the time the body interior gained more and more space with zooming techniques, depth creating art techniques and all the different functions that were explored. So, projections from e.g. the zodiac signs (PIC1) made way for trees created by flesh, muscles and veins (PIC2). Those were followed by skin landscapes created by cells (PIC3). And they themselves made way for an animation that zooms out to the milky way (?) so that it can afterwards also zoom onto a subatomic level (?) in an almost photorealistic way(PIC4). So, we automatically find similarities in it, the biggest projected into the most filigree structures.
A special version of a world projected into the body I found in 1656, in the time of the seafarers and discoverers (PIC5 – four anatomists look on a “body map”). Here the body interior is depicted as one of those “new worlds”! Maybe still a holy land, but on its way to get completely conquered like the globe that is enthroned on top of the image.
It is the perception of the body as “territory”, that we can explore, develop and conquer, like Aldersey-Williams points out in his book “Anatomies: The Human Body, Its Parts and the Stories They Tell”.
In the news, we still get confronted with a lot of scientists that want to make a name for themselves.
And also today, where almost every particle of the body has its name, we still find this feeling of a new world in space ship journeys through the – by oneself – uncharted body (PIC6).
Cartography and Definitions – Hierarchy and Interaction
So, anatomy asserted itself as a science, and with definitions and theories there come generalisations and abstractions and of course misinterpretations.
Thus, it happens that the so called “first published book of anatomy” of 1491 gives concrete explanations of body parts, but also a drawing that brings together the parts with zodiac signs. But as a clear schematic it already has good qualities. (PIC1)
Vesalius, like Da Vinci one of the first practical explorers AND artists, tried to depict everything as exact and pure/natural as possible. (PIC2)
In the third illustration, of a book from around 1700, we already see organs, separated by clear different colours and with simplified shapes that show that they are to separate also in their medical function (PIC3).
With biology as a general common knowledge, and therewith also taught in schools, and the emergence of popular science, this style of “concentration on essentials” and more symbolic forms and colours gained more importance than realistic depictions in material and material colours. (PIC4)
Today’s schematics try to show and explain with simplified of basic forms (PIC5). But often depth and a certain surface is indicated to give the illusion of a real three-dimensional object. Like this it can be easier placed into the context, the body environment. And in education, where everything is kept even simpler, one illustration can already contain more graspable examples for abstract/chemical depictions (PIC5).
The cartography of the body and the characterising of all its parts and their functions also two-way interacted with complete social systems and orders. Seen as one of the most natural but complex things and especially as a God-given thing, the body interior had a high status, and therefore credibility.
State: In the separated organs and its functions people soon put in a series of different hierarchic orders and argued with it. They were perfect analogies for certain groups of peoples (PIC1 – the political hierarchy after Salisbury in the 13th century). For example, in the antiquity the stomach resembled the plebs, later the market.
Medieval anatomists, and especially the social thinker De Mondeville, even tried to integrate the Passion of Christ back into the body, when describing the anatomical discovery of the syncope: Organs show mercy for each other; when one is injured. They show mercy. This resembles a collective society.  Like this the Passion of Christ and a surgical discovery were connected. Outstanding here, was the heart, as the centre of the body and as the centre of the blood (PIC2).
Thomas Hobbes instead put the emphasis on the head when he presented his social criticism around the leviathan, a huge body stuffed with thousands of little people all looking up to the head.(PIC3)
City: And as a space with a clear defined wall, a closed system, it was also the perfect metaphor for the town. PIC4 shows the city of Zamosc that was built after the body’s structure. The market resembles the stomach, the church the heart and the palace the head. – It was used to reason city layouts)
And when we look at a photograph of a microscopic cell (PIC5), we immediately think of a city in top view. It shows characteristics that are also repeated in the body, of which it is itself a part. Here the wall can be pointed out (PIC6): It is crucial for the definition of a cell and a city, and can be easily transferred to the human skin that separates and protects the body from its environment.
And also Fritz Kahn used this powerful analogy in his “Zellenstaat” (PIC7 – cell state).
 Johannes de Ketham (author), Fasciculus medicinae. 1491. Part of. Retrieved from […] full link in 6. Sources
 Frederic Ruysch, Thesaurus anatomicus primus, 1701, Plate of. Retrieved from http://www.biusante.parisdescartes.fr […] chapitre, full link in 6. Sources
 Fritz Kahn, Travel experiences of a wandering cell: in the valley of a flesh wound, 1924. Retrieved from
 Giulio Casserio (anatomist), Anatomische Tafeln…, 1656, Frontpiece. Retrieved from
 Gerhard Faden, Platons dialektische Phänomenologie, 2005, 137
 Aldersey-Williams, Anatomies, 2013, 44-45
 See ^27
 Vesalius, fabrica, 1543, Plate of. Retrieved from
 www.zcool.com.cn (artist), 3D icons Internal Organs vector, 2017. Retrieved from
 Paul Chesley. Indianer. 2010. In Horst Bayrhuber, Wolfgang Hauber und Ulrich Kull (publisher), Lindner Biologie. Lehrbuch für die Oberstufe, 2010, 159
 Johannes von Salisbury, Policratus (Oxford 1909), 13th century. In Sennett, Flesh and Stone, 211, Figure 1
 Bremond (https://commons.wikimedia.org/wiki/User:Bremond ) (photographer), Christus offenbart Margareta Maria Alacoque (rechts) und Maria Droste zu Vischering sein Herz, 2008. Retrieved from https://de.wikipedia.org/wiki/Heiligstes_Herz_Jesu#/media/File:HerzJesu_mit_Droste_zu_Vischering_und_MMA.jpg
 Thomas Hobbes (author). The Leviathan of the matter, 1651. Retrieved from https://de.wikipedia.org/wiki/Absolutismus#/media/File:Leviathan_by_Thomas_Hobbes.jpg
 N.a. (artist), Cell microscopy, N.d., N.s.
 Dr. Stephanie Swift, 13 February, 2013 (8:28), “Antibiotics hit your gut microbes hard”, Mmmbitesizescience Blog. 13 February, 2013, Figure 2, Antibiotics and gut microbes. Retrieved from
 Fritz Kahn (author), Georg Helbig (artist), Die Zelle, 1919, Figure 23, Kampf im Zellenstaat. Retrieved from
 Eva Kimminich, April 11, 2017, „Körpermetapher“, Universität Potsdam, Institut für Romanistik, Kulturen Romanischer Länder, 2017. Retrieved from
 Aldersey-Williams, Anatomies, 2013, 46
 Richard Sennett, Flesh and Stone: The Body and the City in Western Civilzation, trans. Linda Meissner (Berlin: Berlin Verlag, 1995), 200, 208 ff
 Aldersey-Williams, Anatomies, 2013, 46
Feeling at Home
Despite all complex theories, material and technical sciences, the strongest human connection to his body will remain the individual. We want to identify with the functions going on in ourselves, feel alive or special and at home. And therefore, a strong analogy is the populated house, the home.
The earliest depiction with this theme I found in 1708 in a Hebrew encyclopaedia (PIC1). With the description of chakra centres as temples and the whole chakra being one unit, also the body turns into a temple, hosting a lively substance.
Around the 1930s, the natural scientist Fritz Kahn built a whole functioning industrial palace (PIC2) And, like we saw in previous paragraphs, he also populated many more individual places inside the human body with little homunculi and other life. Often his scenarios do not seem like comfortable homes. But for his time the machines and industry were modern and the homunculi working in it seem so professional in what they do that we feel save. We like to imagine our body operated by those little experts. Another example of the works created under his instructions is the human torso as aquarium, describing the water balance of the body (PIC4). It gives the body an elevation while just showing what is there plus implementing the obviously absurd. Like this and with the simple message that the body is an impressive entity he brings the wonder back into the body! For his time his works were visionary and still today they seem informative and enchanting, because they seem highly scientific and imaginative at the same time.
In 1628 Harvey described the blood cycle and from this moment on the heart was a pump. Therewith, the whole interpretations of the bodies organisation, the body model, had to change crucial. For example, the state body metaphor got great support in the direction of equality and interactions. Also, this was the scientific transition from the cardio-centrical to the cranio-centrical body, so the medic Fay Bound Alberti.
When we look at René Descartes visual description of a body-mind duality, we see that our visual organ, the eyes, shape a big amount of our reality. And they are, as simple as that, located in our head (PIC1).
So, in our head we were always primarily searching for our identity and sense, what may be the most personal of all anatomic research professions.
Around 1810 phrenologists tried to map the identity out of the skull. PIC2 shows the separation of the brain into 27 “organs”. The brain scan (PIC3) is the contemporary version of this approach. Maybe more precise, but regarding the depiction highly technical and without any artistic approach.
Fritz Kahn’s depiction of seeing and recognition seems more subjective than Descartes, with all the homunculi in it (PIC4). But it is also more functional. The metaphysic of philosophy is gone here. Instead Kahn implemented a transcendental level with the “fantasy-part” of his illustrations that suits the consumer of popular science. Like Uta von Debschitz points out in the book “Fritz Kahn”, he was always aware and anxious to leave a metaphysical gap in his illustrations and descriptions.
In this archive of body interior depictions one can find a huge number of stories that are worth being illustrated and material to use and get inspired by. And many I will use to create my visual experience in the end:
The medical approach shows an evolution strongly connected to society structures. And there is a clear division of the body into organs. The metaphysical approach offers interesting stories regarding the mind-body relationship. Its essence may be the issue of micro-/macro-analogies. I will use all those themes in my design solution, creating story and settings with it.
And the artistic approach will help me design, with the house analogy and many visual aesthetics as essences.
The research of this chapter may end with the escape into the head. But here we also like to indulge in our emotions and feels, and this is where the heart and the modern viewer come into play…
 Toviyah Kats (author), Ma’a’seh Tuviyya, 1708. Retrieved from
 Johann Georg Gichtel, Theospophia Practica, 1696, colour chart. Retrieved from https://it.wikipedia.org/wiki/Johann_Georg_Gichtel#/media/File:Theosophia_Practica_-_Gichtel.jpg
 Fritz Kahn, Der Mensch als Industriepalast, 1926. In Fritz Kahn, Das Leben des Menschen III, 1926, Poster-attachement. Retrieved from http://www.spiegel.de/fotostrecke/koerper-erklaerer-fritz-kahn-fotostrecke-106634.html
 Fritz Kahn, Das Leben des Menschen I, 1922, Man as aquarium. In Uta von Debschitz and Thilo von Debschitz, Fritz Kahn (TASCHEN GmbH, 2013), 141
 René Descartes (author), Gerard van Gutschoven (artist), Treatise on Man, 1664, Part of. Retrieved from
 Franz Joseph Gall and Johann Caspar Spurzheim, People’s Cyclopedia of Universal Knowlede, 1883, phrenology chart. Retrieved from https://en.wikipedia.org/wiki/Phrenology#/media/File:PhrenologyPix.jpg
 email@example.com, 22. July, 2014, “Never, never, never give up”, The Stand Blog, Figure 3. Retrieved from
 Fritz Kahn, Das Leben des Menschen II, 1924, plate of, The five points in common between muscle operation and an electric doorbell circuit. Retrieved from http://www.eyemagazine.com/feature/article/machine-head
 Alberti, Matters of the Heart, 2010, 39
 Uta von Debschitz and Thilo von Debschitz, Fritz Kahn, 2013, 21
.3. The Receiver – The Empty Body
What are the influences on the contemporary viewer?
What are the main perceptions of today?
In our dreams house and body are identical.
All media totalized we already live in a kind of 360°-designed environment. Everything gets more and more perfection: the doctor presenting you the tooth paste on TV is as young as he was when you watched this commercial 20 years ago, data remains in the internet, you can access the same videos you watched as a child, and the life cycles of the things you use in everyday life are that short that they have no chance to age with you and you got used to them dying in front of you day by day, and the world around you is that complex – you know, because you have access to it – that it won’t notice when you die. You, as a receiver of this, won’t have a problem with all this madness, were it not for one thing. The only thing that is actual aging and transient: your body.
This is a striking media example that illustrates the main body conflict: On the one hand, we are irrevocable bound to our body. It is the not changing initial situation. But the surrounding is and was always constantly moving/ in transition.
This adds on to the conflict we already saw in the first scenario: The individuum of today seems to have a fractious relationship to its body. But what exactly causes this?
There is an almost schizophrenic behaviour that we live. On the one side, we grow up learning a lot about our interior, of popular science and our general common knowledge about anatomy. On the other side the thoughts about it and the dealing with it overstrain us.
The architect Hans Hollein, who researched many interactions between people and space, once stated:
The execution of sacred rites and the erection or designation of holy places belong to the first activities of man. Equally whether obvious or disguised, they help to set up life. Some modern civilizations lost their ability/capacity to/of death rituals. This is a sign of viability loss. 
In the previous chapter, we saw that the closed but transcendental and the open but dead body made way for the living and self-organizing body. And alike the connection of the individuum to its body became another. But, of course, we cannot directly extrapolate from one to the other, because a lot of other factors play a role over here. But I want to emphasize the strong need to feel at home that the filling of the emptiness with life and sense and the appreciated house analogy show. So how to give the mind a home (to rest) again? Like for example the work of Fritz Kahn shows, it is possible to combine the harsh reality, the science, with the wonder and aesthetics, the metaphysical.
 Free after Sigmund Freud, The Interpretation of Dreams, 1913
 Raquel Díaz, Corazón de una abuela. (Heart of a grandma), 2014. Retrieved from
 Translation of Hans Hollein: „Das Vollziehen sakraler Riten und das Errichten oder Bezeichnen heiliger Plätze gehörte zu den ersten Beschäftigungen des Menschen. Gleich ob augenfällig oder getarnt, helfen sie, das Leben einzurichten. Manche heutige Zivilisation hat ihre Fähigkeit für Todesriten verloren. Das ist ein Zeichen des Verlusts der Fähigkeit, zu leben.“. Retrieved from Wikipedia, June 8, 2017.
In the beginning was the empty body
At this point I want to talk about confronting a person with its body house:
I asked different people to draw their body like they mostly imagine/perceive it – no matter if medical of metaphysical. I focused on younger participants, because those are mostly affected from our developing media scene and are, therefore, open for the newest discoveries and techniques on a natural basis. The results I analysed on basis of the mainstreams I investigated in the previous chapter.
The closed body – Insecurity – Creativity
Being not used to depict or even see something daily, give some participants a certain insecurity, because we don’t want to depict something wrong that we know is crucial.
Others enjoy that it is a dark space for their eyes/mind and immediately filled it with imagination (PIC 1, 4, 6 ,8, 10)
The dead body
None of the drawn bodies contained bones. Possible explanation: We like to imagine our body alive. We mostly see bones in overexaggerated, almost stereotyped, designs and then it mostly symbolises death. But we are used to it – it does not “scare” too much.
Moreover, bones mostly vanished out of our direct environment. Most food does not contain it anymore and seldom we find an almost completely rotten cadaver in our intensively managed rural country sides.
An innate curiosity and a modern virtual gaming environment make us like to discover and explore new worlds. So, we are still open for the adventure in us. It rather seems to be a playground than a quest for meaning. But it gives a pleasant experience.
Science and simplifications
For us, the body interior detached more and more from the practice of dissection! We get most information out of school and popular science. (Organs in PIC3 and 7 (and 2), Muscles in PIC9) We like to imagine our body in the colours of the depictions that looked the nicest, the most aesthetic. Simplified means for the inner body less pink and red and less secretions and … Most people aren’t used to the sight of raw meat and don’t like to see themselves as only a piece of meat.
Also, our brain gladly accepts well executed basic forms. And mapping and defining things is a pure structure thing. We are used to well-designed logos and icons with a clear statement.
House analogy and the living body interior
We want to identify with our own body – we want to feel alive and at home. Little homunculi (PIC4,6(,8)), separation in chambers/scenes(PIC9), no complete room that overexerts. Especially the head gets identification features (PIC1 and 6). In PIC10 a lively garden is built.
Moreover, feeling at home in body may be difficult because of the focus on the exterior. You see a lot of drawn faces (PIC (1,2,) 8,9,10). But we can also get something positive out of this: We favour to recognize and depict the face, because it is the centre of emotions and feelings.
The little gear wheels you see in PIC 8, plus the cyborg-like glooming eye even gives the impression of Fritz Kahn Industrial Palace, or just a simple robot.
There are a lot of objects and scenarios drawn which suggest motions and environments with much more detail. This can be connected to the circumstance that we are used to well animated documentations that show cells, microorganisms and more fantastic things move like living creatures. Maybe also child cartoons like “Once upon a time…life” play a role over here.
The head – The centre
All participants filled the head, at least with something, and especially with identification features (PIC1 and 6). We can’t leave the head empty, of course. And it will remain a main centre of our felt consciousness. So how to connect the head with a more complete/comprehensive body house?
The question is quite easy to answer: Immersive media – like 360°-visualisations – that connect the heads movement with a certain body visualisation.
 34 participants out of different ages and living conditions, from 12 to 42, European