- affect data
- Art and science
- bence jones
- Blood counts
- bone marrow
- Daily data summary
- Daily data summary 2013
- Drugs costs running total
- Feb 2013
- February data 2013
- graphs and viz
- Haemoglobin running total
- hat index
- January 2013 data
- March hat data
- medical data
- Monthly data 2013
- Multiple myeloma
- Nov 2014
- open source
- Platelets running total
- raw data
- Stem Cell Transplant
- weekly blood counts
- Weekly round up February 2013
- white blood cells
- white blood counts running total
- March round-up 2013 wp.me/p379SE-ea via @wordpressdotcom 8 years ago
- Graphing Stoicism Feb-March 2013 wp.me/p379SE-do via @wordpressdotcom 8 years ago
- Weekly blood counts data 26th March 2013 wp.me/p379SE-da via @wordpressdotcom 8 years ago
- Affect data, March 24th 2013 wp.me/p379SE-cB 8 years ago
- Chemo drawings 3, UCLH February 2013 wp.me/p379SE-cA via @wordpressdotcom 8 years ago
Some of the data from this blog is being exhibited in a one person show in Istanbul, my thanks to Gavin Baily my collaborator, Senior Curator: Lanfranco Aceti, Associate Curator: Vince Dziekan, Curator: Ozden Sahin and Junior Curator: Jonathan Munro. A number of my hats are off to Istanbul as we speak. Shame I can’t be there.
BODY OF EVIDENCE BY TOM CORBY AND GAVIN BAILY
Senior Curator: Lanfranco Aceti
Associate Curator: Vince Dziekan
Curator: Ozden Sahin
Junior Curator: Jonathan Munro
Produced in collaboration with Goldsmiths College, Sabanci University, The University of Westminster and The Museum of Contemporary Cuts.
Body of Evidence by British artist Tom Corby, in collaboration with Gavin Baily, is taking place at Kasa Gallery, Istanbul from March 21 to April 20, 2013.
The exhibition initiates a series of new artworks and installations designed to blur the boundaries between medicine, data, documentation, economics and art. Conceived as a complex autoportrait of the body undergoing advanced treatment for cancer, the exhibition serves as the primary site where the possibilities, visibilities and public manifestations of the body at its most vulnerable are tested to their limits.
Body of Evidence forms part of a larger, multi-faceted project (Blood and Bones) in which the artist faces a complex set of questions about the meaning of life and death. [*] These are fundamental questions that art has wrestled with for centuries. The challenge presented in the case of Tom Corby’s exhibition is how to make sense of the relationship between physicality and data; materiality and immateriality; medical intervention and metastasis (where, in the broadest material and clinical sense of the word, the death spiral of the afflicted body is mirrored by the wider economic and environmental ecologies within which it is situated).
Employing an idiosyncratic set of approaches to the process of data visualization, the installation is composed of a series of objects related to the artist’s treatment that together act as a physical visualization of the data his illness is producing during his treatment. These data touch upon personal objects such as the hats he wears on a daily basis and which he documents via his blog. Together, these elements reveal a meticulous and methodically structured approach that challenges viewers to detach themselves from all emotional aspects. As the body becomes subjected to the procedures and processes of ordering, selecting, sectioning and framing, it transforms into a grand taxonomic work. In this sense, the exhibition exhibits a certain character typical of the British mindset; particularly, calling upon the indexing fetish attributable to the great scientific explorers of the Victorian era.
In this case, however, the exploration that Tom Corby is embarking upon is not across an uncharted ocean, unexplored land mass or previously unseen/inaccessible dimension of physical reality. The exhibition Body in Evidence charts the artist’s expedition inside his own body and across his own soul, exploring the existential data of a body/object subjected to medical intervention; the body as a system that while in the process of shutting down, continues to produce data.
In equal parts heroic and obsessive, this project touches on attitudes to death and disease in a wider sense, namely a desire to find ways, processes and forms to transcend the act of termination and come to an accord with our feelings about it.
[*] The project also involves Kasa Gallery’s 2013 art residency: Body in Residence. This special international residence focuses on the relationship between human data and the body. During this period, Tom Corby will present his international solo exhibition titled Body of Evidence at Kasa Gallery and, in collaboration with MoCC – the Museum of Contemporary Cuts – will produce a new set of artworks for the exhibition titled No Detectable Level that will analyze the relationship between contemporary financial cuts and the body representing and re-asking basic questions that have been left unanswered.
Exhibition Dates: March 21 – April 20, 2013
Opening Cocktail: March 21, 2013 at 18:00
Address: Kasa Galeri Bankalar Cad. No: 2 Karakoy Istanbul
Visiting hours: 10:00 – 17:00 every day except Sunday
Curatorial team: Lanfranco Aceti (Kasa Gallery Director and Senior Curator), Vince Dziekan (Associate Curator), Ozden Sahin (Curator) and Jonathan Munro (Curatorial Assistant)
Tom is the Director of CREAM’s Doctoral Programme, deputy Director of CREAM and coordinates the experimental media cluster research at Westminster. He studied Fine Art at Middlesex University (1987) and completed his PhD at Chelsea College of Art & Design in 2001. He has taught at Westminster since 2001 after previously working at Chelsea College of Art and Design and the University of Hertfordshire.
His interdisciplinary artworks (in collaboration with Gavin Baily and Jonathan Mackenzie) have been internationally exhibited and have won numerous awards including: nomination for the FILE Festival Digital Language award 2010; the jury nominated award at the 10th Japan Media Arts Festival in 2007; honorary mentions at the Prix Ars Electronica 2006 and 2000; honorary mention: “The Post-Cagian Interactive”, “Art on the Net” The Machida City Museum of Arts, Tokyo and the main festival prize Cynet Art 1999. In 2000 he was nominated for the “International Media Art Award 2000”, at Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe, Germany and was the artist in residence at the ICA London 1998. Reviews include Art Review, Art Monthly, Intercommunication, Artist’s Newsletter and Acoustic Space.
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Into the second week of March, and I’ve only just found time to write up February’s summary; which tells us something.
We had the bone marrow and bence jones tests back. Nothing in the bone marrow, no detectable paraprotein levels and no bence jones proteins. My illness only seems detectable in the damage it’s doing to my bone structure through MRI scans.
I’ve been very, very busy at work. I was advised that it was likely that I wouldn’t be able to work through this first period of treatment but I struck lucky (mostly) with the kickback from side effects. I got tired in the afternoons but and had a bit of nausea throughout the month but that’s about it. If anything I worked too hard, took too much on, increased my workload. My inner amateur psychologist suggests this was an attempt to prove to myself and colleagues that nothing is wrong, this is possibly right but I can’t say I’ve been consciously avoiding my illness. Coping mechanisms are complex things though.
Lets look at the data:
I’ve made a decision to keep cumulative graphs of my medical data but not bother with monthly. It makes sense to ascertain long-term trends with important information like this. For the affect data, I’m going to do both monthly and long term with the monthly summaries as percentages. Here we go
Mood (top image): highest of 8 (cheerful and in good spirits) and a low of 4 (low spirits).
Looking at the percentages the 4 (low spirits) swamps the highs this month by a whopping 29% compared to 3.7%. Most of the time, i.e. 37% I felt calm. I’m quite surprised at how often I did feel in ‘low spirits’; I was also subdued 18.5 % of the time. I thought I’d been coping better than that, but I suppose it’s not surprising when you’ve been told you’ve got incurable cancer. I also think that the amount of work I had on is telling, it takes me away from the creative activity of the type which makes me happy.
Stoicism: a high of 9 (illness what illness) and a low of 3 (wobbly lip)
The percentages breakdown are interesting compared to mood and suggest that while my feelings about things are affected, my resilience or ability to cope is good. 40% of the time I’m happy to grin and bare it, 18.5% of the time ‘I feel fine’. 26% of the time I stiffen my lip in the grand British manner. Of course all sorts of constructions can be made about this, including that I suffer a complete inability to face my plight. I prefer to think I’m good at coping and a stubborn bugger though.
Control A high of 7-8 (a good deal of) and a low of 1- 2 (no control),\ both are outliers though with only 3.57%.
The majority of the time I felt ‘some control’ at 53.57% or at least ‘a little’ at 35.7%. These figures do seem to reflect the stoicism index and I draw similar conclusions. Dips and highs reflect times when I’m more creative, overburdened with work, or as is the case here, misinterpreted a medical analysis.
Hat analysis = remarkably well distributed.
My favourite individual hat in terms of style being my Mod hat at 17.9%, followed by the bucket hat at 14.3 %. and ‘no hat’ the same. The beanie hats are cumulatively worn more than any other style, they are convenient more than anything and I wear them inside too.
What to ascertain from what I’m trademarking as the ‘pyschosartorial’ as a nod to pyschogeography? I’m surprised just how often I haven’t bothered to wear a hat at all, because my memory of this is that it was a rarer occurrence than actually the case. I’m wondering if it’s worth cross referencing the hat data to mood to see if there’s any correlation between the two in pyschosartorial terms. Something for the future. The Sindhi Topi was a recent addition so scores low on that count and is not a reflection on preference. More analysis needed here really, but something to watch out for.
Bloods and discomfort analysis
As mentioned previously, I’m only going to track medical and physical data as a cumulative charting.
My bloods (Haemoglobin, White cell count, Neutrophils) all stayed within normal parameters, so despite the hammering the chemo was giving my immune system, it was coping quite well. The discomfort index was similarly stable mostly settling along the 2 – 3 range or mild. There was an up-kick early in the month to 5 (moderate) which coincided with a misunderstanding of a medical diagnosis which put me under enormous physical and psychological stress. Again there is future scope to merge some of this data with the affect information at some point.
White blood counts running total, Jan – Feb 2013
An interactive version of this can be found here
Neutrophils running total, Jan – Feb, 2013
An interactive version of this can be found here