1 00:00:04,764 --> 00:00:06,799 WELCOME TO ANOTHER EXCITING 2 00:00:06,799 --> 00:00:10,636 SESSION IN A PROGRAM CALLED THE 3 00:00:10,636 --> 00:00:11,604 DEMYSTIFYING MEDICINE WHICH 4 00:00:11,604 --> 00:00:15,641 ORIGINATES FROM THE NATIONAL 5 00:00:15,641 --> 00:00:17,576 INSTITUTES OF HEALTH IN 6 00:00:17,576 --> 00:00:20,212 BETHESDA, MARYLAND AND NOW IN 7 00:00:20,212 --> 00:00:22,515 ITS I BELIEVE 22nd YEAR. 8 00:00:22,515 --> 00:00:25,284 SO THE PURPOSE OF THIS PROGRAM 9 00:00:25,284 --> 00:00:28,187 IS TO BRIDGE THE EXCITING 10 00:00:28,187 --> 00:00:29,422 DEVELOPMENTS IN BIOLOGY, 11 00:00:29,422 --> 00:00:32,858 ENGINEERING AND COMPUTER 12 00:00:32,858 --> 00:00:34,994 SCIENCES WITH MEDICINE -- 13 00:00:34,994 --> 00:00:38,264 [RECORDING IN PROGRESS ] -- AND 14 00:00:38,264 --> 00:00:39,465 EVEN GLOBAL HEALTH. 15 00:00:39,465 --> 00:00:42,034 THE PROGRAM IS HELD EVERY 16 00:00:42,034 --> 00:00:43,836 TUESDAY AFTERNOON FROM 3 TO 5 17 00:00:43,836 --> 00:00:45,471 EASTERN STANDARD TIME FROM 18 00:00:45,471 --> 00:00:48,340 JANUARY TO THE END OF MAY. 19 00:00:48,340 --> 00:00:53,479 AND YOU CAN WATCH IT BY GOING TO 20 00:00:53,479 --> 00:00:55,881 THE WEBSITE INDICATED ON THE 21 00:00:55,881 --> 00:00:56,916 SLIDE. 22 00:00:56,916 --> 00:01:00,920 YOU'VE BEEN TOLD THAT THE CME 23 00:01:00,920 --> 00:01:03,522 CREDIT FOR THIS PARTICULAR 24 00:01:03,522 --> 00:01:09,328 PROGRAM, THE NUMBER IS 58784. 25 00:01:09,328 --> 00:01:11,630 AND MOST IMPORTANT, WE URGE YOU 26 00:01:11,630 --> 00:01:18,537 TO SUBMIT QUESTIONS USING THE 27 00:01:18,537 --> 00:01:23,175 SEND LIVE FEEDBACK ON YOUR 28 00:01:23,175 --> 00:01:23,576 VIDEOCAST. 29 00:01:23,576 --> 00:01:24,710 NOW I BRING TO YOUR ATTENTION 30 00:01:24,710 --> 00:01:26,011 THE FACT THAT ALL PREVIOUS 31 00:01:26,011 --> 00:01:29,281 SESSIONS FROM THE VERY BEGINNING 32 00:01:29,281 --> 00:01:35,154 OF THIS PROGRAM ARE STORED IN 33 00:01:35,154 --> 00:01:38,924 THE NIH VIDEO ARCHIVE AND COULD 34 00:01:38,924 --> 00:01:40,559 BE ACCESSIBLE AT ANY TIME USING 35 00:01:40,559 --> 00:01:44,897 THE LINK SHOWN ON THE SLIDE. 36 00:01:44,897 --> 00:01:48,400 NOW TODAY'S PROGRAM IS A VERY 37 00:01:48,400 --> 00:01:50,035 SPECIAL 1, CONSISTENT WITH THE 38 00:01:50,035 --> 00:01:51,370 WHOLE PURPOSE OF THIS BRIDGE 39 00:01:51,370 --> 00:01:53,072 BUILDING PROGRAM WHICH IS TO 40 00:01:53,072 --> 00:01:57,076 CONVERT SILOS INTO BRIDGES AND 41 00:01:57,076 --> 00:01:58,744 MUCH OF WHAT WE KNOW ABOUT 42 00:01:58,744 --> 00:02:00,346 SCIENCE TODAY AND IN FACT 43 00:02:00,346 --> 00:02:01,547 ENGINEERING, IT'S LIKE PEOPLE 44 00:02:01,547 --> 00:02:03,616 ARE SPEAKING DIFFERENT LANGUAGES 45 00:02:03,616 --> 00:02:08,721 AND HAVE GREAT DIFFICULTY 46 00:02:08,721 --> 00:02:09,188 COMMUNICATING. 47 00:02:09,188 --> 00:02:10,389 WHAT'S NECESSARY IS TO CONNECT 48 00:02:10,389 --> 00:02:11,423 THESE DISCIPLINES AND THAT'S 49 00:02:11,423 --> 00:02:12,558 WHERE THE BRIDGE COMES IN AND 50 00:02:12,558 --> 00:02:15,327 THE PICTURE IN THE UPPER RIGHT, 51 00:02:15,327 --> 00:02:18,397 THE LOGO FOR THE PROGRAM IS THE 52 00:02:18,397 --> 00:02:20,399 CELEBRATED BROOKLYN BRIDGE. 53 00:02:20,399 --> 00:02:23,002 AND TODAY'S PARTICIPANTS ON THE 54 00:02:23,002 --> 00:02:30,543 CAT WALK ARE 3 INDIVIDUALS INDO 55 00:02:30,543 --> 00:02:32,578 WE WILL INTRODUCE ALL OF THEM IN 56 00:02:32,578 --> 00:02:32,845 A MOMENT. 57 00:02:32,845 --> 00:02:35,381 HOWEVER, IT'S MY PLEASURE TO 58 00:02:35,381 --> 00:02:38,150 INTRODUCE THE MODERATOR AND 1 OF 59 00:02:38,150 --> 00:02:42,254 THE SPEAKERS IN TODAY'S PROGRAM, 60 00:02:42,254 --> 00:02:43,355 FRANCIS COLLINS, WHO I TRUST IS 61 00:02:43,355 --> 00:02:48,294 WELL KNOWN TO ALL OF YOU, IF NOT 62 00:02:48,294 --> 00:02:54,066 TO THE WORLD. 63 00:02:54,066 --> 00:02:58,170 FROM 2009 TO 2021 FRANCIS WAS 64 00:02:58,170 --> 00:03:00,706 THE LONGEST DURATION DIRECTOR OF 65 00:03:00,706 --> 00:03:01,574 THE NATIONAL INSTITUTES OF 66 00:03:01,574 --> 00:03:03,309 HEALTH AND PLAYED A CRITICAL 67 00:03:03,309 --> 00:03:06,745 ROLE WHICH HE STILL DOES IN 68 00:03:06,745 --> 00:03:08,681 BRINGING ADVANCES IN SCIENCE, 69 00:03:08,681 --> 00:03:11,617 PARTICULARLY IN GENETICS AND IN 70 00:03:11,617 --> 00:03:14,520 INDEPTH STUDIES OF THE BRAIN AND 71 00:03:14,520 --> 00:03:17,823 MANY OTHER AREAS FOR ITS 72 00:03:17,823 --> 00:03:20,059 PROFOUNDLY INFLUENCED SCIENCE 73 00:03:20,059 --> 00:03:21,627 AND HUMAN HEALTH. 74 00:03:21,627 --> 00:03:24,463 SO MOST PEOPLE KNOW FRANCIS AS A 75 00:03:24,463 --> 00:03:26,432 PHYSICIAN SCIENTIST AND AS HEAD 76 00:03:26,432 --> 00:03:27,833 OF THE NIH. 77 00:03:27,833 --> 00:03:29,902 BUT THEY MAY NOT REALIZE THAT HE 78 00:03:29,902 --> 00:03:36,075 IS TRULY A RENAISSANCE MAN WHO 79 00:03:36,075 --> 00:03:37,743 HAS EXTENDED HIS AREAS OF 80 00:03:37,743 --> 00:03:40,045 EXPERTISE AS A SURVEYS PUSH 81 00:03:40,045 --> 00:03:47,019 AUTHOR AND TODAY MUSICIAN EMPLOY 82 00:03:47,019 --> 00:03:49,088 FRANCIS HAS RECEIVED ENUMERABLE 83 00:03:49,088 --> 00:03:52,157 HONORS WHICH I WILL NOT LIST BUT 84 00:03:52,157 --> 00:03:53,225 THEY INCLUDE MEMBERSHIP IN THE 85 00:03:53,225 --> 00:03:55,327 NATIONAL ACADEMY OF SCIENCES AND 86 00:03:55,327 --> 00:03:56,161 THE PRESIDENTIAL MEDAL FOR 87 00:03:56,161 --> 00:04:00,199 FREEDOM AND THE NATIONAL MEDAL 88 00:04:00,199 --> 00:04:01,266 FOR SCIENCE. 89 00:04:01,266 --> 00:04:06,171 SO IT'S A GREAT PLEASURE TO 90 00:04:06,171 --> 00:04:09,041 INTRODUCE ONCE AGAIN A WONDERFUL 91 00:04:09,041 --> 00:04:12,244 HUMAN BEING AND GREAT LEADER AND 92 00:04:12,244 --> 00:04:14,013 FRIEND, FRANCIS COLLINS WHO WILL 93 00:04:14,013 --> 00:04:16,215 INTRODUCE OUR OTHER 2 94 00:04:16,215 --> 00:04:20,252 PARTICIPANTS IN TODAY'S EVENT. 95 00:04:20,252 --> 00:04:20,486 FRANCIS? 96 00:04:20,486 --> 00:04:21,120 >> WELL, WIN, THANK YOU VERY 97 00:04:21,120 --> 00:04:23,122 MUCH FOR A LOVELY INTRODUCTION 98 00:04:23,122 --> 00:04:26,492 AND THANK YOU FOR 22 YEARS OF 99 00:04:26,492 --> 00:04:27,359 LEADING THIS REMARKABLE PROGRAM 100 00:04:27,359 --> 00:04:31,130 THAT DOES BUILD BRIDGES OF 101 00:04:31,130 --> 00:04:32,164 VARIOUS SORTS, SOMETIMES FROM 102 00:04:32,164 --> 00:04:33,065 BASIC SCIENCE TO CLINICAL 103 00:04:33,065 --> 00:04:34,533 MEDICINE, I THINK WE COULD SAY 104 00:04:34,533 --> 00:04:36,368 TODAY WE'RE TRYING TO BUILD A 105 00:04:36,368 --> 00:04:38,804 BRIDGE BETWEEN SCIENCE AND THE 106 00:04:38,804 --> 00:04:39,304 ARTS. 107 00:04:39,304 --> 00:04:41,440 IN THIS CASE, THE MUSICAL ARTS 108 00:04:41,440 --> 00:04:42,941 AND THIS IS AN AREA THAT SOME OF 109 00:04:42,941 --> 00:04:45,577 US HAVE GOTTEN VERY ENGAGED IN 110 00:04:45,577 --> 00:04:46,812 AND VERY EXCITED ABOUT OVER THE 111 00:04:46,812 --> 00:04:50,115 COURSE OF NOW ABOUT 8 YEARS, 112 00:04:50,115 --> 00:04:51,517 SINCE NIH INITIATED SOMETHING 113 00:04:51,517 --> 00:04:53,185 CALLED THE SOUND HEALTH PROGRAM 114 00:04:53,185 --> 00:04:54,787 AND I WANT TO TELL YOU A LITTLE 115 00:04:54,787 --> 00:04:56,955 BIT ABOUT THAT BACKGROUND BEFORE 116 00:04:56,955 --> 00:04:59,158 I INTRODUCE THE 2 MAIN 117 00:04:59,158 --> 00:05:02,695 PRESENTERS DR. CHARLES LIMB AND 118 00:05:02,695 --> 00:05:04,229 THE REMARKABLE CELLIST JOSHUA 119 00:05:04,229 --> 00:05:07,833 ROM -- ROMAN AND I WILL SHARE Y 120 00:05:07,833 --> 00:05:09,668 SCREEN IN THE HOPES THAT WILL GO 121 00:05:09,668 --> 00:05:12,471 THE WAY IT'S SUPPOSED TO AND 122 00:05:12,471 --> 00:05:13,372 HERE ... AND IN HOPES THAT 123 00:05:13,372 --> 00:05:14,540 SOMEBODY WILL SAY, YEAH THAT 124 00:05:14,540 --> 00:05:16,241 BEING LOAMACYS LIKE IT'S 125 00:05:16,241 --> 00:05:16,875 SUPPOSED TO. 126 00:05:16,875 --> 00:05:18,310 -- THAT LOOKS LIKE IT'S SUPPOSED 127 00:05:18,310 --> 00:05:18,544 TO. 128 00:05:18,544 --> 00:05:23,115 LET ME DO THE FULL SCREEN. 129 00:05:23,115 --> 00:05:25,250 I THOUGHT I WOULD START OUT BY 130 00:05:25,250 --> 00:05:27,352 TELLING YOU THE ORIGIN STORY OF 131 00:05:27,352 --> 00:05:29,221 HOW THIS MUSIC AND HEALTH 132 00:05:29,221 --> 00:05:30,255 SOMETIMES CALL SOUND HEALTH 133 00:05:30,255 --> 00:05:34,326 PROGRAM GOT STARTED AT NIH. 134 00:05:34,326 --> 00:05:35,894 BECAUSE IT'S A VERY INTERESTING 135 00:05:35,894 --> 00:05:37,496 AND REMARKABLE STORY THAT 136 00:05:37,496 --> 00:05:38,297 WOULDN'T HAPPEN MOST ANYWHERE 137 00:05:38,297 --> 00:05:38,864 ELSE. 138 00:05:38,864 --> 00:05:41,500 IT WAS THE LAST WEEK IN JUNE IN 139 00:05:41,500 --> 00:05:42,601 2015. 140 00:05:42,601 --> 00:05:45,337 I WAS INVITED ALONG WITH MY WIFE 141 00:05:45,337 --> 00:05:47,005 DIANE TO A DINNER PARTY AT A 142 00:05:47,005 --> 00:05:49,408 PLACE OUTSIDE OF D. C., DIDN'T 143 00:05:49,408 --> 00:05:52,111 KNOW WHO WAS GOING TO BE THERE 144 00:05:52,111 --> 00:05:53,378 BUT THOUGHT IT WOULD PROBABLY BE 145 00:05:53,378 --> 00:05:54,747 A HIGH LEVEL GROUP BECAUSE THE 146 00:05:54,747 --> 00:05:57,583 PEOPLE WHO HAD DONE A 147 00:05:57,583 --> 00:05:58,717 INVITATIONS HAD A TENDENCY TO DO 148 00:05:58,717 --> 00:06:00,319 THAT AND SHOWED UP ON THIS 149 00:06:00,319 --> 00:06:02,121 LOVELY JUNE EVENING AND DORPHED 150 00:06:02,121 --> 00:06:04,356 OH MY GOODNESS WE HAVE 3 SUPREME 151 00:06:04,356 --> 00:06:07,626 COURT JUSTICES WHO ARE THERE FOR 152 00:06:07,626 --> 00:06:10,262 THIS OCCASION AND IT HAPPENED TO 153 00:06:10,262 --> 00:06:12,765 BE THAT WAS THE WEEK WHERE THE 154 00:06:12,765 --> 00:06:15,601 SUPREME COURT HAD MADE A 155 00:06:15,601 --> 00:06:16,769 DECISION ABOUT WHETHER OR NOT 156 00:06:16,769 --> 00:06:18,237 GAY MARRIAGE WAS GOING TO BE 157 00:06:18,237 --> 00:06:20,305 LEGAL AND LET'S JUST SAY NOT ALL 158 00:06:20,305 --> 00:06:26,979 THE JUSTICES HAD AGREED WITH THE 159 00:06:26,979 --> 00:06:28,547 ULTIMATE DECISION THAT IT WAS 160 00:06:28,547 --> 00:06:30,449 LEGAL, AND COLLECTION OF THE 161 00:06:30,449 --> 00:06:33,452 JUDGES WERE RUTH BADER BEGINS 162 00:06:33,452 --> 00:06:39,958 BERG AND ALSO ANTHONY SCALIA WHO 163 00:06:39,958 --> 00:06:41,560 HAD WRITTEN ABOUT EACH OTHER, 164 00:06:41,560 --> 00:06:44,196 AND AS FAR AS OTHERS THAT MADE 165 00:06:44,196 --> 00:06:45,164 THE 5-4 DECISION THAT CAME OUT 166 00:06:45,164 --> 00:06:46,098 THE WAY IT DID. 167 00:06:46,098 --> 00:06:47,366 SO THINGS WERE A BIT TENSE AND 168 00:06:47,366 --> 00:06:49,401 SOME OF THE WORDS IN THOSE 169 00:06:49,401 --> 00:06:51,403 OPINIONS HAD BEEN REALLY QUITE 170 00:06:51,403 --> 00:06:51,770 STRONG. 171 00:06:51,770 --> 00:06:52,938 THE DINNER WENT FORWARD, IT WAS 172 00:06:52,938 --> 00:06:57,109 A LITTLE UNEASY AND THEN WE WENT 173 00:06:57,109 --> 00:06:57,810 OUTSIDE AFTERWARDS FOR DRINKS 174 00:06:57,810 --> 00:06:59,144 AND A BIT OF ENJOYING THE AIR 175 00:06:59,144 --> 00:07:01,446 AND THERE WAS A BLUEGRASS BAND 176 00:07:01,446 --> 00:07:03,115 THAT HAD BEEN BRUT TO THE 177 00:07:03,115 --> 00:07:03,816 OCCASION THAT WAS LIKE SORT OF 178 00:07:03,816 --> 00:07:06,051 OKAY AND I HAD BEEN ENCOURAGED 179 00:07:06,051 --> 00:07:07,419 BY THE ORGANIZERS TO BRING MY 180 00:07:07,419 --> 00:07:08,487 GUITAR IN CASE I WANTED TO I 181 00:07:08,487 --> 00:07:09,988 DIDN'T EVEN THE BAND SO WHAT THE 182 00:07:09,988 --> 00:07:11,290 HECK, I DECIDED I WOULD AND THEY 183 00:07:11,290 --> 00:07:13,192 WERE SURPRISED THAT I KNOW 184 00:07:13,192 --> 00:07:15,260 BLUEGRASS BUT THAT'S HOW I GREW 185 00:07:15,260 --> 00:07:15,427 UP. 186 00:07:15,427 --> 00:07:18,030 AND THEN IT SEEMED LIKE THAT 187 00:07:18,030 --> 00:07:20,599 MIGHT BE LIGHTENING THINGS A BIT 188 00:07:20,599 --> 00:07:21,900 AND THIS STUNNING WOMAN CAME OUT 189 00:07:21,900 --> 00:07:23,068 OF THE CROWD AND CAME UP AND 190 00:07:23,068 --> 00:07:24,436 SAID MAYBE WE NEED TO SING 191 00:07:24,436 --> 00:07:25,571 SOMETHING, MAYBE THAT WOULD HELP 192 00:07:25,571 --> 00:07:28,140 THE EVENING AND I REALIZED, OH 193 00:07:28,140 --> 00:07:29,441 MY GOSH, I'VE NEVER MET THIS 194 00:07:29,441 --> 00:07:33,212 PERSON BEFORE BUT THIS IS RENE 195 00:07:33,212 --> 00:07:35,113 FLEMMING, THE NOTABLE SOPRANO OF 196 00:07:35,113 --> 00:07:38,050 OUR ERA AND I THOUGHT WELL THAT 197 00:07:38,050 --> 00:07:40,853 SOUNDS GOOD BUT WHAT IN THE 198 00:07:40,853 --> 00:07:43,055 WORLD WOULD RENE FLEMING AND A 199 00:07:43,055 --> 00:07:45,123 BLUEGRASS BAND KNOW TOGETHER IN 200 00:07:45,123 --> 00:07:48,327 IS SHE GOING TO EXEC US TO DID 201 00:07:48,327 --> 00:07:48,727 PUCCINI? 202 00:07:48,727 --> 00:07:51,029 I NEED NOT HAVE WORRIED. 203 00:07:51,029 --> 00:07:53,832 RENE FLEMMING HAS THE MOST 204 00:07:53,832 --> 00:07:55,133 REMARKABLE ABILITY TO DO ALMOST 205 00:07:55,133 --> 00:07:58,437 ANYTHING MUSIC AND SHE HAD QUITE 206 00:07:58,437 --> 00:07:59,705 A REPERTORY OF FOLK SONGS WHICH 207 00:07:59,705 --> 00:08:01,039 WAS SOMETHING I KNEW A LOT OF 208 00:08:01,039 --> 00:08:03,108 AND PRETTY SOON WE WERE SINGING 209 00:08:03,108 --> 00:08:05,310 DUETS AND SOMETHING HAPPENED. 210 00:08:05,310 --> 00:08:07,913 THE PEOPLE WHO WERE LOOKING KIND 211 00:08:07,913 --> 00:08:10,182 OF TENSE, KIND OF DROPPED THAT 212 00:08:10,182 --> 00:08:13,986 TENSION FROM THEIR PARTICULAR 213 00:08:13,986 --> 00:08:14,486 APPEARANCE. 214 00:08:14,486 --> 00:08:16,121 SCALIA WHO HAD BEEN GRUMPY THE 215 00:08:16,121 --> 00:08:17,623 WHOLE TIME STARTED PUFFING ON 216 00:08:17,623 --> 00:08:19,992 HIS CIGAR AND LIFTING UP HIS 217 00:08:19,992 --> 00:08:21,593 GLASS OF BRANDY AFTER EACH SONG 218 00:08:21,593 --> 00:08:23,462 AND BEGINNING TO SAY THINGS LIKE 219 00:08:23,462 --> 00:08:26,231 RENE FLEMMING YOU WASTED YOUR 220 00:08:26,231 --> 00:08:27,799 TIME IN OPERA, YOU SHOULD HAVE 221 00:08:27,799 --> 00:08:29,534 DONE THIS IN FOLK MUSIC ALL 222 00:08:29,534 --> 00:08:29,768 ALONG. 223 00:08:29,768 --> 00:08:32,404 WE GOT THEM TO SING. 224 00:08:32,404 --> 00:08:35,207 WE SANG COUNTRY ROADS OR 225 00:08:35,207 --> 00:08:37,342 SHENANDOAH OR 1 OF THOSE THINGS 226 00:08:37,342 --> 00:08:39,478 AND BY THE WAY SCALIA IN 227 00:08:39,478 --> 00:08:42,281 ADDITION TO SAYING FLEMMING 228 00:08:42,281 --> 00:08:43,782 MISSED HER CALLING AND THAT 229 00:08:43,782 --> 00:08:45,384 PROBABLY COLLINS SHOULD KEEP HIS 230 00:08:45,384 --> 00:08:46,852 JOB AT NIH, OH WELL, HE'S 231 00:08:46,852 --> 00:08:47,753 PROBABLY RIGHT. 232 00:08:47,753 --> 00:08:50,322 I COULDN'T HELP IT THOUGH, I WAS 233 00:08:50,322 --> 00:08:52,224 A BIT MISCHIEFIOUS AT THAT POINT 234 00:08:52,224 --> 00:08:53,458 AND THERE WAS TIME FOR 1 MORE 235 00:08:53,458 --> 00:08:55,460 SING AND WHAT SEEMED TO BE THE 236 00:08:55,460 --> 00:08:58,096 RIGHT 1 FOR THE EQUATION, AND 237 00:08:58,096 --> 00:09:01,667 THE BOB DYLAN ANTHEM TIMES THEY 238 00:09:01,667 --> 00:09:04,536 ARE ACHANGING AND SCALIA GOT THE 239 00:09:04,536 --> 00:09:06,605 JOKE AND LIFTED HIS GLASS AND 240 00:09:06,605 --> 00:09:08,941 THAT WAS A SNAPSHOT HOW MUSIC IN 241 00:09:08,941 --> 00:09:10,409 A PARTICULAR SETTING CAN CHANGE 242 00:09:10,409 --> 00:09:12,377 THE WHOLE DYNAMIC, WE ARE WIRED 243 00:09:12,377 --> 00:09:13,211 FOR MUSIC. 244 00:09:13,211 --> 00:09:14,713 EVOLUTION HAS PLAYED SOME ROLE 245 00:09:14,713 --> 00:09:17,015 IN OUR BRAIN TO MAKE MUSIC 246 00:09:17,015 --> 00:09:19,051 IMPORTANT TO OUR SURVIVAL 247 00:09:19,051 --> 00:09:21,286 TOGETHER AS A GROUP AND 248 00:09:21,286 --> 00:09:22,287 INDIVIDUALLY AND WE CAN FIGURE 249 00:09:22,287 --> 00:09:24,556 OUT WAYS TO USE THAT FOR HEALTH 250 00:09:24,556 --> 00:09:27,859 AS WELL, SO AFTER THAT 251 00:09:27,859 --> 00:09:28,694 CONVERSATION, RENE FLEMMING AND 252 00:09:28,694 --> 00:09:30,228 I GOT TOGETHER AND TALKED ABOUT 253 00:09:30,228 --> 00:09:31,863 WAS THERE A WAY TO DO SOMETHING 254 00:09:31,863 --> 00:09:34,466 MORE HERE TO ARE A MORE 255 00:09:34,466 --> 00:09:36,702 SYSTEMATIC APPROACH TO BRINGING 256 00:09:36,702 --> 00:09:38,537 TOGETHER MUSIC AND MEDICINE OR 257 00:09:38,537 --> 00:09:39,037 MUSIC AND HEALTH. 258 00:09:39,037 --> 00:09:41,073 AND WE HAD THE CHANCE TO MAKE A 259 00:09:41,073 --> 00:09:43,308 PLAN AND TO TALK ABOUT IT IN 260 00:09:43,308 --> 00:09:45,143 VARIOUS SETTINGS AND EVEN TO 261 00:09:45,143 --> 00:09:47,446 SING ABOUT IT, THIS PARTICULAR 262 00:09:47,446 --> 00:09:50,415 INSTANCE AT THE NPR STUDIOS OR 263 00:09:50,415 --> 00:09:53,251 IN ALL THINGS CONSIDERED 264 00:09:53,251 --> 00:09:54,419 PROGRAM, BUT MORE IMPORTANTLY, 265 00:09:54,419 --> 00:09:56,121 WE FOUND THERE WAS A HUGE AMOUNT 266 00:09:56,121 --> 00:09:58,357 OF INTEREST ACROSS NIH IN THIS 267 00:09:58,357 --> 00:10:01,093 AND STARTED A WHOLE PROGRAM WITH 268 00:10:01,093 --> 00:10:03,562 AN INITIAL WORKSHOP IN JANUARY 269 00:10:03,562 --> 00:10:05,464 OF 2017, 25 RESEARCHERS, FROM 270 00:10:05,464 --> 00:10:08,266 ALL OVER THE PLACE, AND OUT OF 271 00:10:08,266 --> 00:10:09,935 THAT BUILT A WHOLE PLAN OF WHAT 272 00:10:09,935 --> 00:10:11,770 WE WOULD DO. 273 00:10:11,770 --> 00:10:13,872 WE HAD WONDERFUL PARTNERS IN THE 274 00:10:13,872 --> 00:10:15,107 KENNEDY CENTER, THE NATIONAL 275 00:10:15,107 --> 00:10:15,941 ENDOWMENT FOR THE ARTS AND YOU 276 00:10:15,941 --> 00:10:18,343 CAN GO BACK AND READ THIS 277 00:10:18,343 --> 00:10:20,145 ARTICLE IN NEURON WHICH 278 00:10:20,145 --> 00:10:22,414 BASICALLY LAID OUT WHAT SHOULD 279 00:10:22,414 --> 00:10:23,949 BE THE AGENDA OR A BOLD NEW 280 00:10:23,949 --> 00:10:26,351 PROGRAM ON HOW MUSIC AND 281 00:10:26,351 --> 00:10:27,285 NEUROSCIENCE AND MEDICINE CAN 282 00:10:27,285 --> 00:10:28,787 ALL GET TOGETHER AND LEARN FROM 283 00:10:28,787 --> 00:10:31,056 EACH OTHER AND TAKE THE FIELD OF 284 00:10:31,056 --> 00:10:32,457 MUSIC THERAPY WHICH HAS BEEN A 285 00:10:32,457 --> 00:10:34,726 STRONG AREA FOR A LONG TIME AND 286 00:10:34,726 --> 00:10:37,596 CARRY IT EVEN FURTHER INTO A 287 00:10:37,596 --> 00:10:39,731 PLACE OF FINDING ASSISTANCE FOR 288 00:10:39,731 --> 00:10:41,833 PEOPLE WITH CHRONIC PAIN, OR 289 00:10:41,833 --> 00:10:44,302 CHILDREN WITH AUTISM OR ADULTS 290 00:10:44,302 --> 00:10:45,904 WHO ARE SUFFERING FROM DEMENTIA 291 00:10:45,904 --> 00:10:48,373 OR PEOPLE WHO HAVE PTSD, ALL 292 00:10:48,373 --> 00:10:50,442 THOSE AREAS WHERE WE KNOW THAT 293 00:10:50,442 --> 00:10:52,010 THERE CAN BE BENEFITS HERE, 294 00:10:52,010 --> 00:10:53,979 COULD WE DO IT MORE EFFECTIVELY, 295 00:10:53,979 --> 00:10:56,048 SO WE FORMED A TRANSNIH MUSIC 296 00:10:56,048 --> 00:10:58,183 AND HEALTH WORKING GROUP BACK IN 297 00:10:58,183 --> 00:10:59,851 2017, 20 NIH INSTITUTES, CENTERS 298 00:10:59,851 --> 00:11:03,388 AND OFFICES HAVE BEEN PART OF 299 00:11:03,388 --> 00:11:04,656 THIS, YOU CAN SEE THE NAME OF 300 00:11:04,656 --> 00:11:10,562 THE CO CHAIRS AT THE MOMENT. 301 00:11:10,562 --> 00:11:11,496 EVELYN EDWARDS HAVE LED THIS 302 00:11:11,496 --> 00:11:13,031 EFFORT AND WE'VE DONE A LOT OF 303 00:11:13,031 --> 00:11:15,400 INVESTING IN THE COURSE OF THOSE 304 00:11:15,400 --> 00:11:15,801 YEARS. 305 00:11:15,801 --> 00:11:17,636 THIS IS PROBABLY ABOUT A YEAR 306 00:11:17,636 --> 00:11:19,504 OUT OF DATE. 307 00:11:19,504 --> 00:11:20,806 A LITTLE OVER $35 MILLION WORTH 308 00:11:20,806 --> 00:11:22,741 OF ADDITIONAL RESEARCH ON HOW 309 00:11:22,741 --> 00:11:25,444 MUSIC CAN IN FACT BE THERAPEUTIC 310 00:11:25,444 --> 00:11:26,845 WITH ABOUT 32 PROJECTS AND 311 00:11:26,845 --> 00:11:32,918 MULTIPLE DIFFERENT NIH 312 00:11:32,918 --> 00:11:34,953 INSTITUTES INVOLVED IN THAT. 313 00:11:34,953 --> 00:11:36,788 IT'S BEEN FANTASTIC AND IT'S 314 00:11:36,788 --> 00:11:40,325 ALSO BEEN FUN CONNECTING UP WITH 315 00:11:40,325 --> 00:11:41,760 MUSICIANS AND PERFORMS THAT 316 00:11:41,760 --> 00:11:43,261 ARE INTERESTED IN HOW THEIR 317 00:11:43,261 --> 00:11:45,764 SKILLS AND ART CAN REACH OUT AND 318 00:11:45,764 --> 00:11:47,199 HELP PEOPLE SUFFERING WHO CAN 319 00:11:47,199 --> 00:11:48,500 BENEFIT FROM THEIR MUSIC AND 320 00:11:48,500 --> 00:11:51,103 HAVE IT BE AN THERAPEUTIC 321 00:11:51,103 --> 00:11:51,436 INTERVENTION. 322 00:11:51,436 --> 00:11:53,939 AND SOME OF THAT HAS LED TO 323 00:11:53,939 --> 00:11:56,074 GATHERING AND WHICH ARE PARTLY 324 00:11:56,074 --> 00:11:57,309 TEACH-INS AND PARTLY PERFORMANCE 325 00:11:57,309 --> 00:11:58,810 ON THE MOMENTS AND HERE'S 1 AT 326 00:11:58,810 --> 00:12:00,145 THE STAGE AT THE KENNEDY CENTER 327 00:12:00,145 --> 00:12:01,480 WITH THE BUNCH OF US GETTING 328 00:12:01,480 --> 00:12:02,514 TOGETHER TO DO A LOT OF 329 00:12:02,514 --> 00:12:03,748 DISCUSSION ABOUT WHAT WE'RE 330 00:12:03,748 --> 00:12:06,351 LEARNING AND ABOUT HOW MUSIC 331 00:12:06,351 --> 00:12:07,886 INTERSECTS WITH THE BRAIN, BUT 332 00:12:07,886 --> 00:12:09,354 ALSO JUST TO HAVE A GOOD TIME 333 00:12:09,354 --> 00:12:10,122 BEING PART OF THINGS TOGETHER, 334 00:12:10,122 --> 00:12:11,857 YOU WILL SEE RENE FLEMMING OVER 335 00:12:11,857 --> 00:12:12,924 THERE IN THE RED DRESS, THERE 336 00:12:12,924 --> 00:12:17,129 ARE OTHER PEOPLE HERE, I THINK 337 00:12:17,129 --> 00:12:18,463 THAT'S OUR SPEAKER CHARLES LIMB 338 00:12:18,463 --> 00:12:20,265 PLAYING THE SACK PHONE AND 339 00:12:20,265 --> 00:12:25,003 PROBABLY MAYING THE GUITAR AND 340 00:12:25,003 --> 00:12:33,111 THEN ALSO BEHIND ME IS 341 00:12:33,111 --> 00:12:34,212 SANJAY GUP TA PLAYING, AND SO 342 00:12:34,212 --> 00:12:37,048 SOUND HEALTH HAS TURNED OUT TO 343 00:12:37,048 --> 00:12:40,285 BE THIS WONDERFUL CREATIVE PLACE 344 00:12:40,285 --> 00:12:42,387 FOR LOTS OF PEOPLE TO GET 345 00:12:42,387 --> 00:12:42,621 ENGAGED. 346 00:12:42,621 --> 00:12:44,523 SOME OF THE THINGS THAT RESEARCH 347 00:12:44,523 --> 00:12:46,992 HAVE TURNED UP WITH ARE PRETTY 348 00:12:46,992 --> 00:12:48,326 AMAZING, FOR INSTANCE IN THE 349 00:12:48,326 --> 00:12:49,294 BASIC SCIENCE ARENA, IT TURNS 350 00:12:49,294 --> 00:12:52,164 OUT YOU HAVE CIRCUITS IN YOUR 351 00:12:52,164 --> 00:12:54,399 BRAIN THAT RESPOND TO PARTICULAR 352 00:12:54,399 --> 00:12:57,169 ASPECTS OF MUSIC, A CIRCUIT THAT 353 00:12:57,169 --> 00:12:58,503 ACTUALLY RESPONDS TO PITCH, WAS 354 00:12:58,503 --> 00:13:00,672 THAT A HIGH OR LOW NOTE. 355 00:13:00,672 --> 00:13:01,773 A CIRCUIT RESPONDS TO THE 356 00:13:01,773 --> 00:13:02,507 DIFFERENCE BETWEEN THE PREVIOUS 357 00:13:02,507 --> 00:13:05,243 NOTE AND THAT NOTE, SO WHAT WAS 358 00:13:05,243 --> 00:13:06,244 THE INTERVAL AND 1 THAT 359 00:13:06,244 --> 00:13:08,713 SURPRISED ME BUT WHICH IS MAYBE 360 00:13:08,713 --> 00:13:10,248 THE MOST INTERESTING OF ALL IS A 361 00:13:10,248 --> 00:13:11,283 CIRCUIT THAT PREDICTS WHAT THE 362 00:13:11,283 --> 00:13:13,518 NEXT NOTE IS GOING TO BE. 363 00:13:13,518 --> 00:13:14,819 YOUR BRAIN IS ALREADY FIGURED 364 00:13:14,819 --> 00:13:16,254 OUT WHAT A PARTICULAR MELODY 365 00:13:16,254 --> 00:13:18,657 SEEMS TO BE DOING AND HAS BEFORE 366 00:13:18,657 --> 00:13:21,426 YOU GET TO THAT NEXT NOTE, AN 367 00:13:21,426 --> 00:13:23,628 IDEA WHAT IT WILL BE AND IF IT 368 00:13:23,628 --> 00:13:24,930 TURNS OUT IT'S NOT THAT NOTE, 369 00:13:24,930 --> 00:13:26,298 THAT KIND OF GIVES YOU A YOALT 370 00:13:26,298 --> 00:13:28,033 AND MAYBE YOU LIKE IT OR MAYBE 371 00:13:28,033 --> 00:13:30,268 YOU DON'T BUT IT'S NOT JUST OH 372 00:13:30,268 --> 00:13:32,571 WELL, YOUR BRAIN IS VERY TUNED 373 00:13:32,571 --> 00:13:35,273 IN IF YOU PARDON THE PUN TO THIS 374 00:13:35,273 --> 00:13:36,575 OPPORTUNITY FOR MUSIC TO HAVE 375 00:13:36,575 --> 00:13:38,577 SPECIAL IMPACT ON IT AND YOU 376 00:13:38,577 --> 00:13:41,580 KNOW IT'S TIGHTLY CONNECTED 377 00:13:41,580 --> 00:13:43,848 THROUGH EMOTIONAL CENTER AND HAS 378 00:13:43,848 --> 00:13:45,784 ALL KINDS OF TIEWPT THERE THAT 379 00:13:45,784 --> 00:13:46,751 CONVEY A SENSE OF PEACE AND 380 00:13:46,751 --> 00:13:47,953 HEALING WHEN YOU NEED IT. 381 00:13:47,953 --> 00:13:49,454 OTHER THINGS WE'VE LEARNED, 382 00:13:49,454 --> 00:13:50,555 PEOPLE HAVE HAD STROKES THAT 383 00:13:50,555 --> 00:13:51,556 AFFECT THE PART OF THE BRAIN 384 00:13:51,556 --> 00:13:56,027 WHERE YOU CAN'T SPEAK, TERRIBLY 385 00:13:56,027 --> 00:14:01,066 FRUSTRATING THING CALLED BROKEUS 386 00:14:01,066 --> 00:14:02,601 AFACKIA, AND SOMETIMES IF YOU 387 00:14:02,601 --> 00:14:04,603 HELP THEM SIMPLY TRYING TO SING 388 00:14:04,603 --> 00:14:05,570 HAPPY BERTH DAY THEY FIND THEY 389 00:14:05,570 --> 00:14:07,973 CAN DO IT, THERE'S A WHOLE CHOIR 390 00:14:07,973 --> 00:14:10,008 OF PEOPLE WHO CALL DIFFERENT 391 00:14:10,008 --> 00:14:11,209 STROKES WHO HAVE HAD STROKES AND 392 00:14:11,209 --> 00:14:13,645 WHO ARE NOW PERFORMING IN A 393 00:14:13,645 --> 00:14:14,579 CHOIR BECAUSE IT'S A DIFFERENT 394 00:14:14,579 --> 00:14:16,648 CIRCUIT THAT CAN BRING YOU THIS 395 00:14:16,648 --> 00:14:17,148 KIND OF BENEFIT. 396 00:14:17,148 --> 00:14:22,954 WE RIGHT NOW HAVE 2 MAJOR 397 00:14:22,954 --> 00:14:24,322 MULTIPLE PROJECT COMPONENT 398 00:14:24,322 --> 00:14:25,190 COLLABORATIONS ON BOTH CHRONIC 399 00:14:25,190 --> 00:14:26,658 PAIN WHERE MUSIC CAN BE A GREAT 400 00:14:26,658 --> 00:14:27,592 BENEFIT BUT WE NEED TO 401 00:14:27,592 --> 00:14:29,494 UNDERSTAND BETTER HOW THAT 402 00:14:29,494 --> 00:14:30,729 WORKS. 403 00:14:30,729 --> 00:14:32,764 AND ON DEMENTIA WHERE MUSIC CAN 404 00:14:32,764 --> 00:14:36,034 BRING OUT OF PEOPLE SOMETHING 405 00:14:36,034 --> 00:14:38,937 THAT'S BEEN LOCKED IN, 406 00:14:38,937 --> 00:14:39,904 REMEMBERING THAT PARTICULAR KIND 407 00:14:39,904 --> 00:14:41,773 OF TUNE THAT BRINGS FORWARD NOT 408 00:14:41,773 --> 00:14:43,375 JUST THAT KIND OF TUNE BUT OTHER 409 00:14:43,375 --> 00:14:44,776 THINGS AROUND IT AND COMING 410 00:14:44,776 --> 00:14:46,211 FORTH WITH MEMORIES THAT HAVE 411 00:14:46,211 --> 00:14:47,145 OTHERWISE BEEN LOST. 412 00:14:47,145 --> 00:14:49,514 POWERFUL AND EXCITING THINGS TO 413 00:14:49,514 --> 00:14:52,217 SEE, ESPECIALLY IN THIS 414 00:14:52,217 --> 00:14:52,851 COLLABORATIVE ARRANGEMENT. 415 00:14:52,851 --> 00:14:54,286 SO WE THOUGHT IT WOULD BE FUN, 416 00:14:54,286 --> 00:14:59,624 THOSE OF US WORKING ON THIS, AND 417 00:14:59,624 --> 00:15:01,693 WIN ARIAS EXTENDED THE GRACIOUS 418 00:15:01,693 --> 00:15:02,961 INVITATION TO BRING THIS TO 419 00:15:02,961 --> 00:15:04,129 DEMYSTIFYING MEDICINE AS A WAY 420 00:15:04,129 --> 00:15:05,930 OF FURTHER EMPHASIZING THE 421 00:15:05,930 --> 00:15:06,698 BRIDGE BUILDING THAT PROGRAM 422 00:15:06,698 --> 00:15:08,667 AIMS TO TRY TO REPRESENT AND I'M 423 00:15:08,667 --> 00:15:10,268 HONORED TO BE YOUR MODERATOR AND 424 00:15:10,268 --> 00:15:12,070 TO HAVE THE CHANCE NOW TO 425 00:15:12,070 --> 00:15:17,475 INTRODUCE YOUR 2 SPEAKERS. 426 00:15:17,475 --> 00:15:24,182 FIRST OF ALL CHARLES LIM IS THE 427 00:15:24,182 --> 00:15:27,185 PROFESS ONOR OF OTOLARYNGOLOGY 428 00:15:27,185 --> 00:15:28,920 AND PHYSICIAN AND ALSO A JAZZ 429 00:15:28,920 --> 00:15:30,722 MUSICIAN AND HE HAS DONE A LOT 430 00:15:30,722 --> 00:15:31,790 OF RESEARCH WHICH HE MAY HELL 431 00:15:31,790 --> 00:15:33,024 YOU ABOUT IN TERMS OF WHAT 432 00:15:33,024 --> 00:15:34,592 HAPPENS IN THE BRAIN 433 00:15:34,592 --> 00:15:37,495 PARTICULARLY FOR JAZZ MUSICIANS 434 00:15:37,495 --> 00:15:38,263 THAT ARE IMPROVISING. 435 00:15:38,263 --> 00:15:39,964 TURNS OUT THAT'S THE WAY, IF YOU 436 00:15:39,964 --> 00:15:42,400 REALLY WANT YOUR BRAIN TO WORK, 437 00:15:42,400 --> 00:15:43,134 COMPLETELY, ALL OF THOSE PLACES 438 00:15:43,134 --> 00:15:44,836 IN THE BRAIN THAT MIGHT 439 00:15:44,836 --> 00:15:47,238 OTHERWISE BE A LITTLE ON THE 440 00:15:47,238 --> 00:15:48,807 QUIET SIDE, IMPROVISATION WILL 441 00:15:48,807 --> 00:15:49,841 LIGHT IT UP. 442 00:15:49,841 --> 00:15:52,243 HE ALSO WORKS ON COCHLEAR 443 00:15:52,243 --> 00:15:53,878 IMPLANTS AND HAS DONE WORK THERE 444 00:15:53,878 --> 00:15:56,481 ALSO ABOUT WHAT MUSIC PERCEPTION 445 00:15:56,481 --> 00:15:57,549 IS LIKE. 446 00:15:57,549 --> 00:15:59,684 SO WE'RE REALLY FORTUNATE TO 447 00:15:59,684 --> 00:16:04,889 HAVE CHARLES LIMB TRAINED AT 448 00:16:04,889 --> 00:16:06,157 HARVARD, YALE, HOPKINS AND FOR A 449 00:16:06,157 --> 00:16:07,726 WHILE AT NIH WHO WILL TELL YOU 450 00:16:07,726 --> 00:16:09,127 HIS STORY WHICH WILL BE MUSIC 451 00:16:09,127 --> 00:16:10,895 FROM THE EAR TO THE BRAIN. 452 00:16:10,895 --> 00:16:13,264 THEN AFTER HE SPEAKS, FOR 453 00:16:13,264 --> 00:16:14,799 ROUGHLY 20 MINUTES OR SO, WE 454 00:16:14,799 --> 00:16:18,336 WILL HAVE OUR SECOND PRESENTER 455 00:16:18,336 --> 00:16:21,740 AND THAT IS THE REMARKABLE 456 00:16:21,740 --> 00:16:24,609 CELLIST JOSHUA ROMAN WHO STARTED 457 00:16:24,609 --> 00:16:27,579 PLAYING CELLO AT AGE 3 AND HE IS 458 00:16:27,579 --> 00:16:31,282 1 OF THE LEADING VIRTUEOSE OS 459 00:16:31,282 --> 00:16:33,418 WITH THIS INSTRUMENT, ALSO A 460 00:16:33,418 --> 00:16:34,052 COMPOSER, PLAYING MANY 461 00:16:34,052 --> 00:16:35,286 INSTRUMENTS AND MAYBE GET A 462 00:16:35,286 --> 00:16:37,422 CHANCE TO SAMPLE A BIT OF THAT. 463 00:16:37,422 --> 00:16:38,690 ACCORDING TO THE NEW YORK TIMES 464 00:16:38,690 --> 00:16:41,659 HE'S HAILED FOR HIS EFFORTLY 465 00:16:41,659 --> 00:16:43,695 EXPRESSIVE TONE IS HIS PLAYFUL 466 00:16:43,695 --> 00:16:45,397 SWRET FOR EXPLORATION AND YOU 467 00:16:45,397 --> 00:16:46,798 MAY GET A CHANCE TO EXPERIENCE 468 00:16:46,798 --> 00:16:48,032 SOME OF THAT, TOO. 469 00:16:48,032 --> 00:16:50,201 HE HOWEVER, HAS A SPECIAL 470 00:16:50,201 --> 00:16:51,136 CONNECTION NOW TO HEALTH THAT HE 471 00:16:51,136 --> 00:16:53,104 WOULD NOT HAVE SIGNED UP, BUT 472 00:16:53,104 --> 00:16:55,640 WHICH HE HAS MADE A LOT OF IN 473 00:16:55,640 --> 00:16:59,477 TERMS OF BENEFITING OTHERS AND 474 00:16:59,477 --> 00:17:01,780 THAT IS THAT IN THE EARLY DAYS 475 00:17:01,780 --> 00:17:04,916 OF COVID, HE WAS AFFECTED WITH 476 00:17:04,916 --> 00:17:06,284 THAT VIRUS AND THEN PARTICULARLY 477 00:17:06,284 --> 00:17:07,819 STRICKEN WITH A LONG VERSION OF 478 00:17:07,819 --> 00:17:09,654 COVID FOR WHICH HE SUFFERS 479 00:17:09,654 --> 00:17:12,056 ALTHOUGH HE'S WORKED REALLY HARD 480 00:17:12,056 --> 00:17:13,658 BIT BY BIT BACK TO BEING A 481 00:17:13,658 --> 00:17:14,659 PERFORMER AS YOU WILL HEAR TODAY 482 00:17:14,659 --> 00:17:18,229 AND HE HAS TAKEN THAT EXPERIENCE 483 00:17:18,229 --> 00:17:20,899 AND SHARED HIS OWN OF DEALING 484 00:17:20,899 --> 00:17:22,934 WITH IT AND PARTICULARLY HOW 485 00:17:22,934 --> 00:17:25,270 MUSIC DEALT WITH IT AS OTHERS 486 00:17:25,270 --> 00:17:26,204 HAVE WITH THIS VERY COMMON 487 00:17:26,204 --> 00:17:27,906 CONDITION AND I THINK YOU WILL 488 00:17:27,906 --> 00:17:28,640 BE QUITE TOUCHED BY THAT. 489 00:17:28,640 --> 00:17:31,776 HE WILL SPEAK TO YOU AND HE WILL 490 00:17:31,776 --> 00:17:32,911 PLAY HIS CELLO IN VARIOUS PARTS 491 00:17:32,911 --> 00:17:37,449 AND I WANT TO SAY RIGHT NOW BY 492 00:17:37,449 --> 00:17:39,117 ALL MEANS DO NOT THINK ABOUT 493 00:17:39,117 --> 00:17:40,652 SIGNING OFF TO THIS EVENT FOR 494 00:17:40,652 --> 00:17:41,286 THE END. 495 00:17:41,286 --> 00:17:43,555 WE WILL NOT GO FOR THE WHOLE 2 496 00:17:43,555 --> 00:17:45,824 HOURS, WE WILL GO TO 4:30 497 00:17:45,824 --> 00:17:47,659 EASTERN TIME BUT THERE WILL BE A 498 00:17:47,659 --> 00:17:49,861 GRAND FINALE AT THE END OF IT 499 00:17:49,861 --> 00:17:54,399 REGARDING JOSHUA, I THINK YOU 500 00:17:54,399 --> 00:17:56,201 MAY WANT TO BE. 501 00:17:56,201 --> 00:17:57,068 DON'T ZOOM OFF BEFORE THAT. 502 00:17:57,068 --> 00:17:58,570 YOU MAY WANT TO HEAR THAT. 503 00:17:58,570 --> 00:18:02,807 AND FINALLY WE GO TO CHARLES, 504 00:18:02,807 --> 00:18:05,009 THAT CME NUMBER IS 58784 AND 505 00:18:05,009 --> 00:18:06,344 ALSO GO AHEAD AND START PUTTING 506 00:18:06,344 --> 00:18:11,449 IN QUESTIONS BECAUSE WE WILL 507 00:18:11,449 --> 00:18:12,717 HAVE TIME FOR THAT. 508 00:18:12,717 --> 00:18:17,088 YOU CAN SEE IN THE LOWER LEFT OF 509 00:18:17,088 --> 00:18:18,890 YOUR SCREEN, SAYS SEND LIVE 510 00:18:18,890 --> 00:18:19,924 FEEDBACK, THAT'S HOW YOU GET 511 00:18:19,924 --> 00:18:25,263 THEM IN AND I WILL SIFT THROUGH 512 00:18:25,263 --> 00:18:26,664 THEM AND PROPOSE THEM TO THEM 513 00:18:26,664 --> 00:18:32,237 WHEN WE GET TO THAT POINT. 514 00:18:32,237 --> 00:18:33,905 I DO THINK THIS IS A PRETTY 515 00:18:33,905 --> 00:18:36,708 UNIQUE PROGRAM THAT YOU HAVE A 516 00:18:36,708 --> 00:18:37,575 HEARD TIME FINDING ANYWHERE 517 00:18:37,575 --> 00:18:41,279 ANYMORE ELSE. 518 00:18:41,279 --> 00:18:42,447 SO WITH THAT PLEASE LET ME TURN 519 00:18:42,447 --> 00:18:47,685 IT OVER TO THE REMARKABLE 520 00:18:47,685 --> 00:18:51,089 PHYSICIAN ENT PHYSICIAN, 521 00:18:51,089 --> 00:18:53,057 RESEARCHER DR. CHARLES LIMB. 522 00:18:53,057 --> 00:18:56,261 >> THANK YOU WIN, FRANCIS AND 523 00:18:56,261 --> 00:18:58,730 JOSH, IT'S AN HONOR TO SPEND IT 524 00:18:58,730 --> 00:19:01,666 WITH YOU AND FRANCIS, THE ENTIRE 525 00:19:01,666 --> 00:19:02,767 WORLD IS INDEBTED TO YOUR 526 00:19:02,767 --> 00:19:04,502 EFFORTS AND I HAVE TO SAY FOR 527 00:19:04,502 --> 00:19:06,604 MYSELF, THIS WAS A FIELD THAT I 528 00:19:06,604 --> 00:19:09,908 HAD BEEN STRUGGLING FOR 529 00:19:09,908 --> 00:19:13,378 VALIDATION, STRUGGLING FOR 530 00:19:13,378 --> 00:19:15,747 FUNDING, STRUGGLING FOR SUPPORT 531 00:19:15,747 --> 00:19:17,048 FROM THE SCIENTIFIC COMMUNITY 532 00:19:17,048 --> 00:19:18,249 AND WITH YOUR SUPPORT THAT 533 00:19:18,249 --> 00:19:19,951 REALLY PUSHED US OVER THE TOP SO 534 00:19:19,951 --> 00:19:22,220 I'M SUPER, VIEWRP GRATEFUL FOR 535 00:19:22,220 --> 00:19:23,321 ALL YOUR EFFORTS, BECAUSE THIS 536 00:19:23,321 --> 00:19:24,622 WAS A SESSION ABOUT BUILDING 537 00:19:24,622 --> 00:19:25,690 BRIDGES, I THOUGHT IT WOULD BE 538 00:19:25,690 --> 00:19:27,759 GOOD TO TALK ABOUT MY PATHWAY 539 00:19:27,759 --> 00:19:29,127 AND HOW I BECAME TO DO WHAT I DO 540 00:19:29,127 --> 00:19:30,261 AND THINK ABOUT THE THINGS THAT 541 00:19:30,261 --> 00:19:32,730 I THINK ABOUT AND SO, FRANCIS 542 00:19:32,730 --> 00:19:35,934 MENTIONED THAT I'M A SURGEON AND 543 00:19:35,934 --> 00:19:41,739 ALSO SHOWED A PHOTO OF ME ON 544 00:19:41,739 --> 00:19:42,540 SAXOPHONE. 545 00:19:42,540 --> 00:19:44,776 SO MY STORY IS SIMPLE. 546 00:19:44,776 --> 00:19:48,446 WHEN I WAS CHILD, I REALIZED I 547 00:19:48,446 --> 00:19:49,414 WAS OBSESSED WITH MUSIC, IT WAS 548 00:19:49,414 --> 00:19:52,617 1 OF THE NEW THINGS I KEPT 549 00:19:52,617 --> 00:19:54,018 THINKING ABOUT OVER AND OVER 550 00:19:54,018 --> 00:19:55,286 AGAIN, IT WAS JUST SOMETHING I 551 00:19:55,286 --> 00:19:56,721 ENJOYED BUT ALSO MAKING ME 552 00:19:56,721 --> 00:19:58,256 THINK, ALSO MAKING ME FEEL, BUT 553 00:19:58,256 --> 00:20:02,193 ALSO SO I THINK MAKING ME VIEW 554 00:20:02,193 --> 00:20:04,395 LIFE IN A DIFFERENT WAY, MEANING 555 00:20:04,395 --> 00:20:05,964 THAT IT WAS GIVING ME INSIGHT 556 00:20:05,964 --> 00:20:09,334 INTOS WHAT IT MEANT TO BE HUMAN 557 00:20:09,334 --> 00:20:10,201 AND WHAT IT MENTORSHIP SKILL TO 558 00:20:10,201 --> 00:20:11,402 BE GROWING AND LEARNING THINGS 559 00:20:11,402 --> 00:20:13,738 AND PARTICULARLY WHEN I WAS A 560 00:20:13,738 --> 00:20:14,606 TEENAGER, I REALLY FELT VERY 561 00:20:14,606 --> 00:20:16,040 CLEARLY THAT I WAS READING A 562 00:20:16,040 --> 00:20:17,275 LOT, I WAS TALKING TO A LOT OF 563 00:20:17,275 --> 00:20:18,910 PEOPLE, BUT THE THING THAT WAS 564 00:20:18,910 --> 00:20:21,446 ALWAYS THE BEST TEACHER FOR ME 565 00:20:21,446 --> 00:20:21,913 WAS ALWAYS MUSIC. 566 00:20:21,913 --> 00:20:23,581 I DEPARTMENT HAVE A GOOD 567 00:20:23,581 --> 00:20:27,051 EXPLANATION FOR IT BUT I WAS 568 00:20:27,051 --> 00:20:27,785 ALWAYS DRAWN TO SOUND. 569 00:20:27,785 --> 00:20:29,287 IT WAS LIKE THE WORLD HAD A 570 00:20:29,287 --> 00:20:30,755 SOUND, BEING ALIVE HAD A SOUND 571 00:20:30,755 --> 00:20:32,123 TO IT, OR FEELING AND EMOTION 572 00:20:32,123 --> 00:20:33,958 HAD A SOUND TO IT MORE THAN IT 573 00:20:33,958 --> 00:20:36,394 HAD WORDS TO IT, MORE THAN IT 574 00:20:36,394 --> 00:20:38,229 HAD IMAGERY TO IT, EVEN THOUGH 575 00:20:38,229 --> 00:20:39,097 THOSE THINGS WERE IMPORTANT FOR 576 00:20:39,097 --> 00:20:42,467 ME, SO AS I WAS KIND OF THINKING 577 00:20:42,467 --> 00:20:46,604 ABOUT WHAT IT MEANT TO BE QUIEND 578 00:20:46,604 --> 00:20:46,838 -- 579 00:20:46,838 --> 00:20:49,173 MEANT TO BE AN INTACT PERSON I 580 00:20:49,173 --> 00:20:50,441 FELT LIKE I HAD TO GO BACK TO 581 00:20:50,441 --> 00:20:52,377 SOWBD AND I WAS LEARNING TO PLAY 582 00:20:52,377 --> 00:20:55,680 INSTRUMENTSA THE TIME, I WAS A 583 00:20:55,680 --> 00:20:57,782 PIANIST, SAXOPHONIST AND I WAS A 584 00:20:57,782 --> 00:21:00,685 DESCENT MUSICIAN FOR A HIGH 585 00:21:00,685 --> 00:21:02,286 SCHOOL STUDENT, AT NO POINT I 586 00:21:02,286 --> 00:21:03,955 DID HAVE THE CONVICTION THAT I 587 00:21:03,955 --> 00:21:05,523 THINK 1 NEEDS TO BECOME AN 588 00:21:05,523 --> 00:21:07,892 ARTIST AND I THINK ARTISTS ARE 589 00:21:07,892 --> 00:21:10,662 IN MANY WAYS THE BRAVEST IN THE 590 00:21:10,662 --> 00:21:12,630 WORLD BECAUSE IT TAKES A TON OF 591 00:21:12,630 --> 00:21:14,198 CONVECTION TO BELIEVE IN 592 00:21:14,198 --> 00:21:14,832 YOURSELF ARTISTICALLY AND 593 00:21:14,832 --> 00:21:15,800 BELIEVE IN YOURSELF SO MUCH THAT 594 00:21:15,800 --> 00:21:18,236 YOU WILL SPEND YOUR ENTIRE LIFE 595 00:21:18,236 --> 00:21:18,936 WORKING ON YOUR CRAFT AND 596 00:21:18,936 --> 00:21:20,271 BRINGING IT TO THE WORLD. 597 00:21:20,271 --> 00:21:21,139 THAT'S SOMETHING I DREAMED AND 598 00:21:21,139 --> 00:21:23,574 WISH THAT I COULD REALLY COULD 599 00:21:23,574 --> 00:21:24,809 HAVE DONE BUT FOR SOME REASON, 600 00:21:24,809 --> 00:21:26,010 AND I DON'T KNOW HOW TO EXPLAIN 601 00:21:26,010 --> 00:21:29,113 THIS OTHER THAN I LACK THE 602 00:21:29,113 --> 00:21:29,447 CONVICTION. 603 00:21:29,447 --> 00:21:33,284 I FELT THAT THAT WAS NOT MY 604 00:21:33,284 --> 00:21:35,520 FUTURE AND SO I ALWAYS RETURN 605 00:21:35,520 --> 00:21:37,021 BACK TO SOUND AND WHEN I LEARN 606 00:21:37,021 --> 00:21:39,290 IN MEDICINE THAT THERE WAS A WAY 607 00:21:39,290 --> 00:21:40,825 TO STUDY HEARING, IT KIND OF 608 00:21:40,825 --> 00:21:43,795 BECAME MY NATURAL CALLING, I 609 00:21:43,795 --> 00:21:47,865 BECAME AN ONTOLOGIST WHICH IS AN 610 00:21:47,865 --> 00:21:50,668 EAR SPECIALIST AND THEN SURGEON 611 00:21:50,668 --> 00:21:51,369 FOCUSING ON THINGS PERTAINING TO 612 00:21:51,369 --> 00:21:54,338 THE EAR AND BRAIN. 613 00:21:54,338 --> 00:21:55,873 AND I WILL JUST SHOW SOME SLIDES 614 00:21:55,873 --> 00:21:56,107 HERE. 615 00:21:56,107 --> 00:21:58,876 SO WHEN PEOPLE THINK ABOUT HOW 616 00:21:58,876 --> 00:22:00,378 YOU HEAR SOUND, YOU MAY THINK 617 00:22:00,378 --> 00:22:01,746 ABOUT IN THIS KIND OF ABSTRACT 618 00:22:01,746 --> 00:22:03,081 SENSE BUT I WILL ENCOURAGE YOU 619 00:22:03,081 --> 00:22:04,682 TO THINK ABOUT IT, THE WAY I 620 00:22:04,682 --> 00:22:06,718 THINK ABOUT WHICH IS FOR A FEW 621 00:22:06,718 --> 00:22:08,352 MINUTES HERE LOOKING AT THIS 622 00:22:08,352 --> 00:22:08,853 DRAWING. 623 00:22:08,853 --> 00:22:10,621 THIS IS A REMARKABLE DRAWING BY 624 00:22:10,621 --> 00:22:13,758 MAX OF THE TEMPORAL BONE AND 625 00:22:13,758 --> 00:22:16,661 THIS SHOWS THE ANATOMY OF THE 626 00:22:16,661 --> 00:22:18,096 PERIPHERAL AUDITORY SYSTEM, SO 627 00:22:18,096 --> 00:22:19,797 WHEN YOU HEAR ANYTHING IT SYSTEM 628 00:22:19,797 --> 00:22:21,032 ALLOWS ANYTHING TO KICK INTO 629 00:22:21,032 --> 00:22:23,034 GEAR, WHICH IS SOUND, VIBRATION 630 00:22:23,034 --> 00:22:25,002 IN THE EAR TO BE COLLECTED BY 631 00:22:25,002 --> 00:22:26,604 YOUR EAR DRUM AND THEN GET 632 00:22:26,604 --> 00:22:28,139 FUNNELED DOWN AND SENT INTO THE 633 00:22:28,139 --> 00:22:31,809 INNER EAR OR THE COCHLEA WHERE 634 00:22:31,809 --> 00:22:33,945 THESE FLUID WAVES SEND 635 00:22:33,945 --> 00:22:35,079 ELECTRICITY, NOT ACOUSTICS, 636 00:22:35,079 --> 00:22:36,114 ELECTRICITY DOWN INTO YOUR 637 00:22:36,114 --> 00:22:37,448 AUDITORY NERVE AND YOUR BRAIN 638 00:22:37,448 --> 00:22:38,282 STEM THIS, IS THE PROCESS BY 639 00:22:38,282 --> 00:22:40,651 WHICH YOU ARE ABLE TO HEAR AND 640 00:22:40,651 --> 00:22:43,788 THE THING I LOVE ABOUT THIS IDEA 641 00:22:43,788 --> 00:22:45,256 IS THAT THE EXPERIENCE OF 642 00:22:45,256 --> 00:22:48,993 LISTENING TO MUSIC IS PROFOUND, 643 00:22:48,993 --> 00:22:50,461 IT'S EXHILARATING, IT'S 644 00:22:50,461 --> 00:22:51,796 UPLIFTING, PAINFUL, MANY, MANY 645 00:22:51,796 --> 00:22:53,064 THINGS ALL WRAPPED TOGETHER BUT 646 00:22:53,064 --> 00:22:54,265 IT'S ALSO DEEPLY ROOTED IN 647 00:22:54,265 --> 00:22:55,767 BIOLOGY AND SO FOR ME AS A 648 00:22:55,767 --> 00:22:57,835 SURGEON, FOR ME AS A SCIENTIST, 649 00:22:57,835 --> 00:23:03,307 I CANNOT GET OVER THE FACT THAT 650 00:23:03,307 --> 00:23:04,642 THERE'S A DISCREET NEUROBIOLOGY 651 00:23:04,642 --> 00:23:08,179 THAT GIVES RISE TO ALL OF THESE 652 00:23:08,179 --> 00:23:08,846 HUMAN EXPERIENCES. 653 00:23:08,846 --> 00:23:11,849 AND IN SOME WAYS IT'S THE MOST 654 00:23:11,849 --> 00:23:13,818 PROFOUND THING FOR ME TO THINK 655 00:23:13,818 --> 00:23:16,821 ABOUT WHICH IS THAT IT'S OUR 656 00:23:16,821 --> 00:23:18,990 PHYSICAL BODIES THAT ENABLE THIS 657 00:23:18,990 --> 00:23:24,829 ENTIRE LIFE OF EMOTIONALITY AND 658 00:23:24,829 --> 00:23:25,830 CONSCIOUSNESS AND MUSICAL 659 00:23:25,830 --> 00:23:26,898 FROM--INTEGRATION FUNDITY, AND 660 00:23:26,898 --> 00:23:30,401 SO I'VE ALWAYS GONE BACK TO THIS 661 00:23:30,401 --> 00:23:32,003 IDEA THAT OUR HEALTH, OUR 662 00:23:32,003 --> 00:23:33,504 HAPPINESS IS TIED VERY DEEPLY TO 663 00:23:33,504 --> 00:23:35,473 THE FUNCTIONING OF OUR BODY 664 00:23:35,473 --> 00:23:37,909 SYSTEMS, AND SO, A LOT OF WHAT I 665 00:23:37,909 --> 00:23:40,144 WORKED ON IS ACTUALLY HOW TO 666 00:23:40,144 --> 00:23:42,413 UNDERSTAND OR TO IMPROVE THE 667 00:23:42,413 --> 00:23:43,648 SYSTEMS WHEN THEY'RE -- IF 668 00:23:43,648 --> 00:23:44,382 THEY'RE WORKING EXTREMELY WELL 669 00:23:44,382 --> 00:23:46,017 OR WHEN THEY'RE FAILING, NOW 670 00:23:46,017 --> 00:23:48,386 WITH THAT KIND OF BACK DROP IN 671 00:23:48,386 --> 00:23:49,620 MIND, I WANT YOU TO THINK ABOUT 672 00:23:49,620 --> 00:23:52,456 THIS IDEA THAT MUSIC IS 673 00:23:52,456 --> 00:23:52,957 RECONSTRUCTED VIBRATIONS 674 00:23:52,957 --> 00:23:53,591 CONVERTED INTO ELECTRICITY IN 675 00:23:53,591 --> 00:23:59,497 OUR BRAIN AND LET'S LISTEN TO A 676 00:23:59,497 --> 00:24:09,874 LITTLE MUSIC TOGETHER. 677 00:24:11,409 --> 00:24:12,310 [OPERA MUSIC PLAYING ] SO 678 00:24:12,310 --> 00:24:14,212 HOPEFULLY I KNOW YOU HEARD THAT 679 00:24:14,212 --> 00:24:15,346 MANY, MANY TIMES, COUNTLESS 680 00:24:15,346 --> 00:24:16,981 TIMES BUT MAYBE NOW IT SEEMS 681 00:24:16,981 --> 00:24:18,049 DIFFERENT TO YOU WHEN YOU THINK 682 00:24:18,049 --> 00:24:20,985 OF IT AS A BYPRODUCT OF THESE 683 00:24:20,985 --> 00:24:21,886 VIBRATIONS HAPPENING IN YOUR 684 00:24:21,886 --> 00:24:24,388 MIDDLE EAR SPACE AND FLUID WAVES 685 00:24:24,388 --> 00:24:27,091 IN YOUR INNER EAR AND SYNAPTIC 686 00:24:27,091 --> 00:24:28,759 CONNECTIONS IN YOU'REONS AND 687 00:24:28,759 --> 00:24:30,728 BRAIN STEM AND RECONSTRUCTING IT 688 00:24:30,728 --> 00:24:32,897 ALL INTO AN EXPERIENCE THAT IS 689 00:24:32,897 --> 00:24:35,299 REMARKABLE AND ALL THE MORE SO 690 00:24:35,299 --> 00:24:38,002 WHEN WE ACKNOWLEDGE THAT 691 00:24:38,002 --> 00:24:39,303 BEETHOVEN WAS PROFOUNDLY DEAF 692 00:24:39,303 --> 00:24:40,471 WHEN HE WROTE THAT PIECE OF 693 00:24:40,471 --> 00:24:42,640 MUSIC, SO IT WAS THAT KIND OF 694 00:24:42,640 --> 00:24:44,575 FEELING I WANTED IN MY WORK. 695 00:24:44,575 --> 00:24:47,111 UNFORTUNATELY WHEN I WOUND UP IN 696 00:24:47,111 --> 00:24:47,979 OTOLAIRIN GOLG THIS, IS MORE 697 00:24:47,979 --> 00:24:51,949 WHAT I HEARD MORE OF. 698 00:24:51,949 --> 00:24:53,618 SO BLIPS AND BLEEPS WAS THE 699 00:24:53,618 --> 00:24:55,820 SUBSTANCE OF MY FIELD AND THE 700 00:24:55,820 --> 00:24:59,290 PURE TONE A SIGN WAVE, IT'S A 701 00:24:59,290 --> 00:24:59,957 VERY IMPORTANT THING ESPECIALLY 702 00:24:59,957 --> 00:25:01,459 A SCIENTIST ON THE PROBE, 703 00:25:01,459 --> 00:25:02,760 AUDITORY SYSTEM AND HOW WE 704 00:25:02,760 --> 00:25:04,428 DETERMINE THINGS LIKE PITCH AND 705 00:25:04,428 --> 00:25:05,863 MELODY AND ET CETERA, ET CETERA, 706 00:25:05,863 --> 00:25:08,699 ET CETERA AND FOR ME IT WAS 707 00:25:08,699 --> 00:25:10,134 DEEPLY FRUSTRATING AND I FOUND 708 00:25:10,134 --> 00:25:13,471 THAT I HAD TO KIND OF, IN A WAY 709 00:25:13,471 --> 00:25:14,639 START FROM SCRATCH TO REALIZE 710 00:25:14,639 --> 00:25:15,873 THAT ALTHOUGH WE KNEW A LOT 711 00:25:15,873 --> 00:25:16,941 ABOUT HEARING, WE DIDN'T KNOW 712 00:25:16,941 --> 00:25:18,809 THAT MUCH ABOUT HOW HEARING 713 00:25:18,809 --> 00:25:20,411 LEADS TO MUSIC, AND SO MOST OF 714 00:25:20,411 --> 00:25:26,751 MY WORK WAS THEN GEARING TOWARDS 715 00:25:26,751 --> 00:25:27,485 THAT PHENOMENA. 716 00:25:27,485 --> 00:25:28,886 NOW I WANT TO SWITCH GEARS HERE 717 00:25:28,886 --> 00:25:30,454 AND SHOW YOU A VIDEO OF A GIRL. 718 00:25:30,454 --> 00:25:36,127 THIS IS A GIRL WITH HER MOTHER. 719 00:25:36,127 --> 00:25:42,166 >> OWL. 720 00:25:42,166 --> 00:25:42,633 OWL. 721 00:25:42,633 --> 00:25:44,201 YEAH. 722 00:25:44,201 --> 00:25:50,541 OWL. 723 00:25:50,541 --> 00:25:50,708 OWL. 724 00:25:50,708 --> 00:25:55,646 YEAH. 725 00:25:55,646 --> 00:25:59,116 BABY. 726 00:25:59,116 --> 00:26:00,418 >> BABY. 727 00:26:00,418 --> 00:26:02,453 >> SO THIS IS AN AMAZING FAMILY, 728 00:26:02,453 --> 00:26:03,554 THIS MOTHER'S DOING EVERYTHING 729 00:26:03,554 --> 00:26:05,122 SHE CAN TO ENRICH HER DAUGHTER'S 730 00:26:05,122 --> 00:26:07,458 LIFE AND SOME OF YOU MAY HAVE 731 00:26:07,458 --> 00:26:09,894 FIGURED OUT THAT THIS GIRL IS 732 00:26:09,894 --> 00:26:11,062 PROFOUNDLY HEARING IMPAIRED, SHE 733 00:26:11,062 --> 00:26:13,331 WAS BORN DEAF AND SHE CANNOT 734 00:26:13,331 --> 00:26:14,765 REALLY HEAR ANYTHING AND DESPITE 735 00:26:14,765 --> 00:26:17,401 THE MOTHER'S BEST EFFORTS SHE'S 736 00:26:17,401 --> 00:26:18,102 NOT GETTING AUDITORY 737 00:26:18,102 --> 00:26:18,469 INFORMATION. 738 00:26:18,469 --> 00:26:21,939 SO THERE A LOT OF DIFFERENT WAYS 739 00:26:21,939 --> 00:26:23,240 TO TREAT HEARING LOSS. 740 00:26:23,240 --> 00:26:24,909 WE CERTAINLY IMPROVED IN OUR 741 00:26:24,909 --> 00:26:26,177 METHODS, IN THE 1800S YOU CAN 742 00:26:26,177 --> 00:26:28,079 SEE WHERE WE WERE AT, WE WERE 743 00:26:28,079 --> 00:26:30,047 USING THINGS LIKE FUNNELS AND 744 00:26:30,047 --> 00:26:31,582 EAR SHAPED OBJECTS AND THEN 745 00:26:31,582 --> 00:26:35,219 HUNDREDS OF YEARS LATER WE HAVE 746 00:26:35,219 --> 00:26:36,620 THE MODERN MULTICHANNEL COCHLEAR 747 00:26:36,620 --> 00:26:37,755 IMPLANT WHICH IS DEVICES THAT 748 00:26:37,755 --> 00:26:40,992 CAN STIMULATE THE AUDITORY NERVE 749 00:26:40,992 --> 00:26:44,996 AND BYPASS THE NERVE IN CASE OF 750 00:26:44,996 --> 00:26:45,529 DEAFNESS. 751 00:26:45,529 --> 00:26:47,698 SO THIS FAMILY ELECTED TO 752 00:26:47,698 --> 00:26:50,801 UNDERGO A COCHLEAR IMPLANT BY MY 753 00:26:50,801 --> 00:26:52,269 MENTOR, AND YOU WILL HEAR A 754 00:26:52,269 --> 00:26:54,939 VIDEO OF THIS CHILD NOW ABOUT A 755 00:26:54,939 --> 00:26:55,539 DECADE LATER. 756 00:26:55,539 --> 00:26:58,342 AND SO THIS IS MY SURGICAL TEAM 757 00:26:58,342 --> 00:26:59,210 PERFORMING A COCHLEAR IMPLANT 758 00:26:59,210 --> 00:27:01,412 AND HERE IS THIS GIRL NOW ABOUT 759 00:27:01,412 --> 00:27:03,781 A DECADE LATER AND YOU WILL HEAR 760 00:27:03,781 --> 00:27:05,049 HER SPEAK. 761 00:27:05,049 --> 00:27:06,951 >> SO YOU'VE WRITTEN 2 BOOKS. 762 00:27:06,951 --> 00:27:08,085 >> I HAVE WRITTEN 2 BOOKS. 763 00:27:08,085 --> 00:27:09,954 >> WAS THE OTHER A BOOK OR A 764 00:27:09,954 --> 00:27:10,755 JOURNAL ENTRY. 765 00:27:10,755 --> 00:27:13,324 >> THE OTHER 1 WAS A BOOK NOH, 766 00:27:13,324 --> 00:27:13,724 OKAY. 767 00:27:13,724 --> 00:27:17,695 >> WELL THIS BOOK HAS 7 CHAPTERS 768 00:27:17,695 --> 00:27:22,066 AND THE LAST CHAPTER IS 769 00:27:22,066 --> 00:27:23,734 ENTITLED: THE GOOD THINGS ABOUT 770 00:27:23,734 --> 00:27:24,935 BEING DEAF. 771 00:27:24,935 --> 00:27:26,137 DO REMEMBER WRITING THAT 772 00:27:26,137 --> 00:27:26,504 CHAPTER. 773 00:27:26,504 --> 00:27:32,176 >> S I DO, I REMEMBER WRITING 774 00:27:32,176 --> 00:27:34,645 EVERY CHAPTER. 775 00:27:34,645 --> 00:27:35,479 WELL SOMETIMES MY RESEARCH CAN 776 00:27:35,479 --> 00:27:37,048 BE KIND OF ANNOYING SO IT COMES 777 00:27:37,048 --> 00:27:40,818 IN HAND TOW NOT BE ANNOYED BY 778 00:27:40,818 --> 00:27:41,118 HER. 779 00:27:41,118 --> 00:27:44,789 >> AND WHO IS THAT? 780 00:27:44,789 --> 00:27:45,089 >> COLLIE. 781 00:27:45,089 --> 00:27:46,190 >> HER SISTER. 782 00:27:46,190 --> 00:27:46,657 >> MY SISTER. 783 00:27:46,657 --> 00:27:49,794 >> AND HOW CAN YOU AVOID BEING 784 00:27:49,794 --> 00:27:50,261 ANNOYED BY HER? 785 00:27:50,261 --> 00:27:53,497 >> I TAKE IT OFF AND I DON'T 786 00:27:53,497 --> 00:27:55,032 HEAR ANYTHING, SO IT'S PRETTY -- 787 00:27:55,032 --> 00:27:56,667 IT COMES IN HANDY. 788 00:27:56,667 --> 00:27:58,436 >> SO YOU DON'T WANT TO HEAR 789 00:27:58,436 --> 00:28:00,738 EVERYTHING THAT'S OUT THERE. 790 00:28:00,738 --> 00:28:00,971 >> NO. 791 00:28:00,971 --> 00:28:02,873 >> SO THIS GIRL IS AMAZING. 792 00:28:02,873 --> 00:28:04,241 SHE'S A FANTASTIC COCHLEAR 793 00:28:04,241 --> 00:28:05,543 IMPLANT USER, IF YOU MET HER ON 794 00:28:05,543 --> 00:28:06,777 THE STREET AND CHAT WITH HER, 795 00:28:06,777 --> 00:28:08,512 YOU WOULD NOT KNOW SHE'S DEAF 796 00:28:08,512 --> 00:28:10,281 BUT SHE'S IN FACT DEAF AND ONLY 797 00:28:10,281 --> 00:28:12,917 ABLE TO HEAR YOU THROUGH THE USE 798 00:28:12,917 --> 00:28:14,151 OF THESE PROSTHESIS, WHICH 799 00:28:14,151 --> 00:28:16,620 AMAZING WELL IN MOST CASES FOR 800 00:28:16,620 --> 00:28:17,154 SPEECH, HOWEVER, SOMETHING 801 00:28:17,154 --> 00:28:18,923 HAPPENS WHEN THE SIGNAL IS NOT 802 00:28:18,923 --> 00:28:20,925 SPEECH AND PARTICULARLY WHEN 803 00:28:20,925 --> 00:28:22,159 IT'S MUSIC. 804 00:28:22,159 --> 00:28:24,361 COCHLEAR IMPLANT USERS AS A 805 00:28:24,361 --> 00:28:26,363 GENERAL RULE REALLY STRUGGLE 806 00:28:26,363 --> 00:28:26,764 WITH MUSIC. 807 00:28:26,764 --> 00:28:29,567 AND THIS GETS TO THE POINT THAT 808 00:28:29,567 --> 00:28:31,268 A COCHLEAR IMPLANT WAS NEVER 809 00:28:31,268 --> 00:28:34,472 DESIGNED TO HANDLE OR PROCESS 810 00:28:34,472 --> 00:28:38,109 THE COMPLEX SOUNDS THAT SAY A 811 00:28:38,109 --> 00:28:38,476 PIANO CAN MAKE. 812 00:28:38,476 --> 00:28:40,478 SPEECH IS A MUCH MORE REDUNDANT 813 00:28:40,478 --> 00:28:42,480 SIGNAL THAN MUSIC AND IN MANY 814 00:28:42,480 --> 00:28:43,948 WAYS, THESE ARE THINGS TO GET 815 00:28:43,948 --> 00:28:45,916 RIGHT WHICH IS WHY WE CAN HAVE A 816 00:28:45,916 --> 00:28:48,486 CONVERSATION ON A TELEPHONE VERY 817 00:28:48,486 --> 00:28:49,987 COMFORTABLY AND HAVE NO LOSS OF 818 00:28:49,987 --> 00:28:51,088 COGNITION OF WHAT JUST TOOK 819 00:28:51,088 --> 00:28:52,890 PLACE IN THAT CONVERSATION BUT 820 00:28:52,890 --> 00:28:55,192 WHO'S GOING TO GO HERE A CONCERT 821 00:28:55,192 --> 00:28:56,460 THROUGH A TELEPHONE IN THE 822 00:28:56,460 --> 00:28:57,394 EXPERIENCE IS JUST A FRACTION OF 823 00:28:57,394 --> 00:29:00,464 WHAT IT SHOULD BE AND THE CASE 824 00:29:00,464 --> 00:29:03,868 OF THE COCHLEAR IMPLANT, AND NOT 825 00:29:03,868 --> 00:29:05,436 NEAR WHAT A TELEPHONE WILL BE 826 00:29:05,436 --> 00:29:05,636 DOING. 827 00:29:05,636 --> 00:29:07,571 NOW IN THE CASE OF A COCHLEAR 828 00:29:07,571 --> 00:29:09,940 IMPLANT WE HAVE ESSENTIALLY A 829 00:29:09,940 --> 00:29:11,108 PRETTY CRUDE SYSTEM WHEN IT 830 00:29:11,108 --> 00:29:12,710 COMES TO MUSIC TRYING TO GIVE 831 00:29:12,710 --> 00:29:14,078 ALL OF THIS INFORMATION TO 832 00:29:14,078 --> 00:29:16,981 SOMEBODY AND I LIKEN IT AS MUSIC 833 00:29:16,981 --> 00:29:19,583 IS THE PINNACLE OF SOUND, IT'S 834 00:29:19,583 --> 00:29:20,784 THE HIGHEST VERSION OF HEARING 835 00:29:20,784 --> 00:29:23,387 AND IMAGINE TRYING TO TASTE THE 836 00:29:23,387 --> 00:29:26,790 WORLD'S MOST DELICIOUS MEAL WITH 837 00:29:26,790 --> 00:29:28,392 A VERY CRUDE TONGUE TASTE 838 00:29:28,392 --> 00:29:28,792 SIMULATOR. 839 00:29:28,792 --> 00:29:30,060 THE IDEA YOU COULD REALLY 840 00:29:30,060 --> 00:29:31,962 RECREATE THE FULL EXPERIENCE OF 841 00:29:31,962 --> 00:29:33,597 THAT MEAL IS VERY, VERY SLIM AND 842 00:29:33,597 --> 00:29:37,601 SO WE SEE THAT WITH MUSIC WE'RE 843 00:29:37,601 --> 00:29:38,369 NOT GETTING THERE. 844 00:29:38,369 --> 00:29:39,637 NOW THIS IS PROBABLY A BETTER 845 00:29:39,637 --> 00:29:41,572 VIEW OF WHAT IT ACTUALLY SOUNDS 846 00:29:41,572 --> 00:29:42,706 LIKE FOR COCHLEAR IMPLANT USER 847 00:29:42,706 --> 00:29:44,909 BUT MAYBE NOT EVEN THIS GOOD 848 00:29:44,909 --> 00:29:46,810 BECAUSE AT LEAST HERE ALL THE 849 00:29:46,810 --> 00:29:47,912 KEYS OR MOSTLY THERE THAT YOU 850 00:29:47,912 --> 00:29:50,047 DON'T HAVE KEY TAC GO IN THE 851 00:29:50,047 --> 00:29:51,615 WRONG DIRECTION MEANING AS YOU 852 00:29:51,615 --> 00:29:53,517 GO HIGHER ON THE KEYBOARD THE 853 00:29:53,517 --> 00:29:54,852 SOUNDS ARE GOING LOWER IN PITCH 854 00:29:54,852 --> 00:29:57,354 AND YOU DON'T HAVE SOUNDS HERE 855 00:29:57,354 --> 00:29:59,023 WITH PIANO KEYS THAT ARE WIDE 856 00:29:59,023 --> 00:30:01,125 FOR EXAMPLE, THERE CAN BE 857 00:30:01,125 --> 00:30:03,561 SEVERAL NOTES FOR A COCHLEAR 858 00:30:03,561 --> 00:30:05,129 IMPLANT USER YOU HIT THE PITCH 859 00:30:05,129 --> 00:30:07,865 IS THE SAME AS D OR E OR F. 860 00:30:07,865 --> 00:30:10,167 AND SO THIS IS A VISUAL WAY TO 861 00:30:10,167 --> 00:30:11,936 REPRESENT THE FACT THAT PITCH 862 00:30:11,936 --> 00:30:14,405 DISTORTION IS A WAY TO 863 00:30:14,405 --> 00:30:16,840 UNDERSTAND A LOT OF MUSIC FOR 864 00:30:16,840 --> 00:30:17,341 COCHLEAR IMPLANT USERS. 865 00:30:17,341 --> 00:30:20,945 THIS IS THE SIMPLE WAY TO LOOK 866 00:30:20,945 --> 00:30:22,680 AT SOUND DYNAMICS AND FREQUENCY 867 00:30:22,680 --> 00:30:24,114 RANGES IS THE PURPOSE OF THIS IS 868 00:30:24,114 --> 00:30:25,916 TO SUGGIEST THAT LANGUAGE IS A 869 00:30:25,916 --> 00:30:31,455 SIMPLER ACOUSTIC STIMULUS, 870 00:30:31,455 --> 00:30:32,556 MUSIC, ALMOST ANY SOUND CAN BE 871 00:30:32,556 --> 00:30:34,658 USED IN MUSIC AND YOU CAN USE 872 00:30:34,658 --> 00:30:38,495 ENVIRONMENTAL SOUNDS, NATURE 873 00:30:38,495 --> 00:30:41,632 SOUNDS, NONSENSE SOUNDS, ALL 874 00:30:41,632 --> 00:30:43,634 TYPES OF ACOUSTIC INFORMATION 875 00:30:43,634 --> 00:30:45,836 CAN BE USED MUSICALLY AND THIS 876 00:30:45,836 --> 00:30:48,405 IS WHY THE COCHLEAR IMPLANT 877 00:30:48,405 --> 00:30:51,675 STRUGGLES IS BECAUSE IT HAS 878 00:30:51,675 --> 00:30:52,743 DYNAMICS IN THE FREQUENCY RANGE. 879 00:30:52,743 --> 00:30:54,912 NOW WE'VE DONE A LOT OF LAB OVER 880 00:30:54,912 --> 00:30:56,580 THE YEARS TO UNDERSTAND THE 881 00:30:56,580 --> 00:30:58,816 LIMITATIONS OF COCHLEAR IMPLANT 882 00:30:58,816 --> 00:31:00,684 MEDIATED MUSIC PERCEPTION AND 883 00:31:00,684 --> 00:31:01,986 HAD IS A SIMPLE SCHEMATIC 884 00:31:01,986 --> 00:31:03,954 BREAKING DOWN USING IT IN ITS 885 00:31:03,954 --> 00:31:05,055 VARIOUS COMPONENTS AND YOU CAN 886 00:31:05,055 --> 00:31:07,124 SPEND A LIFETIME IN EACH OF 887 00:31:07,124 --> 00:31:08,292 THESE COMPONENTS AS THE FIELD OF 888 00:31:08,292 --> 00:31:09,593 RESEARCH EACH FOR THE THINGS 889 00:31:09,593 --> 00:31:11,095 THAT ARE INTACT BECAUSE THEY'RE 890 00:31:11,095 --> 00:31:12,896 ONLY INTACT WHEN WE LOOK AT VERY 891 00:31:12,896 --> 00:31:14,365 BASIC SYSTEMS AND BASIC STIMULI. 892 00:31:14,365 --> 00:31:16,834 NOW IF YOU THINK THAT THE 893 00:31:16,834 --> 00:31:18,469 OVERALL PURPOSE OF MUSIC IS TO 894 00:31:18,469 --> 00:31:20,838 PROVIDE A SENSE OF EMOTION AND 895 00:31:20,838 --> 00:31:22,806 THAT'S DEBATABLE BUT AT LEAST 896 00:31:22,806 --> 00:31:24,908 THAT'S 1 CORE FUNDAMENTAL ASPECT 897 00:31:24,908 --> 00:31:25,175 OF MUSIC. 898 00:31:25,175 --> 00:31:26,644 YOU HAVE TO UNDERSTAND THAT EACH 899 00:31:26,644 --> 00:31:27,945 OF THESE COMPONENTS CONTRIBUTES 900 00:31:27,945 --> 00:31:30,080 IN SOME FUNDAMENTAL WAY TO THAT 901 00:31:30,080 --> 00:31:32,116 OUTPUT, AND SO THAT END RESULT, 902 00:31:32,116 --> 00:31:33,817 IF YOU GO THROUGH THEM 1 BY 1, 903 00:31:33,817 --> 00:31:35,019 PARTICULARLY IF YOU LOOK AT THE 904 00:31:35,019 --> 00:31:36,020 PITCH, ALL THE THINGS THAT ARE 905 00:31:36,020 --> 00:31:38,022 IN RED ON THIS DIAGRAM ARE 906 00:31:38,022 --> 00:31:41,292 BASICALLY OFF OR NOT POSSIBLE IN 907 00:31:41,292 --> 00:31:41,992 COCHLEAR IMPLANT USERS. 908 00:31:41,992 --> 00:31:42,993 THERE ARE SOME THINGS THAT ARE 909 00:31:42,993 --> 00:31:44,695 PRETTY GOOD LIKE RHYTHM IS NOT 910 00:31:44,695 --> 00:31:46,530 BAD BECAUSE TIMING INFORMATION 911 00:31:46,530 --> 00:31:47,898 IS BASICALLY INTACT AND THAT'S 912 00:31:47,898 --> 00:31:48,532 BASIC TIMING. 913 00:31:48,532 --> 00:31:50,601 WHEN YOU GET INTO POLYRHYTHMS 914 00:31:50,601 --> 00:31:53,003 AND THINGS WHERE YOU'RE MIXING 915 00:31:53,003 --> 00:31:54,905 RHYTHMS WITH TAMBERS I THINK 916 00:31:54,905 --> 00:31:56,974 IT'S A MUCH MORE COMPLICATED 917 00:31:56,974 --> 00:31:57,174 ISSUE. 918 00:31:57,174 --> 00:31:58,642 BUT YOU CAN SEE HOW COCHLEAR 919 00:31:58,642 --> 00:31:59,810 IMPLANT IS BADLY OUT OF TUNE AND 920 00:31:59,810 --> 00:32:00,911 AS A RESULT OF THAT ALL THE 921 00:32:00,911 --> 00:32:03,681 THINGS THAT COME UP FROM MELODY 922 00:32:03,681 --> 00:32:05,582 AND HARMONY ARE ESSENTIA WILY 923 00:32:05,582 --> 00:32:07,051 DISTORTED OR LOST AND THEN 924 00:32:07,051 --> 00:32:08,719 TAMBER WHICH IS AN ABILITY TO 925 00:32:08,719 --> 00:32:12,022 IDENTIFY SOUND FOR MUSIC IS ALSO 926 00:32:12,022 --> 00:32:13,724 VERY, VERY CHALLENGING LEADING 927 00:32:13,724 --> 00:32:15,125 TO POOR SOUND QUALITY, LIMITED 928 00:32:15,125 --> 00:32:16,126 SENSE OF IF YOU DISCIPLINARY AM 929 00:32:16,126 --> 00:32:18,228 NAIC RANGE OF MUSIC AND REDUCED 930 00:32:18,228 --> 00:32:20,698 SENSE OF EMOTIONAL REWARD WHEN 931 00:32:20,698 --> 00:32:21,665 YOU'RE LISTENING TO MUSIC EMPLOY 932 00:32:21,665 --> 00:32:23,634 SO THERE ARE SOME COCHLEAR 933 00:32:23,634 --> 00:32:24,935 IMPLANT USERS THAT DON'T LIKE TO 934 00:32:24,935 --> 00:32:26,036 LISTEN TO MUSIC BECAUSE IT 935 00:32:26,036 --> 00:32:26,804 DOESN'T SOUND GOOD TO THEM. 936 00:32:26,804 --> 00:32:29,373 SO IN THE CASE OF MUSIC IF IT 937 00:32:29,373 --> 00:32:32,409 DOESN'T SOUND GOOD, WHAT'S THE 938 00:32:32,409 --> 00:32:32,810 POINT. 939 00:32:32,810 --> 00:32:34,311 SO THIS IS A CLUE TO US IN THE 940 00:32:34,311 --> 00:32:36,347 FIELD OF HEARING RESTORATION AND 941 00:32:36,347 --> 00:32:37,214 HEARING LOSS TREATMENT WE HAVE A 942 00:32:37,214 --> 00:32:38,248 LONG WAY TO GO. 943 00:32:38,248 --> 00:32:39,316 SO WE'RE DOING FAIRLY WELL IN 944 00:32:39,316 --> 00:32:42,086 THE SENSE THAT WE HAVE A 945 00:32:42,086 --> 00:32:44,088 PROSTHESIS SURGEICALLY THAT CAN 946 00:32:44,088 --> 00:32:46,290 STILL RESTORE HEARING FUNCTION 947 00:32:46,290 --> 00:32:47,958 THAT'S A GREAT ACCOMPLISHMENT 948 00:32:47,958 --> 00:32:49,126 WITH THE MODERN MIRACLES OF 949 00:32:49,126 --> 00:32:50,861 MEDICINE, BUT IN TERMS OF 950 00:32:50,861 --> 00:32:51,528 PERFECT HEARING RESTORATION 951 00:32:51,528 --> 00:32:53,130 WHICH IS WHAT I STRIVE FOR AS A 952 00:32:53,130 --> 00:32:55,199 SURGEON, WE ARE A LONG WAY TO 953 00:32:55,199 --> 00:32:55,466 GO. 954 00:32:55,466 --> 00:32:57,101 THERE'S NO OTHER WAY TO PUT IT, 955 00:32:57,101 --> 00:32:58,469 WE'RE JUST AT THE BEGINNING AND 956 00:32:58,469 --> 00:33:00,104 IT'S GREAT TO SEE THAT. 957 00:33:00,104 --> 00:33:02,272 WE ARE IN A TIME WHETHER IT'S SO 958 00:33:02,272 --> 00:33:04,508 MANY DIFFERENT MINDS AND EFFORTS 959 00:33:04,508 --> 00:33:07,311 AND ANGLINGS TOWARDS THIS GREAT 960 00:33:07,311 --> 00:33:09,213 COMPLEX MULTIFACETED PROBLEM, 961 00:33:09,213 --> 00:33:11,215 NOW, YEARS OF LOOKING AT THE EAR 962 00:33:11,215 --> 00:33:12,449 AND WONDERING ABOUT MUSIC, LED 963 00:33:12,449 --> 00:33:14,818 MOO TO BE ULTIMATELY FRUSTRATED 964 00:33:14,818 --> 00:33:16,320 BECAUSE I STARTED TO REALIZE 965 00:33:16,320 --> 00:33:18,555 THAT YOU CANNOT UNDERSTAND MUSIC 966 00:33:18,555 --> 00:33:20,023 BY STARING AT THE EAR DRUM. 967 00:33:20,023 --> 00:33:22,960 IT'S LIKE TRYING TO UNDERSTAND 968 00:33:22,960 --> 00:33:24,294 THE CONCEPT BY LOOKING AT THE 969 00:33:24,294 --> 00:33:26,830 EYEBALL. 970 00:33:26,830 --> 00:33:27,564 IT'S NOT ENOUGH. 971 00:33:27,564 --> 00:33:29,333 SO WHILE THE EAR DRUM IS AN 972 00:33:29,333 --> 00:33:31,468 IMPORTANT MEANS TO AN END, IT'S 973 00:33:31,468 --> 00:33:33,971 NOT THE END IN AND OF ITSELF, SO 974 00:33:33,971 --> 00:33:35,672 I FELT LIKE I HAD TO START 975 00:33:35,672 --> 00:33:36,840 STUDYING SOMETHING ELSE OTHER 976 00:33:36,840 --> 00:33:39,009 THAN THE EAR AND THAT SOMETHING 977 00:33:39,009 --> 00:33:40,811 ELSE WAS THE BRAIN, AND AS 978 00:33:40,811 --> 00:33:42,413 FRANCIS MENTIONED I WENT TO THE 979 00:33:42,413 --> 00:33:45,516 NIH AFTER I FINISHED MY SURGICAL 980 00:33:45,516 --> 00:33:48,185 FELLOWSHIP AT JOHNS HOPKINS IN 981 00:33:48,185 --> 00:33:49,453 ORDER TO LEARN FUNCTIONAL NEURAL 982 00:33:49,453 --> 00:33:51,789 IMAGING AND I WAS AT THE NIDCD 983 00:33:51,789 --> 00:33:53,290 WHERE I SPENT FORMATIVE YEARS 984 00:33:53,290 --> 00:33:54,258 AND MOST IMPORTANTLY WHAT I WAS 985 00:33:54,258 --> 00:33:56,460 ABLE TO DO THERE WAS TO BE LEFT 986 00:33:56,460 --> 00:33:58,695 ALONE AND WHEN I WAS LEFT ALONE, 987 00:33:58,695 --> 00:34:00,364 HIACCESS TO A FUNCTIONAL MRI 988 00:34:00,364 --> 00:34:02,332 SCANNER, I HAD TIME AND I HAD 989 00:34:02,332 --> 00:34:05,402 KIND OF THE FREEDOM TO THINK 990 00:34:05,402 --> 00:34:06,837 SCIENTIFICALLY ABOUT THINGS AND 991 00:34:06,837 --> 00:34:08,672 I STARTED REALIZING THAT 992 00:34:08,672 --> 00:34:09,973 FUNCTIONAL MRI SCANNERS ARE KIND 993 00:34:09,973 --> 00:34:11,875 OF AGNOSTIC TO WHAT THE PERSON 994 00:34:11,875 --> 00:34:13,877 IS DOING, YOU KNOW EACH THOUGH 995 00:34:13,877 --> 00:34:15,345 TRADITIONALLY THEY HAD BEEN USED 996 00:34:15,345 --> 00:34:17,147 FOR FAIRLY SIMPLE TYPES OF 997 00:34:17,147 --> 00:34:18,215 EXPERIMENTS THERE WAS NO REAL 998 00:34:18,215 --> 00:34:19,917 REASON WHY YOU COULDN'T DO 999 00:34:19,917 --> 00:34:23,086 SOMETHING MORE COMPLICATED SO I 1000 00:34:23,086 --> 00:34:25,923 STARTED TO DEVISE A WAY TO TAKE 1001 00:34:25,923 --> 00:34:29,460 MY INTERESTS IN JAZZ, MY 1002 00:34:29,460 --> 00:34:30,861 INTEREST IN HEARING AND TO THINK 1003 00:34:30,861 --> 00:34:32,896 ABOUT WHAT IT IS THAT I DO WHEN 1004 00:34:32,896 --> 00:34:34,598 I'M PLAYING JAZZ THAT FEELS 1005 00:34:34,598 --> 00:34:38,635 DIFFERENT AND YOU KNOW, SO 1006 00:34:38,635 --> 00:34:40,003 FRANCIS MENTIONED IMPROVISATION, 1007 00:34:40,003 --> 00:34:41,038 MOST JAZZ MUSICIANS, THE REASON 1008 00:34:41,038 --> 00:34:42,773 THEY'RE JAZZ BECAUSE OF 1009 00:34:42,773 --> 00:34:43,607 IMPROVISATION, THAT'S THE WHOLE 1010 00:34:43,607 --> 00:34:45,542 NATURE OF THE MUSIC AND THAT'S 1011 00:34:45,542 --> 00:34:46,944 WHAT DESIGNS JAZZ IS THIS UNIQUE 1012 00:34:46,944 --> 00:34:48,545 ART FORM AND UNIQUELY AMERICAN 1013 00:34:48,545 --> 00:34:50,914 ART FORM THAT I THINK IN SOME 1014 00:34:50,914 --> 00:34:52,115 WAYS PEOPLE GET OBSESSED WITH 1015 00:34:52,115 --> 00:34:54,918 BECAUSE OF THE IDEA THAT IT'S 1016 00:34:54,918 --> 00:34:57,621 CONSTANTLY EVOLVING, IT'S NEVER 1017 00:34:57,621 --> 00:34:58,422 THE SAME. 1018 00:34:58,422 --> 00:35:02,893 IT'S IN A WAY A PERFECT ART FORM 1019 00:35:02,893 --> 00:35:03,727 FROM THAT PERSPECTIVE. 1020 00:35:03,727 --> 00:35:05,229 IT'S ALWAYS KNEW. 1021 00:35:05,229 --> 00:35:07,965 WHEN I IMPROVISED MYSELF, I 1022 00:35:07,965 --> 00:35:08,765 COULD TELL THAT SOMETHING 1023 00:35:08,765 --> 00:35:10,501 CHANGES IN MY BRAIN. 1024 00:35:10,501 --> 00:35:11,802 THERE'S SORT OF A SWITCH FLIPS 1025 00:35:11,802 --> 00:35:13,504 AND YOU'RE SORT OF A DIFFERENT 1026 00:35:13,504 --> 00:35:15,105 MODE OR A DIFFERENT MIND SET OR 1027 00:35:15,105 --> 00:35:16,773 MAYBE YOU'RE EVEN A DIFFERENT 1028 00:35:16,773 --> 00:35:19,076 PERSON FOR THAT MOMENT, YOU'RE 1029 00:35:19,076 --> 00:35:20,477 CHANGING AS YOU'RE DOING THIS 1030 00:35:20,477 --> 00:35:21,645 AND SOMEHOW YOUR BRAIN IS DOING 1031 00:35:21,645 --> 00:35:24,615 THESE THINGS THAT YOU'RE NOT 1032 00:35:24,615 --> 00:35:26,283 REALLY SO CONSCIENCELY AWARE OF 1033 00:35:26,283 --> 00:35:27,885 OR CONTROLLING YET YOU'RE THE 1 1034 00:35:27,885 --> 00:35:29,119 THAT'S DOING IT AND YOU'RE 1035 00:35:29,119 --> 00:35:30,187 PLAYING AN ACTIVE ROLE IN DOING 1036 00:35:30,187 --> 00:35:40,697 IT SO I THOUGHT TO MYSELF, HOW 1037 00:35:54,945 --> 00:35:55,579 IS THAT POSSIBLE? 1038 00:35:55,579 --> 00:35:57,848 -- SO I DECIDED BECAUSE I WAS AT 1039 00:35:57,848 --> 00:35:59,216 NIH, BECAUSE I COULD ASK THESE 1040 00:35:59,216 --> 00:36:01,818 QUESTIONS I COULD DESIGN A 1041 00:36:01,818 --> 00:36:03,253 FUNCTIONAL MRI TO LOOK AT YASES 1042 00:36:03,253 --> 00:36:05,556 IS THAT'S HOW IT WENT AND WE 1043 00:36:05,556 --> 00:36:07,057 DEVELOPED A PIANO KEYBOARD I 1044 00:36:07,057 --> 00:36:09,526 SHOWED AND THIS I WILL SHOW A 1045 00:36:09,526 --> 00:36:11,228 VIDEO AND THIS VIDEO IS MORE 1046 00:36:11,228 --> 00:36:13,664 THAN A DECADE OR MORE OF DEMOING 1047 00:36:13,664 --> 00:36:20,737 HOW THIS WORKS. 1048 00:36:20,737 --> 00:36:22,406 COMPREHEND. 1049 00:36:22,406 --> 00:36:23,707 >> THIS IS A 35 KEY, KEYBOARD 1050 00:36:23,707 --> 00:36:25,809 THAT WE USE FOR THE JAZZ 1051 00:36:25,809 --> 00:36:27,277 EXPERIMENTS, IT FITS INSIDE THE 1052 00:36:27,277 --> 00:36:29,613 SCANNER, MEDICALLY SAFE, HAVE 1053 00:36:29,613 --> 00:36:30,547 MINIMAL INTERFERENCE FOR ANY 1054 00:36:30,547 --> 00:36:31,715 ARTIFACT AND HAVE THE CUSHIONS 1055 00:36:31,715 --> 00:36:34,084 IT CAN REST ON THE PLAYERS LEGS 1056 00:36:34,084 --> 00:36:36,553 WHILE THEY'RE LYING DOWN THE 1057 00:36:36,553 --> 00:36:38,355 SCANNER LAYING ON THEIR BACK. 1058 00:36:38,355 --> 00:36:41,658 IT WORKS LIKE THIS, IT DOESN'T 1059 00:36:41,658 --> 00:36:43,126 PRODUCE ANY SOUND. 1060 00:36:43,126 --> 00:36:46,463 SENDS OUT A MIDI SIGNAL, INTO 1061 00:36:46,463 --> 00:36:49,032 THE WIRES AND BOX AND COMPUTER 1062 00:36:49,032 --> 00:36:59,576 WHICH TRIGGER SAMPLES LIKE THIS. 1063 00:37:07,884 --> 00:37:18,095 [♪ MUSIC ♪] 1064 00:37:52,963 --> 00:37:56,400 SO THIS EXPERIMENT WHICH I 1065 00:37:56,400 --> 00:37:57,567 WANTED TO BE ECOLOGICALLY 1066 00:37:57,567 --> 00:37:59,102 DEVELOPED AND I HAVE A LOT OF 1067 00:37:59,102 --> 00:38:01,004 REASONS FOR THAT 1 AND I WANT TO 1068 00:38:01,004 --> 00:38:02,839 FEEL LIKE MUSIC, I DON'T WANT IT 1069 00:38:02,839 --> 00:38:04,174 TO BE ABSTRACT, I DON'T WANT TO 1070 00:38:04,174 --> 00:38:14,718 GET IT RELATED TO MUSIC BUT NOT 1071 00:38:38,041 --> 00:38:38,275 MUSIC. 1072 00:38:38,275 --> 00:38:40,410 -- WHY DON'T YOU START IMPROVISE 1073 00:38:40,410 --> 00:38:42,579 A LARGE PORTION OF THE BRAIN IS 1074 00:38:42,579 --> 00:38:44,081 DEACTIVATING OR SHUTTING OFF 1075 00:38:44,081 --> 00:38:46,383 THESE CONSCIOUS CONTROL 1076 00:38:46,383 --> 00:38:47,884 MECHANISMS AND LATERAL 1077 00:38:47,884 --> 00:38:49,553 PREFRONTAL REGIONS INVOLVED IN 1078 00:38:49,553 --> 00:38:50,587 CONSCIOUS SELF-MONITORING NOW 1079 00:38:50,587 --> 00:38:53,023 THAT'S A VERY SIMPLISTIC WAY TO 1080 00:38:53,023 --> 00:38:54,157 DISCUSS A COMPLEX SET OF 1081 00:38:54,157 --> 00:38:56,026 CHANGES, I WILL TELL YOU IT WILL 1082 00:38:56,026 --> 00:38:57,661 BE COMPLETELY INKREK AS AN 1083 00:38:57,661 --> 00:38:59,463 EXPLANATION, BUT IT'S THE 1 I'M 1084 00:38:59,463 --> 00:39:01,865 BEGINNING WITH BECAUSE IT MAKES 1085 00:39:01,865 --> 00:39:04,234 SENSE TO ME. 1086 00:39:04,234 --> 00:39:06,436 THERE'S A VERY REASONABLE THEORY 1087 00:39:06,436 --> 00:39:09,740 THAT WHEN YOU ENTER A FLOW STATE 1088 00:39:09,740 --> 00:39:20,117 AND YOU'RE USING THESE 1089 00:39:32,095 --> 00:39:33,630 MECHANISMS YOU ARE -- SO THAT 1090 00:39:33,630 --> 00:39:35,165 KIND OF CONSTANT 1091 00:39:35,165 --> 00:39:36,633 SELF-MONITORING, IT'S WHY YOU 1092 00:39:36,633 --> 00:39:38,268 MIGHT CHOKE WHEN YOU DO 1093 00:39:38,268 --> 00:39:39,736 SOMETHING -- THAT'S SUDDENLY, 1094 00:39:39,736 --> 00:39:49,146 YOU'VE DONE IT MANY, MANY TIMES 1095 00:39:49,146 --> 00:39:51,248 SO SUDDENLY I START WALKING LIKE 1096 00:39:51,248 --> 00:39:53,617 THIS AS IF I HAD NEVER KNOWN HOW 1097 00:39:53,617 --> 00:39:55,552 TO WALK BEFORE APPROXIMATE SO IT 1098 00:39:55,552 --> 00:39:56,520 WAS SUDDENLY CONSCIOUS FOR ME 1099 00:39:56,520 --> 00:39:58,889 AND I WAS NOT ABLE TO SUPPRESS 1100 00:39:58,889 --> 00:40:00,624 MY CONSCIOUS CONTROL MECHANISMS 1101 00:40:00,624 --> 00:40:01,892 AND THEN MEAN WHILE THESE AREAS 1102 00:40:01,892 --> 00:40:03,360 ARE SUBPRIORITIESING ON WHICH I 1103 00:40:03,360 --> 00:40:05,595 THINK ARE RELEVANT BECAUSE JAZZ 1104 00:40:05,595 --> 00:40:07,030 MUSICIANS ARE TELLING THEIR 1105 00:40:07,030 --> 00:40:07,397 PERSONAL STORY. 1106 00:40:07,397 --> 00:40:08,799 NONAPOPTOTIC YOU THIS IS JUST A 1107 00:40:08,799 --> 00:40:11,601 VIGNETTE AND KIND OF AN EXAMPLE 1108 00:40:11,601 --> 00:40:14,871 OF SOME WAYS THAT SCIENCE CAN 1109 00:40:14,871 --> 00:40:17,073 PROVIDE FUNDAMENTAL INSIGHTS 1110 00:40:17,073 --> 00:40:19,075 INTO OUR SCIENCE -- ART DID NOT 1111 00:40:19,075 --> 00:40:21,812 NEED SCIENCE TO JUSTIFY ITS 1112 00:40:21,812 --> 00:40:23,446 EXISTENCE AND IN MANY WAYS, 1113 00:40:23,446 --> 00:40:25,782 PEOPLE CAN BE VERY HAPPY NEVER 1114 00:40:25,782 --> 00:40:29,219 KNOWING ABOUT THE BASIS FOR ART 1115 00:40:29,219 --> 00:40:32,656 BUT I THINK THERE IS SOMETHING 1116 00:40:32,656 --> 00:40:43,133 VERY WHEN YOU TRANSFER THE 1117 00:41:01,318 --> 00:41:03,119 BIOLOGICAL EFFECTS, CAN YOU MAKE 1118 00:41:03,119 --> 00:41:05,522 PEOPLE FEEL MORE CONNECTED TO 1 1119 00:41:05,522 --> 00:41:05,755 ANOTHER. 1120 00:41:05,755 --> 00:41:07,057 MUSIC CAN BE A FORM OF MEDICINE 1121 00:41:07,057 --> 00:41:08,558 AND THIS IS REALLY WEIRD TO 1122 00:41:08,558 --> 00:41:10,360 SOUND THE HEALTH NETWORK AS 1123 00:41:10,360 --> 00:41:12,295 ENTERED IN AS PART OF THIS 1124 00:41:12,295 --> 00:41:13,430 COLLABORATION THAT FRANCIS 1125 00:41:13,430 --> 00:41:16,466 MENTION AND I'M INDEBTED TO 1126 00:41:16,466 --> 00:41:19,669 PEOPLE NOT JUST THE NIH BUT ALSO 1127 00:41:19,669 --> 00:41:20,937 THE NATIONAL ENDOWMENT FOR THE 1128 00:41:20,937 --> 00:41:23,073 ARTS AND THEN ALSO TO MY 1129 00:41:23,073 --> 00:41:24,674 COLLABORATORS THE SOUND HEALTH 1130 00:41:24,674 --> 00:41:26,243 NETWORK, PARTICULARLY JULIAN 1131 00:41:26,243 --> 00:41:28,078 JOHNSON, SHERRY AND JOHN AND 1132 00:41:28,078 --> 00:41:30,680 WE'VE HAD AN AMAZING TIME TRYING 1133 00:41:30,680 --> 00:41:34,651 TO SET UP A NETWORK OF ARTISTS 1134 00:41:34,651 --> 00:41:35,585 MUSICIAN SCIENTISTS, THINKERS, 1135 00:41:35,585 --> 00:41:43,627 ORGANIZATIONS THAT CARE ABOUT 1136 00:41:43,627 --> 00:41:46,463 THESE QUESTIONS I WILL SHOW YOU 1137 00:41:46,463 --> 00:41:48,465 A SHORT VIDEO ABOUT HOW THIS 1138 00:41:48,465 --> 00:41:49,099 COLLABORATION TOOK PLACE NSOUND 1139 00:41:49,099 --> 00:41:51,334 HEALTH IS A NEW INITIATIVE WE'RE 1140 00:41:51,334 --> 00:41:53,737 EXPLORING WITH THE NIH UNDER THE 1141 00:41:53,737 --> 00:41:55,438 LEADERSHIP OF RENE FLEMMING WHO 1142 00:41:55,438 --> 00:41:57,173 BEGAN THIS WITH DR. COLLINS, 1143 00:41:57,173 --> 00:41:58,575 WE'RE LOOKING TO FIND OUT HOW IS 1144 00:41:58,575 --> 00:42:01,044 A CREATIVE LIFE A MORE HEALTHY 1145 00:42:01,044 --> 00:42:01,244 LIFE? 1146 00:42:01,244 --> 00:42:02,612 >> IT'S AN EXCITING TIME IN 1147 00:42:02,612 --> 00:42:04,281 NEUROSCIENCE, WE'RE STARTING TO 1148 00:42:04,281 --> 00:42:06,516 LEARN WAYS IN WHICH MUSIC CAN 1149 00:42:06,516 --> 00:42:08,618 INFLUENCE ALL OTHER ASPECTS OF 1150 00:42:08,618 --> 00:42:09,753 1'S BRAIN FUNCTION AND 1151 00:42:09,753 --> 00:42:11,321 ASPECIALLY HOW WE USE THAT 1152 00:42:11,321 --> 00:42:12,889 INFORMATION TO USE MUSIC 1153 00:42:12,889 --> 00:42:14,557 THERAPEUTICALLY NWHEN I MET 1154 00:42:14,557 --> 00:42:16,359 FRANCIS COLLINS WHO I DISCOVERED 1155 00:42:16,359 --> 00:42:18,328 WAS A REALLY TERRIFIC MUSICIAN, 1156 00:42:18,328 --> 00:42:19,562 THIS MIGHT BE AN OPPORTUNITY. 1157 00:42:19,562 --> 00:42:21,665 IF PEOPLE ARE THROUGH MUSIC 1158 00:42:21,665 --> 00:42:23,934 THERAPY, SUCCEEDING AND HELPING 1159 00:42:23,934 --> 00:42:26,569 PATIENTS, CHILDREN WITH AUTISM, 1160 00:42:26,569 --> 00:42:27,370 PATIENTS WITH PARKINSONS, STROKE 1161 00:42:27,370 --> 00:42:29,105 VICTIM WHO IS CAN COMMUNICATE 1162 00:42:29,105 --> 00:42:31,408 BECAUSE THEY SING BUT THEY CAN'T 1163 00:42:31,408 --> 00:42:34,210 SPEAK, THE SCIENCE OF HEALING IN 1164 00:42:34,210 --> 00:42:37,180 THE ARTS, IT'S ANOTHER AREA OF 1165 00:42:37,180 --> 00:42:38,448 EXPLODING RESEARCH. 1166 00:42:38,448 --> 00:42:39,916 >> THIS HAS A RESEARCH COMPONENT 1167 00:42:39,916 --> 00:42:41,952 TO IT, IT HAS A PRESENTATION 1168 00:42:41,952 --> 00:42:43,987 COMPONENT TO IT, IT HAS AN 1169 00:42:43,987 --> 00:42:45,722 ADVOCACY COMPONENT TO IT AS WELL 1170 00:42:45,722 --> 00:42:46,957 AS WELL AS CULTURE IN AMERICA 1171 00:42:46,957 --> 00:42:47,991 TODAY IS GOING. 1172 00:42:47,991 --> 00:42:49,125 THROUGH THIS INITIATIVE, WE CAN 1173 00:42:49,125 --> 00:42:50,193 ALL LEARN FROM EACH OTHER, AND 1174 00:42:50,193 --> 00:42:53,296 WE CAN MOVE INTO A NEW SPACE OF 1175 00:42:53,296 --> 00:42:56,032 INTEGRATION OF DEEP INTELLECTUAL 1176 00:42:56,032 --> 00:42:56,599 AND SCIENTIFIC THOUGHT. 1177 00:42:56,599 --> 00:42:57,467 >> THE FACT THIS IS COMING 1178 00:42:57,467 --> 00:42:58,802 TOGETHER THAT THE NIH AND 1179 00:42:58,802 --> 00:43:00,503 KENNEDY CENTER ARE COLLABORATING 1180 00:43:00,503 --> 00:43:03,106 IT MAKES THE ARTS MORE RELEVANT, 1181 00:43:03,106 --> 00:43:05,942 IT EXALTS THE IMPORTANCE OF ARTS 1182 00:43:05,942 --> 00:43:06,977 IN OUR LIVES. 1183 00:43:06,977 --> 00:43:11,114 [♪ MUSIC ♪] 1184 00:43:11,114 --> 00:43:12,248 >> SOUND HEALTH NETWORK HAS BEEN 1185 00:43:12,248 --> 00:43:14,651 A KEY PARTNER AND IT IN 1186 00:43:14,651 --> 00:43:17,387 PARTICULAR THANKS TO DEBORAH ON 1187 00:43:17,387 --> 00:43:18,922 BEHALF OF NETWORK, WE HAD A 1188 00:43:18,922 --> 00:43:21,558 MEETING AT THE KENNEDY CENTER, 1189 00:43:21,558 --> 00:43:23,026 AND THEN FRANCIS SAID THEY WERE 1190 00:43:23,026 --> 00:43:25,462 GOING TO SPEND 20 AND THEN SOON 1191 00:43:25,462 --> 00:43:26,229 ALMOST $40 MILLION TO FUND THIS 1192 00:43:26,229 --> 00:43:29,065 FIELD AND THEN WE HAD AN 1193 00:43:29,065 --> 00:43:30,767 OFFICIAL LAUNCH BACK AT THE 1194 00:43:30,767 --> 00:43:32,002 BEGINNING OF COVID THERE. 1195 00:43:32,002 --> 00:43:41,845 NOW THIS IS OUR MISSION, TO 1196 00:43:41,845 --> 00:43:43,680 PROMOTE RESEARCH AND AND HEALTH 1197 00:43:43,680 --> 00:43:45,148 AWARENESS, I WANT TO THANK THE 1198 00:43:45,148 --> 00:43:46,049 PEOPLE FOR FUNDING, PEOPLE IN MY 1199 00:43:46,049 --> 00:43:47,817 LAB WHO HAVE KNOW ESSENTIAL FOR 1200 00:43:47,817 --> 00:43:48,451 EVERYTHING AND THEN DIFFERENT 1201 00:43:48,451 --> 00:43:49,786 SCIENTISTS THAT I HAD THE 1202 00:43:49,786 --> 00:43:52,555 PRIVILEGE TO WORK WITH AND BE 1203 00:43:52,555 --> 00:43:53,890 INN SPIRED AND COLLABORATE WITH 1204 00:43:53,890 --> 00:43:55,692 AND THEN ARTISTS AND MUTATION 1205 00:43:55,692 --> 00:43:56,993 CISIONS WHO HAVE TAKEN A DEEP 1206 00:43:56,993 --> 00:43:59,129 INTEREST IN A LOT OF WORK AND 1207 00:43:59,129 --> 00:44:00,397 HAVE BEEN PHENOMENAL FROM THE 1208 00:44:00,397 --> 00:44:01,965 VERY BEGIN XG WITH THAT I WILL 1209 00:44:01,965 --> 00:44:04,167 LOOK VERY MUCH FORWARD TO 1210 00:44:04,167 --> 00:44:14,644 TURNING IT OVER TO JOSHUA. 1211 00:44:18,648 --> 00:44:21,217 THANK YOU. 1212 00:44:21,217 --> 00:44:22,786 >> THANK YOU CHARLES AND JOSHUA, 1213 00:44:22,786 --> 00:44:32,195 OVER TO YOU. 1214 00:44:32,195 --> 00:44:42,472 [♪ MUSIC ♪] 1215 00:46:49,499 --> 00:46:50,767 >> SWITCHING OVER TO MY HEAD 1216 00:46:50,767 --> 00:46:53,036 PHONES TO SPEAK FOR A MINUTE. 1217 00:46:53,036 --> 00:46:59,142 HA -- THAT'S HOW MY CELLO SAYS 1218 00:46:59,142 --> 00:47:06,449 HELLO, I'M JOSHUA, AND THAT WAS 1219 00:47:06,449 --> 00:47:10,587 THE FIRST SUITE FOR THE CELLO, 1220 00:47:10,587 --> 00:47:11,955 DEFINITELY 1 THAT I PLAYED MORE 1221 00:47:11,955 --> 00:47:13,122 THAN ANY OTHER PIECE AND NO 1222 00:47:13,122 --> 00:47:16,559 MATTER HOW MANY TIMES I PLAY IT, 1223 00:47:16,559 --> 00:47:17,994 I -- THERE'S SOMETHING NEW EVERY 1224 00:47:17,994 --> 00:47:18,595 TIME. 1225 00:47:18,595 --> 00:47:19,262 I LOVE IT. 1226 00:47:19,262 --> 00:47:22,765 IT'S THE ONLY PIECE YOU MIGHT 1227 00:47:22,765 --> 00:47:28,338 CATCH ME HERE ALONE IN MY STUDO 1228 00:47:28,338 --> 00:47:29,272 ALONE PLAYING FOR THE PLEASURE 1229 00:47:29,272 --> 00:47:33,309 OF IT JUST ABOUT ANY DAY OF THE 1230 00:47:33,309 --> 00:47:33,509 WEEK. 1231 00:47:33,509 --> 00:47:35,612 AND FOR ANY KIND OF PRESENTATION 1232 00:47:35,612 --> 00:47:37,614 WHERE I'M TALKING ABOUT HEALTH 1233 00:47:37,614 --> 00:47:41,784 IN PARTICULAR, MY HEALTH, IT IS 1234 00:47:41,784 --> 00:47:43,820 IMPORTANT FOR ME THAT I START 1235 00:47:43,820 --> 00:47:46,122 WITH SOMETHING THAT A -- THAT'S 1236 00:47:46,122 --> 00:47:49,158 THAT FAMILIAR AND THAT I LOVE 1237 00:47:49,158 --> 00:47:55,531 AND HAVE KNOWN FOR AS LONG AS I 1238 00:47:55,531 --> 00:47:56,366 CAN REMEMBER. 1239 00:47:56,366 --> 00:47:58,201 IT'S FEBRUARY, SO IT WAS JUST 1240 00:47:58,201 --> 00:48:00,203 OVER 4 YEARS AGO THEY WAS FACING 1241 00:48:00,203 --> 00:48:02,338 THE POSSIBILITY OF NEVER PLAYING 1242 00:48:02,338 --> 00:48:03,473 THAT MUSIC AGAIN. 1243 00:48:03,473 --> 00:48:07,977 I FIRST GOT COVID IN JANUARY OF 1244 00:48:07,977 --> 00:48:08,945 2021 AND UNFORTUNATELY, I HAVE 1245 00:48:08,945 --> 00:48:11,614 YET TO FULLY AREY COVER. 1246 00:48:11,614 --> 00:48:14,083 I COULD TELL THAT THINGS WERE 1247 00:48:14,083 --> 00:48:17,153 NOT AS THEY SHOULD BE EVEN AFTER 1248 00:48:17,153 --> 00:48:19,322 I COULD SMELL AND TASTE AGAIN, 1249 00:48:19,322 --> 00:48:22,625 THOSE ARE THE DAYS, I STILL 1250 00:48:22,625 --> 00:48:25,662 STRUGGLED TO READ. 1251 00:48:25,662 --> 00:48:27,664 SOMETIMES BASIC SENTENCES WOULD 1252 00:48:27,664 --> 00:48:32,201 NOT MAKE SENSE AND FORGET ABOUT 1253 00:48:32,201 --> 00:48:33,670 READING A LIST, READING A LIST. 1254 00:48:33,670 --> 00:48:36,806 SO I WAS GOING HOME FROM THE 1255 00:48:36,806 --> 00:48:40,376 TRIP I HAD BEEN ON PERFORMING 1256 00:48:40,376 --> 00:48:43,079 WHEN I CAUGHT COVID AND I WAS 1257 00:48:43,079 --> 00:48:46,582 WALKING UP THE STAIRS TO THE 1258 00:48:46,582 --> 00:48:49,118 BEDROOM AFTER I WALKED IN THE 1259 00:48:49,118 --> 00:48:51,187 DOOR XI ONLY MADE IT HALFWAY UP 1260 00:48:51,187 --> 00:48:52,355 BEFORE I COLLAPSED ON THE 1261 00:48:52,355 --> 00:48:54,057 LANDING AND I WAS UNABLE TO 1262 00:48:54,057 --> 00:48:57,593 CONTINUE OR EVEN JUST SIT 1263 00:48:57,593 --> 00:48:59,195 UPRIGHT IN A SITTING POSITION 1264 00:48:59,195 --> 00:49:02,832 AND I WAS STUCK THERE FOR ABOUT 1265 00:49:02,832 --> 00:49:05,101 30 MINUTES, FRUSTRATED AND 1266 00:49:05,101 --> 00:49:05,368 CRYING. 1267 00:49:05,368 --> 00:49:11,040 AS YOU HEARD FRANCIS SAY, I HAVE 1268 00:49:11,040 --> 00:49:13,142 LONG COVID AND I WOULD ASSUME 1269 00:49:13,142 --> 00:49:15,778 THAT YOU KNOW SOMETHING ABOUT 1270 00:49:15,778 --> 00:49:18,915 THAT, BUT JUST TO SHARE MY 1271 00:49:18,915 --> 00:49:21,050 VERSION, MY LIVED EXPERIENCE, IT 1272 00:49:21,050 --> 00:49:22,919 COMES WITH A CONSTELLATION OF 1273 00:49:22,919 --> 00:49:24,921 SYMPTOMS WHICH IS KIND OF FUN TO 1274 00:49:24,921 --> 00:49:27,256 SAY, EVEN THOUGH IT'S NOT GREAT 1275 00:49:27,256 --> 00:49:28,825 TO EXPERIENCE THAT CAN DIFFER 1276 00:49:28,825 --> 00:49:30,793 FROM PATIENT TO PATIENT. 1277 00:49:30,793 --> 00:49:34,864 IN MY CASE, I DEAL WITH 1278 00:49:34,864 --> 00:49:35,865 DYSAUTONOMIA, THE NERVOUS 1279 00:49:35,865 --> 00:49:36,966 CONDITION THAT AFFECTS INPUT 1280 00:49:36,966 --> 00:49:38,901 VERSUS OUTPUT SO I MIGHT 1281 00:49:38,901 --> 00:49:41,104 SUDDENLY FEEL LIKE THE 1282 00:49:41,104 --> 00:49:42,205 TEMPERATURE HAS DROPPED 1283 00:49:42,205 --> 00:49:44,440 40-DEGREES AND EVERYONE CELS 1284 00:49:44,440 --> 00:49:46,509 FINDING T-SHIRTS OR I MIGHT 1285 00:49:46,509 --> 00:49:48,378 THINK THAT I RAN A MARATHON 1286 00:49:48,378 --> 00:49:49,979 BECAUSE MY LEGS ARE JUST SO HARD 1287 00:49:49,979 --> 00:49:52,014 TO MOVE AND SO HEAVY AFTER 1288 00:49:52,014 --> 00:49:56,219 TAKING A FEW STEPS UP THE SUBWAY 1289 00:49:56,219 --> 00:49:59,455 STAIRS AND HERE IN THE NEW YORK 1290 00:49:59,455 --> 00:49:59,856 CITY. 1291 00:49:59,856 --> 00:50:03,393 AND I ALSO HAVE TREMBLING, I 1292 00:50:03,393 --> 00:50:04,761 TAKE MEDICATION DAILY TO KEEP 1293 00:50:04,761 --> 00:50:08,664 THAT FROM BEING A PROBLEM FOR 1294 00:50:08,664 --> 00:50:10,333 PLAYING CELLO OR DRINKING WATER 1295 00:50:10,333 --> 00:50:13,403 AND TO KEEP MY HEART RATE FROM 1296 00:50:13,403 --> 00:50:17,373 SPIKING WHICH WOULD SOMETIME GO 1297 00:50:17,373 --> 00:50:20,410 OVER 200 WHICH IS INSANE, 1298 00:50:20,410 --> 00:50:22,745 SITTING DOING NOTHING. 1299 00:50:22,745 --> 00:50:24,714 I ALSO HAVE BRAIN FOG WHICH I 1300 00:50:24,714 --> 00:50:28,918 ALLUDED TO WITH THE READING 1301 00:50:28,918 --> 00:50:29,152 ISSUES. 1302 00:50:29,152 --> 00:50:31,888 I'M TRYING TO UNDERSTAND THAT IN 1303 00:50:31,888 --> 00:50:34,957 MY SPECIFIC CASE AS ISSUES 1304 00:50:34,957 --> 00:50:38,394 PROCESSING, THAT MY COGNITION 1305 00:50:38,394 --> 00:50:40,496 DOESN'T DEAL WITH WITH MULTIPLE 1306 00:50:40,496 --> 00:50:42,064 PROCESSES HAPPENING AT 1 TIME 1307 00:50:42,064 --> 00:50:43,433 WHICH MEANS THAT GROCERY 1308 00:50:43,433 --> 00:50:44,834 SHOPPING THOUGH IT'S EASY IT'S 1309 00:50:44,834 --> 00:50:47,303 COMPLEX, SO THAT CAN BE 1310 00:50:47,303 --> 00:50:48,438 DIFFICULT, TRYING TO STICK TO A 1311 00:50:48,438 --> 00:50:51,340 LIST TO MAKE CHOICES TO FIND 1312 00:50:51,340 --> 00:50:57,814 ITEMS TO DEAL WITH SOUNDS IN THE 1313 00:50:57,814 --> 00:51:00,116 ENVIRONMENT AND NAVIGATE AROUND 1314 00:51:00,116 --> 00:51:01,150 PEOPLE, ALL WITH THIS PRESSURE 1315 00:51:01,150 --> 00:51:03,953 OF HAVING TO CARRY THINGS HOME 1316 00:51:03,953 --> 00:51:07,690 AFTERWARDS, LET ALONE DRIVING 1317 00:51:07,690 --> 00:51:09,225 ANOTHER VERY MAYBE EASY TASK BUT 1318 00:51:09,225 --> 00:51:11,794 NOT SO SIMPLE PAYING ATTENTION 1319 00:51:11,794 --> 00:51:12,762 TO EVERYTHING THAT'S OUTSIDE OF 1320 00:51:12,762 --> 00:51:14,497 THE CAR, MAKING SURE THAT YOUR 1321 00:51:14,497 --> 00:51:20,837 SCIENCE -- SENSES ARE IN LINE 1322 00:51:20,837 --> 00:51:21,938 WITH WHAT'S HAPPENING AND ALL 1323 00:51:21,938 --> 00:51:23,539 THE WHILE IN THE BACK OF YOUR 1324 00:51:23,539 --> 00:51:24,874 MIND WHETHER YOU THINK ABOUT IT 1325 00:51:24,874 --> 00:51:28,377 OR NOT, THE REALITY THAT IF YOU 1326 00:51:28,377 --> 00:51:29,712 MAKE A MISTAKE, THE COST COULD 1327 00:51:29,712 --> 00:51:34,016 BE PRETTY HIGH, SO I HAD TO SELL 1328 00:51:34,016 --> 00:51:34,784 MY CAR. 1329 00:51:34,784 --> 00:51:38,888 I DON'T REALLY GROCERY SHOP 1330 00:51:38,888 --> 00:51:42,325 ANYMORE AND ADJUSTING TO LIFE 1331 00:51:42,325 --> 00:51:47,163 WITH LONG COVID HAS BEEN AN 1332 00:51:47,163 --> 00:51:47,630 INCREDIBLE CHALLENGE. 1333 00:51:47,630 --> 00:51:50,266 AT FIRST I WASN'T VERY GRACEFUL 1334 00:51:50,266 --> 00:51:51,901 ABOUT APPROACHING THIS 1335 00:51:51,901 --> 00:51:52,168 CHALLENGE. 1336 00:51:52,168 --> 00:51:53,936 I TOTALLY JUST FORCED MY WAY, 1337 00:51:53,936 --> 00:51:56,005 BRUTE FORCE THROUGH A COUPLE OF 1338 00:51:56,005 --> 00:51:57,507 CONCERTS THAT WERE TOO IMPORTANT 1339 00:51:57,507 --> 00:51:58,841 TO CANCEL AND THEY HAPPENED TO 1340 00:51:58,841 --> 00:52:02,011 BE THE ONLY CONCERTS LEFT ON THE 1341 00:52:02,011 --> 00:52:03,646 CALENDAR BECAUSE COVID HAD TAKEN 1342 00:52:03,646 --> 00:52:08,184 CARE OF LARGE GATHERING FOR THE 1343 00:52:08,184 --> 00:52:10,286 MOST PART. 1344 00:52:10,286 --> 00:52:11,554 AND AFTER THAT I CRASHED REALLY 1345 00:52:11,554 --> 00:52:16,993 HARD AND WHEN I DID, I PUT THE 1346 00:52:16,993 --> 00:52:20,530 CELLO IN ITS CASE I STOPPED 1347 00:52:20,530 --> 00:52:21,664 PRACTICING, I STOPPED THE 1348 00:52:21,664 --> 00:52:25,535 ROUTINE THAT I'VE BEEN DOING 1349 00:52:25,535 --> 00:52:32,375 ALMOST EVERY DAY FOR MORE THAN 3 1350 00:52:32,375 --> 00:52:36,412 DECADES AND DOUBTS BEIMAN DOUBO 1351 00:52:36,412 --> 00:52:37,079 POP UP. 1352 00:52:37,079 --> 00:52:39,015 WHY AM I IN MUSIC ANYWAY? 1353 00:52:39,015 --> 00:52:40,983 IT'S SO HARD TO PLAY. 1354 00:52:40,983 --> 00:52:46,889 I HAD SO MUCH TROUBLE LIFTING 1355 00:52:46,889 --> 00:52:48,758 THE BO, IT DIDN'T FEEL WORTH IT 1356 00:52:48,758 --> 00:52:50,493 TO DO SOMETHING THAT I COULDN'T 1357 00:52:50,493 --> 00:52:52,395 REALLY FEEL HOW IT MATTERED. 1358 00:52:52,395 --> 00:52:54,497 I COULDN'T FEEL THAT IT AFFECTED 1359 00:52:54,497 --> 00:52:55,765 OTHER PEOPLE, I ALWAYS WANTED TO 1360 00:52:55,765 --> 00:52:57,366 DO SOMETHING BUT IT DOES MATTER 1361 00:52:57,366 --> 00:52:59,368 AND I CONSIDERED ALL SORTS OF 1362 00:52:59,368 --> 00:53:02,505 CAREER CHANGES THAT WOULD GET ME 1363 00:53:02,505 --> 00:53:05,041 OUT OF -- OUT OF THE GATE 1364 00:53:05,041 --> 00:53:06,409 MENTALITY OF JUST NEEDING 1365 00:53:06,409 --> 00:53:12,915 SOMEONE TO CALL, SO THAT I CAN 1366 00:53:12,915 --> 00:53:13,482 PLAY. 1367 00:53:13,482 --> 00:53:16,419 IT WAS ALMOST 3 MONTHS OF NOT 1368 00:53:16,419 --> 00:53:19,455 PLAYING THE CELLO AND OF 1369 00:53:19,455 --> 00:53:20,556 RECONSIDERING WHETHER THIS PATH 1370 00:53:20,556 --> 00:53:23,993 WAS RIGHT FOR ME BEFORE I 1371 00:53:23,993 --> 00:53:25,695 LITERALLY DUSTED OFF AND LOOKING 1372 00:53:25,695 --> 00:53:27,363 FOR MY CASE OVER THERE. 1373 00:53:27,363 --> 00:53:30,032 I HAD TO ACTUALLY DUST OFF THE 1374 00:53:30,032 --> 00:53:31,767 CASE FOR THE FIRST TIME IN MY 1375 00:53:31,767 --> 00:53:32,368 ENTIRE LIFE. 1376 00:53:32,368 --> 00:53:36,973 I WILL NEVER FORGET SEEING THAT 1377 00:53:36,973 --> 00:53:40,276 DIRECTION OF PARTICLES THAT 1378 00:53:40,276 --> 00:53:43,245 SCREAMED OF NEGLECT AND I PULLED 1379 00:53:43,245 --> 00:53:46,315 OUT THE CELLO, REALLY IT WAS 1380 00:53:46,315 --> 00:53:47,550 GUILT AND I'M SURE SOME OF YOU 1381 00:53:47,550 --> 00:53:49,185 HAVE AGREED TO DO THINGS FOR 1382 00:53:49,185 --> 00:53:49,952 FRIENDS BECAUSE YOU FELT LIKE 1383 00:53:49,952 --> 00:53:52,054 YOU HAD TO AND THIS WAS EXACTLY 1384 00:53:52,054 --> 00:53:53,255 THE CASE. 1385 00:53:53,255 --> 00:53:56,125 I TOLD SOMEONE I WOULD PLAY FOR 1386 00:53:56,125 --> 00:53:57,159 THEIR SUMMER SOLSTICE PARTY EVEN 1387 00:53:57,159 --> 00:53:58,361 THOUGH I DIDN'T KNOW WHAT IT WAS 1388 00:53:58,361 --> 00:53:59,862 AND I DIDN'T KNOW THEM VERY 1389 00:53:59,862 --> 00:54:02,264 WELL, BUT I AGREED AND I DIDN'T 1390 00:54:02,264 --> 00:54:03,466 BACK OUT IN TIME SO THE DAY 1391 00:54:03,466 --> 00:54:07,036 BEFORE THE PARTY THERE I WAS, I 1392 00:54:07,036 --> 00:54:08,204 BETTER PULL OUT THE CELLO AND 1393 00:54:08,204 --> 00:54:10,072 MAKE SURE I CAN ACTUALLY DO THIS 1394 00:54:10,072 --> 00:54:14,176 STILL, AND AS I BEGAN TO PLAY, I 1395 00:54:14,176 --> 00:54:15,845 STARTED WITH THAT SAME BACH I 1396 00:54:15,845 --> 00:54:20,516 JUST PLAYED FOR YOU AND I FELT 1397 00:54:20,516 --> 00:54:24,120 THE VIBRATIONS OF THE CELLO 1398 00:54:24,120 --> 00:54:28,658 AGAINST MY BODY AND TOUCHING MY 1399 00:54:28,658 --> 00:54:30,593 KNEES THROUGH THE BO AND EVEN 1400 00:54:30,593 --> 00:54:32,294 THOUGH I TOTALLY OUT OF SHAPE 1401 00:54:32,294 --> 00:54:36,198 AND I PROBABLY DIDN'T SOUND VERY 1402 00:54:36,198 --> 00:54:42,438 GOOD, THAT FEELING BROUGHT ME TO 1403 00:54:42,438 --> 00:54:42,705 TEARS. 1404 00:54:42,705 --> 00:54:44,040 I REALLY FEEL THAT I NEED THIS 1405 00:54:44,040 --> 00:54:48,344 EMPLOY I HAD BEEN MISSING THIS 1406 00:54:48,344 --> 00:54:49,645 AND IT DAWNED ON ME THAT 1407 00:54:49,645 --> 00:54:53,315 SOMEWHERE ALONG THE WAY IN MY 1408 00:54:53,315 --> 00:54:57,186 PATH OF MUSIC AND MY DESIRE TO 1409 00:54:57,186 --> 00:54:58,988 SERVE OTHERS THAT I HAD 1410 00:54:58,988 --> 00:55:01,557 NEGLECTED AND FORGOTTEN ABOUT MY 1411 00:55:01,557 --> 00:55:04,894 OWN NEED FOR NOURISHMENT AND 1412 00:55:04,894 --> 00:55:05,995 CONNECTION THROUGH MUSIC, THAT I 1413 00:55:05,995 --> 00:55:08,431 HAD GOTTEN CAUGHT UP IN THIS 1414 00:55:08,431 --> 00:55:10,066 IDEA THAT I COULD BE THE PERFECT 1415 00:55:10,066 --> 00:55:20,576 VESES WILL -- VESSEL THAT YOU 1416 00:55:23,846 --> 00:55:24,513 WOULDN'T EVEN NOTICE. 1417 00:55:24,513 --> 00:55:26,949 IT'S CRAZY TO HEAR ME TALK ABOUT 1418 00:55:26,949 --> 00:55:29,118 THIS BECAUSE OF LISTENING TO 1419 00:55:29,118 --> 00:55:30,619 DR. LIMB AND THIS STRAIGHT TONE 1420 00:55:30,619 --> 00:55:32,154 IS HOW UNSATISFYING IT IS AS A 1421 00:55:32,154 --> 00:55:35,524 MUSICIAN AND SO MUCH WHAT MAKES 1422 00:55:35,524 --> 00:55:37,326 IT WORK, I THINK IS THAT FEELING 1423 00:55:37,326 --> 00:55:41,564 THAT YOU ARE BEING CONNECTED TO 1424 00:55:41,564 --> 00:55:44,266 OTHER PEOPLE WHETHER IT'S 1425 00:55:44,266 --> 00:55:49,038 INTELLECT OR NOVELTY OR SURPRISE 1426 00:55:49,038 --> 00:55:51,907 OR EMOTION, SOMETHING THERE 1427 00:55:51,907 --> 00:55:56,579 FEELS LIKE IT CONNECTS YOU AND 1428 00:55:56,579 --> 00:55:57,379 THAT'S INCREDIBLY IMPORTANT. 1429 00:55:57,379 --> 00:56:00,282 WHEN I DECIDED TO WRITE A PIECE 1430 00:56:00,282 --> 00:56:01,650 FOR THIS PROJECT THAT I'M DOING 1431 00:56:01,650 --> 00:56:04,220 AND I SHARE A BIT MORE ABOUT 1432 00:56:04,220 --> 00:56:07,256 THAT LATER, I WAS PRETTY NERVOUS 1433 00:56:07,256 --> 00:56:09,725 BECAUSE I'M AMBITIOUS, I'M A 1434 00:56:09,725 --> 00:56:11,460 TYPE-A GUY, USED TO RUN A MILE 1435 00:56:11,460 --> 00:56:13,529 IN LESS THAN 6 MINUTES. 1436 00:56:13,529 --> 00:56:14,630 NOW I HAVE TROUBLE GETTING UP 1437 00:56:14,630 --> 00:56:16,265 THE STAIRS AND I WANTED TO WRITE 1438 00:56:16,265 --> 00:56:18,501 A PIECE OF MUSIC WHICH IN AND OF 1439 00:56:18,501 --> 00:56:20,202 ITSELF IS NOW VERY CHALLENGING 1440 00:56:20,202 --> 00:56:22,104 WITH THE COGNITIVE ISSUES, BUT I 1441 00:56:22,104 --> 00:56:23,706 REALLY WANTED TO WRITE A PIECE 1442 00:56:23,706 --> 00:56:25,541 OF MUSIC THAT CAPTURED ALL OF 1443 00:56:25,541 --> 00:56:26,942 THE LESSONS I'VE BEEN LEARNING, 1444 00:56:26,942 --> 00:56:29,912 ALL OF THE UPS AND DOWNS THAT 1445 00:56:29,912 --> 00:56:32,348 THE HIGHS, OF FEELING LIKE I CAN 1446 00:56:32,348 --> 00:56:34,583 OVERCOME THIS, THE DESPAIR OF 1447 00:56:34,583 --> 00:56:35,651 NOT KNOWING, AND BASICALLY THE 1448 00:56:35,651 --> 00:56:39,021 LORD OF THE RINGS BUT LAKE IN 5 1449 00:56:39,021 --> 00:56:40,589 MINUTES ON THE CELLO. 1450 00:56:40,589 --> 00:56:44,126 AND OF COURSE, ANY OF YOU WHO'VE 1451 00:56:44,126 --> 00:56:45,895 WRITTEN PAPER, LET ALONE A PIECE 1452 00:56:45,895 --> 00:56:49,698 OF MUSIC BEFORE, KNOW THAT'S A 1453 00:56:49,698 --> 00:56:52,635 GREAT WAY TO GET WRITER'S BLOCK 1454 00:56:52,635 --> 00:56:55,938 -- OH NO, WHAT'S IT CALLED -- 1455 00:56:55,938 --> 00:56:56,839 BRAIN FOG. 1456 00:56:56,839 --> 00:56:59,108 TBRAIT WAY TO GIVE YOURSELF 1457 00:56:59,108 --> 00:57:01,744 WRITER'S BLOCK, SO I STARTED 1458 00:57:01,744 --> 00:57:02,311 IMPROVISING. 1459 00:57:02,311 --> 00:57:03,078 I STARTED IMPROVISING BECAUSE I 1460 00:57:03,078 --> 00:57:06,315 FELT LIKE DOING SOMETHING THAT 1461 00:57:06,315 --> 00:57:09,819 DIDN'T HAVE TO BE RIGHT, WAS A 1462 00:57:09,819 --> 00:57:11,453 GOOD WAY TO LET GO AND JUST KIND 1463 00:57:11,453 --> 00:57:13,522 OF GET INTO THE CREATIVE PROCESS 1464 00:57:13,522 --> 00:57:15,691 AND I DID THAT AND I WAS HAVING 1465 00:57:15,691 --> 00:57:20,796 FUN BUT I WASN'T FINDING THAT 1466 00:57:20,796 --> 00:57:22,631 PIECE THAT I WAS LOOKING FOR. 1467 00:57:22,631 --> 00:57:24,266 AND FINALLY AGAIN JUST LIKE 1468 00:57:24,266 --> 00:57:25,334 PROCASTINATION IT WAS TIME FOR 1469 00:57:25,334 --> 00:57:26,402 THE RECORDING SESSION, THE 1470 00:57:26,402 --> 00:57:27,770 WEEKEND BEFORE THE RECORDING 1471 00:57:27,770 --> 00:57:28,737 SESSION AND SAID, YOU KNOW WHAT 1472 00:57:28,737 --> 00:57:30,706 I HAVE TO GET THIS DONE AND IT'S 1473 00:57:30,706 --> 00:57:32,341 JUST NOT HAPPENING, SO I GIVE 1474 00:57:32,341 --> 00:57:35,444 UP, I LET GO, I CANNOT CONTROL 1475 00:57:35,444 --> 00:57:36,645 THIS PROCESS, I CANNOT TELL THIS 1476 00:57:36,645 --> 00:57:38,881 MUSIC WHAT TO DO, I WILL JUST 1477 00:57:38,881 --> 00:57:40,082 FOLLOW WHAT'S COMING OUT AND 1478 00:57:40,082 --> 00:57:49,258 WHEN I DID, IMMEDIATELY IT FELT 1479 00:57:49,258 --> 00:57:51,560 LIKE IMMEDIATELY THIS ABUNDANTLY 1480 00:57:51,560 --> 00:57:52,561 YOIFUL PIECE OF MUSIC CAME 1481 00:57:52,561 --> 00:57:55,264 TOGETHER FASTER THAN I COULD 1482 00:57:55,264 --> 00:57:59,768 HAVE EVER WANTED AND I REALIZED 1483 00:57:59,768 --> 00:58:01,837 IN THAT MOMENT THAT REALLY IT'S 1484 00:58:01,837 --> 00:58:03,706 TRUE, YOU CAN'T ALWAYS GET WHAT 1485 00:58:03,706 --> 00:58:05,875 YOU WANT, BUT SOMETIMES GET WHAT 1486 00:58:05,875 --> 00:58:08,577 YOU NEED THAT LIKE I COULDN'T 1487 00:58:08,577 --> 00:58:10,012 FORCE MYSELF TO MAKE THIS PIECE 1488 00:58:10,012 --> 00:58:12,815 ABOUT SOMETHING ELSE BUT WHEN I 1489 00:58:12,815 --> 00:58:15,484 LET GO, I FOUND THE MUSIC THAT I 1490 00:58:15,484 --> 00:58:16,285 NEEDED. 1491 00:58:16,285 --> 00:58:20,956 I REALLY NEEDED THIS EXPRESSION 1492 00:58:20,956 --> 00:58:21,523 OF JOY. 1493 00:58:21,523 --> 00:58:22,625 AND THAT'S WHAT I WILL SHARE 1494 00:58:22,625 --> 00:58:27,563 WITH YOU NOW BEFORE WE TURN TO 1495 00:58:27,563 --> 00:58:29,431 OUR DISCUSSION. 1496 00:58:29,431 --> 00:58:33,002 THIS PIECE IS NAMED AFTER MY 1497 00:58:33,002 --> 00:58:33,435 PROJECT. 1498 00:58:33,435 --> 00:58:43,779 I CALL IT IMMUNITY. 1499 00:58:49,685 --> 00:58:59,895 [♪ MUSIC ♪] 1500 01:01:55,237 --> 01:02:05,481 [MUSIC CONTINUES ] 1501 01:03:48,317 --> 01:03:49,651 >> JOSHUA FANTASTIC! 1502 01:03:49,651 --> 01:03:53,021 AND 1 DOES GET A SENSE THAT THAT 1503 01:03:53,021 --> 01:03:55,991 GREW OUT OF IMPROVISATION WHICH 1504 01:03:55,991 --> 01:03:56,925 CHARLES COULD PROBABLY PREDICT 1505 01:03:56,925 --> 01:03:57,626 SOMETHING ABOUT WHAT WAS 1506 01:03:57,626 --> 01:03:59,027 HAPPENING IN YOUR BRAIN WHEN YOU 1507 01:03:59,027 --> 01:04:00,729 WROTE THAT AND MAYBE EVEN WHEN 1508 01:04:00,729 --> 01:04:01,563 YOU'RE PLAYING THAT. 1509 01:04:01,563 --> 01:04:03,732 SO YEAH, SO MUCH WE COULD TALK 1510 01:04:03,732 --> 01:04:05,200 ABOUT HERE BUT I WANT TO 1511 01:04:05,200 --> 01:04:07,903 ENCOURAGE THE 2 OF YOU TO QUERY 1512 01:04:07,903 --> 01:04:09,504 EACH OTHER WITH THINGS THAT COME 1513 01:04:09,504 --> 01:04:11,173 TO MIND AFTER THE LAST 1514 01:04:11,173 --> 01:04:13,642 PRESENTATIONS OF EACH OF YOU. 1515 01:04:13,642 --> 01:04:14,209 HAVE AT IT. 1516 01:04:14,209 --> 01:04:16,078 WE WILL COME TO QUESTIONS FROM 1517 01:04:16,078 --> 01:04:18,213 THE AUDIENCE HERE SHORTLY. 1518 01:04:18,213 --> 01:04:20,349 >> AWESOME THANK YOU SO MUCH I'M 1519 01:04:20,349 --> 01:04:21,350 SORRY, I'M JUMPING RIGHT IN 1520 01:04:21,350 --> 01:04:23,719 BECAUSE I WAS TAKING NOTES WHILE 1521 01:04:23,719 --> 01:04:26,288 YOU WERE TALKING, THERE'S JUST 1522 01:04:26,288 --> 01:04:29,358 SO MUCH THAT I'M CURIOUS ABOUT 1523 01:04:29,358 --> 01:04:32,861 AND I HAVE SO MANY QUESTIONS, 1524 01:04:32,861 --> 01:04:35,564 YOU KNOW AS I SAID IN MY STORY, 1525 01:04:35,564 --> 01:04:37,199 YOU KNOW I'VE ALWAYS BEEN 1526 01:04:37,199 --> 01:04:39,401 SEARCHING FOR MEANING, I ALWAYS 1527 01:04:39,401 --> 01:04:40,736 WANTED TO FEEL THE IMPACT AND 1528 01:04:40,736 --> 01:04:43,839 YOU SAID THAT YOU DIDN'T FEEL 1529 01:04:43,839 --> 01:04:46,842 LIKE MAYBE IT WAS NECESSARY OR I 1530 01:04:46,842 --> 01:04:48,510 FORGET YOUR EXACT WORDING BUT WE 1531 01:04:48,510 --> 01:04:50,646 DON'T REALLY NEED TO JUSTIFY ART 1532 01:04:50,646 --> 01:04:54,249 THROUGH SCIENCE AND YET I DO 1533 01:04:54,249 --> 01:04:55,717 FIND, I DON'T KNOW IF IT'S 1534 01:04:55,717 --> 01:04:57,886 BECAUSE OF HOW I WAS RAISED WITH 1535 01:04:57,886 --> 01:04:59,554 ALL THIS INHERENT MEANING AND 1536 01:04:59,554 --> 01:05:01,290 RELIGION AND THE MUSIC OF 1537 01:05:01,290 --> 01:05:05,227 RELIGION OR WHETHER IT'S THE 1538 01:05:05,227 --> 01:05:06,662 CONSUMER SOCIETY WE LIVE IN 1539 01:05:06,662 --> 01:05:09,197 WHERE EVERYTHING HAS TO BE 1540 01:05:09,197 --> 01:05:10,632 JUSTIFIED AND HAS TO HAVE DATA 1541 01:05:10,632 --> 01:05:14,102 BACKING IT UP AND NUMBERS 1542 01:05:14,102 --> 01:05:16,138 BACKING IT UP BUT I'M FASCINATED 1543 01:05:16,138 --> 01:05:24,179 BOO I LEARNING MORE ABOUT WHY 1544 01:05:24,179 --> 01:05:24,713 -- 1545 01:05:24,713 --> 01:05:26,915 ABOUT LEARN MORE ABOUT WHY AND 1546 01:05:26,915 --> 01:05:27,249 THE POWER. 1547 01:05:27,249 --> 01:05:29,217 >> FIRST OF ALL LET ME SAY THANK 1548 01:05:29,217 --> 01:05:31,119 YOU FOR YOUR MUSIC AND SHARING 1549 01:05:31,119 --> 01:05:31,453 YOUR STORY. 1550 01:05:31,453 --> 01:05:32,287 IT'S REALLY REMARKABLE AND I'M 1551 01:05:32,287 --> 01:05:34,156 SO DPRAD TO SEE AND HEAR THAT 1552 01:05:34,156 --> 01:05:36,291 YOU'RE WELL ON YOUR WAY WITH 1553 01:05:36,291 --> 01:05:37,693 RECOVERY EVEN THOUGH MAY MAY NOT 1554 01:05:37,693 --> 01:05:39,795 BE AT FULL STRENGTH, YOU'RE 1555 01:05:39,795 --> 01:05:42,764 CERTAINLY, YOUR PLAYING IS 1556 01:05:42,764 --> 01:05:43,832 ASTOUNDING AND THANKS FOR 1557 01:05:43,832 --> 01:05:44,800 COMPOSING THAT PIECE AND SHARING 1558 01:05:44,800 --> 01:05:46,868 IT WITH US, AND YOU QUESTION YOU 1559 01:05:46,868 --> 01:05:48,203 ASKED, IT'S MANY QUESTIONS 1560 01:05:48,203 --> 01:05:49,471 ROLLED TOGETHER AND SO LET ME 1561 01:05:49,471 --> 01:05:51,073 TRY TO DISSECT IT, AT LEAST THE 1562 01:05:51,073 --> 01:05:53,809 WAY I KIND OF REACT TO IT, WHEN 1563 01:05:53,809 --> 01:05:56,044 I SAID THAT MUSEUC OR ART 1564 01:05:56,044 --> 01:05:57,145 DOESN'T NEED SCIENCE, LET ME 1565 01:05:57,145 --> 01:05:59,548 EXPLAIN WHAT I MEANT BY THAT. 1566 01:05:59,548 --> 01:06:01,950 AS LONG AS THERE HAVE BYE-BYE 1567 01:06:01,950 --> 01:06:03,251 HUMAN BEINGS, THERE HAS BEEN 1568 01:06:03,251 --> 01:06:05,887 ART, THIS IS RUE IN ALL CULTURES 1569 01:06:05,887 --> 01:06:08,290 AND ALL HISTORIES AND THAT WAS 1570 01:06:08,290 --> 01:06:12,427 IN A WAY THAT'S THE PROOF THAT 1571 01:06:12,427 --> 01:06:14,429 IT'S NOT THAT ART EXISTS BECAUSE 1572 01:06:14,429 --> 01:06:16,264 SCIENTISTS HAVE BEEN THERE TO 1573 01:06:16,264 --> 01:06:19,134 SHED LIGHT ON IT, TO STUDY IT OR 1574 01:06:19,134 --> 01:06:24,306 TO SOMEHOW BENEFIT FROM IT, IT 1575 01:06:24,306 --> 01:06:25,474 CLEARLY JUSTIFIES ITS OWN 1576 01:06:25,474 --> 01:06:26,708 EXISTENCE BECAUSE OF ITS 1577 01:06:26,708 --> 01:06:27,008 PERSISTENCE. 1578 01:06:27,008 --> 01:06:28,176 EVERY TIME THERE ARE HUMAN 1579 01:06:28,176 --> 01:06:31,947 BEINGS, YOU HAVE ART, WHAT DOES 1580 01:06:31,947 --> 01:06:33,248 THAT SAY? 1581 01:06:33,248 --> 01:06:35,016 IT TELL US WE'RE HARD WIRES TO 1582 01:06:35,016 --> 01:06:37,419 PRODUCE ART EVEN WHEN IT DOESN'T 1583 01:06:37,419 --> 01:06:39,654 PRESENT AN OBVIOUS SURVIVAL 1584 01:06:39,654 --> 01:06:43,458 ADVANTAGE, NOW YOU CAN GET INTO 1585 01:06:43,458 --> 01:06:49,598 THE EVOLUTIONARY ORIGIN OF LIFE 1586 01:06:49,598 --> 01:06:54,069 AND MUSIC AND MAKING PRIMITIVE 1587 01:06:54,069 --> 01:06:55,637 HUMAN SOCIETIES, MAYBE IT KEPT 1588 01:06:55,637 --> 01:06:57,339 THEM SAFE OR COMMUNICATE THINGS 1589 01:06:57,339 --> 01:06:59,408 THAT BEING NOT KNOW SAID, OR 1590 01:06:59,408 --> 01:07:00,776 MAYBE EVEN MUSIC PREDATES SPEECH 1591 01:07:00,776 --> 01:07:03,345 OR ADVANCE SPEECH IN MANY WAYS 1592 01:07:03,345 --> 01:07:04,913 SO THERE'S REASONS WHY OUR 1593 01:07:04,913 --> 01:07:07,115 BRAINS HAVE THESE SYSTEMS FOR 1594 01:07:07,115 --> 01:07:07,716 AUDITORY COMMUNICATION EMPLOY 1595 01:07:07,716 --> 01:07:09,451 THAT'S HOW I THINK ABOUT IT, 1596 01:07:09,451 --> 01:07:12,888 SPEECH IS 1 WAY OF AUDITORY 1597 01:07:12,888 --> 01:07:15,223 MUSIC AND SPEECH IS THE OTHER 1598 01:07:15,223 --> 01:07:16,992 AND IT EMPLOYS THE BRAIN IN 1599 01:07:16,992 --> 01:07:19,194 MANY, MANY PARALLEL WAYS EVEN 1600 01:07:19,194 --> 01:07:22,230 THOUGH SPEECH DOESN'T USE AS 1601 01:07:22,230 --> 01:07:23,432 SEMANTIC A SPEECH AS SPEECHES, 1602 01:07:23,432 --> 01:07:25,100 THE MAYBE THE THING THAT MUSIC 1603 01:07:25,100 --> 01:07:27,369 IS BEST AT IS CONVEYING EMOTION, 1604 01:07:27,369 --> 01:07:30,572 AND MUCH BETTER THAN CONVEYING 1605 01:07:30,572 --> 01:07:31,406 ANALYTICAL THOUGHT OR THINGS 1606 01:07:31,406 --> 01:07:32,274 LIKE THAT, SO NOW WHEN YOU GOET 1607 01:07:32,274 --> 01:07:34,309 TO THE QUESTION OF WHY DOES IT 1608 01:07:34,309 --> 01:07:37,012 HAVE POWER, I THINK IT'S 1609 01:07:37,012 --> 01:07:39,981 ACTUALLY THAT IT ALLOWS TO YOU 1610 01:07:39,981 --> 01:07:40,949 EXPERIENCE SOMEBODY ELSE'S LIFE 1611 01:07:40,949 --> 01:07:45,220 FOR A MOMENT AND TO COMBINE IT 1612 01:07:45,220 --> 01:07:47,322 WITH YOUR OWN EXPERIENCE OF 1613 01:07:47,322 --> 01:07:47,856 BEING ALIVE. 1614 01:07:47,856 --> 01:07:52,227 AND SO FOR EXAMPLE, YOU SAID 1615 01:07:52,227 --> 01:07:52,994 THIS VERY INTERESTING THING 1616 01:07:52,994 --> 01:07:56,398 ABOUT BEING A VESSEL, BEING THE 1617 01:07:56,398 --> 01:07:57,833 PERFECT VESSEL AND NO 1 WOULD 1618 01:07:57,833 --> 01:07:58,567 NOTICE BUT THAT'S ASSUMING THAT 1619 01:07:58,567 --> 01:08:03,104 THE MUSIC IS GOING FROM CELLO TO 1620 01:08:03,104 --> 01:08:04,139 EAR BUT ACTUALLY THAT'S NOT HOW 1621 01:08:04,139 --> 01:08:06,208 I THINK ABOUT IT AT ALL. 1622 01:08:06,208 --> 01:08:08,410 WHEN YOU'RE PLAYING THE BACH, 1623 01:08:08,410 --> 01:08:09,945 IT'S COMING FROM BACH'S BRAIN TO 1624 01:08:09,945 --> 01:08:10,912 YOUR BRAIN TO QUALITY OF REVIEW 1625 01:08:10,912 --> 01:08:14,115 CELLO TO MY EAR TO MY BRAIN. 1626 01:08:14,115 --> 01:08:14,583 RIGHT? 1627 01:08:14,583 --> 01:08:16,451 SO WHAT'S THE COMMON THING, IT'S 1628 01:08:16,451 --> 01:08:19,120 3 PEOPLE'S BRAINS THAT ARE LIKE 1629 01:08:19,120 --> 01:08:19,654 SHAPING THIS EXPERIENCE. 1630 01:08:19,654 --> 01:08:22,157 NOW IN THE CASE OF YOUR OWN 1631 01:08:22,157 --> 01:08:23,925 COMPOSITION, THIS IS DIRECTLY 1632 01:08:23,925 --> 01:08:24,960 YOU, THE CELLO ALONE IS NOT 1633 01:08:24,960 --> 01:08:29,498 DOING IT, IF I SIT DOWN AT THE 1634 01:08:29,498 --> 01:08:30,966 CELLO, IT WILL NOT SOUND -- 1635 01:08:30,966 --> 01:08:32,100 FIRST OF ALL IT WILL SOUND 1636 01:08:32,100 --> 01:08:33,301 HORRIBLE, YOU ARE THE REASON WHY 1637 01:08:33,301 --> 01:08:35,337 THE CELLO IS SPEAKING AND 1638 01:08:35,337 --> 01:08:35,570 SINGING. 1639 01:08:35,570 --> 01:08:37,839 AND SO WHEN I THINK ABOUT WHAT 1640 01:08:37,839 --> 01:08:39,674 IS POWERFUL ABOUT MUSIC, TO ME 1641 01:08:39,674 --> 01:08:41,643 IT'S THAT -- IT'S THIS HUMAN 1642 01:08:41,643 --> 01:08:43,078 CONNECTION THING, IT MAKES YOU 1643 01:08:43,078 --> 01:08:45,146 KNOW THAT YOU ARE NOT 1644 01:08:45,146 --> 01:08:46,848 NECESSARILY ALONE OR WHEN YOU 1645 01:08:46,848 --> 01:08:47,716 ARE ALONE IT MAKES YOU REALIZE 1646 01:08:47,716 --> 01:08:49,117 THAT OTHER PEOPLE HAVE BEEN 1647 01:08:49,117 --> 01:08:50,485 ALONE, TOO AND THEY HAVE 1648 01:08:50,485 --> 01:08:53,121 EXPRESSED IT IN A WAY THAT ALLOW 1649 01:08:53,121 --> 01:08:56,391 YOU TO UNDERSTAND IT, TO HAVE 1650 01:08:56,391 --> 01:08:57,759 SOLIC AND COMFORT AND MAYBE TO 1651 01:08:57,759 --> 01:08:59,761 EVEN UNDERSTAND IT AND KNOW THAT 1652 01:08:59,761 --> 01:09:03,698 THERE IS -- WELL ARE WAYS TO 1653 01:09:03,698 --> 01:09:04,699 IMET THROUGH PERIODS OF 1654 01:09:04,699 --> 01:09:06,201 DIFFICULTY AND WAYS ALSO TO 1655 01:09:06,201 --> 01:09:07,802 CELEBRATE JOYS AND HAPPINESS AND 1656 01:09:07,802 --> 01:09:11,072 TO ME, IT'S LIKE -- IT AMPLIFIES 1657 01:09:11,072 --> 01:09:12,607 ALL OF LIFE, ALL THE UPS AND 1658 01:09:12,607 --> 01:09:14,042 DOWNS OF LIFE, THE HIGHS ARE 1659 01:09:14,042 --> 01:09:18,980 HIGHER AND THE LOWS ARE SOMEHOW 1660 01:09:18,980 --> 01:09:20,749 MORE DEEPER AND IN A WAY MORE 1661 01:09:20,749 --> 01:09:23,118 BEAUTIFUL FOR IT. 1662 01:09:23,118 --> 01:09:24,753 AND SO, TO ME, THAT THAT'S THE 1663 01:09:24,753 --> 01:09:26,521 POWER OF MUSIC AND WHAT I HOPE 1664 01:09:26,521 --> 01:09:27,756 HAPPENS IN THIS WHOLE SYNTHESIS 1665 01:09:27,756 --> 01:09:31,359 OF MUSIC AND ART, AND SCIENCE 1666 01:09:31,359 --> 01:09:32,827 AND ART, AND THAT SCIENTISTS 1667 01:09:32,827 --> 01:09:34,963 LEARN FROM ARTISTS IN THE SAME 1668 01:09:34,963 --> 01:09:36,698 WAY THAT ARTISTS LEARN FROM 1669 01:09:36,698 --> 01:09:38,133 SCIENTISTS, RIGHT NOW, IS THE 1670 01:09:38,133 --> 01:09:42,904 TIME WHERE YOU COULD SAY THAT 1671 01:09:42,904 --> 01:09:45,073 ART HAS BEEN IN A LOT OF FORCES 1672 01:09:45,073 --> 01:09:46,141 AND YOU COULD SAY THAT ABOUT 1673 01:09:46,141 --> 01:09:47,709 SCIENCE AND MAYBE WE ARE ABLE TO 1674 01:09:47,709 --> 01:09:51,446 BENEFIT FROM 1 ANOTHER BY 1675 01:09:51,446 --> 01:09:53,048 MUTUALLY UNDERSTANDING HOW WE 1676 01:09:53,048 --> 01:09:54,382 REINFORCE EACH OTHER. 1677 01:09:54,382 --> 01:09:55,283 YOU ALSO SAID SOMETHING 1678 01:09:55,283 --> 01:09:56,785 INTERESTING WHICH IS THE SEARCH 1679 01:09:56,785 --> 01:09:58,219 FOR MEANING, I THINK BOTH ART 1680 01:09:58,219 --> 01:09:59,321 AND SCIENCE ARE SEARCHING FOR 1681 01:09:59,321 --> 01:09:59,688 THE TRUTH. 1682 01:09:59,688 --> 01:10:01,456 I FEEL LIKE THAT IS THE 1683 01:10:01,456 --> 01:10:02,958 FUNDAMENTAL GOAL OF HUMANITY, SO 1684 01:10:02,958 --> 01:10:04,492 SOME SEARCH FOR THE TRUTH, 1685 01:10:04,492 --> 01:10:08,463 HOWEVER YOU DINE DE-- DEFINE T, 1686 01:10:08,463 --> 01:10:09,531 AND IT'S SCIENTIFIC METHOD AND 1687 01:10:09,531 --> 01:10:11,333 ART DOES IT USING ARTISTIC 1688 01:10:11,333 --> 01:10:13,168 METHODS AND THIS IS THE REASON 1689 01:10:13,168 --> 01:10:15,971 WHY ART MATTERS AND WHY EVEN 1690 01:10:15,971 --> 01:10:18,106 THOUGH MUSIC NEVER NEEDED 1691 01:10:18,106 --> 01:10:21,109 SCIENCE TO EXIST OR TO 1692 01:10:21,109 --> 01:10:22,344 PROLIFERATE OR TO JUSTIFY 1693 01:10:22,344 --> 01:10:23,945 ITSELF, I THINK IT CERTAINLY 1694 01:10:23,945 --> 01:10:26,681 BENEFITS FROM HAVING SCIENTISTS 1695 01:10:26,681 --> 01:10:30,819 REALLY REVERE THE BEAUTY OF IT. 1696 01:10:30,819 --> 01:10:32,087 >> I APPRECIATE THAT AND I THINK 1697 01:10:32,087 --> 01:10:36,791 IT IS REALLY INTERESTING TO ME 1698 01:10:36,791 --> 01:10:37,626 TO CONSIDER FROM THE 1699 01:10:37,626 --> 01:10:40,595 PROFESSIONAL ROLE OF THE 1700 01:10:40,595 --> 01:10:42,197 MUSICIAN WHEN SOMETHING THAT I 1701 01:10:42,197 --> 01:10:44,065 VALUE SO MUCH AND YOU TALKED 1702 01:10:44,065 --> 01:10:46,468 ABOUT THIS, IS WITH MAYBE WITH 1703 01:10:46,468 --> 01:10:47,502 DIFFERENT WORDS CREATIVITY, BUT 1704 01:10:47,502 --> 01:10:49,170 THAT'S WHAT I HEAR IN BETWEEN 1705 01:10:49,170 --> 01:10:52,140 THE LINES WHEN YOU'RE TALKING 1706 01:10:52,140 --> 01:10:52,941 ABOUT IMPROVISATION, IN 1707 01:10:52,941 --> 01:10:59,481 PARTICULAR, AND WHAT IT DOES FOR 1708 01:10:59,481 --> 01:11:01,082 THE BRAIN, IT'S THIS -- THIS 1709 01:11:01,082 --> 01:11:03,718 SHUTTING DOWN OF THE VOICES THAT 1710 01:11:03,718 --> 01:11:06,921 SAY, STOP, IT'S NOT RIGHT. 1711 01:11:06,921 --> 01:11:09,391 AND I THINK THAT ALLOWS US TO 1712 01:11:09,391 --> 01:11:12,661 GET -- TO TOUCH SOME KIND OF 1713 01:11:12,661 --> 01:11:14,162 TRUTH, THAT WE -- THAT MAY NOT 1714 01:11:14,162 --> 01:11:16,898 COME OUT IN A WAY THAT IS 1715 01:11:16,898 --> 01:11:19,734 DIGESTIBLE IN ANY WAY EXCEPT FOR 1716 01:11:19,734 --> 01:11:25,473 THRU AN ARTISTING LENS -- 1717 01:11:25,473 --> 01:11:26,041 ARTISTIC LENS. 1718 01:11:26,041 --> 01:11:27,742 BUT WHEN WIEWR TALKING ABOUT THE 1719 01:11:27,742 --> 01:11:28,510 APPRECIATION OF SCIENTISTS FOR 1720 01:11:28,510 --> 01:11:31,212 IT AND ALSO THE DESIRE OF A LOT 1721 01:11:31,212 --> 01:11:35,116 OF US AS ARTISTS I THINK TO -- I 1722 01:11:35,116 --> 01:11:37,352 WISH A DIFFERENT WORD FOR 1723 01:11:37,352 --> 01:11:40,155 JUSTIFY BUT IT IS INTERESTING 1724 01:11:40,155 --> 01:11:42,590 BECAUSE I THINK THAT WHEN IT IS 1725 01:11:42,590 --> 01:11:48,196 -- WHEN ART IS SO ABUNDANT IN A 1726 01:11:48,196 --> 01:11:49,731 NONPARTICIPATORY WAY, THAT 1727 01:11:49,731 --> 01:11:52,634 SOMETIMES THE POWER IS NOT FELT 1728 01:11:52,634 --> 01:11:55,603 AS STRONGLY AS IT IS WHEN IT'S 1729 01:11:55,603 --> 01:11:59,174 EVEN IN LESS LARGE DOSES FELT IN 1730 01:11:59,174 --> 01:12:00,542 AN EX PERIENTAL WAY AND WHAT I 1731 01:12:00,542 --> 01:12:04,746 MEAN BY THAT IS THAT WE'RE 1732 01:12:04,746 --> 01:12:05,780 CONSTANTLY SURROUNDED BY MUSIC. 1733 01:12:05,780 --> 01:12:07,182 I ALMOST NEVER LISTEN TO MUSIC 1734 01:12:07,182 --> 01:12:09,751 IN THE BACKGROUND, I ALMOST 1735 01:12:09,751 --> 01:12:11,720 NEVER DO IT AT ALL AND I NEVER 1736 01:12:11,720 --> 01:12:12,087 DO IT. 1737 01:12:12,087 --> 01:12:14,622 I OF AT THE DENTIST GETTING MY 1738 01:12:14,622 --> 01:12:16,324 TEETH CLEANED AND I WAS STRUCK 1739 01:12:16,324 --> 01:12:17,826 BY HOW DISTRACTED I WAS HEARING 1740 01:12:17,826 --> 01:12:20,495 MUSIC IN THE BACKGROUND AND 1741 01:12:20,495 --> 01:12:21,529 REALIZING THAT IT TOOK SOME OF 1742 01:12:21,529 --> 01:12:23,031 MY ATTENTION AND I WAS JUST 1743 01:12:23,031 --> 01:12:25,767 THINKING ABOUT HOW MANY OF US 1744 01:12:25,767 --> 01:12:30,004 CANNOT ESCAPE THAT ALL DAY LONG 1745 01:12:30,004 --> 01:12:33,308 AND ON THE FLIP SIDE, I THINK 1746 01:12:33,308 --> 01:12:36,611 ABOUT THE POWER OF 1 PERSON 1747 01:12:36,611 --> 01:12:39,447 SINGING WITH ME AND IMPROVISING 1748 01:12:39,447 --> 01:12:40,815 SOMETHING TOGETHER WHETHER IT'S 1749 01:12:40,815 --> 01:12:44,018 IN WORKSHOPS OR JUST IN A FRIEND 1750 01:12:44,018 --> 01:12:45,520 OR FAMILY SITUATION, WHATEVER IT 1751 01:12:45,520 --> 01:12:51,092 IS, WHATEVER OPENS UP FROM THAT 1752 01:12:51,092 --> 01:12:52,961 10-30-SECOND UP TO A MINUTE OF 1753 01:12:52,961 --> 01:12:57,599 CREATIVE EXPRESSION, IS SO MUCH 1754 01:12:57,599 --> 01:12:58,633 MORE POWERFUL THAN 1755 01:12:58,633 --> 01:12:59,334 NONPARTICIPATORY KIND OF 1756 01:12:59,334 --> 01:13:00,502 LISTENING AND I THINK THAT 1757 01:13:00,502 --> 01:13:01,836 THERE'S SOMETHING VERY 1758 01:13:01,836 --> 01:13:04,172 INTERESTING THERE TO EXPLORE BUT 1759 01:13:04,172 --> 01:13:05,740 I SEE FRANCIS NODDING ALONG TOO 1760 01:13:05,740 --> 01:13:09,778 AND I WONDER WHAT YOU HAVE -- 1761 01:13:09,778 --> 01:13:10,578 >> THERE'S INTERESTING RESEARCH 1762 01:13:10,578 --> 01:13:11,212 ON THAT. 1763 01:13:11,212 --> 01:13:13,114 THERE'S AN EXPERIMENT THAT WAS 1764 01:13:13,114 --> 01:13:16,918 DONE WHERE PEOPLE WITH CHRONIC 1765 01:13:16,918 --> 01:13:18,052 PAIN WERE ASSIGNED 3 DIFFERENT 1766 01:13:18,052 --> 01:13:19,821 GROUPS, 1 WAS TO LISTEN TO 1767 01:13:19,821 --> 01:13:23,158 MUSIC, 1 WAS TO BE GIVEN A 1768 01:13:23,158 --> 01:13:28,429 CHANCE TO BE SUBJECT OF VOICE 1769 01:13:28,429 --> 01:13:30,498 TRAINING BY EXPERIENCED VOICE 1770 01:13:30,498 --> 01:13:31,833 COACH AND THE THIRD GROUP WAS 1771 01:13:31,833 --> 01:13:35,236 PUT IN A CHOIR TO SING WITH 1772 01:13:35,236 --> 01:13:36,971 OTHERS AND THEY KEPT THE SAME 1773 01:13:36,971 --> 01:13:38,473 TIME TABLES AND THEN AT THE END 1774 01:13:38,473 --> 01:13:40,575 OF WHATEVER IT WAS, 3 OR 4 1775 01:13:40,575 --> 01:13:43,578 MONTHS, LOOK TO SEE WHAT WAS THE 1776 01:13:43,578 --> 01:13:46,781 AFFECT ON CHRONIC PAIN AND ALSO, 1777 01:13:46,781 --> 01:13:49,150 EVEN MEASURE THINGS IN THE BODY 1778 01:13:49,150 --> 01:13:51,753 LIKE OXYTOCIN WHICH IS A SORT OF 1779 01:13:51,753 --> 01:13:53,721 FEEL GOOD HORMONE, WELL, YOU CAN 1780 01:13:53,721 --> 01:13:57,458 GUESS, WHERE WAS THE HIGHEST 1781 01:13:57,458 --> 01:13:57,725 RESPONSE? 1782 01:13:57,725 --> 01:13:59,894 IT WAS THE PEOPLE IN THE CHOIR. 1783 01:13:59,894 --> 01:14:01,496 THE PEOPLE WHO GOT THE VOICE 1784 01:14:01,496 --> 01:14:04,632 TRAINING, THEY DID BETTER, THE 1785 01:14:04,632 --> 01:14:07,302 PEOPLE WHO LISTENED, ENH, NOT SO 1786 01:14:07,302 --> 01:14:07,502 MUCH. 1787 01:14:07,502 --> 01:14:08,636 EXACTLY WHAT YOU'RE SAYING, WE 1788 01:14:08,636 --> 01:14:12,941 ARE BUILT TO BE PARTICIPATORY IN 1789 01:14:12,941 --> 01:14:15,276 MUSIC AND SIMPLY NOT PASSIVE 1790 01:14:15,276 --> 01:14:17,412 RECEIVERS, AT LEAST THAT'S WHAT 1791 01:14:17,412 --> 01:14:18,847 CAN BRING US THE FURTHEST 1792 01:14:18,847 --> 01:14:20,148 FORWARD IN TERMS OF ITS BENEFITS 1793 01:14:20,148 --> 01:14:21,883 TO HOW WE FEEL EMPLOY I GOTTA 1794 01:14:21,883 --> 01:14:23,051 ASK YOU JOSHUA AND I'M STARTING 1795 01:14:23,051 --> 01:14:24,686 TO FOLD IN SOME OF THE QUESTIONS 1796 01:14:24,686 --> 01:14:27,655 THAT I'M SEEING UP ON THE CHAT 1797 01:14:27,655 --> 01:14:30,959 BOX AS WELL, YOU'VE BEEN DOING A 1798 01:14:30,959 --> 01:14:32,527 LOT OF OUTREACH TO PEOPLE WITH 1799 01:14:32,527 --> 01:14:34,896 LONG ASHING, YOU VISITING THED 1800 01:14:34,896 --> 01:14:37,065 WITH LONG COVID CLINICS. 1801 01:14:37,065 --> 01:14:38,833 YOU TALKED HOW YOUR OWN MUSIC 1802 01:14:38,833 --> 01:14:40,869 THERAPY THAT YOU GAVE YOURSELF 1803 01:14:40,869 --> 01:14:43,071 BY FEELING THE VIBRATIONS OF 1804 01:14:43,071 --> 01:14:44,672 CELLO BROUGHT YOU INTO A PLACE 1805 01:14:44,672 --> 01:14:46,708 THAT WAS OTHERWISE NOT 1806 01:14:46,708 --> 01:14:48,576 HAPPENING, WHAT ARE THE STORIES 1807 01:14:48,576 --> 01:14:50,578 YOU HEAR FROM PEOPLE WITH LONG 1808 01:14:50,578 --> 01:14:52,614 COVID ABOUT HOW THEY'RE FINDING 1809 01:14:52,614 --> 01:14:53,882 THAT AND WHAT ROLE HAVE YOU 1810 01:14:53,882 --> 01:14:55,416 HEARD ABOUT MUSIC PLAYING IN 1811 01:14:55,416 --> 01:14:56,484 THAT SETTING AS WELL BECAUSE WE 1812 01:14:56,484 --> 01:14:58,052 WANT TO BUILD THIS WHOLE FIELD 1813 01:14:58,052 --> 01:15:02,023 OF MUSIC THERAPY TO BE EVEN MORE 1814 01:15:02,023 --> 01:15:02,290 POWERFUL. 1815 01:15:02,290 --> 01:15:03,291 >> I THANK YOU FOR THAT 1816 01:15:03,291 --> 01:15:06,561 QUESTION, IT IS SOMETHING THAT 1817 01:15:06,561 --> 01:15:10,598 WE'VE ENGAGED WITH WITH A LOT OF 1818 01:15:10,598 --> 01:15:13,034 PASSION AND FROM MY PERSONAL 1819 01:15:13,034 --> 01:15:14,335 EXPERIENCE, IT'S ACTUALLY A 1820 01:15:14,335 --> 01:15:18,106 LITTLE CONTRADICTORY BECAUSE OF 1821 01:15:18,106 --> 01:15:22,243 MY COGNITIVE CHALLENGES, MUSIC 1822 01:15:22,243 --> 01:15:23,411 ACTUALLY DOESN'T FEEL THAT 1823 01:15:23,411 --> 01:15:26,014 DIRECTLY HELPFUL IN THE HEALING 1824 01:15:26,014 --> 01:15:27,115 PROCESS. 1825 01:15:27,115 --> 01:15:29,484 I HAVE A LOT OF MOTIVATION THAT 1826 01:15:29,484 --> 01:15:30,718 COMES FROM MY LOVE FOR MUSIC AND 1827 01:15:30,718 --> 01:15:32,520 I WOULD SAY THAT THAT HAS BEEN 1 1828 01:15:32,520 --> 01:15:38,326 OF THE BIGGEST FACTORS IN ME 1829 01:15:38,326 --> 01:15:38,993 ACTUALLY EMBRACING SYMPTOM 1830 01:15:38,993 --> 01:15:41,930 MANAGEMENT AND THE THINGS THAT I 1831 01:15:41,930 --> 01:15:42,864 CAN DO. 1832 01:15:42,864 --> 01:15:45,500 EVERY THERAPEUTIC PATH THAT I 1833 01:15:45,500 --> 01:15:49,203 CAN TAKE AND I DO THE EXERCISES 1834 01:15:49,203 --> 01:15:50,438 THAT I'M TAUGHT FOR MUSIC AND 1835 01:15:50,438 --> 01:15:51,639 THEY HELP A LITTLE BIT BUT I 1836 01:15:51,639 --> 01:15:52,874 KNOW OTHER PEOPLE THAT HAVE 1837 01:15:52,874 --> 01:15:56,978 GOTTEN A LOT MORE DIRECT, A MUCH 1838 01:15:56,978 --> 01:15:58,713 MORE DIRECT RESULT FROM THINGS 1839 01:15:58,713 --> 01:16:01,482 LIKE THE HUMMING THERAPY THAT WE 1840 01:16:01,482 --> 01:16:05,119 DO, WHICH IS A VERY SIMPLY JUST 1841 01:16:05,119 --> 01:16:06,821 HUMMING WHICH ACTIVATES ALL 1842 01:16:06,821 --> 01:16:08,289 SORTS OF JOOF THELING OF 1843 01:16:08,289 --> 01:16:10,224 MOLECULES IN THE BODY AND THE 1844 01:16:10,224 --> 01:16:15,663 LUNGS AND THEN VERY SPECIFICALLY 1845 01:16:15,663 --> 01:16:18,433 VIBRATES THE -- OH NO -- WHAT'S 1846 01:16:18,433 --> 01:16:20,768 IT CALLED THE VAGUS NERVE, 1847 01:16:20,768 --> 01:16:23,338 SORRY, NOT A DOCTOR. 1848 01:16:23,338 --> 01:16:24,639 THE VAGUS NERVE WHICH IS 1849 01:16:24,639 --> 01:16:28,810 EXTREMELY HELPFUL IN ALLEVIATING 1850 01:16:28,810 --> 01:16:30,678 OVERREACTIONS OF THE NERVOUS 1851 01:16:30,678 --> 01:16:31,546 SYSTEM, CALMING NERVOUS SYSTEM 1852 01:16:31,546 --> 01:16:35,049 DOWN AND BRINGING IT TO A PLACE 1853 01:16:35,049 --> 01:16:37,819 OF STASIS, ALSO DIAPHRAGMATIC 1854 01:16:37,819 --> 01:16:40,054 BREATHING THAT SINGERS HAVE TO 1855 01:16:40,054 --> 01:16:40,855 LEARN AND APPARENTLY VERY 1856 01:16:40,855 --> 01:16:42,457 HELPFUL AND JUST THE ACT OF 1857 01:16:42,457 --> 01:16:42,690 SINGING. 1858 01:16:42,690 --> 01:16:45,326 I WAS LISTENING TO RENE FLEMMING 1859 01:16:45,326 --> 01:16:48,029 A COUPLE WEEKS AGO AT STANFORD 1860 01:16:48,029 --> 01:16:51,933 TALKING ABOUT THIS WITH 4 1861 01:16:51,933 --> 01:16:54,268 STANFORD SCIENTISTS OF VARYING 1862 01:16:54,268 --> 01:16:55,937 KINDS ABOUT HOW TAKING A BREATH 1863 01:16:55,937 --> 01:16:57,772 IN AND THEN CONTROLLING THE 1864 01:16:57,772 --> 01:17:00,808 BREATH AS IT GOES OUT AND 1865 01:17:00,808 --> 01:17:02,577 VIBRATING THE VOCAL CHORDS IS 1866 01:17:02,577 --> 01:17:06,547 ACTUALLY A KIND OF THERAPY OR A 1867 01:17:06,547 --> 01:17:08,583 BREATH THERAPY, WHICH IS PRETTY 1868 01:17:08,583 --> 01:17:09,150 AMAZING. 1869 01:17:09,150 --> 01:17:10,418 THIS' JUST SINGING. 1870 01:17:10,418 --> 01:17:15,056 I DO HAVE ALWAYS JUST TO SHARE 1871 01:17:15,056 --> 01:17:16,657 SOME VERY SPECIFIC -- WE'VE BEEN 1872 01:17:16,657 --> 01:17:18,393 COLLECTING DATA FROM THE 1873 01:17:18,393 --> 01:17:20,228 PERFORMANCES I'VE BEEN GIVING OF 1874 01:17:20,228 --> 01:17:21,529 THE IMMUNITY PROJECT AT LONG 1875 01:17:21,529 --> 01:17:23,464 COVID CLINICS AND JUST TO 1876 01:17:23,464 --> 01:17:27,168 HIGHLIGHT SOME OF THE THINGS 1877 01:17:27,168 --> 01:17:29,103 THAT HAPPEN AFTER THESE 1878 01:17:29,103 --> 01:17:30,872 PERFORMANCES, 76% OF OUR 1879 01:17:30,872 --> 01:17:33,074 RESPONDENTS FELT AN INCREASE IN 1880 01:17:33,074 --> 01:17:35,109 MOTIVATION FOR SEEKING CARE OF 1881 01:17:35,109 --> 01:17:38,346 THEIR LONG COVID SYMPTOMS. 1882 01:17:38,346 --> 01:17:40,014 EIGHTY-SIX% FELT AN INCREASE IN 1883 01:17:40,014 --> 01:17:42,884 MOTIVATION FOR PARTICIPATING IN 1884 01:17:42,884 --> 01:17:44,285 THERAPEUTIC MUSIC EXERCISES. 1885 01:17:44,285 --> 01:17:45,820 DURING THE PRESENTATION AT A 1886 01:17:45,820 --> 01:17:47,255 LONG COVID CLINIC I ACTUALLY 1887 01:17:47,255 --> 01:17:50,391 TEACH THE HUMMING EXERCISE AND 1888 01:17:50,391 --> 01:17:53,361 THE DIAPHRAGMATIC BREATHING AND 1889 01:17:53,361 --> 01:17:55,830 GET EVERYBODY HUMMING ALONG, 89% 1890 01:17:55,830 --> 01:17:58,466 FELT AN INCREASE IN MOTIVATION 1891 01:17:58,466 --> 01:17:59,734 FOR PRACTICING ANY CREATIVE 1892 01:17:59,734 --> 01:18:02,737 EFFORT ISSUES MUSIC, VISUAL OR 1893 01:18:02,737 --> 01:18:04,739 WRITING OR ET CETERA AND 76% 1894 01:18:04,739 --> 01:18:08,976 FELT A STRONGER EMOTIONS THAN 1895 01:18:08,976 --> 01:18:10,111 THOSE THEY USUALLY FEEL. 1896 01:18:10,111 --> 01:18:12,547 SEVENTY-TWO% FELT MORE POSITIVE 1897 01:18:12,547 --> 01:18:13,915 OVERALL MOOD REGARDING LIVING 1898 01:18:13,915 --> 01:18:15,750 WITH LONG COVID AFTER ATTENDING 1899 01:18:15,750 --> 01:18:16,584 THE IMMUNITY EXPERIENCE. 1900 01:18:16,584 --> 01:18:21,489 SO A LOT OF THIS, I THINK IS 1901 01:18:21,489 --> 01:18:22,557 ABOUT MUSIC BUT MUSIC IS ALSO 1902 01:18:22,557 --> 01:18:25,393 JUST A PLACE WHERE WE GATHER FOR 1903 01:18:25,393 --> 01:18:29,630 THE PURPOSE OF EXCHANGING -- 1904 01:18:29,630 --> 01:18:32,166 EXCHANGING AIR VIBRATIONS, YOU 1905 01:18:32,166 --> 01:18:35,470 KNOW, THAT'S LIKE -- WE'RE NOT 1906 01:18:35,470 --> 01:18:38,706 THERE FOR THE EXCHANGE OF GOODS 1907 01:18:38,706 --> 01:18:40,908 AND SERVICES, IT'S AN EXCHANGE 1908 01:18:40,908 --> 01:18:42,477 OF OUR HUMANITY IN A WAY AND I 1909 01:18:42,477 --> 01:18:43,478 THINK THAT PEOPLE REALLY RESPOND 1910 01:18:43,478 --> 01:18:47,081 TO THAT KIND OF A GATHERING EVEN 1911 01:18:47,081 --> 01:18:49,250 WITHOUT ALL OF BENEFITS OF 1912 01:18:49,250 --> 01:18:52,920 ACTUALLY LISTENING TO MUSIC OR 1913 01:18:52,920 --> 01:18:53,354 PARTICIPATING IN IT. 1914 01:18:53,354 --> 01:18:54,455 YOU HAVE A GATHERING OF PEOPLE 1915 01:18:54,455 --> 01:18:56,224 WHO ARE THERE FOR THE PURPOSE OF 1916 01:18:56,224 --> 01:18:58,793 CELEBRATING WHAT IT MEANS TO BE 1917 01:18:58,793 --> 01:19:00,895 HUMAN AND THAT'S PRETTY SPECIAL. 1918 01:19:00,895 --> 01:19:01,362 >> IT CERTAINLY IS. 1919 01:19:01,362 --> 01:19:02,730 >> WE HAVE TIME FOR A COUPLE 1920 01:19:02,730 --> 01:19:04,966 MORE QUESTIONS AND THEN AGAIN, 1921 01:19:04,966 --> 01:19:06,400 PEOPLE BE PREPARED, THERE'S A 1922 01:19:06,400 --> 01:19:07,902 FINALE COMING, YOU DON'T WANT TO 1923 01:19:07,902 --> 01:19:10,071 SIGN OFF UNTIL WE GET TO THAT 1924 01:19:10,071 --> 01:19:10,338 POINT. 1925 01:19:10,338 --> 01:19:11,706 NCHARLES THE QUESTION THAT'S 1926 01:19:11,706 --> 01:19:13,207 BEING ASKED, IS THERE REALLY 1927 01:19:13,207 --> 01:19:15,243 SOMETHING THAT SCIENTISTS COULD 1928 01:19:15,243 --> 01:19:19,080 LEARN FROM WHAT YOU HAVE 1929 01:19:19,080 --> 01:19:21,516 DISCERNED ABOUT IMPROVISATION 1930 01:19:21,516 --> 01:19:22,550 WITH JAZZ, MUSICIANS, WHERE YOU 1931 01:19:22,550 --> 01:19:28,256 TRY TO RELEASE YOUR INHIBITIONS 1932 01:19:28,256 --> 01:19:30,024 TO BASICALLY COME UP WITH A 1933 01:19:30,024 --> 01:19:31,025 CONCEPT THAT'S AGAINST 1934 01:19:31,025 --> 01:19:32,093 CONVENTIONAL THINKING. 1935 01:19:32,093 --> 01:19:34,162 I THINK I KNOW WHAT THE 1936 01:19:34,162 --> 01:19:36,097 QUESTION'S GOING FOR THAT THE 1937 01:19:36,097 --> 01:19:37,365 BIG LEAPS IN SCIENCE HAPPEN THAT 1938 01:19:37,365 --> 01:19:38,866 YOU DECIDE THAT YOU'RE JUST NOT 1939 01:19:38,866 --> 01:19:41,269 GOING TO BOTHER WITH WHAT 1940 01:19:41,269 --> 01:19:44,038 SUPPOSELY THE ANSWER IS, YOU 1941 01:19:44,038 --> 01:19:46,674 WILL UNLEASH THIS CREATIVITY 1942 01:19:46,674 --> 01:19:50,878 INTO A SPACE THAT HAD PREVIOUSLY 1943 01:19:50,878 --> 01:19:51,812 BEEN THERE. 1944 01:19:51,812 --> 01:19:53,814 YOU WILL STUDY BACTERIA TO SEE 1945 01:19:53,814 --> 01:19:58,152 IF THERE'S AN ENZYME THERE THAT 1946 01:19:58,152 --> 01:19:59,353 CAN EDIT THE GENOME THERE FOR 1947 01:19:59,353 --> 01:20:00,054 INSTANCE WHICH CAN HAPPEN. 1948 01:20:00,054 --> 01:20:01,923 DO YOU THINK OF THAT YOURSELF 1949 01:20:01,923 --> 01:20:04,025 BECAUSE YOU'RE INTO THE 1950 01:20:04,025 --> 01:20:04,725 IMPROVISATIONAL BRAIN WORK IN 1951 01:20:04,725 --> 01:20:06,561 TERMS OF HOW THE BRAIN REALLY 1952 01:20:06,561 --> 01:20:08,729 GETS UNLEASHED, DO YOU UNLEASH 1953 01:20:08,729 --> 01:20:10,131 THAT SAME KIND OF MIND SET WHEN 1954 01:20:10,131 --> 01:20:12,033 YOU'RE DOING A RESEARCH PROJECT? 1955 01:20:12,033 --> 01:20:19,340 >> THANKS FOR THOSE QUESTIONS. 1956 01:20:19,340 --> 01:20:22,843 LET ME RESPOND TO THAT IN A WAY 1957 01:20:22,843 --> 01:20:25,146 THAT SYNTHESIZES ALL THOSE 1958 01:20:25,146 --> 01:20:25,947 DIFFERENT THREATS TOGETHER. 1959 01:20:25,947 --> 01:20:27,815 ONE IS ABOUT THIS PURPOSE OR 1960 01:20:27,815 --> 01:20:32,987 RESEARCH, WHAT DO WE HOPE TO 1961 01:20:32,987 --> 01:20:33,888 ACCOMPLISH BY DOING THIS? 1962 01:20:33,888 --> 01:20:36,324 IF YOU LOOK AT IT AS A JAZZ 1963 01:20:36,324 --> 01:20:37,124 EXPERIMENT, THAT'S MISSING THE 1964 01:20:37,124 --> 01:20:38,759 WHOLE POINT OF IT, THE WHOLE 1965 01:20:38,759 --> 01:20:41,262 IDEA IS THAT IT'S TRYING TO 1966 01:20:41,262 --> 01:20:42,496 CAPTURE LIGHTNING IN A BOTTLE, 1967 01:20:42,496 --> 01:20:44,498 NOW WHAT DO THEY DO, THEY 1968 01:20:44,498 --> 01:20:46,000 CREATE, THEY CREATE, THEY 1969 01:20:46,000 --> 01:20:48,336 INNOVATE AND THERE'S PROBABLY NO 1970 01:20:48,336 --> 01:20:51,072 MORE ELUSIVE TOPIC TO STUDY THAN 1971 01:20:51,072 --> 01:20:53,774 HUMAN CREATIVITY AND IT'S BY ITS 1972 01:20:53,774 --> 01:21:00,147 NATURE UNPREICTIBLE, YOU CAN'T 1973 01:21:00,147 --> 01:21:02,083 FORCE IT, SO ACTUALLY LOOKING AT 1974 01:21:02,083 --> 01:21:04,619 ARTISTS AS CREATIVE EXPERTS, 1975 01:21:04,619 --> 01:21:06,587 PEOPLE WHOSE BRAINS ARE VERY 1976 01:21:06,587 --> 01:21:08,189 GOOD AT GENERATING NOVEL IDEAS 1977 01:21:08,189 --> 01:21:09,357 THEY'RE MAKING NO IMPORTANT 1978 01:21:09,357 --> 01:21:11,325 HUMAN TRAIT OR KIND THAN THE 1979 01:21:11,325 --> 01:21:13,661 ABILITY TO GENERATE A NEW IDEA. 1980 01:21:13,661 --> 01:21:15,496 THAT MAY BE WHY WE'VE SURVIVED 1981 01:21:15,496 --> 01:21:18,599 AS A SPECIES, NOT JUST IN OUR 1982 01:21:18,599 --> 01:21:20,835 BELIEF TO MEMORIZE THE THINGS 1983 01:21:20,835 --> 01:21:22,470 ARE FOLLOW PREPROGRAMMED RUSEENS 1984 01:21:22,470 --> 01:21:24,872 BUT BY SEEING THINGS OR INSIGHTS 1985 01:21:24,872 --> 01:21:25,673 WHERE THEY WERE NOT THERE BEFORE 1986 01:21:25,673 --> 01:21:27,975 AND THIS IS WHAT A JAZZ MUSICIAN 1987 01:21:27,975 --> 01:21:30,311 IS DOING ON A MICROCOMP LEVEL 1988 01:21:30,311 --> 01:21:32,713 EVERY TIME THEY PLAY. 1989 01:21:32,713 --> 01:21:33,748 THEY'RE COMING UP WITH SOMETHING 1990 01:21:33,748 --> 01:21:33,914 NEW. 1991 01:21:33,914 --> 01:21:35,583 SO WE DON'T KNOW HOW THE BRAIN 1992 01:21:35,583 --> 01:21:37,051 GENERATES NEW IDEAS, THIS IS NOT 1993 01:21:37,051 --> 01:21:38,653 SOMETHING WE HAVE COMMAND OVER, 1994 01:21:38,653 --> 01:21:40,054 THIS IS NOT SOMETHING THAT 1995 01:21:40,054 --> 01:21:41,722 SCIENTIST VS SOLVED OR FIGURED 1996 01:21:41,722 --> 01:21:43,591 OUT YET AND PART OF THE WAY WE 1997 01:21:43,591 --> 01:21:45,593 WOULD BE ABLE TO HARNESS THAT IS 1998 01:21:45,593 --> 01:21:48,062 BY FIRST COMING UP WITH A 1999 01:21:48,062 --> 01:21:48,996 COMPREHENSIVE MODEL FOR 2000 01:21:48,996 --> 01:21:49,697 CREATIVITY. 2001 01:21:49,697 --> 01:21:50,498 THAT'S A HUGE TALL ORDER AND 2002 01:21:50,498 --> 01:21:52,166 SOMETHING I THINK WILL TAKE 2003 01:21:52,166 --> 01:21:53,768 YEARS AND YEARS AND DECADES AND 2004 01:21:53,768 --> 01:21:55,303 DECKATEDS OF STUDY CAN WHAT 2005 01:21:55,303 --> 01:21:56,270 SHOULD EMERGE THOUGH IS THAT WE 2006 01:21:56,270 --> 01:21:57,838 KNOW MORE ABOUT THE END OF THAT, 2007 01:21:57,838 --> 01:21:59,273 ABOUT HOW THE BRAIN COMES UP 2008 01:21:59,273 --> 01:22:00,808 WITH NEW IDEAS THAN WE DID IN 2009 01:22:00,808 --> 01:22:02,310 THE BEGINNING, WE CAN ACTUALLY 2010 01:22:02,310 --> 01:22:03,477 DESCRIBE THE NEURAL CIRCUITRY OF 2011 01:22:03,477 --> 01:22:05,012 IT CAN WE CAN DESCRIBE THINGS 2012 01:22:05,012 --> 01:22:06,881 THAT INHIBIT THAT CIRCUITRY AND 2013 01:22:06,881 --> 01:22:08,382 THINGS THAT FACILITATE THAT 2014 01:22:08,382 --> 01:22:09,417 CIRCUITRY AND IN THE END WE 2015 01:22:09,417 --> 01:22:11,452 SHOULD BE ABLE TO TAKE ADVANTAGE 2016 01:22:11,452 --> 01:22:13,421 OF THE CREATIVE POTENTIAL OF 2017 01:22:13,421 --> 01:22:16,123 HUMANITY SO TO ME THAT'S A REAL 2018 01:22:16,123 --> 01:22:17,925 REASON WHY THERE'S A KIND OF 2019 01:22:17,925 --> 01:22:19,760 CRON CRETE BENEFIT TO LOOKING AT 2020 01:22:19,760 --> 01:22:20,961 THESE QUESTIONS, AND NOW THERE'S 2021 01:22:20,961 --> 01:22:22,830 THE OTHER THING WHICH IS THE 2022 01:22:22,830 --> 01:22:25,099 KIND OF LATERAL THINKING ASPECT 2023 01:22:25,099 --> 01:22:26,267 OF THINGS THAT TAKE PLACE WHEN 2024 01:22:26,267 --> 01:22:29,470 YOU'RE IN THE ZONE, AND THIS IS 2025 01:22:29,470 --> 01:22:30,905 ANOTHER SOMETHING THAT WAS 2026 01:22:30,905 --> 01:22:32,239 IMPLIED, THERE'S VARIOUS WAYS OF 2027 01:22:32,239 --> 01:22:33,941 BEING IN THE ZONE IN ALL 2028 01:22:33,941 --> 01:22:35,076 DIFFERENT KINDS OF CREATIVITY, 2029 01:22:35,076 --> 01:22:36,243 SO THIS CONVERSATION IS CREATIVE 2030 01:22:36,243 --> 01:22:38,713 IN ITS OWN WAY, I WILL TELL YOU 2031 01:22:38,713 --> 01:22:40,214 AS AN AMATEUR CHEF WHEN I'M 2032 01:22:40,214 --> 01:22:42,049 COOKING, I FEEL LIKE IT'S OFTEN 2033 01:22:42,049 --> 01:22:43,184 VERY CREATIVE AND IT'S 2034 01:22:43,184 --> 01:22:46,053 INTERESTINGLY AS A SURGE, I WILL 2035 01:22:46,053 --> 01:22:48,122 TELL YOU SURGERY CAN FEEL VERY 2036 01:22:48,122 --> 01:22:48,389 CREATIVE. 2037 01:22:48,389 --> 01:22:49,990 OF COURSE I SAY WE LIMIT THE 2038 01:22:49,990 --> 01:22:51,225 CREATIVITY IN THE OPERATING 2039 01:22:51,225 --> 01:22:52,393 ROOM, WE GENERALLY HAVE A GOAL, 2040 01:22:52,393 --> 01:22:54,261 WE DON'T MAKE IT UP AS WE GBUT 2041 01:22:54,261 --> 01:22:55,629 YOU HAVE TO PROBLEM SOLVE AND 2042 01:22:55,629 --> 01:22:56,864 IMPROVISE ALL THE TIME. 2043 01:22:56,864 --> 01:22:57,531 THINGS COME UP. 2044 01:22:57,531 --> 01:22:59,834 FOR THOSE OF YOU THAT HAVE DONE, 2045 01:22:59,834 --> 01:23:02,236 YOU KNOW DIY HOME IMPROVEMENT 2046 01:23:02,236 --> 01:23:03,137 PROJECTS, WHAT'S THE FIRST THING 2047 01:23:03,137 --> 01:23:04,572 HA HAPPENS, SOMETHING YOU HAD NO 2048 01:23:04,572 --> 01:23:06,107 CLUE WAS GOING TO COME UP THAT 2049 01:23:06,107 --> 01:23:08,509 YOU'RE DEALING WITH, THAT'S THE 2050 01:23:08,509 --> 01:23:09,343 NATURE OF FIXING THINGS AND 2051 01:23:09,343 --> 01:23:10,911 SURGERY IS THE SAME THING, 2052 01:23:10,911 --> 01:23:12,213 SOMETHING COMES UP, WHOA, NOW I 2053 01:23:12,213 --> 01:23:14,181 GOTTA DEAL WITH THIS AND SO, 2054 01:23:14,181 --> 01:23:16,250 THIS CAPACITY, I THINK TO FLIP 2055 01:23:16,250 --> 01:23:24,725 YOUR MIND, BE IN THE ZONE WHERE 2056 01:23:24,725 --> 01:23:26,460 YOUR BRAIN IS OPERATING AT 8 2057 01:23:26,460 --> 01:23:28,295 DIFFERENT LEVEL THAN MOST DAILY 2058 01:23:28,295 --> 01:23:30,197 TASKS IS AN IMPORTANT ASPECT OF 2059 01:23:30,197 --> 01:23:31,232 YOU HAD HUMANS FUNCTION AND THEN 2060 01:23:31,232 --> 01:23:36,370 I THINK AS A WAY TO GENERATE 2061 01:23:36,370 --> 01:23:37,738 GANNA, NEW KNOWLEDGE, IT'S KIND 2062 01:23:37,738 --> 01:23:42,042 OF A CORE ATTRIBUTE TO ME. 2063 01:23:42,042 --> 01:23:45,780 NOW SCIENTIFICALLY, MOST 2064 01:23:45,780 --> 01:23:47,581 SCIENTISTS ARE NOT STUDYING THIS 2065 01:23:47,581 --> 01:23:48,816 KIND OF DIVERGENT ABSTRACT 2066 01:23:48,816 --> 01:23:50,151 PROCESS THAT'S WHY IT'S HARD TO 2067 01:23:50,151 --> 01:23:50,985 PIN DOWN SCIENTIFICALLY AND 2068 01:23:50,985 --> 01:23:53,020 THAT'S WHY YOU NEED A SCIENTIFIC 2069 01:23:53,020 --> 01:23:54,121 EXPERIMENT THEY THINK REALLY 2070 01:23:54,121 --> 01:23:56,090 RESPECTS THE ART FORM, IT HAS TO 2071 01:23:56,090 --> 01:23:58,159 BE MUSICAL IN ITS ORIGIN, THIS 2072 01:23:58,159 --> 01:24:00,261 IS WHEN YOU NEED IT TO BE A 2073 01:24:00,261 --> 01:24:01,095 MUSIC EXPERIMENT TO GET THE 2074 01:24:01,095 --> 01:24:02,763 MUSIC OUT OF IT AND ALSO WHY YOU 2075 01:24:02,763 --> 01:24:04,031 NEED TO BE CAREFUL ABOUT WHAT 2076 01:24:04,031 --> 01:24:08,002 I'M JUST GOING TO CALL BAD 2077 01:24:08,002 --> 01:24:10,037 SCIENCE AND WHAT I MEAN BY THAT, 2078 01:24:10,037 --> 01:24:11,705 SURE, LOOK, YOU HAVE TO -- AS A 2079 01:24:11,705 --> 01:24:13,874 SCIENTIST YOU DO PLENTY OF BAD 2080 01:24:13,874 --> 01:24:15,776 SCIENCE TO BECOME A GOOD 2081 01:24:15,776 --> 01:24:16,110 SCIENTIST. 2082 01:24:16,110 --> 01:24:17,445 IT'S THE NATURE OF LEARNING THIS 2083 01:24:17,445 --> 01:24:17,645 STUFF. 2084 01:24:17,645 --> 01:24:19,079 IT'S HARD TO BE A GOOD 2085 01:24:19,079 --> 01:24:19,346 SCIENTIST. 2086 01:24:19,346 --> 01:24:20,614 IT'S NOT THE SAME AS THINKING 2087 01:24:20,614 --> 01:24:21,749 ABOUT SOMETHING, YOU HAVE TO BE 2088 01:24:21,749 --> 01:24:22,550 SYSTEMATIC, YOU HAVE TO 2089 01:24:22,550 --> 01:24:25,219 RECOGNIZE WHAT IT MEANS TO HAVE 2090 01:24:25,219 --> 01:24:26,687 EXPERIMENTAL DESIGNS, CONTROLS, 2091 01:24:26,687 --> 01:24:27,288 STAOF THEISTICAL ANALYSIS, YOU 2092 01:24:27,288 --> 01:24:28,889 HAVE TO REALIZE WHEN YOU DON'T 2093 01:24:28,889 --> 01:24:31,125 WANT TO BELIEVE YOUR OWN HYPE. 2094 01:24:31,125 --> 01:24:34,862 THERE'S A STORY TELLING ASPECT 2095 01:24:34,862 --> 01:24:35,896 TO SCIENCE THAT'S DIFFERENT THAN 2096 01:24:35,896 --> 01:24:36,831 WHAT THE RAW DATA ARE. 2097 01:24:36,831 --> 01:24:38,466 AND TO ME I WANT TO GO BACK TO 2098 01:24:38,466 --> 01:24:39,700 THE RAW DATA AND RECOGNIZE THERE 2099 01:24:39,700 --> 01:24:41,368 ARE DIFFERENT WAYS TO INTERPRET 2100 01:24:41,368 --> 01:24:42,803 AND EXTRACT MEANING OUT OF THIS 2101 01:24:42,803 --> 01:24:44,138 RAW DATA SO HOPEFULLY ALL OF 2102 01:24:44,138 --> 01:24:46,273 THIS WILL LEAD TO BOTH HIGHER 2103 01:24:46,273 --> 01:24:48,709 QUALITY SCIENCE, BETTER 2104 01:24:48,709 --> 01:24:50,811 QUESTIONS, BETTER INSIGHTS INTO 2105 01:24:50,811 --> 01:24:53,714 THIS FUNDAMENTAL PROCESS OF ART 2106 01:24:53,714 --> 01:24:53,948 MAKING. 2107 01:24:53,948 --> 01:24:55,950 >> WONDERFUL WAY TO PUT THIS 2108 01:24:55,950 --> 01:24:56,250 ALTOGETHER. 2109 01:24:56,250 --> 01:24:58,252 WELL WE ARE GOING TO TURN TO 2110 01:24:58,252 --> 01:25:00,354 JOSHUA NOW FOR A WONDERFUL WAY 2111 01:25:00,354 --> 01:25:03,090 TO WRAP UP WHAT HAS BEEN A 2112 01:25:03,090 --> 01:25:04,191 FASCINATING HOUR AND A HALF 2113 01:25:04,191 --> 01:25:06,427 TOGETHER HERE AND TO DO SO 2114 01:25:06,427 --> 01:25:06,861 MUSICALLY. 2115 01:25:06,861 --> 01:25:07,895 I GUESS, THINKING ABOUT THE 2116 01:25:07,895 --> 01:25:09,530 THINGS THAT WE'VE TALKED ABOUT, 2117 01:25:09,530 --> 01:25:12,900 IT'S REALLY CLEAR TO ME THAT 2118 01:25:12,900 --> 01:25:16,604 SCIENCE AND MUSIC BOTH SHARE IN 2119 01:25:16,604 --> 01:25:18,339 THIS NEED FOR CREATIVITY, THIS 2120 01:25:18,339 --> 01:25:20,407 APPRECIATION OF BEAUTY AS A 2121 01:25:20,407 --> 01:25:21,475 SCIENTIST, WE MAKE A DISCOVERY, 2122 01:25:21,475 --> 01:25:24,044 IT'S NOT JUST LIKE, AN EXCITING 2123 01:25:24,044 --> 01:25:27,114 FACT, IT'S ALSO SOMETIMES QUITE 2124 01:25:27,114 --> 01:25:29,250 BEAUTIFUL AND IN AWE, AWE THAT 2125 01:25:29,250 --> 01:25:31,018 IN FACT WE CAN EXPERIENCE SUCH 2126 01:25:31,018 --> 01:25:32,953 THINGS AS WHAT WE'RE ABOUT TO 2127 01:25:32,953 --> 01:25:35,055 WITH MUSIC BUT ALSO AWE THAT 2128 01:25:35,055 --> 01:25:36,824 WE'RE ABLE USING THE TOOLS OF 2129 01:25:36,824 --> 01:25:39,360 SCIENCE TO SEE THINGS ABOUT 2130 01:25:39,360 --> 01:25:42,930 CREATION THAT ARE BREATH TAKING. 2131 01:25:42,930 --> 01:25:44,798 SOME PEOPLE WORRY THAT SCIENCE 2132 01:25:44,798 --> 01:25:46,867 TAKES THE AWE OUT OF THEARS, I 2133 01:25:46,867 --> 01:25:49,470 SALD NOT AT ALL, THEY PUT THE 2134 01:25:49,470 --> 01:25:52,506 AWE IN A DIFFERENT CONTEXT THAT 2135 01:25:52,506 --> 01:25:56,243 EVEN ADDS FURTHER TO 1 SENSE OF 2136 01:25:56,243 --> 01:25:56,944 JOYFULNESS. 2137 01:25:56,944 --> 01:25:58,646 AND SO LET'S FINISH OFF OUR 2138 01:25:58,646 --> 01:26:00,681 REMARKABLE TIME HERE TOGETHER BY 2139 01:26:00,681 --> 01:26:04,418 ASKING JOSHUA TO PUT IT 2140 01:26:04,418 --> 01:26:07,121 ALTOGETHER WITH BEAUTY, WITH AWE 2141 01:26:07,121 --> 01:26:07,788 AND CREATIVITY AND IMPROVISATION 2142 01:26:07,788 --> 01:26:11,926 IN A WAY THAT WILL GIVE US ALL A 2143 01:26:11,926 --> 01:26:14,461 CHANCE HERE, ON A DAY WHERE 2144 01:26:14,461 --> 01:26:15,129 THINGS AREN'T NECESSARILY GOING 2145 01:26:15,129 --> 01:26:17,498 THE WAI WE WANT, TO JUST STEP 2146 01:26:17,498 --> 01:26:19,099 AWAY FROM ALL OF THAT FOR A 2147 01:26:19,099 --> 01:26:20,467 MOMENT AND EXPERIENCE THIS KIND 2148 01:26:20,467 --> 01:26:23,170 OF REMARKABLE SENSE THAT MUSIC 2149 01:26:23,170 --> 01:26:26,006 CAN PROVIDE BY THOSE VIBRATIONS 2150 01:26:26,006 --> 01:26:28,042 IN THE AIR -- SOMEHOW TRANSLATED 2151 01:26:28,042 --> 01:26:29,076 INTO THE ELECTRICAL SIGNALS IN 2152 01:26:29,076 --> 01:26:31,478 THE BRAIN THAT TOUCHES US DEEPLY 2153 01:26:31,478 --> 01:26:35,950 RIGHT IN THE CENTER OF WHO WE 2154 01:26:35,950 --> 01:26:36,116 ARE. 2155 01:26:36,116 --> 01:26:37,718 >> THANK YOU. 2156 01:26:37,718 --> 01:26:39,753 I HAVE 1 LAST PIECE TO SHARE 2157 01:26:39,753 --> 01:26:43,223 WITH YOU AND BEFORE I DO, I JUST 2158 01:26:43,223 --> 01:26:44,358 WANT TO SAY, THANK YOU FOR 2159 01:26:44,358 --> 01:26:49,797 HAVING ME ON, THIS IS A REAL 2160 01:26:49,797 --> 01:26:50,197 PLEASURE. 2161 01:26:50,197 --> 01:26:52,666 IT TICKLES SO MANY FANCYS I HAVE 2162 01:26:52,666 --> 01:26:53,968 FOR SCIENCE AND MEDICINE AND THE 2163 01:26:53,968 --> 01:26:59,039 ARTS TO BE ABLE TO IRPT INTERAH 2164 01:26:59,039 --> 01:27:00,007 YOU IS A REAL PLEASURE AND I 2165 01:27:00,007 --> 01:27:02,109 JUST WANT TO SHARE, BEFORE I 2166 01:27:02,109 --> 01:27:04,178 GIVE YOU THIS LAST PIECE OF 2167 01:27:04,178 --> 01:27:06,013 MUSIC, THAT MEANS A LOT TO ME, 2168 01:27:06,013 --> 01:27:12,987 KIND OF WHERE IT'S COMING FROM 2169 01:27:12,987 --> 01:27:16,156 WHICH IS THAT I -- YOU KNOW I'VE 2170 01:27:16,156 --> 01:27:18,559 BEEN DEALING WITH A HEALTH ISSUE 2171 01:27:18,559 --> 01:27:19,860 AND IT'S BEEN 4 YEARS AND IT'S 2172 01:27:19,860 --> 01:27:22,696 HARD, IT'S HARD TO TALK ABOUT 2173 01:27:22,696 --> 01:27:24,431 IT, IT'S HARD TO -- SOMETIMES 2174 01:27:24,431 --> 01:27:25,733 IT'S HARD TO ACCEPT IT, 2175 01:27:25,733 --> 01:27:27,267 SOMETIMES I FEEL LIKE I'M DOING 2176 01:27:27,267 --> 01:27:28,435 REALLY WELL WITH THAT AND WHEN 2177 01:27:28,435 --> 01:27:34,174 IT COMES TO MY MUSIC, I'M 2178 01:27:34,174 --> 01:27:37,344 CONSTANT LE ADJUSTING HOW I 2179 01:27:37,344 --> 01:27:38,846 NAVIGATE THIS, I'M A 2180 01:27:38,846 --> 01:27:40,214 PERFECTIONIST, I'M A 2181 01:27:40,214 --> 01:27:41,215 PERFORMER, OPENING UP IN THIS 2182 01:27:41,215 --> 01:27:43,083 WAY AND ALLOWING THINGS TO 2183 01:27:43,083 --> 01:27:44,318 HAPPEN WHICH FEELS NOW SO 2184 01:27:44,318 --> 01:27:47,855 CENTRAL TO WHAT I DO, THAT'S 2185 01:27:47,855 --> 01:27:50,891 BEING VULNERABLE AND THAT CAN 2186 01:27:50,891 --> 01:27:55,262 MEAN MISTAKES AND MISTAKES, I 2187 01:27:55,262 --> 01:27:58,766 WAS TAUGHT DO NOT BELONG ON 2188 01:27:58,766 --> 01:27:58,966 STAGE. 2189 01:27:58,966 --> 01:28:01,602 BUT I ALSO KNOW THAT THE 2190 01:28:01,602 --> 01:28:03,337 VULNERABILITY, THE OPENNESS THAT 2191 01:28:03,337 --> 01:28:05,806 ALLOWS FOR THINGS TO MOVE ME, TO 2192 01:28:05,806 --> 01:28:10,411 MOVE US, THAT'S WHERE IT REALLY 2193 01:28:10,411 --> 01:28:11,512 COMES TOGETHER AND SO NOW I'M 2194 01:28:11,512 --> 01:28:13,013 COMMITTED TO DOING THAT, TO 2195 01:28:13,013 --> 01:28:14,515 FOCUSING ON THAT AND THAT'S 2196 01:28:14,515 --> 01:28:18,686 WHERE I THINK FOR ME, THIS 2197 01:28:18,686 --> 01:28:20,854 SEARCH THAT I DO WITH MUSIC THAT 2198 01:28:20,854 --> 01:28:23,891 SOME OF US DO WITH SCIENCE, 2199 01:28:23,891 --> 01:28:26,860 WHEREVER IT IS, THERE'S 2200 01:28:26,860 --> 01:28:27,995 SOMETHING INHERENT ABOUT NOT 2201 01:28:27,995 --> 01:28:29,296 KNOWING ALL OF THE ANSWERS THAT 2202 01:28:29,296 --> 01:28:33,000 MAKE ITS WORTH IT, THAT MAKE ITS 2203 01:28:33,000 --> 01:28:34,601 BEAUTIFUL, THAT MAKES IT VERY 2204 01:28:34,601 --> 01:28:37,571 HUMAN AND THAT'S WHERE I WANT TO 2205 01:28:37,571 --> 01:28:37,771 LIVE. 2206 01:28:37,771 --> 01:28:42,776 SO I FEEL LIKE MORE THAN EVER, 2207 01:28:42,776 --> 01:28:46,280 TO ME NOW, MUSIC HAS BECOME AN 2208 01:28:46,280 --> 01:28:48,882 ART NOT OF PERFECTION BUT OF 2209 01:28:48,882 --> 01:28:49,149 HUMANITY. 2210 01:28:49,149 --> 01:28:50,918 SO HERE'S A SONG THAT I THINK 2211 01:28:50,918 --> 01:28:56,223 SAYS THAT ALL VERY WELL. 2212 01:28:56,223 --> 01:28:56,590 [♪ MUSIC ♪] 2213 01:28:56,590 --> 01:29:06,867 [♪ MUSIC ♪] 2214 01:29:24,818 --> 01:29:27,087 ♪ I HEARD THERE'S A SECRET CHORD 2215 01:29:27,087 --> 01:29:30,524 THAT DAVID PLAYED IT PLEASED THE 2216 01:29:30,524 --> 01:29:35,696 LORD BUT YOU DON'T REALLY FOR 2217 01:29:35,696 --> 01:29:39,333 MUSIC, DO YOU ♪ 2218 01:29:39,333 --> 01:29:44,571 ♪ WELL IT GOES LIKE THIS, THE 2219 01:29:44,571 --> 01:29:48,041 FOURTH, THE FIFTH, THE MINOR 4 2220 01:29:48,041 --> 01:29:53,013 AND THE MAJOR LIFT AND THE 2221 01:29:53,013 --> 01:29:55,315 BAFFLED KING COMPOSING 2222 01:29:55,315 --> 01:29:59,119 HALLELUJAH ♪ 2223 01:29:59,119 --> 01:30:02,923 ♪ HALLELUJAH ♪ 2224 01:30:02,923 --> 01:30:11,098 ♪ HALLELUJAH ♪ 2225 01:30:11,098 --> 01:30:14,701 ♪ 2226 01:30:14,701 --> 01:30:15,903 ♪ HALLELUJAH ♪ 2227 01:30:15,903 --> 01:30:24,478 ♪ HALLELUJAH ♪ 2228 01:30:24,478 --> 01:30:31,752 ♪ YOUR FAITH WAS STRONG BUT YOU 2229 01:30:31,752 --> 01:30:35,589 NEEDED PROOF, SAW AND HEARD 2230 01:30:35,589 --> 01:30:41,929 MAYBE ON THE ROOF, IN THE 2231 01:30:41,929 --> 01:30:44,731 MOONLIGHT ROAMING THROUGH YOU ♪ 2232 01:30:44,731 --> 01:30:50,871 ♪ SHE TIED YOU TO HER KITCHEN 2233 01:30:50,871 --> 01:30:52,573 CHAIR, SHE BROKE AND CUT YOUR 2234 01:30:52,573 --> 01:30:55,275 HAIR AND FROM YOUR LIPS SHE DREW 2235 01:30:55,275 --> 01:30:57,511 THE HALLELUJAH ♪ 2236 01:30:57,511 --> 01:31:03,183 ♪ HALLELUJAH NOTE 2237 01:31:03,183 --> 01:31:05,519 ♪ HALLELUJAH ♪ 2238 01:31:05,519 --> 01:31:10,457 ♪ HALLELUJAH ♪ 2239 01:31:10,457 --> 01:31:20,734 ♪ HALLELUJAH ♪ 2240 01:31:23,103 --> 01:31:33,113 ♪ 2241 01:31:54,201 --> 01:31:55,102 ♪ SAY THE NAME IN VEIN, I DON'T 2242 01:31:55,102 --> 01:31:56,470 EVEN KNOW THE NAME ♪ 2243 01:31:56,470 --> 01:31:59,907 ♪ BUT IF I DID, WELL, REALLY 2244 01:31:59,907 --> 01:32:04,011 WHAT'S IT TO YOU ♪ 2245 01:32:04,011 --> 01:32:09,349 ♪ THERE'S A PLACE OF LIGHT IN 2246 01:32:09,349 --> 01:32:19,593 EVERYONE, IT DOESN'T MATTER WHAT 2247 01:32:19,593 --> 01:32:22,863 YOU HEARD, OH HOLY FOR THE 2248 01:32:22,863 --> 01:32:33,206 BROKEN HALLELUJAH ♪ 2249 01:32:33,674 --> 01:32:36,743 ♪ HALLELUJAH ♪ 2250 01:32:36,743 --> 01:32:39,579 ♪ HALLELUJAH ♪ 2251 01:32:39,579 --> 01:32:42,582 ♪ HALLELUJAH ♪ 2252 01:32:42,582 --> 01:32:52,859 ♪ HALLELUJAH ♪ 2253 01:32:56,363 --> 01:33:03,203 ♪ I DID MY BEST, IT WASN'T MUCH, 2254 01:33:03,203 --> 01:33:05,572 I COULDN'T FEEL SO I TRIED TO 2255 01:33:05,572 --> 01:33:07,574 TOUCH ♪ 2256 01:33:07,574 --> 01:33:13,981 ♪ I TOLD THE TRUTH, IT DIDN'T 2257 01:33:13,981 --> 01:33:16,416 COME TO FOOL YA NOTE 2258 01:33:16,416 --> 01:33:18,251 YA ♪ 2259 01:33:18,251 --> 01:33:22,055 ♪ AND EACH THOUGH IT ALL WENT 2260 01:33:22,055 --> 01:33:26,059 WRONG I'LL STAND BEFORE THE LORD 2261 01:33:26,059 --> 01:33:32,566 OF SONG WITH NOTHING ON MY 2262 01:33:32,566 --> 01:33:35,969 TONGUE HALLELUJAH ♪ 2263 01:33:35,969 --> 01:33:46,279 JOIN ME WHEREVER 2264 01:33:46,980 --> 01:33:47,280 ♪ HALLELUJAH ♪ 2265 01:33:47,280 --> 01:33:47,581 YOU ARE ... 2266 01:33:47,581 --> 01:33:47,981 ♪ HALLELUJAH ♪ 2267 01:33:47,981 --> 01:33:48,682 ♪ HALLELUJAH ♪ 2268 01:33:48,682 --> 01:33:51,585 ♪ HALLELUJAH ♪ 2269 01:33:51,585 --> 01:33:56,623 ♪ HALLELUJAH ♪ 2270 01:33:56,623 --> 01:34:01,595 ♪ HALLELUJAH ♪ 2271 01:34:01,595 --> 01:34:06,666 ♪ HALLELUJAH ♪ 2272 01:34:06,666 --> 01:34:14,141 ♪ HALLELUJAH ♪ 2273 01:34:14,141 --> 01:34:24,418 ♪ HALLELUJAH ♪ 2274 01:34:26,820 --> 01:34:29,689 NTHANK -- 2275 01:34:29,689 --> 01:34:30,757 >> THANK YOU. 2276 01:34:30,757 --> 01:34:36,430 THAT WAS EXQUISITE. 2277 01:34:36,430 --> 01:34:37,564 >> JOSHUA ROMAN AND CHARLES LIMB 2278 01:34:37,564 --> 01:34:39,599 YOU HAVE REALLY GIIVE US A GIFT 2279 01:34:39,599 --> 01:34:42,035 OF YOUR MIND AS WELL AS YOUR 2280 01:34:42,035 --> 01:34:45,505 SPIRIT AS WELL AS YOUR SCIENCE 2281 01:34:45,505 --> 01:34:46,139 AND YOUR ART. 2282 01:34:46,139 --> 01:34:48,508 WE ARE GRATEFUL TO YOU BOTH. 2283 01:34:48,508 --> 01:34:49,810 THANK YOU TO THE HUNDREDS OF 2284 01:34:49,810 --> 01:34:52,846 PEOPLE WHO TUNED IN TO HEAR THIS 2285 01:34:52,846 --> 01:34:53,213 CONVERSATION. 2286 01:34:53,213 --> 01:34:54,581 THANK YOU AGAIN TO WIN WHO 2287 01:34:54,581 --> 01:34:56,116 STARTED THIS WHOLE DEMYSTIFYING 2288 01:34:56,116 --> 01:34:56,750 MEDICINE THING. 2289 01:34:56,750 --> 01:34:59,086 I HOPE WE'VE LIVED UP TO YOUR 2290 01:34:59,086 --> 01:35:00,620 STANDARDS OF BUILDING A BRIDGE 2291 01:35:00,620 --> 01:35:02,022 AND ENCOURAGING A LOT OF PEOPLE 2292 01:35:02,022 --> 01:35:04,291 TO WALK ACROSS IT BECAUSE IT 2293 01:35:04,291 --> 01:35:05,892 DOES SEEM TO BE -- YOU COULDN'T 2294 01:35:05,892 --> 01:35:07,561 LISTEN TO THIS HOUR AND A HALF 2295 01:35:07,561 --> 01:35:09,062 AND NOT FEEL LIKE SCIENCE AND 2296 01:35:09,062 --> 01:35:11,164 THE ARTS HAVE A LOT TO SAY TO 2297 01:35:11,164 --> 01:35:19,639 EACH OTHER AND IT'S ALL GOOD. 2298 01:35:19,639 --> 01:35:20,841 >> BRAVO, BRAVO. 2299 01:35:20,841 --> 01:35:21,808 >> THANK YOU EVERYBODY. 2300 01:35:21,808 --> 01:35:23,944 >> THANK YOU FRANCIS, THANK YOU 2301 01:35:23,944 --> 01:35:25,145 JOSHUA. 2302 01:35:25,145 --> 01:35:29,216 THANK YOU WIN. 2303 01:35:29,216 --> 01:35:39,726 >> YES, THANK YOU EVERYONE.