1 00:00:11,440 --> 00:00:13,640 Welcome to the Clinical Center Grand Rounds, 2 00:00:13,640 --> 00:00:17,440 a weekly series of educational lectures for physicians and 3 00:00:17,440 --> 00:00:20,080 health care professionals broadcast from the Clinical 4 00:00:20,080 --> 00:00:23,040 Center at the National Institutes of Health in 5 00:00:23,040 --> 00:00:24,840 Bethesda, MD. 6 00:00:24,840 --> 00:00:28,400 The NIH Clinical Center is the world's largest hospital totally 7 00:00:28,400 --> 00:00:32,080 dedicated to investigational research and leads the global 8 00:00:32,080 --> 00:00:35,040 effort in training today's investigators and discovering 9 00:00:35,040 --> 00:00:37,200 tomorrow's cures. 10 00:00:37,200 --> 00:00:46,200 Learn more by visiting us online at http://clinicalcenter.nih.gov 11 00:00:46,200 --> 00:00:47,520 FOR OUR CLINICAL CENTER GRAND 12 00:00:47,520 --> 00:00:50,200 ROUNDS TODAY, WE RECOGNIZE THE 13 00:00:50,200 --> 00:00:51,920 2022 DISTINGUISHED CLINICAL 14 00:00:51,920 --> 00:00:56,080 SCHOLAR AND EDUCATOR IN 15 00:00:56,080 --> 00:00:58,080 RESIDENCE HONORING DR. CHARLES 16 00:00:58,080 --> 00:01:00,080 J. LIMB. 17 00:01:00,080 --> 00:01:03,680 DR. LIMB IS THE FRANCIS A. SOY 18 00:01:03,680 --> 00:01:06,880 OF ISSUE OTOULARIN GOLG, AND 19 00:01:06,880 --> 00:01:08,480 CHIEF DIVISION OF NEUROONTOLOGY 20 00:01:08,480 --> 00:01:12,120 AT THE UNIVERSITY OF CALIFORNIA 21 00:01:12,120 --> 00:01:12,760 SAN FRANCISCO. 22 00:01:12,760 --> 00:01:12,960 UCSF. 23 00:01:12,960 --> 00:01:15,320 HE IS THE DIRECT OF THE DOUGLAS 24 00:01:15,320 --> 00:01:17,560 COCHLEAR IMPLANT CENTER AT UCSF 25 00:01:17,560 --> 00:01:20,440 AND ALSO THE MEDICAL DIRECTOR 26 00:01:20,440 --> 00:01:24,160 THE UCSF CHILDREN'S HOSPITAL IN 27 00:01:24,160 --> 00:01:25,240 OAKLAND, CALIFORNIA. 28 00:01:25,240 --> 00:01:26,400 DR. LIMB EARNED HIS MEDICAL 29 00:01:26,400 --> 00:01:29,080 DEGREE AT YALE UNIVERSITY AND 30 00:01:29,080 --> 00:01:30,480 FOLLOWED BY RESIDENCY AND HEAD 31 00:01:30,480 --> 00:01:33,520 AND NECK SURGERY AT JOHNS 32 00:01:33,520 --> 00:01:34,440 HOPKINS HOSPITAL. 33 00:01:34,440 --> 00:01:36,520 HE COMPLETED HIS POST DOCTORAL 34 00:01:36,520 --> 00:01:38,240 RESEARCH FOR THE SCIENCES AT 35 00:01:38,240 --> 00:01:39,320 HOPKINS WHERE HE STUDY THE 36 00:01:39,320 --> 00:01:42,080 DEVELOPMENT OF THE AUDITORY 37 00:01:42,080 --> 00:01:43,040 BRAIN STEM. 38 00:01:43,040 --> 00:01:44,680 DR. LIMB THEN COMPLETED A SECOND 39 00:01:44,680 --> 00:01:46,560 POST DOCTORAL FELLOWSHIP AT THE 40 00:01:46,560 --> 00:01:49,400 NATIONAL INSTITUTE ON DEAFNESS 41 00:01:49,400 --> 00:01:51,520 AND OTHER COMMUNICATION 42 00:01:51,520 --> 00:01:53,240 DISORDERS, NIDCD WHERE HE 43 00:01:53,240 --> 00:01:55,640 STUDIED MUSIAL AND IMPROVISATION 44 00:01:55,640 --> 00:01:58,600 AND PERCEPTION USING FUNCTIONAL 45 00:01:58,600 --> 00:02:00,120 NEUROIMAGING METHODS. 46 00:02:00,120 --> 00:02:02,960 FROM 1996-2015 HE WAS ASSOCIATE 47 00:02:02,960 --> 00:02:04,200 PROFESSOR OF OTOLAIRIN GOLG AT 48 00:02:04,200 --> 00:02:06,400 HOPKINS AND ALSO A FACULTY 49 00:02:06,400 --> 00:02:09,160 MEMBER OF THE PEABODY 50 00:02:09,160 --> 00:02:11,800 CONSERVATORY OF MUSIC AND 51 00:02:11,800 --> 00:02:13,360 EDUCATION AT SCHOOL AT HOPKINS. 52 00:02:13,360 --> 00:02:18,400 IN 2015 HE JOINED THE DEPARTMENT 53 00:02:18,400 --> 00:02:19,920 OF OTOLYNGOLGY AS EXPERTISE. 54 00:02:19,920 --> 00:02:23,360 HE COVERED THE FULL SCOPE OF 55 00:02:23,360 --> 00:02:24,400 ONTOLOGY, NEURAL ONTOLOGY WITH 56 00:02:24,400 --> 00:02:27,120 THE FOCUS ON HEARING LOSS AND 57 00:02:27,120 --> 00:02:28,400 AUDITORY DISORDERS. 58 00:02:28,400 --> 00:02:30,800 HE SPECIALIZED IN SURGERY OF THE 59 00:02:30,800 --> 00:02:32,600 TEMPORAL BONE WITH EXPERTISE IN 60 00:02:32,600 --> 00:02:35,200 THE COCHLEAR IMPLANT SERGEANTRY, 61 00:02:35,200 --> 00:02:38,000 IMPLANTABLE HEARING AIDS, STAPES 62 00:02:38,000 --> 00:02:38,880 SURGERY, [INDISCERNIBLE] SURGERY 63 00:02:38,880 --> 00:02:41,800 AND CANCERS OF THE EAR. 64 00:02:41,800 --> 00:02:43,040 HIS CURRENT RESEARCH FOCUS ON IS 65 00:02:43,040 --> 00:02:46,600 ON THE STUDY OF THE NEURAL BASIS 66 00:02:46,600 --> 00:02:48,320 OF MUSICAL CREATIVITY AND THE 67 00:02:48,320 --> 00:02:49,800 STUDY OF MUSIC PERCEPTION IN 68 00:02:49,800 --> 00:02:51,040 DEAF INDIVIDUALS WITH COCHLEAR 69 00:02:51,040 --> 00:02:52,800 IMPLANTS WHICH WE WILL BE 70 00:02:52,800 --> 00:02:53,280 TALKING ABOUT TODAY. 71 00:02:53,280 --> 00:02:55,960 DR. LIMB IS A PAST EDITOR AND 72 00:02:55,960 --> 00:02:57,600 CHIEF IN TRANSAND AMPLIFICATION, 73 00:02:57,600 --> 00:02:59,360 NOW CALLED TRANSIN HEARING AND 74 00:02:59,360 --> 00:03:02,880 AN EDITORIAL BOARD MEMBER OF THE 75 00:03:02,880 --> 00:03:04,040 JOURNAL'S NEURAL ONTOLOGY AND 76 00:03:04,040 --> 00:03:05,240 MUSIC AND MEDICINE. 77 00:03:05,240 --> 00:03:06,600 HIS WORK HAS RECEIVED 78 00:03:06,600 --> 00:03:08,160 INTERNATIONAL ATTENTION AND HAS 79 00:03:08,160 --> 00:03:12,480 BEEN FEATURED BY NATIONAL PUBLIC 80 00:03:12,480 --> 00:03:13,760 RADIO, TED, NATIONAL GEOGRAPHIC 81 00:03:13,760 --> 00:03:15,200 AND NUMEROUS OTHER NEWS AND 82 00:03:15,200 --> 00:03:18,400 MEDIA OUTLETS AS WELL AS THE SUN 83 00:03:18,400 --> 00:03:22,640 DANCE FILM FESTIVAL AND THE 84 00:03:22,640 --> 00:03:24,480 BALROOSM SYMPHONY ORCHESTRA. 85 00:03:24,480 --> 00:03:26,600 HE AUTHORED 75 BOOKS AND 86 00:03:26,600 --> 00:03:28,640 CHAPTERS, ON OVER 90 REVIEWED 87 00:03:28,640 --> 00:03:38,080 PEER PUBLICATIONS, HE IS BOARD 88 00:03:38,080 --> 00:03:38,880 CERTIFIED IN OTOLARYNGOLGY, THE 89 00:03:38,880 --> 00:03:41,200 TITLE OF HIS TALK TODAY IS MUSIC 90 00:03:41,200 --> 00:03:44,200 FOR DEAF EARS, COCHLEAR MEDIATED 91 00:03:44,200 --> 00:03:44,680 PERCEPTION OF MUSIC. 92 00:03:44,680 --> 00:03:46,360 PLEASE JOIN ME IN WELCOMING 93 00:03:46,360 --> 00:03:50,040 TODAY'S GREAT TEACHER SPEAKER, 94 00:03:50,040 --> 00:03:53,040 DR. CHARLES LIMB. 95 00:03:53,040 --> 00:03:54,600 >> THANK YOU SO MUCH, IT'S SUCH 96 00:03:54,600 --> 00:03:56,600 A PRIVILEGE TO BE BACK IN HERE 97 00:03:56,600 --> 00:03:56,960 IN PERSON. 98 00:03:56,960 --> 00:03:59,280 IT'S BEEN A FEW YEARS AND I 99 00:03:59,280 --> 00:04:00,600 UNDERSTAND THAT I'M THE FIRST 100 00:04:00,600 --> 00:04:04,800 PERSON TO BE ALLOWED IN PERSON 101 00:04:04,800 --> 00:04:06,400 TO THE NIDCD AS A GUEST SO 102 00:04:06,400 --> 00:04:07,720 THANKS SO MUCH FOR THE 103 00:04:07,720 --> 00:04:08,040 OPPORTUNITY. 104 00:04:08,040 --> 00:04:08,800 BEFORE I BEGIN I WANT TO POINT 105 00:04:08,800 --> 00:04:10,560 OUT THAT YOU KNOW IT'S A PRETTY 106 00:04:10,560 --> 00:04:11,240 FRACTURED WORLD THAT WE'RE 107 00:04:11,240 --> 00:04:12,080 LIVING IN RIGHT NOW. 108 00:04:12,080 --> 00:04:14,040 I THINK THERE ARE SO MANY 109 00:04:14,040 --> 00:04:15,480 REASONS TO FEEL DIVIDED AND 1 OF 110 00:04:15,480 --> 00:04:18,600 MY HOPE SYSTEM THAT SOMETHING 111 00:04:18,600 --> 00:04:20,840 MIGHT SEEM AT FIRST SURVEYS 112 00:04:20,840 --> 00:04:22,680 PERFLEWOUS SUCH AS MUSIC WILL BE 113 00:04:22,680 --> 00:04:25,120 MORE LIKE THE GLUE THAT HOLDS 114 00:04:25,120 --> 00:04:26,160 SOCIETY TOGETHER AND IT'S POWER 115 00:04:26,160 --> 00:04:27,360 TO BRING PEOPLE TOGETHER AND 116 00:04:27,360 --> 00:04:29,600 CLOSER TO 1 ANOTHER IS ACTUALLY 117 00:04:29,600 --> 00:04:30,520 SOMETHING THAT HAS WITH STOOD 118 00:04:30,520 --> 00:04:33,120 THE TEST OF THE TIME PANDEMIC OR 119 00:04:33,120 --> 00:04:33,400 NOT. 120 00:04:33,400 --> 00:04:37,280 SO I HAVE RELEVANT DISCLOSURES. 121 00:04:37,280 --> 00:04:38,240 ADVANCED BIONICS THEY'RE ALL 122 00:04:38,240 --> 00:04:39,440 MANUFACTURES OF DIFFERENT 123 00:04:39,440 --> 00:04:40,600 COCHLEAR IMPLANTS, I WILL NOT 124 00:04:40,600 --> 00:04:42,480 TRY TO AVOID ANY DISCUSSION OF 125 00:04:42,480 --> 00:04:43,640 SPECIFIC PRODUCTS TODAY BUT DO I 126 00:04:43,640 --> 00:04:45,360 RESEARCH WITH THESE COMPANIES. 127 00:04:45,360 --> 00:04:46,800 ALSO YOU DON'T HAVE TO KNOW 128 00:04:46,800 --> 00:04:47,880 ANYTHING ABOUT COCHLEAR IMPLANTS 129 00:04:47,880 --> 00:04:48,960 OR MUSIC OR HEARING FOR THAT 130 00:04:48,960 --> 00:04:50,120 MATTER TO UNDERSTAND THIS TALK. 131 00:04:50,120 --> 00:04:51,560 I UNDERSTAND IT'S A GENERAL 132 00:04:51,560 --> 00:04:53,000 AUDIENCE, I WILL TRY TO GIVE A 133 00:04:53,000 --> 00:04:55,400 LARGE OVERVIEW OF THE TOPIC. 134 00:04:55,400 --> 00:04:56,440 SO FOR THOSE THAT DON'T THINK 135 00:04:56,440 --> 00:04:58,840 ABOUT HOW YOU HEAR THAT OFTEN, I 136 00:04:58,840 --> 00:05:00,360 WANT TO DIRECT YOUR ATTENTION TO 137 00:05:00,360 --> 00:05:00,560 THIS. 138 00:05:00,560 --> 00:05:02,720 SO THIS IS THE TEMPORAL BONE, 139 00:05:02,720 --> 00:05:04,560 BEAUTIFUL DRAWING BY MAX 140 00:05:04,560 --> 00:05:04,920 [INDISCERNIBLE]. 141 00:05:04,920 --> 00:05:05,760 IF YOU'VE NEVER CONSIDERED HOW 142 00:05:05,760 --> 00:05:07,280 IT IS POSSIBLE FOR YOU TO HEAR 143 00:05:07,280 --> 00:05:08,560 MY VOICE OR ANY SOUND AT ALL, 144 00:05:08,560 --> 00:05:09,920 THINK ABOUT THE STRUCTURE AND 145 00:05:09,920 --> 00:05:11,320 WHAT IT'S DOING SO HOPEFULLY YOU 146 00:05:11,320 --> 00:05:13,280 HAVE 2 OF THESE IN YOUR HEAD 147 00:05:13,280 --> 00:05:14,560 THAT ARE FUNCTIONAL AND WHAT 148 00:05:14,560 --> 00:05:17,520 THESE THINGS DO IS TAKE 149 00:05:17,520 --> 00:05:19,040 VIBRATIONAL ENERGY IN THE FORM 150 00:05:19,040 --> 00:05:22,760 OF SOUND, TRANSMIT IT TO THE EAR 151 00:05:22,760 --> 00:05:23,320 DRUM, MICROSCOPICALLY DOWN 3 152 00:05:23,320 --> 00:05:25,320 HEARING BONES AND THOSE GET SENT 153 00:05:25,320 --> 00:05:27,560 INTO THE FLUIDS ARE OF THE INNER 154 00:05:27,560 --> 00:05:29,640 EAR AND TRIGGER NEURAL IMPULSES 155 00:05:29,640 --> 00:05:32,000 TO SEND DOWN INTO THE AUDITORY 156 00:05:32,000 --> 00:05:32,280 NERVE. 157 00:05:32,280 --> 00:05:35,560 SO WHAT HAPPENS HERE IS 158 00:05:35,560 --> 00:05:36,360 VIBRATIONAL MOVEMENT BECOME 159 00:05:36,360 --> 00:05:38,200 ELECTRICITY SO IN NORMAL 160 00:05:38,200 --> 00:05:40,480 HEARING, IT IS FUNDAMENTALLY AN 161 00:05:40,480 --> 00:05:41,080 ELECTRICAL PROCESS IN YOUR 162 00:05:41,080 --> 00:05:41,560 BRAIN. 163 00:05:41,560 --> 00:05:43,960 IF YOU HEAR THE SOUND IT'S 164 00:05:43,960 --> 00:05:44,600 ELECTRICITY NOT ACOUSTICS. 165 00:05:44,600 --> 00:05:45,920 SO LET'S LISTEN TO MUSIC 166 00:05:45,920 --> 00:05:59,400 TOGETHER WITH THAT IN MIND. 167 00:05:59,400 --> 00:06:00,400 [* MUSIC ] 168 00:06:00,400 --> 00:06:03,720 SO AS A KIND OF SELF-PROFESSED 169 00:06:03,720 --> 00:06:05,680 MUSIC JUNKIE I'VE ALWAYS BEEN SO 170 00:06:05,680 --> 00:06:06,760 FASCINATED BY THAT PROCESS OF 171 00:06:06,760 --> 00:06:08,160 HOW WE CAN HAVE MUSICAL 172 00:06:08,160 --> 00:06:08,520 EXPERIENCE. 173 00:06:08,520 --> 00:06:13,200 AND SO IT LED ME TO PURSUE A 174 00:06:13,200 --> 00:06:15,320 CAREER IN OTO-LAYNGOLG AND I 175 00:06:15,320 --> 00:06:17,080 JUST WANT TO GET TO THE ROOTS OF 176 00:06:17,080 --> 00:06:19,160 HOW WE HEAR SOMETHING LIKE THAT, 177 00:06:19,160 --> 00:06:20,520 WE CAN BE TRANSFORMED BY A 178 00:06:20,520 --> 00:06:22,520 MOMENT OF MUSIC AND YOU'RE 179 00:06:22,520 --> 00:06:23,640 TRANSFORMED SOMEWHERE ELSE, 180 00:06:23,640 --> 00:06:25,280 ALMOST ANOTHER PERSON, SO I WENT 181 00:06:25,280 --> 00:06:26,200 INTO THIS FIELD SPECIFICALLY TO 182 00:06:26,200 --> 00:06:27,520 FIND THE ANSWER TO THAT AND WHAT 183 00:06:27,520 --> 00:06:31,160 I HEARD WAS A LOT OF THIS ... 184 00:06:31,160 --> 00:06:32,760 [BEEPING ] SO A LOT OF BLIPS AND 185 00:06:32,760 --> 00:06:32,960 BEEPS. 186 00:06:32,960 --> 00:06:34,280 I GOT TO THE FIELD I WAS REALLY 187 00:06:34,280 --> 00:06:36,800 EXCITED AND ALL OF THE SUPPEDDEN 188 00:06:36,800 --> 00:06:38,240 I WAS LISTENING TO BLIPS AND 189 00:06:38,240 --> 00:06:39,560 BEEPS AND I THOUGHT WELL, THAT'S 190 00:06:39,560 --> 00:06:41,000 NOT GOING TO QUITE DO IT FOR ME 191 00:06:41,000 --> 00:06:42,800 SO I FELT LIKE I NEEDED TO GET 192 00:06:42,800 --> 00:06:44,200 TO HIGHER LEVEL HEARING. 193 00:06:44,200 --> 00:06:46,400 AND SO I ACTUALLY CAME TO THE 194 00:06:46,400 --> 00:06:48,200 NIDCD AFTER I DID MY SURGICAL 195 00:06:48,200 --> 00:06:50,200 TRAINING AND IT WAS A PIVOTAL 196 00:06:50,200 --> 00:06:52,200 TIME IN MY CAREER BECAUSE IT 197 00:06:52,200 --> 00:06:53,800 ALLOWED ME TO STOP BEING A 198 00:06:53,800 --> 00:06:54,640 SURGEON AND THINK MORE DEEPLY 199 00:06:54,640 --> 00:06:55,920 ABOUT THE ISSUES THAT WERE 200 00:06:55,920 --> 00:06:57,840 FASCINATING FOR ME AND ALSO I 201 00:06:57,840 --> 00:06:59,120 THINK SCULPTED THE WAY FOR HOW I 202 00:06:59,120 --> 00:07:00,840 COULD HAVE AN ACADEMIC CAREER 203 00:07:00,840 --> 00:07:02,800 AND I'M VERY GRATEFUL TO THIS 204 00:07:02,800 --> 00:07:03,400 PLACE. 205 00:07:03,400 --> 00:07:06,000 NOW I PLAYED YOU THOSE TONES NOT 206 00:07:06,000 --> 00:07:08,640 TO BE DERIVATIVE OF THEM BUT TO 207 00:07:08,640 --> 00:07:10,200 TELL YOU THEY'RE IMPORTANT, IT'S 208 00:07:10,200 --> 00:07:13,000 A SIGNUE SOID, AND OUR ABILITY 209 00:07:13,000 --> 00:07:15,680 TO HEAR SIGN OW SOIDS IS NOT A 210 00:07:15,680 --> 00:07:17,880 TRIVIAL THING AND THE ABILITY TO 211 00:07:17,880 --> 00:07:20,000 TELL 2 SIGNUE SOIDS APART, 212 00:07:20,000 --> 00:07:29,960 SOMETHING LIKE THIS ... 213 00:07:29,960 --> 00:07:30,800 [BEEPING ] THAT'S QUITE A 214 00:07:30,800 --> 00:07:32,000 DIFFICULT FEET FOR THE AUDITORY 215 00:07:32,000 --> 00:07:33,160 SYSTEM AND WE KNOW IT'S A 216 00:07:33,160 --> 00:07:35,000 DIFFICULT FEET FOR THE AUDITORY 217 00:07:35,000 --> 00:07:36,360 SYSTEM BECAUSE WHEN WE TRY TO 218 00:07:36,360 --> 00:07:38,120 RECREATE THAT EXPERIENCE IN A 219 00:07:38,120 --> 00:07:39,080 COCHLEAR IMPLANT USER WE 220 00:07:39,080 --> 00:07:40,200 BASICALLY FAIL. 221 00:07:40,200 --> 00:07:42,400 SO THAT SIMPLE THING, WE HAVE A 222 00:07:42,400 --> 00:07:44,400 VERY HARD TIME DOING, WE CANNOT 223 00:07:44,400 --> 00:07:48,400 GUARANTEE TODAY, WITH TODAY'S 224 00:07:48,400 --> 00:07:49,200 TECHNOLOGY, CANNOT GUARANTEE 225 00:07:49,200 --> 00:07:50,800 THAT THAT PURE TONE WILL SOUND 226 00:07:50,800 --> 00:07:53,080 LIKE A PURE TONE TO A COCHLEAR 227 00:07:53,080 --> 00:07:53,800 IMPLANT USER. 228 00:07:53,800 --> 00:07:55,160 IT'S THAT SIMPLE. 229 00:07:55,160 --> 00:07:56,720 NOW LET'S THINK ABOUT WHAT'S 230 00:07:56,720 --> 00:07:58,040 MORE COMPLIXAITED AND THE 231 00:07:58,040 --> 00:08:12,600 CHALLENGE THAT'S PRESENTED BY 232 00:08:12,600 --> 00:08:12,800 MUSIC. 233 00:08:12,800 --> 00:08:13,200 [* MUSIC ] 234 00:08:13,200 --> 00:08:14,920 SO IF WE CAPTAIN GET THE PURE 235 00:08:14,920 --> 00:08:16,200 TONES RIGHT HOW ARE WE GOING TO 236 00:08:16,200 --> 00:08:16,960 GET THAT RIGHT. 237 00:08:16,960 --> 00:08:19,200 THERE ARE SO MANY DIFFERENT 238 00:08:19,200 --> 00:08:20,680 TAMBERS, DIFFERENT RHYTHMS 239 00:08:20,680 --> 00:08:22,080 ISSUES PITCHES, TONES GOING 240 00:08:22,080 --> 00:08:22,360 TOGETHER. 241 00:08:22,360 --> 00:08:23,960 IN NORMAL HEARING THEY WORK 242 00:08:23,960 --> 00:08:25,120 SEAMLESSLY, YOU DON'T HAVE TO 243 00:08:25,120 --> 00:08:27,760 THINK OR TRY TO HEAR THAT AS A 244 00:08:27,760 --> 00:08:28,840 COHERENT WHOLE, IT JUST HAPPENS. 245 00:08:28,840 --> 00:08:30,200 SO I WANT TO INTRODUCE YOU TO A 246 00:08:30,200 --> 00:08:31,400 CHILD, THIS IS GRACE AND THIS IS 247 00:08:31,400 --> 00:08:34,880 APPROXIMATE GRACE WITH--THIS IS 248 00:08:34,880 --> 00:08:48,880 GRACE WITH HER MOTHER. 249 00:08:48,880 --> 00:08:49,200 >> YEAH. 250 00:08:49,200 --> 00:08:54,720 >> [BABY COOS ] 251 00:08:54,720 --> 00:08:57,120 >> YEAH. 252 00:08:57,120 --> 00:09:03,000 BABY. 253 00:09:03,000 --> 00:09:03,200 BABY. 254 00:09:03,200 --> 00:09:04,640 SO BEAUTIFUL MOTHER DAUGHTER 255 00:09:04,640 --> 00:09:05,440 RELATIONSHIP, SHE'S DOING 256 00:09:05,440 --> 00:09:06,800 EVERYTHING SHE CAN TO PROVIDE 257 00:09:06,800 --> 00:09:10,800 INPUT TO HER CHILD BECAUSE HER 258 00:09:10,800 --> 00:09:12,200 CHILD IS ABSOLUTELY PROFOUNDLY 259 00:09:12,200 --> 00:09:12,480 DEAF. 260 00:09:12,480 --> 00:09:13,640 NOW, 200 YEARS AGO, THERE WERE 261 00:09:13,640 --> 00:09:15,320 NOT THAT MANY OPTIONS AVAILABLE 262 00:09:15,320 --> 00:09:17,200 FOR DEAFNESS, YOU COULD TAKE A 263 00:09:17,200 --> 00:09:18,720 FUNET AND STICK IT IN YOUR EAR, 264 00:09:18,720 --> 00:09:20,280 YOU COULD TAKE AN EAR SHAPED 265 00:09:20,280 --> 00:09:22,480 OBJECT AND STICK THAT IN YOUR 266 00:09:22,480 --> 00:09:23,840 EARS, NEITHER WORKED VERY WELL 267 00:09:23,840 --> 00:09:24,600 AND FORTUNATELY TODAY WE HAVE 268 00:09:24,600 --> 00:09:25,800 SOMETHING BETTER AND SO IF WE 269 00:09:25,800 --> 00:09:27,720 LOOK AT WHERE WE ARE TODAY IN 270 00:09:27,720 --> 00:09:29,800 THE 2000S THERE ARE STILL NO 271 00:09:29,800 --> 00:09:32,080 APPROVED DRUGS TO TREAT HEARING 272 00:09:32,080 --> 00:09:32,800 LOSS, THINK ABOUT THAT. 273 00:09:32,800 --> 00:09:34,840 IN 2022 THERE ARE NO FDA 274 00:09:34,840 --> 00:09:37,080 APPROVED MEDICATIONS TO TREAT 275 00:09:37,080 --> 00:09:37,520 HEARING LOSS. 276 00:09:37,520 --> 00:09:39,600 BUT WE HAVE DEVICES WE HAVE 277 00:09:39,600 --> 00:09:43,400 HEARING AIDS, WE HAVE THE MODERN 278 00:09:43,400 --> 00:09:43,960 CHANNEL COCHLEAR IMPLANT. 279 00:09:43,960 --> 00:09:45,000 WHICH IS WHAT I WILL FOCUS ON 280 00:09:45,000 --> 00:09:46,640 TODAY, SO THIS CHILD'S MOTHER 281 00:09:46,640 --> 00:09:48,800 DECIDED TO IMPLANT OR DAUGHTER 282 00:09:48,800 --> 00:09:50,960 AT THE AGE OF 1 BY MY MENTOR AND 283 00:09:50,960 --> 00:09:56,600 HERE HE IS ABOUT A DECADE AFTER 284 00:09:56,600 --> 00:09:57,600 GETTING HER SURGERY. 285 00:09:57,600 --> 00:09:59,040 >> SO YOU'VE WRITTEN 2 BOOKS. 286 00:09:59,040 --> 00:10:00,760 >> I HAVE WRITTEN 2 BOOKS, 1 A 287 00:10:00,760 --> 00:10:04,560 BOOK AND THE OTHER LIKE A 288 00:10:04,560 --> 00:10:04,880 JOURNAL ENTRY. 289 00:10:04,880 --> 00:10:05,360 OH, OKAY. 290 00:10:05,360 --> 00:10:10,080 NWELL THIS BOOK HAS 7 CHAPTERS 291 00:10:10,080 --> 00:10:13,240 AND THE LAST--THE LAST CHAPTER 292 00:10:13,240 --> 00:10:15,040 IS ENTITLED THE GOOD THINGS 293 00:10:15,040 --> 00:10:16,000 ABOUT BEING DEAF. 294 00:10:16,000 --> 00:10:17,600 DO YOU REMEMBER WRITE THAGOREAN 295 00:10:17,600 --> 00:10:17,960 CHAPTER. 296 00:10:17,960 --> 00:10:23,440 >> YES I DO, I REMEMBER WRITING 297 00:10:23,440 --> 00:10:24,200 EVERY CHAPTER. 298 00:10:24,200 --> 00:10:25,360 >> WELL SOMETIMES MY SISTER CAN 299 00:10:25,360 --> 00:10:30,000 BE KIND OF ANNOYING AND SO HAD 300 00:10:30,000 --> 00:10:32,000 HELPS TO NOT BE ANNOYED BY HER. 301 00:10:32,000 --> 00:10:36,400 >> AND WHO IS THAT? 302 00:10:36,400 --> 00:10:36,680 >> COLLIE? 303 00:10:36,680 --> 00:10:37,200 >> HER SISTER. 304 00:10:37,200 --> 00:10:37,600 >> MY SISTER. 305 00:10:37,600 --> 00:10:40,360 >> AND HOW CAN YOU AVOID BEING 306 00:10:40,360 --> 00:10:40,800 ANNOYED BY HER. 307 00:10:40,800 --> 00:10:43,840 >> I JUST TAKE OFF MY CI AND I 308 00:10:43,840 --> 00:10:45,520 DON'T HEAR ANYTHING. 309 00:10:45,520 --> 00:10:46,520 [LAUGHTER] 310 00:10:46,520 --> 00:10:49,000 SO IT'S PRETTY--IT COMES IN 311 00:10:49,000 --> 00:10:49,200 HANDY. 312 00:10:49,200 --> 00:10:50,400 >> SO YOU DON'T WANT TO HEAR 313 00:10:50,400 --> 00:10:51,880 EVERYTHING THAT'S OUT THERE. 314 00:10:51,880 --> 00:10:52,240 >> NO. 315 00:10:52,240 --> 00:10:53,240 >> SO SHE'S AMAZING, IF YOU MET 316 00:10:53,240 --> 00:10:56,200 HER YOU WOULD NEVER KNOW SHE'S 317 00:10:56,200 --> 00:10:57,720 DEAF, SHE'S A HUNDRED PERCENT 318 00:10:57,720 --> 00:10:59,120 DEPENDENT ON HER IMPLANTS, SHE 319 00:10:59,120 --> 00:11:00,560 CAN TAKE QUESTIONS FROM THE 320 00:11:00,560 --> 00:11:01,600 STAGE, AUDIENCE AND DOESN'T MISS 321 00:11:01,600 --> 00:11:03,800 A BEAT, BUT WHEN SHE TURNS ON 322 00:11:03,800 --> 00:11:05,440 THE RADIO IT'S A STRUGGLE FOR 323 00:11:05,440 --> 00:11:05,760 HER, RIGHT? 324 00:11:05,760 --> 00:11:07,680 AND SO WHAT WE'RE SEEING IS THAT 325 00:11:07,680 --> 00:11:09,520 EVEN THOUGH THERE WAS NOBODY 326 00:11:09,520 --> 00:11:10,800 BEFORE THE HEARING LOSS, DIDN'T 327 00:11:10,800 --> 00:11:13,480 LIKE TO LISTEN TO MUSIC AFTER 328 00:11:13,480 --> 00:11:14,440 IMPLANTATION, ALMOST 40% OF 329 00:11:14,440 --> 00:11:15,520 MAISHTS ARE SAYING THEY DON'T 330 00:11:15,520 --> 00:11:16,800 LIKE TO LISTEN TO IT. 331 00:11:16,800 --> 00:11:18,400 IT'S NOT THAT THEY DON'T MIND 332 00:11:18,400 --> 00:11:20,280 TTHEY DON'T LIKE IT, IS IT 333 00:11:20,280 --> 00:11:21,800 DOESN'T SOUND GOOD TO THEM. 334 00:11:21,800 --> 00:11:23,600 SO DESPITE THE SUCCESSES WE'RE 335 00:11:23,600 --> 00:11:25,800 HAVING WITH SPOKEN LANGUAGE WITH 336 00:11:25,800 --> 00:11:27,200 COCHLEAR IMPLANTATION, MOST CI 337 00:11:27,200 --> 00:11:28,680 USERS CANNOT HEAR MUSIC WELL, SO 338 00:11:28,680 --> 00:11:29,440 THE FIRST TAKE HOME POINT IS 339 00:11:29,440 --> 00:11:32,040 THAT MUSIC IS A MUCH HARDER, 340 00:11:32,040 --> 00:11:33,960 MUCH MORE SOPHISTICATED AUDITORY 341 00:11:33,960 --> 00:11:34,880 STIMULUS THAN LANGUAGE AND THERE 342 00:11:34,880 --> 00:11:35,840 ARE REASONS FOR THIS THAT HAVE 343 00:11:35,840 --> 00:11:37,880 TO DO WITH THE NATURE OF MUSIC. 344 00:11:37,880 --> 00:11:39,400 YOU HAVE TO ASK YOURSELF WHAT IS 345 00:11:39,400 --> 00:11:41,360 MUSIC, WHAT IS THIS THING WE 346 00:11:41,360 --> 00:11:42,120 CALL MUSIC. 347 00:11:42,120 --> 00:11:44,240 IT'S AN OOB STRACT CONCEPT 348 00:11:44,240 --> 00:11:45,120 BECAUSE MUSIC DOESN'T 349 00:11:45,120 --> 00:11:45,960 NECESSARILY MEAN EVERYTHING, IT 350 00:11:45,960 --> 00:11:47,120 MEANS WHATEVER YOU WANT IT TO 351 00:11:47,120 --> 00:11:49,120 MEAN TO YOURSELF BUT IT'S SOUND, 352 00:11:49,120 --> 00:11:51,320 ORGANIZED SOUND AND ORGANIZED 353 00:11:51,320 --> 00:11:52,960 ACOWARDING TO PERSON PRINCIPLES, 354 00:11:52,960 --> 00:11:54,160 PITCH, RYTH ILLEGALS AND HARMONY 355 00:11:54,160 --> 00:11:58,120 AND THIS IS THE WAY WE CAN 356 00:11:58,120 --> 00:11:58,760 STRUCTURALLY DIVIDE THOSE AND 357 00:11:58,760 --> 00:12:01,280 HOW WE CAN USE THOSE AS A PROBE 358 00:12:01,280 --> 00:12:02,800 FOR THE AUDITORY SYSTEM AND THE 359 00:12:02,800 --> 00:12:04,680 BEAUTY OF MUSIC IS BECAUSE IT'S 360 00:12:04,680 --> 00:12:06,640 SO COMPLEX, BECAUSE IT HAS SO 361 00:12:06,640 --> 00:12:08,440 MANY LAYERS IN A WAY 362 00:12:08,440 --> 00:12:10,440 MATHEMATICAL SOUND, CAN YOU 363 00:12:10,440 --> 00:12:13,800 DECONSTRUCT IT AND USE IT THE 364 00:12:13,800 --> 00:12:14,600 USE OF HEARING. 365 00:12:14,600 --> 00:12:17,200 WHETHER IT'S NORMAL HEARING, 366 00:12:17,200 --> 00:12:19,160 TRAINING HEARING OR IMPOVERISHED 367 00:12:19,160 --> 00:12:20,880 HEARING OR CI USER. 368 00:12:20,880 --> 00:12:22,640 NOW MUSIC IS NOT JUST FOR 369 00:12:22,640 --> 00:12:23,400 ENTERTAINMENT EVEN THOUGH IT'S 370 00:12:23,400 --> 00:12:25,040 ENTERTAINING AND SO THIS IS SOME 371 00:12:25,040 --> 00:12:25,920 EVIDENCE OF THIS. 372 00:12:25,920 --> 00:12:29,600 THIS IS A FOSSIL, BIRD BONE 373 00:12:29,600 --> 00:12:31,600 THOUGHT TO BE RECOVER FRIDAY 374 00:12:31,600 --> 00:12:32,080 35,000 YEARS AGO. 375 00:12:32,080 --> 00:12:33,480 THINK ABOUT HOW LONG AGO THAT 376 00:12:33,480 --> 00:12:33,640 WAS. 377 00:12:33,640 --> 00:12:36,760 WHY ARE THEY MAKING MUSICAL 378 00:12:36,760 --> 00:12:37,920 INSTRUMENTS 35,000 YEARS AGO, 379 00:12:37,920 --> 00:12:39,840 YOU THINK THEY ARE TRYING TO 380 00:12:39,840 --> 00:12:41,280 SURVIVE BUT SOMEHOW MUSIC HAS 381 00:12:41,280 --> 00:12:45,000 PERSIST INDEED ALL CULTURES AND 382 00:12:45,000 --> 00:12:45,560 ALL HISTORICAL AVENUES. 383 00:12:45,560 --> 00:12:47,080 WHENEVER THERE HAVE BEEN HUMANS, 384 00:12:47,080 --> 00:12:48,600 THERE HAS BEEN MUSIC, WHY? 385 00:12:48,600 --> 00:12:50,000 IT MUST HAVE SOMETHING TO DO 386 00:12:50,000 --> 00:12:52,760 WITH ITS ABILITY TO ALLOW US TO 387 00:12:52,760 --> 00:12:53,760 COMMUNICATE WITH 1 ANOTHER THAT 388 00:12:53,760 --> 00:12:55,360 LENDS ITSELF TO A SURVIVAL 389 00:12:55,360 --> 00:12:57,560 ADVANTAGE, IF YOU LOOK AT 390 00:12:57,560 --> 00:12:58,600 ACOUSTIC IMPORTANT PROPERTIES OF 391 00:12:58,600 --> 00:13:01,520 MUSIC, YOU FIND THAT MUSIC IS A 392 00:13:01,520 --> 00:13:02,080 MORE DIFFICULT STIMULUS IN 393 00:13:02,080 --> 00:13:04,480 LANGUAGE NOT JUST IN TERMS OF 394 00:13:04,480 --> 00:13:05,440 THE PRINCIPLES THAT I TALKED 395 00:13:05,440 --> 00:13:07,920 ABOUT EARLIER BUT JUST ON BASIC 396 00:13:07,920 --> 00:13:08,880 SOWBD DYNAMICS AND FREQUENCY 397 00:13:08,880 --> 00:13:09,320 RANGE. 398 00:13:09,320 --> 00:13:11,000 IT'S A MORE EXPANSIVE SOUND AND 399 00:13:11,000 --> 00:13:13,600 AS A RESULT, IF YOU ARE GOING TO 400 00:13:13,600 --> 00:13:16,240 TRY TO TRANSMIT THIS MORE 401 00:13:16,240 --> 00:13:17,320 EXPANSIVE SOUND LIKE SOMETHING 402 00:13:17,320 --> 00:13:18,320 THROUGH AWE COCHLEAR IMPLANT, 403 00:13:18,320 --> 00:13:20,000 HAVE YOU A HARDER ENGINEERING 404 00:13:20,000 --> 00:13:21,640 CHALLENGE FRONT OF YOU. 405 00:13:21,640 --> 00:13:23,720 EVERYBODY ASK WHAT DOES IT SOUND 406 00:13:23,720 --> 00:13:25,840 LIKE IF YOU HAVE A COCHLEAR 407 00:13:25,840 --> 00:13:26,920 IMPLANT AND HEAR MUSIC. 408 00:13:26,920 --> 00:13:27,480 I DON'T KNOW. 409 00:13:27,480 --> 00:13:28,320 I'VE NEVER HAD 1. 410 00:13:28,320 --> 00:13:31,040 BUT WE FOUND THAT IF YOU BREAK 411 00:13:31,040 --> 00:13:32,160 DOWN MUSIC INTO THESE 412 00:13:32,160 --> 00:13:34,280 COMPONENTS, PITCH OTHER RHYTHM, 413 00:13:34,280 --> 00:13:35,600 TAMPER, SOUND, QUALITY, 414 00:13:35,600 --> 00:13:36,560 DYNAMICS, EVERYTHING IN RED IS 415 00:13:36,560 --> 00:13:39,120 OFF FOR A CI USER AND THAT'S A 416 00:13:39,120 --> 00:13:40,960 LOT OF DIFFERENT THINGS. 417 00:13:40,960 --> 00:13:42,920 RHYTHM IS IN GREEN THERE BECAUSE 418 00:13:42,920 --> 00:13:44,800 TIMING RELATIONSHIPS TEBD TO BE 419 00:13:44,800 --> 00:13:46,720 INTACT FOR BASIC RHYTHMIC 420 00:13:46,720 --> 00:13:47,920 PATTERNS FOR COCHLEAR IMPLANT 421 00:13:47,920 --> 00:13:50,520 USERS BECAUSE WE CAN STIMULATE 422 00:13:50,520 --> 00:13:51,360 WITH ELECTRICITY THAT'S PRETTY 423 00:13:51,360 --> 00:13:51,800 HIGH. 424 00:13:51,800 --> 00:13:53,240 NOW THE BIGGEST OBSTACLES ON THE 425 00:13:53,240 --> 00:13:54,440 LEFT THERE WHICH IS PITCH, IT 426 00:13:54,440 --> 00:13:55,560 TURNS OUT IF THERE WAS 1 THING 427 00:13:55,560 --> 00:13:59,200 THAT YOU COULD FIX, IN A 428 00:13:59,200 --> 00:14:00,400 COCHLEAR IMPLANT USER, IS THAT 429 00:14:00,400 --> 00:14:02,640 IT'S BADLY OUT OF TUNE AND ANY 430 00:14:02,640 --> 00:14:04,720 OF THAT YOU PLAY A MUSICAL 431 00:14:04,720 --> 00:14:05,600 INSTRUMENT, YOU KNOW THE FIRST 432 00:14:05,600 --> 00:14:06,640 THING YOU DO WHEN YOU SIT DOWN 433 00:14:06,640 --> 00:14:08,400 TO PLAY IS YOU TUNE AN 434 00:14:08,400 --> 00:14:10,000 INSTRUMENT AND IF YOUR ENTIRE 435 00:14:10,000 --> 00:14:11,760 EAR IS OUT OF TUNE AND CAN'T BE 436 00:14:11,760 --> 00:14:13,240 IN TUNE, NO MATTER WHAT YOU DO, 437 00:14:13,240 --> 00:14:15,680 HOW ARE YOU EVER GOING TO HEAR 438 00:14:15,680 --> 00:14:16,200 PITCHING PROPERLY? 439 00:14:16,200 --> 00:14:17,400 THAT'S THE PROBLEM THAT'S FACED 440 00:14:17,400 --> 00:14:21,120 BY A COCHLEAR IMPLANT USER. 441 00:14:21,120 --> 00:14:22,000 SOLET FIRST OBSTACLE, BECAUSE AS 442 00:14:22,000 --> 00:14:23,040 A CLINICIAN AND SURGEON I HOPE 443 00:14:23,040 --> 00:14:24,960 TO BE ABLE TO TELL A PATIENT, OH 444 00:14:24,960 --> 00:14:26,120 YOU'VE LOST YOUR HEARING, BUT 445 00:14:26,120 --> 00:14:27,920 DON'T WORRY WE CAN RESTORE 446 00:14:27,920 --> 00:14:28,800 PERFECT HEARING BACK TO YOU. 447 00:14:28,800 --> 00:14:31,200 NOW THAT'S RIGHT NOW THE STUFF 448 00:14:31,200 --> 00:14:32,200 OF SCIENCE FICTION, IT DOESN'T 449 00:14:32,200 --> 00:14:34,240 HAPPEN BUT ON THE OTHER HAND 450 00:14:34,240 --> 00:14:35,480 COCHLEAR IMPLANTATION IS THE 451 00:14:35,480 --> 00:14:36,720 STUFF OF SCIENCE FICTION A 452 00:14:36,720 --> 00:14:38,320 HUNDRED YEARS AGO, SO WE CAN 453 00:14:38,320 --> 00:14:39,960 GIVE PEOPLE BACK A LOT OF SPEECH 454 00:14:39,960 --> 00:14:41,800 BUT PITCH HER ACCEPTION IS 455 00:14:41,800 --> 00:14:43,560 REALLY, REALLY VEXING AND THE 456 00:14:43,560 --> 00:14:45,040 REASON IT'S VEXING BECAUSE SO 457 00:14:45,040 --> 00:14:46,400 MANY THINGS HAVE TO GO RIGHT IN 458 00:14:46,400 --> 00:14:49,120 YOUR EAR FOR YOU TO HEAR THOSE 459 00:14:49,120 --> 00:14:50,520 PURE TONES CORRECTLY. 460 00:14:50,520 --> 00:14:52,960 BUT INNER EAR HAS A SPATIAL, 461 00:14:52,960 --> 00:14:54,680 SHAPE IS LIKE A SNAIL AND THAT 462 00:14:54,680 --> 00:14:56,400 SHAPE IS LIKE THAT FOR A REASON 463 00:14:56,400 --> 00:15:00,520 AND PLACE ALONG THAT SNAIL, 464 00:15:00,520 --> 00:15:02,560 WHERE YOU STIMULATE WILL HELP 465 00:15:02,560 --> 00:15:05,400 DETERMINE THE PITCH, NOT JUST 466 00:15:05,400 --> 00:15:06,760 THE PLACE BUT THEERATED, THE 467 00:15:06,760 --> 00:15:09,280 NORMAL HEARING IN THE PLACE AND 468 00:15:09,280 --> 00:15:11,480 RATE STIMULATION, ARE 469 00:15:11,480 --> 00:15:12,520 SYNCHRONIZED THEY'RE SEAMLESSLY 470 00:15:12,520 --> 00:15:13,680 INTEGRATED BUT IN ELECTRICAL 471 00:15:13,680 --> 00:15:14,760 HEARING OR COCHLEAR IMPLANT 472 00:15:14,760 --> 00:15:15,880 HEART ATTACK, THEY'RE BOTH 473 00:15:15,880 --> 00:15:16,640 DISRUPTIVE SO HAVE YOU 474 00:15:16,640 --> 00:15:17,600 ELECTRICITY GOING TO THE WRONG 475 00:15:17,600 --> 00:15:19,800 PLACE AT THE WRONG RATE AND SO 476 00:15:19,800 --> 00:15:21,400 SOMEHOW YOU'RE TRYING TO TAKE 477 00:15:21,400 --> 00:15:23,000 THAT INCORRECT INFORMATION AND 478 00:15:23,000 --> 00:15:25,320 WARP IT, USING NEURAL 479 00:15:25,320 --> 00:15:26,000 PLACENTASISSITY AND OTHER 480 00:15:26,000 --> 00:15:27,200 CONTEXTURAL CUES AND YOUR 481 00:15:27,200 --> 00:15:29,280 ABILITY TO INTERPRET SOUNDS INTO 482 00:15:29,280 --> 00:15:30,720 SOME FRAMEWORK THAT MAKES SENSE 483 00:15:30,720 --> 00:15:30,960 TO YOU. 484 00:15:30,960 --> 00:15:32,400 IF YOU LOOK AT THE KIND OF 485 00:15:32,400 --> 00:15:35,040 STRUCTURE OF A COCHLEAR IMPLANT 486 00:15:35,040 --> 00:15:36,160 ELECTRODE, YOU SEE RIGHT AWAY, 487 00:15:36,160 --> 00:15:38,160 THERE ARE NOT THAT MANY 488 00:15:38,160 --> 00:15:39,080 ELECTRODE CONTACTS IN THERE, HOW 489 00:15:39,080 --> 00:15:41,000 DOES IS THAT DO THE JOB OF 490 00:15:41,000 --> 00:15:42,240 THOUSANDS OF AUDITORY NEURONS? 491 00:15:42,240 --> 00:15:43,680 WELL YOU THINK TO YOURSELF, 492 00:15:43,680 --> 00:15:45,880 WELL, IT PROBABLY CAN'T AND I 493 00:15:45,880 --> 00:15:47,600 WILL TELL YOU IT CAN'T, SO WHAT 494 00:15:47,600 --> 00:15:48,480 CAN IT DO? 495 00:15:48,480 --> 00:15:50,480 IT CAN DO REDUNDANT SIGNALS AS 496 00:15:50,480 --> 00:15:52,120 WELL SO SPEECHES ARE REDUNDANT 497 00:15:52,120 --> 00:15:54,360 SIGNAL SO IF MY VOICE WERE 498 00:15:54,360 --> 00:15:56,120 TRANSPOSED UP OR DOWN, YOU MIGHT 499 00:15:56,120 --> 00:15:57,760 NOT NOTICE OR CARE BECAUSE 500 00:15:57,760 --> 00:15:58,960 THAT'S NOT THE POINT OF YOU 501 00:15:58,960 --> 00:16:00,200 HEARING ME SPEAK, THAT'S WHY WE 502 00:16:00,200 --> 00:16:02,200 CAN ALL TALK TO THE TELEPHONE 503 00:16:02,200 --> 00:16:03,800 DESPITE KNOWING THAT IT DOESN'T 504 00:16:03,800 --> 00:16:05,120 ACTUALLY SOUND LIKE THE PERSON'S 505 00:16:05,120 --> 00:16:06,800 VOICE SOUNDS LIKE IN REAL LIFE 506 00:16:06,800 --> 00:16:08,400 BECAUSE IT'S A IMPOVERISHED 507 00:16:08,400 --> 00:16:09,760 SIGNAL, IT'S ENOUGH, ENOUGH TO 508 00:16:09,760 --> 00:16:10,760 HEAR THE SPEECH BUT WHEN YOU 509 00:16:10,760 --> 00:16:12,880 LOOK AT A PIANO AND YOU LOOK AT 510 00:16:12,880 --> 00:16:15,720 THE NOTES, YOU CAN JUST START 511 00:16:15,720 --> 00:16:16,440 ANALYZING THE FUNDAMENTAL 512 00:16:16,440 --> 00:16:17,960 FREQUENCIES OF THESE TONES AND 513 00:16:17,960 --> 00:16:19,240 YOU REALIZE, HMM, FROM 1 TONE TO 514 00:16:19,240 --> 00:16:22,280 THE NEXT IS A REALLY SMALL DRVES 515 00:16:22,280 --> 00:16:25,040 ABOUT 15-HERTZ AND IF THERE'S 516 00:16:25,040 --> 00:16:26,000 ANY AUDIOLOGIST IN THE GROUP, 517 00:16:26,000 --> 00:16:28,080 YOU KNOW WE'RE NOT TALKING ABOUT 518 00:16:28,080 --> 00:16:29,400 SMALL INCREMENTS WHEN WE TALK 519 00:16:29,400 --> 00:16:30,480 ABOUT PROGRAM BANS, WE TALK 520 00:16:30,480 --> 00:16:32,120 ABOUT HUNDREDS OR THOUSANDS OF 521 00:16:32,120 --> 00:16:34,440 HERTZ THAT WILL FIT INTO 1 522 00:16:34,440 --> 00:16:35,080 ELECTRODE BAN, MEANING 523 00:16:35,080 --> 00:16:36,000 EVERYTHING THAT'S IN THAT 524 00:16:36,000 --> 00:16:39,120 FREQUENCY WILL GET ASSIGNED TO 525 00:16:39,120 --> 00:16:40,200 THAT 1 ELECTRODE CONTACT. 526 00:16:40,200 --> 00:16:43,400 IF YOU HAD TO PICK 1 TARGET TO 527 00:16:43,400 --> 00:16:45,160 STRIVE FOR, YOU WOULD RATHER 528 00:16:45,160 --> 00:16:46,320 HAVE RELATIVE PITCH MORE THAN 529 00:16:46,320 --> 00:16:47,040 ABSOLUTE PITCH SO THE FIRST 530 00:16:47,040 --> 00:16:49,880 TECHNOLOGY TRANSFER I WOULD SAY 531 00:16:49,880 --> 00:16:55,080 IS THAT WE SHOULD PROBABLY 532 00:16:55,080 --> 00:16:56,520 FOREGO FER FECT PITCH. 533 00:16:56,520 --> 00:16:59,760 THE SOUND IS THE 1 SOUND NEXT TO 534 00:16:59,760 --> 00:17:00,600 ITS NEIGHBOR OR WHAT BECAME 535 00:17:00,600 --> 00:17:03,560 BEFORE OR AFTER IS IN THE RIGHT 536 00:17:03,560 --> 00:17:05,200 SORT OF MUSICAL SPATIAL 537 00:17:05,200 --> 00:17:07,200 RELATIONSHIP RATHER THAN BEING 538 00:17:07,200 --> 00:17:08,200 DISTORTED SO HOPEFULLY WHAT WE 539 00:17:08,200 --> 00:17:09,840 CAN DO FIRST AND GET RELATIVE 540 00:17:09,840 --> 00:17:10,920 PITCH TO BE INTACT. 541 00:17:10,920 --> 00:17:12,160 RIGHT NOW WHAT HAPPENS IS RATHER 542 00:17:12,160 --> 00:17:14,800 THAN HAVING THIS KIND OF 543 00:17:14,800 --> 00:17:16,200 ORGANIZED LINEAR ARANKMENT LIKE 544 00:17:16,200 --> 00:17:17,400 A PIANO KEYBOARD, IT'S MORE 545 00:17:17,400 --> 00:17:18,560 SOMETHING LIKE THIS AND IT'S 546 00:17:18,560 --> 00:17:19,640 WORSE THAN THIS, BECAUSE NOT 547 00:17:19,640 --> 00:17:22,520 ONLY ARE ALL THE KEYS THERE IN 548 00:17:22,520 --> 00:17:24,000 CI HEARING, A LOT OF THE KEYS 549 00:17:24,000 --> 00:17:26,840 ARE MISSING OR THE KEYS ARE VERY 550 00:17:26,840 --> 00:17:29,000 WIDE LIKE AN ENTIRE OCTAVE WILL 551 00:17:29,000 --> 00:17:31,000 BE REPRESENTED BY 1 KEY, OR 552 00:17:31,000 --> 00:17:32,280 THERE'S REVERSALS AND DIRECTIONS 553 00:17:32,280 --> 00:17:33,680 WHERE YOU GO UP ON THE KEYBOARD, 554 00:17:33,680 --> 00:17:35,800 THE SOUND IS GOING DOWN, PEOPLE 555 00:17:35,800 --> 00:17:36,960 DESCRIBE A HIGHER TONE PLAYED 556 00:17:36,960 --> 00:17:38,760 AND THE TONE SOUNDS LOWER SO 557 00:17:38,760 --> 00:17:40,400 THERE'S ALL SORTS OF MA HEM 558 00:17:40,400 --> 00:17:41,600 GOING INSIDE THE INNER HERE AND 559 00:17:41,600 --> 00:17:43,680 IT TURNS OUT THAT MUSIC IS NOT 560 00:17:43,680 --> 00:17:45,120 ROBUST TO MAYHEM WHEN IT'S IN 561 00:17:45,120 --> 00:17:46,400 THE PITCH DOMAIN AND JUST AS AN 562 00:17:46,400 --> 00:17:49,400 EXAMPLE OF THAT, I WILL PLAY YOU 563 00:17:49,400 --> 00:17:50,200 A MINIRENDITION OF 564 00:17:50,200 --> 00:17:50,560 [INDISCERNIBLE]. 565 00:17:50,560 --> 00:18:04,840 THIS IS THE ORIGINAL VERSION. 566 00:18:04,840 --> 00:18:05,200 [* MUSIC ] 567 00:18:05,200 --> 00:18:07,000 NOW IF YOU TOOK THAT, SAME PIECE 568 00:18:07,000 --> 00:18:09,320 OF MUSIC AND YOU RANDOMIZE IT TO 569 00:18:09,320 --> 00:18:10,840 THE NEAREST SEMITONE OKAY, AND 570 00:18:10,840 --> 00:18:12,880 WE WOULD BE EXSTATTIC IF WE HAD 571 00:18:12,880 --> 00:18:16,400 SEMITONE RESOLUTION IN COCHLEAR 572 00:18:16,400 --> 00:18:18,560 PLANT IMPLANT HEARING, ECSTATIC. 573 00:18:18,560 --> 00:18:18,800 WE DON'T. 574 00:18:18,800 --> 00:18:33,240 THIS IS WHAT IT SOUNDS LIKE TO 575 00:18:33,240 --> 00:18:34,640 THE NEAREST SEMITONE. 576 00:18:34,640 --> 00:18:38,560 SO I WOULD SUBMIT THAT THAT'S A 577 00:18:38,560 --> 00:18:40,080 CLOSER RENDITION OF WHY WHAT IT 578 00:18:40,080 --> 00:18:41,080 SOUNDS LIKE, YOU MATE THINK 579 00:18:41,080 --> 00:18:42,920 THAT'S WHY I DON'T LIKE MUSIC 580 00:18:42,920 --> 00:18:44,200 AFTER MY CI BECAUSE I DON'T WANT 581 00:18:44,200 --> 00:18:45,880 TO HEAR THOSE DANCES ALL THE 582 00:18:45,880 --> 00:18:46,120 TIME. 583 00:18:46,120 --> 00:18:47,600 NOW 1 OF THE KEY QUESTIONS IN 584 00:18:47,600 --> 00:18:48,760 MUSIC AND 1 OF THE MAIN REASONS 585 00:18:48,760 --> 00:18:51,000 WE TEND TO LIKE IT IS BECAUSE IT 586 00:18:51,000 --> 00:18:53,000 GIVES US AN EMOTIONAL RESPONSE 587 00:18:53,000 --> 00:18:54,320 AND IF THERE'S 1 THING MUSIC IS 588 00:18:54,320 --> 00:18:55,960 GOOD AT, IT'S NOT AT 589 00:18:55,960 --> 00:18:57,080 PROPOSITIONAL THOUGHT, SO EVEN 590 00:18:57,080 --> 00:18:58,640 THOUGH WE THINK ABOUT MUSIC AS A 591 00:18:58,640 --> 00:18:59,400 UNIVERSAL LANGUAGE, IT'S NOT 592 00:18:59,400 --> 00:19:01,040 GOOD AT THE THINGS THAT LANGUAGE 593 00:19:01,040 --> 00:19:02,400 IS GOOD AT, I MEAN YOU CAN'T 594 00:19:02,400 --> 00:19:05,160 GIVE A LECTURE USING A PIANO, I 595 00:19:05,160 --> 00:19:06,160 CAN'T JUST LIKE PLAY THIS 596 00:19:06,160 --> 00:19:07,800 LECTURE TO YOU USING A PILOT 597 00:19:07,800 --> 00:19:08,840 PROJECTON O AND HAVE YOU 598 00:19:08,840 --> 00:19:10,600 UNDERSTAND WHAT I'M TALKING 599 00:19:10,600 --> 00:19:12,960 ABOUT, YOU NEED THE SEMANTICS 600 00:19:12,960 --> 00:19:14,440 SPECIFICITY OF SPEECH BUT WHAT 601 00:19:14,440 --> 00:19:15,840 MUSIC DOES BETTER THAN ANYTHING 602 00:19:15,840 --> 00:19:17,040 ELSE IS CONVEY EMOTION, AND SO 603 00:19:17,040 --> 00:19:19,640 WHEN YOU ARE LISTENING TO MUSIC, 604 00:19:19,640 --> 00:19:22,000 THE EMOTIONAL MESSAGE HAS TO BE 605 00:19:22,000 --> 00:19:23,080 THERE FOR YOU. 606 00:19:23,080 --> 00:19:24,720 OTHERWISE IT LOSES ALL ITS 607 00:19:24,720 --> 00:19:24,920 POWER. 608 00:19:24,920 --> 00:19:28,480 SO WHEN WE TRY TO MAKE A MUSICAL 609 00:19:28,480 --> 00:19:30,120 INTERPRETATION OF EMOTION, 610 00:19:30,120 --> 00:19:32,560 MUSICAL EMOTION, WE TEND TO USE 611 00:19:32,560 --> 00:19:33,760 CERTAIN AUDITORY CUES AND THOSE 612 00:19:33,760 --> 00:19:35,160 CUES ARE USUALLY THINGS LIKE 613 00:19:35,160 --> 00:19:38,120 MODE, LIKE WHETHER IT'S A 614 00:19:38,120 --> 00:19:39,760 MEASURE OR MINOR KEY AND THEN 615 00:19:39,760 --> 00:19:41,200 TEMPO WHETHER IT'S FAST OR SLOW. 616 00:19:41,200 --> 00:19:43,720 SO LET'S JUST START A 2 VERY 617 00:19:43,720 --> 00:19:44,560 BASIC CONCEPTS THAT GENERALLY 618 00:19:44,560 --> 00:19:46,960 SPEAK THANKSGIVING IS A CRUDE 619 00:19:46,960 --> 00:19:48,000 OVERRICISM LIAISONIFICATION, BUT 620 00:19:48,000 --> 00:19:50,080 GENERALLY SPEAKS SOMETHING 621 00:19:50,080 --> 00:19:52,000 THAT'S MAJOR SOUNDS BETTER THAN 622 00:19:52,000 --> 00:19:54,280 SOMETHING THAT'S MINOR. 623 00:19:54,280 --> 00:19:55,120 GENERALLY SPEAKING SOMETHING 624 00:19:55,120 --> 00:19:57,320 FASTER IS SOUNDS BETTER THAN 625 00:19:57,320 --> 00:19:57,720 SOMETHING SLOWER. 626 00:19:57,720 --> 00:20:00,200 SO IF YOU TAKE'S MELODY AND MAKE 627 00:20:00,200 --> 00:20:04,240 IT MAJOR AND PLAY IT FAST, IT 628 00:20:04,240 --> 00:20:05,600 SOUNDS LIKE THIS. 629 00:20:05,600 --> 00:20:05,960 [* MUSIC ] 630 00:20:05,960 --> 00:20:07,600 NOW IF YOU TAKE THAT SAME MELODY 631 00:20:07,600 --> 00:20:09,480 AND YOU MAKE IT MINOR AND YOU 632 00:20:09,480 --> 00:20:14,440 PLAY IT SLOW, IT SOUNDS LIKE 633 00:20:14,440 --> 00:20:15,320 THIS ... [* MUSIC ] 634 00:20:15,320 --> 00:20:17,400 OKAY, NOW MOST OF THE PEOPLE 635 00:20:17,400 --> 00:20:18,800 THAT HEAR THOSE 2 THINGS WILL 636 00:20:18,800 --> 00:20:20,400 SAY THE FIRST 1 WAS HAPPY, THE 637 00:20:20,400 --> 00:20:22,160 SECOND 1 WAS SAD IF YOU HAD TO 638 00:20:22,160 --> 00:20:23,800 BE BINARY ABOUT THIS KIND OF 639 00:20:23,800 --> 00:20:24,360 THING. 640 00:20:24,360 --> 00:20:25,800 NOW THERE'S TO AMBIGUOUS 641 00:20:25,800 --> 00:20:27,400 POSSIBILITIES, 1 IS YOU CAN TAKE 642 00:20:27,400 --> 00:20:36,640 SOMETHING MAJOR AND YOU CAN MAKE 643 00:20:36,640 --> 00:20:36,880 IT SLOW. 644 00:20:36,880 --> 00:20:39,160 SO NOW ALL OF A SUDDEN THERE'S 645 00:20:39,160 --> 00:20:40,080 AMBIGUITY IN THE EMOTIONAL 646 00:20:40,080 --> 00:20:42,600 SIGNIFICANCE OF THAT AT LEAST TO 647 00:20:42,600 --> 00:20:43,880 NORMAL HEARING USERS, SAME WITH 648 00:20:43,880 --> 00:20:48,760 SOMEBODY WHO HEARS THIS THAT'S 649 00:20:48,760 --> 00:20:52,120 MINOR AND FAST. 650 00:20:52,120 --> 00:20:53,480 [* MUSIC ] 651 00:20:53,480 --> 00:20:55,040 IS THAT HAPPY OR SAD? 652 00:20:55,040 --> 00:20:56,560 I DON'T KNOW YOU HAVE TO TELL ME 653 00:20:56,560 --> 00:20:58,440 YOUR PERSOAPGZ BUT YOU CAN SEE 654 00:20:58,440 --> 00:21:00,480 HOW THERE'S ATTENTION IN THOSE 655 00:21:00,480 --> 00:21:00,800 AMBIGUOUS 1S. 656 00:21:00,800 --> 00:21:02,760 SO THEN IF YOU RATE THESE IN 657 00:21:02,760 --> 00:21:04,040 TERMS OF VALENCE WHETHER THEY'RE 658 00:21:04,040 --> 00:21:05,800 HAPPY OR SAT, NORMAL HEARING 659 00:21:05,800 --> 00:21:07,200 LISTENERS DO WHAT WE JUST DID, 660 00:21:07,200 --> 00:21:09,160 THEY SAY THE HAPPY, FAST 1 IS 661 00:21:09,160 --> 00:21:10,600 HAPPY, THE MAJOR 1 IS HAPPY AND 662 00:21:10,600 --> 00:21:13,280 THAT THE MINOR SLOW 1 IS SAD AND 663 00:21:13,280 --> 00:21:15,600 THE OTHERS ARE AMBIGUOUS, 664 00:21:15,600 --> 00:21:17,400 THEY'RE CLUSTERED,A ROUND 0. 665 00:21:17,400 --> 00:21:24,960 BUT SEE WHAT CI USERS DO. 666 00:21:24,960 --> 00:21:26,240 IT'S BECAUSE THEY'RE NOT ABLE TO 667 00:21:26,240 --> 00:21:27,560 HEAR THE DIFFERENCES IN MODE. 668 00:21:27,560 --> 00:21:29,000 THE DIFFERENCE BETWEEN MAJOR AND 669 00:21:29,000 --> 00:21:30,720 MINOR IT'S A SEMITONE AT THE 670 00:21:30,720 --> 00:21:31,360 THIRD, THAT'S IT. 671 00:21:31,360 --> 00:21:35,200 AND SO FOR MAJOR AND MINOR MODE 672 00:21:35,200 --> 00:21:36,600 SIGNIFICANCE, THAT'S LOST TO 673 00:21:36,600 --> 00:21:39,320 MOST CI USERS, CAN YOU RIGHT 674 00:21:39,320 --> 00:21:40,480 AWAY FOR EMOTIONAL MUSIC OR 675 00:21:40,480 --> 00:21:42,120 SOMETHING WE MIGHT TAKE FOR 676 00:21:42,120 --> 00:21:44,960 GRANTED ARE EFFORTLESS TO HEAR, 677 00:21:44,960 --> 00:21:45,520 BECOMES QUITE CHALLENGING. 678 00:21:45,520 --> 00:21:46,920 NOW YOU CAN MAKE THAT MORE 679 00:21:46,920 --> 00:21:49,080 COMPLICATED BY LOOKINGA THE 680 00:21:49,080 --> 00:21:50,480 LEVELS OF DISSIDENCE, SO IF YOU 681 00:21:50,480 --> 00:21:53,440 TAKE A MELODY AND PUT A NORMAL 682 00:21:53,440 --> 00:21:56,200 ACCOMPANIMENT TO IT, IT SOUNDS 683 00:21:56,200 --> 00:22:00,080 SOMETHING LIKE THIS ... [* MUSIC 684 00:22:00,080 --> 00:22:00,400 *] 685 00:22:00,400 --> 00:22:06,200 NOW IF YOU MAKE THAT VERY 686 00:22:06,200 --> 00:22:08,120 DISSIDENTOT ACCOMPANYING CHORD 687 00:22:08,120 --> 00:22:12,240 LIKE THIS ... [* MUSIC ] 688 00:22:12,240 --> 00:22:14,680 AGAIN YOU WOULD EXPECT THERE'S 689 00:22:14,680 --> 00:22:17,200 AN EMOTIONAL--THE MORE DISTANT 690 00:22:17,200 --> 00:22:18,560 THE LESS PLEASING IT IS TO YOU, 691 00:22:18,560 --> 00:22:20,400 AND THE NORMAL HEARING, YOU SEE 692 00:22:20,400 --> 00:22:22,520 IT IN THE GRAY BARS THERE, THE 693 00:22:22,520 --> 00:22:24,000 MORE DESDENT, THE LESS PLEASING 694 00:22:24,000 --> 00:22:24,200 IT IS. 695 00:22:24,200 --> 00:22:26,560 IT'S ALL THE SAME. 696 00:22:26,560 --> 00:22:30,200 OKAY, THEY SEE NO DIFFERENCE 697 00:22:30,200 --> 00:22:31,280 DEPENDING ON DEGREE OF DISTANCE, 698 00:22:31,280 --> 00:22:33,440 THEY CAN GET MORE AND MORE 699 00:22:33,440 --> 00:22:34,480 DISTANCE, THEY STILL FEEL LIKE 700 00:22:34,480 --> 00:22:36,120 IT'S MORE THE SAME. AND THAT'S 701 00:22:36,120 --> 00:22:37,400 BECAUSE THEY HEAR DISTANCE ALL 702 00:22:37,400 --> 00:22:42,600 THE TIME. 703 00:22:42,600 --> 00:22:43,440 EVERYTHING IS DISSONANCE. 704 00:22:43,440 --> 00:22:44,840 ANOTHER 1 IS HOW MANY PITCHES 705 00:22:44,840 --> 00:22:46,240 ARE IN TUNE BUT HOW MANY ARE 706 00:22:46,240 --> 00:22:48,600 COMING ON THE YOU AND MOST 707 00:22:48,600 --> 00:22:50,080 PITCHES IT'S NOT 1 NOTE AT A 708 00:22:50,080 --> 00:22:52,320 TIME, YOU ARE HEARING DOZENS OF 709 00:22:52,320 --> 00:22:53,720 NOTES PLAYED AT 1 TIME SO IF YOU 710 00:22:53,720 --> 00:22:56,840 HAD A TASK IF IN FRONT OF YOU 711 00:22:56,840 --> 00:22:59,400 WHERE YOU HAVE THE DISSONANCE 712 00:22:59,400 --> 00:23:02,360 BETWEEN 1 AND, 2, AND 3. 713 00:23:02,360 --> 00:23:04,200 [* MUSIC ] 714 00:23:04,200 --> 00:23:06,720 THAT IS A TASK WHAT WE REFER TO 715 00:23:06,720 --> 00:23:07,760 AS POLYFONNISH PITCH PERCEPTION, 716 00:23:07,760 --> 00:23:09,240 SO YOUR ABILITY TO SAY THAT WAS 717 00:23:09,240 --> 00:23:09,920 1, 2, OR 3. 718 00:23:09,920 --> 00:23:12,000 AND IF YOU LOOK AT THE MATRIXOT 719 00:23:12,000 --> 00:23:13,960 RIGHT, WHEN A NORMAL HEARING 720 00:23:13,960 --> 00:23:18,120 PERSON GETS THAT WRONG, THEY 721 00:23:18,120 --> 00:23:19,400 WILL ALMOST NEVER SAY THAT 3 IS 722 00:23:19,400 --> 00:23:19,640 1. 723 00:23:19,640 --> 00:23:20,160 OKAY? 724 00:23:20,160 --> 00:23:21,560 IF THEY GET IT WRONG, THEY WILL 725 00:23:21,560 --> 00:23:22,400 SEE THE 3 IS 2. 726 00:23:22,400 --> 00:23:24,080 THEY WILL KNOW THERE ARE 727 00:23:24,080 --> 00:23:25,560 MULTIPLE NOTES BUT WHAT DO THE 728 00:23:25,560 --> 00:23:27,400 CI USERS DO ON THE BOTTOM LEFT? 729 00:23:27,400 --> 00:23:29,800 WHEN THEY HEAR THE 3, THEY WILL 730 00:23:29,800 --> 00:23:31,080 FREQUENTLY SAY IT WAS 1. 731 00:23:31,080 --> 00:23:33,640 SO THEY HAVE PERCEPTUAL FUSION 732 00:23:33,640 --> 00:23:34,960 OF MULTIPLE NOTES THAT COMES TO 733 00:23:34,960 --> 00:23:36,840 THEM AS A SINGLE BLOCK AND 734 00:23:36,840 --> 00:23:38,000 THAT'S AGAIN ANOTHER PROBLEM 735 00:23:38,000 --> 00:23:40,000 CONSIDERING MOST MUSIC IS 736 00:23:40,000 --> 00:23:40,720 POLYPHONIC IN NATURE. 737 00:23:40,720 --> 00:23:43,640 SO THE OTHER HUGE OBSTACLE TO 738 00:23:43,640 --> 00:23:44,520 PERFECT HEARING IS SOUND 739 00:23:44,520 --> 00:23:45,600 QUALITY, NOT JUST WHETHER OR 740 00:23:45,600 --> 00:23:47,200 NOT, IT IS RIGHT OR WRONG, BUT 741 00:23:47,200 --> 00:23:49,040 DOES IT SOUND GOOD OR NOT. 742 00:23:49,040 --> 00:23:50,360 IS IT PLEASING? 743 00:23:50,360 --> 00:23:51,480 AND THE ANALOGY I LIKE TO MAKE 744 00:23:51,480 --> 00:23:52,920 IS SOMETHING THAT WAS INSPIRED 745 00:23:52,920 --> 00:23:54,600 BY MY MOVE TO CALIFORNIA, WHEN I 746 00:23:54,600 --> 00:23:55,880 GOT TO CALIFORNIA I DIDN'T 747 00:23:55,880 --> 00:23:57,360 REALIZE HOW SERIOUSLY PEOPLE 748 00:23:57,360 --> 00:23:57,800 TAKE THEIR WINE. 749 00:23:57,800 --> 00:23:59,520 AND YOU KNOW I WAS A LITTLE BIT 750 00:23:59,520 --> 00:24:00,800 CLUELESS AND FOR ME YOU COULD 751 00:24:00,800 --> 00:24:02,840 HAVE HANDED ME A FIVE DOLLARS 752 00:24:02,840 --> 00:24:04,960 BOTTLE OF WINE AND A $50 OF WINE 753 00:24:04,960 --> 00:24:07,240 AND I MIGHT NOT REALLY HAVE 754 00:24:07,240 --> 00:24:07,720 KNOWN THE DIFFERENCE. 755 00:24:07,720 --> 00:24:09,560 AND THE FAULT IS NOT THE WINE'S, 756 00:24:09,560 --> 00:24:12,160 IT WAS MY FAULT, MY PALATE 757 00:24:12,160 --> 00:24:14,000 WASN'T READY FOR IT AND THE 758 00:24:14,000 --> 00:24:15,120 PROBLEM WITH CI USER HEARING IS 759 00:24:15,120 --> 00:24:17,840 NOT IN THE SOUND, IT'S IN THEIR 760 00:24:17,840 --> 00:24:19,120 AUDITORY PALATE. 761 00:24:19,120 --> 00:24:19,800 THEY'RE NOT SOPHISTICATED ENOUGH 762 00:24:19,800 --> 00:24:22,680 TO BE ABLE TO RESOLVE THE 763 00:24:22,680 --> 00:24:23,560 DIFFERENCES THAT ARE PRESENT. 764 00:24:23,560 --> 00:24:27,000 SO YOU COULD PLAY THE FINEST 765 00:24:27,000 --> 00:24:27,680 MUSIC RECORDINGOT BEST SPEAKER 766 00:24:27,680 --> 00:24:30,200 SYSTEM IN THE WORLD TO A CI USER 767 00:24:30,200 --> 00:24:32,360 AND IT MIGHT NOT SOUND THAT MUCH 768 00:24:32,360 --> 00:24:33,640 BETTER THAN PLAYING IT OFF YOUR 769 00:24:33,640 --> 00:24:35,880 LAB TOP BECAUSE THEY HAVE AN 770 00:24:35,880 --> 00:24:37,720 AUDITORY PALATE PROBLEM, SO I 771 00:24:37,720 --> 00:24:39,200 WILL SHOW YOU 2 PATIENTS THAT 772 00:24:39,200 --> 00:24:40,720 EXEMPLIFY THIS. 773 00:24:40,720 --> 00:24:41,320 HERE'S A PATIENT. 774 00:24:41,320 --> 00:24:43,120 >> MUSIC SOUNDS VERY GOOD TO ME 775 00:24:43,120 --> 00:24:44,880 WITH MY COCHLEAR IMPLANT, MUCH, 776 00:24:44,880 --> 00:24:48,800 MUCH BETTER THAN WHEN I HAD 777 00:24:48,800 --> 00:24:49,200 HEARING AIDS. 778 00:24:49,200 --> 00:24:55,320 I THINK I BENEFIT FROM THE FACT 779 00:24:55,320 --> 00:24:59,840 THAT I NEVER HAD THE MUSICIANS 780 00:24:59,840 --> 00:25:01,400 SCHOOLED EAR, LEARNED HERE WHERE 781 00:25:01,400 --> 00:25:03,080 MY SENSE OF PITCH WAS NEVER THAT 782 00:25:03,080 --> 00:25:05,280 GOOD SO I HEARD SOME MUSICIANS 783 00:25:05,280 --> 00:25:09,160 THAT HAVE COCHLEAR IMPLANTS THAT 784 00:25:09,160 --> 00:25:11,680 ARE NOT THAT HAPPY WITH HOW 785 00:25:11,680 --> 00:25:12,760 MUSIC WORKS FOR THEM. 786 00:25:12,760 --> 00:25:14,520 BUT FOR ME I THINK IGNORANCE IS 787 00:25:14,520 --> 00:25:17,960 BLISS BECAUSE IT SOUNDS TERRIFIC 788 00:25:17,960 --> 00:25:18,520 TO ME. 789 00:25:18,520 --> 00:25:20,000 >> HEE CAN'T TELL THE DIFFERENCE 790 00:25:20,000 --> 00:25:21,000 BETWEEN A FIVE DOLLARS BOTTLE OF 791 00:25:21,000 --> 00:25:23,640 WINE AND I A $50 BOTTLE OF WINE. 792 00:25:23,640 --> 00:25:24,160 HE TESTED HIM. 793 00:25:24,160 --> 00:25:26,000 HE'S NOT GOOD BUT HE'S PERFECTLY 794 00:25:26,000 --> 00:25:27,200 HAPPY WITH WHAT HE SIZE'RE HAS. 795 00:25:27,200 --> 00:25:28,840 SO HE WOULD LIKE A FIVE DOLLARS 796 00:25:28,840 --> 00:25:30,520 OF BOTTLE OF WINE, FINE. 797 00:25:30,520 --> 00:25:32,120 NOW HERE'S SOMEBODY ELSE, SHE'S 798 00:25:32,120 --> 00:25:33,520 GOT A DIFFERENT TAKE ON IT? 799 00:25:33,520 --> 00:25:40,760 , SOMETIMES MUSIC IS JUST LIKE 800 00:25:40,760 --> 00:25:41,840 JUST CAR KICKOFF NOWS NOISE AND 801 00:25:41,840 --> 00:25:43,240 I AM TRYING TO HEARING OTHER 802 00:25:43,240 --> 00:25:45,000 THINGS GOING ON OOH ROUND AND 803 00:25:45,000 --> 00:25:47,360 THE MUSIC IS OVERPOWERING, OTHER 804 00:25:47,360 --> 00:25:51,000 TIMES MUSIC IS REALLY SOOTHING 805 00:25:51,000 --> 00:25:52,640 AND HELPFUL IF I'M IN A QUIET 806 00:25:52,640 --> 00:25:57,840 ENVIRONMENT, I CAN PICK UP 807 00:25:57,840 --> 00:25:58,720 POSITIVE ASPECTS OF MUSIC. 808 00:25:58,720 --> 00:26:00,240 A LOT OF TIMES IT SOUNDS LIKE 809 00:26:00,240 --> 00:26:01,800 IT'S IN THE WAY, LIKE SOMETHING 810 00:26:01,800 --> 00:26:04,960 THAT I KNOW THAT OTHER PEOPLE 811 00:26:04,960 --> 00:26:05,840 OBVIOUSLY ENJOY HEARING, I'M 812 00:26:05,840 --> 00:26:07,600 LIKE WHY IS THIS HERE, WHY DOES 813 00:26:07,600 --> 00:26:10,600 THIS NEED TO BE HERE THIS IS 814 00:26:10,600 --> 00:26:12,440 JUST DISTRACTING ME FROM WHAT 815 00:26:12,440 --> 00:26:13,000 I'M ACTUALLY DOING. 816 00:26:13,000 --> 00:26:14,680 >> SHE'S KIND OF CRYSTAL BUT 817 00:26:14,680 --> 00:26:16,280 WHEN YOU TEST HER SHE DOES A LOT 818 00:26:16,280 --> 00:26:17,320 BETTER THAN THE FIRST PERSON. 819 00:26:17,320 --> 00:26:20,480 SO EACH THOUGH SHE HAS A BETTER 820 00:26:20,480 --> 00:26:21,920 PALATE SHE EXPECTS MORE, SHE HAS 821 00:26:21,920 --> 00:26:25,440 A HIGH EXPECTATION OF WHAT 822 00:26:25,440 --> 00:26:26,920 THINGS SOUND LIKE, SHE WANTS THE 823 00:26:26,920 --> 00:26:30,080 FIVE DOLLARS BOTTLE OF WINE TO 824 00:26:30,080 --> 00:26:31,200 TASTE LIKE THE $50 BOTTLE OF 825 00:26:31,200 --> 00:26:32,040 WINE. 826 00:26:32,040 --> 00:26:34,280 SO SOUND QUALITY IS POOR TO 827 00:26:34,280 --> 00:26:34,520 ASSESS. 828 00:26:34,520 --> 00:26:37,520 YOU USUALLY ASSESS IT BY WHETHER 829 00:26:37,520 --> 00:26:38,520 SOMEBODY LIKES SOMETHING. 830 00:26:38,520 --> 00:26:41,040 SO SOUND QUALITY IS NOT ABOUT 831 00:26:41,040 --> 00:26:42,800 WHETHER YOU ARE ENJOYING IT OR 832 00:26:42,800 --> 00:26:45,200 WHETHER CAN YOU RESOLVE THE 833 00:26:45,200 --> 00:26:45,920 DETERIORATION IN THE SOUND 834 00:26:45,920 --> 00:26:46,160 QUALITY. 835 00:26:46,160 --> 00:26:48,320 IT'S NOT WHETHER YOU CAN DIG IT 836 00:26:48,320 --> 00:26:50,320 IT'S THAT YOU'RE LISTENING TO 837 00:26:50,320 --> 00:26:52,000 SOUND ON A TERRIBLE SET OF 838 00:26:52,000 --> 00:26:52,240 SPEAKERS. 839 00:26:52,240 --> 00:26:54,000 SOME OF YOU MAY NOT BE ABLE TO 840 00:26:54,000 --> 00:26:55,040 TELL THE DIFFERENCE BETWEEN 841 00:26:55,040 --> 00:26:56,760 AUDIO FILE SPEAKER ANDS COMPUTER 842 00:26:56,760 --> 00:26:59,080 SPEAKERS AND OTHER PEOPLE ARE 843 00:26:59,080 --> 00:26:59,560 REALLY, REALLY AG. 844 00:26:59,560 --> 00:27:00,400 Q.IVATEED IN THE SOUND 845 00:27:00,400 --> 00:27:01,360 IS NOT EXACTLY RIGHT 846 00:27:01,360 --> 00:27:02,800 WHEN THEY LISTEN TO 847 00:27:02,800 --> 00:27:03,200 SOMETHING LIKE 848 00:27:03,200 --> 00:27:03,880 CLASSICAL MUSIC, SO 849 00:27:03,880 --> 00:27:06,200 THE QUESTION IS CAN WE 850 00:27:06,200 --> 00:27:07,000 USE ASSESSMENTS OF 851 00:27:07,000 --> 00:27:08,040 SOUND QUALITY AS A 852 00:27:08,040 --> 00:27:08,680 PROBE TO AGAIN TEST 853 00:27:08,680 --> 00:27:09,720 YOUR ABILITY TO NOT BE 854 00:27:09,720 --> 00:27:11,600 ABLE TO RECOGNIZE THAT 855 00:27:11,600 --> 00:27:12,320 WE HAVE DETERIORATED 856 00:27:12,320 --> 00:27:12,520 SOUND. 857 00:27:12,520 --> 00:27:14,200 IF YOU CAN'T TELL THE DIFFERENCE 858 00:27:14,200 --> 00:27:15,560 BETWEEN POOR SOUND QUALITY AND 859 00:27:15,560 --> 00:27:17,080 GOOD SOUND QUALITY, YOU DON'T 860 00:27:17,080 --> 00:27:17,920 HAVE GOOD PERCEPTION, SO AN 861 00:27:17,920 --> 00:27:19,960 EXAMPLE OF THIS IS LET'S TRY TO 862 00:27:19,960 --> 00:27:20,800 REMOVE BASE, SO 1 OF THE KEY 863 00:27:20,800 --> 00:27:23,120 PROBLEMS IS THAT THE APEX OF THE 864 00:27:23,120 --> 00:27:25,000 CO CLE ATHIS MEANS SOMETHING 865 00:27:25,000 --> 00:27:25,920 BECAUSE THE BASE FREQUENCY ARE 866 00:27:25,920 --> 00:27:28,280 ALL AT THE APEX AND COCHLEAR 867 00:27:28,280 --> 00:27:29,600 IMPLABT ELECTRONS DON'T REACH 868 00:27:29,600 --> 00:27:32,080 THE APEX, GENERALLY SPEAKING 869 00:27:32,080 --> 00:27:32,640 THEY'RE STIMULATED HIGHER 870 00:27:32,640 --> 00:27:34,200 FREQUENCY PARTS OF THE COCHLEA 871 00:27:34,200 --> 00:27:35,800 RATHER THAN THE LOWER FREQUENCY 872 00:27:35,800 --> 00:27:37,080 PARTS, WHAT THAT MIGHT 873 00:27:37,080 --> 00:27:38,000 SUGSCWHREOF THE IS THAT YOU 874 00:27:38,000 --> 00:27:41,200 CAN'T HEAR BASE IF YOU HAVE A 875 00:27:41,200 --> 00:27:42,400 COCHLEAR IMPLANT AND IT'S ALL 876 00:27:42,400 --> 00:27:43,600 ABOUT THE BASS. 877 00:27:43,600 --> 00:27:45,480 SO WE DID AN EXPERIMENT WHERE WE 878 00:27:45,480 --> 00:27:47,240 TOOK A BUNCH OF MUSE AND I CAN 879 00:27:47,240 --> 00:27:49,400 REMOVED BASS AND WE DID THIS 880 00:27:49,400 --> 00:27:50,280 HIGH PASS FILTERING OF DIFFERENT 881 00:27:50,280 --> 00:27:51,800 MUSE AND I CAN IF YOU LOOK AT 882 00:27:51,800 --> 00:27:53,200 THE SPECTROGRAMS YOU CAN SEE 883 00:27:53,200 --> 00:27:55,080 THIS AND YOU GO LOOK AT EACH 884 00:27:55,080 --> 00:27:57,200 TOKEN AS YOU GO TO THE RIGHT AS 885 00:27:57,200 --> 00:27:57,920 LESS AND LESS FREQUENCY 886 00:27:57,920 --> 00:27:58,200 INFORMATION. 887 00:27:58,200 --> 00:27:59,560 SO IT SOUNDS LIKE THIS. 888 00:27:59,560 --> 00:28:00,000 HERE ARE EMPLOY ANDS. 889 00:28:00,000 --> 00:28:06,440 THIS IS AN EXAMPLE OF USHER 890 00:28:06,440 --> 00:28:07,840 WITHOUT BASE. 891 00:28:07,840 --> 00:28:10,400 [* MUSIC ] 892 00:28:10,400 --> 00:28:14,960 AND WITH BASS ... [* MUSIC ] 893 00:28:14,960 --> 00:28:16,720 THAT MIGHT NOT BE COMING OVER SO 894 00:28:16,720 --> 00:28:18,360 WELL ON THESE SPEAKER SET, BUT 895 00:28:18,360 --> 00:28:19,640 HOPEFULLY CAN YOU HEAR, THERE'S 896 00:28:19,640 --> 00:28:20,840 A DIFFERENCE BETWEEN THOSE 2 AND 897 00:28:20,840 --> 00:28:28,600 IT'S NOT JUST TRUE FOR USHER, 898 00:28:28,600 --> 00:28:28,880 HERE'S JAZZ. 899 00:28:28,880 --> 00:28:29,320 >> [* MUSIC ] 900 00:28:29,320 --> 00:28:34,200 >> AND THEN WITH THE BASS 901 00:28:34,200 --> 00:28:34,480 PRESENCE. 902 00:28:34,480 --> 00:28:35,000 [* MUSIC ] 903 00:28:35,000 --> 00:28:36,560 SO WE'RE NOW COMPARING VERSIONS 904 00:28:36,560 --> 00:28:38,280 OF THESE SOUNDS TO THEMSELVES. 905 00:28:38,280 --> 00:28:38,520 OKAY? 906 00:28:38,520 --> 00:28:39,480 YOU'RE NOT SAYING WHETHER YOU 907 00:28:39,480 --> 00:28:40,920 LIKE THE MUSIC OR YOU LIKE THAT 908 00:28:40,920 --> 00:28:43,000 SONG, YOU ARE SAYING WHETHER OR 909 00:28:43,000 --> 00:28:45,080 NOT YOU CAN TELL THAT 1 VERSION 910 00:28:45,080 --> 00:28:46,600 OF IT SOUNDS BETTER THAN A 911 00:28:46,600 --> 00:28:47,800 DIFFERENT VERSION OF IT WITH 912 00:28:47,800 --> 00:28:48,640 DIFFERENT DEGREES OF BASE AND 913 00:28:48,640 --> 00:28:51,280 WHAT HAPPENS IF YOU HAVE NORMAL 914 00:28:51,280 --> 00:28:53,680 HEARING IN THE DARK GRAY BARS, 915 00:28:53,680 --> 00:28:55,800 AS YOU LOSE BASS, YOU SAY IT 916 00:28:55,800 --> 00:28:57,800 SOUNDS WORSE AND WORSE AND WORSE 917 00:28:57,800 --> 00:28:59,200 AT THAT SLOPE, RIGHT? 918 00:28:59,200 --> 00:29:01,320 CI USERS CAN TELL THAT IT SOUNDS 919 00:29:01,320 --> 00:29:03,920 WORSE BUT IT'S A VERY BLUNTED 920 00:29:03,920 --> 00:29:04,440 RESPONSE, RIGHT? 921 00:29:04,440 --> 00:29:05,840 SO WE'RE AGAIN SEEING NOW THAT 922 00:29:05,840 --> 00:29:08,120 THEY HAVE A LIMITED ABILITY TO 923 00:29:08,120 --> 00:29:10,000 TELL THAT SOUND WAS LOST, IN 924 00:29:10,000 --> 00:29:11,880 FACT AT THE VERY MILD VERSIONS 925 00:29:11,880 --> 00:29:13,400 OF FILTERING THEY CAN'T TELL AT 926 00:29:13,400 --> 00:29:13,560 ALL. 927 00:29:13,560 --> 00:29:16,200 SO JUST OORPGHT EXAMPLE OF HOW 928 00:29:16,200 --> 00:29:19,240 SOUND QUALITY IS POOR IN CI 929 00:29:19,240 --> 00:29:19,440 USERS. 930 00:29:19,440 --> 00:29:21,360 SO I'VE GIIVE YOU SOME SORT OF 931 00:29:21,360 --> 00:29:22,360 DISMAL INFORMATION IN THE FIRST 932 00:29:22,360 --> 00:29:24,600 HALF OF THE TALK AND I WILL NOW 933 00:29:24,600 --> 00:29:26,000 SWITCH GEARS AND TALK ABOUT 934 00:29:26,000 --> 00:29:26,400 REASONS FOR HOPE. 935 00:29:26,400 --> 00:29:28,920 SO THIS IS A VERY FAMOUS PERSON 936 00:29:28,920 --> 00:29:30,400 WHO YOU DON'T USUALLY SEE THE 937 00:29:30,400 --> 00:29:32,600 SKULL OF A FAMOUS PERSON, BUT 938 00:29:32,600 --> 00:29:37,640 THIS IS BEETHOVEN, THE REASON WE 939 00:29:37,640 --> 00:29:39,600 HAVE THE SKULL IS BECAUSE HIS 940 00:29:39,600 --> 00:29:40,680 SKULL WAS STUDIED TWICE TO SEE 941 00:29:40,680 --> 00:29:42,880 WHY HE LOST HIS HEARING, THERE'S 942 00:29:42,880 --> 00:29:44,600 A BULGE THERE ON THE TEMPORAL 943 00:29:44,600 --> 00:29:46,200 BONE, THAT'S NOT THE TEMPORAL 944 00:29:46,200 --> 00:29:47,480 BULGE, THERE WAS A THEORY THAT 945 00:29:47,480 --> 00:29:48,880 ME MIGHT HAVE A DISEASE OF THE 946 00:29:48,880 --> 00:29:51,200 BONE BECAUSE THE BONE WAS 947 00:29:51,200 --> 00:29:53,000 MISSHAKEN, THAT WAS MOLD AND 948 00:29:53,000 --> 00:29:55,080 CLAY USED TO PUT HIS SKULL BACK 949 00:29:55,080 --> 00:29:58,200 TOGETHER AFTER HIS TEMPORAL 950 00:29:58,200 --> 00:30:00,200 BONES WERE LOST, BEETHOVEN'S 951 00:30:00,200 --> 00:30:02,360 TEMPORAL BONES WERE HARVESTED 952 00:30:02,360 --> 00:30:03,800 AND LOST SOMEWHERE AROUND THE 953 00:30:03,800 --> 00:30:06,400 TIME OF WORLD WAR II, IF YOU SEE 954 00:30:06,400 --> 00:30:08,480 A JAR THAT SAYS BEETHOVEN'S 955 00:30:08,480 --> 00:30:10,160 TEMPORAL BONES PLEASE E-MAIL ME, 956 00:30:10,160 --> 00:30:10,360 OKAY? 957 00:30:10,360 --> 00:30:12,720 BECAUSE WE NEVER SAW THE REASON 958 00:30:12,720 --> 00:30:14,000 OF WHY BEETHOVEN LOST HIS 959 00:30:14,000 --> 00:30:15,600 HEARING, WE HAVE ALL THE 960 00:30:15,600 --> 00:30:17,960 THEORIES BUT THE KEY WOULD BE IN 961 00:30:17,960 --> 00:30:19,240 THE TEMPORAL BONES BUT IT TURNS 962 00:30:19,240 --> 00:30:21,960 OUT THAT BEETHOVEN IS 1 OF THE 963 00:30:21,960 --> 00:30:23,800 MOST REMARKABLE EXAMPLES OF 964 00:30:23,800 --> 00:30:25,200 SOMEBODY WHO COMPOSED MUSIC WITH 965 00:30:25,200 --> 00:30:27,280 DEAFNESS AND HE STARTED LOSING 966 00:30:27,280 --> 00:30:28,240 HIS HEARING EARLY, HE ALREADY 967 00:30:28,240 --> 00:30:30,080 KNEW HE WAS USING HEARING. 968 00:30:30,080 --> 00:30:34,400 IT'S RELATED TO WHY HE HAD THIS 969 00:30:34,400 --> 00:30:38,360 VERY FETTERILE PROTECTIVE 970 00:30:38,360 --> 00:30:43,080 PERIOD, HIS FOURTH, FIFTH, AND 971 00:30:43,080 --> 00:30:44,640 SIXTH SYMPHONY CAME OUT QUICKLY, 972 00:30:44,640 --> 00:30:46,720 BUT AT THE NINTH, THE STORY HE 973 00:30:46,720 --> 00:30:47,600 COULDN'T HEAR THE AUDIENCE 974 00:30:47,600 --> 00:30:48,560 CHEERING AFTER THE MUSIC ENDED 975 00:30:48,560 --> 00:30:50,360 AND HE HAD TO BE TURNED AROUND 976 00:30:50,360 --> 00:30:52,600 BY 1 OF THE VOCAL SOLOISTS SO HE 977 00:30:52,600 --> 00:30:54,960 COULD SEE HE WAS GETTING A 978 00:30:54,960 --> 00:30:55,360 STANDING OVATION. 979 00:30:55,360 --> 00:30:58,280 BUT HE WAS ABLE TO COMPOSE THAT 980 00:30:58,280 --> 00:31:00,600 MUSIC BECAUSE HIS AUDITORY BRAIN 981 00:31:00,600 --> 00:31:01,200 WAS INTACT. 982 00:31:01,200 --> 00:31:02,840 SO HIS MUSICAL AND AUDITORY 983 00:31:02,840 --> 00:31:04,000 BRAIN WAS INFACT BEFORE HE LOST 984 00:31:04,000 --> 00:31:05,080 HIS HEARING AND SO THAT'S KIND 985 00:31:05,080 --> 00:31:07,960 OF A CLUE THAT YOU DON'T LOSE 986 00:31:07,960 --> 00:31:09,480 YOUR MUSICALITY OR YOUR ABILITY 987 00:31:09,480 --> 00:31:11,440 TO PERCEIVE MUSIC IN YOUR MIND'S 988 00:31:11,440 --> 00:31:12,640 EAR JUST BECAUSE YOU LOSE YOUR 989 00:31:12,640 --> 00:31:14,000 HEARING, SO IF WE WANT REASONS 990 00:31:14,000 --> 00:31:15,280 FOR HOPE, WE HAVE TO THINK ABOUT 991 00:31:15,280 --> 00:31:17,000 HOW DO WE ACTUALLY, WHAT ARE OUR 992 00:31:17,000 --> 00:31:19,160 STRATEGIES TO TRY TO IMPROVE 993 00:31:19,160 --> 00:31:20,480 SOMETHING LIKE MUSIC FOR USERS 994 00:31:20,480 --> 00:31:22,200 AGAIN, NONAPOPTOTIC THE FOR 995 00:31:22,200 --> 00:31:24,800 ENTERTAINMENT SAKE BUT ARE FOR 996 00:31:24,800 --> 00:31:26,360 THE IDEA OF PERFECT HEARING 997 00:31:26,360 --> 00:31:27,840 RESTORATION, IF YOU COULD LOOK 998 00:31:27,840 --> 00:31:29,720 AT PERFECT HEARING YOU WOULD 999 00:31:29,720 --> 00:31:31,680 TARGET IT FOR SO YOU COULD 1000 00:31:31,680 --> 00:31:32,640 TARGET MUSIC, SO YOU MAYBE THE 1001 00:31:32,640 --> 00:31:34,880 PROBLEM IS IN THE DEVICE AND SO 1002 00:31:34,880 --> 00:31:37,680 THERE'S A LOT OF STRUCTURAL 1003 00:31:37,680 --> 00:31:38,840 ENGINEERING ISSUES THAT PERTAIN 1004 00:31:38,840 --> 00:31:39,920 TO COCHLEAR IMPLANTS AND A LOT 1005 00:31:39,920 --> 00:31:41,920 OF DETAILS ABOUT YOU HO YOU FIRE 1006 00:31:41,920 --> 00:31:43,200 THE ELECTRICITY THAT ALL 1007 00:31:43,200 --> 00:31:44,400 PROBABLY MATTERED AND SO LET ME 1008 00:31:44,400 --> 00:31:45,600 TALK YOU THROUGH A QUICK RUN 1009 00:31:45,600 --> 00:31:47,680 THROUGH SOME OF THESE THINGS. 1010 00:31:47,680 --> 00:31:50,440 SO RIGHT NOW, CURRENT IS 1011 00:31:50,440 --> 00:31:51,560 DELIVERED EITHER IN MONOPOLEAR 1012 00:31:51,560 --> 00:31:52,800 FASHION OR BIPOLAR FASHION. 1013 00:31:52,800 --> 00:31:54,160 AND WHAT HAPPENS IS THAT 1014 00:31:54,160 --> 00:31:55,200 ELECTRICITYS ARE FIRED AT THE 1015 00:31:55,200 --> 00:31:59,200 NERVE BUT IT'S KIND OF LIKE 1016 00:31:59,200 --> 00:32:00,720 TAKING A GUARDEN HOSE AND TRYING 1017 00:32:00,720 --> 00:32:03,520 TO WATER 1 BLADE OF GRASS, YOU 1018 00:32:03,520 --> 00:32:03,760 CAN'T. 1019 00:32:03,760 --> 00:32:04,920 YOU'RE HITTING ALL THE 1020 00:32:04,920 --> 00:32:05,800 NEIGHBORS, OKAY? 1021 00:32:05,800 --> 00:32:07,760 AND THAT'S BECAUSE THERE'S 1022 00:32:07,760 --> 00:32:09,520 SPRAY, SPREAD OF THE WATER, THAT 1023 00:32:09,520 --> 00:32:10,760 SPRAY IS ELECTRICAL, SO YOU CAN 1024 00:32:10,760 --> 00:32:12,000 BE THE HIT 1 NEURON, YOU ARE 1025 00:32:12,000 --> 00:32:13,200 HITTING ALL OF THE TARGET 1026 00:32:13,200 --> 00:32:15,080 NEIGHBORS AND SOME SORT OF 1027 00:32:15,080 --> 00:32:16,320 DISTRIBUTED FASHION. 1028 00:32:16,320 --> 00:32:17,200 NOW TRI POLEAR STIMULATION IS 1029 00:32:17,200 --> 00:32:18,720 SOMETHING THAT IS A WAY TO FOCUS 1030 00:32:18,720 --> 00:32:20,800 THE CURRENT BY PUTTING FLANKING 1031 00:32:20,800 --> 00:32:22,920 CURRENT THAT'S SORT OF 1032 00:32:22,920 --> 00:32:24,000 ENCOURAGES THE ELECTRONS TO STAY 1033 00:32:24,000 --> 00:32:26,120 IN A MORE SINGLE FILE WAY RATHER 1034 00:32:26,120 --> 00:32:26,960 THAN DISPURSING WIDELY AND YOU 1035 00:32:26,960 --> 00:32:28,400 MIGHT THINK THAT IF YOU COULD DO 1036 00:32:28,400 --> 00:32:30,160 THAT, KIND OF NARROW THE SPREAD, 1037 00:32:30,160 --> 00:32:31,760 YOU MIGHT IMPROVE YOUR ABILITY 1038 00:32:31,760 --> 00:32:33,080 TO JUST TARGET SPECIFIC NEURONS 1039 00:32:33,080 --> 00:32:34,840 AND YOU MIGHT IMPROVE YOUR 1040 00:32:34,840 --> 00:32:36,840 ABILITY FOR EXAMPLE, DO A 1041 00:32:36,840 --> 00:32:37,440 POLYFONNISH PITCH PERCEPTION 1042 00:32:37,440 --> 00:32:41,560 TASK AND SO IN THE--SORRY, I AM 1043 00:32:41,560 --> 00:32:43,000 LOSING THIS SLIDE HERE, SO IN 1044 00:32:43,000 --> 00:32:45,040 THE RIGHT SIDE THERE, CAN YOU 1045 00:32:45,040 --> 00:32:48,200 SEE THAT THE TRI POLEAR IN THE 1046 00:32:48,200 --> 00:32:49,440 GRAY, REDUCES THE SEMITONE 1047 00:32:49,440 --> 00:32:50,200 INTERVAL THAT YOU CAN HEAR 1048 00:32:50,200 --> 00:32:52,200 BETWEEN SO CAN YOU RESOLVE 1049 00:32:52,200 --> 00:32:52,920 SMALLER SEMITONE DIFFERENCES 1050 00:32:52,920 --> 00:32:54,000 BETWEEN 1 AND 2 TONES. 1051 00:32:54,000 --> 00:32:56,200 SO WE'RE STARTING TO SAY, HUH, A 1052 00:32:56,200 --> 00:32:57,880 SIMPLE CHAIMPLE IN OW WE FIRE 1053 00:32:57,880 --> 00:32:58,800 ELECTRICITY IS ACTUALLY 1054 00:32:58,800 --> 00:33:01,600 IMPROVING OUR ABILITY TO HER 1055 00:33:01,600 --> 00:33:02,120 POLARIZEDDIVENY. 1056 00:33:02,120 --> 00:33:03,840 NOW YOU CAN FIRE THAT IN A 1057 00:33:03,840 --> 00:33:04,920 DIFFERENT DIRECTION, RATHER THAN 1058 00:33:04,920 --> 00:33:06,920 FIRING IT IN A MORE NARROW WAY, 1059 00:33:06,920 --> 00:33:08,200 YOU COULD PUT A CURRENT THAT 1060 00:33:08,200 --> 00:33:10,880 SEND ITS OUT TOWARDS THE APEX, 1061 00:33:10,880 --> 00:33:12,920 SO SHOOT THE CURRENT BEYOND THE 1062 00:33:12,920 --> 00:33:14,320 PHYSICAL LOCATION OF THE 1063 00:33:14,320 --> 00:33:14,840 EXPECTATIONS LECTURE RODE. 1064 00:33:14,840 --> 00:33:17,720 SO THIS IS SOMETHING THATY 1065 00:33:17,720 --> 00:33:18,760 CALLED PARTIAL BIPOLAR 1066 00:33:18,760 --> 00:33:19,960 STIMULATION AND THE PHANTOM IS 1067 00:33:19,960 --> 00:33:21,920 THE TERMINOLOGY WE USE TO GIVE A 1068 00:33:21,920 --> 00:33:23,800 BASS BOOST SO WHAT YOU'RE DOING 1069 00:33:23,800 --> 00:33:26,160 IS LITERALLY DIRECTING 1070 00:33:26,160 --> 00:33:27,280 PARENT--CURRENT DIRECTING 1071 00:33:27,280 --> 00:33:28,000 ELECTRICITY INTO THE THERE WITH 1072 00:33:28,000 --> 00:33:29,320 THE HOPE OF HITTING NEURONS AND 1073 00:33:29,320 --> 00:33:34,000 IF YOU DO THAT, AND THEN YOU 1074 00:33:34,000 --> 00:33:36,600 COMPARE THAT LOW FREQUENCY HIGH 1075 00:33:36,600 --> 00:33:37,880 PASS FILTERING STUDIES WHERE 1076 00:33:37,880 --> 00:33:39,080 WE'RE MOVING BASS, IT TURNS OUT 1077 00:33:39,080 --> 00:33:40,800 YOU DO BET OR THAT STUDY, HAVE 1078 00:33:40,800 --> 00:33:43,040 YOU A MORE NORMAL TEST RESPONSE 1079 00:33:43,040 --> 00:33:46,280 IF YOU HAVE THE PHANTOM 1080 00:33:46,280 --> 00:33:47,400 ELECTRODE BASS BOOST ON THAN IF 1081 00:33:47,400 --> 00:33:47,840 YOU DID. 1082 00:33:47,840 --> 00:33:49,360 SO AGAIN, BY STEERING THAT 1083 00:33:49,360 --> 00:33:50,560 ELECTRICITY TOWARD THE APEX, 1084 00:33:50,560 --> 00:33:54,480 YOU'RE BETTER AT DOING THIS BASE 1085 00:33:54,480 --> 00:33:55,760 LO FREQUENCY TASK. 1086 00:33:55,760 --> 00:33:56,680 NOW ANECDOTALLY 1 THING THAT WAS 1087 00:33:56,680 --> 00:33:58,800 INTERESTING WAS PEOPLE THAT HAD 1088 00:33:58,800 --> 00:34:01,560 THIS ELECTRORODE ON SAYING HUH, 1089 00:34:01,560 --> 00:34:04,040 I CAN ACTUALLY, MY FAMILY MEMBER 1090 00:34:04,040 --> 00:34:05,000 SOUNDS DIFFERENT. 1091 00:34:05,000 --> 00:34:05,800 THEIR VOICE SOUNDS DIFFERENT NOW 1092 00:34:05,800 --> 00:34:07,800 THAT THEY HAVE THIS NEW 1093 00:34:07,800 --> 00:34:09,160 PROCESSING STRATEGY, THEY SOUND 1094 00:34:09,160 --> 00:34:09,600 MORE LIKE THEMSELVES. 1095 00:34:09,600 --> 00:34:13,040 WHAT DO YOU MEAN? 1096 00:34:13,040 --> 00:34:14,320 THEIR VOICE, VOCALIZATIONS THEIR 1097 00:34:14,320 --> 00:34:15,600 SPEECH SOUNDS MOAK LINEUP THAT 1098 00:34:15,600 --> 00:34:16,840 DID BEFORE THEY HAD THEIR 1099 00:34:16,840 --> 00:34:18,640 HEARING LOSS AND YOU PROBABLY 1100 00:34:18,640 --> 00:34:21,200 ARE AWARE SPEECH GETS AFFECTED 1101 00:34:21,200 --> 00:34:23,240 WHEN YOU LOSE YOUR HEARING AND 1102 00:34:23,240 --> 00:34:24,320 THE FEEDBACK LOOP, THAT MAY BE 1103 00:34:24,320 --> 00:34:25,760 RELATED TO THE PITCH OF THINGS 1104 00:34:25,760 --> 00:34:28,440 SO YOU THINK YOUR VOICE IS OFF 1105 00:34:28,440 --> 00:34:30,280 SO YOU MODULATE YOUR VOICE IN A 1106 00:34:30,280 --> 00:34:31,800 COMP PENSATORY FASHION IN THE 1107 00:34:31,800 --> 00:34:32,200 WRONG DIRECTION. 1108 00:34:32,200 --> 00:34:35,200 SO WHEN YOU TURN ON THE PHANTOM 1109 00:34:35,200 --> 00:34:36,400 ELECTRODE AND BASS BOOST, YOU 1110 00:34:36,400 --> 00:34:38,240 SEE THERE'S A SHIFT IN THE FORM 1111 00:34:38,240 --> 00:34:40,280 AND FREQUENCIES OF PEOPLE'S 1112 00:34:40,280 --> 00:34:41,880 SPOKEN VOICES MORE TOWARDS THE 1113 00:34:41,880 --> 00:34:43,080 FREQUENCY OF THE GENERAL 1114 00:34:43,080 --> 00:34:43,560 POPULATION. 1115 00:34:43,560 --> 00:34:45,760 SO THERE'S A NORMALIZATION 1116 00:34:45,760 --> 00:34:48,600 THAT'S OCCURRING IN THE 1117 00:34:48,600 --> 00:34:50,240 FUNDMENTAL FREQUENCY OF THESE 1118 00:34:50,240 --> 00:34:53,320 PERFORMANCE FOR VOICES WITH THE 1119 00:34:53,320 --> 00:34:55,040 COCHLEAR IMPLANT VERSUS PHANTOM 1120 00:34:55,040 --> 00:34:57,080 ON WITH PHANTOM OFF, NOW HEARING 1121 00:34:57,080 --> 00:34:58,680 MORE BASE IMPROVINGIOURE ABILITY 1122 00:34:58,680 --> 00:35:00,640 TO SPEAK, IN A WAY THAT SOUNDS 1123 00:35:00,640 --> 00:35:01,960 MORE LIKE YOUR NATURAL VOICE IF 1124 00:35:01,960 --> 00:35:07,600 YOU HAD NORMAL HEARING. 1125 00:35:07,600 --> 00:35:10,560 NOW SOME OF YOU MAY HAVE HEARD 1126 00:35:10,560 --> 00:35:11,920 ABOUT HEARING PRESERVATION 1127 00:35:11,920 --> 00:35:13,400 COCHLEAR IMPLANT SURGERY WHICH 1128 00:35:13,400 --> 00:35:17,640 IS A AN OXYMORON, BECAUSE IF YOU 1129 00:35:17,640 --> 00:35:20,280 DON'T HAVE OTHER HAD, ITS OUT 1130 00:35:20,280 --> 00:35:22,320 WE'RE GETTING BETTER AND BETTER 1131 00:35:22,320 --> 00:35:23,840 IN THE SURGICAL COMAIN IN 1132 00:35:23,840 --> 00:35:24,560 PUTTING COCHLEAR IMPLANTS IN 1133 00:35:24,560 --> 00:35:26,320 PATIENT WHO IS LOST SOME BUT NOT 1134 00:35:26,320 --> 00:35:28,840 ALL OF THEIR CRITERIA, THE 1135 00:35:28,840 --> 00:35:30,960 CRITERIA, AND WE'RE ABLE TO 1136 00:35:30,960 --> 00:35:34,800 PRESERVE LO FREQUENCIES IN 1137 00:35:34,800 --> 00:35:38,640 PARTICULAR SO HERE'S PATIENTS 1138 00:35:38,640 --> 00:35:40,560 THAT ARE CONSIDERED FOR COCHLEAR 1139 00:35:40,560 --> 00:35:41,480 IMPLANT, THEY'RE NOT DEAF AND SO 1140 00:35:41,480 --> 00:35:43,480 WHAT KEY CAN DO NOW IS ACTUALLY 1141 00:35:43,480 --> 00:35:48,000 PUT AN ELECTRODE IN THIS AND 1142 00:35:48,000 --> 00:35:48,960 PRESERVE ITS FUNCTION, HERE'S AN 1143 00:35:48,960 --> 00:35:50,600 EXAMPLE OF HOW WE DO THAT, THIS 1144 00:35:50,600 --> 00:35:52,280 IS ME DOING COCHLEAR IPT GREATER 1145 00:35:52,280 --> 00:35:56,000 PLANT INSERTION, SO HERE'S THE 1146 00:35:56,000 --> 00:36:02,920 ELECTRODE. 1147 00:36:02,920 --> 00:36:05,200 THIS WILL BE A PLAQUE WHOLE, 1148 00:36:05,200 --> 00:36:07,000 WITH THE MEMBRANE, HERE'SLET 1149 00:36:07,000 --> 00:36:09,600 IMPLANT BEING THREATED RIGHT 1150 00:36:09,600 --> 00:36:10,000 INTO THAT OPENING. 1151 00:36:10,000 --> 00:36:14,680 AND I'M GOING TO TRY AS 1152 00:36:14,680 --> 00:36:15,960 ATRAUMATICALLY AS POSSIBLE, THAT 1153 00:36:15,960 --> 00:36:18,480 TO THREAD THIS INTO THE COCHLEA 1154 00:36:18,480 --> 00:36:20,360 AND IT'S ALL DONE FRO HAND, 1155 00:36:20,360 --> 00:36:22,360 RIGHT NOW IT'S NOT DONE 1156 00:36:22,360 --> 00:36:23,080 ROBOTICALLY ALTHOUGH THAT'S 1157 00:36:23,080 --> 00:36:23,800 POSSIBLY THE NEXT PHASE OF 1158 00:36:23,800 --> 00:36:34,120 THINGS AND YOU CAN SEE IT'S LIKE 1159 00:36:34,120 --> 00:36:35,560 SO EVENTUALLY YOU GET THIS 1160 00:36:35,560 --> 00:36:36,560 INSERTED AND YOU CHECK SOMEONE'S 1161 00:36:36,560 --> 00:36:38,880 HEARING AND THIS IS THE POST OP 1162 00:36:38,880 --> 00:36:39,200 AUDIO GRAM. 1163 00:36:39,200 --> 00:36:40,240 THIS IS THE PATIENT AFTER THEY 1164 00:36:40,240 --> 00:36:42,120 HAD THE SURGERY AND THIS IS THE 1165 00:36:42,120 --> 00:36:42,920 PREOPERATING GLOBALLY AUDIOGRAM, 1166 00:36:42,920 --> 00:36:45,480 THE LEFT HERE, THE BLUE LINE IS 1167 00:36:45,480 --> 00:36:46,920 THE EAR THAT WAS IMPLANTED SO 1168 00:36:46,920 --> 00:36:48,480 THERE'S A SMALL CONDUCTIVE 1169 00:36:48,480 --> 00:36:50,080 HEARING LOSS THAT'S PRESENT 1170 00:36:50,080 --> 00:36:51,000 AFTER SURGERY FOR TBLU 1171 00:36:51,000 --> 00:36:52,960 EDUCATIONAL BUT GENERALLY 1172 00:36:52,960 --> 00:36:53,880 SPEAKING THE HEARING NERVE DID 1173 00:36:53,880 --> 00:36:55,680 NOT TAKE A HIT SO WHAT DOES THAT 1174 00:36:55,680 --> 00:36:55,920 MEAN. 1175 00:36:55,920 --> 00:36:57,680 NOW THEY HAVE AN EXTRACTING 1176 00:36:57,680 --> 00:36:59,440 LECTURE RODE SITTING INSIDE 1177 00:36:59,440 --> 00:37:01,400 THEIRINNER EAR, STIMULATING THE 1178 00:37:01,400 --> 00:37:02,040 HIGHER FREQUENCIES WHERE THEY'RE 1179 00:37:02,040 --> 00:37:04,120 DEAF BUT THEY HAVE THE ADIG OF 1180 00:37:04,120 --> 00:37:05,600 THEIR NATURAL LOW FREQUENCY 1181 00:37:05,600 --> 00:37:06,000 HEARING. 1182 00:37:06,000 --> 00:37:07,040 THAT COMBINATION, IS REALLY 1183 00:37:07,040 --> 00:37:08,480 QUITE GOOD FOR MUSIC BECAUSE IT 1184 00:37:08,480 --> 00:37:09,800 TURNS OUT THAT MOST PITCH 1185 00:37:09,800 --> 00:37:11,400 PERCEPTION, I DID SAY PITCH IS 1186 00:37:11,400 --> 00:37:12,920 THE BIGGEST OBSTACLE, COMES FROM 1187 00:37:12,920 --> 00:37:14,240 FUNDAMENTAL FREQUENCY FROM THE 1188 00:37:14,240 --> 00:37:14,680 LOWEST FREQUENCIES. 1189 00:37:14,680 --> 00:37:17,800 SO IF YOU HAVE ACOUSTIC CORRECT 1190 00:37:17,800 --> 00:37:19,200 LOW FREQUENCY INFORMATION AND 1191 00:37:19,200 --> 00:37:20,560 ELECTRICAL STIMULATION OF HIGHER 1192 00:37:20,560 --> 00:37:22,960 FREQUENCIES, THAT CAN BE A VERY 1193 00:37:22,960 --> 00:37:24,440 GREAT WAY TO HEAR SOUND EVEN 1194 00:37:24,440 --> 00:37:26,880 THOUGH IT'S THE SORT OF DUAL 1195 00:37:26,880 --> 00:37:29,400 MODALITY FORM OF HEARING. 1196 00:37:29,400 --> 00:37:30,720 SO, THE QUESTION OF WHETHER WE 1197 00:37:30,720 --> 00:37:31,920 CAN ACTUALLY TUNE A COCHLEAR 1198 00:37:31,920 --> 00:37:33,960 IMPLANT IS THE THING I'VE BEEN 1199 00:37:33,960 --> 00:37:34,840 WRESTLING WITH FOR YEARS NOW AND 1200 00:37:34,840 --> 00:37:35,960 I THIS IS SOMETHING THEY THINK 1201 00:37:35,960 --> 00:37:37,600 THE ANSWER IS YES TO A LIMITED 1202 00:37:37,600 --> 00:37:39,280 DEGREE AND IT'S A LIMITED DEGREE 1203 00:37:39,280 --> 00:37:40,440 RIGHT NOW BECAUSE WE JUST DON'T 1204 00:37:40,440 --> 00:37:42,320 HAVE THAT MUCH CONTROL OVER WHAT 1205 00:37:42,320 --> 00:37:43,520 THAT ELECTRODE IS DOING SO WE'RE 1206 00:37:43,520 --> 00:37:44,720 TRYING TO FIGURE OUT HOW TO DO 1207 00:37:44,720 --> 00:37:45,040 THIS. 1208 00:37:45,040 --> 00:37:46,000 SO IT TURNS OUT THAT RIGHT NOW 1209 00:37:46,000 --> 00:37:48,760 IF YOU WERE TO GET A COCHLEAR 1210 00:37:48,760 --> 00:37:49,640 IMPLANT, ANY MANUFACTURE, ANY 1211 00:37:49,640 --> 00:37:51,200 SITE, YOU GET THAT ACTIVATED 1212 00:37:51,200 --> 00:37:56,200 ACCORDING TO A DEFAULT 1213 00:37:56,200 --> 00:37:57,360 MANUFACTURE RECOMMENDED MAB IS 1214 00:37:57,360 --> 00:37:59,080 NOT PERSONALIZED TO YOU, IF 1215 00:37:59,080 --> 00:38:00,600 EVERYONE HERE GOT THE SAME 1216 00:38:00,600 --> 00:38:01,480 COCHLEAR IMPLANT DEVICE AND WENT 1217 00:38:01,480 --> 00:38:04,520 FOR OUR PROGRAM, WE WOULD ALL 1218 00:38:04,520 --> 00:38:06,160 HAVE THE SAME MAP, THAT'S 1219 00:38:06,160 --> 00:38:07,400 INDEPENDENT OF WHERE OUR 1220 00:38:07,400 --> 00:38:08,920 ELECTRODES ARE SITTING AND WHERE 1221 00:38:08,920 --> 00:38:10,360 IT WAS PLACED IN OUR EARS AND OR 1222 00:38:10,360 --> 00:38:12,160 THE SIZINGS OF OUR CO COO CLA SO 1223 00:38:12,160 --> 00:38:13,320 THINK ABOUT THE VARIABILITY 1224 00:38:13,320 --> 00:38:15,120 THERE, SO WE'RE TRYING TO ADJUST 1225 00:38:15,120 --> 00:38:17,400 THAT VARIABILITY BY DOING HIGH 1226 00:38:17,400 --> 00:38:18,600 RESOLUTION IMAGING WITH FLAT 1227 00:38:18,600 --> 00:38:21,040 PANEL CT WHERE WE LOOK AT ALL 1228 00:38:21,040 --> 00:38:22,840 THE ANATOMY OF THE INNER HERE IS 1229 00:38:22,840 --> 00:38:23,520 SEE WHERE THESE ARE POSITIONED 1230 00:38:23,520 --> 00:38:26,240 AND YOU CAN GET SOME EXQUISITELY 1231 00:38:26,240 --> 00:38:26,920 DETAILED IMAGE IT IS HERE AND 1232 00:38:26,920 --> 00:38:29,200 YOU CAN SEE THAT THE ELECTRODES 1233 00:38:29,200 --> 00:38:30,200 HERE ARE NOT ALL THE SAME. 1234 00:38:30,200 --> 00:38:31,800 EACH 1 IS NOT SIT NOTHING THE 1235 00:38:31,800 --> 00:38:33,600 SAME LOCATION, AND I ALREADY 1236 00:38:33,600 --> 00:38:35,040 TALKED ABOUT HOW PLACE MATTERS 1237 00:38:35,040 --> 00:38:36,480 IN THE COCHLEA, WHERE YOU ARE IN 1238 00:38:36,480 --> 00:38:40,360 THE INNER EAR AFFECTS THE PITCH. 1239 00:38:40,360 --> 00:38:42,120 AND SO, ELECTRODE 1 IS ANYTHING 1240 00:38:42,120 --> 00:38:45,440 TO BE DIFFERENT FOR EACH OF 1241 00:38:45,440 --> 00:38:46,320 THESE INSERTIONS SO YOU WANT 1242 00:38:46,320 --> 00:38:48,000 TO,A JUST FOR THAT OR MAYBE YOU 1243 00:38:48,000 --> 00:38:49,840 SHOULD ADJUST FOR THAT SO IF IT 1244 00:38:49,840 --> 00:38:51,480 WERE ME, WOULD WANT TO TAKE THIS 1245 00:38:51,480 --> 00:38:52,320 KIND OF INFORMATION AFTER MY 1246 00:38:52,320 --> 00:38:53,920 SURGERY AND I WOULD WANT TO KNOW 1247 00:38:53,920 --> 00:38:57,840 THAT THESE EARS ARE NOT THE 1248 00:38:57,840 --> 00:38:58,040 SAME. 1249 00:38:58,040 --> 00:39:00,320 IF I HAD WOB IN MY RIGHT AND 1 1250 00:39:00,320 --> 00:39:02,840 IN MY LEFT, WE WOULD PROGRAM 1251 00:39:02,840 --> 00:39:03,880 THEM DIFFERENTLY SO RIGHT NOW 1252 00:39:03,880 --> 00:39:05,160 THEY'RE NOT, SOPHISTICATED IT 1253 00:39:05,160 --> 00:39:07,360 URNS OUT THERE'S THIS PLACE 1254 00:39:07,360 --> 00:39:07,960 RELATIONSHIP CALLED 1255 00:39:07,960 --> 00:39:08,640 [INDISCERNIBLE] THAT'S BEEN 1256 00:39:08,640 --> 00:39:11,600 FODDIFIED TO SHOW YOU THE YELL 1257 00:39:11,600 --> 00:39:12,960 RELATIONSHIP BETWEEN HAIR CELLS 1258 00:39:12,960 --> 00:39:15,000 AND THEN FREQUENCY RESPONSE. 1259 00:39:15,000 --> 00:39:18,000 NOW IF YOU COMPARE THIS SORT OF 1260 00:39:18,000 --> 00:39:19,960 IDEALIZED SPACE ISSUES SPACE TO 1261 00:39:19,960 --> 00:39:22,080 PITCH FUNCTION TO WHERE WE ARE 1262 00:39:22,080 --> 00:39:23,000 WITH COCHLEAR IMPLANTS YOU CAN 1263 00:39:23,000 --> 00:39:25,080 SEE WE'RE QUITE A BIT OFF. 1264 00:39:25,080 --> 00:39:26,520 THE BLACK IS KIND OF WHERE YOU 1265 00:39:26,520 --> 00:39:28,160 SHOULD BE AND THE ORANGE BARS 1266 00:39:28,160 --> 00:39:29,680 ARE WHERE YOU ACTUALLY ARE WITH 1267 00:39:29,680 --> 00:39:31,680 YOUR IMPLANTS AND THERE'S A HUGE 1268 00:39:31,680 --> 00:39:33,080 MISMATCH AND THAT MISMATCH IS 1269 00:39:33,080 --> 00:39:35,000 GREATEST AT THE ENDS, SO THE 1270 00:39:35,000 --> 00:39:37,280 APEX AND THE BASE HAS THE 1271 00:39:37,280 --> 00:39:38,000 GREATEST MISMATCH AND FREQUENCY 1272 00:39:38,000 --> 00:39:39,320 AS YOU MIGHT EXPECT IF YOU JUST 1273 00:39:39,320 --> 00:39:41,960 LOOK AT THE MATHEMATICS OF THE 1274 00:39:41,960 --> 00:39:44,880 IT IS THE ACTUAL MISMATCH FROM A 1275 00:39:44,880 --> 00:39:46,040 MUSCALIPER SPECTIVE CAN BE OFF 1276 00:39:46,040 --> 00:39:48,040 BY AS MUCH AS 1 AND HALF ACTIVES 1277 00:39:48,040 --> 00:39:49,680 SO THINK ABOUT HOW MUCH IT WOULD 1278 00:39:49,680 --> 00:39:51,800 BE OUT OF TUNE IF YOU TOOK A 1279 00:39:51,800 --> 00:39:53,080 VIOLIN AND TUNED IT OUT OF TUNE 1280 00:39:53,080 --> 00:39:55,400 BY 1 AND HALF ACTIVES AND TRIED 1281 00:39:55,400 --> 00:39:55,680 TO PLAY. 1282 00:39:55,680 --> 00:40:03,360 SO HOW DO WE FIX THAT, WOO NOW 1283 00:40:03,360 --> 00:40:04,880 TAKE CT SCNS AND WETTER MATCH 1284 00:40:04,880 --> 00:40:06,760 THEM IN THE PHYSICAL LOCATION OF 1285 00:40:06,760 --> 00:40:09,240 THE COCHLEA WHICH IS NOT A 1286 00:40:09,240 --> 00:40:09,600 TRIVIAL THING. 1287 00:40:09,600 --> 00:40:10,880 SO WE'VE BEEN COLLAB WAITING 1288 00:40:10,880 --> 00:40:12,240 WITH I NUMBER OF PEOPLE TO TRY 1289 00:40:12,240 --> 00:40:16,080 TO REALLY NAIL DOWN THIS 1290 00:40:16,080 --> 00:40:17,840 QUESTION OF WHAT IS THE RIGHT 1291 00:40:17,840 --> 00:40:19,120 FREQUENCY AND HOW YOU ARK SESES 1292 00:40:19,120 --> 00:40:20,440 THAD YOU MADE SOMEBODY BETTER, 1293 00:40:20,440 --> 00:40:22,640 AND YOU CAN GIVE SOMEBODY A 1294 00:40:22,640 --> 00:40:23,920 WHOLE ARRAY OF THEM PUT THEM IN 1295 00:40:23,920 --> 00:40:26,600 ORDER AND TELL THEM HOW FAR 1296 00:40:26,600 --> 00:40:28,400 APART YOU ARE, AND YOU E 1297 00:40:28,400 --> 00:40:30,400 ORGANIZE THEM AND LIKE THIS, AND 1298 00:40:30,400 --> 00:40:31,840 WHEN YOU DONE REORGANIZING THEM, 1299 00:40:31,840 --> 00:40:33,600 WHEN YOU PLAY IT SOWBDS LIKE 1300 00:40:33,600 --> 00:40:35,240 IT'S ASCEND NOTHING SOME LINEAR 1301 00:40:35,240 --> 00:40:37,800 FASHION IF YOU DO THAT TASK WITH 1302 00:40:37,800 --> 00:40:39,360 A FLAT PANEL MAP VERSUS A 1303 00:40:39,360 --> 00:40:40,400 CONTROL MAP YOU ACTUALLY GET A 1304 00:40:40,400 --> 00:40:42,200 LITTLE BIT BETTER SO YOUR 1305 00:40:42,200 --> 00:40:43,480 MISTAKE, YOUR MAJOR PITCHES 1306 00:40:43,480 --> 00:40:44,920 VERSES ARE LESS AND THE IN 1307 00:40:44,920 --> 00:40:45,520 AAPPROXIMATE EXPECTATIONS AND 1308 00:40:45,520 --> 00:40:46,760 THE BASE WHERE YOUR PERFORMANCE 1309 00:40:46,760 --> 00:40:47,920 ON THE WORST IS THE RIGHT GRAPH 1310 00:40:47,920 --> 00:40:48,960 THERE, CAN YOU SEE THAT THE 1311 00:40:48,960 --> 00:40:52,160 PERFOR THE PURPOSANCE IS 1312 00:40:52,160 --> 00:40:52,520 SLIGHTLY BETTER. 1313 00:40:52,520 --> 00:40:54,520 IS IT ENOUGH TO BE A MAJOR GAME 1314 00:40:54,520 --> 00:40:56,480 CHANGER BUT RIGHT NOW ANY PITCH 1315 00:40:56,480 --> 00:40:57,560 IN PITCH RESOLUTION MIGHT BE A 1316 00:40:57,560 --> 00:40:58,480 HENT THAT THIS IS SOMETHING WE 1317 00:40:58,480 --> 00:41:00,360 CAN DO BECAUSE RIGHT NOW WE'RE 1318 00:41:00,360 --> 00:41:01,840 SO OFF BASE THAT WE NEED TO FIND 1319 00:41:01,840 --> 00:41:04,760 ANYTHING WE CAN TO IMPROVE 1320 00:41:04,760 --> 00:41:05,600 THINGS. 1321 00:41:05,600 --> 00:41:07,520 SO I SAID WHY WE COULD CHANGE 1322 00:41:07,520 --> 00:41:09,040 THE CI, NOW ABOUT WHAT CHANGING 1323 00:41:09,040 --> 00:41:10,720 THE BRAIN, SO A LOT OF 1324 00:41:10,720 --> 00:41:12,000 MUTESICALLITY HAS TO DO MUSICAL 1325 00:41:12,000 --> 00:41:13,400 EXPOSE AND YOU ARE THRAINING SO 1326 00:41:13,400 --> 00:41:14,800 I WANT TO INTRODUCE YOU TO THIS 1327 00:41:14,800 --> 00:41:15,920 CHILD, TAKE A ELECTRIC AT THIS 1328 00:41:15,920 --> 00:41:16,240 KID. 1329 00:41:16,240 --> 00:41:21,600 IF YOU HAVE NEVER SEEN HIM, YOU 1330 00:41:21,600 --> 00:41:22,800 WILL BE ASTONISHED. 1331 00:41:22,800 --> 00:41:27,240 >> ALL RIGHT, DYLAN ROUND 2, 1332 00:41:27,240 --> 00:41:29,920 LAST TEST, ROUND 1 WAS MUCH 1333 00:41:29,920 --> 00:41:31,120 HARDER. 1334 00:41:31,120 --> 00:41:33,400 >> SO MAJOR CORD. 1335 00:41:33,400 --> 00:41:33,840 >> [INDISCERNIBLE] 1336 00:41:33,840 --> 00:41:40,240 >> TELL ME NOTES IN THIS CHORD. 1337 00:41:40,240 --> 00:41:41,080 >> FSHURP KEY, DSHARP F. 1338 00:41:41,080 --> 00:41:45,760 >> TELL ME NOTES ON THIS CODE. 1339 00:41:45,760 --> 00:41:46,800 >> CAPLAT BFLAT, BPLAT. 1340 00:41:46,800 --> 00:41:50,800 >> SING ME AN A. 1341 00:41:50,800 --> 00:41:52,160 >> A. 1342 00:41:52,160 --> 00:41:53,520 >> CLOSE YOUR EYES AND SING AND 1343 00:41:53,520 --> 00:42:00,760 NAME THE NOTES IN THIS CHORD. 1344 00:42:00,760 --> 00:42:02,440 >> EAFC-SHARP, F. 1345 00:42:02,440 --> 00:42:04,680 >> SING ME G-MINOR. 1346 00:42:04,680 --> 00:42:04,960 >> GYB. 1347 00:42:04,960 --> 00:42:08,680 >> SING AND NAME THE NOTES IN 1348 00:42:08,680 --> 00:42:13,760 THIS CHORD. 1349 00:42:13,760 --> 00:42:15,440 >> ACDGA. 1350 00:42:15,440 --> 00:42:19,200 >> SING IN AFFLAT. 1351 00:42:19,200 --> 00:42:19,560 >> A-FLAT. 1352 00:42:19,560 --> 00:42:19,840 >> GREAT. 1353 00:42:19,840 --> 00:42:23,200 TELL ME WHAT YOU THINK OF THIS 1354 00:42:23,200 --> 00:42:23,440 CHORD? 1355 00:42:23,440 --> 00:42:24,240 >> [INDISCERNIBLE] 1356 00:42:24,240 --> 00:42:26,720 >> NAME THESE NOTES AND SING 1357 00:42:26,720 --> 00:42:27,200 THEM. 1358 00:42:27,200 --> 00:42:31,840 >> BFLAT, D, F, AC, C-CHARP B. 1359 00:42:31,840 --> 00:42:32,160 >> GREAT. 1360 00:42:32,160 --> 00:42:34,560 >> OKAY, LAST CHORD THIS IS A 1361 00:42:34,560 --> 00:42:37,200 POLYCHORD, TELL ME THE NAME OF 1362 00:42:37,200 --> 00:42:39,960 THIS CHORD. 1363 00:42:39,960 --> 00:42:41,040 >> A-FLAT, 7 OVER FMAJOR 1364 00:42:41,040 --> 00:42:41,400 [INDISCERNIBLE]. 1365 00:42:41,400 --> 00:42:47,000 >> WHAT ARE THE NOTES? 1366 00:42:47,000 --> 00:42:51,200 >> FA, C-CHARP, G-FLAT, E-FLAT. 1367 00:42:51,200 --> 00:42:51,520 >> PERFECT. 1368 00:42:51,520 --> 00:42:52,000 >> UNBELIEVABLE RIGHT. 1369 00:42:52,000 --> 00:42:54,000 >> NOW IT'S NOT THAT HE AS A 1370 00:42:54,000 --> 00:42:55,160 SUPER AUDIO GRAM. 1371 00:42:55,160 --> 00:42:55,400 OKAY? 1372 00:42:55,400 --> 00:42:58,200 YOU DO AN OWDIO GRAM, THIS IS 1373 00:42:58,200 --> 00:42:59,480 PROBABLY VERY SIMILAR TO OURS 1374 00:42:59,480 --> 00:43:01,000 FOR BASIC PURE TONES, THE 1375 00:43:01,000 --> 00:43:02,720 DIFFERENCE IN HIS BRAIN'S 1376 00:43:02,720 --> 00:43:03,920 ABILITY TO INTERPRET COMPLEX 1377 00:43:03,920 --> 00:43:06,040 COMBINATIONS OF PITCHES AND HE 1378 00:43:06,040 --> 00:43:07,400 PROBABLY WAS EXPOSED TO MUSE 1379 00:43:07,400 --> 00:43:09,600 BEINGIC AT A VERY EARLY AGER 1380 00:43:09,600 --> 00:43:12,240 BECAUSE IT APPEARS PEOPLE WITH 1381 00:43:12,240 --> 00:43:13,600 ABSOLUTE PITCH PERCEPTION HAD 1382 00:43:13,600 --> 00:43:15,200 EARLY EXPOSURE TO MUSIC. 1383 00:43:15,200 --> 00:43:17,280 WHAT I'M SUGGESTING IS HE'S HAD 1384 00:43:17,280 --> 00:43:19,120 BRAIN TRAINING, HIS BRAIN HAS 1385 00:43:19,120 --> 00:43:20,480 BEEN DEVELOPED TO UNDERSTAND 1386 00:43:20,480 --> 00:43:21,960 PITCHES, NOW IT'S NOT WE CAN GET 1387 00:43:21,960 --> 00:43:24,880 EVERYBODY TO BED PITCHING AT 1388 00:43:24,880 --> 00:43:25,200 THAT LEVEL. 1389 00:43:25,200 --> 00:43:26,400 BUT NOBODY CAN DO THAT THING 1390 00:43:26,400 --> 00:43:27,720 ABOUT IF YOU CAN HAVE A NORMAL 1391 00:43:27,720 --> 00:43:29,160 HEARING BRAIN AND ELEVATE IT TO 1392 00:43:29,160 --> 00:43:30,080 THAT LEVEL THROUGH TRAINING 1393 00:43:30,080 --> 00:43:32,800 MAYBE YOU CAN TAKE AN 1394 00:43:32,800 --> 00:43:33,960 IMPOVERISHED AUDITORY BRAIN AND 1395 00:43:33,960 --> 00:43:35,920 ELEVATE IT A CLOSER NEAR NOARMAL 1396 00:43:35,920 --> 00:43:36,760 LEVEL THROUGH TRAINING AND RIGHT 1397 00:43:36,760 --> 00:43:38,080 NOW IT TURNS OUT THAT ALL THE 1398 00:43:38,080 --> 00:43:39,280 TRAINING THAT'S DONE FOR 1399 00:43:39,280 --> 00:43:41,160 COCHLEAR IMPLANT USERS THAT'S 1400 00:43:41,160 --> 00:43:42,480 FORMALIZED AND ALL SPEECH BASED. 1401 00:43:42,480 --> 00:43:44,000 YOU GET SPEECH TRAINING, 1402 00:43:44,000 --> 00:43:44,960 LANGUAGE BASED TRAINING, YOU 1403 00:43:44,960 --> 00:43:46,000 DON'T DO MUSIC TRAINING BECAUSE 1404 00:43:46,000 --> 00:43:48,600 IT'S FELT THAT THAT'S FOR PEOPLE 1405 00:43:48,600 --> 00:43:49,800 THAT LIKE MUSIC BUT I THINK THE 1406 00:43:49,800 --> 00:43:51,680 POINT HERE IS THAT IF YOU WANTED 1407 00:43:51,680 --> 00:43:53,360 TO PERFECT YOUR ABILITY TO HEAR 1408 00:43:53,360 --> 00:43:54,800 FREQUENCIES, YOU SHOULD DO 1409 00:43:54,800 --> 00:43:56,080 FREQUENCY BASED TRAINING AND 1410 00:43:56,080 --> 00:43:57,400 THAT FREQUENCY BASED TRAINING IS 1411 00:43:57,400 --> 00:43:58,440 BETTER DONE THROUGH SOMETHING 1412 00:43:58,440 --> 00:44:01,800 LIKE MUSIC THAN IT IS THROUGH 1413 00:44:01,800 --> 00:44:02,680 SOMETHING LIKE SPEECH. 1414 00:44:02,680 --> 00:44:03,800 SO HERE'S ANOTHER REASON TO 1415 00:44:03,800 --> 00:44:05,560 THINK ABOUT CHANGING THE BRAIN, 1416 00:44:05,560 --> 00:44:05,760 OKAY? 1417 00:44:05,760 --> 00:44:06,400 SO HERE'S A CAT. 1418 00:44:06,400 --> 00:44:08,320 NOW IF YOU ANY OF YOU HAVE CATS 1419 00:44:08,320 --> 00:44:11,640 YOU MIGHT KNOW, I KNOW RITA 1420 00:44:11,640 --> 00:44:13,200 LOVES CATS, YOU MIGHT KNOW THAT 1421 00:44:13,200 --> 00:44:14,840 WHITE CATS ARE ACTUALLY NOT 1422 00:44:14,840 --> 00:44:17,680 IGNORING YOU BUT THEY'RE OFTEN 1423 00:44:17,680 --> 00:44:18,560 DEAF. 1424 00:44:18,560 --> 00:44:20,000 SO WITH MY MENTOR DAVID CANNED 1425 00:44:20,000 --> 00:44:21,320 WHAT AND OTHER MENTOR JOHN 1426 00:44:21,320 --> 00:44:22,560 [INDISCERNIBLE] WE DID THIS 1427 00:44:22,560 --> 00:44:23,520 EXPERIMENT AT JOHNS HOPKINS 1428 00:44:23,520 --> 00:44:25,960 WHERE WE DID A COCHLEAR IMPLANT 1429 00:44:25,960 --> 00:44:27,800 IN THESE DEAF WHITE KITTENS AND 1430 00:44:27,800 --> 00:44:29,080 THE ELECTRODE IS LIKE THIS, IT'S 1431 00:44:29,080 --> 00:44:30,960 SITTING THERE, CAN YOU SEE IT'S 1432 00:44:30,960 --> 00:44:33,800 A CUSTOM 6 CONTACT COCHLEAR 1433 00:44:33,800 --> 00:44:35,600 IMPACT DEVICE AND HERE IS A DEAF 1434 00:44:35,600 --> 00:44:36,720 WHITE CAT THAT'S BEEN TRAINED 1435 00:44:36,720 --> 00:45:09,600 NOW TO RESPOND TO MUSIC FOR 1436 00:45:09,600 --> 00:45:09,800 FOOD. 1437 00:45:09,800 --> 00:45:10,720 >> [* MUSIC ] 1438 00:45:10,720 --> 00:45:15,800 NOW THE TRAINING IS A SPECIFIC 1439 00:45:15,800 --> 00:45:30,400 TRUMPET CALL. 1440 00:45:30,400 --> 00:45:32,000 [* MUSIC ] 1441 00:45:32,000 --> 00:45:34,400 AND IT'S THAT SPECIFIC TRUMPET 1442 00:45:34,400 --> 00:45:36,400 CALL, ANOTHER TRUMPET CALL WON'T 1443 00:45:36,400 --> 00:45:37,920 WORK, I'M NOT SUGGESTING THE CAT 1444 00:45:37,920 --> 00:45:40,240 LIKES TRUMPET OR KNOWS IT, OR IT 1445 00:45:40,240 --> 00:45:42,880 HAS BEEN TRAINED TO IMBUE A 1446 00:45:42,880 --> 00:45:43,960 MUSICAL ABSTRACT SOUND WITH 1447 00:45:43,960 --> 00:45:45,200 MEANING AND THAT'S THE WHOLE 1448 00:45:45,200 --> 00:45:46,560 POINT OF LISTENING TO SOME OF 1449 00:45:46,560 --> 00:45:48,720 THIS COMPLEX MUSIC SO YOU WE 1450 00:45:48,720 --> 00:45:50,000 CHANGED THAT BRAIN'S ABILITY TO 1451 00:45:50,000 --> 00:45:52,000 PERCEIVE A SOUND THAT'S CAN A 1452 00:45:52,000 --> 00:45:52,760 MUSICAL IMPACT. 1453 00:45:52,760 --> 00:45:54,240 THAT'S A DEAF CAT THAT JUST 1454 00:45:54,240 --> 00:45:55,800 RESPONDED TO A TRUMPET TO GET 1455 00:45:55,800 --> 00:45:56,000 FOOD. 1456 00:45:56,000 --> 00:45:58,600 NOW, WHEN WE THINK ABOUT 1457 00:45:58,600 --> 00:46:01,000 HEARING, WE CAN'T JUST LOOK AT 1458 00:46:01,000 --> 00:46:02,680 THE COCHLEA, WE DIDN'T LOOK AT 1459 00:46:02,680 --> 00:46:04,200 THE HERE, WE HAVE TO LOOK AT THE 1460 00:46:04,200 --> 00:46:05,280 BRAIN AND THESE ARE THE MAIN 1461 00:46:05,280 --> 00:46:06,600 THINGS WE CAN GET OUT OF 1462 00:46:06,600 --> 00:46:07,560 LOOKINGA THE BRAIN AND THIS IS 1463 00:46:07,560 --> 00:46:10,400 WHY I WANT TO COME TO NIDC AFTER 1464 00:46:10,400 --> 00:46:11,800 MY SURGERY TRAINING WITH THE 1465 00:46:11,800 --> 00:46:13,000 EAR, LOOKING AT COCHLEA WILL 1466 00:46:13,000 --> 00:46:15,600 NEVER GET ME THERE SO I STARTED 1467 00:46:15,600 --> 00:46:17,160 LOOKING FOR A WAY TO ABLE TO DO 1468 00:46:17,160 --> 00:46:19,480 THIS IN A REAL PERSON ALIVE, AND 1469 00:46:19,480 --> 00:46:21,800 I FOUND THAT WE COULD DO PET 1470 00:46:21,800 --> 00:46:25,400 SCANNING HERE AT THE NIDCD, AND 1471 00:46:25,400 --> 00:46:29,800 SO PET SCANNING IS POSITRONNIC 1472 00:46:29,800 --> 00:46:31,160 EMISSION TOMOGRAPHY, YOU CAN PUT 1473 00:46:31,160 --> 00:46:32,880 A COCHLEAR IMPLANT DEVICE IF 1474 00:46:32,880 --> 00:46:34,440 THERE UNLIKE FUNCTIONAL MRI 1475 00:46:34,440 --> 00:46:38,080 STANING SO THE WAY IT WORKS IT 1476 00:46:38,080 --> 00:46:40,600 YOU GET INJECTED WITH 15 WATER 1477 00:46:40,600 --> 00:46:42,800 WHICH EMITS POS TRANS, TOAZ ARE 1478 00:46:42,800 --> 00:46:46,560 FLOOTING NOTHING BLOOD, HAY 1479 00:46:46,560 --> 00:46:47,520 ANIALATE WITH LOCAL NEUTRONS IN 1480 00:46:47,520 --> 00:46:48,800 THE BRAIN AND THEN THEY'RE 1481 00:46:48,800 --> 00:46:50,200 LOCALIZED TO PART OF YOUR BRAIN 1482 00:46:50,200 --> 00:46:51,960 AND YOU CAN GET A MAP OF 1483 00:46:51,960 --> 00:46:52,200 ACTIVITY. 1484 00:46:52,200 --> 00:46:54,240 SO THE FIRST QUESTION WOULD BE 1485 00:46:54,240 --> 00:46:55,560 IS COCHLEAR IMPLANT SIMILAR TO 1486 00:46:55,560 --> 00:46:56,840 LISTENING IN THE BRAIN, AND YOU 1487 00:46:56,840 --> 00:46:58,800 LOOK AT NORMAL LISTENERS 1488 00:46:58,800 --> 00:47:00,120 LISTENING TO SPEECH, YOU SEE 1489 00:47:00,120 --> 00:47:01,640 THIS AND THEN LET'S LOOK AT THE 1490 00:47:01,640 --> 00:47:03,160 MAP OF CI LISTENERS AND IF YOU 1491 00:47:03,160 --> 00:47:04,960 GO SLICE BY SLICE, THAT IS 1492 00:47:04,960 --> 00:47:05,640 STRIKINGLY CLOSE, YOU THINK WOW, 1493 00:47:05,640 --> 00:47:07,440 LOAMACY BEING AT THAT, THE MAN 1494 00:47:07,440 --> 00:47:09,000 IS ALMOST IDENTICAL AND YOU FEEL 1495 00:47:09,000 --> 00:47:10,960 LIKE YOU JUST CLOSE AND STOP 1496 00:47:10,960 --> 00:47:14,400 RIGHT THERE, LOOK IT'S GREAT, WE 1497 00:47:14,400 --> 00:47:15,480 RESTORED BRIN FUNCTION BUT YOU 1498 00:47:15,480 --> 00:47:16,920 STARTED DO A COMPARISON MAP, YOU 1499 00:47:16,920 --> 00:47:19,280 DO A CONTRAST AND YOU SAY HMM, 1500 00:47:19,280 --> 00:47:20,840 IT'S NOT ALL THE SAME, THE 1501 00:47:20,840 --> 00:47:22,400 COCHLEAR IMPLANT ACTIVITY IS 1502 00:47:22,400 --> 00:47:25,120 HIGHER IN THE AUDITORY CO TEX 1503 00:47:25,120 --> 00:47:27,280 AND IF DO A SUBTRACTION FOR AN 1504 00:47:27,280 --> 00:47:28,840 EQUIVALENT STIMULUS, THE CI 1505 00:47:28,840 --> 00:47:30,680 USERS NEED OR DEMONSTRATE MORE 1506 00:47:30,680 --> 00:47:31,600 BRAIN ACTIVITY TO LISTEN TO THAT 1507 00:47:31,600 --> 00:47:33,800 SOUND AND IF YOU HAVE DIFFERENT 1508 00:47:33,800 --> 00:47:35,080 KINDS OF STIMULI, WHETHER 1509 00:47:35,080 --> 00:47:36,720 THEY'RE LANGUAGE OR RHYTHM OR 1510 00:47:36,720 --> 00:47:38,680 MELODY YOU CAN SEE THE MAPS 1511 00:47:38,680 --> 00:47:38,920 CHANGE. 1512 00:47:38,920 --> 00:47:41,000 SO FOR LANGUAGE WHICH I DID WELL 1513 00:47:41,000 --> 00:47:41,800 ON, THERE'S PRETTY GOOD 1514 00:47:41,800 --> 00:47:43,440 STIMULATION RELATIVE TO NORMALS, 1515 00:47:43,440 --> 00:47:44,760 IN THE AUDITORY COURSES, BUT 1516 00:47:44,760 --> 00:47:46,880 LOOK WHAT HAPPENS IN MELODY, 1517 00:47:46,880 --> 00:47:50,000 THERE'S VERY LITTLE RELATIVE 1518 00:47:50,000 --> 00:47:52,560 ADVANTAGE FOR MELODY SO IT SEEMS 1519 00:47:52,560 --> 00:47:53,440 THAT FOR WHATEVER REASON, 1520 00:47:53,440 --> 00:47:54,600 THEY'RE NOT STIMULATING THE 1521 00:47:54,600 --> 00:47:57,160 CORTEX OF THESE COCHLEAR IMPLANT 1522 00:47:57,160 --> 00:47:58,360 USERS THE WAY SPEECH IS AND THIS 1523 00:47:58,360 --> 00:47:59,360 IS SOMETHING AGAIN THAT WE MIGHT 1524 00:47:59,360 --> 00:48:00,280 HAVE TO TARGET WHEN WE THINK 1525 00:48:00,280 --> 00:48:02,200 ABOUT HOW TO GET A CI BRAIN TO 1526 00:48:02,200 --> 00:48:04,560 LOOK MORE LIKE A NORMAL HEARING 1527 00:48:04,560 --> 00:48:05,480 BRAIN IN RESPONSE TO SOMETHING 1528 00:48:05,480 --> 00:48:07,000 THAT IS DIFFICULT FOR THEM NOT 1529 00:48:07,000 --> 00:48:11,000 SOMETHING THAT GOOD FOR THEM. 1530 00:48:11,000 --> 00:48:12,640 ANOTHER THINK BY TRAINING OR 1531 00:48:12,640 --> 00:48:13,960 EDUCATING THE BRAIN, THIS IS A 1532 00:48:13,960 --> 00:48:15,600 GIRL WITH A BILATERAL COCHLEAR 1533 00:48:15,600 --> 00:48:19,600 IMPLANT AND WHEN I WAS AT 1534 00:48:19,600 --> 00:48:21,400 PEABODY WE HAD MUSICAL EDUCATION 1535 00:48:21,400 --> 00:48:22,400 PROGRAM FOR KIDS THAT WERE DEAF 1536 00:48:22,400 --> 00:48:25,840 AND THIS GIRL WAS PLAYING THE 1537 00:48:25,840 --> 00:48:27,520 XYLOPHONE FOR THE FIRST TIME. 1538 00:48:27,520 --> 00:48:29,960 AND WE HAD BASICALLY A BINARY 1539 00:48:29,960 --> 00:48:33,000 TASK, SAME OR DIFFERENT FOR 1540 00:48:33,000 --> 00:48:36,200 DIFFERENT PITCH, AND TAMBER AND 1541 00:48:36,200 --> 00:48:37,920 IT TURN OUT THESE CHILDREN DID 1542 00:48:37,920 --> 00:48:38,680 PRETTY WELL. 1543 00:48:38,680 --> 00:48:40,960 THESE ARE AGAIN, REALLY YOUNG 1544 00:48:40,960 --> 00:48:43,560 KIDS, VERY ENGAGED AND THEY'RE 1545 00:48:43,560 --> 00:48:44,440 PERFORMING CERTAINLY BETTER THAN 1546 00:48:44,440 --> 00:48:46,560 CHANCE ON THIS TASK AND NOT AS 1547 00:48:46,560 --> 00:48:48,000 QUITE AS GOOD AS NORMAL HEARING 1548 00:48:48,000 --> 00:48:49,600 CONTROLS BUT NOT THAT BAD, SO 1549 00:48:49,600 --> 00:48:51,160 AGAIN, REASONS TO HOPE THAT 1550 00:48:51,160 --> 00:48:52,920 ACTUALLY THE EARLIER YOU GO, WE 1551 00:48:52,920 --> 00:48:53,960 KNOW THAT IMPLANTING CHILDREN 1552 00:48:53,960 --> 00:48:56,240 EARLY HELPS SPEECH BUT MAYBE 1553 00:48:56,240 --> 00:48:57,840 TEACHING CHILDREN WITH DEAFNESS 1554 00:48:57,840 --> 00:48:59,680 EARLY WITH COCHLEAR I AM NOT 1555 00:48:59,680 --> 00:49:01,200 PLANTS WILL ALSO HELP LEAD TO 1556 00:49:01,200 --> 00:49:03,960 MORE NORMAL OUTCOMES IN TERMS OF 1557 00:49:03,960 --> 00:49:04,520 HEARING. 1558 00:49:04,520 --> 00:49:06,000 NOW TONAL LANGUAGE ISS ARE 1559 00:49:06,000 --> 00:49:07,400 INTERESTING BECAUSE IN TONAL 1560 00:49:07,400 --> 00:49:08,360 LANGUAGE PERCEPTION, YOU HAVE TO 1561 00:49:08,360 --> 00:49:09,320 USE THAT PITCH INFORMATION TO 1562 00:49:09,320 --> 00:49:11,400 GET THE MEANING OF TONES OR ELSE 1563 00:49:11,400 --> 00:49:12,400 YOU CAN BE WRONG. 1564 00:49:12,400 --> 00:49:15,800 SO IN CHILDREN, THAT ARE ALWAYS 1565 00:49:15,800 --> 00:49:17,480 EXPOSED TO TONAL CUES, THIS IS A 1566 00:49:17,480 --> 00:49:19,320 TASK WHERE YOU HAVE TO TELL THE 1567 00:49:19,320 --> 00:49:21,720 DIRECTION OF A [INDISCERNIBLE], 1568 00:49:21,720 --> 00:49:23,120 AND THE RANGE OF DIFFERENT SPEED 1569 00:49:23,120 --> 00:49:23,440 IS DIFFERENT. 1570 00:49:23,440 --> 00:49:31,360 ALL THE BLUES ARE NORMAL HEARING 1571 00:49:31,360 --> 00:49:33,000 FOR TIARAS 1 EASE CHILDREN, AND 1572 00:49:33,000 --> 00:49:34,640 ALL THE REDS ARE CHILDREN FROM 1573 00:49:34,640 --> 00:49:36,440 THE U.S., AND YOU CAN SEE THE 1574 00:49:36,440 --> 00:49:38,520 PERFORMANCE BETTER IN THE 1575 00:49:38,520 --> 00:49:39,200 TAIWANESE CHILDREN? 1576 00:49:39,200 --> 00:49:40,960 WHY IS THAT NOT BECAUSE THE 1577 00:49:40,960 --> 00:49:43,080 COCHLEAR IMPLANTS ARE BETTER OR 1578 00:49:43,080 --> 00:49:43,800 BETTER AUDIOGRAMS IT'S BECAUSE 1579 00:49:43,800 --> 00:49:45,440 THEY ARE LIVING IN A TONAL THINK 1580 00:49:45,440 --> 00:49:46,600 ABOUT BASED SOCIETY WHERE THEY 1581 00:49:46,600 --> 00:49:48,240 MUST GIVE MEANING TO THESE TONE 1582 00:49:48,240 --> 00:49:49,400 SWEEPS AND THEY'RE BETTER ABLE 1583 00:49:49,400 --> 00:49:55,360 TO DO THIS SO AGAIN, IT'S SORT 1584 00:49:55,360 --> 00:49:56,200 OF ECOLOGICALLY RELEVANT 1585 00:49:56,200 --> 00:49:56,920 EVIDENCE THAT TRAINING MATTERS 1586 00:49:56,920 --> 00:49:59,400 AND THE EARLIER YOU CAN DO THAT 1587 00:49:59,400 --> 00:50:00,880 DRAINING, THE BETTER YOU WILL BE 1588 00:50:00,880 --> 00:50:03,560 AT DOING THIS PITCH TASK, YOU 1589 00:50:03,560 --> 00:50:04,560 CAN FORMALIZE CONFORT TRAINING 1590 00:50:04,560 --> 00:50:05,760 BY GIVING A KEYBOARD AND MAKING 1591 00:50:05,760 --> 00:50:07,240 IT LINK TO MOTOR MOVEMENTS SO 1592 00:50:07,240 --> 00:50:09,120 YOU HAVE TO PLAY THE 1593 00:50:09,120 --> 00:50:11,160 [INDISCERNIBLE] AND WHEN YOU DO 1594 00:50:11,160 --> 00:50:14,160 THAT OUR ABILITY TO DETECT DOES 1595 00:50:14,160 --> 00:50:16,240 IMPROVE AS SHOWN BY THE GREEN 1596 00:50:16,240 --> 00:50:18,600 BARS SO AFTER YOU HAD TRAINING 1597 00:50:18,600 --> 00:50:20,560 WITH A MOTEAR BASED BAR, YOUR 1598 00:50:20,560 --> 00:50:22,400 ABILITY TO HEAR THE TASK ALONE 1599 00:50:22,400 --> 00:50:23,920 GETS BETTER AND LASTLY I WANT TO 1600 00:50:23,920 --> 00:50:26,240 SHOW YOU A VIDEO OF A WOMAN WHO 1601 00:50:26,240 --> 00:50:27,680 CONTACTED ME AFTER HER SURGERY 1602 00:50:27,680 --> 00:50:29,640 AND I SAID HOW'S IT GOING WITH 1603 00:50:29,640 --> 00:50:31,520 YOUR IMPLANT, IT WAS JUST 1604 00:50:31,520 --> 00:50:31,800 ACTIVATED. 1605 00:50:31,800 --> 00:50:33,880 SHE SAID IT'S GREAT, I CAN TUNE 1606 00:50:33,880 --> 00:50:35,880 MY GUITAR, I'M LIKE WHAT ARE 1607 00:50:35,880 --> 00:50:36,200 TALKING ABOUT? 1608 00:50:36,200 --> 00:50:37,840 NO YOU CAN'T, AND I THOUGHT SHE 1609 00:50:37,840 --> 00:50:39,440 MEANT WITH A TUNER WITH A 1610 00:50:39,440 --> 00:50:40,880 DEVICE, JUST USING MY IMPLANTS, 1611 00:50:40,880 --> 00:50:43,760 I SAID SHOW ME, AND SO I HAD HER 1612 00:50:43,760 --> 00:50:45,600 BRING HER GUITAR TO CLINIC 1613 00:50:45,600 --> 00:50:46,800 BECAUSE I DIDN'T BELIEVE HER AND 1614 00:50:46,800 --> 00:50:48,440 SHE BROUGHT IT AND SHE DID THIS 1615 00:50:48,440 --> 00:50:52,200 TEST WHICH I RECREATED HERE FOR 1616 00:50:52,200 --> 00:50:52,720 YOU ON VIDEO. 1617 00:50:52,720 --> 00:50:55,640 >> THIS IS AN ADVANCED BIONICS 1618 00:50:55,640 --> 00:50:57,240 COCHLEAR IMPLANT WITH A HIGH 1619 00:50:57,240 --> 00:50:59,800 REZONING 120 AND A HARMONY 1620 00:50:59,800 --> 00:51:00,080 PROCESSOR. 1621 00:51:00,080 --> 00:51:06,000 I'M GOING TO START WITH MY 1622 00:51:06,000 --> 00:51:10,440 GUITAR IN TUNE. 1623 00:51:10,440 --> 00:51:10,840 [* MUSIC ] 1624 00:51:10,840 --> 00:51:12,280 NOW I'M GOING TO TAKE OUT OF 1625 00:51:12,280 --> 00:51:25,800 TUNE AND RETUNE IT. 1626 00:51:25,800 --> 00:51:26,360 * 1627 00:51:26,360 --> 00:51:29,240 SHE HAS NO HEARING AID AND NO 1628 00:51:29,240 --> 00:51:29,520 HEARING-- 1629 00:51:29,520 --> 00:51:33,480 >> I WILL START AGAIN. 1630 00:51:33,480 --> 00:52:01,200 [* MUSIC ] 1631 00:52:01,200 --> 00:52:03,120 OKAY, WE HAVE A PERSON IN HERE 1632 00:52:03,120 --> 00:52:05,800 WHO WILL UNTUNE THE GUITAR AGAIN 1633 00:52:05,800 --> 00:52:08,000 AND I WILL RETURN IT AND I WILL 1634 00:52:08,000 --> 00:52:09,640 INDICATE WITH MY EYES CLOSED 1635 00:52:09,640 --> 00:52:11,040 THAT I WILL RETUNE IT. 1636 00:52:11,040 --> 00:52:13,200 SO I THOUGHT SHE WAS CHEATING 1637 00:52:13,200 --> 00:52:15,280 SOMEHOW, SO HISOMEONE ELSE DO IT 1638 00:52:15,280 --> 00:52:18,120 FOR HEHER, I THOUGHT MAYBE SHE 1639 00:52:18,120 --> 00:52:19,600 COULD FEEL THE VIBRATIONINGS OR 1640 00:52:19,600 --> 00:52:21,240 ANYTHING LIKE THAT GOING ON. 1641 00:52:21,240 --> 00:52:22,880 SO IMI SHE WILL GO THROUGH AND 1642 00:52:22,880 --> 00:52:24,920 SHE AGAIN GETS IT RIGHT. 1643 00:52:24,920 --> 00:52:26,760 NOW IN THE END I THINK SHE'S 1644 00:52:26,760 --> 00:52:27,920 USING TEMPORAL CUES TO BE ABLE 1645 00:52:27,920 --> 00:52:29,600 TO DO THIS PITCH TASK, IF I HAD 1646 00:52:29,600 --> 00:52:31,720 TO GUESS, ABOUT YOU THAT'S OKAY, 1647 00:52:31,720 --> 00:52:33,240 SHE'S USING OTHER INFORMATION TO 1648 00:52:33,240 --> 00:52:35,680 DO A VERY COMPLEX PITCH MASKING 1649 00:52:35,680 --> 00:52:37,120 TASK THAT'S BEYOND THE LIMITS OF 1650 00:52:37,120 --> 00:52:38,200 HER COCHLEAR IPT GREATER PLANT 1651 00:52:38,200 --> 00:52:38,600 TO RESOLVE. 1652 00:52:38,600 --> 00:52:43,840 SO SHE WILL TELL HIM WHEN IT'S 1653 00:52:43,840 --> 00:52:44,840 IN TUNE. 1654 00:52:44,840 --> 00:52:47,000 [* MUSIC ] 1655 00:52:47,000 --> 00:52:52,600 NTHAT'S -- 1656 00:52:52,600 --> 00:52:54,240 >> THAT'S IN TUNE NOW. 1657 00:52:54,240 --> 00:52:56,120 >> OKAY, SO I'M HOPEFUL-- 1658 00:52:56,120 --> 00:53:00,400 >> I WILL LET HER FINISH HER 1659 00:53:00,400 --> 00:53:00,600 MELODY. 1660 00:53:00,600 --> 00:53:02,360 SO AS YOU CAN SEE MY IMPLANT HAS 1661 00:53:02,360 --> 00:53:04,680 HELPED ME TO BE ABLE TO 1662 00:53:04,680 --> 00:53:06,000 DISCRIMINATE PITCHES MUCH BETTER 1663 00:53:06,000 --> 00:53:08,160 AND ENJOY MUSIC ONCE AGAIN. 1664 00:53:08,160 --> 00:53:08,400 THANK YOU. 1665 00:53:08,400 --> 00:53:10,760 >> SO I THINK SHE GOT LUCKY AND 1666 00:53:10,760 --> 00:53:13,000 HAS A BRAIN THAT WORKS HER 1667 00:53:13,000 --> 00:53:13,680 IMPLANT INSERTION HAPPENS TO BE 1668 00:53:13,680 --> 00:53:15,000 A CERTAIN WAY AND HER MAP WORKED 1669 00:53:15,000 --> 00:53:16,240 FOR HER AND SHE CARED ENOUGH TO 1670 00:53:16,240 --> 00:53:17,480 TRY TO DO THIS AND KEEPING ON 1671 00:53:17,480 --> 00:53:18,800 WORKING ON IT AND BUT AGAIN, 1672 00:53:18,800 --> 00:53:20,680 IT'S A CLUE, THERE'S REASONS FOR 1673 00:53:20,680 --> 00:53:20,960 HOPE HERE. 1674 00:53:20,960 --> 00:53:22,280 NOW IN THE LAST FEW MINUTES I 1675 00:53:22,280 --> 00:53:23,600 WANT TO SHIFT GEARS A BIT TO 1676 00:53:23,600 --> 00:53:25,800 SOMETHING THAT I THINK THE NIH 1677 00:53:25,800 --> 00:53:27,680 HAS BEEN PIVOTAL FOR AND EVERY 1678 00:53:27,680 --> 00:53:29,000 TIME IT COMES LIKE WHY MUSIC? 1679 00:53:29,000 --> 00:53:30,680 SO 1 OF THE THINGS IS TO POSE A 1680 00:53:30,680 --> 00:53:32,720 QUESTION OF SOMETHING LIKE MUSIC 1681 00:53:32,720 --> 00:53:33,400 POTENTIALLY SERVINGAs A FORM 1682 00:53:33,400 --> 00:53:35,800 OF MEDICINE OR AS A FORM OF 1683 00:53:35,800 --> 00:53:36,040 THERAPY. 1684 00:53:36,040 --> 00:53:38,560 AND THERE'S AN EFFORT THAT'S NOW 1685 00:53:38,560 --> 00:53:39,960 UNDERWAY CALLED THE SOUND HEALTH 1686 00:53:39,960 --> 00:53:40,880 NETWORK, WHICH I WANT TO 1687 00:53:40,880 --> 00:53:42,440 INTRODUCE YOU TO SOME OF YOU MAY 1688 00:53:42,440 --> 00:53:43,760 RECOGNIZE AND MISS THIS PERSON 1689 00:53:43,760 --> 00:53:44,720 QUITE A BIT. 1690 00:53:44,720 --> 00:53:45,800 SO FRANCIS COLLINS AS MANY OF 1691 00:53:45,800 --> 00:53:48,800 YOU KNOW IS A MUSICIAN, HE MET 1692 00:53:48,800 --> 00:53:50,200 WITH RENE FLEMMING THE OPERA 1693 00:53:50,200 --> 00:53:53,640 SINGER AND A FEW YEARS AGO 1694 00:53:53,640 --> 00:53:55,400 PREPANDEMIC HELD THE FIRST EVER 1695 00:53:55,400 --> 00:53:57,480 NIH WORKSHOP ON MUSIC AND THE 1696 00:53:57,480 --> 00:53:59,240 BRAIN WHICH WAS THE PROCEEDINGS 1697 00:53:59,240 --> 00:54:00,400 WERE PUBLISH INDEED NEURON AND I 1698 00:54:00,400 --> 00:54:01,640 WAS LUCKY TO BE PART OF THIS 1699 00:54:01,640 --> 00:54:03,440 GROUP HERE AND WHAT WOUND OF 1700 00:54:03,440 --> 00:54:05,480 HAPPENING WAS A REMARKABLE 1701 00:54:05,480 --> 00:54:06,440 COLLABORATION CALLED SOUND 1702 00:54:06,440 --> 00:54:09,320 HEALTH AND SOUND HEALTH WAS AN 1703 00:54:09,320 --> 00:54:11,160 NIH AND KENNEDY CENTER LARGELY 1704 00:54:11,160 --> 00:54:12,440 FOCUSED INITIATIVE AND I WANT TO 1705 00:54:12,440 --> 00:54:15,400 SHOW YOU A VIDEO OF WHAT THAT 1706 00:54:15,400 --> 00:54:15,680 WAS LIKE. 1707 00:54:15,680 --> 00:54:18,160 >> SOUND HEALTH IS A NEW 1708 00:54:18,160 --> 00:54:19,320 INITIATIVE WE'RE EXPLORING WITH 1709 00:54:19,320 --> 00:54:21,760 THE NIH UNDER THE LEADERSHIP OF 1710 00:54:21,760 --> 00:54:23,400 RENE FLEMMING WHO BEGAN THIS 1711 00:54:23,400 --> 00:54:26,440 DIALOGUE WITH DR. COLLINS WE ARE 1712 00:54:26,440 --> 00:54:27,880 LOOKING TO AT HOW IS A KRETTIVE 1713 00:54:27,880 --> 00:54:29,320 LIFE A MORE HEALTHY LIFE. 1714 00:54:29,320 --> 00:54:30,520 >> IT'S AN EXCITING TIME IN 1715 00:54:30,520 --> 00:54:32,160 NEUROSCIENCE, WE ARE STARTING TO 1716 00:54:32,160 --> 00:54:34,320 LEARN WAYS IN WHICH MIEWIC CAN 1717 00:54:34,320 --> 00:54:35,800 INFLUENCE ALL OTHER ASPECTS OF 1718 00:54:35,800 --> 00:54:37,760 1'S BRAIN FUNCTION AND 1719 00:54:37,760 --> 00:54:39,160 ESPECIALLY HOW WE COULD USE THAT 1720 00:54:39,160 --> 00:54:40,920 INFORMATION TO USE MUSIC 1721 00:54:40,920 --> 00:54:41,720 THERAPEUTICALLY. 1722 00:54:41,720 --> 00:54:43,200 >> WHEN I MET FRANCIS COLLYNN 1723 00:54:43,200 --> 00:54:45,720 WHO IS I DISCOVERED WAS A REALLY 1724 00:54:45,720 --> 00:54:47,600 TERRIFIC MUSICIAN, THIS MIGHT BE 1725 00:54:47,600 --> 00:54:48,040 AN OPPORTUNITY. 1726 00:54:48,040 --> 00:54:49,720 IF PEOPLE ARE THROUGH MUSIC 1727 00:54:49,720 --> 00:54:51,360 THERAPY SUCCEEDING IN HELPING 1728 00:54:51,360 --> 00:54:54,400 PATIENTS, CHILDREN WITH AUTISM, 1729 00:54:54,400 --> 00:54:55,400 PATIENTS WITH PARKINSONS, STROKE 1730 00:54:55,400 --> 00:54:57,120 VICTIM WHO IS CAN THEN 1731 00:54:57,120 --> 00:54:58,040 COMMUNICATE BECAUSE THEY CAN 1732 00:54:58,040 --> 00:55:00,000 SING BUT THEY CAN'T SPEAK, THE 1733 00:55:00,000 --> 00:55:02,400 SCIENCE OF HEALING IN THE ARTS, 1734 00:55:02,400 --> 00:55:04,720 IT'S ANOTHER AREA OF EXPLODING 1735 00:55:04,720 --> 00:55:05,000 RESEARCH. 1736 00:55:05,000 --> 00:55:06,400 >> THIS HAS A RESEARCH COMPONENT 1737 00:55:06,400 --> 00:55:07,000 TO IT. 1738 00:55:07,000 --> 00:55:09,560 IT HAS A PRESENTATION COMPONENT 1739 00:55:09,560 --> 00:55:10,240 TO IT. 1740 00:55:10,240 --> 00:55:11,800 IT HAS AN ADVOCACY COMPONENT TO 1741 00:55:11,800 --> 00:55:13,320 IT AS WELL IN TERMS OF WHERE 1742 00:55:13,320 --> 00:55:15,440 CULT NUR AMERICA TODAY IS GOING. 1743 00:55:15,440 --> 00:55:16,400 >> THROUGH THIS INITIATIVE WE 1744 00:55:16,400 --> 00:55:17,360 CAN ALL LEARN FROM EACH OTHER 1745 00:55:17,360 --> 00:55:21,560 AND WE CAN MOVE INTO A NEW SPACE 1746 00:55:21,560 --> 00:55:23,520 OF INTEGRATION, OF DEEP 1747 00:55:23,520 --> 00:55:24,320 INTELLECTUAL AND SCIENTIFIC 1748 00:55:24,320 --> 00:55:24,560 THOUGHT. 1749 00:55:24,560 --> 00:55:25,600 >> THE FACT THAT THIS IS COMING 1750 00:55:25,600 --> 00:55:27,200 TOGETHER, THAT THE NIH AND 1751 00:55:27,200 --> 00:55:29,000 KENNEDY IS CENTER ARE 1752 00:55:29,000 --> 00:55:30,520 COLLABORATING IT MAKES THE ARTS 1753 00:55:30,520 --> 00:55:31,600 MORE RELEVANT, IT EXALTS THE 1754 00:55:31,600 --> 00:55:38,800 IMPORTANCE OF ARTS IN OUR LIVES. 1755 00:55:38,800 --> 00:55:39,320 [* MUSIC ] 1756 00:55:39,320 --> 00:55:41,640 >> SO FRANCIS AND RENE CAME DOWN 1757 00:55:41,640 --> 00:55:43,280 TO THE CANCER CENTER WHERE WE 1758 00:55:43,280 --> 00:55:45,600 DID A DEEP DIVE INTO THESE 1759 00:55:45,600 --> 00:55:48,760 TOPICS AND IT'S POSTED ON 1760 00:55:48,760 --> 00:55:50,000 DR. COLLINS' BLOG SITE, THIS IS 1761 00:55:50,000 --> 00:55:51,080 A PUBLIC CONVERSATION IN FRONT 1762 00:55:51,080 --> 00:55:54,000 OF AN AUDIENCE AND THEN THE 1763 00:55:54,000 --> 00:55:55,680 FOLLOWING WEEK NIH ANNOUNCED 1764 00:55:55,680 --> 00:55:57,640 FIRST EVER ASHES WARDS FOR MUSIC 1765 00:55:57,640 --> 00:55:59,000 SPECIFIC RESEARCH. 1766 00:55:59,000 --> 00:55:59,920 SO THEY PUT $20 MILLION TO 1767 00:55:59,920 --> 00:56:00,600 SUPPORT THIS RESEARCH AND WHILE 1768 00:56:00,600 --> 00:56:03,000 THIS IS NOT A HUGE AMOUNT OF 1769 00:56:03,000 --> 00:56:04,560 MONEY BY NIH STANDARDS IT'S A 1770 00:56:04,560 --> 00:56:06,600 HUGE AMOUNT OF MONEY BY MUSIC 1771 00:56:06,600 --> 00:56:08,280 STANDARDS AND THE MUSIC 1772 00:56:08,280 --> 00:56:09,800 COMMUNITY WAS ECSTATIC THIS 1773 00:56:09,800 --> 00:56:10,280 HAPPENED. 1774 00:56:10,280 --> 00:56:11,480 THE NATIONAL ENDOWMENT FOR 1775 00:56:11,480 --> 00:56:13,400 THEARS JOINED THE PICTURE AND 1776 00:56:13,400 --> 00:56:15,760 DECIDED TO FORMALIZE THIS WITH A 1777 00:56:15,760 --> 00:56:17,480 NETWORK THAT INVOLVED NEA AND 1778 00:56:17,480 --> 00:56:18,880 THE KENNEDY CENTER, I'VE BEEN 1779 00:56:18,880 --> 00:56:21,760 FORTUNATE TO BE THE CO DIRECTOR 1780 00:56:21,760 --> 00:56:23,160 TOGETHER WITH JULIAN JOHNSON AT 1781 00:56:23,160 --> 00:56:24,800 UCSF AND THIS IS OUR MISSION IS 1782 00:56:24,800 --> 00:56:27,200 TO PROMOTE RESEARCH AND PUBLIC 1783 00:56:27,200 --> 00:56:28,000 AWARENESS ABOUT THE IMPACT OF 1784 00:56:28,000 --> 00:56:29,560 MUSE AND I CAN WELLNESS ON THIS, 1785 00:56:29,560 --> 00:56:30,600 TKPHRASZS,--TKPHRASZS IF YOU ARE 1786 00:56:30,600 --> 00:56:32,280 INTERESTED IN THIS, JOIN THE 1787 00:56:32,280 --> 00:56:33,600 NETWORK, IT'S FREE, WE'RE 1788 00:56:33,600 --> 00:56:34,480 PUTTING ON WEBINARS, CONFERENCES 1789 00:56:34,480 --> 00:56:37,520 AND TRYING TO KEEP THE COMMUNITY 1790 00:56:37,520 --> 00:56:38,720 AND GATHERING SPACE IN A WAY THE 1791 00:56:38,720 --> 00:56:39,800 FACE OF THE FIELD FOR PEOPLE 1792 00:56:39,800 --> 00:56:42,080 THAT ARE INTERESTED IN IT AND 1793 00:56:42,080 --> 00:56:43,520 WE'RE NOT--WE'RE REALLY 1794 00:56:43,520 --> 00:56:44,360 WELCOMING ANYBODY THRA'S 1795 00:56:44,360 --> 00:56:46,400 INTERESTED IN MUSIC FROM ANY 1796 00:56:46,400 --> 00:56:48,960 DIFFERENT ANGLE THAT HAS A 1797 00:56:48,960 --> 00:56:50,640 SCIENTIFIC COMPONENT. 1798 00:56:50,640 --> 00:56:52,080 SO FIRST OF ALL THANK YOU FOR 1799 00:56:52,080 --> 00:56:53,320 THE INVITATION TO SPEAK AND I 1800 00:56:53,320 --> 00:56:55,400 KNOW DURING A PANDEMIC, WE'RE 1801 00:56:55,400 --> 00:56:57,040 ALL USED TO JUST BEING IN OUR 1802 00:56:57,040 --> 00:56:58,880 OWN ROOMS AND NOT SEEING EACH 1803 00:56:58,880 --> 00:57:00,360 OTHER IN A WAY THAT'S EASY AND I 1804 00:57:00,360 --> 00:57:01,320 APPRECIATE YOU COMING OUT TO 1805 00:57:01,320 --> 00:57:03,520 HEAR ME SPEAK AND JUST FOR 1806 00:57:03,520 --> 00:57:06,360 CARING ENOUGH ABOUT THE TOPIC TO 1807 00:57:06,360 --> 00:57:06,600 SHOW UP. 1808 00:57:06,600 --> 00:57:10,360 I WANT TO THANK THE NIH, NIDCD 1809 00:57:10,360 --> 00:57:12,000 FOR ALL MY YEARS HERE, CARTER IF 1810 00:57:12,000 --> 00:57:13,800 ARE YOUR MENTORING BUT ALSO ON A 1811 00:57:13,800 --> 00:57:15,200 BRILLIANT CAREER HERE AND 1812 00:57:15,200 --> 00:57:16,320 CONGRATULATIONS ON YOUR UPCOMING 1813 00:57:16,320 --> 00:57:18,280 RETIREMENT, YOU WILL BE MISSED 1814 00:57:18,280 --> 00:57:19,080 HERE SORELY BUT THANK YOU VERY 1815 00:57:19,080 --> 00:57:19,600 MUCH FOR EVERYTHING. 1816 00:57:19,600 --> 00:57:21,600 I HAVE A LOT OF INSTITUTIONS TO 1817 00:57:21,600 --> 00:57:22,800 THANK, MOST SPECIFICALLY I WOULD 1818 00:57:22,800 --> 00:57:23,840 LIKE TO THANK COLLEAGUES AND 1819 00:57:23,840 --> 00:57:26,200 THEN MEMBERS OF MY LAB AND SO, 1820 00:57:26,200 --> 00:57:27,920 THESE ARE PEOPLE THAT HAVE ALL 1821 00:57:27,920 --> 00:57:28,760 BEEN VERY INSTRUMENTAL IN MY 1822 00:57:28,760 --> 00:57:31,520 BEING ABLE TO DO THIS WORK AND 1823 00:57:31,520 --> 00:57:33,040 EXTREMELY GRATEFUL FOR THEIR 1824 00:57:33,040 --> 00:57:34,560 PARTICIPATION FOR YEARS OF 1825 00:57:34,560 --> 00:57:35,200 COLLABORATION AND FRIENDSHIP AND 1826 00:57:35,200 --> 00:57:36,200 WITH THAT I WANT TO THANK AND 1827 00:57:36,200 --> 00:57:37,520 YOU I'M HAPPY TO TAKE ANYY 1828 00:57:37,520 --> 00:57:38,960 REQUESTS AT ALL. 1829 00:57:38,960 --> 00:57:53,800 THANKS SO MUCH [ APPLAUSE ] 1830 00:57:53,800 --> 00:57:56,120 SHOULD I REMASK, IS THAT THE 1831 00:57:56,120 --> 00:57:56,400 PROTOCOL? 1832 00:57:56,400 --> 00:57:57,400 >> WE WILL TAKE QUESTIONS INSIDE 1833 00:57:57,400 --> 00:57:59,040 AND THEN I HAVE SOME QUESTIONS 1834 00:57:59,040 --> 00:58:02,360 THAT WERE SENT THAT WE'LL DO 1835 00:58:02,360 --> 00:58:02,640 AFTERWARDS. 1836 00:58:02,640 --> 00:58:04,800 >> CHARLES, I WANT TO THANK YOU 1837 00:58:04,800 --> 00:58:06,480 FOR A WOBDERFUL, WONDERFUL 1838 00:58:06,480 --> 00:58:06,800 PRESENTATION. 1839 00:58:06,800 --> 00:58:09,760 I GET THE FEELING THAT OBVIOUSLY 1840 00:58:09,760 --> 00:58:12,880 SPEECH AND SPEECH UNDERSTANDING 1841 00:58:12,880 --> 00:58:15,320 AND MUSIC ARE THEY SHARE 1842 00:58:15,320 --> 00:58:17,400 COMPONENTS BUT THEY'RE NOT 1843 00:58:17,400 --> 00:58:18,600 ALWAYS HARMONIOUS. 1844 00:58:18,600 --> 00:58:20,680 >> PUN INTENDED. 1845 00:58:20,680 --> 00:58:21,400 >> YEAH. 1846 00:58:21,400 --> 00:58:23,680 IF YOU HAD THE ABILITY TO 1847 00:58:23,680 --> 00:58:26,640 PROGRAM A COCHLEAR IMPLANT TO 1848 00:58:26,640 --> 00:58:30,000 MUSIC, WHAT HAPPENS TO SPEECH? 1849 00:58:30,000 --> 00:58:30,640 >> GENERALLY SPEAKING, NOW YOU 1850 00:58:30,640 --> 00:58:32,000 HAVE TO PROVE THIS YOU CAN'T 1851 00:58:32,000 --> 00:58:33,320 ASSUME THIS BUT GENERALLY 1852 00:58:33,320 --> 00:58:34,600 SPEAKING IT SHOULD IMPROVE 1853 00:58:34,600 --> 00:58:38,040 ANOTHER WAY IS IF YOU CAN HEAR 1854 00:58:38,040 --> 00:58:40,040 MUSIC LYOU SHOULD HEAR ANYTHING 1855 00:58:40,040 --> 00:58:41,520 WELL, THAT'S NOT TRUE WITH 1856 00:58:41,520 --> 00:58:44,200 SPEECH, IF YOU CAN HEAR MUSIC 1857 00:58:44,200 --> 00:58:45,560 WELL, YOU SHOULD HEAR ANYTHING 1858 00:58:45,560 --> 00:58:45,760 WELL. 1859 00:58:45,760 --> 00:58:47,920 >> O IF THE PROGRAM IS TARGETING 1860 00:58:47,920 --> 00:58:49,440 FOR BETTER MUSIC PERCEPTION, YOU 1861 00:58:49,440 --> 00:58:50,840 COULD POSSIBLY THEN DEDUCE THE 1862 00:58:50,840 --> 00:58:52,880 FACT THAT MATE MIGHT HAVE BETTER 1863 00:58:52,880 --> 00:58:53,120 SPEECH. 1864 00:58:53,120 --> 00:58:56,000 >> YES, WITH A LOT OF SPEECH 1865 00:58:56,000 --> 00:58:57,240 PEOPLE ARE SEALING, YOU'RE 1866 00:58:57,240 --> 00:58:58,880 ALREADY AT 98%, YOU WILL NOT 1867 00:58:58,880 --> 00:59:00,800 SHOW A BENEFIT NOW YOU MAKE THE 1868 00:59:00,800 --> 00:59:01,800 TESTS INCREASINGLY HARDER TO 1869 00:59:01,800 --> 00:59:03,040 SHOW THAT YOU'RE ACTUALLY 1870 00:59:03,040 --> 00:59:05,200 GETTING MORE PERFORMANCE OUT OF 1871 00:59:05,200 --> 00:59:09,080 THE DEVICE, BUT IN A WAY, THE 1872 00:59:09,080 --> 00:59:10,600 FIELD HAS--WE DON'T FEEL LIKE 1873 00:59:10,600 --> 00:59:11,880 ACHIEVING HIGH LEVEL OPEN SET 1874 00:59:11,880 --> 00:59:13,680 SPEECH IS A REAL ACCOMPLISHMENT 1875 00:59:13,680 --> 00:59:16,400 ANYMORE, PATIENTS ARE DOING THAT 1876 00:59:16,400 --> 00:59:17,640 RETEENLY NOWADAYS. 1877 00:59:17,640 --> 00:59:18,800 >> APPRECIATE IT. 1878 00:59:18,800 --> 00:59:19,160 >> THANK YOU. 1879 00:59:19,160 --> 00:59:27,200 GREAT TO SEE YOU. 1880 00:59:27,200 --> 00:59:28,760 >> THANK YOU FOR YOUR PATIENCE 1881 00:59:28,760 --> 00:59:29,960 AS I CLIMB THE STAIRS. 1882 00:59:29,960 --> 00:59:31,200 THANK YOU SO MUCH FOR YOUR TALK 1883 00:59:31,200 --> 00:59:33,800 I LEARNED SO MUCH AND THIS IS 1884 00:59:33,800 --> 00:59:34,200 REALLY EXCITING. 1885 00:59:34,200 --> 00:59:35,480 I'M CURIOUS ARE YOU SEEING ANY 1886 00:59:35,480 --> 00:59:37,520 DIFFERENCES WHEN IT COMES TO 1887 00:59:37,520 --> 00:59:38,720 HEARING FOR DIFFERENT GENRES OF 1888 00:59:38,720 --> 00:59:40,960 MUSIC BECAUSE I KNOW WE PLAY 1889 00:59:40,960 --> 00:59:42,440 CLASSICAL, JAZZ, WHAT ABOUT LIKE 1890 00:59:42,440 --> 00:59:44,280 DEFINITE TYPES OF MUSIC FROM 1891 00:59:44,280 --> 00:59:45,160 DIFFERENT CULTURES? 1892 00:59:45,160 --> 00:59:47,600 HOW IS THAT BEING LIKE 1893 00:59:47,600 --> 00:59:48,640 INTERPRETED BY PATIENTS? 1894 00:59:48,640 --> 00:59:49,080 >> GREAT QUESTION. 1895 00:59:49,080 --> 00:59:50,400 IT'S ACTUALLY NOT A SIMPLE 1896 00:59:50,400 --> 00:59:52,200 ANSWER BUT LET ME TELL YOU THIS 1897 00:59:52,200 --> 00:59:53,680 WAY, THERE'S ALWAYS PEOPLE WHO 1898 00:59:53,680 --> 00:59:54,880 HAVE PREFERENCES AND THOSE 1899 00:59:54,880 --> 00:59:56,080 PREFERENCES SHOULD REMAIN IN 1900 00:59:56,080 --> 00:59:57,400 TACT, IT TURNS OUT THOUGH THAT 1901 00:59:57,400 --> 01:00:00,040 IF YOU HAVE NO, HAVE NEVER HAD 1902 01:00:00,040 --> 01:00:00,760 ANY MUSICAL EXPERIENCE, THE 1903 01:00:00,760 --> 01:00:01,840 THINGS THAT ARE EASIEST FOR YOU 1904 01:00:01,840 --> 01:00:03,400 TO PICK UP ARE RHYTHM AND SO 1905 01:00:03,400 --> 01:00:04,720 IT'S INTERESTING, NOW THIS MAY 1906 01:00:04,720 --> 01:00:06,120 BE A GENERATIONAL THING BUT A 1907 01:00:06,120 --> 01:00:08,440 LOT OF CHILDREN WITH COCHLEAR 1908 01:00:08,440 --> 01:00:09,920 IMPLANTS REALLY ENJOY HIP HOP 1909 01:00:09,920 --> 01:00:11,600 AND RAP AND PART OF THAT MIGHT 1910 01:00:11,600 --> 01:00:13,400 BE BECAUSE IT'S HEAVY DRUMS AND 1911 01:00:13,400 --> 01:00:15,480 HEAVY LYRIC AND THEY DID DO 1912 01:00:15,480 --> 01:00:17,920 THOSE PRETTY WELL, THINGS LIKE 1913 01:00:17,920 --> 01:00:18,520 CLASSICAL MUSIC AND SLOW 1914 01:00:18,520 --> 01:00:20,640 SECTIONS THAT ARE VERY, VERY 1915 01:00:20,640 --> 01:00:21,400 GNAWANCED ARE HARDER TO GET 1916 01:00:21,400 --> 01:00:22,920 RIGHT WITH THE COCHLEAR IMPLANT 1917 01:00:22,920 --> 01:00:23,880 BUT THAT'S THE MUSIC YOU LOVE 1918 01:00:23,880 --> 01:00:25,640 AND GREW UP ON, THAT WILL BE 1919 01:00:25,640 --> 01:00:26,880 WHAT YOU PREFER TO LISTEN TO AND 1920 01:00:26,880 --> 01:00:29,000 I HAVE HAD MANY, THERE'S A 1921 01:00:29,000 --> 01:00:31,080 COCHLEAR IMPLANT USER THAT'S A 1922 01:00:31,080 --> 01:00:32,520 PROFESSIONAL MUSIC CRITIC AND 1923 01:00:32,520 --> 01:00:33,560 WRITES CONCERT REVIEWS ABOUT 1924 01:00:33,560 --> 01:00:34,800 HEARING MUSIC WITH THE COCHLEAR 1925 01:00:34,800 --> 01:00:35,800 IMPLANT AND THE WRITING YOU 1926 01:00:35,800 --> 01:00:38,600 WOULD NEVER KNOW HE HAS A 1927 01:00:38,600 --> 01:00:39,000 HEARING IMPAIRMENT. 1928 01:00:39,000 --> 01:00:41,680 AND THEN OTHER CULTURES THAT 1929 01:00:41,680 --> 01:00:43,960 THEREYA A LOT OF THINGS LIKE 1930 01:00:43,960 --> 01:00:44,600 MICROPHONES AND DIFFERENT SCALE 1931 01:00:44,600 --> 01:00:45,800 SYSTEMS SOPHISTICATEDY WE HAVE 1932 01:00:45,800 --> 01:00:46,640 THIS WESTERN BASE BIAS WHEN WE 1933 01:00:46,640 --> 01:00:50,320 DO A LOT OF TESTING BE, 1934 01:00:50,320 --> 01:00:51,400 MICROTONAL IS ALMOST UNHEARD OF 1935 01:00:51,400 --> 01:00:53,040 WITH A CI USER SO 1 THING I TRY 1936 01:00:53,040 --> 01:00:54,880 TO LOOK AT RYE NOW IS WHETHER 1937 01:00:54,880 --> 01:00:57,840 YOU CAN USE MICROTONES AS A 1938 01:00:57,840 --> 01:00:59,400 PROBE WHETHER YOU GET THINGS IN 1939 01:00:59,400 --> 01:00:59,600 TUNE. 1940 01:00:59,600 --> 01:01:01,760 SO IT'S NOT CLEAR THAT YOU HEAR 1941 01:01:01,760 --> 01:01:02,800 AN ACTIVE IN TUNE. 1942 01:01:02,800 --> 01:01:03,960 >> THANK YOU VERY MUCH. 1943 01:01:03,960 --> 01:01:11,560 >> THANK YOU GOOD QUESTION. 1944 01:01:11,560 --> 01:01:12,760 >> THANKS FOR A WONDERFUL TALK. 1945 01:01:12,760 --> 01:01:15,280 I HAVE A QUESTION ABOUT IF YOU 1946 01:01:15,280 --> 01:01:17,600 WERE--YOU HAVE A CHILD WITH A 1947 01:01:17,600 --> 01:01:19,320 COO CLEAR IMPLANT, LIKE WHICH 1948 01:01:19,320 --> 01:01:21,760 INSTRUMENT WOULD YOU RECOMMEND? 1949 01:01:21,760 --> 01:01:25,800 YOU THINK PIANO MIGHT BE MORE 1950 01:01:25,800 --> 01:01:26,680 COMPLEX? 1951 01:01:26,680 --> 01:01:28,400 >> THANKS, GOT GOOD TO SEE YOU, 1952 01:01:28,400 --> 01:01:29,320 I WOULD RECOMMEND A TRIEWMENT 1953 01:01:29,320 --> 01:01:31,200 THAT'S IN TUNE, THAT YOU DON'T 1954 01:01:31,200 --> 01:01:32,920 HAVE TO INTONATE BY EAR, SO 1955 01:01:32,920 --> 01:01:34,320 SEVERAL INSTRUMENTS THAT YOU 1956 01:01:34,320 --> 01:01:36,800 MUST INTONATE BY EAR TO PLAC IT 1957 01:01:36,800 --> 01:01:41,640 CORRECTLY, CELLO, SO I HAVE 1958 01:01:41,640 --> 01:01:42,000 VIOLIN, 1959 01:01:42,000 --> 01:01:43,880 TROMBONE IS A ANOTHER TRIEWMENT 1960 01:01:43,880 --> 01:01:44,520 WHERE YOU INTERNATIONAL 1961 01:01:44,520 --> 01:01:46,200 CLASSIFICATION TONNATE BY EAR, 1962 01:01:46,200 --> 01:01:48,600 AND SINGING, WHEREAS THE PIANO 1963 01:01:48,600 --> 01:01:49,960 JUST PRESS THE RIGHT NOTE AND 1964 01:01:49,960 --> 01:01:52,400 IT'S IN TUNE IF YOU PRESS THE 1965 01:01:52,400 --> 01:01:53,280 RIGHT NOTE. 1966 01:01:53,280 --> 01:01:56,240 SO PICK AN INSTRUMENT THAT AS 1967 01:01:56,240 --> 01:01:57,760 DISCREAM TUNING, SOMETHING 1968 01:01:57,760 --> 01:02:00,080 THAT'S THREADED LIKE A GUITAR IS 1969 01:02:00,080 --> 01:02:02,600 SAY DISAIFER BET THAN SOMETHING 1970 01:02:02,600 --> 01:02:03,840 COMPLETELY TUNED BY EAR. 1971 01:02:03,840 --> 01:02:12,800 NOT SO MUCH TAKEN--THEY THAT THE 1972 01:02:12,800 --> 01:02:13,920 CHARACTERISTICS WILL DETERMINE 1973 01:02:13,920 --> 01:02:16,120 AND HAD SUCCESS IN MUSICAL 1974 01:02:16,120 --> 01:02:17,400 INSTRUMENT PERFORMANCE, THEY 1975 01:02:17,400 --> 01:02:18,560 WERE DRAWN TO THE SOUND OF THE 1976 01:02:18,560 --> 01:02:19,960 INSTRUMENT THAT THEY HEARD AND 1977 01:02:19,960 --> 01:02:21,040 THAT'S KIND OF WHAT LED THEM TO 1978 01:02:21,040 --> 01:02:22,160 WANT TO KEEP PLAYING IT. 1979 01:02:22,160 --> 01:02:24,160 SO I WOULD SAY THAT IF A CHILD 1980 01:02:24,160 --> 01:02:25,560 WITH COCHLEAR IMPLANT FEELS THAT 1981 01:02:25,560 --> 01:02:27,880 WAY, THEY SHOULD GO WITH THAT 1982 01:02:27,880 --> 01:02:29,400 INSTINCT BUT THEN RECOGNIZE THAT 1983 01:02:29,400 --> 01:02:31,000 THEY HAVE TUNING CHALLENGES AND 1984 01:02:31,000 --> 01:02:31,760 STEER THEM TOWARDS SOMETHING 1985 01:02:31,760 --> 01:02:39,360 WHERE THEY DON'T HAVE TO TUNE BY 1986 01:02:39,360 --> 01:02:39,560 EAR. 1987 01:02:39,560 --> 01:02:39,960 THANKS. 1988 01:02:39,960 --> 01:02:41,400 >> SO WE HAVE 2 AUDIENCE 1989 01:02:41,400 --> 01:02:42,800 SUBMITTED QUESTIONS SO THE FIRST 1990 01:02:42,800 --> 01:02:45,560 IS HOW DO YOU THINK BEETHOVEN 1991 01:02:45,560 --> 01:02:47,200 WAS ABLE TO COMPOSE SOME OF HIS 1992 01:02:47,200 --> 01:02:49,240 GREATEST MUSIC AFTER HE LOST HIS 1993 01:02:49,240 --> 01:02:49,520 HEARING? 1994 01:02:49,520 --> 01:02:50,840 >> THAT'S A QUESTION I WISH I 1995 01:02:50,840 --> 01:02:51,320 COULD ANSWER. 1996 01:02:51,320 --> 01:02:52,960 I WILL TELL YOU THIS, IF YOU GO 1997 01:02:52,960 --> 01:02:54,400 BACK AND LISTEN TO THE NINTH SIM 1998 01:02:54,400 --> 01:02:55,800 PROJECTION NEURONS OR PIONS FONY 1999 01:02:55,800 --> 01:02:57,800 START TO FINISH NOW THAT YOU 2000 01:02:57,800 --> 01:02:59,400 REELZ IT WAS PROFOUNDLY DEAF, IT 2001 01:02:59,400 --> 01:03:02,800 WILL PLOA YOUR MIND, YOU CANNOT 2002 01:03:02,800 --> 01:03:03,440 COMPREHEND HOW THAT'S POSSIBLE 2003 01:03:03,440 --> 01:03:04,400 BUT IF YOU THINK ABOUT IT, RIGHT 2004 01:03:04,400 --> 01:03:06,160 NOW ALL OF YOU STOP AND THINK 2005 01:03:06,160 --> 01:03:07,240 ABOUT YOUR FAVORITE SONG, PLAY 2006 01:03:07,240 --> 01:03:10,400 IT IN YOUR HEAD. 2007 01:03:10,400 --> 01:03:12,720 YOU CAN HEAR IT. 2008 01:03:12,720 --> 01:03:14,480 AND IT SOUNDS PRETTY GOOD, LIKE 2009 01:03:14,480 --> 01:03:17,120 IT'S INTACT IN YOUR BRAIN. 2010 01:03:17,120 --> 01:03:18,240 YOUR AUDIDENTITIORY MUSIC WAS 2011 01:03:18,240 --> 01:03:18,560 PRETTY GOOD. 2012 01:03:18,560 --> 01:03:21,600 SO SOMEHOW HE WAS ABLE TO HAVE A 2013 01:03:21,600 --> 01:03:22,400 CONCEPTUALIZATION OF SOUND THAT 2014 01:03:22,400 --> 01:03:23,680 WAS NOT REALIZE AND PUT IT OUT 2015 01:03:23,680 --> 01:03:26,000 ON PAPER AND THAT I THINK IS 2016 01:03:26,000 --> 01:03:28,600 SOMETHING YOU COULD IMAGINE 2017 01:03:28,600 --> 01:03:30,440 DOING BUT IT'S STILL ASTONISH, 2018 01:03:30,440 --> 01:03:33,400 NOW THERE'S A REASON WHY HE'S 2019 01:03:33,400 --> 01:03:35,000 UNIQUE EXEMPLAR IN THE HISTORY 2020 01:03:35,000 --> 01:03:36,000 OF MUSIC I DON'T KNOW THAT 2021 01:03:36,000 --> 01:03:37,760 ANYONE WILL BE ABLE TO DO WHAT 2022 01:03:37,760 --> 01:03:39,200 HE DID AGAIN, ON THE OTHER HAND 2023 01:03:39,200 --> 01:03:41,520 IT'S A TESTAMENT THAT OUR 2024 01:03:41,520 --> 01:03:42,200 AUDITORY BRAINS REMAIN INTACT NO 2025 01:03:42,200 --> 01:03:43,640 MATTER WHAT HAPPENS TO OUR 2026 01:03:43,640 --> 01:03:44,960 HEARING. 2027 01:03:44,960 --> 01:03:46,280 >> NEXT QUESTION, IS, IS THERE 2028 01:03:46,280 --> 01:03:49,400 AN UPPER AGE LIMIT FOR COCHLEAR 2029 01:03:49,400 --> 01:03:49,800 IMPLANT SURGERY. 2030 01:03:49,800 --> 01:03:51,800 >> THE OLDEST PERSON I IMPLANTED 2031 01:03:51,800 --> 01:03:52,800 WAS 97 YEARS YOUNG. 2032 01:03:52,800 --> 01:03:54,720 AND I WOULD SAY IF YOU CAN 2033 01:03:54,720 --> 01:03:56,440 TOLERATE SURGERY FOR ABOUT 2 2034 01:03:56,440 --> 01:03:57,560 HOURS, YOU'RE GOOD TO GO AND 2035 01:03:57,560 --> 01:04:00,800 THIS IS AN OUTPATIENT PROCEDURE 2036 01:04:00,800 --> 01:04:02,000 WITH MINIMAL BLOOD LOSS SO IT'S 2037 01:04:02,000 --> 01:04:07,040 A VERY, VERY SAFE PROCEDURE. 2038 01:04:07,040 --> 01:04:07,720 THANK YOU. 2039 01:04:07,720 --> 01:04:08,680 >> THANK YOU AGAIN FOR AN 2040 01:04:08,680 --> 01:04:09,000 OUTSTANDING LECTURE. 2041 01:04:09,000 --> 00:00:00,000 >> THANK YOU FOR HAVING ME.