1 00:00:06,139 --> 00:00:08,141 GOOD AFTERNOON. 2 00:00:08,141 --> 00:00:12,546 I AM JEFF RESNICK 3 00:00:12,546 --> 00:00:13,847 -- CHIEF 4 00:00:13,847 --> 00:00:21,088 OF THE DIVISION-- NIH. 5 00:00:21,088 --> 00:00:21,688 THIS IS COSPONSORED BY THE 6 00:00:21,688 --> 00:00:21,989 NATIONAL 7 00:00:21,989 --> 00:00:23,156 ENDOWMENT FOR THE HUMANITIES 8 00:00:23,156 --> 00:00:24,424 IN THE 9 00:00:24,424 --> 00:00:30,197 ONGOING -- PARTNERSHIPS AND 10 00:00:30,197 --> 00:00:30,530 ON HISTORY 11 00:00:30,530 --> 00:00:31,231 TALKS WOULD PROMOTE THE 12 00:00:31,231 --> 00:00:31,598 WELLNESS AND 13 00:00:31,598 --> 00:00:36,169 USE OF ALM FOR RESEARCH 14 00:00:36,169 --> 00:00:36,537 EDUCATION AND 15 00:00:36,537 --> 00:00:38,071 PUBLIC SERVICE IN 16 00:00:38,071 --> 00:00:38,538 BIOMEDICINE, SOCIAL 17 00:00:38,538 --> 00:00:39,506 SCIENCE AND HUMANITIES. THE 18 00:00:39,506 --> 00:00:39,773 SERIES 19 00:00:39,773 --> 00:00:40,407 ALSO SUPPORTS THE COMMITMENT 20 00:00:40,407 --> 00:00:44,177 OF THE 21 00:00:44,177 --> 00:00:44,678 NLM TO RECOGNIZE THE 22 00:00:44,678 --> 00:00:45,112 DIVERSITY OF ITS 23 00:00:45,112 --> 00:00:48,749 COLLECTIONS WHICH SPAN 10 24 00:00:48,749 --> 00:00:49,049 CENTURIES 25 00:00:49,049 --> 00:00:49,616 AND ENCOMPASS A RANGE OF 26 00:00:49,616 --> 00:00:49,950 DIGITAL AND 27 00:00:49,950 --> 00:00:50,450 PHYSICAL FORMATS AND 28 00:00:50,450 --> 00:00:51,451 ORIGINATE FROM 29 00:00:51,451 --> 00:00:52,019 NEARLY EVERY PART OF THE 30 00:00:52,019 --> 00:00:52,386 GLOBE AS WELL 31 00:00:52,386 --> 00:00:56,256 AS THE COMMITMENT FROM THE 32 00:00:56,256 --> 00:00:56,590 INSTITUTION 33 00:00:56,590 --> 00:00:57,057 TO THE DIVERSITY OF 34 00:00:57,057 --> 00:00:57,457 INDIVIDUALS WHO 35 00:00:57,457 --> 00:00:58,058 VALUE THESE COLLECTIONS AND 36 00:00:58,058 --> 00:00:58,358 USE THEM 37 00:00:58,358 --> 00:01:00,694 TO ADVANCE THE RESEARCH, 38 00:01:00,694 --> 00:01:01,061 TEACHING AND 39 00:01:01,061 --> 00:01:01,662 LEARNING AND WE SUPPLEMENT 40 00:01:01,662 --> 00:01:01,995 THESE TALKS 41 00:01:01,995 --> 00:01:02,896 WITH SPEAKER INTERVIEWS ON 42 00:01:02,896 --> 00:01:03,196 OUR BLOG 43 00:01:03,196 --> 00:01:09,870 CALLED CIRCULATING NOW, 44 00:01:09,870 --> 00:01:11,605 LOCATING AT 45 00:01:11,605 --> 00:01:13,307 CIRCULATING NOW.NLM.NIH.GOV. 46 00:01:13,307 --> 00:01:13,941 AND I WOULD LIKE THIS TO TURN 47 00:01:13,941 --> 00:01:14,207 OVER TO 48 00:01:14,207 --> 00:01:15,909 DOCTOR BRENNAN. 49 00:01:15,909 --> 00:01:17,344 THANK YOU VERY MUCH DOCTOR 50 00:01:17,344 --> 00:01:18,478 RESNICK, 51 00:01:18,478 --> 00:01:22,516 JEFF. 52 00:01:22,516 --> 00:01:23,150 WELCOME TO MY COLLEAGUES WHO 53 00:01:23,150 --> 00:01:23,450 ARE GOING 54 00:01:23,450 --> 00:01:24,151 TO BE SPEAKING TODAY BUT MOST 55 00:01:24,151 --> 00:01:24,785 IMPORTANTLY WELCOME TO THOSE 56 00:01:24,785 --> 00:01:25,052 OF YOU 57 00:01:25,052 --> 00:01:26,653 WHO ARE TAKING TIME TO LISTEN 58 00:01:26,653 --> 00:01:26,920 AND TO 59 00:01:26,920 --> 00:01:28,288 THINK AND TO FOCUS ON THE 60 00:01:28,288 --> 00:01:28,622 INTEGRATION 61 00:01:28,622 --> 00:01:29,923 OF HUMANITIES AND MEDICAL 62 00:01:29,923 --> 00:01:38,231 INFORMATION. 63 00:01:38,231 --> 00:01:38,765 THE NATIONAL LIBRARY OF 64 00:01:38,765 --> 00:01:39,132 MEDICINE AS A 65 00:01:39,132 --> 00:01:39,633 LEADER IN BIOMEDICAL 66 00:01:39,633 --> 00:01:39,967 INFORMATION 67 00:01:39,967 --> 00:01:40,934 RESEARCH INCLUDING BIOMEDICAL 68 00:01:40,934 --> 00:01:43,270 SCIENCE 69 00:01:43,270 --> 00:01:53,714 AND ARE HOLDING SPIN 10 70 00:01:54,314 --> 00:01:54,548 CENTURIES. 71 00:01:54,548 --> 00:01:55,115 MOST OF THE HOLDINGS ARE 72 00:01:55,115 --> 00:01:55,415 AVAILABLE 73 00:01:55,415 --> 00:01:55,983 ELECTRONIC BUT MANY ONLY 74 00:01:55,983 --> 00:01:56,283 AVAILABLE 75 00:01:56,283 --> 00:01:56,883 ON-SITE, AND AS WE RENOVATE 76 00:01:56,883 --> 00:01:57,084 OUR 77 00:01:57,084 --> 00:01:57,684 BUILDING WE WELCOME YOU TO 78 00:01:57,684 --> 00:01:57,985 COME JOIN 79 00:01:57,985 --> 00:02:07,427 US. 80 00:02:07,427 --> 00:02:08,028 DOCTOR RESNICK AND HIS TEAM 81 00:02:08,028 --> 00:02:08,328 HAVE DONE 82 00:02:08,328 --> 00:02:08,929 AN AMAZING JOB FINDING WAYS 83 00:02:08,929 --> 00:02:09,229 FOR US TO 84 00:02:09,229 --> 00:02:09,863 INTEGRATE THIS WITH PARTNERS 85 00:02:09,863 --> 00:02:10,063 AND 86 00:02:10,063 --> 00:02:10,664 AGENCIES ACROSS THE COUNTRY 87 00:02:10,664 --> 00:02:10,931 AND WE 88 00:02:10,931 --> 00:02:11,531 HAVE THIS PARTNERSHIP WITH 89 00:02:11,531 --> 00:02:11,732 THE 90 00:02:11,732 --> 00:02:12,332 NATIONAL ENDOWMENT FOR THE 91 00:02:12,332 --> 00:02:12,666 HUMANITIES 92 00:02:12,666 --> 00:02:13,767 WHICH HELP US TO DEVELOP 93 00:02:13,767 --> 00:02:14,101 INITIATIVES 94 00:02:14,101 --> 00:02:14,735 THAT EXPLORE THE INTERSECTION 95 00:02:14,735 --> 00:02:14,935 OF 96 00:02:14,935 --> 00:02:16,770 BIOMEDICAL AND HUMANITIES 97 00:02:16,770 --> 00:02:17,070 RESEARCH 98 00:02:17,070 --> 00:02:19,606 PARTICULARLY RESEARCH AT THE 99 00:02:19,606 --> 00:02:20,207 INTERDISCIPLINARY SECTION, 100 00:02:20,207 --> 00:02:20,540 THE CORNER 101 00:02:20,540 --> 00:02:21,174 STORE OF THE NATIONAL LIBRARY 102 00:02:21,174 --> 00:02:21,942 OF 103 00:02:21,942 --> 00:02:23,443 MEDICINE'S MISSION TO SERVE 104 00:02:23,443 --> 00:02:23,710 SCIENCE 105 00:02:23,710 --> 00:02:24,277 AND SOCIETY AND TO BE AN 106 00:02:24,277 --> 00:02:24,678 ENGINE WITHIN 107 00:02:24,678 --> 00:02:28,582 THE NIH TO TURN DISCOVERY 108 00:02:28,582 --> 00:02:28,915 INTO HEALTH 109 00:02:28,915 --> 00:02:34,721 OUR PARTICULAR FOCUS IS TO 110 00:02:34,721 --> 00:02:34,988 TURN 111 00:02:34,988 --> 00:02:35,589 KNOWLEDGE INTO INFORMATION 112 00:02:35,589 --> 00:02:35,789 AND 113 00:02:35,789 --> 00:02:36,423 INFORMATION INTO DISCOVERY SO 114 00:02:36,423 --> 00:02:36,690 WE ARE 115 00:02:36,690 --> 00:02:37,290 PRETTY KEY TO THE NATIONAL 116 00:02:37,290 --> 00:02:37,591 INSTITUTE 117 00:02:37,591 --> 00:02:38,225 OF HEALTH'S APPROACH IN THE 118 00:02:38,225 --> 00:02:38,525 NATIONAL 119 00:02:38,525 --> 00:02:39,426 LIBRARY OF MEDICINE BELIEVES 120 00:02:39,426 --> 00:02:42,496 AND 121 00:02:42,496 --> 00:02:43,096 PARTNERSHIPS WHICH ARE SO 122 00:02:43,096 --> 00:02:43,430 CRITICAL TO 123 00:02:43,430 --> 00:02:44,865 ADVANCING NOT ONLY THE WHAT 124 00:02:44,865 --> 00:02:45,132 WE KNOW 125 00:02:45,132 --> 00:02:45,766 AND WHAT WE LEARN TO RESEARCH 126 00:02:45,766 --> 00:02:47,467 BUT ALSO 127 00:02:47,467 --> 00:02:48,068 TO EXPAND ACCESS TO TRUSTED 128 00:02:48,068 --> 00:02:51,438 INFORMATION RESOURCES. --- 129 00:02:51,438 --> 00:02:51,638 THE 130 00:02:51,638 --> 00:02:52,239 PANDEMIC HAS TAUGHT US OVER 131 00:02:52,239 --> 00:02:53,373 AND OVER 132 00:02:53,373 --> 00:02:55,742 THAT PHYSICAL ACCESS IS 133 00:02:55,742 --> 00:02:56,076 IMPORTANT. 134 00:02:56,076 --> 00:02:58,879 DIGITAL ACCESS IS ALSO 135 00:02:58,879 --> 00:02:59,246 REQUIRED, AND 136 00:02:59,246 --> 00:02:59,746 AS JEFF HAS TAUGHT ME 137 00:02:59,746 --> 00:03:00,147 PRESERVING FORM 138 00:03:00,147 --> 00:03:02,182 AND FUNCTION OF OUR 139 00:03:02,182 --> 00:03:02,516 HISTORICAL 140 00:03:02,516 --> 00:03:02,983 ARTIFACTS IS A VERY 141 00:03:02,983 --> 00:03:03,417 CHALLENGING THING 142 00:03:03,417 --> 00:03:07,320 TO DO IN THE TOTAL ELECTRONIC 143 00:03:07,320 --> 00:03:07,954 ENVIRONMENT. THE CONVERSATION 144 00:03:07,954 --> 00:03:08,221 SUCH AS 145 00:03:08,221 --> 00:03:10,624 THE ONE YOU WILL HAVE TODAY 146 00:03:10,624 --> 00:03:10,924 IS ONE OF 147 00:03:10,924 --> 00:03:11,992 THE WAYS WE CAN ADVANCE THIS 148 00:03:11,992 --> 00:03:12,259 KIND OF 149 00:03:12,259 --> 00:03:12,592 INTERACTION. 150 00:03:12,592 --> 00:03:21,568 --- 151 00:03:21,568 --> 00:03:22,169 INTERACTIONS LIKE THIS, IT 152 00:03:22,169 --> 00:03:22,469 HELPS THE 153 00:03:22,469 --> 00:03:23,036 NLM TO REACH OUT INTERACT 154 00:03:23,036 --> 00:03:24,438 WITH NEW 155 00:03:24,438 --> 00:03:25,072 AUDIENCES. SPECIFICALLY OUR 156 00:03:25,072 --> 00:03:26,206 FOCUS ON 157 00:03:26,206 --> 00:03:27,307 MEDICAL INFORMATICS HAS AN 158 00:03:27,307 --> 00:03:27,607 EMERGING 159 00:03:27,607 --> 00:03:33,146 FOCUS IN THIS PARTICULAR 160 00:03:33,146 --> 00:03:33,480 TALK IS OF 161 00:03:33,480 --> 00:03:34,081 INCREDIBLE RELEVANCE TO US 162 00:03:34,081 --> 00:03:34,414 AND ONE AND 163 00:03:34,414 --> 00:03:35,015 COLLABORATORS HERE TODAY TO 164 00:03:35,015 --> 00:03:35,282 DOCTOR 165 00:03:35,282 --> 00:03:35,882 MICHAEL CHANG, THE DIRECTOR 166 00:03:35,882 --> 00:03:36,149 OF THE 167 00:03:36,149 --> 00:03:38,251 NATIONAL EYE INSTITUTE AND 168 00:03:38,251 --> 00:03:38,518 ALSO A 169 00:03:38,518 --> 00:03:48,361 SPECIALIST IN MEDICAL 170 00:03:48,361 --> 00:03:48,728 INFORMATICS 171 00:03:48,728 --> 00:03:49,362 TICKLY RELATED TO THE USE OF 172 00:03:49,362 --> 00:03:49,996 ELECTRONIC HEALTH RECORDS. I 173 00:03:49,996 --> 00:03:50,197 AM 174 00:03:50,197 --> 00:03:53,500 DELIGHTED TO HAVE HIM HERE 175 00:03:53,500 --> 00:03:53,767 TODAY, 176 00:03:53,767 --> 00:03:54,334 THIS INFORMATION IS QUITE 177 00:03:54,334 --> 00:03:54,668 CENTRAL TO 178 00:03:54,668 --> 00:03:55,302 WHAT WILL BE WILL TALK TODAY. 179 00:03:55,302 --> 00:04:00,574 >> DR. CHANG: 180 00:04:00,574 --> 00:04:01,208 THANK YOU VERY MUCH PATTY AND 181 00:04:01,208 --> 00:04:01,475 DOCTOR 182 00:04:01,475 --> 00:04:03,210 BRANDON ALSO THANK YOU FOR 183 00:04:03,210 --> 00:04:03,410 THE 184 00:04:03,410 --> 00:04:04,010 PRIVILEGE OF HAVING ME JOIN 185 00:04:04,010 --> 00:04:04,311 IN THESE 186 00:04:04,311 --> 00:04:11,017 PROCEEDINGS. AT THE NATIONAL 187 00:04:11,017 --> 00:04:11,218 EYE 188 00:04:11,218 --> 00:04:11,818 INSTITUTE OUR MISSION IS TO 189 00:04:11,818 --> 00:04:12,119 ELIMINATE 190 00:04:12,119 --> 00:04:12,719 VISION LOSS AND AN IMPROVED 191 00:04:12,719 --> 00:04:13,053 QUALITY OF 192 00:04:13,053 --> 00:04:15,322 LIFE THROUGH VISION RESEARCH 193 00:04:15,322 --> 00:04:15,589 AND ONE 194 00:04:15,589 --> 00:04:16,189 OF THE REASONS WE FEEL THIS 195 00:04:16,189 --> 00:04:16,389 IS 196 00:04:16,389 --> 00:04:17,557 IMPORTANT IS THAT IT IS NOT 197 00:04:17,557 --> 00:04:17,858 SURPRISE 198 00:04:17,858 --> 00:04:19,092 ANYBODY THAT MULTIPLE SURVEYS 199 00:04:19,092 --> 00:04:19,626 OF SOUND 200 00:04:19,626 --> 00:04:23,363 THAT BLINDNESS AND VISION 201 00:04:23,363 --> 00:04:23,663 LOSS ARE 202 00:04:23,663 --> 00:04:24,264 AMONG THOSE CONDITIONS THAT 203 00:04:24,264 --> 00:04:24,531 PEOPLE 204 00:04:24,531 --> 00:04:26,700 FEAR THE MOST. 205 00:04:26,700 --> 00:04:29,636 --- AND ONE OF THE REASONS 206 00:04:29,636 --> 00:04:29,936 THE HIND 207 00:04:29,936 --> 00:04:30,537 THAT IS THAT VISION IS JUST 208 00:04:30,537 --> 00:04:30,871 ONE OF THE 209 00:04:30,871 --> 00:04:31,505 MAIN WAYS THAT WE EXPERIENCE 210 00:04:31,505 --> 00:04:31,705 THE 211 00:04:31,705 --> 00:04:32,506 WORLD. 212 00:04:32,506 --> 00:04:34,541 VISION IS JUST A REALLY 213 00:04:34,541 --> 00:04:34,908 CRITICAL LINK 214 00:04:34,908 --> 00:04:39,246 TO HUMAN EMOTION. 215 00:04:39,246 --> 00:04:39,846 AND SO WE ARE REALLY PROUD 216 00:04:39,846 --> 00:04:40,580 THAT OUR 217 00:04:40,580 --> 00:04:41,681 RESEARCH PORTFOLIO THE 218 00:04:41,681 --> 00:04:51,958 NATIONAL EYE 219 00:05:01,168 --> 00:05:01,635 INSTITUTE ADDRESSES THOSE 220 00:05:01,635 --> 00:05:02,202 IMPORTANT 221 00:05:02,202 --> 00:05:06,072 CHALLENGES. 222 00:05:06,072 --> 00:05:06,706 AS SOMEONE WHO HAS BEEN BOTH 223 00:05:06,706 --> 00:05:06,907 THE 224 00:05:06,907 --> 00:05:07,541 CLINICIAN AND THE RESEARCHER 225 00:05:07,541 --> 00:05:09,109 FOR 20 226 00:05:09,109 --> 00:05:09,743 YEARS, I AM AWARE OF THE ART 227 00:05:09,743 --> 00:05:11,611 OF TAKING 228 00:05:11,611 --> 00:05:12,512 CARE OF OTHER PEOPLE AND IN 229 00:05:12,512 --> 00:05:14,548 THE 21ST 230 00:05:14,548 --> 00:05:16,016 CENTURY WILL NEED TO TAKE 231 00:05:16,016 --> 00:05:16,283 SPECIAL 232 00:05:16,283 --> 00:05:17,284 ATTENTION TO REMEMBER THE 233 00:05:17,284 --> 00:05:19,252 ROLE OF ART 234 00:05:19,252 --> 00:05:19,986 IN THE CARE DELIVERY PROCESS 235 00:05:19,986 --> 00:05:22,756 AND SO IN 236 00:05:22,756 --> 00:05:23,256 THAT SPIRIT IT IS MY 237 00:05:23,256 --> 00:05:24,724 PRIVILEGE IS NOW 238 00:05:24,724 --> 00:05:25,292 TO INTRODUCE THE CURRENT 239 00:05:25,292 --> 00:05:26,860 CHAIR OF THE 240 00:05:26,860 --> 00:05:27,761 NATIONAL ENDOWMENT FOR THE 241 00:05:27,761 --> 00:05:31,598 HUMANITIES, 242 00:05:31,598 --> 00:05:38,004 SHELLEY LOW (SOUNDS LIKE) WHO 243 00:05:38,004 --> 00:05:38,305 IS GOING 244 00:05:38,305 --> 00:05:38,872 TO INTRODUCE INTERESTING 245 00:05:38,872 --> 00:05:40,473 SPEAKER. 246 00:05:40,473 --> 00:05:42,175 >> THANK YOU DOCTOR CHANG AND 247 00:05:42,175 --> 00:05:42,409 THANK 248 00:05:42,409 --> 00:05:42,943 YOU DOCTOR BRENNAN FOR 249 00:05:42,943 --> 00:05:43,610 HOSTING THIS 250 00:05:43,610 --> 00:05:44,811 TALKING FOR THE NATIONAL 251 00:05:44,811 --> 00:05:48,582 LIBRARY OF 252 00:05:48,582 --> 00:05:49,216 MEDICINE ONGOING PARTNERSHIP 253 00:05:49,216 --> 00:05:57,157 WITH THE 254 00:05:57,157 --> 00:05:59,593 NIH. GIVING ALL AMERICANS 255 00:05:59,593 --> 00:05:59,926 OPPORTUNITY 256 00:05:59,926 --> 00:06:00,961 TO DISSIPATE IN EDUCATION AND 257 00:06:00,961 --> 00:06:01,127 A 258 00:06:01,127 --> 00:06:01,695 PARTNERSHIP STRENGTH IS A 259 00:06:01,695 --> 00:06:02,262 COLLABORATION BETWEEN THE 260 00:06:02,262 --> 00:06:02,596 HUMANITIES 261 00:06:02,596 --> 00:06:03,730 AND MEDICINE SO THESE FIELDS 262 00:06:03,730 --> 00:06:03,930 CAN 263 00:06:03,930 --> 00:06:05,732 REMAIN A DIALOGUE WITH EACH 264 00:06:05,732 --> 00:06:06,032 OTHER TO 265 00:06:06,032 --> 00:06:07,601 ADVANCE OUR UNDERSTANDING OF 266 00:06:07,601 --> 00:06:07,901 THE HUMAN 267 00:06:07,901 --> 00:06:09,336 CONDITION AS IT WAS IN THE 268 00:06:09,336 --> 00:06:09,669 PAST, AS IT 269 00:06:09,669 --> 00:06:11,371 IS TODAY, AND AS IT WILL BE 270 00:06:11,371 --> 00:06:12,606 IN THE 271 00:06:12,606 --> 00:06:15,775 FUTURE. --- 272 00:06:15,775 --> 00:06:16,409 OUR SPEAKER IS IDEALLY SUITED 273 00:06:16,409 --> 00:06:16,610 TO 274 00:06:16,610 --> 00:06:18,411 ADDRESS THESE PERSPECTIVES AT 275 00:06:18,411 --> 00:06:19,045 INTERSECTIONS AND THROUGH HIS 276 00:06:19,045 --> 00:06:19,346 RESEARCH 277 00:06:19,346 --> 00:06:21,548 IN THE NATIONAL LIBRARY OF 278 00:06:21,548 --> 00:06:21,848 MEDICINE 279 00:06:21,848 --> 00:06:22,882 MEDICINE COLLECTION AND OTHER 280 00:06:22,882 --> 00:06:24,784 REPOSITORIES OF KNOWLEDGE. 281 00:06:24,784 --> 00:06:25,619 IT IS MY DISTINCT PLEASURE TO 282 00:06:25,619 --> 00:06:36,129 INTRODUCE DR. WILLIAM BROE 283 00:06:37,497 --> 00:06:38,231 ADAMS TENTH 284 00:06:38,231 --> 00:06:43,103 CHAIRMAN OF THE NIH, AND HE 285 00:06:43,103 --> 00:06:43,303 HAS 286 00:06:43,303 --> 00:06:43,937 CONTINUED HIS WORK AS A VOCAL 287 00:06:43,937 --> 00:06:44,237 ADVOCATE 288 00:06:44,237 --> 00:06:46,072 FOR THE HUMANITIES AND HAS 289 00:06:46,072 --> 00:06:46,406 SERVED AS A 290 00:06:46,406 --> 00:06:49,075 SENIOR FELLOW AT THE MELLON 291 00:06:49,075 --> 00:06:49,609 FOUNDATION. WHILE STILL 292 00:06:49,609 --> 00:06:50,310 FINDING TIME 293 00:06:50,310 --> 00:06:51,511 TO PURSUE SCHOLARLY RESEARCH 294 00:06:51,511 --> 00:06:51,778 RELATED 295 00:06:51,778 --> 00:06:54,147 TO HIS LONG-HELD PASSION FOR 296 00:06:54,147 --> 00:06:54,748 FRENCH 297 00:06:54,748 --> 00:06:55,215 PHILOSOPHY AND ART. 298 00:06:55,215 --> 00:06:56,349 --- 299 00:06:56,349 --> 00:06:56,950 HE JOINS US TODAY TO SHARE 300 00:06:56,950 --> 00:06:57,150 HIS 301 00:06:57,150 --> 00:06:59,486 RESEARCH ON THE FRENCH 302 00:06:59,486 --> 00:07:00,387 PHILOSOPHER 303 00:07:00,387 --> 00:07:03,990 MAURICE MARLE -- AND I TURN 304 00:07:03,990 --> 00:07:04,324 IT OVER TO 305 00:07:04,324 --> 00:07:06,126 YOU. 306 00:07:06,126 --> 00:07:16,636 >> GOOD AFTERNOON EVERYONE. 307 00:07:18,672 --> 00:07:19,606 I WANT TO BEGIN BY THANKING 308 00:07:19,606 --> 00:07:24,244 JEFF 309 00:07:24,244 --> 00:07:24,878 RESNICK. I KNOW HOW BUSY YOU 310 00:07:24,878 --> 00:07:25,145 ARE AND 311 00:07:25,145 --> 00:07:25,812 I'M HONORED BY YOUR PRESENCE 312 00:07:25,812 --> 00:07:26,112 AND I AM 313 00:07:26,112 --> 00:07:27,847 PLEASED TO SEE MY FRIEND IN 314 00:07:27,847 --> 00:07:28,948 COLLEGE 315 00:07:28,948 --> 00:07:31,718 SHELLEY LOW, AND I AM 316 00:07:31,718 --> 00:07:32,152 IMPRESSED BY THE 317 00:07:32,152 --> 00:07:32,752 GREAT WORK YOU ARE DOING AS 318 00:07:32,752 --> 00:07:34,087 CHAIR OF 319 00:07:34,087 --> 00:07:37,023 THE NIH AND THE AGENCY IS 320 00:07:37,023 --> 00:07:37,357 WONDERFUL, 321 00:07:37,357 --> 00:07:37,957 CAPABLE HANDS AND LAST BUT 322 00:07:37,957 --> 00:07:38,325 NOT LEAST 323 00:07:38,325 --> 00:07:39,292 WANT TO THANK ALL OF THOSE 324 00:07:39,292 --> 00:07:39,592 AMONG YOU 325 00:07:39,592 --> 00:07:44,497 WHO ARE TUNING IN TODAY 326 00:07:44,497 --> 00:07:44,864 VIRTUALLY TO 327 00:07:44,864 --> 00:07:49,969 HEAR THESE REMARKS, . 328 00:07:49,969 --> 00:07:50,537 I WILL BEGIN WITH A BRIEF 329 00:07:50,537 --> 00:07:51,538 STORY. 330 00:07:51,538 --> 00:07:52,038 SOMETIME TOWARDS THE 331 00:07:52,038 --> 00:07:52,439 BEGINNING OF MY 332 00:07:52,439 --> 00:07:55,608 TERM AS CHAIR OF THE NIH I 333 00:07:55,608 --> 00:07:55,942 WAS BRIEFED 334 00:07:55,942 --> 00:07:56,409 ABOUT THE IMPORTANT 335 00:07:56,409 --> 00:07:56,776 RELATIONSHIP 336 00:07:56,776 --> 00:07:59,846 BETWEEN THE AGENCY AND THE 337 00:07:59,846 --> 00:08:00,146 NATIONAL 338 00:08:00,146 --> 00:08:02,148 LIBRARY OF MEDICINE. 339 00:08:02,148 --> 00:08:04,250 --- 340 00:08:04,250 --> 00:08:04,851 JEFF RESNICK INVITED ME TO 341 00:08:04,851 --> 00:08:05,151 VISIT THE 342 00:08:05,151 --> 00:08:05,752 LIBRARY AND I SPENT A FULL 343 00:08:05,752 --> 00:08:06,019 MORNING 344 00:08:06,019 --> 00:08:07,454 THERE TOURING FACILITIES AND 345 00:08:07,454 --> 00:08:11,858 MEETING 346 00:08:11,858 --> 00:08:13,059 JEFF'S COLLEAGUES IN LEARNING 347 00:08:13,059 --> 00:08:13,293 MORE 348 00:08:13,293 --> 00:08:14,227 ABOUT THE LIBRARY'S 349 00:08:14,227 --> 00:08:16,229 COLLABORATION WITH 350 00:08:16,229 --> 00:08:17,897 THE NIH. 351 00:08:17,897 --> 00:08:19,599 AND PRIOR TO MY VISIT I KNEW 352 00:08:19,599 --> 00:08:21,501 ALMOST 353 00:08:21,501 --> 00:08:22,102 NOTHING ABOUT THE LIBRARY 354 00:08:22,102 --> 00:08:22,402 AND I WAS 355 00:08:22,402 --> 00:08:23,770 STARTLED FRANKLY BY THE SCOPE 356 00:08:23,770 --> 00:08:24,104 OF THE 357 00:08:24,104 --> 00:08:24,738 INSTITUTION, IT'S AMBITION AT 358 00:08:24,738 --> 00:08:24,938 ITS 359 00:08:24,938 --> 00:08:25,972 EXTRAORDINARY RESOURCES. 360 00:08:25,972 --> 00:08:36,516 --- I WAS ALSO STRUCK BY THE 361 00:08:38,718 --> 00:08:38,918 LIBRARY'S 362 00:08:38,918 --> 00:08:39,519 COMMITMENT TO THE HISTORY 363 00:08:39,519 --> 00:08:39,719 OF 364 00:08:39,719 --> 00:08:40,353 MEDICINE AND MEDICAL PRACTICE 365 00:08:40,353 --> 00:08:40,587 WHICH 366 00:08:40,587 --> 00:08:41,221 CONNECTS IT VERY NATURALLY TO 367 00:08:41,221 --> 00:08:41,421 THE 368 00:08:41,421 --> 00:08:43,623 HUMANITIES AND THE WORK OF 369 00:08:43,623 --> 00:08:43,823 NIH. 370 00:08:43,823 --> 00:08:47,160 AND I WAS ESPECIALLY 371 00:08:47,160 --> 00:08:47,594 IMPRESSED BY THE 372 00:08:47,594 --> 00:08:48,194 ARCHIVAL COLLECTIONS BY THE 373 00:08:48,194 --> 00:08:55,301 RARITY 374 00:08:55,301 --> 00:08:55,935 BOOKS AND A BEAUTIFUL READING 375 00:08:55,935 --> 00:08:56,169 ROOM 376 00:08:56,169 --> 00:08:56,970 WERE SCHOLARS COULD EXPLORE 377 00:08:56,970 --> 00:08:57,270 THESE AND 378 00:08:57,270 --> 00:08:58,671 OTHER REMARKABLE BOOKS. 379 00:08:58,671 --> 00:08:59,739 --- 380 00:08:59,739 --> 00:09:01,541 ONE OF THE BOOKS OF THE FIRST 381 00:09:01,541 --> 00:09:01,808 EDITION 382 00:09:01,808 --> 00:09:05,311 OF RENÉ DESCARTES, THE 383 00:09:05,311 --> 00:09:05,678 DISCOURSE ON 384 00:09:05,678 --> 00:09:07,747 METHODS AND THE ESSAYS ON 385 00:09:07,747 --> 00:09:08,014 OPTICS, 386 00:09:08,014 --> 00:09:08,648 METEOROLOGY AND THE GEOMETRY 387 00:09:08,648 --> 00:09:10,383 PUBLISHED 388 00:09:10,383 --> 00:09:16,022 IN LIDEN, NETHERLANDS IN 389 00:09:16,022 --> 00:09:16,389 1637, NEARLY 390 00:09:16,389 --> 00:09:18,057 400 YEARS AGO. 391 00:09:18,057 --> 00:09:21,694 WITH BARELY CONTAINED 392 00:09:21,694 --> 00:09:22,061 EXCITEMENT I 393 00:09:22,061 --> 00:09:23,997 ASKED JEFF AND HIS COLLEAGUE 394 00:09:23,997 --> 00:09:24,431 MICHAEL 395 00:09:24,431 --> 00:09:25,031 NORTH IF I MIGHT COME BACK 396 00:09:25,031 --> 00:09:26,466 AND SPEND 397 00:09:26,466 --> 00:09:27,033 TIME WITH THIS AND OTHER 398 00:09:27,033 --> 00:09:31,604 WORKS BY 399 00:09:31,604 --> 00:09:32,405 DESCARTES. 400 00:09:32,405 --> 00:09:34,140 AND OF COURSE THEY REPLIED. 401 00:09:34,140 --> 00:09:34,407 GIVE US 402 00:09:34,407 --> 00:09:35,041 SEVERAL DAYS NOTICE SO WE CAN 403 00:09:35,041 --> 00:09:35,275 HAVE 404 00:09:35,275 --> 00:09:35,875 EVERYTHING READY FOR YOU. 405 00:09:35,875 --> 00:09:43,016 --- 406 00:09:43,016 --> 00:09:43,616 SOME MONTHS LATER I DID GO 407 00:09:43,616 --> 00:09:44,417 BACK, 408 00:09:44,417 --> 00:09:48,888 FRIDAY, JULY 29, 2016. 409 00:09:48,888 --> 00:09:49,255 ANOTHER DATE 410 00:09:49,255 --> 00:09:49,856 BECAUSE I WAS PERMITTED TO 411 00:09:49,856 --> 00:09:50,089 TAKE 412 00:09:50,089 --> 00:09:51,858 PHOTOGRAPHS OF THE WORKS 413 00:09:51,858 --> 00:09:52,225 REQUESTED AND 414 00:09:52,225 --> 00:09:53,993 THEY ARE ALL DATE STAMPED AND 415 00:09:53,993 --> 00:09:54,260 I SPENT 416 00:09:54,260 --> 00:09:54,894 THE BETTER PART OF THE DAY IN 417 00:09:54,894 --> 00:09:55,094 THE 418 00:09:55,094 --> 00:09:58,398 READING ROOM POURING OVER THE 419 00:09:58,398 --> 00:09:58,631 ONE I 420 00:09:58,631 --> 00:09:59,632 REQUESTED AND TAKING NOTES ON 421 00:09:59,632 --> 00:10:01,367 MY 422 00:10:01,367 --> 00:10:02,001 REACTIONS. IT WAS A RICH AND 423 00:10:02,001 --> 00:10:02,302 MEMORABLE 424 00:10:02,302 --> 00:10:02,635 EXPERIENCE. 425 00:10:02,635 --> 00:10:03,336 --- 426 00:10:03,336 --> 00:10:06,372 BUT WHY DESCARTES? 427 00:10:06,372 --> 00:10:09,209 ANOTHER STORY, AND A BIT OF 428 00:10:09,209 --> 00:10:10,343 PHILOSOPHY. 429 00:10:10,343 --> 00:10:12,745 PRIOR TO JOINING NIH I 430 00:10:12,745 --> 00:10:13,646 STARTED WORK 431 00:10:13,646 --> 00:10:17,851 ON A BOOK, AN AWFULLY LONG 432 00:10:17,851 --> 00:10:18,184 BOOK AS IT 433 00:10:18,184 --> 00:10:19,452 TURNS OUT STILL UNFINISHED 434 00:10:19,452 --> 00:10:19,752 ABOUT THE 435 00:10:19,752 --> 00:10:20,220 FRENCH PHILOSOPHER 436 00:10:20,220 --> 00:10:20,620 MERLEAU-PONTY, 437 00:10:20,620 --> 00:10:23,022 DESCARTES 438 00:10:23,022 --> 00:10:33,533 AND THE FRENCH PAINTER PAUL 439 00:10:39,172 --> 00:10:42,075 CESSANT, 440 00:10:42,075 --> 00:10:43,743 AND HISTORICAL AND SOCIAL 441 00:10:43,743 --> 00:10:47,514 CIRCUMSTANCES THAT INFLUENCED 442 00:10:47,514 --> 00:10:47,747 THEIR 443 00:10:47,747 --> 00:10:56,356 WORK. 444 00:10:56,356 --> 00:10:57,490 THE DEMANDS OF MY APPOINTMENT 445 00:10:57,490 --> 00:11:05,532 AT NIH 446 00:11:05,532 --> 00:11:06,166 KEPT ME FROM COMPLETING THE 447 00:11:06,166 --> 00:11:06,399 WORK. 448 00:11:06,399 --> 00:11:09,702 MERLEAU-PONTY 449 00:11:09,702 --> 00:11:12,405 SPENT THE REST OF HIS LIFE IN 450 00:11:12,405 --> 00:11:12,639 PARIS 451 00:11:12,639 --> 00:11:14,240 TEACHING AND THE FRENCH 452 00:11:14,240 --> 00:11:14,574 UNIVERSITY 453 00:11:14,574 --> 00:11:15,141 SYSTEM WRITING ON A WIDE 454 00:11:15,141 --> 00:11:15,441 ARRAY OF 455 00:11:15,441 --> 00:11:19,512 SUBJECT INCLUDING PHILOSOPHY, 456 00:11:19,512 --> 00:11:20,079 AESTHETICS, POLITICS AND 457 00:11:20,079 --> 00:11:20,446 LANGUAGE AND 458 00:11:20,446 --> 00:11:21,047 HE WAS A CENTRAL FIGURE IN 459 00:11:21,047 --> 00:11:22,215 THE POST 460 00:11:22,215 --> 00:11:23,550 WORLD WAR II EXISTENTIALIST 461 00:11:23,550 --> 00:11:23,850 MOVEMENT 462 00:11:23,850 --> 00:11:27,487 THAT INCLUDED JEAN PAUL 463 00:11:27,487 --> 00:11:29,656 SATRE, SIMONE 464 00:11:29,656 --> 00:11:31,291 DE BOVARD AND OTHERS. 465 00:11:31,291 --> 00:11:40,033 MERLEAU-PONTY 466 00:11:40,033 --> 00:11:40,667 PHILOSOPHY IS BUILT AROUND A 467 00:11:40,667 --> 00:11:40,934 SINGLE 468 00:11:40,934 --> 00:11:42,535 EXTERNALLY WRITTEN SITE. 469 00:11:42,535 --> 00:11:43,169 HE ARTICULATE THAT INSIGHT IN 470 00:11:43,169 --> 00:11:43,436 DIVERSE 471 00:11:43,436 --> 00:11:44,070 WAYS OVER TIME ENRICHING AND 472 00:11:44,070 --> 00:11:45,572 DEEPENING 473 00:11:45,572 --> 00:11:46,172 ITS MEANING IN THE LANGUAGE 474 00:11:46,172 --> 00:11:56,583 HE USED TO 475 00:11:56,583 --> 00:11:57,116 EXPRESS IT BUT NEVER ALTERING 476 00:11:57,116 --> 00:11:57,317 HIS 477 00:11:57,317 --> 00:11:57,817 FUNDAMENTAL SENSE OF 478 00:11:57,817 --> 00:11:58,251 DIRECTION AND HIS 479 00:11:58,251 --> 00:12:07,226 INSIGHT IS THIS: 480 00:12:07,226 --> 00:12:07,794 "THE PERCEIVED WORLD THE 481 00:12:07,794 --> 00:12:08,027 WORLD 482 00:12:08,027 --> 00:12:08,628 REVEALED WAS OUR SENSES AND 483 00:12:08,628 --> 00:12:08,928 THE DAILY 484 00:12:08,928 --> 00:12:09,395 LIFE IS ALWAYS THE 485 00:12:09,395 --> 00:12:09,729 PRESUPPOSED 486 00:12:09,729 --> 00:12:10,330 FOUNDATION OF ALL REALITY, 487 00:12:10,330 --> 00:12:10,630 ALL VALUE 488 00:12:10,630 --> 00:12:11,097 AND ALL EXISTENCE." 489 00:12:11,097 --> 00:12:13,766 --- 490 00:12:13,766 --> 00:12:15,935 PERCEPTION IS THE PRINCIPLE 491 00:12:15,935 --> 00:12:18,638 INTEREST, 492 00:12:18,638 --> 00:12:19,272 THE GOLDMINE, THE HOLY GRAIL 493 00:12:19,272 --> 00:12:19,472 OF 494 00:12:19,472 --> 00:12:25,144 PHILOSOPHY. 495 00:12:25,144 --> 00:12:27,981 FOR MERLEAU-PONTY, ALL MAJOR 496 00:12:27,981 --> 00:12:29,115 PHILOSOPHICAL PROBLEMS, IN 497 00:12:29,115 --> 00:12:29,449 NATURE AND 498 00:12:29,449 --> 00:12:32,585 ORIGIN OF TRUTH, 499 00:12:32,585 --> 00:12:33,086 CONSCIOUSNESS AND THE 500 00:12:33,086 --> 00:12:34,120 RELATIONSHIP IT IN MIND AND 501 00:12:34,120 --> 00:12:34,420 BODY AND 502 00:12:34,420 --> 00:12:37,457 MIND AND WORLD, THE NATURE OF 503 00:12:37,457 --> 00:12:37,724 REALITY 504 00:12:37,724 --> 00:12:38,191 ITSELF LEAD BACK TO 505 00:12:38,191 --> 00:12:39,459 PERCEPTION. 506 00:12:39,459 --> 00:12:41,094 THE ULTIMATE TASK OF 507 00:12:41,094 --> 00:12:43,296 PHILOSOPHY THEN, 508 00:12:43,296 --> 00:12:44,731 IS TO REVEAL THE INNER 509 00:12:44,731 --> 00:12:45,164 WORKINGS OF 510 00:12:45,164 --> 00:12:46,633 PERCEPTION. 511 00:12:46,633 --> 00:12:47,634 AND TO DEMONSTRATE HOW THEY 512 00:12:47,634 --> 00:12:54,374 GROUND AND 513 00:12:54,374 --> 00:12:54,941 CONNECT ALL THE FACETS OF 514 00:12:54,941 --> 00:12:55,274 HUMAN LIFE 515 00:12:55,274 --> 00:12:55,908 AND EXPERIENCE, INCLUDING THE 516 00:12:55,908 --> 00:12:56,175 VARIOUS 517 00:12:56,175 --> 00:12:56,709 DOMAINS OF KNOWLEDGE. 518 00:12:56,709 --> 00:12:58,745 --- 519 00:12:58,745 --> 00:12:59,245 THE EPICENTER OF THE 520 00:12:59,245 --> 00:13:00,613 PERCEIVED WORLD, 521 00:13:00,613 --> 00:13:03,416 AS MERLEAU-PONTY UNDERSTOOD 522 00:13:03,416 --> 00:13:03,750 IT, IS THE 523 00:13:03,750 --> 00:13:05,218 HUMAN BODY, WHICH IS THE 524 00:13:05,218 --> 00:13:05,518 ULTIMATE 525 00:13:05,518 --> 00:13:07,754 ANCHOR AND AGENT OF 526 00:13:07,754 --> 00:13:11,457 PERCEPTION. 527 00:13:11,457 --> 00:13:16,229 THE HUMAN BODY IS REMARKABLE 528 00:13:16,229 --> 00:13:16,462 OWING 529 00:13:16,462 --> 00:13:19,332 BOTH TO ITS MANIFOLD SENSING 530 00:13:19,332 --> 00:13:19,599 POWERS, 531 00:13:19,599 --> 00:13:20,133 PERFECTLY TUNED TO THE 532 00:13:20,133 --> 00:13:20,533 INSPECTION AND 533 00:13:20,533 --> 00:13:21,134 KNOWLEDGE OF THE WORLD; AND 534 00:13:21,134 --> 00:13:23,136 TO ITS 535 00:13:23,136 --> 00:13:28,574 CAPACITY TO COORDINATE AND 536 00:13:28,574 --> 00:13:28,875 ORGANIZE 537 00:13:28,875 --> 00:13:29,375 THOSE POWERS AND THE 538 00:13:29,375 --> 00:13:30,410 SEAMLESSNESS OF 539 00:13:30,410 --> 00:13:31,010 PERCEPTUAL EXPERIENCE. THE 540 00:13:31,010 --> 00:13:31,577 BODY IS ALL. 541 00:13:31,577 --> 00:13:35,782 --- THIS TURN AWAY FROM THE 542 00:13:35,782 --> 00:13:38,618 TRADITIONAL PHILOSOPHICAL 543 00:13:38,618 --> 00:13:40,153 PREOCCUPATIONS, WITH THE 544 00:13:40,153 --> 00:13:40,386 MIND, 545 00:13:40,386 --> 00:13:41,854 CONSCIOUSNESS OR IDEAS AND 546 00:13:41,854 --> 00:13:43,289 TOWARDS THE 547 00:13:43,289 --> 00:13:44,657 BODY IS ONE OF THE MOST 548 00:13:44,657 --> 00:13:44,991 RADICAL AND 549 00:13:44,991 --> 00:13:47,393 IMPORTANT INNOVATIONS IN 550 00:13:47,393 --> 00:13:48,194 MERLEAU-PONTY'S PHILOSOPHY. 551 00:13:48,194 --> 00:13:50,463 --- 552 00:13:50,463 --> 00:13:53,533 MERLEAU-PONTY WAS INTENSELY 553 00:13:53,533 --> 00:13:53,866 INTERESTED 554 00:13:53,866 --> 00:13:55,601 IN ALL OF THE PERCEPTUAL 555 00:13:55,601 --> 00:13:55,935 POWERS AND 556 00:13:55,935 --> 00:13:58,004 MODALITIES OF THE BODY. 557 00:13:58,004 --> 00:13:59,605 BUT THERE IS NO QUESTION THAT 558 00:13:59,605 --> 00:13:59,972 THE 559 00:13:59,972 --> 00:14:02,275 BODY'S POWER OF VISION, ITS 560 00:14:02,275 --> 00:14:04,577 POWER OF 561 00:14:04,577 --> 00:14:07,780 SEEING WAS FIRST AMONG EQUALS. 562 00:14:07,780 --> 00:14:09,716 VISION IS SPECIAL BECAUSE IT 563 00:14:09,716 --> 00:14:09,982 EXTENDS 564 00:14:09,982 --> 00:14:11,250 PERCEPTUAL EXPERIENCE WELL 565 00:14:11,250 --> 00:14:14,020 BEYOND THE 566 00:14:14,020 --> 00:14:14,554 PERIMETER OF THE BODY. 567 00:14:14,554 --> 00:14:15,455 PERMITTING US 568 00:14:15,455 --> 00:14:18,391 TO INSPECT AND KNOW THE WORLD 569 00:14:18,391 --> 00:14:18,624 AT A 570 00:14:18,624 --> 00:14:24,063 DISTANCE. 571 00:14:24,063 --> 00:14:26,466 PATIENT IS IN THIS SENSE 572 00:14:26,466 --> 00:14:26,966 STATIC AND 573 00:14:26,966 --> 00:14:30,203 MERLEAU-PONTY NEVER CEASES TO 574 00:14:30,203 --> 00:14:30,470 EXPRESS 575 00:14:30,470 --> 00:14:32,038 HIS WONDER AND AMAZEMENT AT 576 00:14:32,038 --> 00:14:32,371 THE WAY IN 577 00:14:32,371 --> 00:14:32,939 WHICH THE POWER OF SEEING 578 00:14:32,939 --> 00:14:33,272 THRUSTS US 579 00:14:33,272 --> 00:14:35,441 INTO THE WORLD. 580 00:14:35,441 --> 00:14:38,111 --- 581 00:14:38,111 --> 00:14:38,711 GIVEN HIS INTEREST IN SENSE 582 00:14:38,711 --> 00:14:39,045 PERCEPTION 583 00:14:39,045 --> 00:14:43,449 AND THE BODY, AND ESPECIALLY 584 00:14:43,449 --> 00:14:43,649 THE 585 00:14:43,649 --> 00:14:44,684 BODY'S POWER OF VISION, IT IS 586 00:14:44,684 --> 00:14:44,884 NOT 587 00:14:44,884 --> 00:14:47,854 SURPRISING THAT MERLEAU-PONTY 588 00:14:47,854 --> 00:14:48,054 WAS 589 00:14:48,054 --> 00:14:48,688 DEEPLY INTERESTED IN PAINTING 590 00:14:48,688 --> 00:14:48,888 AND 591 00:14:48,888 --> 00:14:56,129 ESPECIALLY IN THE PAINTING OF 592 00:14:56,129 --> 00:15:00,199 PAUL 593 00:15:00,199 --> 00:15:03,636 CESSAN, AND HE IMAGINED 594 00:15:03,636 --> 00:15:03,970 PAINTERS AS 595 00:15:03,970 --> 00:15:04,604 TRAVELERS AND THEN EXPLOITED 596 00:15:04,604 --> 00:15:07,607 TERRAIN 597 00:15:07,607 --> 00:15:11,377 OF VISION AND THE AESTHETIC 598 00:15:11,377 --> 00:15:11,677 POWER AND 599 00:15:11,677 --> 00:15:13,412 APPEAL OF PAINTING HE FOUND 600 00:15:13,412 --> 00:15:13,746 THE DEEPER 601 00:15:13,746 --> 00:15:14,247 SORT OF PHILOSOPHICAL 602 00:15:14,247 --> 00:15:14,614 SIGNIFICANCE. 603 00:15:14,614 --> 00:15:18,551 --- 604 00:15:18,551 --> 00:15:19,185 EXPLORING AND DESCRIBING OUR 605 00:15:19,185 --> 00:15:19,752 PERCEPTUAL HABITAT AS HE 606 00:15:19,752 --> 00:15:20,052 SOMETIMES 607 00:15:20,052 --> 00:15:21,354 DESCRIBED IT, WOULD SEEM TO 608 00:15:21,354 --> 00:15:21,587 BE A 609 00:15:21,587 --> 00:15:27,393 STRAIGHTFORWARD MATTER AFTER 610 00:15:27,393 --> 00:15:27,727 ALL IT IS 611 00:15:27,727 --> 00:15:29,028 WHAT WE KNOW BEST AND MOST OF 612 00:15:29,028 --> 00:15:29,228 THE 613 00:15:29,228 --> 00:15:31,230 TIME. 614 00:15:31,230 --> 00:15:36,903 IN FACT IT IS NOT SO EASY. 615 00:15:36,903 --> 00:15:37,403 WE ARE SO AT HOME IN 616 00:15:37,403 --> 00:15:37,804 PERCEPTUAL LIFE 617 00:15:37,804 --> 00:15:38,671 AND EXPERIENCE SO ACCUSTOMED 618 00:15:38,671 --> 00:15:38,938 TO ITS 619 00:15:38,938 --> 00:15:41,407 RICHNESS AND COMPLEXITY SO 620 00:15:41,407 --> 00:15:41,674 DEEPLY 621 00:15:41,674 --> 00:15:47,480 EMBEDDED IN THIS CONSTANT 622 00:15:47,480 --> 00:15:47,814 ACHIEVEMENT 623 00:15:47,814 --> 00:15:48,414 THAT WE NEVER REALLY SEE IT 624 00:15:48,414 --> 00:15:48,714 FOR WHAT 625 00:15:48,714 --> 00:15:58,157 IT IS. AND WE ARE BURDENED 626 00:15:58,157 --> 00:15:58,491 BY SEVERAL 627 00:15:58,491 --> 00:16:02,261 CULTURAL TRADITIONS AND 628 00:16:02,261 --> 00:16:02,628 EXPECTATIONS 629 00:16:02,628 --> 00:16:03,229 AND PERCEPTIONS AND ONE OF 630 00:16:03,229 --> 00:16:03,529 THE MOST 631 00:16:03,529 --> 00:16:07,166 PROFOUND IS THE EXPECTATION 632 00:16:07,166 --> 00:16:07,433 WE ARE 633 00:16:07,433 --> 00:16:08,000 EXPECTED TO APPLY TO THE 634 00:16:08,000 --> 00:16:08,301 WORLD OF 635 00:16:08,301 --> 00:16:08,935 APPEARANCES AND WHAT WE KNOW 636 00:16:08,935 --> 00:16:09,202 OF THE 637 00:16:09,202 --> 00:16:10,536 WORLD THROUGH OUR SENSES. 638 00:16:10,536 --> 00:16:11,938 --- 639 00:16:11,938 --> 00:16:17,743 ENTER DESCARTES. 640 00:16:17,743 --> 00:16:18,344 AS AN ASPIRING YOUNG FRENCH 641 00:16:18,344 --> 00:16:22,281 PHILOSOPHER IN THE 1920S, 642 00:16:22,281 --> 00:16:22,915 MERLEAU-PONTY CERTAINLY WOULD 643 00:16:22,915 --> 00:16:23,149 HAVE 644 00:16:23,149 --> 00:16:24,483 BEEN EXPECTED TO KNOW 645 00:16:24,483 --> 00:16:24,884 DESCARTES, BUT 646 00:16:24,884 --> 00:16:28,888 ACROSS HIS CAREER, DESCARTES 647 00:16:28,888 --> 00:16:29,088 HAD 648 00:16:29,088 --> 00:16:29,589 SPECIAL AND ENDURING 649 00:16:29,589 --> 00:16:30,022 SIGNIFICANCE AND 650 00:16:30,022 --> 00:16:31,591 HE REFERS TO HIM BECAUSE OF 651 00:16:31,591 --> 00:16:31,891 ITS EARLY 652 00:16:31,891 --> 00:16:34,360 WORKS IN PERCEPTION AND IN 653 00:16:34,360 --> 00:16:35,194 THE LAST 654 00:16:35,194 --> 00:16:35,828 YEARS OF HIS LIFE HE RETURNED 655 00:16:35,828 --> 00:16:36,062 TO A 656 00:16:36,062 --> 00:16:40,433 DEEP EXPLORATION OF 657 00:16:40,433 --> 00:16:40,766 DESCARTES'S 658 00:16:40,766 --> 00:16:41,400 METAPHYSICS AND HIS THEORIES 659 00:16:41,400 --> 00:16:41,701 OF VISION 660 00:16:41,701 --> 00:16:43,135 AND LIGHT, AND HIS TEACHING 661 00:16:43,135 --> 00:16:43,870 AT THE 662 00:16:43,870 --> 00:16:47,607 COLEGE DE FRANCE AND IN HIS 663 00:16:47,607 --> 00:16:47,974 LAST BOOK, 664 00:16:47,974 --> 00:16:54,881 I AM MIND, WORK ON VISION AND 665 00:16:54,881 --> 00:16:55,181 PAINTING. 666 00:16:55,181 --> 00:16:59,385 --- 667 00:16:59,385 --> 00:17:09,896 A COPY OF DESCARTES'S WORK 668 00:17:11,130 --> 00:17:11,397 WAS FOUND 669 00:17:11,397 --> 00:17:12,465 ON HIS DESK WHERE 670 00:17:12,465 --> 00:17:14,500 MERLEAU-PONTY DIED 671 00:17:14,500 --> 00:17:15,835 FROM A MASSIVE HEART ATTACK 672 00:17:15,835 --> 00:17:16,769 IN 1931. 673 00:17:16,769 --> 00:17:20,439 --- 674 00:17:20,439 --> 00:17:25,578 IT WAS LATER DISCOVERED THAT 675 00:17:25,578 --> 00:17:25,811 THIS 676 00:17:25,811 --> 00:17:26,379 MIGHT'VE BEEN PAINTED BY 677 00:17:26,379 --> 00:17:26,712 SOMEBODY IN 678 00:17:26,712 --> 00:17:27,313 THE SCHOOL OR EVEN ANOTHER 679 00:17:27,313 --> 00:17:27,647 PAINTER BUT 680 00:17:27,647 --> 00:17:28,981 IT NOW HANGS IN THE LOUVRE IN 681 00:17:28,981 --> 00:17:30,349 PARIS 682 00:17:30,349 --> 00:17:31,117 AND IT IS ONE OF THE GREAT 683 00:17:31,117 --> 00:17:31,584 IMAGES OF 684 00:17:31,584 --> 00:17:34,954 DESCARTES. 685 00:17:34,954 --> 00:17:35,588 I WILL COME BACK TO THIS AND 686 00:17:35,588 --> 00:17:35,821 DUTCH 687 00:17:35,821 --> 00:17:36,389 PAINTING IN GENERAL IN A 688 00:17:36,389 --> 00:17:36,722 LITTLE BIT. 689 00:17:36,722 --> 00:17:37,323 --- 690 00:17:37,323 --> 00:17:39,625 MERLEAU-PONTY'S INTEREST IN 691 00:17:39,625 --> 00:17:39,926 DESCARTES 692 00:17:39,926 --> 00:17:41,093 WAS DEEPLY AMBIVALENT. 693 00:17:41,093 --> 00:17:44,830 ON THE ONE HAND HE ADMIRED 694 00:17:44,830 --> 00:17:45,164 DESCARTES'S 695 00:17:45,164 --> 00:17:45,765 EXTRAORDINARY AMBITION AND 696 00:17:45,765 --> 00:17:45,965 HIS 697 00:17:45,965 --> 00:17:48,401 REFLECTIVE CAST OF MIND. 698 00:17:48,401 --> 00:17:50,836 DESCARTES FIRST QUESTION, WHO 699 00:17:50,836 --> 00:17:51,871 AND WHAT 700 00:17:51,871 --> 00:17:56,943 AM I? THIS BEING WHO THINKS 701 00:17:56,943 --> 00:17:57,243 ABOUT THE 702 00:17:57,243 --> 00:17:59,245 WORLD AND HIMSELF IS A 703 00:17:59,245 --> 00:18:00,012 TOUCHSTONE FOR 704 00:18:00,012 --> 00:18:01,647 EVERY IMPORTANT PHILOSOPHICAL 705 00:18:01,647 --> 00:18:02,248 ENDEAVOR. 706 00:18:02,248 --> 00:18:03,115 --- 707 00:18:03,115 --> 00:18:07,453 ON THE OTHER HAND, 708 00:18:07,453 --> 00:18:07,820 MERLEAU-PONTY 709 00:18:07,820 --> 00:18:11,324 BELIEVED THAT THE ANSWERS 710 00:18:11,324 --> 00:18:11,624 DESCARTES 711 00:18:11,624 --> 00:18:12,258 GAVE TO THESE QUESTIONS WERE 712 00:18:12,258 --> 00:18:12,525 DEEPLY 713 00:18:12,525 --> 00:18:18,030 FLAWED. QUOTE, "DESCARTES 714 00:18:18,030 --> 00:18:18,364 WENT SO FAR 715 00:18:18,364 --> 00:18:19,498 AS TO SAY THAT SIMPLY BY 716 00:18:19,498 --> 00:18:19,865 SCRUTINIZING 717 00:18:19,865 --> 00:18:22,001 OBJECTS, I AM ABLE TO 718 00:18:22,001 --> 00:18:22,435 DISCOVER THAT MY 719 00:18:22,435 --> 00:18:23,970 SENSE IS DECEIVED ME, AND I 720 00:18:23,970 --> 00:18:24,236 LEARNED 721 00:18:24,236 --> 00:18:26,539 ONLY TO TRUST MY INTELLECT." 722 00:18:26,539 --> 00:18:30,509 --- 723 00:18:30,509 --> 00:18:31,010 HENCEFORTH, THE ONLY 724 00:18:31,010 --> 00:18:31,610 DEPENDABLE 725 00:18:31,610 --> 00:18:34,547 SOURCES OF TRUTH AND 726 00:18:34,547 --> 00:18:34,981 CERTAINTY ARE THE 727 00:18:34,981 --> 00:18:37,383 CLEAR AND DISTINCT IDEAS THE 728 00:18:37,383 --> 00:18:37,616 MIND 729 00:18:37,616 --> 00:18:41,787 ARRIVES AT AFTER IT WITHDRAWS 730 00:18:41,787 --> 00:18:42,021 FROM 731 00:18:42,021 --> 00:18:42,655 EXPERIENCE, AND TURNS TOWARDS 732 00:18:42,655 --> 00:18:42,855 THE 733 00:18:42,855 --> 00:18:45,191 CLARITY OF PERFECTLY RATIONAL 734 00:18:45,191 --> 00:18:47,159 CONSTRUCTIONS. 735 00:18:47,159 --> 00:18:49,128 IN THE WAKE OF THE SKEPTICISM 736 00:18:49,128 --> 00:18:50,029 AND 737 00:18:50,029 --> 00:18:54,400 RATIONALIST TURN, A SERIES OF 738 00:18:54,400 --> 00:18:55,601 DEEPLY 739 00:18:55,601 --> 00:18:56,202 PROBLEMATIC DUALISMS-- 740 00:18:56,202 --> 00:18:56,535 BETWEEN THE 741 00:18:56,535 --> 00:18:59,538 MIND AND BODY, SUBJECT AND 742 00:18:59,538 --> 00:18:59,805 OBJECT, 743 00:18:59,805 --> 00:19:01,741 MIND AND MATTER, THINKING 744 00:19:01,741 --> 00:19:02,675 SUBSTANCE 745 00:19:02,675 --> 00:19:04,744 AND EXTENDED SUBSTANCE TO USE 746 00:19:04,744 --> 00:19:08,447 DESCARTES'S LANGUAGE-- BEGIN 747 00:19:08,447 --> 00:19:08,647 TO 748 00:19:08,647 --> 00:19:09,215 ASSERT THEMSELVES IN THE 749 00:19:09,215 --> 00:19:10,750 FORWARD 750 00:19:10,750 --> 00:19:11,250 PROGRESS OF EUROPEAN 751 00:19:11,250 --> 00:19:11,651 PHILOSOPHY AND 752 00:19:11,651 --> 00:19:11,951 SCIENCE. 753 00:19:11,951 --> 00:19:13,019 --- 754 00:19:13,019 --> 00:19:15,788 IN MERLEAU-PONTY'S VIEW, THE 755 00:19:15,788 --> 00:19:19,258 MODERN 756 00:19:19,258 --> 00:19:19,792 WORLD, OUR WORLD IS ONE 757 00:19:19,792 --> 00:19:20,192 CATEGORIZED BY 758 00:19:20,192 --> 00:19:20,826 THE CULTURAL IMPLANTATION OF 759 00:19:20,826 --> 00:19:22,528 THE 760 00:19:22,528 --> 00:19:23,663 METHODS AND FINDINGS OF 761 00:19:23,663 --> 00:19:24,030 NATURAL 762 00:19:24,030 --> 00:19:32,204 SCIENCE AND DID THE 763 00:19:32,204 --> 00:19:32,571 DIVERGENCE OF 764 00:19:32,571 --> 00:19:33,039 THOSE FINDINGS FROM 765 00:19:33,039 --> 00:19:33,472 PERCEPTUAL LIFE 766 00:19:33,472 --> 00:19:36,542 AND EXPERIENCE. MERLEAU-PONTY 767 00:19:36,542 --> 00:19:36,742 WAS 768 00:19:36,742 --> 00:19:38,444 ESPECIALLY INTERESTED IN 769 00:19:38,444 --> 00:19:38,811 APPLICATIONS 770 00:19:38,811 --> 00:19:42,415 OF DESCARTES RATIONALISM FOR 771 00:19:42,415 --> 00:19:42,615 THE 772 00:19:42,615 --> 00:19:43,749 UNDERSTANDINGS OF HUMAN BODY 773 00:19:43,749 --> 00:19:43,949 AND 774 00:19:43,949 --> 00:19:44,550 VISION, AND AS PART OF THE 775 00:19:44,550 --> 00:19:44,850 MATERIAL 776 00:19:44,850 --> 00:19:49,755 WORLD OF THE RAISE IN EXTENSA 777 00:19:49,755 --> 00:19:50,423 AS 778 00:19:50,423 --> 00:19:54,493 DESCARTES CALLED IT, ANIMAL 779 00:19:54,493 --> 00:19:54,794 AND HUMAN 780 00:19:54,794 --> 00:19:56,862 BODIES COULD BE THOUGHT OF AS 781 00:19:56,862 --> 00:19:57,363 MECHANICAL SYSTEMS OR 782 00:19:57,363 --> 00:19:57,730 MACHINES ARE 783 00:19:57,730 --> 00:19:59,432 LIKE EVERY OTHER PART OF THE 784 00:19:59,432 --> 00:20:00,633 MATERIAL 785 00:20:00,633 --> 00:20:03,369 WORLD THOSE SYSTEMS CAN BE 786 00:20:03,369 --> 00:20:03,936 COMPREHENDED IN STRICTLY 787 00:20:03,936 --> 00:20:04,270 MECHANICAL 788 00:20:04,270 --> 00:20:04,503 TERMS. 789 00:20:04,503 --> 00:20:05,838 --- 790 00:20:05,838 --> 00:20:07,540 VISION IS A VERY GOOD EXAMPLE. 791 00:20:07,540 --> 00:20:09,709 WE SEE THE WORLD, OR WE HAVE 792 00:20:09,709 --> 00:20:10,009 IMAGES OF 793 00:20:10,009 --> 00:20:13,712 THE WORLD -- DESCARTES 794 00:20:13,712 --> 00:20:16,849 ARGUED-- OWING 795 00:20:16,849 --> 00:20:19,285 TO THE MECHANICAL EFFECTS OF 796 00:20:19,285 --> 00:20:19,518 LIGHT 797 00:20:19,518 --> 00:20:20,152 WAVES ON OPTICAL MACHINERY OF 798 00:20:20,152 --> 00:20:20,586 THE EYE. 799 00:20:20,586 --> 00:20:23,255 THE MIND, THE RAISE COVITANTS 800 00:20:23,255 --> 00:20:23,522 (SOUNDS 801 00:20:23,522 --> 00:20:30,096 LIKE) AS DESCARTES CALLED IT, 802 00:20:30,096 --> 00:20:30,396 RECEIVES 803 00:20:30,396 --> 00:20:31,030 AND INTERPRETS THESE PHYSICAL 804 00:20:31,030 --> 00:20:31,297 SIGNALS 805 00:20:31,297 --> 00:20:31,831 AND CREATES IMAGES THAT 806 00:20:31,831 --> 00:20:33,566 CONSTITUTE 807 00:20:33,566 --> 00:20:37,670 SITE. DESCARTES PROPOSED THAT 808 00:20:37,670 --> 00:20:37,970 WE THINK 809 00:20:37,970 --> 00:20:38,604 OF SIGHT AS ANALYSIS WHEN IT 810 00:20:38,604 --> 00:20:38,871 HAPPENS 811 00:20:38,871 --> 00:20:41,073 WHEN THE BLIND PERSON USES A 812 00:20:41,073 --> 00:20:41,340 CANE TO 813 00:20:41,340 --> 00:20:42,908 NEGOTIATE THE WORLD OF 814 00:20:42,908 --> 00:20:43,275 OBJECTS. WHEN 815 00:20:43,275 --> 00:20:46,412 IT TOUCHES AN OBJECT, THE 816 00:20:46,412 --> 00:20:46,645 CANE 817 00:20:46,645 --> 00:20:48,714 TRANSMITS A PHYSICAL IMPULSE 818 00:20:48,714 --> 00:20:49,014 ALONG ITS 819 00:20:49,014 --> 00:20:50,483 LENGTH TO THE HAND, FROM THE 820 00:20:50,483 --> 00:20:50,750 HAND TO 821 00:20:50,750 --> 00:20:53,119 THE ARM, FROM THE ARM TO THE 822 00:20:53,119 --> 00:20:53,419 BRAIN AND 823 00:20:53,419 --> 00:20:55,921 SO ON, UNTIL THE SIGNAL IS 824 00:20:55,921 --> 00:20:56,255 DECODED AS 825 00:20:56,255 --> 00:21:00,626 IT WERE BY THE MIND, WHERE 826 00:21:00,626 --> 00:21:00,926 THE IMAGE 827 00:21:00,926 --> 00:21:01,494 OF THE OBJECT IS FINALLY 828 00:21:01,494 --> 00:21:01,760 FORMED. 829 00:21:01,760 --> 00:21:04,230 --- 830 00:21:04,230 --> 00:21:05,064 THE CARTESIAN CONCEPT OF 831 00:21:05,064 --> 00:21:05,698 VISION, 832 00:21:05,698 --> 00:21:09,802 MERLEAU-PONTY NOTES, IS 833 00:21:09,802 --> 00:21:10,169 MODELED AFTER 834 00:21:10,169 --> 00:21:14,740 THE SENSE OF TOUCH. 835 00:21:14,740 --> 00:21:15,307 THINKING OF THE BODY IS A 836 00:21:15,307 --> 00:21:18,010 MECHANICAL 837 00:21:18,010 --> 00:21:18,611 DIVIDE OR MACHINES MAY SEEM 838 00:21:18,611 --> 00:21:28,821 ODD TO US 839 00:21:31,690 --> 00:21:32,224 OWING TO THE PREDOMINANCE OF 840 00:21:32,224 --> 00:21:32,458 CELL 841 00:21:32,458 --> 00:21:33,025 BIOLOGY AND BIOCHEMISTRY 842 00:21:33,025 --> 00:21:33,359 MEDICINE WE 843 00:21:33,359 --> 00:21:33,993 ARE INCLINED TO MORE ORGANIC 844 00:21:33,993 --> 00:21:34,260 MODELS. 845 00:21:34,260 --> 00:21:34,860 BUT THE MECHANICAL VIEW IS 846 00:21:34,860 --> 00:21:35,194 STILL ROOM 847 00:21:35,194 --> 00:21:36,695 PRESENT IN CERTAIN FORMS OF 848 00:21:36,695 --> 00:21:37,029 MECHANICAL 849 00:21:37,029 --> 00:21:37,563 SIGNS WITH THE BRAIN IS 850 00:21:37,563 --> 00:21:38,030 MODELED AS A 851 00:21:38,030 --> 00:21:38,664 DIGITAL MACHINE, AT COMPUTER 852 00:21:38,664 --> 00:21:41,634 IN FACT. 853 00:21:41,634 --> 00:21:42,201 AND THINKING AS A FORM OF 854 00:21:42,201 --> 00:21:42,468 DIGITAL 855 00:21:42,468 --> 00:21:43,903 PROCESSES. 856 00:21:43,903 --> 00:21:45,404 DESCARTES IS A GHOST IN THE 857 00:21:45,404 --> 00:21:47,873 MACHINE OF 858 00:21:47,873 --> 00:21:48,407 ARTIFICIAL INTELLIGENCE. 859 00:21:48,407 --> 00:21:49,642 --- 860 00:21:49,642 --> 00:21:51,010 ON THE DAY I PLAYED HOOKY 861 00:21:51,010 --> 00:21:54,680 FROM THE NIH 862 00:21:54,680 --> 00:21:56,182 I DRIVE EARLY AT THE 863 00:21:56,182 --> 00:21:56,615 LIBRARY'S READING 864 00:21:56,615 --> 00:21:57,149 ROOM AND FOUND SEVERAL 865 00:21:57,149 --> 00:22:00,853 VOLUMES OF 866 00:22:00,853 --> 00:22:01,487 DESCARTES'S WORK WAITING FOR 867 00:22:01,487 --> 00:22:01,754 ME AND 868 00:22:01,754 --> 00:22:03,055 INCLUDED THE FIRST EDITION OF 869 00:22:03,055 --> 00:22:04,823 DESCARTES'S FIRST PUBLISHED 870 00:22:04,823 --> 00:22:05,057 BOOK, 871 00:22:05,057 --> 00:22:06,725 DISCOURSE ON METHOD, WITH ITS 872 00:22:06,725 --> 00:22:07,493 ATTACHED 873 00:22:07,493 --> 00:22:10,663 ESSAYS, THE OPTICS, THE 874 00:22:10,663 --> 00:22:10,996 METEOROLOGY 875 00:22:10,996 --> 00:22:16,135 AND GEOMETRY PUBLISHED IN 876 00:22:16,135 --> 00:22:19,705 LIDEN IN 877 00:22:19,705 --> 00:22:20,639 1637, THE FIRST LATIN EDITION 878 00:22:20,639 --> 00:22:23,609 OF IT 879 00:22:23,609 --> 00:22:26,846 PUBLISHED IN 1864 AND THE 880 00:22:26,846 --> 00:22:27,079 FIRST 881 00:22:27,079 --> 00:22:27,680 PREVENTION LATIN EDITION OF 882 00:22:27,680 --> 00:22:27,980 THE WORLD 883 00:22:27,980 --> 00:22:29,448 AND MAN PUBLISHED IN PARIS IN 884 00:22:29,448 --> 00:22:29,815 1664, 885 00:22:29,815 --> 00:22:33,519 MORE THAN A DECADE AFTER 886 00:22:33,519 --> 00:22:33,852 DESCARTES'S 887 00:22:33,852 --> 00:22:34,420 DEATH. 888 00:22:34,420 --> 00:22:40,125 --- 889 00:22:40,125 --> 00:22:42,861 I HAD SEVERAL STRONG 890 00:22:42,861 --> 00:22:43,262 SENSATIONS AS I 891 00:22:43,262 --> 00:22:43,862 BEGAN LOOKING THROUGH THESE 892 00:22:43,862 --> 00:22:44,129 WORKS. 893 00:22:44,129 --> 00:22:45,264 ANYWHERE COULD NOT HAVE 894 00:22:45,264 --> 00:22:45,664 ANTICIPATED IT 895 00:22:45,664 --> 00:22:46,265 WAS THRILLING TO HOLD THESE 896 00:22:46,265 --> 00:22:46,599 OBJECTS SO 897 00:22:46,599 --> 00:22:50,269 CLOSE IN SPACE AND TIME TO 898 00:22:50,269 --> 00:22:50,603 THE MOMENT 899 00:22:50,603 --> 00:22:53,806 AND SOURCE OF THEIR CREATION. 900 00:22:53,806 --> 00:22:54,073 AND SO 901 00:22:54,073 --> 00:22:54,640 DISTANT FROM OUR CURRENT 902 00:22:54,640 --> 00:22:55,007 CIRCUMSTANCES. 903 00:22:55,007 --> 00:22:58,677 --- 904 00:22:58,677 --> 00:22:59,311 IT IS NOT JUST THAT THEY LOOK 905 00:22:59,311 --> 00:22:59,545 OLD-- 906 00:22:59,545 --> 00:23:03,315 THEY DO AND THEY ARE-- THEY 907 00:23:03,315 --> 00:23:03,549 ALSO 908 00:23:03,549 --> 00:23:04,250 OBVIOUSLY HANDMADE OBJECTS, 909 00:23:04,250 --> 00:23:06,018 ARTICLES 910 00:23:06,018 --> 00:23:10,990 OF CRAFT RATHER THAN MASS 911 00:23:10,990 --> 00:23:11,257 MACHINE 912 00:23:11,257 --> 00:23:11,857 PRODUCTION. EACH ONE A BIT 913 00:23:11,857 --> 00:23:12,424 DIFFERENT, 914 00:23:12,424 --> 00:23:13,225 IDIOSYNCRATIC, UNIQUE. 915 00:23:13,225 --> 00:23:13,826 --- 916 00:23:13,826 --> 00:23:19,365 AT THIS MOMENT IN PUBLISHING, 917 00:23:19,365 --> 00:23:19,598 BOOKS 918 00:23:19,598 --> 00:23:21,900 WERE VERY MUCH ARTISANAL, 919 00:23:21,900 --> 00:23:22,234 HANDCRAFTED 920 00:23:22,234 --> 00:23:26,805 OBJECTS LIKE ILLUMINATED 921 00:23:26,805 --> 00:23:27,106 MEDIEVAL 922 00:23:27,106 --> 00:23:27,640 MANUSCRIPTS THEY HAVE A 923 00:23:27,640 --> 00:23:29,675 CERTAIN AURA. 924 00:23:29,675 --> 00:23:31,310 AND YET THEIR CONTENT AND 925 00:23:31,310 --> 00:23:31,644 UNDERLINING 926 00:23:31,644 --> 00:23:32,244 AMBITION ARE UNMISTAKABLY 927 00:23:32,244 --> 00:23:33,112 MODERN AND 928 00:23:33,112 --> 00:23:35,447 FAMILIAR. 929 00:23:35,447 --> 00:23:37,916 DESCARTES'S INITIAL TITLE FOR 930 00:23:37,916 --> 00:23:38,117 THE 931 00:23:38,117 --> 00:23:40,753 DISCOURSE ON METHOD WAS "THE 932 00:23:40,753 --> 00:23:45,324 PLAN OF A 933 00:23:45,324 --> 00:23:47,593 UNIVERSAL SCIENCE CAPABLE OF 934 00:23:47,593 --> 00:23:47,860 RAISING 935 00:23:47,860 --> 00:23:50,629 OUR NATURE TO ITS HIGHEST 936 00:23:50,629 --> 00:23:52,231 DEGREE OF 937 00:23:52,231 --> 00:23:53,098 PERFECTION IN ADDITION THE 938 00:23:53,098 --> 00:23:53,432 OPTICS, 939 00:23:53,432 --> 00:23:59,138 METEOROLOGY AND -- AND SO THE 940 00:23:59,138 --> 00:23:59,405 AUTHOR 941 00:23:59,405 --> 00:23:59,938 COULD GET PROOF OF THE 942 00:23:59,938 --> 00:24:00,239 UNIVERSAL 943 00:24:00,239 --> 00:24:04,910 SCIENCE CAN EXPLAIN THE MOST 944 00:24:04,910 --> 00:24:05,177 OBTUSE 945 00:24:05,177 --> 00:24:05,778 TOPICS HE COULD CHOOSE AND 946 00:24:05,778 --> 00:24:06,045 THUS IN 947 00:24:06,045 --> 00:24:07,846 SUCH A WAY THAT EVEN PERSONS 948 00:24:07,846 --> 00:24:08,113 WHO HAD 949 00:24:08,113 --> 00:24:08,647 NEVER STUDIED THEM CAN 950 00:24:08,647 --> 00:24:08,981 UNDERSTAND 951 00:24:08,981 --> 00:24:09,214 THEM." 952 00:24:09,214 --> 00:24:10,482 --- 953 00:24:10,482 --> 00:24:14,119 THAT IS A MOUTHFUL. AND ONE 954 00:24:14,119 --> 00:24:14,320 CAN 955 00:24:14,320 --> 00:24:15,321 UNDERSTAND WHY THE PUBLISHER 956 00:24:15,321 --> 00:24:15,621 REQUIRED 957 00:24:15,621 --> 00:24:18,824 SOMETHING SHORTER. BUT EVEN 958 00:24:18,824 --> 00:24:19,291 IN ITS 959 00:24:19,291 --> 00:24:21,927 FINISHED FORM, THE TITLE 960 00:24:21,927 --> 00:24:22,261 CONVEYS THE 961 00:24:22,261 --> 00:24:24,463 BREATHTAKING REACH OF 962 00:24:24,463 --> 00:24:24,897 DESCARTES'S 963 00:24:24,897 --> 00:24:27,966 AMBITION. 964 00:24:27,966 --> 00:24:29,468 THE UNIVERSAL SCIENTIFIC 965 00:24:29,468 --> 00:24:29,735 METHOD. 966 00:24:29,735 --> 00:24:30,336 APPLICABLE IN PRINCIPLE TO 967 00:24:30,336 --> 00:24:30,569 EVERY 968 00:24:30,569 --> 00:24:34,406 ASPECT AND DIMENSION OF THE 969 00:24:34,406 --> 00:24:34,673 NATURAL 970 00:24:34,673 --> 00:24:35,274 WORLD, AND YIELDING CERTAIN 971 00:24:35,274 --> 00:24:36,875 KNOWLEDGE 972 00:24:36,875 --> 00:24:40,145 THAT IN PRINCIPLE AT LEAST IS 973 00:24:40,145 --> 00:24:40,813 UNIVERSALLY ACCESSIBLE. 974 00:24:40,813 --> 00:24:42,748 --- 975 00:24:42,748 --> 00:24:44,049 LIVING AS WE DO IN A WORLD 976 00:24:44,049 --> 00:24:44,383 SATURATED 977 00:24:44,383 --> 00:24:47,419 WITH SCIENCE, THIS ASPECT OF 978 00:24:47,419 --> 00:24:48,654 DESCARTES'S AMBITIOUS PROGRAM 979 00:24:48,654 --> 00:24:48,887 SEEMS 980 00:24:48,887 --> 00:24:50,723 SIMILAR. 981 00:24:50,723 --> 00:24:55,027 AND THE IMPLICITLY DEMOCRATIC 982 00:24:55,027 --> 00:24:55,294 ASPECT 983 00:24:55,294 --> 00:24:55,994 OF UNIVERSAL ACCESS, 984 00:24:55,994 --> 00:24:59,531 UNDERSCORED BY 985 00:24:59,531 --> 00:25:00,065 DESCARTES'S DECISION TO 986 00:25:00,065 --> 00:25:00,399 PUBLISH THE 987 00:25:00,399 --> 00:25:01,367 FIRST EDITION OF THE 988 00:25:01,367 --> 00:25:02,768 DISCOURSE IN 989 00:25:02,768 --> 00:25:04,269 FRENCH, NOT LATIN, ALSO 990 00:25:04,269 --> 00:25:06,472 SEEMS-- AND 991 00:25:06,472 --> 00:25:07,373 IS-- QUITE MODERN. 992 00:25:07,373 --> 00:25:13,345 --- 993 00:25:13,345 --> 00:25:13,946 IT IS ALSO NOTABLE THAT THE 994 00:25:13,946 --> 00:25:14,179 FIRST 995 00:25:14,179 --> 00:25:14,680 FRENCH EDITION OF THE 996 00:25:14,680 --> 00:25:15,047 DISCOURSE ON 997 00:25:15,047 --> 00:25:15,647 METHOD DOES NOT DISPLAY ITS 998 00:25:15,647 --> 00:25:15,948 AUTHOR'S 999 00:25:15,948 --> 00:25:17,516 NAME. 1000 00:25:17,516 --> 00:25:19,284 DESCARTES WAS HAUNTED 1001 00:25:19,284 --> 00:25:20,686 THROUGHOUT HIS 1002 00:25:20,686 --> 00:25:23,789 LIFE BY THE PROSPECT OF 1003 00:25:23,789 --> 00:25:24,156 REPRESSION BY 1004 00:25:24,156 --> 00:25:25,157 THE CATHOLIC CHURCH. HE HAD 1005 00:25:25,157 --> 00:25:25,391 GOOD 1006 00:25:25,391 --> 00:25:26,458 REASON TO WORRY. 1007 00:25:26,458 --> 00:25:30,596 IN 1633, FOUR YEARS BEFORE 1008 00:25:30,596 --> 00:25:30,796 THE 1009 00:25:30,796 --> 00:25:31,897 PUBLICATION OF THE DISCOURSE 1010 00:25:31,897 --> 00:25:32,731 ON 1011 00:25:32,731 --> 00:25:34,500 METHOD, GALILEO WAS ARRESTED, 1012 00:25:34,500 --> 00:25:35,667 TRIED 1013 00:25:35,667 --> 00:25:39,538 AND CONVICTED OF HERESY BY 1014 00:25:39,538 --> 00:25:39,738 THE 1015 00:25:39,738 --> 00:25:41,774 INQUISITION IN ITALY. 1016 00:25:41,774 --> 00:25:44,643 DESCARTES WAS FULLY AWARE OF 1017 00:25:44,643 --> 00:25:46,478 GALILEO'S 1018 00:25:46,478 --> 00:25:46,712 FATE. 1019 00:25:46,712 --> 00:25:56,255 AND THOUGH HE AVOIDED THE 1020 00:25:56,255 --> 00:25:56,555 TOPIC OF 1021 00:25:56,555 --> 00:25:57,089 HIDO CENTRISM (SOUNDS 1022 00:25:57,089 --> 00:25:57,389 LIKE)FOR 1023 00:25:57,389 --> 00:26:00,426 SCIENTIFIC METHOD, IS 1024 00:26:00,426 --> 00:26:00,826 RATIONALISM AND 1025 00:26:00,826 --> 00:26:01,460 ENTHUSIASM FOR THE SCIENTIFIC 1026 00:26:01,460 --> 00:26:01,727 METHOD 1027 00:26:01,727 --> 00:26:03,896 GENERALLY ATTRACTED THE 1028 00:26:03,896 --> 00:26:04,263 ATTENTION OF 1029 00:26:04,263 --> 00:26:05,264 THE RELIGIOUS AUTHORITIES. 1030 00:26:05,264 --> 00:26:05,898 BETTER TO LIVE IN PROTESTANT 1031 00:26:05,898 --> 00:26:09,768 NETHERLANDS AS DESCARTES DID, 1032 00:26:09,768 --> 00:26:11,603 THAN IN 1033 00:26:11,603 --> 00:26:12,471 CATHOLIC FRANCE. 1034 00:26:12,471 --> 00:26:13,071 --- BUT WHAT REALLY GRABBED 1035 00:26:13,071 --> 00:26:13,272 MY 1036 00:26:13,272 --> 00:26:13,906 ATTENTION THAT THEY WERE THE 1037 00:26:13,906 --> 00:26:17,309 ILLUSTRATIONS THAT DESCARTES 1038 00:26:17,309 --> 00:26:17,609 DESIGNED 1039 00:26:17,609 --> 00:26:20,012 TO ACCOMPANY THESE BOOKS. 1040 00:26:20,012 --> 00:26:20,579 I'D SEEN REPRODUCTIONS OF 1041 00:26:20,579 --> 00:26:21,847 THESE IMAGES 1042 00:26:21,847 --> 00:26:25,050 IN VARIOUS PLACES BUT I HAD 1043 00:26:25,050 --> 00:26:25,384 NEVER SEEN 1044 00:26:25,384 --> 00:26:26,518 THEM IN THE ORIGINAL CONTEXT. 1045 00:26:26,518 --> 00:26:29,421 AS INTEGRAL PIECES OF THE 1046 00:26:29,421 --> 00:26:29,688 WRITTEN 1047 00:26:29,688 --> 00:26:31,089 WORK, DESIGNED TO ILLUSTRATE 1048 00:26:31,089 --> 00:26:31,390 THE IDEAS 1049 00:26:31,390 --> 00:26:32,724 PRESENTED IN THE TEXT. 1050 00:26:32,724 --> 00:26:34,493 --- 1051 00:26:34,493 --> 00:26:38,397 THE IMAGES ARE WOODCUTS AND 1052 00:26:38,397 --> 00:26:39,064 COPPER 1053 00:26:39,064 --> 00:26:39,765 ENGRAVINGS, ALL DESIGNED BY 1054 00:26:39,765 --> 00:26:42,601 DESCARTES 1055 00:26:42,601 --> 00:26:43,902 AND EXECUTED BY ARTISANS 1056 00:26:43,902 --> 00:26:44,269 COLLABORATING 1057 00:26:44,269 --> 00:26:45,704 WITH THE AUTHOR AND HIS 1058 00:26:45,704 --> 00:26:46,705 PUBLISHERS IN 1059 00:26:46,705 --> 00:26:50,476 LIDEN AND LATER PARIS. 1060 00:26:50,476 --> 00:26:59,818 --- 1061 00:26:59,818 --> 00:27:00,452 AND LIKE THE BOOKS THEMSELVES 1062 00:27:00,452 --> 00:27:00,752 THEY TOO 1063 00:27:00,752 --> 00:27:01,386 HAVE A HANDCRAFTED AURA, WELL 1064 00:27:01,386 --> 00:27:01,587 AND 1065 00:27:01,587 --> 00:27:03,155 EXPERTLY MADE, BUT STILL VERY 1066 00:27:03,155 --> 00:27:03,388 MUCH 1067 00:27:03,388 --> 00:27:04,089 ARTISANAL OBJECTS. 1068 00:27:04,089 --> 00:27:04,690 AND THE PHYSICAL WORK THEY 1069 00:27:04,690 --> 00:27:05,123 PRODUCE 1070 00:27:05,123 --> 00:27:08,694 THEM, THE GOUGING, ETCHING, 1071 00:27:08,694 --> 00:27:11,964 INKING AND 1072 00:27:11,964 --> 00:27:12,531 ROLLING AS PART OF THEIR 1073 00:27:12,531 --> 00:27:12,798 VISUAL 1074 00:27:12,798 --> 00:27:13,365 CHARACTER AND IMPACT. ONE 1075 00:27:13,365 --> 00:27:13,632 SENSES 1076 00:27:13,632 --> 00:27:15,801 IMMEDIATELY THAT THEY WERE 1077 00:27:15,801 --> 00:27:16,135 PRODUCED BY 1078 00:27:16,135 --> 00:27:18,504 SOMEONE, COPY BY COPY, PAGE 1079 00:27:18,504 --> 00:27:19,404 BY PAGE. 1080 00:27:19,404 --> 00:27:21,173 --- 1081 00:27:21,173 --> 00:27:23,909 BY WAY OF CONTENT, THE IMAGES 1082 00:27:23,909 --> 00:27:24,109 ARE 1083 00:27:24,109 --> 00:27:26,512 EQUALLY FASCINATING. 1084 00:27:26,512 --> 00:27:28,180 TO THE MODERNIZE THEY ARE 1085 00:27:28,180 --> 00:27:34,653 ALSO A BIT 1086 00:27:34,653 --> 00:27:41,126 STRANGE. SOME OF THE 1087 00:27:41,126 --> 00:27:41,527 STRANGENESS IS 1088 00:27:41,527 --> 00:27:52,070 FROM THE ODD COMBINATIONS AND 1089 00:27:55,941 --> 00:27:56,475 JUXTAPOSITION INCLUDED IN THE 1090 00:27:56,475 --> 00:28:00,379 CONFIGURATION. 1091 00:28:00,379 --> 00:28:01,013 HE DEPLOYED IMAGES AS AIDS TO 1092 00:28:01,013 --> 00:28:01,213 THE 1093 00:28:01,213 --> 00:28:02,080 UNDERSTANDING OF HIS 1094 00:28:02,080 --> 00:28:02,514 PHILOSOPHICAL AND 1095 00:28:02,514 --> 00:28:08,987 SCIENTIFIC ARGUMENTS. 1096 00:28:08,987 --> 00:28:09,555 HIS REMARKABLE POLYMATHIC 1097 00:28:09,555 --> 00:28:10,556 IMAGINATION 1098 00:28:10,556 --> 00:28:12,591 BRACING MATHEMATICS, 1099 00:28:12,591 --> 00:28:12,958 METEOROLOGY, 1100 00:28:12,958 --> 00:28:15,794 ANATOMY AND METAPHYSICS WAS 1101 00:28:15,794 --> 00:28:16,094 VISUAL AS 1102 00:28:16,094 --> 00:28:17,162 WELL AS CONCEPTUAL. 1103 00:28:17,162 --> 00:28:19,965 THIS SEEMS PERFECTLY NORMAL 1104 00:28:19,965 --> 00:28:23,101 TO US. WE 1105 00:28:23,101 --> 00:28:23,635 ARE ACCUSTOMED TO 1106 00:28:23,635 --> 00:28:24,069 VISUALIZATION IN 1107 00:28:24,069 --> 00:28:26,505 SCIENCE. 1108 00:28:26,505 --> 00:28:27,039 THINK OF THE SCIENTIFIC 1109 00:28:27,039 --> 00:28:27,372 IMAGES THAT 1110 00:28:27,372 --> 00:28:29,174 HAVE BECOME FIXED ELEMENTS OF 1111 00:28:29,174 --> 00:28:29,374 OUR 1112 00:28:29,374 --> 00:28:31,043 VISUAL LANDSCAPE AND CULTURE. 1113 00:28:31,043 --> 00:28:31,243 THE 1114 00:28:31,243 --> 00:28:32,110 DOUBLE HELIX FOR EXAMPLE. OR 1115 00:28:32,110 --> 00:28:32,744 THE MORE 1116 00:28:32,744 --> 00:28:34,246 RECENT CORONAVIRUS. 1117 00:28:34,246 --> 00:28:42,487 --- BUT RECALL TOO THAT 1118 00:28:42,487 --> 00:28:42,821 DESCARTES'S 1119 00:28:42,821 --> 00:28:43,455 METHOD BEGINS BY INSISTING ON 1120 00:28:43,455 --> 00:28:45,090 WITHDRAWAL FROM SENSE 1121 00:28:45,090 --> 00:28:45,457 EXPERIENCE IN 1122 00:28:45,457 --> 00:28:46,091 FAVOR OF PURELY MATHEMATICAL 1123 00:28:46,091 --> 00:28:50,095 CONSTRUCTIONS. 1124 00:28:50,095 --> 00:28:50,662 WHY THEN THE RECOURSE TO 1125 00:28:50,662 --> 00:28:51,029 ILLUSTRATION 1126 00:28:51,029 --> 00:28:58,604 AND VISUAL IMAGE? 1127 00:28:58,604 --> 00:28:59,237 IS INSTRUCTION A PROP ON THE 1128 00:28:59,237 --> 00:28:59,504 PASSAGE 1129 00:28:59,504 --> 00:29:00,105 FROM SENSE EXPERIENCED TO 1130 00:29:00,105 --> 00:29:01,940 PURE REASON? 1131 00:29:01,940 --> 00:29:02,441 OR TWO IMAGES CONTAIN 1132 00:29:02,441 --> 00:29:02,841 SOMETHING VITAL 1133 00:29:02,841 --> 00:29:03,275 AND ESSENTIAL TO 1134 00:29:03,275 --> 00:29:08,013 UNDERSTANDING? 1135 00:29:08,013 --> 00:29:08,547 THE CLEAR AND DISTINCT 1136 00:29:08,547 --> 00:29:08,880 IDEAS-- THE 1137 00:29:08,880 --> 00:29:09,848 HOLY GRAIL OF THE CARTESIAN 1138 00:29:09,848 --> 00:29:10,415 WORLDVIEW-- REQUIRES SOME 1139 00:29:10,415 --> 00:29:10,682 FORM OF 1140 00:29:10,682 --> 00:29:13,352 VISUAL ENVIRONMENT? 1141 00:29:13,352 --> 00:29:13,919 CAN THE MIND EVER REALLY 1142 00:29:13,919 --> 00:29:14,286 DETACH ITSELF 1143 00:29:14,286 --> 00:29:15,887 FROM THE BODY? 1144 00:29:15,887 --> 00:29:17,656 IS EMBODIMENT ESSENTIAL TO 1145 00:29:17,656 --> 00:29:18,590 THINKING? 1146 00:29:18,590 --> 00:29:20,058 --- 1147 00:29:20,058 --> 00:29:20,959 IN HIS LAST PUBLISHED ESSAY, 1148 00:29:20,959 --> 00:29:23,395 EYE AND 1149 00:29:23,395 --> 00:29:25,764 MIND, MERLEAU-PONTY INCLUDED 1150 00:29:25,764 --> 00:29:26,431 A LONG 1151 00:29:26,431 --> 00:29:28,033 DIGRESSION ON DESCARTES'S 1152 00:29:28,033 --> 00:29:28,333 THEORY OF 1153 00:29:28,333 --> 00:29:31,436 VISION. 1154 00:29:31,436 --> 00:29:32,037 DESCARTES'S PREFERENCE FOR 1155 00:29:32,037 --> 00:29:32,371 ENGRAVINGS 1156 00:29:32,371 --> 00:29:35,974 AND WOODCUTS WAS NO ACCIDENT, 1157 00:29:35,974 --> 00:29:36,174 HE 1158 00:29:36,174 --> 00:29:38,677 SUGGESTS IT FLOWS DIRECTLY 1159 00:29:38,677 --> 00:29:38,910 FROM 1160 00:29:38,910 --> 00:29:40,879 DESCARTES'S CONCEPTION OF 1161 00:29:40,879 --> 00:29:41,146 SPACE, 1162 00:29:41,146 --> 00:29:42,848 VISION AND LIGHT. AND 1163 00:29:42,848 --> 00:29:45,550 DESCARTES 1164 00:29:45,550 --> 00:29:47,653 RIGIDLY BIFURCATED WORLD OF 1165 00:29:47,653 --> 00:29:49,521 PHYSICAL 1166 00:29:49,521 --> 00:29:52,524 THINGS AND MENTAL THINGS. 1167 00:29:52,524 --> 00:29:53,158 THE ENTIRELY OF THE PHYSICAL 1168 00:29:53,158 --> 00:29:53,458 UNIVERSE 1169 00:29:53,458 --> 00:29:56,995 IS A VAST MECHANISM SUBJECT 1170 00:29:56,995 --> 00:29:57,295 IS SIMPLE 1171 00:29:57,295 --> 00:29:57,896 AND RIGID MECHANICAL LAWS. 1172 00:29:57,896 --> 00:30:01,633 --- 1173 00:30:01,633 --> 00:30:02,167 SPACE IS MERE PHYSICAL 1174 00:30:02,167 --> 00:30:02,567 EXTENSION, THUS 1175 00:30:02,567 --> 00:30:03,869 CONCEIVED AND PICTURED AS A 1176 00:30:03,869 --> 00:30:04,169 STRAIGHT 1177 00:30:04,169 --> 00:30:08,140 LINE. 1178 00:30:08,140 --> 00:30:08,707 LIGHT IS A PRESSURE WAVE 1179 00:30:08,707 --> 00:30:09,041 TRANSMITTED 1180 00:30:09,041 --> 00:30:17,015 TO THE EYE THROUGH AN 1181 00:30:17,015 --> 00:30:17,416 ELASTIC MEDIUM. 1182 00:30:17,416 --> 00:30:17,983 PATIENT IS THE EFFECT OF 1183 00:30:17,983 --> 00:30:19,117 MATERIAL 1184 00:30:19,117 --> 00:30:25,957 FORCES ON OUR ORGANS. 1185 00:30:25,957 --> 00:30:26,591 AND THE MAGIC OF THE VISION, 1186 00:30:26,591 --> 00:30:26,825 IT'S 1187 00:30:26,825 --> 00:30:31,697 STATIC AND ILLUSORY ASPECT -- 1188 00:30:31,697 --> 00:30:31,930 IT IS 1189 00:30:31,930 --> 00:30:32,497 THE SECOND EFFECT OF THE 1190 00:30:32,497 --> 00:30:32,764 PRIMARY 1191 00:30:32,764 --> 00:30:34,232 PHYSICAL PROCESSES THAT ARE 1192 00:30:34,232 --> 00:30:34,533 ENTIRELY 1193 00:30:34,533 --> 00:30:35,033 MECHANICAL IN NATURE. 1194 00:30:35,033 --> 00:30:36,001 --- 1195 00:30:36,001 --> 00:30:38,103 AS AN ILLUSTRATOR, DESCARTES 1196 00:30:38,103 --> 00:30:38,403 PREFERRED 1197 00:30:38,403 --> 00:30:41,540 WOODCUTS AND ENGRAVINGS, 1198 00:30:41,540 --> 00:30:42,607 MERLEAU-PONTY 1199 00:30:42,607 --> 00:30:51,516 ARGUES, PRECISELY BECAUSE OF 1200 00:30:51,516 --> 00:30:51,750 THEIR 1201 00:30:51,750 --> 00:30:52,284 AUSTERE BLACK-AND-WHITE 1202 00:30:52,284 --> 00:30:52,617 NATURE AND 1203 00:30:52,617 --> 00:30:55,420 LINEARITY. 1204 00:30:55,420 --> 00:30:55,954 UNDERSTANDING REQUIRES 1205 00:30:55,954 --> 00:30:56,321 GRASPING THE 1206 00:30:56,321 --> 00:30:59,624 PRINCIPLES OF THE PHYSICAL/ 1207 00:30:59,624 --> 00:30:59,958 MECHANICAL 1208 00:30:59,958 --> 00:31:01,059 WORLD AND THAT APPROACHES THE 1209 00:31:01,059 --> 00:31:01,326 DEEPER 1210 00:31:01,326 --> 00:31:02,260 TRUTH THAT IS BEING REVEALED. 1211 00:31:02,260 --> 00:31:05,363 FUNCTION AND LINE ABOVE ALL 1212 00:31:05,363 --> 00:31:05,664 ELSE, IN 1213 00:31:05,664 --> 00:31:09,167 OTHER WORDS. NO COLOR. NO 1214 00:31:09,167 --> 00:31:10,569 DEPTH. 1215 00:31:10,569 --> 00:31:12,604 NO DISTRACTION. 1216 00:31:12,604 --> 00:31:13,205 NO CONFUSION. 1217 00:31:13,205 --> 00:31:14,706 --- 1218 00:31:14,706 --> 00:31:21,379 WHAT DESCARTES IS AFTER IN 1219 00:31:21,379 --> 00:31:21,580 HIS 1220 00:31:21,580 --> 00:31:22,180 ILLUSTRATION IS THE BAREST 1221 00:31:22,180 --> 00:31:22,481 POSSIBLE 1222 00:31:22,481 --> 00:31:22,981 REPRESENTATION OF THE 1223 00:31:22,981 --> 00:31:23,315 MECHANICAL 1224 00:31:23,315 --> 00:31:23,849 NATURE AND FUNCTION OF 1225 00:31:23,849 --> 00:31:24,182 THINGS, THE 1226 00:31:24,182 --> 00:31:26,084 EYE, THE HEART, THE LENS, THE 1227 00:31:26,084 --> 00:31:26,518 LIGHT. 1228 00:31:26,518 --> 00:31:27,853 --- 1229 00:31:27,853 --> 00:31:31,089 MERLEAU-PONTY NOTES THAT 1230 00:31:31,089 --> 00:31:31,389 DESCARTES 1231 00:31:31,389 --> 00:31:32,157 NEVER DISCUSSES PAINTING. 1232 00:31:32,157 --> 00:31:33,525 THAT IS UNDERSTANDABLE, HE 1233 00:31:33,525 --> 00:31:36,661 SAYS, AS 1234 00:31:36,661 --> 00:31:38,630 PAINTING ENGAGES VISUAL 1235 00:31:38,630 --> 00:31:40,499 ELEMENTS AND 1236 00:31:40,499 --> 00:31:42,801 DIMENSIONS THAT ARE 1237 00:31:42,801 --> 00:31:43,201 PROBLEMATIC FOR 1238 00:31:43,201 --> 00:31:43,735 PURELY LINEAR THEORY OF 1239 00:31:43,735 --> 00:31:44,202 VISION. 1240 00:31:44,202 --> 00:31:46,238 COLOR FOR EXAMPLE, AND DEPTH. 1241 00:31:46,238 --> 00:31:48,807 --- 1242 00:31:48,807 --> 00:31:50,108 BUT IT IS STRANGE FOR THE 1243 00:31:50,108 --> 00:31:50,442 ADDITIONAL 1244 00:31:50,442 --> 00:31:51,076 REASON NOT MENTIONED BY 1245 00:31:51,076 --> 00:31:53,011 MERLEAU-PONTY 1246 00:31:53,011 --> 00:31:54,546 THAT DESCARTES LIVED IN THE 1247 00:31:54,546 --> 00:31:56,648 NETHERLANDS DURING THE 1248 00:31:56,648 --> 00:31:56,948 SO-CALLED 1249 00:31:56,948 --> 00:31:59,885 "GOLDEN AGE" OF DUTCH 1250 00:31:59,885 --> 00:32:00,252 PAINTING, THE 1251 00:32:00,252 --> 00:32:06,992 TIME OF REVEREND, OZ, 1252 00:32:06,992 --> 00:32:07,359 RAINIER, AND 1253 00:32:07,359 --> 00:32:07,893 MANY OTHERS AND HE WAS 1254 00:32:07,893 --> 00:32:08,293 SURROUNDED BY 1255 00:32:08,293 --> 00:32:10,595 PAINTERS AND PAINTING AT A 1256 00:32:10,595 --> 00:32:10,896 TIME WHEN 1257 00:32:10,896 --> 00:32:12,164 PAINTING WAS A CULTURAL FORCE. 1258 00:32:12,164 --> 00:32:13,265 --- 1259 00:32:13,265 --> 00:32:13,899 AS HE DID SO OFTEN ACROSS HIS 1260 00:32:13,899 --> 00:32:14,633 CAREER, 1261 00:32:14,633 --> 00:32:22,174 MERLEAU-PONTY USES 1262 00:32:22,174 --> 00:32:22,641 DESCARTES'S THEORY 1263 00:32:22,641 --> 00:32:23,275 OF VISION AS A STALKING HORSE 1264 00:32:23,275 --> 00:32:23,642 ON THE 1265 00:32:23,642 --> 00:32:25,010 WAY TO A RADICALLY DIFFERENT 1266 00:32:25,010 --> 00:32:27,312 UNDERSTANDING OF PAINTING. 1267 00:32:27,312 --> 00:32:27,646 PAINTING IS 1268 00:32:27,646 --> 00:32:29,414 NOT ILLUSTRATION. 1269 00:32:29,414 --> 00:32:31,716 IT IS NOT COPYING, NOT 1270 00:32:31,716 --> 00:32:35,287 IMITATION. 1271 00:32:35,287 --> 00:32:39,090 IT IS NOT EVEN REPRESENTATION. 1272 00:32:39,090 --> 00:32:39,858 IT IS A VISUAL INVESTIGATION 1273 00:32:39,858 --> 00:32:40,058 AND 1274 00:32:40,058 --> 00:32:41,193 EXPRESSION OF VISION ITSELF. 1275 00:32:41,193 --> 00:32:41,793 A VISUAL ACCOUNT OF HOW THE 1276 00:32:41,793 --> 00:32:42,027 WORLD 1277 00:32:42,027 --> 00:32:46,164 COMES TO BE SOMETHING 1278 00:32:46,164 --> 00:32:46,464 VISIBLE, 1279 00:32:46,464 --> 00:32:47,132 SOMETHING SEEN. 1280 00:32:47,132 --> 00:32:50,836 --- 1281 00:32:50,836 --> 00:32:51,469 IMMERSED IN THE SENSATIONS OF 1282 00:32:51,469 --> 00:32:51,670 THE 1283 00:32:51,670 --> 00:32:54,206 VISIBLE WORLD, THE PAINTER 1284 00:32:54,206 --> 00:32:54,539 ATTEMPTS TO 1285 00:32:54,539 --> 00:32:56,641 DESCRIBE HOW THINGS COME INTO 1286 00:32:56,641 --> 00:32:57,175 VISIBILITY. 1287 00:32:57,175 --> 00:33:00,212 HOW AN APPLE COMES TO BE AN 1288 00:33:00,212 --> 00:33:00,812 APPLE, A 1289 00:33:00,812 --> 00:33:10,889 BOWL A BOWL, THE PICTURE A 1290 00:33:10,889 --> 00:33:11,223 PICTURE, A 1291 00:33:11,223 --> 00:33:11,756 TABLECLOTH THE LUMINOUS 1292 00:33:11,756 --> 00:33:12,123 GROUND THAT 1293 00:33:12,123 --> 00:33:14,459 HOLDS THE BOWL AND THE 1294 00:33:14,459 --> 00:33:14,826 PICTURES IN 1295 00:33:14,826 --> 00:33:18,597 THIS PLACE. THE PAINTING IS 1296 00:33:18,597 --> 00:33:18,930 AN ICON OR 1297 00:33:18,930 --> 00:33:20,632 AN ESSENCE IS AS A VISIBLE, 1298 00:33:20,632 --> 00:33:22,467 OF THE 1299 00:33:22,467 --> 00:33:23,068 SECOND POWER, THAT REACHES 1300 00:33:23,068 --> 00:33:23,735 BACK INTO 1301 00:33:23,735 --> 00:33:26,338 THE EXPERIENCE OF VISION TO 1302 00:33:26,338 --> 00:33:26,671 REVEAL ITS 1303 00:33:26,671 --> 00:33:26,972 GENESIS. 1304 00:33:26,972 --> 00:33:29,608 --- 1305 00:33:29,608 --> 00:33:31,543 THE PAINTER IN EFFECT WANTS 1306 00:33:31,543 --> 00:33:31,843 TO CATCH 1307 00:33:31,843 --> 00:33:32,711 THE VISUAL PERFECTION OF 1308 00:33:32,711 --> 00:33:34,079 THINGS IN THE 1309 00:33:34,079 --> 00:33:36,715 ACT, SO TO SPEAK, AS AND HOW 1310 00:33:36,715 --> 00:33:37,249 THEY COME 1311 00:33:37,249 --> 00:33:39,618 TO BE PERCEIVED. 1312 00:33:39,618 --> 00:33:41,720 --- 1313 00:33:41,720 --> 00:33:44,356 HERE IS A DESCRIPTION OF PAUL 1314 00:33:44,356 --> 00:33:45,357 CÉZANNE'S PREOCCUPATION WITH 1315 00:33:45,357 --> 00:33:47,359 MR. -- 1316 00:33:47,359 --> 00:33:50,629 OUTSIDE OF --. 1317 00:33:50,629 --> 00:33:52,364 IT IS A MOUNTAIN ITSELF WHICH 1318 00:33:52,364 --> 00:33:53,765 FROM OUT 1319 00:33:53,765 --> 00:33:56,134 THERE MAKES ITSELF SEEN BY 1320 00:33:56,134 --> 00:33:57,969 THE PAINTER. 1321 00:33:57,969 --> 00:34:00,105 IT IS THE MOUNTAIN ITSELF 1322 00:34:00,105 --> 00:34:00,372 THAT HE 1323 00:34:00,372 --> 00:34:08,446 INTERROGATES -- AND WHAT 1324 00:34:08,446 --> 00:34:08,780 EXACTLY IS 1325 00:34:08,780 --> 00:34:10,382 ASKING TO UNVEIL THE MEANS 1326 00:34:10,382 --> 00:34:11,616 VISIBLE AND 1327 00:34:11,616 --> 00:34:12,884 NOT OTHERWISE BY WHICH IT 1328 00:34:12,884 --> 00:34:14,152 MAKES ITSELF 1329 00:34:14,152 --> 00:34:16,321 MOUNTAIN BEFORE OUR EYES? 1330 00:34:16,321 --> 00:34:21,059 LIGHT, LIGHTING, SHADOWS, 1331 00:34:21,059 --> 00:34:24,896 REFLECTIONS, 1332 00:34:24,896 --> 00:34:25,530 COLOR ALL OF THESE OBJECTS OF 1333 00:34:25,530 --> 00:34:25,730 HIS 1334 00:34:25,730 --> 00:34:26,364 QUEST ARE NOT ALTOGETHER REAL 1335 00:34:26,364 --> 00:34:26,631 OBJECTS. 1336 00:34:26,631 --> 00:34:29,668 LIKE GHOSTS, THEY HAVE ONLY 1337 00:34:29,668 --> 00:34:29,935 VISUAL 1338 00:34:29,935 --> 00:34:30,235 EXISTENCE. 1339 00:34:30,235 --> 00:34:30,435 --- 1340 00:34:30,435 --> 00:34:33,939 THE PAINTER'S GAZE ASKS THEM 1341 00:34:33,939 --> 00:34:37,442 WHAT THEY 1342 00:34:37,442 --> 00:34:38,443 DO TO SUDDENLY CAUSE 1343 00:34:38,443 --> 00:34:39,144 SOMETHING TO BE, 1344 00:34:39,144 --> 00:34:41,513 AND TO BE THIS THING. 1345 00:34:41,513 --> 00:34:43,181 WHAT THEY DO TO COMPOSE THIS 1346 00:34:43,181 --> 00:34:43,481 TALISMAN 1347 00:34:43,481 --> 00:34:45,784 OF A WORLD. 1348 00:34:45,784 --> 00:34:46,685 TO MAKE US SEE THE VISIBLE. 1349 00:34:46,685 --> 00:34:49,354 --- 1350 00:34:49,354 --> 00:34:49,988 THE INTERROGATION OF PAINTING 1351 00:34:49,988 --> 00:34:50,221 LOOKS 1352 00:34:50,221 --> 00:34:52,324 TOWARDS THE SECRET AND 1353 00:34:52,324 --> 00:34:52,624 FEVERISH 1354 00:34:52,624 --> 00:34:56,428 GENERATION OF THINGS IN OUR 1355 00:34:56,428 --> 00:34:56,661 BODY. 1356 00:34:56,661 --> 00:34:58,430 --- 1357 00:34:58,430 --> 00:35:02,701 THE BODY WHERE THE SECRET AND 1358 00:35:02,701 --> 00:35:05,470 GENERATION OF THINGS OCCURS, 1359 00:35:05,470 --> 00:35:05,770 THE BODY 1360 00:35:05,770 --> 00:35:07,272 THAT PAINTS AND THE BODY THAT 1361 00:35:07,272 --> 00:35:07,539 STANDS 1362 00:35:07,539 --> 00:35:11,443 TRANSFIXED BEFORE PAINTING IS 1363 00:35:11,443 --> 00:35:11,710 CLEARLY 1364 00:35:11,710 --> 00:35:13,545 NOT A MACHINE, OR A PIECE OF 1365 00:35:13,545 --> 00:35:13,845 EXTENDED 1366 00:35:13,845 --> 00:35:14,612 MATTER. 1367 00:35:14,612 --> 00:35:16,247 MERLEAU-PONTY CALLS IT AN 1368 00:35:16,247 --> 00:35:18,316 ENIGMA. 1369 00:35:18,316 --> 00:35:22,854 THE HUMAN BODY IS AN UNCANNY 1370 00:35:22,854 --> 00:35:23,154 FUSION OF 1371 00:35:23,154 --> 00:35:24,255 OBJECT AND SUBJECT; OF MIND 1372 00:35:24,255 --> 00:35:24,623 AND 1373 00:35:24,623 --> 00:35:27,792 MATTER. 1374 00:35:27,792 --> 00:35:29,060 IT IS A SUBJECT/OBJECT, THE 1375 00:35:29,060 --> 00:35:30,228 THING THAT 1376 00:35:30,228 --> 00:35:32,030 TOUCHES, SEES. 1377 00:35:32,030 --> 00:35:34,632 "VISIBLE AND MOBILE MY BODY 1378 00:35:34,632 --> 00:35:36,368 IS A THING 1379 00:35:36,368 --> 00:35:39,971 AMONG THINGS, IT IS CALLED IN 1380 00:35:39,971 --> 00:35:40,171 THE 1381 00:35:40,171 --> 00:35:41,106 FABRIC OF THE WORLD. BUT 1382 00:35:41,106 --> 00:35:41,439 BECAUSE IT 1383 00:35:41,439 --> 00:35:46,244 MOVES ITSELF AND SEES, IT 1384 00:35:46,244 --> 00:35:46,611 HOLDS THINGS 1385 00:35:46,611 --> 00:35:48,513 IN A CIRCLE AROUND ITSELF. 1386 00:35:48,513 --> 00:35:48,847 THINGS ARE 1387 00:35:48,847 --> 00:35:56,121 AND ANNEXATION OR 1388 00:35:56,121 --> 00:35:56,521 PROLONGATION OF 1389 00:35:56,521 --> 00:35:57,155 ITSELF. THEY ARE ENCRUSTED IN 1390 00:35:57,155 --> 00:35:58,957 ITS 1391 00:35:58,957 --> 00:35:59,624 LAST. THEY ARE PART OF ITS 1392 00:35:59,624 --> 00:36:01,426 FULL 1393 00:36:01,426 --> 00:36:02,060 DEFINITION. THE WORLD IS MADE 1394 00:36:02,060 --> 00:36:02,327 IS THE 1395 00:36:02,327 --> 00:36:02,961 SAME STUFF AS THE BODY. THIS 1396 00:36:02,961 --> 00:36:03,228 WAY OF 1397 00:36:03,228 --> 00:36:09,768 TURNING THINGS AROUND, THESE 1398 00:36:09,768 --> 00:36:10,335 ANTE-ENEMIES IS A WAY OF 1399 00:36:10,335 --> 00:36:11,636 SAYING THE 1400 00:36:11,636 --> 00:36:12,303 VISION HAPPENS AMONG OR IS 1401 00:36:12,303 --> 00:36:12,604 CAUGHT UP 1402 00:36:12,604 --> 00:36:15,407 IN THINGS, IN THAT PLACE 1403 00:36:15,407 --> 00:36:15,640 WHERE 1404 00:36:15,640 --> 00:36:16,274 SOMETHING VISIBLE UNDERTAKES 1405 00:36:16,274 --> 00:36:17,142 TO SEE, 1406 00:36:17,142 --> 00:36:20,011 BECOMES VISIBLE FOR ITSELF BY 1407 00:36:20,011 --> 00:36:20,278 VIRTUE 1408 00:36:20,278 --> 00:36:22,814 OF THE SITE OF THINGS. IN 1409 00:36:22,814 --> 00:36:23,648 THAT PLACE 1410 00:36:23,648 --> 00:36:24,449 WHERE THEY PERSIST, LIKE THE 1411 00:36:24,449 --> 00:36:33,758 MOTHER/WATER IN CRYSTLA, THE 1412 00:36:33,758 --> 00:36:34,392 UNDIVIDEDNESS OF SENSING AND 1413 00:36:34,392 --> 00:36:34,592 THE 1414 00:36:34,592 --> 00:36:35,126 SENSE." 1415 00:36:35,126 --> 00:36:36,628 --- 1416 00:36:36,628 --> 00:36:37,228 STANDING BEFORE PAINTING WE 1417 00:36:37,228 --> 00:36:37,495 DO NOT 1418 00:36:37,495 --> 00:36:38,029 THINK ENOUGH ABOUT THE 1419 00:36:38,029 --> 00:36:39,597 PAINTER'S BODY. 1420 00:36:39,597 --> 00:36:40,665 MERLEAU-PONTY ADMIRED THE 1421 00:36:40,665 --> 00:36:41,833 POINT -- 1422 00:36:41,833 --> 00:36:46,438 COMMENT THAT THE PAINTER 1423 00:36:46,438 --> 00:36:47,639 ALWAYS TAKES 1424 00:36:47,639 --> 00:36:48,273 HIS BODY WITH HIM. BEFORE IT 1425 00:36:48,273 --> 00:36:51,109 BECOMES A 1426 00:36:51,109 --> 00:36:51,676 PAINTING, THE CAMPUS IS A 1427 00:36:51,676 --> 00:36:51,910 BLANK 1428 00:36:51,910 --> 00:36:52,677 TABLEAU, AND EMPTY FIELD. 1429 00:36:52,677 --> 00:36:55,313 THE PAINTER'S PHYSICAL 1430 00:36:55,313 --> 00:36:55,613 MOVEMENTS 1431 00:36:55,613 --> 00:36:56,181 GRADUALLY FILL THAT EMPTY 1432 00:36:56,181 --> 00:36:57,282 NEST WITH 1433 00:36:57,282 --> 00:36:59,617 MARKS THAT BECOME 1434 00:36:59,617 --> 00:37:00,885 RECOGNIZABLE THINGS, 1435 00:37:00,885 --> 00:37:04,255 FACES, BOWLS, MOUNTAINS ARE 1436 00:37:04,255 --> 00:37:05,123 COMPELLING 1437 00:37:05,123 --> 00:37:05,890 ABSTRACTIONS, MERE SHAPES. 1438 00:37:05,890 --> 00:37:08,793 --- 1439 00:37:08,793 --> 00:37:10,662 MERLEAU-PONTY WANTS US TO 1440 00:37:10,662 --> 00:37:10,962 LINGER IN 1441 00:37:10,962 --> 00:37:18,536 THAT EXTRAORDINARY INSTANCE 1442 00:37:18,536 --> 00:37:18,837 WHERE THE 1443 00:37:18,837 --> 00:37:19,637 PAINTER'S GAZE PASSES INTO 1444 00:37:19,637 --> 00:37:23,208 PHYSICAL 1445 00:37:23,208 --> 00:37:23,775 LOOKS, BECOME IMAGES THAT 1446 00:37:23,775 --> 00:37:24,109 HAVE THINGS 1447 00:37:24,109 --> 00:37:26,077 THAT HAVE VISUALIZED 1448 00:37:26,077 --> 00:37:26,478 INSIGNIFICANCE 1449 00:37:26,478 --> 00:37:31,015 ENTITIES MIRACULOUS IN THAT 1450 00:37:31,015 --> 00:37:31,316 INSTANCE, 1451 00:37:31,316 --> 00:37:32,083 AND THAT TRANSUBSTANTIATION, 1452 00:37:32,083 --> 00:37:32,283 THE 1453 00:37:32,283 --> 00:37:35,186 CIRCUIT OF EYE AND MIND THAT 1454 00:37:35,186 --> 00:37:35,386 THE 1455 00:37:35,386 --> 00:37:35,987 MEANING OF PAINTING LIES. 1456 00:37:35,987 --> 00:37:39,757 --- 1457 00:37:39,757 --> 00:37:40,391 "IN WHATEVER CIVILIZATION IT 1458 00:37:40,391 --> 00:37:42,827 IS BORN, 1459 00:37:42,827 --> 00:37:43,461 FOR WHATEVER BELIEFS, MOTIVES 1460 00:37:43,461 --> 00:37:44,996 AND 1461 00:37:44,996 --> 00:37:45,563 THOUGHTS, NO MATTER WHAT 1462 00:37:45,563 --> 00:37:47,599 CEREMONY 1463 00:37:47,599 --> 00:37:48,133 SURROUNDED EVEN WHEN IT 1464 00:37:48,133 --> 00:37:48,399 APPEARS 1465 00:37:48,399 --> 00:37:49,934 DEVOTED TO SOMETHING ELSE -- 1466 00:37:49,934 --> 00:37:50,168 FROM 1467 00:37:50,168 --> 00:37:55,573 LASCAUX TO OUR TIME, PURE OR 1468 00:37:55,573 --> 00:37:55,840 IMPURE, 1469 00:37:55,840 --> 00:37:58,877 FIGURATIVE OR NOT, PAINTING 1470 00:37:58,877 --> 00:37:59,644 CELEBRATES 1471 00:37:59,644 --> 00:38:02,013 NO OTHER ENIGMA BUT THAT OF 1472 00:38:02,013 --> 00:38:02,447 VISIBILITY." 1473 00:38:02,447 --> 00:38:04,783 --- 1474 00:38:04,783 --> 00:38:11,890 IN 1632, FIVE YEARS BEFORE 1475 00:38:11,890 --> 00:38:12,190 DESCARTES 1476 00:38:12,190 --> 00:38:14,392 PUBLISHED THE DISCOURSE ON 1477 00:38:14,392 --> 00:38:15,894 METHOD, 1478 00:38:15,894 --> 00:38:17,462 REMBRANDT WAS COMMISSIONED TO 1479 00:38:17,462 --> 00:38:17,695 PAINT 1480 00:38:17,695 --> 00:38:18,596 THE ANATOMY LESSON OF DOCTOR 1481 00:38:18,596 --> 00:38:18,997 NICHOLAS 1482 00:38:18,997 --> 00:38:23,635 TOOP (SOUNDS LIKE). DESCARTES 1483 00:38:23,635 --> 00:38:23,835 WAS 1484 00:38:23,835 --> 00:38:24,435 LIVING IN AMSTERDAM DURING 1485 00:38:24,435 --> 00:38:25,336 THIS PERIOD 1486 00:38:25,336 --> 00:38:26,804 AND ATTENDED SOME OF TOOP'S 1487 00:38:26,804 --> 00:38:28,840 LECTURES. 1488 00:38:28,840 --> 00:38:34,646 AS A HISTORIAN OF SCIENCE 1489 00:38:34,646 --> 00:38:35,013 BRIAN BAKERY 1490 00:38:35,013 --> 00:38:35,680 HAS NOTED IT IS INTRIGUING TO 1491 00:38:35,680 --> 00:38:35,947 SAY THE 1492 00:38:35,947 --> 00:38:38,216 LEAST TO IMAGINE REMBRANDT 1493 00:38:38,216 --> 00:38:41,286 AND 1494 00:38:41,286 --> 00:38:41,920 DESCARTES SITTING IN THE SAME 1495 00:38:41,920 --> 00:38:42,187 LECTURE 1496 00:38:42,187 --> 00:38:42,821 HALL AND FOLLOWING THE SAME 1497 00:38:42,821 --> 00:38:43,121 LECTURE. 1498 00:38:43,121 --> 00:38:43,988 --- 1499 00:38:43,988 --> 00:38:47,058 IT IS ALSO INTRIGUING THAT 1500 00:38:47,058 --> 00:38:47,358 REMBRANDT 1501 00:38:47,358 --> 00:38:48,726 APPRENTICED AT AN EARLIER 1502 00:38:48,726 --> 00:38:49,194 PERIOD IN 1503 00:38:49,194 --> 00:38:52,463 HIS LIFE TO URIS VON SCHUTTEN 1504 00:38:52,463 --> 00:38:56,734 (SOUNDS 1505 00:38:56,734 --> 00:38:57,368 LIKE), A PAINTER IN AMSTERDAM 1506 00:38:57,368 --> 00:38:57,635 AND THE 1507 00:38:57,635 --> 00:38:58,369 UNCLE OF THE DUTCH 1508 00:38:58,369 --> 00:38:58,803 MATHEMATICIAN AND 1509 00:38:58,803 --> 00:39:02,040 ARTIST FRANZ -- WHO LIVED IN 1510 00:39:02,040 --> 00:39:04,242 LIFE AND 1511 00:39:04,242 --> 00:39:08,980 HELPED DESCARTES WITH 1512 00:39:08,980 --> 00:39:09,414 ILLUSTRATIONS IN 1513 00:39:09,414 --> 00:39:10,248 THE DISCOURSE ON METHOD AND 1514 00:39:10,248 --> 00:39:10,448 THE 1515 00:39:10,448 --> 00:39:11,015 ATTACHED ESSAYS. IT WAS A 1516 00:39:11,015 --> 00:39:11,349 VERY SMALL 1517 00:39:11,349 --> 00:39:12,150 WORLD. 1518 00:39:12,150 --> 00:39:13,952 --- REMBRANDT'S REMARKABLE 1519 00:39:13,952 --> 00:39:15,119 PAINTING IS 1520 00:39:15,119 --> 00:39:19,290 WORTH MORE CAREFUL LOOK. 1521 00:39:19,290 --> 00:39:21,893 DR. TOOP IS A PRIMARY FOCAL 1522 00:39:21,893 --> 00:39:22,227 POINT JUST 1523 00:39:22,227 --> 00:39:24,028 TO THE RIGHT AND SLIGHTLY 1524 00:39:24,028 --> 00:39:24,329 ABOVE THE 1525 00:39:24,329 --> 00:39:26,297 CENTER OF THE CAMPUS. HE 1526 00:39:26,297 --> 00:39:30,702 WEARS A HAT. 1527 00:39:30,702 --> 00:39:31,336 BENEATH HIM LIES A BONE WHITE 1528 00:39:31,336 --> 00:39:34,906 CADAVER. 1529 00:39:34,906 --> 00:39:35,506 ITS LEFT ARM LAID OPEN BY A 1530 00:39:35,506 --> 00:39:36,641 SCALPEL. 1531 00:39:36,641 --> 00:39:42,247 WITH HIS FORCEPS, TOOP 1532 00:39:42,247 --> 00:39:42,614 DISPLAYS THE 1533 00:39:42,614 --> 00:39:43,381 MUSCLES AND LIGAMENTS RUNNING 1534 00:39:43,381 --> 00:39:43,648 THROUGH 1535 00:39:43,648 --> 00:39:47,418 THE FOREARM TO THE HAND. THE 1536 00:39:47,418 --> 00:39:47,719 CADAVER'S 1537 00:39:47,719 --> 00:39:48,319 EXPOSED ARM IS DRAMATICALLY 1538 00:39:48,319 --> 00:39:48,620 RENDERED 1539 00:39:48,620 --> 00:39:55,827 IN REDS, GREYS AND YELLOWS IN 1540 00:39:55,827 --> 00:39:56,060 STARK 1541 00:39:56,060 --> 00:39:56,661 CONTRAST TO THE GREY-BROWN 1542 00:39:56,661 --> 00:39:56,995 AND FLESHY 1543 00:39:56,995 --> 00:39:57,528 HUES OF THE REST OF THE 1544 00:39:57,528 --> 00:39:57,862 COMPOSITION. 1545 00:39:57,862 --> 00:39:58,529 --- 1546 00:39:58,529 --> 00:40:06,838 HUDDLED TO TOOP'S RIGHT IS A 1547 00:40:06,838 --> 00:40:07,138 GROUP OF 1548 00:40:07,138 --> 00:40:07,705 SEVEN MALE OBSERVERS EACH 1549 00:40:07,705 --> 00:40:08,006 POST AT A 1550 00:40:08,006 --> 00:40:09,540 SLIGHTLY DIFFERENT ANGLE THAN 1551 00:40:09,540 --> 00:40:11,643 THE 1552 00:40:11,643 --> 00:40:12,277 VIEWER, NO HATS. 1553 00:40:12,277 --> 00:40:12,810 IN THE LOWER RIGHT-HAND 1554 00:40:12,810 --> 00:40:13,177 CORNER OF THE 1555 00:40:13,177 --> 00:40:14,445 PAINTING IS A LARGE BOOK, 1556 00:40:14,445 --> 00:40:17,815 PERHAPS 1557 00:40:17,815 --> 00:40:22,153 ANDREAS PHASALLIUS'S (SOUNDS 1558 00:40:22,153 --> 00:40:22,387 LIKE) 1559 00:40:22,387 --> 00:40:27,191 ANATOMY TEXT ON THE HUMAN 1560 00:40:27,191 --> 00:40:27,492 BODY AND 1561 00:40:27,492 --> 00:40:29,627 OPEN AND IN VIEW OF THE 1562 00:40:29,627 --> 00:40:31,629 CENTERLINE OF 1563 00:40:31,629 --> 00:40:32,030 CHARACTERS. AND 1564 00:40:32,030 --> 00:40:35,400 NOTWITHSTANDING THE 1565 00:40:35,400 --> 00:40:36,067 PAINTING'S TITLE AND THE GORY 1566 00:40:36,067 --> 00:40:36,367 ARM OPEN 1567 00:40:36,367 --> 00:40:37,001 IN THE LUMINOUS FOREGROUND IT 1568 00:40:37,001 --> 00:40:37,235 SEEMS 1569 00:40:37,235 --> 00:40:37,835 CLEAR ON CLOSER INSPECTION 1570 00:40:37,835 --> 00:40:42,607 THAT THE 1571 00:40:42,607 --> 00:40:43,241 PAINTING IS NOT REALLY ABOUT 1572 00:40:43,241 --> 00:40:43,541 ANATOMY. 1573 00:40:43,541 --> 00:40:44,442 IT'S ABOUT SEEING, LOOKING 1574 00:40:44,442 --> 00:40:45,443 AND BEING 1575 00:40:45,443 --> 00:40:46,611 SEEN. 1576 00:40:46,611 --> 00:40:51,115 --- 1577 00:40:51,115 --> 00:40:51,716 CONTEXTUALLY, WE KNOW THAT 1578 00:40:51,716 --> 00:40:51,949 THESE 1579 00:40:51,949 --> 00:40:53,418 ANATOMY LESSONS WERE PUBLIC 1580 00:40:53,418 --> 00:40:53,685 EVENTS 1581 00:40:53,685 --> 00:40:54,218 CONDUCTED IN AN ACTUAL 1582 00:40:54,218 --> 00:41:00,892 THEATER. AND 1583 00:41:00,892 --> 00:41:01,426 REMBRANDT WOULD'VE BEEN 1584 00:41:01,426 --> 00:41:01,759 COMPENSATED 1585 00:41:01,759 --> 00:41:02,627 FOR HIS WORK BY THE FIGURES 1586 00:41:02,627 --> 00:41:02,894 ON THE 1587 00:41:02,894 --> 00:41:07,432 PAINTING, ALL PRACTICING 1588 00:41:07,432 --> 00:41:07,799 SURGEONS. THE 1589 00:41:07,799 --> 00:41:08,399 SUBJECT AND THE PAINTING-- 1590 00:41:08,399 --> 00:41:08,700 ALL MALE 1591 00:41:08,700 --> 00:41:09,300 INCLUDING THE CADAVER-- ARE 1592 00:41:09,300 --> 00:41:09,600 ARRANGED 1593 00:41:09,600 --> 00:41:11,569 ACCORDINGLY. 1594 00:41:11,569 --> 00:41:13,371 DR. TOOP IS NOT LOOKING AT 1595 00:41:13,371 --> 00:41:16,908 THE 1596 00:41:16,908 --> 00:41:17,508 CADAVER. HE IS STARING OFF 1597 00:41:17,508 --> 00:41:17,842 STAGE RIGHT 1598 00:41:17,842 --> 00:41:19,477 AS HE FIELDING A QUESTION, OR 1599 00:41:19,477 --> 00:41:19,744 POSING 1600 00:41:19,744 --> 00:41:20,144 FOR PAINTING. 1601 00:41:20,144 --> 00:41:21,212 --- 1602 00:41:21,212 --> 00:41:22,947 THE STUDENT OBSERVERS AROUND 1603 00:41:22,947 --> 00:41:23,614 TOOP ARE 1604 00:41:23,614 --> 00:41:26,517 LOOKING TOO. ONE APPEARS TO 1605 00:41:26,517 --> 00:41:26,851 BE LOOKING 1606 00:41:26,851 --> 00:41:30,088 AT THE EXPOSED ARM. BUT THE 1607 00:41:30,088 --> 00:41:30,388 REST ARE 1608 00:41:30,388 --> 00:41:33,524 LOOKING ELSEWHERE, AT THE 1609 00:41:33,524 --> 00:41:33,858 TEXTBOOK IN 1610 00:41:33,858 --> 00:41:35,293 THE LOWER RIGHT-HAND CORNER, 1611 00:41:35,293 --> 00:41:35,493 AT 1612 00:41:35,493 --> 00:41:37,695 MEMBERS OF THE IMPLIED 1613 00:41:37,695 --> 00:41:38,096 AUDIENCE OR IN 1614 00:41:38,096 --> 00:41:42,734 ONE CASE, DIRECTLY AT US THE 1615 00:41:42,734 --> 00:41:43,034 VIEWERS, 1616 00:41:43,034 --> 00:41:43,634 WHO BY WAY OF THIS CLASS 1617 00:41:43,634 --> 00:41:44,168 BECOME PART 1618 00:41:44,168 --> 00:41:44,702 OF THE SPECTACLE. 1619 00:41:44,702 --> 00:41:46,037 --- 1620 00:41:46,037 --> 00:41:51,642 IN HIS LEFT HAND, HE HOLDS AN 1621 00:41:51,642 --> 00:41:52,143 ANNOTATED SKETCH OF A 1622 00:41:52,143 --> 00:41:53,778 STANDING BODY, 1623 00:41:53,778 --> 00:41:56,314 PERHAPS COMPARING IT TO THE 1624 00:41:56,314 --> 00:42:01,452 PROCEEDINGS OR TO THE TEXT. 1625 00:42:01,452 --> 00:42:01,786 PERHAPS HE 1626 00:42:01,786 --> 00:42:09,227 TOO IS AN ARTIST AND IN ANY 1627 00:42:09,227 --> 00:42:09,460 CASE 1628 00:42:09,460 --> 00:42:09,994 SKETCHES ECONOMY REFER 1629 00:42:09,994 --> 00:42:10,328 REVEREND'S 1630 00:42:10,328 --> 00:42:12,730 CREATIVE GAZE. 1631 00:42:12,730 --> 00:42:14,665 AND IS A STUDY OF CONNECTED 1632 00:42:14,665 --> 00:42:14,999 LAYERS AND 1633 00:42:14,999 --> 00:42:15,566 MODALITIES OF VISION, OF 1634 00:42:15,566 --> 00:42:15,900 SEEING AND 1635 00:42:15,900 --> 00:42:17,902 BEING SEEN IN LOOKING AND 1636 00:42:17,902 --> 00:42:18,269 BEING LOOKED 1637 00:42:18,269 --> 00:42:19,937 AT THE PAINTING IS DIZZYING. 1638 00:42:19,937 --> 00:42:22,907 WE SEE THE LOOK OF THE 1639 00:42:22,907 --> 00:42:23,307 PAINTER, OF THE 1640 00:42:23,307 --> 00:42:25,476 PRIMARY SUBJECT, THE LOOK OF 1641 00:42:25,476 --> 00:42:26,444 THE 1642 00:42:26,444 --> 00:42:34,252 SECONDARY SUBJECTS AND 1643 00:42:34,252 --> 00:42:34,652 IMPLICITLY THE 1644 00:42:34,652 --> 00:42:35,153 LOOK OF THE AUDIENCE. 1645 00:42:35,153 --> 00:42:35,520 INVISIBLE BUT 1646 00:42:35,520 --> 00:42:36,154 CLEARLY PRESENT BY INFERENCE 1647 00:42:36,154 --> 00:42:36,421 AND BY 1648 00:42:36,421 --> 00:42:36,687 OUR OWN. 1649 00:42:36,687 --> 00:42:42,260 --- 1650 00:42:42,260 --> 00:42:43,628 AND WE SEE IN ALL THESE LOOKS 1651 00:42:43,628 --> 00:42:44,695 THE 1652 00:42:44,695 --> 00:42:47,365 AWARENESS OF OTHERS LOOKING 1653 00:42:47,365 --> 00:42:47,665 BACK, AND 1654 00:42:47,665 --> 00:42:53,704 THE KIND OF INFINITELY 1655 00:42:53,704 --> 00:42:53,971 COMPLEX 1656 00:42:53,971 --> 00:42:55,873 PROGRESSION SEEING, BEING 1657 00:42:55,873 --> 00:42:59,243 SEEN, BEING 1658 00:42:59,243 --> 00:43:02,113 SEEN SEEING EXCELLENT LIKE A 1659 00:43:02,113 --> 00:43:03,948 MIRROR. 1660 00:43:03,948 --> 00:43:04,482 REVEREND HAS CREATED AN 1661 00:43:04,482 --> 00:43:05,116 INTER-WORLD OF 1662 00:43:05,116 --> 00:43:08,219 SEERS AND SIGHT. 1663 00:43:08,219 --> 00:43:08,719 OR MORE PRECISELY AT 1664 00:43:08,719 --> 00:43:10,354 INTER-WORLD OF 1665 00:43:10,354 --> 00:43:14,592 MALE SEERS WHERE THERE IS NO 1666 00:43:14,592 --> 00:43:14,859 END, NO 1667 00:43:14,859 --> 00:43:16,994 BOUNDARY OR TERMINUS; NO 1668 00:43:16,994 --> 00:43:18,996 STARTING OR 1669 00:43:18,996 --> 00:43:19,530 STOPPING, OF VISION AND 1670 00:43:19,530 --> 00:43:19,864 VISIBILITY. 1671 00:43:19,864 --> 00:43:20,898 --- 1672 00:43:20,898 --> 00:43:24,202 WE ARE A VERY LONG WAY FROM 1673 00:43:24,202 --> 00:43:28,272 DESCARTES'S LIGHT WAVES 1674 00:43:28,272 --> 00:43:28,606 PRESSING ON 1675 00:43:28,606 --> 00:43:29,240 THE RETINAS OF OUR EYES AND A 1676 00:43:29,240 --> 00:43:29,841 LUSTRATION OF THOSE WAVES 1677 00:43:29,841 --> 00:43:30,208 REFRACTED BY 1678 00:43:30,208 --> 00:43:34,812 A LENS. 1679 00:43:34,812 --> 00:43:35,346 WE ARE IN A PLACE WHERE 1680 00:43:35,346 --> 00:43:44,856 VISION AND 1681 00:43:44,856 --> 00:43:46,958 VISIBILITY. 1682 00:43:46,958 --> 00:43:47,525 AND INDECISION OF BEING A 1683 00:43:47,525 --> 00:43:47,892 STUDY IN AND 1684 00:43:47,892 --> 00:43:48,526 ABOUT VISION THE ANATOMY 1685 00:43:48,526 --> 00:43:50,428 LESSON OF 1686 00:43:50,428 --> 00:43:54,699 DOCTOR NICHOLAS TOOP IS AN 1687 00:43:54,699 --> 00:43:54,999 IMPORTANT 1688 00:43:54,999 --> 00:43:55,600 DOCUMENT IN THE HISTORY OF 1689 00:43:55,600 --> 00:43:55,900 MEDICINE. 1690 00:43:55,900 --> 00:43:57,702 AND IT RAISES 1691 00:43:57,702 --> 00:43:59,637 AT LEAST IMPLICITLY IMPORTANT 1692 00:43:59,637 --> 00:44:00,505 QUESTIONS ABOUT THE ARC OF 1693 00:44:00,505 --> 00:44:00,738 THAT 1694 00:44:00,738 --> 00:44:02,573 HISTORY AND THE RELATIONSHIP 1695 00:44:02,573 --> 00:44:02,773 OF 1696 00:44:02,773 --> 00:44:05,276 MEDICAL SCIENCE AND 1697 00:44:05,276 --> 00:44:05,710 TECHNOLOGY TO THE 1698 00:44:05,710 --> 00:44:07,278 EXPERIENCE OF BOTH WELLNESS 1699 00:44:07,278 --> 00:44:07,645 AND 1700 00:44:07,645 --> 00:44:08,479 DISEASE. 1701 00:44:08,479 --> 00:44:10,114 --- 1702 00:44:10,114 --> 00:44:15,953 ADVANCED MEDICAL TECHNOLOGIES 1703 00:44:15,953 --> 00:44:16,220 IN THE 1704 00:44:16,220 --> 00:44:16,854 STEADY MARCH OF GENETICS AND 1705 00:44:16,854 --> 00:44:17,154 MOLECULAR 1706 00:44:17,154 --> 00:44:19,757 AND CELL BIOLOGY HAS LED TO 1707 00:44:19,757 --> 00:44:20,024 AN EVER 1708 00:44:20,024 --> 00:44:20,658 MORE PRECISE UNDERSTANDING OF 1709 00:44:20,658 --> 00:44:20,858 THE 1710 00:44:20,858 --> 00:44:21,659 HUMAN BODY, AND TO ASTOUNDING 1711 00:44:21,659 --> 00:44:21,959 PROGRESS 1712 00:44:21,959 --> 00:44:23,394 IN THE UNDERSTANDING AND 1713 00:44:23,394 --> 00:44:23,761 TREATMENT OF 1714 00:44:23,761 --> 00:44:25,530 DISEASE. 1715 00:44:25,530 --> 00:44:26,097 --- BUT AS THE SCIENCE OF 1716 00:44:26,097 --> 00:44:28,399 MEDICINE 1717 00:44:28,399 --> 00:44:28,900 BECOMES INCREASINGLY 1718 00:44:28,900 --> 00:44:30,668 TECHNICAL AND 1719 00:44:30,668 --> 00:44:31,903 ABSTRACT, THE LIVED-BY, THIS 1720 00:44:31,903 --> 00:44:33,337 BODY THAT 1721 00:44:33,337 --> 00:44:34,872 IS MINE, AS MERLEAU-PONTY 1722 00:44:34,872 --> 00:44:37,575 WOULD HAVE 1723 00:44:37,575 --> 00:44:40,278 IT, RECEDES REPLACED BY THE 1724 00:44:40,278 --> 00:44:42,213 BODY AS 1725 00:44:42,213 --> 00:44:42,847 OBJECT. THE BODY AS A BUNDLE 1726 00:44:42,847 --> 00:44:43,214 OF 1727 00:44:43,214 --> 00:44:43,714 CHEMICAL, BIOLOGICAL 1728 00:44:43,714 --> 00:44:44,815 PROCESSES AND 1729 00:44:44,815 --> 00:44:45,316 FORCES. 1730 00:44:45,316 --> 00:44:46,784 --- 1731 00:44:46,784 --> 00:44:51,923 IN REMBRANDT'S STUNNING 1732 00:44:51,923 --> 00:44:52,323 DEPICTION, THE 1733 00:44:52,323 --> 00:44:54,292 BODY AS OBJECT IS RENDERED AS 1734 00:44:54,292 --> 00:44:54,458 A 1735 00:44:54,458 --> 00:44:56,027 CADAVER, LIFELESS AND PALE. 1736 00:44:56,027 --> 00:44:59,997 A THING TO BE TAKEN APART. IT 1737 00:44:59,997 --> 00:45:00,231 IS A 1738 00:45:00,231 --> 00:45:02,967 METAPHOR FOR THE POWERFUL, 1739 00:45:02,967 --> 00:45:03,267 VISIONARY 1740 00:45:03,267 --> 00:45:03,868 ONE CONSIDERING THE FUTURE 1741 00:45:03,868 --> 00:45:04,168 EVOLUTION 1742 00:45:04,168 --> 00:45:05,703 OF MEDICAL SCIENCE. 1743 00:45:05,703 --> 00:45:08,472 --- 1744 00:45:08,472 --> 00:45:09,006 OF COURSE IN THE ACTUAL 1745 00:45:09,006 --> 00:45:13,711 PRACTICE OF 1746 00:45:13,711 --> 00:45:16,047 MEDICINE, THE LIVE BODY, THE 1747 00:45:16,047 --> 00:45:19,016 PATIENT'S 1748 00:45:19,016 --> 00:45:19,617 BODY, THE BODY THAT IS MIND 1749 00:45:19,617 --> 00:45:19,917 THE BODY 1750 00:45:19,917 --> 00:45:26,157 CANNOT BE OBJECTIFIED BECAUSE 1751 00:45:26,157 --> 00:45:26,424 THE IN 1752 00:45:26,424 --> 00:45:28,593 THE END MEDICAL KNOWLEDGE, 1753 00:45:28,593 --> 00:45:29,193 CURES,TREATMENT RETURNED TO 1754 00:45:29,193 --> 00:45:29,527 THE PERSON 1755 00:45:29,527 --> 00:45:31,629 TO STAY WELL AND IN BRIEF 1756 00:45:31,629 --> 00:45:31,896 MEDICAL 1757 00:45:31,896 --> 00:45:32,496 SCIENCE AND TECHNOLOGY MUST 1758 00:45:32,496 --> 00:45:33,464 ALWAYS 1759 00:45:33,464 --> 00:45:35,132 FIND THEIR WAY BACK TO THE 1760 00:45:35,132 --> 00:45:35,466 EXPERIENCE 1761 00:45:35,466 --> 00:45:37,735 OF WELLNESS AND DISEASE IN 1762 00:45:37,735 --> 00:45:37,935 THE 1763 00:45:37,935 --> 00:45:38,436 PATIENT'S LIVING BODY. 1764 00:45:38,436 --> 00:45:41,672 --- 1765 00:45:41,672 --> 00:45:42,206 IN THAT REGARD MEDICAL 1766 00:45:42,206 --> 00:45:43,274 SCIENCE IS 1767 00:45:43,274 --> 00:45:44,976 QUITE UNLIKE OTHER SCIENCES 1768 00:45:44,976 --> 00:45:46,510 OR MANY 1769 00:45:46,510 --> 00:45:47,144 SCIENTISTS SOME OF WHICH CAN 1770 00:45:47,144 --> 00:45:47,945 RESIDE 1771 00:45:47,945 --> 00:45:49,380 PERMANENTLY IN HIGHLY 1772 00:45:49,380 --> 00:45:49,714 SPECIALIZED 1773 00:45:49,714 --> 00:45:50,114 ABSTRACTIONS. 1774 00:45:50,114 --> 00:45:52,116 --- 1775 00:45:52,116 --> 00:45:53,718 THE PRACTICE OF MEDICINE 1776 00:45:53,718 --> 00:45:54,018 EXISTS IN 1777 00:45:54,018 --> 00:45:56,254 THAT PLACE WHERE THE BODY AS 1778 00:45:56,254 --> 00:45:56,520 OBJECT 1779 00:45:56,520 --> 00:46:01,492 AND AS SUBJECT COINCIDE. 1780 00:46:01,492 --> 00:46:07,164 AND WHERE THE LANGUAGE OF 1781 00:46:07,164 --> 00:46:07,531 SCIENCE MUST 1782 00:46:07,531 --> 00:46:08,065 ONCE AGAIN REJOINED THE 1783 00:46:08,065 --> 00:46:08,466 BUILDING WHICH 1784 00:46:08,466 --> 00:46:08,866 OF EXPERIENCE. 1785 00:46:08,866 --> 00:46:12,536 --- 1786 00:46:12,536 --> 00:46:13,070 MERLEAU-PONTY SPENT THE 1787 00:46:13,070 --> 00:46:13,437 GREATER PART 1788 00:46:13,437 --> 00:46:16,807 OF HIS PHILOSOPHICAL LIFE 1789 00:46:16,807 --> 00:46:17,074 LOOKING 1790 00:46:17,074 --> 00:46:17,708 FORWARD TO CLOSE THE SCHISMS 1791 00:46:17,708 --> 00:46:17,975 OPEN BY 1792 00:46:17,975 --> 00:46:19,443 THE CARTESIAN WORLDVIEW, AND 1793 00:46:19,443 --> 00:46:19,644 TO 1794 00:46:19,644 --> 00:46:21,379 RECONNECT THE BODY WITH THE 1795 00:46:21,379 --> 00:46:21,679 MIND. THE 1796 00:46:21,679 --> 00:46:25,082 INSIDE WITH THE OUTSIDE. THE 1797 00:46:25,082 --> 00:46:25,383 LANGUAGE 1798 00:46:25,383 --> 00:46:26,017 OF SCIENCE WITH THE LANGUAGE 1799 00:46:26,017 --> 00:46:26,217 OF 1800 00:46:26,217 --> 00:46:26,550 EXPERIENCE. 1801 00:46:26,550 --> 00:46:26,751 --- 1802 00:46:26,751 --> 00:46:29,153 IN PAINTINGS, THOSE 1803 00:46:29,153 --> 00:46:29,587 CONNECTIONS WERE 1804 00:46:29,587 --> 00:46:32,523 NEVER BROKEN. 1805 00:46:32,523 --> 00:46:36,093 "ESSENCE AND RESISTANCE, 1806 00:46:36,093 --> 00:46:37,728 IMAGINING IN 1807 00:46:37,728 --> 00:46:39,830 REAL, VISIBLE AND INVISIBLE, 1808 00:46:39,830 --> 00:46:39,997 A 1809 00:46:39,997 --> 00:46:41,065 PAINTING MIXES UP ALL OUR 1810 00:46:41,065 --> 00:46:42,633 CATEGORIES 1811 00:46:42,633 --> 00:46:46,203 IN LAYING OUT ITS NUMERIC 1812 00:46:46,203 --> 00:46:49,173 UNIVERSE OF 1813 00:46:49,173 --> 00:46:49,807 CARNAL ESSENCE, OF EFFECTIVE 1814 00:46:49,807 --> 00:46:52,343 LIKENESSES, OF MUTE MEANINGS." 1815 00:46:52,343 --> 00:46:54,745 --- 1816 00:46:54,745 --> 00:46:55,846 WHETHER WE WISH IT OR NOT THE 1817 00:46:55,846 --> 00:46:56,881 PROBLEM 1818 00:46:56,881 --> 00:47:00,017 THAT MERLEAU-PONTY IDENTIFIED 1819 00:47:00,017 --> 00:47:00,317 HIS VERY 1820 00:47:00,317 --> 00:47:05,056 MUCH OUR PROBLEM. 1821 00:47:05,056 --> 00:47:05,523 IN OUR COLLEGES AND 1822 00:47:05,523 --> 00:47:05,956 UNIVERSITIES AND 1823 00:47:05,956 --> 00:47:09,727 IN OUR CULTURAL TRADITIONS 1824 00:47:09,727 --> 00:47:09,927 AND 1825 00:47:09,927 --> 00:47:11,862 PRACTICES THE GULF BETWEEN 1826 00:47:11,862 --> 00:47:12,196 THE NATURAL 1827 00:47:12,196 --> 00:47:12,763 SCIENCES AND THE ARTS AND 1828 00:47:12,763 --> 00:47:13,097 HUMANITIES 1829 00:47:13,097 --> 00:47:14,465 IS FAST AND IT IS GROWING, TO 1830 00:47:14,465 --> 00:47:14,665 THE 1831 00:47:14,665 --> 00:47:15,232 DETRIMENT OF ALL PARTIES. 1832 00:47:15,232 --> 00:47:16,734 --- 1833 00:47:16,734 --> 00:47:23,040 WE NEED TO BE BUILDING 1834 00:47:23,040 --> 00:47:23,441 BRIDGES ACROSS 1835 00:47:23,441 --> 00:47:24,008 THIS CHASM. WE NEED TO BE 1836 00:47:24,008 --> 00:47:24,341 SEEKING OUT 1837 00:47:24,341 --> 00:47:25,443 THOSE PLACES AND WAYS IN 1838 00:47:25,443 --> 00:47:26,444 WHICH THE 1839 00:47:26,444 --> 00:47:28,879 EXTRAORDINARY POWER AND 1840 00:47:28,879 --> 00:47:29,280 ACHIEVEMENT OF 1841 00:47:29,280 --> 00:47:30,981 SCIENCE AND THE MEDICAL 1842 00:47:30,981 --> 00:47:31,315 SCIENCE IN 1843 00:47:31,315 --> 00:47:31,916 PARTICULAR, CAN BE REJOINED 1844 00:47:31,916 --> 00:47:32,216 TO THOSE 1845 00:47:32,216 --> 00:47:35,720 MODES OF REFLECTION AND 1846 00:47:35,720 --> 00:47:36,020 KNOWLEDGE 1847 00:47:36,020 --> 00:47:36,654 CARRIED OUT UNDER THE BANNER 1848 00:47:36,654 --> 00:47:37,188 OF THE 1849 00:47:37,188 --> 00:47:37,888 ARTS AND HUMANITIES. 1850 00:47:37,888 --> 00:47:46,363 --- 1851 00:47:46,363 --> 00:47:46,997 AS TEACHERS, RESEARCHERS AND 1852 00:47:46,997 --> 00:47:47,698 ADMINISTRATORS WORKING IN 1853 00:47:47,698 --> 00:47:47,998 IMPORTANT 1854 00:47:47,998 --> 00:47:48,966 CULTURAL INSTITUTIONS 1855 00:47:48,966 --> 00:47:49,300 INTEGRATION 1856 00:47:49,300 --> 00:47:52,203 SHOULD BE OUR WATCHWORD. IT 1857 00:47:52,203 --> 00:47:52,470 IS THIS 1858 00:47:52,470 --> 00:47:53,104 KIND OF INTEGRATION THAT HAS 1859 00:47:53,104 --> 00:47:53,370 BEEN AT 1860 00:47:53,370 --> 00:47:53,804 THE HEART OF THE 1861 00:47:53,804 --> 00:47:54,305 COLLABORATION BETWEEN 1862 00:47:54,305 --> 00:47:55,573 THE NIH AND THE NATIONAL 1863 00:47:55,573 --> 00:47:56,340 LIBRARY OF 1864 00:47:56,340 --> 00:47:59,043 MEDICINE. 1865 00:47:59,043 --> 00:48:00,377 IT IS A VALUABLE MODEL BUT IT 1866 00:48:00,377 --> 00:48:00,745 NEEDS TO 1867 00:48:00,745 --> 00:48:08,786 BE DEVELOPED FURTHER. 1868 00:48:08,786 --> 00:48:09,286 AS IMPORTANT CULTURAL 1869 00:48:09,286 --> 00:48:09,720 INSTITUTIONS AND 1870 00:48:09,720 --> 00:48:10,321 IN THE BROADER SWEEP OTHER 1871 00:48:10,321 --> 00:48:10,621 PROGRAMS 1872 00:48:10,621 --> 00:48:15,426 THE NIH AND THE NLM CAN PLAY 1873 00:48:15,426 --> 00:48:15,726 IMPORTANT 1874 00:48:15,726 --> 00:48:16,260 ROLES IN THE PROJECT OF 1875 00:48:16,260 --> 00:48:16,594 INTEGRATION, 1876 00:48:16,594 --> 00:48:17,828 BOTH HAVE DEEP HISTORIES AND 1877 00:48:17,828 --> 00:48:18,295 INVOLVEMENT IN THE 1878 00:48:18,295 --> 00:48:19,897 EDUCATIONAL SYSTEM 1879 00:48:19,897 --> 00:48:21,999 IN THE UNITED STATES. 1880 00:48:21,999 --> 00:48:24,435 AND BOTH EXERCISE THE 1881 00:48:24,435 --> 00:48:24,802 AUTHORITY AND 1882 00:48:24,802 --> 00:48:25,936 INFLUENCE THE COMES WITH 1883 00:48:25,936 --> 00:48:26,170 BEING 1884 00:48:26,170 --> 00:48:26,670 NATIONAL INSTITUTIONS. 1885 00:48:26,670 --> 00:48:27,805 --- 1886 00:48:27,805 --> 00:48:31,776 SEVERAL YEARS AGO, THE 1887 00:48:31,776 --> 00:48:32,443 NATIONAL 1888 00:48:32,443 --> 00:48:34,245 ACADEMY OF SCIENCES, MEDICINE 1889 00:48:34,245 --> 00:48:35,579 AND 1890 00:48:35,579 --> 00:48:36,147 ENGINEERING, PUBLISHED A 1891 00:48:36,147 --> 00:48:38,048 REPORT TITLED 1892 00:48:38,048 --> 00:48:42,353 BRANCHES FROM THE SAME TREE, 1893 00:48:42,353 --> 00:48:42,653 THE CASE 1894 00:48:42,653 --> 00:48:43,621 FOR INTEGRATION IN HIGHER 1895 00:48:43,621 --> 00:48:44,021 EDUCATION. 1896 00:48:44,021 --> 00:48:44,655 THE STUDY WAS FUNDED IN PART 1897 00:48:44,655 --> 00:48:45,389 BY NIH 1898 00:48:45,389 --> 00:48:48,926 AND THE ANDREW MELLON 1899 00:48:48,926 --> 00:48:51,629 FOUNDATION. 1900 00:48:51,629 --> 00:48:52,263 THE TITLE OF THE REPORT COMES 1901 00:48:52,263 --> 00:48:52,496 FROM 1902 00:48:52,496 --> 00:48:55,533 ALBERT EINSTEIN, WHO BELIEVED 1903 00:48:55,533 --> 00:48:55,833 THAT THE 1904 00:48:55,833 --> 00:48:56,534 SCIENCES, THE ARTS AND 1905 00:48:56,534 --> 00:48:58,369 HUMANITIES ARE 1906 00:48:58,369 --> 00:48:58,936 ALL DERIVED FROM A COMMON 1907 00:48:58,936 --> 00:49:01,172 ROOT. 1908 00:49:01,172 --> 00:49:03,741 AND THAT THEY MUST BE VALUED, 1909 00:49:03,741 --> 00:49:05,843 PRACTICED AND PROMOTED WITH 1910 00:49:05,843 --> 00:49:06,076 EQUAL 1911 00:49:06,076 --> 00:49:07,044 ENERGY AND COMMITMENT. 1912 00:49:07,044 --> 00:49:09,313 --- 1913 00:49:09,313 --> 00:49:09,914 THAT, ROUTE IS PERHAPS LESS 1914 00:49:09,914 --> 00:49:10,181 VISIBLE 1915 00:49:10,181 --> 00:49:12,783 NOW THAN IT WAS IN EINSTEIN'S 1916 00:49:12,783 --> 00:49:13,017 TIME, 1917 00:49:13,017 --> 00:49:14,752 BUT IT IS STILL THERE, 1918 00:49:14,752 --> 00:49:16,353 WAITING TO BE 1919 00:49:16,353 --> 00:49:16,954 ELIMINATED AND CELEBRATED 1920 00:49:16,954 --> 00:49:18,189 AGAIN. 1921 00:49:18,189 --> 00:49:22,693 THANK YOU VERY MUCH. 1922 00:49:22,693 --> 00:49:23,160 >> 1923 00:49:23,160 --> 00:49:25,996 >> 1924 00:49:25,996 --> 00:49:28,365 THANK YOU FOR THAT FANTASTIC 1925 00:49:28,365 --> 00:49:28,599 TALK, 1926 00:49:28,599 --> 00:49:30,434 OUTSTANDING. 1927 00:49:30,434 --> 00:49:34,205 I'LL INVITE OUR DISTINGUISHED 1928 00:49:34,205 --> 00:49:35,039 GUESTS, 1929 00:49:35,039 --> 00:49:40,311 DOCTORS BRENNANG AND CHANG 1930 00:49:40,311 --> 00:49:42,580 AND LOW TO 1931 00:49:42,580 --> 00:49:47,484 TURN ON THE VIDEOS. 1932 00:49:47,484 --> 00:49:47,985 AND FOR THOSE WHO ARE 1933 00:49:47,985 --> 00:49:48,352 WATCHING THEY 1934 00:49:48,352 --> 00:49:48,953 WILL WATCH A LIVE FEEDBACK 1935 00:49:48,953 --> 00:49:49,153 AND 1936 00:49:49,153 --> 00:49:50,120 UNDERNEATH THE LIVE STREAM 1937 00:49:50,120 --> 00:49:50,421 LINK YOU 1938 00:49:50,421 --> 00:49:51,689 CAN USE THAT TO SEND ME 1939 00:49:51,689 --> 00:49:52,056 QUESTIONS AND 1940 00:49:52,056 --> 00:49:52,656 I WILL BE MODERATING THIS 1941 00:49:52,656 --> 00:49:53,190 AFTERNOON. 1942 00:49:53,190 --> 00:49:55,025 THANK YOU AGAIN. 1943 00:49:55,025 --> 00:49:56,994 OUTSTANDING. 1944 00:49:56,994 --> 00:49:59,630 SO MUCH RICHNESS AND SO MANY 1945 00:49:59,630 --> 00:49:59,930 QUESTIONS 1946 00:49:59,930 --> 00:50:02,199 TO BE ASKED AND ANSWERED SOME 1947 00:50:02,199 --> 00:50:02,499 RESEARCH 1948 00:50:02,499 --> 00:50:03,000 FRONTIERS TO EXPLORE. 1949 00:50:03,000 --> 00:50:10,708 --- 1950 00:50:10,708 --> 00:50:11,342 WE WILL JUMP RIGHT IN BECAUSE 1951 00:50:11,342 --> 00:50:11,609 I HAVE 1952 00:50:11,609 --> 00:50:12,243 TWO VERY GOOD QUESTIONS THAT 1953 00:50:12,243 --> 00:50:12,409 I 1954 00:50:12,409 --> 00:50:20,684 RECEIVED. 1955 00:50:20,684 --> 00:50:23,120 THANK YOU FOR THIS AMAZING 1956 00:50:23,120 --> 00:50:23,420 TALK THIS 1957 00:50:23,420 --> 00:50:24,054 PERSON WRITES AND FOR SHARING 1958 00:50:24,054 --> 00:50:24,255 THE 1959 00:50:24,255 --> 00:50:24,855 IMPACT OF WORKING WITH THE 1960 00:50:24,855 --> 00:50:25,155 ORIGINAL 1961 00:50:25,155 --> 00:50:25,789 PRINTED WORDS IN THE PHYSICAL 1962 00:50:25,789 --> 00:50:26,090 FORM AND 1963 00:50:26,090 --> 00:50:26,724 YOU MENTIONED THE DEMOCRATIC 1964 00:50:26,724 --> 00:50:26,991 MENTION 1965 00:50:26,991 --> 00:50:31,328 OF DESCARTES'S WORK WHICH 1966 00:50:31,328 --> 00:50:31,629 WERE 1967 00:50:31,629 --> 00:50:32,096 INTENDED TO PROVIDE 1968 00:50:32,096 --> 00:50:32,496 ESCALATIONS OF 1969 00:50:32,496 --> 00:50:33,163 TRUEST CONCEPTS IN A WAY THAT 1970 00:50:33,163 --> 00:50:34,398 ANYONE 1971 00:50:34,398 --> 00:50:34,999 COULD UNDERSTAND THEM. WHAT 1972 00:50:34,999 --> 00:50:35,266 WAS HIS 1973 00:50:35,266 --> 00:50:39,270 MOTIVATION FOR TRYING TO 1974 00:50:39,270 --> 00:50:39,603 INFORM THE 1975 00:50:39,603 --> 00:50:40,204 MASSES RATHER THAN FOCUSING 1976 00:50:40,204 --> 00:50:40,471 ON THE 1977 00:50:40,471 --> 00:50:41,105 EDUCATED ELITES AS OTHERS IN 1978 00:50:41,105 --> 00:50:41,405 HIS TIME 1979 00:50:41,405 --> 00:50:41,805 WOULD'VE DONE? 1980 00:50:41,805 --> 00:50:44,141 DID MERLEAU-PONTY COMMENT ON 1981 00:50:44,141 --> 00:50:44,441 THIS 1982 00:50:44,441 --> 00:50:45,776 DEMOCRATIC FOCUS OF 1983 00:50:45,776 --> 00:50:47,978 DESCARTES'S WORK? 1984 00:50:47,978 --> 00:50:50,581 >> I DON'T RECALL 1985 00:50:50,581 --> 00:50:51,048 MERLEAU-PONTY EVER 1986 00:50:51,048 --> 00:50:51,715 FOCUSING ON THAT PARTICULAR 1987 00:50:51,715 --> 00:50:54,752 ASPECT OF 1988 00:50:54,752 --> 00:50:55,486 DESCARTES, BUT HE DID 1989 00:50:55,486 --> 00:50:55,853 INTERESTINGLY 1990 00:50:55,853 --> 00:50:59,623 SAY AS I SUGGESTED IN ONE OF 1991 00:50:59,623 --> 00:50:59,924 THE 1992 00:50:59,924 --> 00:51:01,992 PASSAGES THAT SOME OF THESE 1993 00:51:01,992 --> 00:51:06,163 CARTESIAN 1994 00:51:06,163 --> 00:51:06,797 DUALISMS HAVE SORT OF BECOME 1995 00:51:06,797 --> 00:51:07,064 PART OF 1996 00:51:07,064 --> 00:51:07,598 POPULAR CULTURE. 1997 00:51:07,598 --> 00:51:13,704 HE CERTAINLY THOUGHT THAT WAS 1998 00:51:13,704 --> 00:51:14,004 THE CASE. 1999 00:51:14,004 --> 00:51:14,838 --- 2000 00:51:14,838 --> 00:51:17,841 MAKE NO MISTAKE ABOUT IT, 2001 00:51:17,841 --> 00:51:19,643 DESCARTES'S 2002 00:51:19,643 --> 00:51:23,681 PROJECT REMAINED KIND OF AN 2003 00:51:23,681 --> 00:51:26,350 ELITE 2004 00:51:26,350 --> 00:51:26,951 PROJECT. IT WAS NOT LITERAL 2005 00:51:26,951 --> 00:51:27,351 FOR 2006 00:51:27,351 --> 00:51:30,721 EVERYBODY. BUT DESCARTES'S 2007 00:51:30,721 --> 00:51:31,055 NOTION WAS 2008 00:51:31,055 --> 00:51:33,524 THAT HIS METHOD TO BE 2009 00:51:33,524 --> 00:51:34,992 COMPREHENSIBLE 2010 00:51:34,992 --> 00:51:37,761 BY PEOPLE WHO REALLY GAVE IT 2011 00:51:37,761 --> 00:51:38,028 A GOOD 2012 00:51:38,028 --> 00:51:41,432 EFFORT TO UNDERSTAND THAT 2013 00:51:41,432 --> 00:51:43,600 THIS 2014 00:51:43,600 --> 00:51:45,536 RATIONALISM THAT HE WAS 2015 00:51:45,536 --> 00:51:45,869 DEVELOPING, 2016 00:51:45,869 --> 00:51:47,504 THIS RATIONAL METHODOLOGY, 2017 00:51:47,504 --> 00:51:49,773 OUGHT TO BE 2018 00:51:49,773 --> 00:51:53,177 ACCESSIBLE TO PEOPLE WHO 2019 00:51:53,177 --> 00:51:53,510 REALLY MADE 2020 00:51:53,510 --> 00:51:57,114 AN EFFORT TO UNDERSTAND IT. 2021 00:51:57,114 --> 00:52:00,284 AND THAT IS I THINK THE POWER 2022 00:52:00,284 --> 00:52:01,952 OF HIS 2023 00:52:01,952 --> 00:52:04,321 RATIONALIST DOCTRINE, THE 2024 00:52:04,321 --> 00:52:06,757 RATIONAL 2025 00:52:06,757 --> 00:52:11,161 CONCEPTS, THE METHOD COULD BE 2026 00:52:11,161 --> 00:52:11,762 UNDERSTOOD BROADLY. IT WAS 2027 00:52:11,762 --> 00:52:16,500 NOT LIMITED 2028 00:52:16,500 --> 00:52:18,669 AS KNOWLEDGE HAD BEEN IN THE 2029 00:52:18,669 --> 00:52:18,969 MEDIEVAL 2030 00:52:18,969 --> 00:52:19,570 PERIOD TO CERTAIN ORDAINED 2031 00:52:19,570 --> 00:52:20,004 ELITES. 2032 00:52:20,004 --> 00:52:24,308 --- 2033 00:52:24,308 --> 00:52:24,942 I HAVE TO SAY PARENTHETICALLY 2034 00:52:24,942 --> 00:52:25,209 THAT-- 2035 00:52:25,209 --> 00:52:25,809 OR NOT PARENTHETICALLY BUT 2036 00:52:25,809 --> 00:52:27,177 ADDITIONALLY-- DESCARTES WAS 2037 00:52:27,177 --> 00:52:27,344 A 2038 00:52:27,344 --> 00:52:31,315 WONDERFUL WRITER. I DON'T 2039 00:52:31,315 --> 00:52:31,615 KNOW HOW 2040 00:52:31,615 --> 00:52:32,216 MANY OF YOU HAVE READ THE 2041 00:52:32,216 --> 00:52:32,516 TEXTS IN 2042 00:52:32,516 --> 00:52:33,017 TRANSLATION OR IN THE 2043 00:52:33,017 --> 00:52:34,585 ORIGINAL BUT I 2044 00:52:34,585 --> 00:52:37,888 TAUGHT THEM. 2045 00:52:37,888 --> 00:52:38,522 I WOULD NOT SAY THEY ARE EASY 2046 00:52:38,522 --> 00:52:38,822 TO TEACH 2047 00:52:38,822 --> 00:52:40,457 BUT COMPARED TO A LOT OF 2048 00:52:40,457 --> 00:52:41,225 OTHER 2049 00:52:41,225 --> 00:52:47,464 PHILOSOPHICAL TEXTS, 2050 00:52:47,464 --> 00:52:47,831 DESCARTES IS 2051 00:52:47,831 --> 00:52:48,365 PRETTY ACCESSIBLE; I'M 2052 00:52:48,365 --> 00:52:48,832 THINKING OF THE 2053 00:52:48,832 --> 00:52:49,433 MEDITATIONS, AS WELL AS THE 2054 00:52:49,433 --> 00:52:50,334 DISCOURSE. 2055 00:52:50,334 --> 00:52:53,070 THE TECHNICAL BOOKS, THE 2056 00:52:53,070 --> 00:52:54,605 OPTICS, THE 2057 00:52:54,605 --> 00:52:57,674 METEOROLOGY AND THE GEOMETRY 2058 00:52:57,674 --> 00:52:57,975 ARE MUCH 2059 00:52:57,975 --> 00:53:01,311 MORE DIFFICULT. 2060 00:53:01,311 --> 00:53:04,048 BUT THE DEEPER MORE EXTENSIVE 2061 00:53:04,048 --> 00:53:04,314 TEXTS, 2062 00:53:04,314 --> 00:53:07,951 THE DISCOURSE ON MEDITATION 2063 00:53:07,951 --> 00:53:08,218 -- ARE 2064 00:53:08,218 --> 00:53:08,852 PRETTY EASY TO TEACHER FOUND 2065 00:53:08,852 --> 00:53:09,153 A REALLY 2066 00:53:09,153 --> 00:53:09,553 A JOY TO TEACH. 2067 00:53:09,553 --> 00:53:11,021 AND SO I THINK DESCARTES DID 2068 00:53:11,021 --> 00:53:12,623 HAVE AN 2069 00:53:12,623 --> 00:53:15,859 INVESTMENT IN THESE IDEAS 2070 00:53:15,859 --> 00:53:18,228 BEING 2071 00:53:18,228 --> 00:53:18,829 UNDERSTANDABLE BY MORE THAN 2072 00:53:18,829 --> 00:53:19,163 JUST A FEW 2073 00:53:19,163 --> 00:53:22,433 PEOPLE. 2074 00:53:22,433 --> 00:53:26,003 >> THANK YOU. 2075 00:53:26,003 --> 00:53:27,137 ANOTHER QUESTION. 2076 00:53:27,137 --> 00:53:31,575 DID MERLEAU-PONTY ANALYZE 2077 00:53:31,575 --> 00:53:31,809 OTHER 2078 00:53:31,809 --> 00:53:34,378 PERCEPTIVE ACTIONS ASIDE FROM 2079 00:53:34,378 --> 00:53:35,679 VISION 2080 00:53:35,679 --> 00:53:39,616 AND ART? 2081 00:53:39,616 --> 00:53:40,217 LIKE LISTENING TO MUSIC OR 2082 00:53:40,217 --> 00:53:40,484 TASTING 2083 00:53:40,484 --> 00:53:41,652 GOURMET FOOD. VISUAL 2084 00:53:41,652 --> 00:53:43,720 PERCEPTION MAY BE FIRST AMONG 2085 00:53:43,720 --> 00:53:43,987 EQUALS 2086 00:53:43,987 --> 00:53:47,324 AMONG THE BODY'S PERCEPTUAL 2087 00:53:47,324 --> 00:53:47,624 ABILITIES 2088 00:53:47,624 --> 00:53:48,258 BY THE OTHER PERCEPTIONS AND 2089 00:53:48,258 --> 00:53:48,992 HAS A 2090 00:53:48,992 --> 00:53:49,560 MIND'S INTERPRETATION AND 2091 00:53:49,560 --> 00:53:52,729 VISUAL 2092 00:53:52,729 --> 00:53:53,297 INPUT. EXPIRATION OF THAT 2093 00:53:53,297 --> 00:53:55,632 INTERRELATION WILL BE AN 2094 00:53:55,632 --> 00:53:55,966 INTERESTING 2095 00:53:55,966 --> 00:53:56,567 NEXT STEP IN THE PHILOSOPHY 2096 00:53:56,567 --> 00:53:56,767 OF 2097 00:53:56,767 --> 00:53:58,569 PERCEIVING THE WORLD. 2098 00:53:58,569 --> 00:54:01,305 >> THE ANSWER IS YES. 2099 00:54:01,305 --> 00:54:01,939 HE WAS VERY INTERESTED IN ALL 2100 00:54:01,939 --> 00:54:02,139 THE 2101 00:54:02,139 --> 00:54:03,006 MODALITIES OF PERCEPTION AND 2102 00:54:03,006 --> 00:54:03,273 ALL OF 2103 00:54:03,273 --> 00:54:04,541 THE SENSES. 2104 00:54:04,541 --> 00:54:05,976 HE TALK MOST ABOUT VISION AND 2105 00:54:05,976 --> 00:54:07,878 TOUCH. 2106 00:54:07,878 --> 00:54:11,381 TOUCH WAS ANOTHER AREA OF 2107 00:54:11,381 --> 00:54:11,682 ENORMOUS 2108 00:54:11,682 --> 00:54:13,450 INTEREST TO HIM. 2109 00:54:13,450 --> 00:54:18,322 AND SO, THE PHYSICAL ASPECT 2110 00:54:18,322 --> 00:54:20,290 OF TOUCH 2111 00:54:20,290 --> 00:54:25,095 WAS ANOTHER ENORMOUSLY 2112 00:54:25,095 --> 00:54:25,395 IMPORTANT 2113 00:54:25,395 --> 00:54:29,399 ASPECT OF THE BODY'S PRESENCE 2114 00:54:29,399 --> 00:54:29,666 TO THE 2115 00:54:29,666 --> 00:54:30,501 WORLD IF YOU WILL. 2116 00:54:30,501 --> 00:54:33,504 --- 2117 00:54:33,504 --> 00:54:34,104 EVEN THOUGH HE TALKED ABOUT 2118 00:54:34,104 --> 00:54:34,438 VISION AND 2119 00:54:34,438 --> 00:54:36,273 TOUCH THE MOST, HE DOES 2120 00:54:36,273 --> 00:54:36,640 PERIODICALLY 2121 00:54:36,640 --> 00:54:37,241 TALK ABOUT OTHER SENSES OR 2122 00:54:37,241 --> 00:54:40,911 SENSATIONS. 2123 00:54:40,911 --> 00:54:43,914 AND HE INSISTS UPON THE FACT 2124 00:54:43,914 --> 00:54:44,148 THAT 2125 00:54:44,148 --> 00:54:44,781 THERE IS NO HIERARCHY IN THE 2126 00:54:44,781 --> 00:54:45,983 PERCEPTION WORLD AS WE 2127 00:54:45,983 --> 00:54:47,451 EXPERIENCE IT. 2128 00:54:47,451 --> 00:54:51,188 EVEN THOUGH HE TENDS TO FAVOR 2129 00:54:51,188 --> 00:54:51,455 VISION, 2130 00:54:51,455 --> 00:54:54,358 I WOULD SAY THAT FOR HIM IN 2131 00:54:54,358 --> 00:54:56,460 THE END, 2132 00:54:56,460 --> 00:54:57,094 THE MOST EXTRAORDINARY ASPECT 2133 00:54:57,094 --> 00:54:57,361 OF THE 2134 00:54:57,361 --> 00:54:59,429 BODY IS ITS ABILITY TO 2135 00:54:59,429 --> 00:54:59,796 INTEGRATE ALL 2136 00:54:59,796 --> 00:55:03,534 THE SENSATIONS INTO A SINGLE 2137 00:55:03,534 --> 00:55:07,538 PERCEPTUAL WHOLE, A 2138 00:55:07,538 --> 00:55:10,674 PERCEPTUAL 2139 00:55:10,674 --> 00:55:11,275 STRUCTURE, WHERE ALL OF THE 2140 00:55:11,275 --> 00:55:11,608 SENSATIONS 2141 00:55:11,608 --> 00:55:18,215 AND SENSORY POWERS CONNECT 2142 00:55:18,215 --> 00:55:18,549 AND CREATE 2143 00:55:18,549 --> 00:55:20,884 AN UNDIVIDED EXPERIENCE OF 2144 00:55:20,884 --> 00:55:23,253 THE WORLD 2145 00:55:23,253 --> 00:55:23,821 SO YES VERY INTERESTED IN 2146 00:55:23,821 --> 00:55:24,054 OTHER 2147 00:55:24,054 --> 00:55:24,688 ASPECTS ARE VERY INTERESTED 2148 00:55:24,688 --> 00:55:24,888 IN 2149 00:55:24,888 --> 00:55:26,823 DISABILITY OF THE BODY TO 2150 00:55:26,823 --> 00:55:27,057 BRING 2151 00:55:27,057 --> 00:55:31,595 EVERYTHING TOGETHER IN AN 2152 00:55:31,595 --> 00:55:31,895 UNDIVIDED 2153 00:55:31,895 --> 00:55:32,930 PERCEPTUAL WHOLE. 2154 00:55:32,930 --> 00:55:35,265 >> THANK YOU. 2155 00:55:35,265 --> 00:55:38,602 >> DR. CHANG, DID YOU HAVE A 2156 00:55:38,602 --> 00:55:39,069 QUESTION? 2157 00:55:39,069 --> 00:55:43,874 >> DR. CHANG: YOU KNOW, 2158 00:55:43,874 --> 00:55:47,711 FABULOUS TALK. 2159 00:55:47,711 --> 00:55:48,345 THERE ARE MANY THINGS THAT I 2160 00:55:48,345 --> 00:55:49,012 COULD ASK 2161 00:55:49,012 --> 00:55:53,517 YOU ABOUT IN TERMS OF VISION. 2162 00:55:53,517 --> 00:55:54,151 BUT LET ME ASK YOU A GENERAL 2163 00:55:54,151 --> 00:55:56,320 QUESTION. 2164 00:55:56,320 --> 00:55:56,920 AT THE VERY END YOU TALKED 2165 00:55:56,920 --> 00:55:57,221 ABOUT THE 2166 00:55:57,221 --> 00:56:00,357 SPIRIT OF NLM/NIH 2167 00:56:00,357 --> 00:56:02,626 RELATIONSHIPS. 2168 00:56:02,626 --> 00:56:04,261 MY OBSERVATION IS THAT, 2169 00:56:04,261 --> 00:56:07,064 BECAUSE OF 2170 00:56:07,064 --> 00:56:07,598 ADVANCES IN SCIENCE AND 2171 00:56:07,598 --> 00:56:07,965 TECHNOLOGY A 2172 00:56:07,965 --> 00:56:09,066 THINK HEALTHCARE IS RAPIDLY 2173 00:56:09,066 --> 00:56:11,602 BEEN 2174 00:56:11,602 --> 00:56:22,145 MOVING FROM A QUALITATIVE AND 2175 00:56:30,754 --> 00:56:30,921 NUANCED 2176 00:56:30,921 --> 00:56:31,488 TO MORE QUANTITATIVE AND 2177 00:56:31,488 --> 00:56:31,822 OBJECTIVE, 2178 00:56:31,822 --> 00:56:32,422 THERE ARE MACHINES GIVE US 2179 00:56:32,422 --> 00:56:32,656 MORE 2180 00:56:32,656 --> 00:56:35,158 NUMBERS TO TREAT PEOPLE. 2181 00:56:35,158 --> 00:56:35,792 EVERYONE IS SEEING THOSE SAME 2182 00:56:35,792 --> 00:56:36,059 NUMBERS 2183 00:56:36,059 --> 00:56:36,693 AND MY SUSPICION IS THAT THE 2184 00:56:36,693 --> 00:56:37,361 ADDED 2185 00:56:37,361 --> 00:56:37,894 VALUE IS GOING TO BE IN 2186 00:56:37,894 --> 00:56:38,262 COMMUNICATING 2187 00:56:38,262 --> 00:56:40,430 WITH PATIENTS AND WHAT IS 2188 00:56:40,430 --> 00:56:40,764 WRONG WITH 2189 00:56:40,764 --> 00:56:41,965 YOU? 2190 00:56:41,965 --> 00:56:43,900 HOW CAN I HELP? 2191 00:56:43,900 --> 00:56:44,401 I HAVE A CONCERN THAT 2192 00:56:44,401 --> 00:56:46,236 HEALTHCARE 2193 00:56:46,236 --> 00:56:47,404 PROVIDERS ARE LOSING THE 2194 00:56:47,404 --> 00:56:49,172 SKILLS 2195 00:56:49,172 --> 00:56:51,141 BECAUSE PEOPLE ARE USING 2196 00:56:51,141 --> 00:56:51,475 ELECTRONIC 2197 00:56:51,475 --> 00:56:55,212 HEALTH RECORDS AND COPYING 2198 00:56:55,212 --> 00:56:55,512 WORD FOR 2199 00:56:55,512 --> 00:56:56,146 WORD ARE LOOKING AT MACHINES 2200 00:56:56,146 --> 00:56:56,413 INSTEAD 2201 00:56:56,413 --> 00:57:02,252 OF PEOPLE. 2202 00:57:02,252 --> 00:57:02,853 DO YOU HAVE THOUGHTS ABOUT 2203 00:57:02,853 --> 00:57:07,891 HOW NIH AND 2204 00:57:07,891 --> 00:57:08,525 NMIH COULD DO A BETTER JOB OF 2205 00:57:08,525 --> 00:57:08,792 WORKING 2206 00:57:08,792 --> 00:57:11,828 TOGETHER IN HELPING TO GET 2207 00:57:11,828 --> 00:57:14,431 THE ART 2208 00:57:14,431 --> 00:57:19,503 BACK IN HEALTHCARE DELIVERY? 2209 00:57:19,503 --> 00:57:22,706 >> WHAT A WONDERFUL QUESTION. 2210 00:57:22,706 --> 00:57:24,341 IT SOUNDS LIKE A GOOD AGENDA 2211 00:57:24,341 --> 00:57:24,641 ITEM FOR 2212 00:57:24,641 --> 00:57:25,609 ANOTHER MEETING BETWEEN THE 2213 00:57:25,609 --> 00:57:25,909 NATIONAL 2214 00:57:25,909 --> 00:57:30,847 LIBRARY OF MEDICINE AND NIH. 2215 00:57:30,847 --> 00:57:31,815 MAYBE THAT IS A PROMISING 2216 00:57:31,815 --> 00:57:35,752 AREA. 2217 00:57:35,752 --> 00:57:36,353 I SHOULD SAY THAT I'M VERY 2218 00:57:36,353 --> 00:57:36,687 AWARE THAT 2219 00:57:36,687 --> 00:57:40,691 I'M SPEAKING IN FRONT OF A 2220 00:57:40,691 --> 00:57:40,957 LOT OF 2221 00:57:40,957 --> 00:57:41,525 PHYSICIANS HERE AND I AM 2222 00:57:41,525 --> 00:57:41,892 AWARE MICHAEL 2223 00:57:41,892 --> 00:57:42,959 THAT YOU ARE A PHYSICIAN WHO 2224 00:57:42,959 --> 00:57:43,660 KNOWS A 2225 00:57:43,660 --> 00:57:44,194 TREMENDOUS AMOUNT ABOUT 2226 00:57:44,194 --> 00:57:44,761 VISION. I AM A 2227 00:57:44,761 --> 00:57:49,866 LITTLE CAUTIOUS IN MAKING 2228 00:57:49,866 --> 00:57:50,100 GRAND 2229 00:57:50,100 --> 00:57:51,401 STATEMENTS ABOUT THESE 2230 00:57:51,401 --> 00:57:53,470 THINGS. 2231 00:57:53,470 --> 00:57:57,341 BUT I THINK YOU ARE RIGHT. 2232 00:57:57,341 --> 00:57:57,974 IN MY OWN EXPERIENCE-- AND WE 2233 00:57:57,974 --> 00:57:58,275 ALL HAVE 2234 00:57:58,275 --> 00:57:59,743 OUR OWN EXPERIENCES WITH 2235 00:57:59,743 --> 00:58:03,046 THESE 2236 00:58:03,046 --> 00:58:03,680 THINGS-- I THINK THE MEDICAL 2237 00:58:03,680 --> 00:58:03,980 WORLD IS 2238 00:58:03,980 --> 00:58:04,481 GROWING INCREASINGLY 2239 00:58:04,481 --> 00:58:07,651 QUANTITATIVE AND 2240 00:58:07,651 --> 00:58:08,251 INCREASINGLY OBJECTIVE-- OR 2241 00:58:08,251 --> 00:58:10,153 OBJECTIFIED. 2242 00:58:10,153 --> 00:58:12,055 AND THAT HAS BEEN ONE OF THE 2243 00:58:12,055 --> 00:58:14,024 SOURCES 2244 00:58:14,024 --> 00:58:15,959 OF THESE DAZZLING SORTS OF 2245 00:58:15,959 --> 00:58:19,529 DISCOVERIES. 2246 00:58:19,529 --> 00:58:20,097 INCLUDING THE MOST RECENT 2247 00:58:20,097 --> 00:58:21,665 THINGS THAT 2248 00:58:21,665 --> 00:58:23,600 THE NIH WAS INVOLVED WITH 2249 00:58:23,600 --> 00:58:25,135 RESPECT TO 2250 00:58:25,135 --> 00:58:27,471 THE CORONAVIRUS AND VACCINES 2251 00:58:27,471 --> 00:58:27,738 AND SO 2252 00:58:27,738 --> 00:58:29,272 FORTH. 2253 00:58:29,272 --> 00:58:29,873 --- BUT AT THE SAME TIME AS 2254 00:58:29,873 --> 00:58:31,274 WE GET 2255 00:58:31,274 --> 00:58:33,744 MORE DISTANCE FROM THE LIVED 2256 00:58:33,744 --> 00:58:34,044 BODY AND 2257 00:58:34,044 --> 00:58:36,546 THE LIVING EXPERIENCE OF THE 2258 00:58:36,546 --> 00:58:36,847 BODY, IT 2259 00:58:36,847 --> 00:58:38,682 IS POTENTIALLY A HUGE 2260 00:58:38,682 --> 00:58:39,116 PROBLEM. WE HAVE 2261 00:58:39,116 --> 00:58:41,351 ALL BEEN IN THE PRESENCE, IN 2262 00:58:41,351 --> 00:58:42,552 MEDICAL 2263 00:58:42,552 --> 00:58:53,096 SITUATIONS WHERE WE FELT THAT 2264 00:58:56,233 --> 00:58:56,433 DIVISION 2265 00:58:56,433 --> 00:58:57,067 OR DIVERGENCE OR DISCONNECT, 2266 00:58:57,067 --> 00:58:57,367 AND IT IS 2267 00:58:57,367 --> 00:58:59,436 VERY UNSETTLING. 2268 00:58:59,436 --> 00:59:00,036 MEDICINE ALWAYS IS TO COME 2269 00:59:00,036 --> 00:59:00,303 BACK TO 2270 00:59:00,303 --> 00:59:02,406 THIS EXPERIENCE IS OF HEALTH 2271 00:59:02,406 --> 00:59:02,606 AND 2272 00:59:02,606 --> 00:59:03,373 DISEASE, AND OF THE BODY AS 2273 00:59:03,373 --> 00:59:04,641 IT IS 2274 00:59:04,641 --> 00:59:07,878 LIVED BY REAL PEOPLE. 2275 00:59:07,878 --> 00:59:10,914 I DON'T THINK MEDICINE EVER 2276 00:59:10,914 --> 00:59:11,648 DOES 2277 00:59:11,648 --> 00:59:14,551 ALWAYS GET BACK, AT LEAST IN 2278 00:59:14,551 --> 00:59:14,751 MY 2279 00:59:14,751 --> 00:59:15,385 EXPERIENCE IT DOESN'T ALWAYS 2280 00:59:15,385 --> 00:59:16,319 GET BACK. 2281 00:59:16,319 --> 00:59:18,955 BUT SOONER OR LATER, THAT IS 2282 00:59:18,955 --> 00:59:19,189 WHERE 2283 00:59:19,189 --> 00:59:22,492 THINGS HAVE TO GO. 2284 00:59:22,492 --> 00:59:26,296 --- I THINK THERE IS A HUGE 2285 00:59:26,296 --> 00:59:33,904 OPPORTUNITY TO TALK 2286 00:59:33,904 --> 00:59:34,337 CREATIVELY AMONG 2287 00:59:34,337 --> 00:59:34,971 HUMANISTS AND PHYSICIANS AND 2288 00:59:34,971 --> 00:59:35,238 MEDICAL 2289 00:59:35,238 --> 00:59:35,839 SCIENTISTS ABOUT THAT ISSUE 2290 00:59:35,839 --> 00:59:36,273 THAT YOU 2291 00:59:36,273 --> 00:59:39,509 RAISED. I KNOW THAT THE NEA 2292 00:59:39,509 --> 00:59:39,843 IN MY TIME 2293 00:59:39,843 --> 00:59:41,545 WAS VERY INTERESTED IN ART 2294 00:59:41,545 --> 00:59:46,249 AND HEALING 2295 00:59:46,249 --> 00:59:46,883 IN SOME OF THE WORK GOING ON 2296 00:59:46,883 --> 00:59:48,385 TO 2297 00:59:48,385 --> 00:59:50,554 BETHESDA WITH AND FOR 2298 00:59:50,554 --> 00:59:51,621 VETERANS AND 2299 00:59:51,621 --> 00:59:54,324 POSTTRAUMATIC STRESS. AND 2300 00:59:54,324 --> 00:59:54,591 WOUNDED 2301 00:59:54,591 --> 00:59:55,892 VETERANS IN PARTICULAR AND 2302 00:59:55,892 --> 00:59:56,193 THE ROLE 2303 00:59:56,193 --> 00:59:58,829 THAT THE ARTS PLAYED IN THOSE 2304 00:59:58,829 --> 00:59:59,496 HEALING 2305 00:59:59,496 --> 01:00:02,966 PROCESSES. 2306 01:00:02,966 --> 01:00:03,633 THAT IS A SLIVER OF A MUCH 2307 01:00:03,633 --> 01:00:04,234 WIDER FIELD 2308 01:00:04,234 --> 01:00:07,637 THAT YOU ARE DESCRIBING AND 2309 01:00:07,637 --> 01:00:08,004 OPENING UP. 2310 01:00:08,004 --> 01:00:10,340 AND I THINK IT IS A WONDERFUL 2311 01:00:10,340 --> 01:00:12,476 POSSIBLE 2312 01:00:12,476 --> 01:00:15,412 PLACE OF CONNECTION BETWEEN 2313 01:00:15,412 --> 01:00:16,246 THE TWO 2314 01:00:16,246 --> 01:00:17,180 AGENCIES-- THE NATIONAL 2315 01:00:17,180 --> 01:00:17,514 LIBRARY OF 2316 01:00:17,514 --> 01:00:26,056 MEDICINE AND THE NEH AND TH 2317 01:00:26,056 --> 01:00:26,690 NEA AS 2318 01:00:26,690 --> 01:00:27,457 WELL. 2319 01:00:27,457 --> 01:00:31,928 --- 2320 01:00:31,928 --> 01:00:32,562 AND THERE'S LOTS OF HUMANISTS 2321 01:00:32,562 --> 01:00:32,829 IN THE 2322 01:00:32,829 --> 01:00:33,430 UNITED STATES AND I AM SURE 2323 01:00:33,430 --> 01:00:33,730 IN OTHER 2324 01:00:33,730 --> 01:00:36,333 PARTS OF THE WORLD THAT 2325 01:00:36,333 --> 01:00:36,600 DEEPLY 2326 01:00:36,600 --> 01:00:37,200 INTERESTED IN THESE MEDICAL 2327 01:00:37,200 --> 01:00:37,501 QUESTIONS 2328 01:00:37,501 --> 01:00:38,969 AND ISSUES, AND THERE IS A 2329 01:00:38,969 --> 01:00:39,236 LOT OF 2330 01:00:39,236 --> 01:00:39,669 WRITING ABOUT IT. 2331 01:00:39,669 --> 01:00:42,105 --- 2332 01:00:42,105 --> 01:00:42,739 I THINK THE WAY YOU PUT IT IS 2333 01:00:42,739 --> 01:00:43,406 PERFECT. 2334 01:00:43,406 --> 01:00:44,074 AND 2335 01:00:44,074 --> 01:00:45,809 I WOULD HOPE THAT MAY BE 2336 01:00:45,809 --> 01:00:46,877 THERE COULD 2337 01:00:46,877 --> 01:00:48,512 BE CONVERSATIONS BETWEEN THE 2338 01:00:48,512 --> 01:00:48,812 NATIONAL 2339 01:00:48,812 --> 01:00:54,050 LIBRARY OF MEDICINE AND THE 2340 01:00:54,050 --> 01:00:54,351 NEH ABOUT 2341 01:00:54,351 --> 01:00:55,752 EXACTLY THAT ISSUE. 2342 01:00:55,752 --> 01:00:57,354 >> THANK YOU, AND THANK YOU 2343 01:00:57,354 --> 01:00:59,523 DOCTOR 2344 01:00:59,523 --> 01:01:01,391 CHANG FOR YOUR PARTICIPATION 2345 01:01:01,391 --> 01:01:01,591 AND 2346 01:01:01,591 --> 01:01:02,192 CERTAINLY ANY CONVERSATIONS 2347 01:01:02,192 --> 01:01:04,094 THAT CAN 2348 01:01:04,094 --> 01:01:05,529 HAPPEN ARE WARMLY WELCOME, 2349 01:01:05,529 --> 01:01:08,732 PARTICIPATION IN THE NATIONAL 2350 01:01:08,732 --> 01:01:08,932 EYE 2351 01:01:08,932 --> 01:01:14,070 INSTITUTE AND YOUR COLLEAGUES. 2352 01:01:14,070 --> 01:01:14,638 DOCTOR BRENNAN NEEDED TO 2353 01:01:14,638 --> 01:01:15,005 DEPART BUDGET 2354 01:01:15,005 --> 01:01:17,307 THAT LEAVE US WITH THE 2355 01:01:17,307 --> 01:01:17,674 QUESTION. SHE 2356 01:01:17,674 --> 01:01:18,308 WAS WONDERING IF THERE IS ANY 2357 01:01:18,308 --> 01:01:19,509 ATTENTION IN THE RIGHT AS YOU 2358 01:01:19,509 --> 01:01:19,809 SPOKE OF 2359 01:01:19,809 --> 01:01:23,647 TO THE IDEA OF 2360 01:01:23,647 --> 01:01:24,114 (INCOMPREHENSIBLE), 2361 01:01:24,114 --> 01:01:24,714 DOES THE BODY KNOW WHERE IN 2362 01:01:24,714 --> 01:01:29,286 FACT IT IS? 2363 01:01:29,286 --> 01:01:29,920 >> I DON'T KNOW THAT THERE IS 2364 01:01:29,920 --> 01:01:31,054 ANYTHING 2365 01:01:31,054 --> 01:01:33,423 IN DESCARTES ABOUT IT BUT 2366 01:01:33,423 --> 01:01:33,757 THERE IS AN 2367 01:01:33,757 --> 01:01:36,159 ENORMOUS AMOUNT IN 2368 01:01:36,159 --> 01:01:42,933 MERLEAU-PONTY ABOUT 2369 01:01:42,933 --> 01:01:47,037 PROPRIOCEPTION. ONE OF THE 2370 01:01:47,037 --> 01:01:49,139 MIRACULOUS, 2371 01:01:49,139 --> 01:01:55,478 AND WHAT IT IS ALL THE TIME 2372 01:01:55,478 --> 01:01:55,779 AND WHEN 2373 01:01:55,779 --> 01:01:56,379 THAT PROPRIOCEPTION ABILITY 2374 01:01:56,379 --> 01:01:57,714 GOES AWAY, 2375 01:01:57,714 --> 01:02:00,984 YOU NOTICE IT IMMEDIATELY. 2376 01:02:00,984 --> 01:02:01,618 --- I WAS WRITING ABOUT THIS 2377 01:02:01,618 --> 01:02:01,851 A FEW 2378 01:02:01,851 --> 01:02:03,687 YEARS AGO AND REMEMBERED A 2379 01:02:03,687 --> 01:02:05,221 DESCRIPTION 2380 01:02:05,221 --> 01:02:09,993 OF BILL BRADLEY'S BASKETBALL 2381 01:02:09,993 --> 01:02:10,327 PLAYING 2382 01:02:10,327 --> 01:02:16,566 DAYS AT PRINCETON. 2383 01:02:16,566 --> 01:02:19,703 AND I'M HAVING A BLANK MOMENT 2384 01:02:19,703 --> 01:02:20,036 NOW 2385 01:02:20,036 --> 01:02:30,547 ABOUT THE NEW YORKER WRITER 2386 01:02:32,482 --> 01:02:32,682 WHO WROTE 2387 01:02:32,682 --> 01:02:33,283 THE PIECE, ONE OF HIS FIRST 2388 01:02:33,283 --> 01:02:33,583 PIECES IN 2389 01:02:33,583 --> 01:02:34,184 THE NEW YORKER BUT IT WAS A 2390 01:02:34,184 --> 01:02:35,919 WONDERFUL 2391 01:02:35,919 --> 01:02:36,486 DISCUSSION OF HOW BRADLEY 2392 01:02:36,486 --> 01:02:36,820 ALWAYS KNEW 2393 01:02:36,820 --> 01:02:38,388 WHERE HE WAS IN THE COURT AND 2394 01:02:38,388 --> 01:02:38,588 HIS 2395 01:02:38,588 --> 01:02:49,032 GENIUS AS A BASKETBALL 2396 01:02:50,166 --> 01:02:50,467 PLAYER. HE WAS 2397 01:02:50,467 --> 01:02:51,067 A GENIUS OF PROPRIOCEPTION 2398 01:02:51,067 --> 01:02:51,401 HAVING THE 2399 01:02:51,401 --> 01:02:52,435 SENSE OF WHERE HE WAS AND 2400 01:02:52,435 --> 01:02:55,038 WHAT OTHERS 2401 01:02:55,038 --> 01:02:57,007 WERE, WONDERFUL EXAMPLE OF 2402 01:02:57,007 --> 01:02:57,540 HOW 2403 01:02:57,540 --> 01:03:00,110 MIRACULOUS AND IMPORTANT 2404 01:03:00,110 --> 01:03:06,983 PROPRIOCEPTION IS AND 2405 01:03:06,983 --> 01:03:07,350 MERLEAU-PONTY 2406 01:03:07,350 --> 01:03:08,985 TALKED A LOT ABOUT 2407 01:03:08,985 --> 01:03:09,452 PROPRIOCEPTION. HE 2408 01:03:09,452 --> 01:03:11,154 WAS VERY INTERESTED AND I AM 2409 01:03:11,154 --> 01:03:11,421 SURE HE 2410 01:03:11,421 --> 01:03:12,022 WOULD'VE BEEN INTERESTED IN 2411 01:03:12,022 --> 01:03:12,255 BILL 2412 01:03:12,255 --> 01:03:14,424 BRADLEY. 2413 01:03:14,424 --> 01:03:15,525 >> IN ONE FUNDAMENTAL 2414 01:03:15,525 --> 01:03:18,895 RESPECT, WE 2415 01:03:18,895 --> 01:03:19,462 OUGHT IN A PROPRIOCEPTIVE 2416 01:03:19,462 --> 01:03:19,796 MOMENT FROM 2417 01:03:19,796 --> 01:03:21,998 A DISCIPLINARY POINT OF VIEW 2418 01:03:21,998 --> 01:03:23,633 IF I MAY 2419 01:03:23,633 --> 01:03:25,168 BECAUSE YOUR TALK AS HELL TO 2420 01:03:25,168 --> 01:03:27,804 SEE THESE 2421 01:03:27,804 --> 01:03:28,438 INTERSECTIONS AND THE PROMISE 2422 01:03:28,438 --> 01:03:28,638 AND 2423 01:03:28,638 --> 01:03:30,974 CHALLENGES OF FUTURE 2424 01:03:30,974 --> 01:03:31,408 INTERDISCIPLINARY 2425 01:03:31,408 --> 01:03:32,976 RESEARCH BETWEEN THE SCIENCES 2426 01:03:32,976 --> 01:03:33,176 AND 2427 01:03:33,176 --> 01:03:35,545 HUMANITIES AND THE ARTS 2428 01:03:35,545 --> 01:03:35,945 CERTAINLY. AND 2429 01:03:35,945 --> 01:03:37,547 IN THIS REGARD WE HAVE A 2430 01:03:37,547 --> 01:03:37,914 COMMENT, NOT 2431 01:03:37,914 --> 01:03:41,151 A QUESTION. THANK YOU SO MUCH 2432 01:03:41,151 --> 01:03:41,351 FOR 2433 01:03:41,351 --> 01:03:43,620 POINTING OUT THE VALUE OF THE 2434 01:03:43,620 --> 01:03:44,187 HUMANITIES IN SCIENTIFIC 2435 01:03:44,187 --> 01:03:44,554 ENDEAVORS AND 2436 01:03:44,554 --> 01:03:51,728 VICE VERSA. AS YOU NOTED THE 2437 01:03:51,728 --> 01:03:51,928 GAP 2438 01:03:51,928 --> 01:03:52,529 BETWEEN THE TWO SEEMS TO BE 2439 01:03:52,529 --> 01:03:52,796 GROWING 2440 01:03:52,796 --> 01:03:53,296 BUT THEY ARE CLEARLY 2441 01:03:53,296 --> 01:03:53,730 ESSENTIAL TO EACH 2442 01:03:53,730 --> 01:03:54,164 OTHER. 2443 01:03:54,164 --> 01:03:55,331 WE NEED MORE SCIENCE IN THE 2444 01:03:55,331 --> 01:03:55,632 HUMANIST 2445 01:03:55,632 --> 01:03:57,600 FOUNDATION AND MORE HUMANISTS 2446 01:03:57,600 --> 01:03:57,867 WHO ARE 2447 01:03:57,867 --> 01:03:58,501 SENSITIVE TO WHERE SCIENCE IS 2448 01:03:58,501 --> 01:03:59,335 GOING IN 2449 01:03:59,335 --> 01:04:02,205 IS TO GO WITH RESPECT TO ITS 2450 01:04:02,205 --> 01:04:02,472 MISSION 2451 01:04:02,472 --> 01:04:05,608 AND ITS PRIORITIES. AND SO WE 2452 01:04:05,608 --> 01:04:05,909 ARE AT A 2453 01:04:05,909 --> 01:04:09,913 WONDERFUL INTERSECTION, A 2454 01:04:09,913 --> 01:04:11,981 PROPRIOCEPTIVE MOMENT. 2455 01:04:11,981 --> 01:04:13,049 >> THAT IS A GREAT COMMENT AT 2456 01:04:13,049 --> 01:04:13,316 ONE OF 2457 01:04:13,316 --> 01:04:18,755 THE MARKET WILL THINK ABOUT 2458 01:04:18,755 --> 01:04:19,355 MERLEAU-PONTY'S WORK IS HOW 2459 01:04:19,355 --> 01:04:19,689 INTERESTED 2460 01:04:19,689 --> 01:04:21,691 HE WAS IN SCIENCE, AND HOW 2461 01:04:21,691 --> 01:04:21,991 MUCH TIME 2462 01:04:21,991 --> 01:04:29,132 HE SPENT IN READING SCIENCE 2463 01:04:29,132 --> 01:04:29,332 AND 2464 01:04:29,332 --> 01:04:29,966 THINKING SCIENCE MUCH IN THE 2465 01:04:29,966 --> 01:04:30,200 BROAD 2466 01:04:30,200 --> 01:04:31,301 DOMAIN OF PSYCHOLOGY BUT HE 2467 01:04:31,301 --> 01:04:31,601 WAS VERY 2468 01:04:31,601 --> 01:04:32,268 INTERESTED IN CONTEMPORARY 2469 01:04:32,268 --> 01:04:33,803 PHYSICS. 2470 01:04:33,803 --> 01:04:35,939 AND OTHER MODERN, SCIENTIFIC 2471 01:04:35,939 --> 01:04:38,341 DISCIPLINES. 2472 01:04:38,341 --> 01:04:40,343 AND DID HIS PART. 2473 01:04:40,343 --> 01:04:44,614 HE PAID HIS DUES IN ORDER TO 2474 01:04:44,614 --> 01:04:44,848 TALK 2475 01:04:44,848 --> 01:04:45,415 ABOUT THESE ISSUES. BUT I 2476 01:04:45,415 --> 01:04:45,715 THINK YOU 2477 01:04:45,715 --> 01:04:46,015 ARE RIGHT. 2478 01:04:46,015 --> 01:04:47,851 IT GOES BOTH WAYS. 2479 01:04:47,851 --> 01:04:52,188 AND AS HUMANISTS, WE NEED TO 2480 01:04:52,188 --> 01:04:52,489 KNOW MORE 2481 01:04:52,489 --> 01:04:53,056 AND THINK MORE AND ENGAGE 2482 01:04:53,056 --> 01:04:53,356 MORE WITH 2483 01:04:53,356 --> 01:04:53,957 SCIENCE, AND VICE VERSA AS 2484 01:04:53,957 --> 01:04:55,258 WELL. 2485 01:04:55,258 --> 01:04:58,595 >> THANK YOU. 2486 01:04:58,595 --> 01:05:02,398 ONE FINAL QUESTION BEFORE WE 2487 01:05:02,398 --> 01:05:02,699 CONCLUDE. 2488 01:05:02,699 --> 01:05:03,533 YOU HAD MENTIONED DURING THE 2489 01:05:03,533 --> 01:05:03,833 COURSE OF 2490 01:05:03,833 --> 01:05:04,467 YOUR PRESENTATION THAT THIS 2491 01:05:04,467 --> 01:05:04,701 WAS A 2492 01:05:04,701 --> 01:05:05,401 RESEARCH PROJECT THAT YOU 2493 01:05:05,401 --> 01:05:05,902 BEGAN BEFORE 2494 01:05:05,902 --> 01:05:09,272 YOUR TENURE AT NIH. 2495 01:05:09,272 --> 01:05:13,843 YOU HAD TO PAUSE IT FOR 2496 01:05:13,843 --> 01:05:14,244 UNDERSTANDABLE 2497 01:05:14,244 --> 01:05:14,844 REASONS BUT YOU ARE PICKING 2498 01:05:14,844 --> 01:05:16,479 IT UP 2499 01:05:16,479 --> 01:05:17,113 AGAIN. CAN YOU SAY MORE ABOUT 2500 01:05:17,113 --> 01:05:17,413 WHAT YOU 2501 01:05:17,413 --> 01:05:18,214 PLAN TO TAKE YOUR RESEARCH 2502 01:05:18,214 --> 01:05:18,515 AND WHAT 2503 01:05:18,515 --> 01:05:20,650 THE OUTCOME YOU HOPE WILL BE? 2504 01:05:20,650 --> 01:05:23,319 >> I HOPE THE OUTCOME IS A 2505 01:05:23,319 --> 01:05:25,388 BOOK. 2506 01:05:25,388 --> 01:05:26,022 I HAVE A CHAPTER OUTLINE THAT 2507 01:05:26,022 --> 01:05:26,322 INCLUDES 2508 01:05:26,322 --> 01:05:27,924 SEVEN CHAPTERS AND AN 2509 01:05:27,924 --> 01:05:29,726 EPILOGUE. 2510 01:05:29,726 --> 01:05:30,927 AND I WOULD SAY THAT I AM 2511 01:05:30,927 --> 01:05:31,327 ABOUT 2512 01:05:31,327 --> 01:05:34,330 HALFWAY THERE. 2513 01:05:34,330 --> 01:05:35,465 IT IS VERY PAINSTAKING WORK 2514 01:05:35,465 --> 01:05:35,765 BECAUSE A 2515 01:05:35,765 --> 01:05:37,500 LOT OF IT, I AM DOING IN 2516 01:05:37,500 --> 01:05:37,801 SOUTHERN 2517 01:05:37,801 --> 01:05:40,103 FRANCE, IN PLACES WHERE PAUL 2518 01:05:40,103 --> 01:05:40,403 CÉZANNE 2519 01:05:40,403 --> 01:05:44,040 PAINTED AND WHERE 2520 01:05:44,040 --> 01:05:44,507 MERLEAU-PONTY SPENT 2521 01:05:44,507 --> 01:05:45,975 SOME TIME AS WELL. 2522 01:05:45,975 --> 01:05:50,280 SO, IT'S A LOT OF UNDERGROUND 2523 01:05:50,280 --> 01:05:50,580 WORK, AS 2524 01:05:50,580 --> 01:05:52,749 WELL AS THE RESEARCH IN 2525 01:05:52,749 --> 01:05:54,517 BOOKS. 2526 01:05:54,517 --> 01:05:56,853 IT'S GREAT. 2527 01:05:56,853 --> 01:06:00,957 I'M MAKING PROGRESS. 2528 01:06:00,957 --> 01:06:02,325 IT IS SLOW BUT I'M GETTING 2529 01:06:02,325 --> 01:06:02,625 THERE AND 2530 01:06:02,625 --> 01:06:03,259 JEFF YOU WILL BE THE FIRST TO 2531 01:06:03,259 --> 01:06:03,493 KNOW 2532 01:06:03,493 --> 01:06:04,761 WHEN THIS IS DONE! 2533 01:06:04,761 --> 01:06:07,163 >> I LOOK FORWARD TO IT. 2534 01:06:07,163 --> 01:06:14,003 >> ME TOO! 2535 01:06:14,003 --> 01:06:14,637 >> I WISH YOU AN EASY TIME OF 2536 01:06:14,637 --> 01:06:14,871 YOUR 2537 01:06:14,871 --> 01:06:15,572 RESEARCH IN FRANCE. 2538 01:06:15,572 --> 01:06:16,840 AND WITH THAT, 2539 01:06:16,840 --> 01:06:17,440 ON BEHALF OF THE NATIONAL 2540 01:06:17,440 --> 01:06:20,944 LIBRARY OF 2541 01:06:20,944 --> 01:06:21,578 MEDICINE THANK YOU AGAIN FOR 2542 01:06:21,578 --> 01:06:21,778 AN 2543 01:06:21,778 --> 01:06:23,880 OUTSTANDING PRESENTATION. 2544 01:06:23,880 --> 01:06:24,480 THE LIFESTREAM OF THIS TALK 2545 01:06:24,480 --> 01:06:24,781 WILL BE 2546 01:06:24,781 --> 01:06:25,181 AVAILABLE SOON. 2547 01:06:25,181 --> 01:06:29,185 THANKS TO OUR COLLEAGUES AT 2548 01:06:29,185 --> 01:06:29,485 NIH VIDEO 2549 01:06:29,485 --> 01:06:31,321 CASTING AND THANKS TO DOCTOR 2550 01:06:31,321 --> 01:06:33,623 MICHAEL 2551 01:06:33,623 --> 01:06:34,257 CHANG AND ASK THAT YOU ENTER 2552 01:06:34,257 --> 01:06:34,557 THE CHAIR 2553 01:06:34,557 --> 01:06:35,191 OF THE NATIONAL ENDOWMENT OF 2554 01:06:35,191 --> 01:06:36,092 THE 2555 01:06:36,092 --> 01:06:37,360 HUMANITIES, AND DOCTOR 2556 01:06:37,360 --> 01:06:37,660 BRENNAN, 2557 01:06:37,660 --> 01:06:38,228 DIRECTOR OF THE NATIONAL 2558 01:06:38,228 --> 01:06:42,632 LIBRARY OF 2559 01:06:42,632 --> 01:06:43,066 MEDICINE AND YOUR 2560 01:06:43,066 --> 01:06:43,499 PARTICIPATION IN 2561 01:06:43,499 --> 01:06:44,133 TODAY'S EXCITING CONVERSATION 2562 01:06:44,133 --> 01:06:44,400 AND WE 2563 01:06:44,400 --> 01:06:45,134 LOOK FORWARD TO KEEPING IN 2564 01:06:45,134 --> 01:06:48,037 TOUCH AND 2565 01:06:48,037 --> 01:06:48,638 CERTAINLY IF MY COLLEAGUES 2566 01:06:48,638 --> 01:06:50,139 AND I HEAR 2567 01:06:50,139 --> 01:06:50,874 THE LIBRARY CAN BE OF SERVICE 2568 01:06:50,874 --> 01:06:51,140 TO YOU 2569 01:06:51,140 --> 01:06:51,774 DON'T HESITATE TO BE IN TOUCH. 2570 01:06:51,774 --> 01:06:53,309 YOU HAVE MY CONTACT DETAILS. 2571 01:06:53,309 --> 01:06:54,677 I DO JEFF. 2572 01:06:54,677 --> 01:06:57,013 THANK YOU VERY MUCH. 2573 01:06:57,013 --> 01:06:58,581 THANK YOU ALL FOR WATCHING. 2574 01:06:58,581 --> 01:07:08,581 HAVE A GOOD AFTERNOON.