1 00:00:06,356 --> 00:00:08,692 >> WELCOME I'M JEFF RESNIK AT 2 00:00:08,692 --> 00:00:10,027 THE NATIONAL INSTITUTES OF 3 00:00:10,027 --> 00:00:10,260 HEALTH. 4 00:00:10,260 --> 00:00:13,263 THANK YOU FOR JOINING US FOR 5 00:00:13,263 --> 00:00:14,631 TODAY'S NATIONAL LIBRARY OF 6 00:00:14,631 --> 00:00:15,665 MEDICINE HISTORY TALK. 7 00:00:15,665 --> 00:00:18,802 IT PROMOTES AWARENESS AND USE OF 8 00:00:18,802 --> 00:00:20,504 NLM AND RELATED HISTORICAL 9 00:00:20,504 --> 00:00:21,438 COLLECTION FOR RESEARCH, 10 00:00:21,438 --> 00:00:23,240 EDUCATION AND PUBLIC SERVICE IN 11 00:00:23,240 --> 00:00:24,574 BIO MEDICINE AND SOCIAL SCIENCES 12 00:00:24,574 --> 00:00:27,844 AND HUMANITIES. 13 00:00:27,844 --> 00:00:29,713 HISTORY TALKS SUPPORT THE 14 00:00:29,713 --> 00:00:30,280 COMMITMENT OF THE NLM TO 15 00:00:30,280 --> 00:00:32,682 RECOGNIZE THE DIVERSITY OF THE 16 00:00:32,682 --> 00:00:35,585 COLLECTIONS SPANNING 11 17 00:00:35,585 --> 00:00:36,286 CENTURIES ENCOMPASSING A RANGE 18 00:00:36,286 --> 00:00:41,158 OF FORMAT AND ORIGINATE FROM 19 00:00:41,158 --> 00:00:42,392 EVERY PART OF THE GLOBE AND 20 00:00:42,392 --> 00:00:46,096 FOREGROUND THE VOICES OF PEOPLE 21 00:00:46,096 --> 00:00:48,598 OF COLOR, WOMEN AND MANY 22 00:00:48,598 --> 00:00:49,800 BACKGROUNDS WHO VALUE THE 23 00:00:49,800 --> 00:00:51,468 COLLECTIONS AND USE THEM TO 24 00:00:51,468 --> 00:00:53,103 ADVANCE THEIR RESEARCH, TEACHING 25 00:00:53,103 --> 00:00:54,071 AND LEARNING. 26 00:00:54,071 --> 00:00:54,938 WELCOME, EVERYONE. 27 00:00:54,938 --> 00:00:56,206 FOR THOSE WHO WISH TO SHARE 28 00:00:56,206 --> 00:00:57,574 QUESTIONS WITH OUR SPEAKER THIS 29 00:00:57,574 --> 00:00:58,842 AFTERNOON, PLEASE LOOK FOR AND 30 00:00:58,842 --> 00:01:00,577 USE THE LIVE FEEDBACK BUTTON YOU 31 00:01:00,577 --> 00:01:03,647 SEE UNDERNEATH THE VIDEO STREAM. 32 00:01:03,647 --> 00:01:06,249 TODAY, I HAVE THE GREAT PLEASURE 33 00:01:06,249 --> 00:01:08,652 AND PRIVILEGE OF INTRODUCING 34 00:01:08,652 --> 00:01:11,788 DR. RAY GILLIBRAND AS THE 35 00:01:11,788 --> 00:01:14,291 LECTURER OF INCLUSIVE LEARN AT 36 00:01:14,291 --> 00:01:16,693 THE UNIVERSITY OF LEEDS IN THE 37 00:01:16,693 --> 00:01:17,694 U.K. 38 00:01:17,694 --> 00:01:19,196 PREVIOUSLY, SHE SPENT TWO YEARS 39 00:01:19,196 --> 00:01:22,566 TEACHING HISTORY AND HERITAGE 40 00:01:22,566 --> 00:01:23,967 STUDIES IN WALES DURING WHICH 41 00:01:23,967 --> 00:01:25,769 TIME SHE WAS SIMULTANEOUSLY 42 00:01:25,769 --> 00:01:27,671 EMPLOYED AS A FELLOW FOR 43 00:01:27,671 --> 00:01:28,905 DISABILITY STUDIES AT THE 44 00:01:28,905 --> 00:01:30,941 MEDICAL HERITAGE LIBRARY. 45 00:01:30,941 --> 00:01:33,176 AS SHE EXPLAINS ON HER WEBSITE, 46 00:01:33,176 --> 00:01:35,912 QUOTE, AS A WOMAN FROM A WORKING 47 00:01:35,912 --> 00:01:37,514 CLASS BACKGROUND AND THE FIRST 48 00:01:37,514 --> 00:01:39,349 IN MY FAMILY TO ATTEND 49 00:01:39,349 --> 00:01:39,983 UNIVERSITY, I'M DEEPLY COMMITTED 50 00:01:39,983 --> 00:01:48,692 TO EXTENDING AND IMPROVING 51 00:01:48,692 --> 00:01:52,662 INCLUSIVITY PRACTICE AND HOW TO 52 00:01:52,662 --> 00:01:54,998 IMPROVE ACADEMIA FOR THOSE WITH 53 00:01:54,998 --> 00:01:56,600 VARIOUS BACKGROUNDS. 54 00:01:56,600 --> 00:01:58,802 FASCINATED WITH THE HISTORY OF 55 00:01:58,802 --> 00:02:01,304 THE BODY, SHE PURSUED HISTORY 56 00:02:01,304 --> 00:02:03,306 AND COMPLETED HER B.A. IN 57 00:02:03,306 --> 00:02:07,811 HISTORY AND M.A. IN MEDIEVAL 58 00:02:07,811 --> 00:02:09,946 STUDIES AND THROUGHOUT HER 59 00:02:09,946 --> 00:02:12,582 DOCTORAL RESEARCH INVESTIGATED 60 00:02:12,582 --> 00:02:14,885 THE PRACTICAL WAYS IN WHICH 61 00:02:14,885 --> 00:02:17,120 DISABILITY AIDS WERE DESIGN, 62 00:02:17,120 --> 00:02:18,388 CONSTRUCT AND SOLD WHILE ALSO 63 00:02:18,388 --> 00:02:22,659 CONSIDERING HOW CONTEMPORARIES 64 00:02:22,659 --> 00:02:26,129 CONCEPTUALIZE BODY AUGMENTATION 65 00:02:26,129 --> 00:02:28,532 AND THEMES OF DEVICES. 66 00:02:28,532 --> 00:02:30,634 THIS INFORMS HER CURRENT 67 00:02:30,634 --> 00:02:35,972 RESEARCH AND RELATED OPEN ACCESS 68 00:02:35,972 --> 00:02:37,874 INCLUDING AN ARTICLE IN THE 69 00:02:37,874 --> 00:02:38,508 QUARTERLY PUBLICATION IN THE 70 00:02:38,508 --> 00:02:40,177 ASSOCIATION FOR LIBRARIANS AND 71 00:02:40,177 --> 00:02:40,877 INFORMATION PROFESSIONALS IN THE 72 00:02:40,877 --> 00:02:42,612 SOCIAL SCIENCES AND A TALK IN 73 00:02:42,612 --> 00:02:46,316 THE MEDICAL HERITAGE LIBRARY 74 00:02:46,316 --> 00:02:47,717 SPEAKER SERIES AS WELL AS 75 00:02:47,717 --> 00:02:49,119 CURATED PRIMARY SOURCE MATERIALS 76 00:02:49,119 --> 00:02:54,724 ALSO FOR THE MEDICAL HERITAGE 77 00:02:54,724 --> 00:02:55,025 LIBRARY. 78 00:02:55,025 --> 00:02:55,892 NOTA 79 00:02:55,892 --> 00:02:58,428 NOTABLY, NLM WAS A FOUNDING 80 00:02:58,428 --> 00:03:01,498 MEMBER ALONG WITH OTHER ESTEEMED 81 00:03:01,498 --> 00:03:02,332 LIBRARIES IN THE UNITED STATES. 82 00:03:02,332 --> 00:03:04,668 SHE JOINS US TO DRAW ON THE 83 00:03:04,668 --> 00:03:06,603 RESEARCH OUTPUTS IN HER 84 00:03:06,603 --> 00:03:08,471 PRESENTATION ENTITLED VISIONARY 85 00:03:08,471 --> 00:03:10,140 TECHNOLOGY, EXPLORING EYE 86 00:03:10,140 --> 00:03:13,543 GLASSES AN IMPAIRMENT IN THE NLM 87 00:03:13,543 --> 00:03:13,944 COLLECTIONS. 88 00:03:13,944 --> 00:03:14,744 THANK YOU FOR JOIN US FROM LEEDS 89 00:03:14,744 --> 00:03:16,680 AND LOOKING FORWARD TO YOUR 90 00:03:16,680 --> 00:03:17,280 TALK. 91 00:03:17,280 --> 00:03:21,284 >> THANK YOU FOR SUCH A WARM 92 00:03:21,284 --> 00:03:22,018 INTRODUC 93 00:03:22,018 --> 00:03:22,686 INTRODUCTION, JEFF AND HAVING ME 94 00:03:22,686 --> 00:03:24,554 SPEAK THIS AFTERNOON OR EVENING 95 00:03:24,554 --> 00:03:25,722 DEPENDING ON WHERE YOU ARE. 96 00:03:25,722 --> 00:03:27,224 FOR THE NEXT 40 MINUTES OR SO I 97 00:03:27,224 --> 00:03:29,159 WANT TO TALK A LITTLE BIT ABOUT 98 00:03:29,159 --> 00:03:31,494 MY RESEARCH INTO THE PREMODERN 99 00:03:31,494 --> 00:03:33,863 HISTORY OF EYE GLASSES I'LL 100 00:03:33,863 --> 00:03:35,565 REFER TO AS EYE GLASSES OR 101 00:03:35,565 --> 00:03:37,667 GLASSES OR SPECTACLES 102 00:03:37,667 --> 00:03:38,602 TRANSFERABLY THROUGHOUT THE 103 00:03:38,602 --> 00:03:40,670 PRESENTATION. 104 00:03:40,670 --> 00:03:46,343 SO THE INVENTION OF SPECTACLES 105 00:03:46,343 --> 00:03:48,178 PRESENTS A MOMENT IN THE HISTORY 106 00:03:48,178 --> 00:03:49,145 OF ASSISTIVE TECHNOLOGY. 107 00:03:49,145 --> 00:03:51,114 THEY MADE A REAL DIFFERENCE TO 108 00:03:51,114 --> 00:03:53,116 THE LIVES OF THOSE WITH VISUAL 109 00:03:53,116 --> 00:03:54,584 IMPAIRMENTS AND ESPECIALLY THOSE 110 00:03:54,584 --> 00:03:57,320 WHO WERE SCHOLARS, SCRIBES AND 111 00:03:57,320 --> 00:04:03,260 ENGAGED IN PROFESSIONS WITH 112 00:04:03,260 --> 00:04:04,661 CLOSE WORK AND WERE MORE THAN 113 00:04:04,661 --> 00:04:06,196 TOOLS FOR IMPROVING VISION. 114 00:04:06,196 --> 00:04:08,798 THEY TOOK ON SYMBOLIC MEANINGS 115 00:04:08,798 --> 00:04:11,201 IN ART AND LITERATURE 116 00:04:11,201 --> 00:04:12,602 REPRESENTING WISDOM AND 117 00:04:12,602 --> 00:04:14,604 LEARNEDNESS AND CONVERSELY 118 00:04:14,604 --> 00:04:16,473 FOOLISHNESS AND INAPPROPRIATE 119 00:04:16,473 --> 00:04:16,740 BEHAVIOR. 120 00:04:16,740 --> 00:04:18,742 THE TALK I'LL GIVE WILL TALK NOT 121 00:04:18,742 --> 00:04:20,677 JUST ABOUT THE EARLY HISTORY OF 122 00:04:20,677 --> 00:04:27,217 SPECK T SPECTACLES AND HOW THEY 123 00:04:27,217 --> 00:04:31,087 ACT AS A METAPHOR IN IMAGERY AND 124 00:04:31,087 --> 00:04:31,321 ARTWORK. 125 00:04:31,321 --> 00:04:36,593 LET'S START WITH THE ORIGIN OF 126 00:04:36,593 --> 00:04:37,394 SPECTACLES. 127 00:04:37,394 --> 00:04:39,429 SO, FIRST DOCUMENTED REFERENCE 128 00:04:39,429 --> 00:04:44,701 CAN BE TRACED TO A SERMON BY A 129 00:04:44,701 --> 00:04:46,069 DOMINI 130 00:04:46,069 --> 00:04:46,670 DOMINI 131 00:04:46,670 --> 00:04:50,940 DOMINICAN FRIAR IN FLORENCE AND 132 00:04:50,940 --> 00:04:54,444 STATED IT'S NOT YET 20 YEARS 133 00:04:54,444 --> 00:04:56,946 SINCE THE MAKING OF ART GLASSES 134 00:04:56,946 --> 00:04:59,482 MAKING IT ONE OF THE MOST STARTS 135 00:04:59,482 --> 00:05:02,218 AND NECESSARY THE WORLD HAS BUT 136 00:05:02,218 --> 00:05:07,457 THE NEW ARTS NEVER BEFORE WAS 137 00:05:07,457 --> 00:05:07,757 DISCOVERED. 138 00:05:07,757 --> 00:05:08,925 END QUOTE AND MENTIONED 139 00:05:08,925 --> 00:05:10,627 SPECTACLES HAD BEEN INVENTED 140 00:05:10,627 --> 00:05:13,196 WITHIN THE LAST 20 YEARS OR SO 141 00:05:13,196 --> 00:05:14,164 OF THE SERMON. 142 00:05:14,164 --> 00:05:18,601 THAT PLACE THE ORIGIN AROUND 143 00:05:18,601 --> 00:05:22,505 LATE 1280s. 144 00:05:22,505 --> 00:05:25,308 MUCH LIKE THE GLASSES WE'RE FAM 145 00:05:25,308 --> 00:05:26,743 THERE ARE WITH TODAY MEDIEVAL 146 00:05:26,743 --> 00:05:28,144 SPECTACLES WERE MADE OF TWO 147 00:05:28,144 --> 00:05:28,578 SPHERICAL LENSES. 148 00:05:28,578 --> 00:05:31,681 THEY WERE HELD TOGETHER BY A 149 00:05:31,681 --> 00:05:33,516 RIVET ACTING AT THE HINGE TO 150 00:05:33,516 --> 00:05:35,785 ALLOW THE USER TO FOLD THEM IN 151 00:05:35,785 --> 00:05:40,657 HALF TO STORE THEM NEATLY IN A 152 00:05:40,657 --> 00:05:44,194 CASE LIKELY ON A BELT. 153 00:05:44,194 --> 00:05:46,329 THEY HAVE NO ARMS TO HOLD ON AN 154 00:05:46,329 --> 00:05:47,897 EARS BUT HELD IN FRONT OF THE 155 00:05:47,897 --> 00:05:51,935 EYES WHEN IN USE OR CLIPPED 156 00:05:51,935 --> 00:05:55,238 PRECARIOUSLY ON TO THE NOSE 157 00:05:55,238 --> 00:05:56,673 USING THE HINGE. 158 00:05:56,673 --> 00:05:59,109 THESE GLASSES ARE A SAMPLE FROM 159 00:05:59,109 --> 00:06:00,610 THE ONLY KNOWN SURVIVING CASES 160 00:06:00,610 --> 00:06:06,583 OF MEDIEVAL SPECTACLES THAT HAVE 161 00:06:06,583 --> 00:06:10,887 LENS IN ACT IN THE 1953 162 00:06:10,887 --> 00:06:13,056 ARCHEOLOGICAL DIG IN GERMANY. 163 00:06:13,056 --> 00:06:16,659 THIS EXCAVATION FOUND THREE 164 00:06:16,659 --> 00:06:18,595 COMPLETE PAIRS AND TWO ON THE 165 00:06:18,595 --> 00:06:20,463 POWER POINT THERE AND MULTIPLE 166 00:06:20,463 --> 00:06:21,564 DAMAGED FRAGMENTS. 167 00:06:21,564 --> 00:06:23,266 ALL OF THESE WERE MADE FROM 168 00:06:23,266 --> 00:06:25,802 EITHER LEATHER OR WOOD AND DATED 169 00:06:25,802 --> 00:06:28,371 BETWEEN THE 14th AND 16th 170 00:06:28,371 --> 00:06:28,638 CENTURIES. 171 00:06:28,638 --> 00:06:33,243 THE IMAGES ON THE POWER POINT 172 00:06:33,243 --> 00:06:36,579 SHOW TWO POPULAR KINDS OF RIVET 173 00:06:36,579 --> 00:06:36,880 SPECTACLES. 174 00:06:36,880 --> 00:06:38,381 THE ONES ON THE LEFT ARE 175 00:06:38,381 --> 00:06:39,883 TRADITIONAL RIVET SPECTACLES. 176 00:06:39,883 --> 00:06:42,152 YOU CAN SEE THEY HAVE A SLIGHT 177 00:06:42,152 --> 00:06:46,322 OPENING AT THE BOTTOM THROUGH 178 00:06:46,322 --> 00:06:47,891 WHICH THEY CAN BE DRAWN A PART 179 00:06:47,891 --> 00:06:52,295 TO FIT THE LENS AND SEALED WITH 180 00:06:52,295 --> 00:06:54,931 LINEN THREAD AND RIVET AT THE 181 00:06:54,931 --> 00:06:56,232 TOP FOR THE MECHANISM. 182 00:06:56,232 --> 00:06:58,768 ON THE RIGHT WE HAVE THE 183 00:06:58,768 --> 00:07:00,937 SLIGHTLY DIFFERENT DESIGN, THESE 184 00:07:00,937 --> 00:07:03,072 ARE BOW RIVETED SPECTACLES AND 185 00:07:03,072 --> 00:07:06,209 MORE CURVED AT THE TOP. 186 00:07:06,209 --> 00:07:11,581 THIS SEEMS TO BE TO GIVE THEM 187 00:07:11,581 --> 00:07:17,120 MORE HELP AND ALIGNED TO BE WORN 188 00:07:17,120 --> 00:07:18,588 MORE COMFORTABLY. 189 00:07:18,588 --> 00:07:21,691 SPECTACLES WERE ONLY CAPABLE OF 190 00:07:21,691 --> 00:07:24,494 CORRECTING LONG SIGHTEDNESS AND 191 00:07:24,494 --> 00:07:26,329 MOST PEOPLE IT'S A CONSEQUENCE 192 00:07:26,329 --> 00:07:29,532 OF AGING OR WORK-RELATED EYE 193 00:07:29,532 --> 00:07:29,799 STRAIN. 194 00:07:29,799 --> 00:07:30,600 AND THE RESULT OF THE CONDITION 195 00:07:30,600 --> 00:07:34,204 IS PEOPLE DON'T HAVE THE ABILITY 196 00:07:34,204 --> 00:07:36,673 TO SEE OBJECTS NEARBY OR █OUT O 197 00:07:36,673 --> 00:07:37,841 FOCUS BUT CAN SEE OBJECTS IN THE 198 00:07:37,841 --> 00:07:47,951 DISTANCE MORE CLEARLY. 199 00:07:47,951 --> 00:07:53,323 SOL AFTER HE GAVE HIS PRAISE AND 200 00:07:53,323 --> 00:07:55,959 A CONTEMPORARY WHO WAS LOOK A 201 00:07:55,959 --> 00:07:56,960 DOMINICAN FRIAR USED THE 202 00:07:56,960 --> 00:07:57,961 SPECTACLES TO WORK OUT 203 00:07:57,961 --> 00:07:59,462 CONSTRUCTION AND REVEALED THIS 204 00:07:59,462 --> 00:08:01,564 TO THE PUBLIC SO, IN ACADEMIA 205 00:08:01,564 --> 00:08:06,469 WE'RE ALWAYS PROMOTING OPEN 206 00:08:06,469 --> 00:08:12,609 ACCESS AND HE DID THIS EARLY. 207 00:08:12,609 --> 00:08:18,581 IN THE PIECE IT STATED THAT 208 00:08:18,581 --> 00:08:23,887 QUOTE, FRIAR HE KNEW HOW TO MAKE 209 00:08:23,887 --> 00:08:24,587 IT. 210 00:08:24,587 --> 00:08:28,291 EYE GLASSES AND MADE THEM AND 211 00:08:28,291 --> 00:08:30,193 SHARED THEM WITH A CHEERFUL AND 212 00:08:30,193 --> 00:08:33,296 WILLING HEART, END QUOTE. 213 00:08:33,296 --> 00:08:35,665 HOWEVER, EVEN WITH SHARING THE 214 00:08:35,665 --> 00:08:37,534 METHODS BY WHICH FRAMES AND 215 00:08:37,534 --> 00:08:38,835 LENSES COULD BE CONSTRUCTED, 216 00:08:38,835 --> 00:08:41,170 AROUND THE FIRST 100 YEARS OF 217 00:08:41,170 --> 00:08:44,007 THEIR EXISTENCE THEY WERE A 218 00:08:44,007 --> 00:08:45,108 SPECIALIST LUXURY PIECE OF 219 00:08:45,108 --> 00:08:45,375 EQUIPMENT. 220 00:08:45,375 --> 00:08:46,743 BECAUSE OF THIS THE PEOPLE 221 00:08:46,743 --> 00:08:48,611 LIKELY TO BE FOUND WEARING THEM 222 00:08:48,611 --> 00:08:49,779 WERE THOSE SIMULTANEOUSLY 223 00:08:49,779 --> 00:08:53,416 WEALTHY ENOUGH TO BE ABLE TO 224 00:08:53,416 --> 00:08:55,451 AFFORD THEM AND ENGAGE IN 225 00:08:55,451 --> 00:09:00,256 ACTIVITIES RENDERING THEIR USE 226 00:09:00,256 --> 00:09:00,523 NECESSARY. 227 00:09:00,523 --> 00:09:10,133 THEREFORE IN THE YEARS 228 00:09:10,133 --> 00:09:11,968 IMMEDIATELY THEY SPENT TIME 229 00:09:11,968 --> 00:09:16,472 READING AND WRITING IN DIMLY LIT 230 00:09:16,472 --> 00:09:16,773 ENVIRONMENT. 231 00:09:16,773 --> 00:09:19,242 THE WORK OF MEDIEVAL SCRIBES 232 00:09:19,242 --> 00:09:20,710 LOOKS AMOUNT THE PRACTICAL 233 00:09:20,710 --> 00:09:23,880 IMPACT OF SPECTACLES ON 234 00:09:23,880 --> 00:09:24,581 PREMODERN LIFE. 235 00:09:24,581 --> 00:09:28,685 THEY PLAYED A ROLE IN SOCIETY 236 00:09:28,685 --> 00:09:31,220 COPYING TEXT BY HAND IN 237 00:09:31,220 --> 00:09:35,858 MONASTERIES AND RELIGIOUS 238 00:09:35,858 --> 00:09:36,192 INSTITUTIONS. 239 00:09:36,192 --> 00:09:38,328 THE WORK WAS DEMANDING WITH LONG 240 00:09:38,328 --> 00:09:42,131 HOURS OF WRITING IN DIM LIGHTING 241 00:09:42,131 --> 00:09:44,701 AND AN EXAMPLE OF THIS PHYSICAL 242 00:09:44,701 --> 00:09:48,137 TOLL EXPERIENCED BY MEDIEVAL 243 00:09:48,137 --> 00:09:50,873 SCRIBES CAN BE FOUND IN A COPY 244 00:09:50,873 --> 00:09:54,410 WHERE A CLERIC WHO WORKED ON THE 245 00:09:54,410 --> 00:09:56,679 MANUSCRIPT INCLUDED AN 246 00:09:56,679 --> 00:09:58,948 ANNOTATION OUTSIDE THE TEXT IN 247 00:09:58,948 --> 00:10:00,416 WHICH HE ELEMENTS ON THE 248 00:10:00,416 --> 00:10:02,185 HARDSHIP OF THIS SCRIBAL WORK 249 00:10:02,185 --> 00:10:05,855 AND SAID, QUOTE, HOW HEAVY THE 250 00:10:05,855 --> 00:10:07,957 WRITING, IT ARCHES THE BACK AND 251 00:10:07,957 --> 00:10:12,595 MAKES THE EYES FOGGY AND BREAKS 252 00:10:12,595 --> 00:10:22,972 THE STOMACH AND RIBS. 253 00:10:25,508 --> 00:10:26,876 AND THERE'S THE WORK BETWEEN THE 254 00:10:26,876 --> 00:10:30,546 SCRIBE AND THE PHYSICAL WORK IT 255 00:10:30,546 --> 00:10:31,948 CAUSES HIM AND IT AFFECTS HIS 256 00:10:31,948 --> 00:10:33,583 BODY AND EYES. 257 00:10:33,583 --> 00:10:36,252 HIS WORK CAUSES HIM SIGNIFICANT 258 00:10:36,252 --> 00:10:37,754 JOINT PAIN AND EYE STRAIN AND 259 00:10:37,754 --> 00:10:40,657 REQUESTS ALL WHO READ HIS WORK 260 00:10:40,657 --> 00:10:46,429 PRAY FOR HIM SPECIFICALLY. 261 00:10:46,429 --> 00:10:49,198 AND HIS INJURIES WOULD HAVE BEEN 262 00:10:49,198 --> 00:10:52,035 BRIEF HAVING ADEQUATE TIME TO 263 00:10:52,035 --> 00:10:53,803 REST WOULD HAVE HAD TIME TO 264 00:10:53,803 --> 00:10:54,504 ALLEVIATE SYMPTOMS. 265 00:10:54,504 --> 00:10:57,006 AS A CLERIC, HE'S PROBABLY 266 00:10:57,006 --> 00:11:01,577 ENGAGED IN MANUSCRIPT PRODUCTION 267 00:11:01,577 --> 00:11:04,681 ON A REGULAR BASIS BY PUTTING 268 00:11:04,681 --> 00:11:06,883 HIS BODY UNDER THIS STRAIN HIS 269 00:11:06,883 --> 00:11:08,351 SYMPTOMS COULD HAVE BEEN MORE 270 00:11:08,351 --> 00:11:10,920 CHRONIC IN NATURE. 271 00:11:10,920 --> 00:11:12,622 THE PHYSICAL CHALLENGES WERE 272 00:11:12,622 --> 00:11:13,923 EXACERBATED BY THE POOR LIGHT 273 00:11:13,923 --> 00:11:16,626 CONDITIONS IN WHICH SCRIBES 274 00:11:16,626 --> 00:11:16,859 WORKED. 275 00:11:16,859 --> 00:11:19,595 IN 1939 THERE WAS A SUGGESTION 276 00:11:19,595 --> 00:11:26,235 THAT ORDINARILY LIGHT WAS NOT 277 00:11:26,235 --> 00:11:28,671 ADEQUATE AND THE DANGERS OF 278 00:11:28,671 --> 00:11:31,140 CASUALTIES TO THE COST OF BOOKS, 279 00:11:31,140 --> 00:11:33,409 END QUOTE AND SAID SCRIBES WERE 280 00:11:33,409 --> 00:11:35,978 ONLY PERMITTED TO WORK DURING 281 00:11:35,978 --> 00:11:37,113 DAYLIGHT HOURS. 282 00:11:37,113 --> 00:11:37,880 THIS HOWEVER, DOESN'T SEEM TO BE 283 00:11:37,880 --> 00:11:41,084 TRUE WHEN WE INVESTIGATE INTO 284 00:11:41,084 --> 00:11:44,287 SOME OF THESE SCRIBAL REMARKS. 285 00:11:44,287 --> 00:11:46,189 THERE'S A NUMBER OF THESE 286 00:11:46,189 --> 00:11:48,424 NOTATION COMPLAIN ABOUT WRITING 287 00:11:48,424 --> 00:11:49,992 AT NIGHT OR DIM LIGHT SUGGESTING 288 00:11:49,992 --> 00:11:52,195 THE RULE WAS NOT FOLLOWED IN 289 00:11:52,195 --> 00:11:52,528 PRACTICE. 290 00:11:52,528 --> 00:11:56,666 FOR EXAMPLE, IN A 9th CENTURY 291 00:11:56,666 --> 00:12:00,069 COMMENTARY A SCRIBE INCLUDED AN 292 00:12:00,069 --> 00:12:00,703 ANNOTATION COMPLAINING THE LIGHT 293 00:12:00,703 --> 00:12:05,908 OF THE CANDLE IS NOT BRIGHT. 294 00:12:05,908 --> 00:12:08,311 CONTINUING TO WORK BY CANDLE 295 00:12:08,311 --> 00:12:10,413 LIGHT WAS WORSE FOR THE OCULAR 296 00:12:10,413 --> 00:12:11,748 LIGHT OF SCRIBES AND FOCUSSING 297 00:12:11,748 --> 00:12:14,283 ON SMALL DETAILED WORK FOR 298 00:12:14,283 --> 00:12:14,951 EXTENDED PERIOD OF TIME IN LOW 299 00:12:14,951 --> 00:12:16,919 OR FLICKERING LIGHT, WOULD 300 00:12:16,919 --> 00:12:18,588 LIKELY HAVE LED TO EYE STRAIN, 301 00:12:18,588 --> 00:12:25,561 BLURRED VISION AND ULTIMATELY 302 00:12:25,561 --> 00:12:25,862 PRESBYOPIA. 303 00:12:25,862 --> 00:12:27,563 BASED ON THE READING AND WRITING 304 00:12:27,563 --> 00:12:30,600 IN LOW LIGHT MOST ACCOUNTS OF 305 00:12:30,600 --> 00:12:32,568 SPECTACLE USE IN THE EARLY DAYS 306 00:12:32,568 --> 00:12:34,570 RELATED TO FRIARS AND SCHOLARS 307 00:12:34,570 --> 00:12:36,606 AS THESE WOULD HAVE BEEN THE 308 00:12:36,606 --> 00:12:39,342 PEOPLE MOST LIKELY TO EXPERIENCE 309 00:12:39,342 --> 00:12:42,879 EARLY ON PRESBYOPIA AND PURCHASE 310 00:12:42,879 --> 00:12:44,680 SPECTACLES TO CONTINUE THEIR 311 00:12:44,680 --> 00:12:48,651 WORK DESPITE THEIR DECLINING 312 00:12:48,651 --> 00:12:52,522 VISION. 313 00:12:52,522 --> 00:12:55,291 AS A RESULT OF THAT SPECTACLES 314 00:12:55,291 --> 00:13:01,898 CAME TO BE ASSOCIATED WITH ART 315 00:13:01,898 --> 00:13:10,573 AND SCHOLARS AND SPECTACLES WERE 316 00:13:10,573 --> 00:13:19,515 EMPLOYED BY ARTISTS TO SHOW A 317 00:13:19,515 --> 00:13:20,650 STATUS. 318 00:13:20,650 --> 00:13:29,292 A 319 00:13:29,292 --> 00:13:31,494 AND THIS DEFINITION PRESENTED A 320 00:13:31,494 --> 00:13:34,397 CHALLENGE TO MEDIEVAL IMAGE 321 00:13:34,397 --> 00:13:35,731 MAKERS ASKED TO REPRESENT 322 00:13:35,731 --> 00:13:39,702 CHARACTER, STATUS OR LIFE 323 00:13:39,702 --> 00:13:43,940 EXPERIENCES THROUGH PORTRAITURE 324 00:13:43,940 --> 00:13:44,307 ALONE. 325 00:13:44,307 --> 00:13:49,745 THE PEOPLE DEPICTED IN THE 326 00:13:49,745 --> 00:13:52,548 IMAGES WERE BUILT INTO OBJECTS, 327 00:13:52,548 --> 00:13:54,250 HAIRSTYLES, TYPES OF CLOTHING 328 00:13:54,250 --> 00:13:55,017 AND CERTAIN COLORS TO 329 00:13:55,017 --> 00:13:58,588 DEMONSTRATE THE ATTRIBUTES OF A 330 00:13:58,588 --> 00:13:59,455 PARTICULAR INDIVIDUAL. 331 00:13:59,455 --> 00:14:00,623 A COMMON AND WELL KNOWN EXAMPLE 332 00:14:00,623 --> 00:14:03,626 CAN BE SEEN IN THE INCLUSION OF 333 00:14:03,626 --> 00:14:06,195 A GOLDEN HALO IN THE SHAPE OF A 334 00:14:06,195 --> 00:14:08,431 RING OR DISK OR SUN BURST TO 335 00:14:08,431 --> 00:14:12,902 INDICATE THEY ARE OF HOLY OR 336 00:14:12,902 --> 00:14:15,438 SACRED STATUS IN CHRISTIAN 337 00:14:15,438 --> 00:14:18,040 ICONOGRAPHY AND SPECTACLES CAME 338 00:14:18,040 --> 00:14:19,775 TO OPERATE IN MUCH THE SAME WAY. 339 00:14:19,775 --> 00:14:21,978 IT DIDN'T MATTER A PERSON USED 340 00:14:21,978 --> 00:14:23,779 THEM DURING THEIR LIFE TIME, 341 00:14:23,779 --> 00:14:26,115 INSTEAD INCLUDED AS A VISUAL 342 00:14:26,115 --> 00:14:28,017 METAPHOR PEOPLE VIEWING AN IMAGE 343 00:14:28,017 --> 00:14:29,619 WERE ABLE TO INTERPRET AND COULD 344 00:14:29,619 --> 00:14:33,756 BE USED TO IMPOSE A STABLE 345 00:14:33,756 --> 00:14:36,459 INTERPRETATION OF AN OTHERWISE 346 00:14:36,459 --> 00:14:38,661 MUTABLE BODY. 347 00:14:38,661 --> 00:14:40,062 AN EXAMPLE OF THIS IN THE 348 00:14:40,062 --> 00:14:44,033 NUREMBERG CHRONICLE PRODUCED IN 349 00:14:44,033 --> 00:14:46,769 1493 AND THE NLM HOLDS A COPY IN 350 00:14:46,769 --> 00:14:48,204 THEIR COLLECTIONS. 351 00:14:48,204 --> 00:14:51,407 IN THE TEXT, WE FIND AN 352 00:14:51,407 --> 00:14:54,277 ILLUSTRATION OF THE PERSIAN 353 00:14:54,277 --> 00:14:56,112 PHYSICIAN PHILOSOPHER WEARING 354 00:14:56,112 --> 00:14:59,548 SPECTACLES OR HOLDING SPECTACLES 355 00:14:59,548 --> 00:15:00,449 BEFORE HIS FACE. 356 00:15:00,449 --> 00:15:01,550 HE WAS KNOWN MORE HIS 357 00:15:01,550 --> 00:15:03,653 CONTRIBUTIONS TO A WIDE RANGE OF 358 00:15:03,653 --> 00:15:04,453 MEDICAL FIELDS INCLUDING THE 359 00:15:04,453 --> 00:15:06,589 TREATMENT OF DISEASES AND STUDY 360 00:15:06,589 --> 00:15:13,863 OF AFL FLNATOMY AND HIS WORK WA 361 00:15:13,863 --> 00:15:16,666 FOUNDATIONAL AND WROTE 362 00:15:16,666 --> 00:15:18,034 COMPREHENSIVE TEXT WHICH BROUGHT 363 00:15:18,034 --> 00:15:19,302 TOGETHER THE MEDICAL KNOWLEDGE 364 00:15:19,302 --> 00:15:21,871 OF HIS TIME AND INSIGHT TO 365 00:15:21,871 --> 00:15:24,607 INFLUENCE FUTURE GENERATIONS OF 366 00:15:24,607 --> 00:15:25,975 MEDICAL PRACTITIONERS. 367 00:15:25,975 --> 00:15:28,277 HOWEVER, HE LIVED APPROXIMATELY 368 00:15:28,277 --> 00:15:34,216 BETWEEN 1865 AND 1925 BCE ALMOST 369 00:15:34,216 --> 00:15:36,585 400 YEARS BEFORE THE INVENTION 370 00:15:36,585 --> 00:15:38,454 OF SPECTACLES. 371 00:15:38,454 --> 00:15:39,655 YOU WOULD NOT HAVE SEEN THEM OR 372 00:15:39,655 --> 00:15:43,225 USED THEM AS IMPLIED BUT THAT'S 373 00:15:43,225 --> 00:15:44,226 NOT THE POINT. 374 00:15:44,226 --> 00:15:48,597 THE IMAGE WAS NOT INTENDED TO BE 375 00:15:48,597 --> 00:15:49,865 HISTORICALLY ACCURATE BUT TO 376 00:15:49,865 --> 00:15:52,134 STATE HIS STATUS AND TELLS THE 377 00:15:52,134 --> 00:15:53,769 FIELD HE BELONGED TO THE GROUP 378 00:15:53,769 --> 00:15:56,672 OF ACADEMICS AND SCHOLARS WOULD 379 00:15:56,672 --> 00:16:00,576 HAVE BELONGED TO AND WOULD HAVE 380 00:16:00,576 --> 00:16:01,277 WORN SPECTACLES IN THE EARLY 381 00:16:01,277 --> 00:16:03,245 DAYS OF THE INVENTION. 382 00:16:03,245 --> 00:16:05,781 AS SUCH THE GLASSES ARE NOT TO 383 00:16:05,781 --> 00:16:13,222 BE TAKEN LITERALLY BUT A 384 00:16:13,222 --> 00:16:17,460 SIGNIFIER AND RESPECTED AS AN 385 00:16:17,460 --> 00:16:21,163 ACADEMIC AND GLASSES BEING 386 00:16:21,163 --> 00:16:24,600 ASSOCIATED WITH WISDOM HAS BEEN 387 00:16:24,600 --> 00:16:27,136 TRANSFERRED TO A MODERN DAY 388 00:16:27,136 --> 00:16:31,774 TROPE AND CHARACTERS SUCH AS 389 00:16:31,774 --> 00:16:40,082 VELMA AND LEONARD AND CLARK KENT 390 00:16:40,082 --> 00:16:44,687 KNOWN FOR THEIR ACADEMIC SKILLS 391 00:16:44,687 --> 00:16:51,160 OR PROWESS AND. 392 00:16:51,160 --> 00:17:00,503 THE GLASSES EMPHASIZE SCIENTIFIC 393 00:17:00,503 --> 00:17:02,838 INTELLIGENCE AND CLARK KENT 394 00:17:02,838 --> 00:17:06,609 SEPARATING HIS MILD MANNERED 395 00:17:06,609 --> 00:17:10,279 PERSONA TO THE SUPER HERO AND 396 00:17:10,279 --> 00:17:15,618 THERE'S A LINK BETWEEN VISUAL 397 00:17:15,618 --> 00:17:16,652 IMPAIRMENT AND INTELLECTUAL 398 00:17:16,652 --> 00:17:17,053 INSIGHT. 399 00:17:17,053 --> 00:17:22,658 AS WE MOVE TO THE MODERN PERIOD 400 00:17:22,658 --> 00:17:23,826 GLASSES BECAME MORE MAINSTREAM 401 00:17:23,826 --> 00:17:24,593 AVAILABLE TO A BROADER RANGE OF 402 00:17:24,593 --> 00:17:34,370 PEOPLE. 403 00:17:34,370 --> 00:17:35,938 AND THEY BEGAN TO ATTRACT THE 404 00:17:35,938 --> 00:17:39,842 ATTENTION OF MEDICAL 405 00:17:39,842 --> 00:17:40,543 PROFESSIONALS. 406 00:17:40,543 --> 00:17:43,312 EARLY MEDICAL TEXT REVEALS AN 407 00:17:43,312 --> 00:17:45,648 AMBIVALENCE TO THE USE OF 408 00:17:45,648 --> 00:17:47,483 GLASSES THERE WAS A CONCERN 409 00:17:47,483 --> 00:17:51,620 THEIR USE COULD LEAD TO A 410 00:17:51,620 --> 00:17:57,059 DETERIORATION OF NATURAL VISION. 411 00:17:57,059 --> 00:18:02,832 THE FIRST APPEARS HERE. 412 00:18:02,832 --> 00:18:10,973 HE LIVED BEFORE AND SERVED AS A 413 00:18:10,973 --> 00:18:12,741 PHYSICIAN AND IS BEST KNOWN FOR 414 00:18:12,741 --> 00:18:23,285 HIS COMPREHENSIVE MEDICAL TEXT 415 00:18:25,621 --> 00:18:27,189 AND AGAIN THIS IS SOMETHING THE 416 00:18:27,189 --> 00:18:29,625 NLM HOLDS A COPY OF AND HIS 417 00:18:29,625 --> 00:18:31,694 COVERED A WIDE RANGE OF MEDICAL 418 00:18:31,694 --> 00:18:33,162 PRACTICES FROM THINGS LIKE WOUND 419 00:18:33,162 --> 00:18:35,131 TREATMENT TO SURGICAL 420 00:18:35,131 --> 00:18:36,132 INSTRUMENTS AND BLENDED 421 00:18:36,132 --> 00:18:36,799 CLASSICAL KNOWLEDGE WITH HIS OWN 422 00:18:36,799 --> 00:18:42,605 CLINICAL OBSERVATIONS. 423 00:18:42,605 --> 00:18:46,275 HIS WRITINGS REMAIN KEY FOR 424 00:18:46,275 --> 00:18:52,648 CENTURIES TO COME AND EMPHASIS 425 00:18:52,648 --> 00:18:56,051 OF EMPIRICAL OBSERVATION AND FOR 426 00:18:56,051 --> 00:18:58,053 THIS TALK I'M INTERESTED IN 427 00:18:58,053 --> 00:19:00,623 THOUGHTS AROUND GLASSES. 428 00:19:00,623 --> 00:19:03,926 THEY ADVISE THE USE OF 429 00:19:03,926 --> 00:19:04,960 SPECTACLES AND SHOULD ONLY TURN 430 00:19:04,960 --> 00:19:07,229 TO THEM IF ALL ATTEMPTS TO 431 00:19:07,229 --> 00:19:10,199 IMPROVE ONE'S VISION HAVE FAILED 432 00:19:10,199 --> 00:19:12,301 STATING QUOTE, THESE THINGS BY 433 00:19:12,301 --> 00:19:13,369 WHICH HE MEANS MEDICAL 434 00:19:13,369 --> 00:19:16,672 TREATMENTS AND SURGERIES ARE OF 435 00:19:16,672 --> 00:19:23,746 NO AVAIL AND RECOURSE MUST BE 436 00:19:23,746 --> 00:19:31,620 GIVEN TO THE GLASS OR BERYL 437 00:19:31,620 --> 00:19:32,321 SPO 438 00:19:32,321 --> 00:19:32,621 SPECTACLES. 439 00:19:32,621 --> 00:19:38,694 IT WAS A NATURAL MINERAL A MORE 440 00:19:38,694 --> 00:19:41,263 OPAQUE WITH A GREENISH TINT AND 441 00:19:41,263 --> 00:19:45,467 IT WAS A GREEN HUE MAKING IT A 442 00:19:45,467 --> 00:19:48,604 DESIRABLE SUBSTITUTE FOR GLASS. 443 00:19:48,604 --> 00:19:50,239 IN HIS HISTORY OF THE WORLD HE 444 00:19:50,239 --> 00:19:55,978 EXPANDED THE BENEFITS OF LOOKING 445 00:19:55,978 --> 00:20:04,253 UPON BERYL TO SOOTH EYES AND IT 446 00:20:04,253 --> 00:20:05,521 CONTINUES TO HOLD CURRENCY TO 447 00:20:05,521 --> 00:20:06,922 THE MODERN PERIODS AND AFFECTED 448 00:20:06,922 --> 00:20:10,426 THE READING AND WRITING CULTURES 449 00:20:10,426 --> 00:20:13,128 OF THE TIME. 450 00:20:13,128 --> 00:20:17,199 FOR EXAMPLE, IN SPAIN HAD A 451 00:20:17,199 --> 00:20:19,134 TREATY CALLED THE OCULUS. 452 00:20:19,134 --> 00:20:23,939 AND EXPLAINED GREEN IS 453 00:20:23,939 --> 00:20:26,375 BENEFICIAL AND EMERALDS CAN HELP 454 00:20:26,375 --> 00:20:29,311 EYES AND WHEN DESIGNING A 455 00:20:29,311 --> 00:20:31,013 HOSPITAL, ROOMS IN WHICH THERE'S 456 00:20:31,013 --> 00:20:33,048 PATIENTS OUGHT TO BE PAINTED 457 00:20:33,048 --> 00:20:34,750 GREEN AND BEDS OUT TO BE GREEN 458 00:20:34,750 --> 00:20:36,619 AND PLEASANT TO THE SITE. 459 00:20:36,619 --> 00:20:39,722 IF LOOKING AT GREEN CAN HELP 460 00:20:39,722 --> 00:20:41,657 IMPROVE ONE'S WELL BEING AND 461 00:20:41,657 --> 00:20:43,192 COMBAT EYE STRAIN OTHER EFFORTS 462 00:20:43,192 --> 00:20:44,326 WOULD HAVE BEEN EFFECTIVE. 463 00:20:44,326 --> 00:20:45,894 NOT ONLY DID THEY HELP 464 00:20:45,894 --> 00:20:47,930 INDIVIDUALS OVERCOME THE 465 00:20:47,930 --> 00:20:51,900 DEGENERATION OF THEIR VISION BUT 466 00:20:51,900 --> 00:20:54,637 ALSO PROVIDED THIS COMMON HUE 467 00:20:54,637 --> 00:20:56,672 WHERE READING OR WRITING COULD 468 00:20:56,672 --> 00:20:59,275 BE VIEWED AND PREVENTING OCULAR 469 00:20:59,275 --> 00:21:00,643 IRRITATION THE ACTIVITIES MIGHT 470 00:21:00,643 --> 00:21:11,186 CAUSE XP -- HOWEVER, THIS WAS 471 00:21:12,755 --> 00:21:14,657 ACROSS THE MIDDLE PERIOD AND 472 00:21:14,657 --> 00:21:19,061 INTO THE 16 CENTURY. 473 00:21:19,061 --> 00:21:21,330 THERE WAS THE FIRST KNOWN TREATY 474 00:21:21,330 --> 00:21:31,206 DEDICATED TO THE ON OPHTHALMIC 475 00:21:31,206 --> 00:21:33,142 HEALTH AND IT INCLUDES 92 476 00:21:33,142 --> 00:21:40,316 ILLUSTRATIONS DEMONSTRATING AND 477 00:21:40,316 --> 00:21:40,649 INSTRUMENTS. 478 00:21:40,649 --> 00:21:46,388 AND THERE'S A COPY FROM 1583 479 00:21:46,388 --> 00:21:48,490 FROM WHICH THE IMAGE ON THE 480 00:21:48,490 --> 00:21:52,661 SLIDE IS DRAWN. 481 00:21:52,661 --> 00:21:55,364 HOWEVER, WHILE BARTISCH ADVOCATE 482 00:21:55,364 --> 00:21:58,067 WILL HE WAS AGAINST THE USE OF 483 00:21:58,067 --> 00:21:59,001 SPECTACLES STATING QUOTE IT'S 484 00:21:59,001 --> 00:22:01,737 BETTER AND BENEFICIAL ONE NOT 485 00:22:01,737 --> 00:22:04,306 REQUIRE SPECTACLES IT'S BETTER 486 00:22:04,306 --> 00:22:05,574 FOR A PERSON TO PRESERVE TWO 487 00:22:05,574 --> 00:22:07,910 EYES THAN FOUR AND SOME PEOPLE 488 00:22:07,910 --> 00:22:10,245 SAY THEY ARE SEE BETTER THROUGH 489 00:22:10,245 --> 00:22:12,648 SPECTACLES AND EYE GLASSES 490 00:22:12,648 --> 00:22:15,918 SHOULD CONSIDER THIS A HABIT AND 491 00:22:15,918 --> 00:22:19,088 AFFLICTION OR DEFICIENCY OF THE 492 00:22:19,088 --> 00:22:20,656 EYES, END QUOTE. 493 00:22:20,656 --> 00:22:23,892 HIS CRITIQUE SHOWS A GENTLEMAN 494 00:22:23,892 --> 00:22:25,394 WEARING A PAIR OF SPECTACLES TO 495 00:22:25,394 --> 00:22:27,896 READ ON THE TABLE IN FRONT OF 496 00:22:27,896 --> 00:22:30,632 HIM IS AN ALTERNATIVE SPECTACLE 497 00:22:30,632 --> 00:22:32,935 DESIGN REFERRED TO AS GOGGLES WE 498 00:22:32,935 --> 00:22:33,936 MIGHT RECOGNIZE TODAY. 499 00:22:33,936 --> 00:22:39,842 THE GLASS IN THE GOGGLES WAS NOT 500 00:22:39,842 --> 00:22:41,944 SHAPED AS CAREFULLY AND THEY 501 00:22:41,944 --> 00:22:45,681 SERVED MORE PROTECTIVE FUNCTION 502 00:22:45,681 --> 00:22:51,987 THAN TO AID LONG SIGHTEDNESS. 503 00:22:51,987 --> 00:22:56,592 HOWEVER, DESPITE DISCOURAGING 504 00:22:56,592 --> 00:22:59,495 THE USE SALES INCREASED. 505 00:22:59,495 --> 00:23:03,198 AND IN A BOOK THERE'S THE EXPORT 506 00:23:03,198 --> 00:23:06,769 OF 24,000 SPECTACLES FROM VENICE 507 00:23:06,769 --> 00:23:08,704 TO TURKEY AND THE SPECTACLES 508 00:23:08,704 --> 00:23:10,406 WOULD GO ON TO BE SOLD BY A 509 00:23:10,406 --> 00:23:12,408 RANGE OF INDIVIDUALS FROM 510 00:23:12,408 --> 00:23:16,678 MERCHANTS AND MARKET STORE 511 00:23:16,678 --> 00:23:22,484 HOLDERS TO TRAVELLING PEDDLERS 512 00:23:22,484 --> 00:23:28,624 AND THE NLM RETAIN THE IMAGE 513 00:23:28,624 --> 00:23:33,796 AROUND 1600 COMMENTING ON THE 514 00:23:33,796 --> 00:23:35,063 USE AND SALES. 515 00:23:35,063 --> 00:23:37,433 THE SHOP ON THE LEFT SIDE SALES 516 00:23:37,433 --> 00:23:40,669 PRE MADE LENSES AS WELL AS CASES 517 00:23:40,669 --> 00:23:44,673 TO PROTECT THEM AND AS WE LOOK 518 00:23:44,673 --> 00:23:46,442 AROUND WE START TO REALIZE 519 00:23:46,442 --> 00:23:47,376 ALMOST EVERYONE ELSE IS ALSO 520 00:23:47,376 --> 00:23:51,146 WEARING GLASSES INCLUDING A 521 00:23:51,146 --> 00:23:53,549 SCHOLAR IN A DOCTORAL CAP AND 522 00:23:53,549 --> 00:23:58,654 BOOK SELLER KEEPING ACCOUNTS, A 523 00:23:58,654 --> 00:23:59,855 SEAMSTRESS SEWING AND COBBLER 524 00:23:59,855 --> 00:24:00,355 AND APPRENTICE. 525 00:24:00,355 --> 00:24:02,624 THE ONLY ADULT NOT WEARING 526 00:24:02,624 --> 00:24:08,564 GLASSES OR NOT USING SOME KIND 527 00:24:08,564 --> 00:24:17,439 OF OPTICAL AID IS THE BLIND MAN 528 00:24:17,439 --> 00:24:20,876 WITH THE DOG AND SAYS GLASSES 529 00:24:20,876 --> 00:24:21,977 REMOVES THE MORE OBSCURE 530 00:24:21,977 --> 00:24:23,912 DARKNESS FROM THE EYES. 531 00:24:23,912 --> 00:24:25,547 WHAT I FIND INTERESTING ABOUT 532 00:24:25,547 --> 00:24:27,883 THE IMAGE IS IT COULD BE READ IN 533 00:24:27,883 --> 00:24:29,017 ONE OF TWO WAYS. 534 00:24:29,017 --> 00:24:31,353 ON ONE HAND AS SPOKEN ABOUT IN 535 00:24:31,353 --> 00:24:33,522 SCHOLARSHIP COULD BE SAID TO BE 536 00:24:33,522 --> 00:24:35,057 PROMOTING THE SALES OF 537 00:24:35,057 --> 00:24:35,991 SPECTACLES AS SOMETHING USEFUL 538 00:24:35,991 --> 00:24:37,326 TO ALL PROFESSIONS. 539 00:24:37,326 --> 00:24:39,728 EVERYBODY HAS A PAIR AND THE 540 00:24:39,728 --> 00:24:42,030 TEXT SEEMS TO IMPLY THE GLASSES 541 00:24:42,030 --> 00:24:44,266 ARE DOING THEIR JOB IN REMOVING 542 00:24:44,266 --> 00:24:49,605 THE OBSCURE OF DARKNESS. 543 00:24:49,605 --> 00:24:52,674 HOWEVER, IT COULD ALSO BE READ 544 00:24:52,674 --> 00:24:53,642 AS SATIRE. 545 00:24:53,642 --> 00:24:55,577 THE PERSON WHO ISN'T WEARING 546 00:24:55,577 --> 00:24:56,278 SPECTACLES IS THE PERSON SELLING 547 00:24:56,278 --> 00:24:58,814 THEM AND PROMOTING THEM WHICH 548 00:24:58,814 --> 00:25:00,582 SAYS SOMETHING ABOUT HIS 549 00:25:00,582 --> 00:25:04,119 CONFIDENCE IN HIS GOODS AND THE 550 00:25:04,119 --> 00:25:06,622 FACT THAT THE TEXT SUGGESTS THEY 551 00:25:06,622 --> 00:25:09,458 ARE REMOVING THE MORE OBSCURE 552 00:25:09,458 --> 00:25:12,995 DARKNESS FROM THE EYES COULD BE 553 00:25:12,995 --> 00:25:16,665 MORE TONGUE AND CHEEK PULLING 554 00:25:16,665 --> 00:25:26,008 THE METAPHORIC WOOL OVER THE 555 00:25:26,008 --> 00:25:26,208 EYES. 556 00:25:26,208 --> 00:25:31,113 AND IT WASN'T SEEN AS IMMORE OR 557 00:25:31,113 --> 00:25:31,680 DECEITFUL. 558 00:25:31,680 --> 00:25:37,219 ANOTHER EXAMPLE IS IN AN 559 00:25:37,219 --> 00:25:39,121 ENGRAVING FROM AROUND 1570 560 00:25:39,121 --> 00:25:41,423 ENTITLED THE FESTIVAL OF FOOLS. 561 00:25:41,423 --> 00:25:42,658 THE FOOLS IN THE ENGRAVING CAN 562 00:25:42,658 --> 00:25:46,228 BE SEEN ENGAGING IN TYPICALLY 563 00:25:46,228 --> 00:25:49,831 FOOLISH BEHAVIORS, DANCING A 564 00:25:49,831 --> 00:25:52,668 CIRCLE, PLAYING LOUD MUSICAL 565 00:25:52,668 --> 00:25:56,405 INSTRUMENTS, PUBLICALLY 566 00:25:56,405 --> 00:25:57,539 URINATING INTO A BOWL AND 567 00:25:57,539 --> 00:25:59,741 WEARING AND SELLING SPECTACLES. 568 00:25:59,741 --> 00:26:01,209 WHAT MAKES THE IMAGE ESPECIALLY 569 00:26:01,209 --> 00:26:02,578 INTERESTING IS THE CONNECTION 570 00:26:02,578 --> 00:26:04,680 WITH THE POEM WRITTEN IN THE 571 00:26:04,680 --> 00:26:06,882 LOWER BORDER OUTLINING ALL KINDS 572 00:26:06,882 --> 00:26:08,684 OF FOOLS AND THE ACTIVITIES 573 00:26:08,684 --> 00:26:12,421 THEY'RE PARTICIPATING IN. 574 00:26:12,421 --> 00:26:15,958 AND THE THIRD STANZA STATES IN 575 00:26:15,958 --> 00:26:19,361 TRANSLATION, THEY WASTE ALL 576 00:26:19,361 --> 00:26:19,728 THEIR SUBSTANCE. 577 00:26:19,728 --> 00:26:24,633 SOME SELL TRUMPETS AND OTHERS 578 00:26:24,633 --> 00:26:28,437 SELL SPECTACLES WITH WHICH THEY 579 00:26:28,437 --> 00:26:38,947 DECEIVE MANY NIMWITS AND THE 580 00:26:40,182 --> 00:26:40,449 PO 581 00:26:40,449 --> 00:26:41,950 FOOL FOUND IN THE LOWER RIGHT 582 00:26:41,950 --> 00:26:45,887 HAND CORNER OF THE IMAGE AND YOU 583 00:26:45,887 --> 00:26:48,624 CAN SEE MORE CLEARLY ON THE 584 00:26:48,624 --> 00:26:51,994 RIGHT SIDE OF THE POWER POINT IS 585 00:26:51,994 --> 00:26:53,495 REPRESENTATIVE OF THE FOOLS IN 586 00:26:53,495 --> 00:26:56,665 THE POEM WHO SELL SPECTACLES 587 00:26:56,665 --> 00:27:07,175 WITH WHICH THEY DECEIVE MANY 588 00:27:08,310 --> 00:27:08,577 KN 589 00:27:08,577 --> 00:27:10,512 NITWITS AND THEY ALLOW 590 00:27:10,512 --> 00:27:12,147 THEMSELVES TO BE DECEIVED. 591 00:27:12,147 --> 00:27:13,215 AND THE REASON THEY WERE 592 00:27:13,215 --> 00:27:16,652 CONSIDERED FOOLS IS FROM THE 14 593 00:27:16,652 --> 00:27:24,026 CENTURY THERE WAS THE THOUGHT 594 00:27:24,026 --> 00:27:25,427 SPENT SPECTACLES CHANGE THE WAY 595 00:27:25,427 --> 00:27:26,995 PEOPLE SEE THE WORLD AND PREVENT 596 00:27:26,995 --> 00:27:30,766 PEOPLE FROM VIEWING AN OBJECTIVE 597 00:27:30,766 --> 00:27:31,800 TRUTH. 598 00:27:31,800 --> 00:27:36,672 AS THE CONTEMPORARY ITALIAN 599 00:27:36,672 --> 00:27:38,707 PHYSICIST SUGGESTS THE GAIN OF 600 00:27:38,707 --> 00:27:42,377 VISION IS TO KNOW THE TRUTH. 601 00:27:42,377 --> 00:27:45,013 EYE GLASSES MAKE FIGURES SEEM 602 00:27:45,013 --> 00:27:52,421 BIGGER OR SMALLER, NEARER, 603 00:27:52,421 --> 00:27:54,089 FURTHER, INVERTED AND DECEIVE 604 00:27:54,089 --> 00:27:55,691 AND NOT TO BE USED FOR SERIOUS 605 00:27:55,691 --> 00:27:55,957 PURPOSE. 606 00:27:55,957 --> 00:27:57,926 IT'S POSSIBLE IF SPECTACLES WERE 607 00:27:57,926 --> 00:28:00,629 MADE OF GLASS FROM A LOWER 608 00:28:00,629 --> 00:28:09,337 OPTICAL QUALITY OR THE CURVE WAS 609 00:28:09,337 --> 00:28:12,474 INCORRECT THE COULD DISTORT THE 610 00:28:12,474 --> 00:28:16,678 WORLD IN THE WAY SUGGESTED. 611 00:28:16,678 --> 00:28:19,114 WORKING WITH SPECTACLES REQUIRES 612 00:28:19,114 --> 00:28:21,049 NO USE OF DIFFERENT GLASS AND WE 613 00:28:21,049 --> 00:28:26,054 HAVE BERYL OF A LOWER OPTICAL 614 00:28:26,054 --> 00:28:30,625 QUALITY AND GLASS AND HIGHER 615 00:28:30,625 --> 00:28:35,297 QUALITY AND HAS TO BE SHAPED TO 616 00:28:35,297 --> 00:28:37,065 FUNCTION WITHOUT DISTORTION. 617 00:28:37,065 --> 00:28:40,135 IT COULD TAKE TIME TO BECOME 618 00:28:40,135 --> 00:28:42,637 ACCUSTOMED WHERE THEY COULD 619 00:28:42,637 --> 00:28:45,674 EXPERIENCE A WARPED VISION AND 620 00:28:45,674 --> 00:28:46,374 DISTORTING ONE'S VISION WAS 621 00:28:46,374 --> 00:28:49,478 BASED ON PEOPLE'S EXPERIENCE OF 622 00:28:49,478 --> 00:28:51,446 USING POORLY MADE SPECTACLES OR 623 00:28:51,446 --> 00:28:56,651 NOT TAKING TIME FOR THEIR EYES 624 00:28:56,651 --> 00:28:59,421 TO ADAPT TO SPECTACLE USE AND 625 00:28:59,421 --> 00:29:01,189 THERE US A FEAR WEARING THEM 626 00:29:01,189 --> 00:29:04,826 COULD WORSEN ONE'S VISION. 627 00:29:04,826 --> 00:29:05,961 THIS IS DIFFICULT TO DISPROVE 628 00:29:05,961 --> 00:29:07,963 BECAUSE IN MANY CASES EYE 629 00:29:07,963 --> 00:29:14,169 CONDITIONS LIKE PRESBYOPIA ARE 630 00:29:14,169 --> 00:29:15,470 DEGENERATIVE AND WORSEN WHETHER 631 00:29:15,470 --> 00:29:17,506 OR NOT A PERSON WEARS SPECTACLES 632 00:29:17,506 --> 00:29:20,208 BUT IT'S USUALLY THEY WEAR THEM 633 00:29:20,208 --> 00:29:21,543 THEY EXPERIENCE A DECLINE IN 634 00:29:21,543 --> 00:29:22,477 VISION SO IT'S POSSIBLE TO SEE 635 00:29:22,477 --> 00:29:25,113 HOW SPECTACLE USE COULD BE 636 00:29:25,113 --> 00:29:28,683 CONFLATED WITH THE NATURAL 637 00:29:28,683 --> 00:29:31,653 DEGENERATION OF VISION. 638 00:29:31,653 --> 00:29:34,856 DESPITE THE REASONS OR THE 639 00:29:34,856 --> 00:29:36,658 VALIDITY BEHIND CLAIMS 640 00:29:36,658 --> 00:29:40,662 SPECTACLES COULD HARM VISION THE 641 00:29:40,662 --> 00:29:43,832 IDEA PERSISTED THROUGH MIDDLE 642 00:29:43,832 --> 00:29:44,032 AGES. 643 00:29:44,032 --> 00:29:47,135 AS MENTIONED EARLIER, WHILE 644 00:29:47,135 --> 00:29:48,637 SPECTACLES WERE USED AS A 645 00:29:48,637 --> 00:29:51,139 METAPHOR FOR LEARNEDNESS IN THE 646 00:29:51,139 --> 00:29:52,674 EARLY MODERN PERIOD THEY BECAME 647 00:29:52,674 --> 00:29:55,777 A SIGNIFIER OF FOOLISHNESS. 648 00:29:55,777 --> 00:29:57,646 THIS DUAL MEANING CAN MAKE IT 649 00:29:57,646 --> 00:30:00,215 HARD FOR MODERN SCHOLARS TO 650 00:30:00,215 --> 00:30:03,185 DETERMINE IF THE INCLUSION OF 651 00:30:03,185 --> 00:30:06,421 SPECTACLES IS USED AS A PRAISE 652 00:30:06,421 --> 00:30:08,089 OR TECHNIQUE AND IT'S IMPORTANT 653 00:30:08,089 --> 00:30:09,090 TO UNDERSTAND THE INTENDED 654 00:30:09,090 --> 00:30:13,762 MESSAGE IN THE IMAGE. 655 00:30:13,762 --> 00:30:18,633 AROUND THE 14th CENTURY ONWARDS 656 00:30:18,633 --> 00:30:25,073 THEY BEGAN TO BE PRESENTED AS 657 00:30:25,073 --> 00:30:28,476 FOOLS INTELLECTUALLY MORALLY 658 00:30:28,476 --> 00:30:31,546 DEFICIENT AND PRESENT AN 659 00:30:31,546 --> 00:30:32,747 INACCURATE VIEW OF THE WORLDING 660 00:30:32,747 --> 00:30:40,288 THE THEY WERE EASILY DECEIVED OR 661 00:30:40,288 --> 00:30:45,160 LACKING IN COMMON SENSE AND THE 662 00:30:45,160 --> 00:30:48,530 SHIP OF FOOLS IS A POEM FIRST 663 00:30:48,530 --> 00:30:51,366 PUBLISHED IN SWITZERLAND IN 664 00:30:51,366 --> 00:30:51,633 1494. 665 00:30:51,633 --> 00:30:54,636 THE POEM ILLUSTRATED BY A SERIES 666 00:30:54,636 --> 00:31:00,642 OF COPIES OF WHICH WHERE THEY'RE 667 00:31:00,642 --> 00:31:01,509 HELD IN THE NLM COLLECTION. 668 00:31:01,509 --> 00:31:05,146 THE FIRST OF ILLUSTRATIONS ON 669 00:31:05,146 --> 00:31:08,650 THE SLIDE THE FOOL INDICATED BY 670 00:31:08,650 --> 00:31:12,654 HIS CAP DECORATED BY BELLS AND 671 00:31:12,654 --> 00:31:16,658 DONKEY SHAPED EARS AND PEERS 672 00:31:16,658 --> 00:31:18,793 INTO THE BOOKS THROUGH RIVETED 673 00:31:18,793 --> 00:31:21,529 SPECTACLES AND THE FOOL SAYS, 674 00:31:21,529 --> 00:31:23,999 QUOTE, ALTHOUGH MY LATIN ISN'T 675 00:31:23,999 --> 00:31:32,407 FINE, I KNOW VINUM STANDS FOR 676 00:31:32,407 --> 00:31:42,951 WINE AND GUCKLUS A CUCKOLD FOR 677 00:31:50,659 --> 00:31:52,260 STULTUS FOOL AND I AM A DOCTOR 678 00:31:52,260 --> 00:31:54,663 THAT'S MY RULE SUGGESTING TRUE 679 00:31:54,663 --> 00:31:56,097 FOOLISHNESS STEMS NOT FROM 680 00:31:56,097 --> 00:31:57,165 READING BUT READING AND FOCUSES 681 00:31:57,165 --> 00:32:01,136 ON THE WRONG KINDS OF THINGS. 682 00:32:01,136 --> 00:32:02,070 IT'S ALSO SIGNIFICANT THIS IS 683 00:32:02,070 --> 00:32:04,973 THE FIRST FOOL TO APPEAR IN 684 00:32:04,973 --> 00:32:06,174 BRUNT'S POEM. 685 00:32:06,174 --> 00:32:10,211 HE USES IT TO CRITIQUE THOSE 686 00:32:10,211 --> 00:32:13,114 LOOKING UP INAPPROPRIATE THINGS 687 00:32:13,114 --> 00:32:15,283 IN BOOKS AND THE CONTEXT IS THE 688 00:32:15,283 --> 00:32:16,384 FOOL READING ABOUT FOOLS IN A 689 00:32:16,384 --> 00:32:18,687 BOOK AND CAST THE READER AS THE 690 00:32:18,687 --> 00:32:21,923 ROLE OF THE FOOL THEMSELVES. 691 00:32:21,923 --> 00:32:23,325 THE FOOLS ARE NOT THE ONLY 692 00:32:23,325 --> 00:32:25,393 INDIVIDUALS FOR WHOM SPECTACLES 693 00:32:25,393 --> 00:32:27,963 ARE USED AS A VISUAL SIGNIFIER 694 00:32:27,963 --> 00:32:29,631 OF INAPPROPRIATE BEHAVIOR. 695 00:32:29,631 --> 00:32:32,667 THEY'RE ALSO USED TO MOCK 696 00:32:32,667 --> 00:32:35,170 RELIGIOUS INDIVIDUALS FOR 697 00:32:35,170 --> 00:32:36,271 PARTICIPATING OR LOOKING UP 698 00:32:36,271 --> 00:32:37,539 THINGS NOT SUITABLE TO THEIR 699 00:32:37,539 --> 00:32:38,106 POSITION. 700 00:32:38,106 --> 00:32:41,776 THE INDIVIDUAL'S BEHAVIOR AND 701 00:32:41,776 --> 00:32:42,677 OCULAR IMPAIRMENT DEMONSTRATE 702 00:32:42,677 --> 00:32:44,145 THE DISTANCE FROM GOD. 703 00:32:44,145 --> 00:32:46,781 AN EXAMPLE CAN BE SEEN IN A 704 00:32:46,781 --> 00:32:47,816 MANUSCRIPT LOCATED IN A LATE 705 00:32:47,816 --> 00:32:58,360 14th CENTURY COPY OF A MORALITY 706 00:33:01,463 --> 00:33:08,670 TEXT WRITTEN EARLY 14th CENTURY. 707 00:33:08,670 --> 00:33:13,742 WE SEE AN IMAGE OF A SPECTACLED 708 00:33:13,742 --> 00:33:15,176 MONK PLAYING DICE AND THE 709 00:33:15,176 --> 00:33:17,746 OPPONENT IS INTENDED TO 710 00:33:17,746 --> 00:33:20,648 REPRESENT A LOWER STATUS OR 711 00:33:20,648 --> 00:33:23,018 UNSAVORY CHARACTER. 712 00:33:23,018 --> 00:33:27,222 HIS HOSE ARE FALLING DOWN AND 713 00:33:27,222 --> 00:33:30,658 DEPICTED WITH WILD RED HAIR AND 714 00:33:30,658 --> 00:33:31,659 BEARD. 715 00:33:31,659 --> 00:33:35,530 AND THEY'RE FREQUENTLY USED IN 716 00:33:35,530 --> 00:33:46,074 IMAGERY TO REPRESENT JUDAS AND 717 00:33:48,243 --> 00:33:49,711 TOLD CLERICS TO STAY AWAY FROM 718 00:33:49,711 --> 00:33:52,380 DICE AND MALICIOUS WOMEN. 719 00:33:52,380 --> 00:33:55,884 THERE'S LITTLE DOUBT BY GAMBLING 720 00:33:55,884 --> 00:33:58,153 WITH THIS ROGUISH OPPONENT 721 00:33:58,153 --> 00:33:59,254 THEY'RE FOCUSSING THEIR 722 00:33:59,254 --> 00:34:01,489 ATTENTION ON THE WRONG KIND OF 723 00:34:01,489 --> 00:34:01,956 ACTIVITY. 724 00:34:01,956 --> 00:34:04,492 IF THE MANUSCRIPT WAS ORIGINALLY 725 00:34:04,492 --> 00:34:05,994 WRITTEN BY THE DOMINICAN FRIAR 726 00:34:05,994 --> 00:34:10,465 IT MAKES SENSE THE INCLUSION OF 727 00:34:10,465 --> 00:34:11,766 SPECTACLES INDICATING HE SHOULD 728 00:34:11,766 --> 00:34:14,335 BE APPLYING HIMSELF TO HOLY 729 00:34:14,335 --> 00:34:14,969 SCRIPTURE RATHER THAN A GAME OF 730 00:34:14,969 --> 00:34:18,239 DICE. 731 00:34:18,239 --> 00:34:20,442 ANOTHER AND FINAL EXAMPLE CAN BE 732 00:34:20,442 --> 00:34:24,479 FOUND IN 14th CENTURY FRENCH 733 00:34:24,479 --> 00:34:26,781 SULTA AND IT SHOWED FOUR MONKS 734 00:34:26,781 --> 00:34:31,853 READING FROM A PRAYER BOOK IN. 735 00:34:31,853 --> 00:34:33,354 THE THREE MONKS IN FRONT LOOKING 736 00:34:33,354 --> 00:34:34,989 AT THE TEXT UP FRONT OF THEM 737 00:34:34,989 --> 00:34:37,725 WITH SCOWLS OF CONCENTRATION AND 738 00:34:37,725 --> 00:34:40,695 THE MONK AT THE BACK OF THE 739 00:34:40,695 --> 00:34:43,331 GROUP IS STARING AWAY FROM THE 740 00:34:43,331 --> 00:34:45,400 PRAYER BOOK. 741 00:34:45,400 --> 00:34:48,069 IT'S USED TO CRITIQUE 742 00:34:48,069 --> 00:34:50,105 INAPPROPRIATE BEHAVIOR AND 743 00:34:50,105 --> 00:34:52,674 UNLIKE HIS PIOUS BROTHERS 744 00:34:52,674 --> 00:34:56,144 ENGAGED IN READING THE HOLY TEXT 745 00:34:56,144 --> 00:34:59,647 THIS SHOWS HIS EYES WONDERED 746 00:34:59,647 --> 00:35:01,282 AWAY FROM HIS RESPONSIBILITIES. 747 00:35:01,282 --> 00:35:02,784 IT'S USED TO DEMONSTRATE THE 748 00:35:02,784 --> 00:35:06,688 SHOULD BE APPLYING HIMSELF TO 749 00:35:06,688 --> 00:35:10,024 THE HOLY TEXT THAN IDLE DAY 750 00:35:10,024 --> 00:35:15,730 DREAMING AND ACTED TO THE 751 00:35:15,730 --> 00:35:20,668 WARNING OF THE READER TO FOCUS 752 00:35:20,668 --> 00:35:25,907 ON THE MARGINAL ILLUSTRATIONS 753 00:35:25,907 --> 00:35:32,280 AND SATHE SPECTACLES DRAWING 754 00:35:32,280 --> 00:35:33,381 ATTENTION TO MISPLACED 755 00:35:33,381 --> 00:35:33,648 ATTENTION. 756 00:35:33,648 --> 00:35:37,051 THE HISTORY OF SPECTACLES IN THE 757 00:35:37,051 --> 00:35:40,688 PREMODERN PEOPLE DUEL FUNCTION 758 00:35:40,688 --> 00:35:43,758 IS PRACTICAL TOOLS AND POWERFUL 759 00:35:43,758 --> 00:35:47,929 SYMBOLS AND WAS A LUXURY ITEM 760 00:35:47,929 --> 00:35:49,964 THEY SOON BECAME ASSOCIATED WITH 761 00:35:49,964 --> 00:35:52,033 WISDOM AND LEARNING HOWEVER, AS 762 00:35:52,033 --> 00:35:54,669 THE USE BECAME MORE WIDE SPREAD 763 00:35:54,669 --> 00:36:01,543 THEY ARE ATTRACTED SKEPTICISM 764 00:36:01,543 --> 00:36:04,145 ACCELERATING DETERIORATION OF 765 00:36:04,145 --> 00:36:06,681 NATURAL EYESIGHT AND THEY WERE 766 00:36:06,681 --> 00:36:09,484 OFTEN USED TO SYMBOLIZE 767 00:36:09,484 --> 00:36:09,784 FOOLISHNESS. 768 00:36:09,784 --> 00:36:11,653 THE DEVELOPMENT OF SPECTACLES 769 00:36:11,653 --> 00:36:13,021 HIGHLIGHT THE BROAD ATTENTION 770 00:36:13,021 --> 00:36:14,455 BETWEEN THE BENEFITS OF 771 00:36:14,455 --> 00:36:16,057 ASSISTIVE TECHNOLOGIES AND THE 772 00:36:16,057 --> 00:36:18,426 ANXIETIES THEY PROVOKE. 773 00:36:18,426 --> 00:36:19,494 SPECTACLES BECAME MORE 774 00:36:19,494 --> 00:36:21,763 ACCESSIBLE AND RESHAPED NOT ONLY 775 00:36:21,763 --> 00:36:22,797 HOW PEOPLE SAW THE WORLD BUT HOW 776 00:36:22,797 --> 00:36:24,966 THEY WERE SEEN BY OTHERS. 777 00:36:24,966 --> 00:36:26,868 THE COMPLEX LEGACY CONTINUES TO 778 00:36:26,868 --> 00:36:28,036 INFLUENCE THE WAYS WE THINK OF 779 00:36:28,036 --> 00:36:28,670 VISION, KNOWLEDGE AND TECHNOLOGY 780 00:36:28,670 --> 00:36:30,672 TODAY. 781 00:36:30,672 --> 00:36:35,743 THANK YOU. 782 00:36:35,743 --> 00:36:39,480 >> DR. GILLIBRAND, FANTASTIC 783 00:36:39,480 --> 00:36:39,747 TALK. 784 00:36:39,747 --> 00:36:43,184 EXCELLENT RESEARCH AND WONDERFUL 785 00:36:43,184 --> 00:36:45,787 VISUALS, EXCUSE THE PUN. 786 00:36:45,787 --> 00:36:47,922 I DID NOT KNOW VELMA'S LAST NAME 787 00:36:47,922 --> 00:36:50,792 SO I LEARNED SOMETHING BESIDES 788 00:36:50,792 --> 00:36:53,995 ALL OF YOUR FANTASTIC RESEARCH. 789 00:36:53,995 --> 00:36:56,264 IN ALL SERIOUSNESS A WONDERFUL 790 00:36:56,264 --> 00:36:56,464 TALK. 791 00:36:56,464 --> 00:36:57,432 I HAVE SEVERAL QUESTION FOR YOU 792 00:36:57,432 --> 00:36:59,434 AND WE HAVE TIME FOR QUESTIONS 793 00:36:59,434 --> 00:37:02,070 FOR DR. GILLIBRAND SO FOR THOSE 794 00:37:02,070 --> 00:37:04,472 WATCHING, PLEASE USE THE LIVE 795 00:37:04,472 --> 00:37:05,907 FEEDBACK BUTTON UNDER THE NIH 796 00:37:05,907 --> 00:37:08,543 VIDEOCAST STREAM TO SEND YOUR 797 00:37:08,543 --> 00:37:09,510 QUESTION. 798 00:37:09,510 --> 00:37:11,879 THOSE QUESTIONS WILL COME TO ME 799 00:37:11,879 --> 00:37:14,115 AND I'LL TRIAGE THEM ON MY 800 00:37:14,115 --> 00:37:16,184 SCREEN AND ASKED THEM TO OUR 801 00:37:16,184 --> 00:37:16,651 SPEAKER. 802 00:37:16,651 --> 00:37:20,388 DR. GILLIBRAND, THANK YOU AGAIN. 803 00:37:20,388 --> 00:37:21,823 LET'S START WITH THE QUESTION, 804 00:37:21,823 --> 00:37:23,625 SPECTACLES WERE SEEN AS SYMBOLS 805 00:37:23,625 --> 00:37:27,595 OF BOTH WISDOM AND FOOLISHNESS. 806 00:37:27,595 --> 00:37:29,864 WAS THIS DUALITY PRESENT IN 807 00:37:29,864 --> 00:37:30,698 OTHER FORMS OF ASSISTIVE 808 00:37:30,698 --> 00:37:36,671 TECHNOLOGIES AT THE TIMES? 809 00:37:36,671 --> 00:37:37,071 >> 810 00:37:37,071 --> 00:37:39,307 >> THE ANSWER IS INTERESTING AND 811 00:37:39,307 --> 00:37:40,675 YES AND NO. 812 00:37:40,675 --> 00:37:42,543 WE SAW TECHNOLOGY CARRYING 813 00:37:42,543 --> 00:37:48,449 DIFFERENT CONNOTATIONS WHEN USED 814 00:37:48,449 --> 00:37:49,784 BY DIFFERENT PEOPLE IN THINGS 815 00:37:49,784 --> 00:37:52,353 LIKE VISUAL CULTURE AS WELL AS 816 00:37:52,353 --> 00:37:53,288 IN LIFE. 817 00:37:53,288 --> 00:37:58,593 ANOTHER GOOD EXAMPLE CAN BE SEEN 818 00:37:58,593 --> 00:37:59,394 IN REPRESENTATIONS OF PEOPLE 819 00:37:59,394 --> 00:38:00,695 USING EARLY WHEELCHAIRS. 820 00:38:00,695 --> 00:38:02,630 THEY DIDN'T EXIST IN THE MIDDLE 821 00:38:02,630 --> 00:38:03,464 AGE. 822 00:38:03,464 --> 00:38:05,400 THE URBAN ENVIRONMENT AND 823 00:38:05,400 --> 00:38:06,701 LANDSCAPE DIDN'T FUNCTION FOR 824 00:38:06,701 --> 00:38:09,937 THOSE WHO LARGE WHEELS ON THE 825 00:38:09,937 --> 00:38:16,678 SIDE OF A CHAIR INSTEAD AN 826 00:38:16,678 --> 00:38:19,180 ADAPTIVE WHEELBARROW AND WHEN 827 00:38:19,180 --> 00:38:23,151 LOOKING AT THE ADAPTIVE 828 00:38:23,151 --> 00:38:24,552 WHEELBARROWS WE SEE IT'S MORE 829 00:38:24,552 --> 00:38:26,220 ACCEPTABLE FOR WOMEN TO TRAVEL 830 00:38:26,220 --> 00:38:34,729 IN THESE DEVICES THAN MEN. 831 00:38:34,729 --> 00:38:40,668 IT SPEAKS TO GENDER AND 832 00:38:40,668 --> 00:38:46,974 DISABILITY. 833 00:38:46,974 --> 00:38:52,013 WOMEN HAVE SHARPENED MINDS BUT 834 00:38:52,013 --> 00:38:57,852 MORE DELICATE BODIES AND IT WAS 835 00:38:57,852 --> 00:39:00,655 MORE APPROPRIATE BUT WOULD HAVE 836 00:39:00,655 --> 00:39:04,625 BEEN EMASCULATING FOR MEN TO 837 00:39:04,625 --> 00:39:08,663 TRAVEL THAT WAY DEMONSTRATING A 838 00:39:08,663 --> 00:39:12,266 FRAGILITY ASSOCIATED WITH 839 00:39:12,266 --> 00:39:14,102 FEMININE BEHAVIOR AND WE SEE 840 00:39:14,102 --> 00:39:15,970 DICHOTOMY IN REPRESENTATIONS OF 841 00:39:15,970 --> 00:39:17,171 THE OTHER FORMS OF ASSISTIVE 842 00:39:17,171 --> 00:39:18,673 TECHNOLOGY. 843 00:39:18,673 --> 00:39:22,510 >> THANK YOU. 844 00:39:22,510 --> 00:39:24,679 SO, THIS IS A QUESTION PARTLY 845 00:39:24,679 --> 00:39:28,649 ABOUT SPECTACLES AS MATERIAL 846 00:39:28,649 --> 00:39:29,884 CULTURE. 847 00:39:29,884 --> 00:39:32,487 WITH YOU SEE SPECTACLES FROM THE 848 00:39:32,487 --> 00:39:34,522 MEDIEVAL PERIOD, CAN YOU SPEAK 849 00:39:34,522 --> 00:39:35,990 MORE BROADLY WITH THE NUMBER AND 850 00:39:35,990 --> 00:39:37,759 KINDS OF SPECTACLES THAT 851 00:39:37,759 --> 00:39:40,294 SURVIVED AND AVAILABLE FOR 852 00:39:40,294 --> 00:39:40,661 STUDY? 853 00:39:40,661 --> 00:39:50,938 HAS ANYONE EVER UNDERTAKEN AN 854 00:39:50,938 --> 00:39:52,573 INVENTORY OF THE SURVIVING 855 00:39:52,573 --> 00:39:52,807 OBJECTS? 856 00:39:52,807 --> 00:39:54,675 >> I DON'T THINK THERE'S A 857 00:39:54,675 --> 00:39:56,577 FORMAL INVENTORY. 858 00:39:56,577 --> 00:39:59,147 HOPEFULLY WHEN MY BOOK COMES OUT 859 00:39:59,147 --> 00:40:01,949 IN A COUPLE YEARS AND THERE'S A 860 00:40:01,949 --> 00:40:04,252 CHAPTER ON SPECTACLES TO FILL 861 00:40:04,252 --> 00:40:06,521 THE GAP A LITTLE BIT, THERE'S 862 00:40:06,521 --> 00:40:09,123 VERY FEW SURVIVING EXAMPLES. 863 00:40:09,123 --> 00:40:13,728 THERE'S THE AN EXAMPLE OF A 864 00:40:13,728 --> 00:40:17,165 NUNNERY AND THERE'S ANOTHER SOTE 865 00:40:17,165 --> 00:40:26,874 FROM AN EXCAVATION FROM LONDON. 866 00:40:26,874 --> 00:40:28,976 BECAUSE THEY'RE MADE AND 867 00:40:28,976 --> 00:40:34,015 SURVIVED THE PRESENT DAY. 868 00:40:34,015 --> 00:40:37,251 THEY DISINTEGRATE AND DECOMPOSE 869 00:40:37,251 --> 00:40:38,886 AND THEY'RE FRAGILE AND BREAK 870 00:40:38,886 --> 00:40:41,088 AND THE NUMBER OF SURVIVING 871 00:40:41,088 --> 00:40:44,692 EXAMPLES IS LIMITED WHICH IS WHY 872 00:40:44,692 --> 00:40:46,928 VISUAL CULTURE IS SO USEFUL WE 873 00:40:46,928 --> 00:40:50,231 HAVE ARTISTIC REPRESENTATIONS OF 874 00:40:50,231 --> 00:40:54,335 SPECTACLES AND THE PAUCITY OF 875 00:40:54,335 --> 00:40:54,735 MATERIAL EVIDENCE. 876 00:40:54,735 --> 00:40:55,169 >> NOTED. 877 00:40:55,169 --> 00:40:55,937 THANK YOU. 878 00:40:55,937 --> 00:41:01,676 AND LOOKING FORWARD TO YOUR 879 00:41:01,676 --> 00:41:01,876 BOOK. 880 00:41:01,876 --> 00:41:04,045 SEVERAL HAVE WRITTEN IN THEY ARE 881 00:41:04,045 --> 00:41:05,413 APPRECIATED YOUR TALK CALLING IT 882 00:41:05,413 --> 00:41:09,817 FASCINATING AND ENLIGHTENING. 883 00:41:09,817 --> 00:41:11,586 ANOTHER QUESTION, I'M WONDERING 884 00:41:11,586 --> 00:41:14,155 IF YOU KNOW THE USE OF HANDHELD 885 00:41:14,155 --> 00:41:20,061 LENSES WHAT WE CALL MAGNIFYING 886 00:41:20,061 --> 00:41:20,294 GLASSES. 887 00:41:20,294 --> 00:41:24,699 I BELIEVE THEY WERE USED BY THE 888 00:41:24,699 --> 00:41:27,101 PAINTERS OF TRANSCRIPTS HAVE YOU 889 00:41:27,101 --> 00:41:28,836 SEEN THESE OBJECTS BEING USED 890 00:41:28,836 --> 00:41:30,137 AND THANK YOU VERY MUCH. 891 00:41:30,137 --> 00:41:33,341 >> YES, THERE'S LOADS OF THEM 892 00:41:33,341 --> 00:41:33,774 OUT THERE. 893 00:41:33,774 --> 00:41:36,677 THERE'S VARIOUS OPTICAL DEVICES 894 00:41:36,677 --> 00:41:40,448 AT THIS TIME. 895 00:41:40,448 --> 00:41:42,683 THERE'S ALSO LOST LOBES OF WATER 896 00:41:42,683 --> 00:41:48,689 TO ACT AS A MAGNIFYING GLASS AND 897 00:41:48,689 --> 00:41:52,960 PRE-GLASSES PERIOD OF OCULAR 898 00:41:52,960 --> 00:41:53,160 AIDS. 899 00:41:53,160 --> 00:41:59,100 IN FACT THERE'S A CHAPTER WHERE 900 00:41:59,100 --> 00:42:00,668 THEY HOLD EYE GLASSES RATHER 901 00:42:00,668 --> 00:42:02,336 THAN SPECTACLES. 902 00:42:02,336 --> 00:42:05,339 LOTS OF IMAGES OF MAGNIFYING 903 00:42:05,339 --> 00:42:08,676 GLASSES BEING USED. 904 00:42:08,676 --> 00:42:09,110 >> THANK YOU. 905 00:42:09,110 --> 00:42:14,749 ANOTHER QUESTION, DO WE HAVE ANY 906 00:42:14,749 --> 00:42:16,651 EVIDENCE THAT SUGGESTS THE 907 00:42:16,651 --> 00:42:19,153 BELIEF OF DEGRADATION OF SIGHT 908 00:42:19,153 --> 00:42:22,089 AND THE USE OF SPECTACLES MAY BE 909 00:42:22,089 --> 00:42:23,691 CAUSED OR WORSENS BY EXCESSIVE 910 00:42:23,691 --> 00:42:26,260 READING? 911 00:42:26,260 --> 00:42:28,663 >> I THINK -- I MEAN, NOT FROM 912 00:42:28,663 --> 00:42:32,667 THE MIDDLE AGES, I'VE NOT SEEN 913 00:42:32,667 --> 00:42:33,834 ANY WRITING ABOUT EXCESSIVE 914 00:42:33,834 --> 00:42:36,504 READING CAUSING THE DEGRADATION 915 00:42:36,504 --> 00:42:42,710 OF SITE FROM THE MEDIEVAL 916 00:42:42,710 --> 00:42:43,744 PERSPECTIVE. 917 00:42:43,744 --> 00:42:47,582 BUT THE MODERN RESEARCH IN 918 00:42:47,582 --> 00:42:49,483 DEGRADATION OF SITE CONFIRMS 919 00:42:49,483 --> 00:42:50,518 EXCESSIVE READING IN POOR 920 00:42:50,518 --> 00:42:52,019 LIGHTING CONDITIONS OR READING 921 00:42:52,019 --> 00:42:54,689 ON THE SCREEN IN THE DARK, THAT 922 00:42:54,689 --> 00:42:57,625 KIND OF THING OR READING WITHOUT 923 00:42:57,625 --> 00:42:58,993 WEARING NECESSARY SPECTACLES TO 924 00:42:58,993 --> 00:43:01,062 MAKE IT EASY ON YOUR EYES CAN 925 00:43:01,062 --> 00:43:03,664 QUICKEN THE PACE OF OCULAR 926 00:43:03,664 --> 00:43:04,131 DEGENERATION. 927 00:43:04,131 --> 00:43:07,935 EVEN THOUGH IT'S NOT WRITTEN 928 00:43:07,935 --> 00:43:09,537 ABOUT MEDICALLY, MANY PEOPLE 929 00:43:09,537 --> 00:43:10,237 HAVE BEEN AWARE OF THIS IN THE 930 00:43:10,237 --> 00:43:11,539 SENSE THE EARLY DAYS OF 931 00:43:11,539 --> 00:43:14,875 SPECTACLE USE THE PEOPLE WHO ARE 932 00:43:14,875 --> 00:43:16,010 PREDOMINATELY DEPICTED WEARING 933 00:43:16,010 --> 00:43:18,679 THEM ARE LEARNED FIGURES. 934 00:43:18,679 --> 00:43:23,985 SO, I JUST FINISHED WRITING AN 935 00:43:23,985 --> 00:43:25,886 ARTICLE WHICH WILL HOPEFULLY BE 936 00:43:25,886 --> 00:43:29,023 OUT SOON LOOKING AT IMAGES OF 937 00:43:29,023 --> 00:43:30,691 EVANGELIST WEARING SPECTACLES 938 00:43:30,691 --> 00:43:32,660 WHICH MAKES SENSE BECAUSE OF 939 00:43:32,660 --> 00:43:34,528 THEIR ASSOCIATION WITH WRITING 940 00:43:34,528 --> 00:43:36,497 THE GOSPELS AND UNDERTAKING THAT 941 00:43:36,497 --> 00:43:38,733 BIG WRITING TASK THOUGH THEY 942 00:43:38,733 --> 00:43:40,134 LIVED LONG BEFORE THE INVENTION 943 00:43:40,134 --> 00:43:41,168 OF SPECTACLES. 944 00:43:41,168 --> 00:43:43,270 I THINK THERE WAS AN AWARENESS 945 00:43:43,270 --> 00:43:43,871 OF THIS. 946 00:43:43,871 --> 00:43:46,540 BUT I'VE NEVER SEEN IT IN 947 00:43:46,540 --> 00:43:48,676 MEDICAL TEXT. 948 00:43:48,676 --> 00:43:50,878 >> THANK YOU. 949 00:43:50,878 --> 00:43:52,413 NOT A QUESTION BUT A LOVELY 950 00:43:52,413 --> 00:43:53,648 COMMENT THAT'S COME IN, THANK 951 00:43:53,648 --> 00:43:55,416 YOU FOR SUCH AN INCREDIBLE TALK. 952 00:43:55,416 --> 00:43:57,118 THIS PERSON WRITES IT'S HELPFUL 953 00:43:57,118 --> 00:43:59,353 TO ME WORKING IN COMPUTATION TO 954 00:43:59,353 --> 00:44:01,756 BE REMINDED HOW COMPLICATED AND 955 00:44:01,756 --> 00:44:03,591 NUANCED OUR RELATIONSHIP TO 956 00:44:03,591 --> 00:44:05,426 ASSISTIVE TECHNOLOGY HAS BEEN 957 00:44:05,426 --> 00:44:07,995 ESPECIALLY TOWARDS SEEING A 958 00:44:07,995 --> 00:44:09,997 RELATIONSHIP TO TECHNOLOGY NOW 959 00:44:09,997 --> 00:44:11,098 WITH MORE COMPASSION FOR OUR 960 00:44:11,098 --> 00:44:15,503 DIFFICULTY SORTING OUT. 961 00:44:15,503 --> 00:44:17,071 THANK YOU SO MUCH. 962 00:44:17,071 --> 00:44:18,272 ANOTHER PERSON WRITES IN, 963 00:44:18,272 --> 00:44:22,777 BENJAMIN FRANKLIN IS CREDITED 964 00:44:22,777 --> 00:44:30,351 WITH INVENTING BIFOCALS. 965 00:44:30,351 --> 00:44:30,951 MANY TECHNOLOGIES APPEAR 966 00:44:30,951 --> 00:44:32,219 SIMULTANEOUSLY IN DIFFERENT 967 00:44:32,219 --> 00:44:32,653 PLACES. 968 00:44:32,653 --> 00:44:34,855 WAS FRANKLIN REALLY THE FIRST 969 00:44:34,855 --> 00:44:37,024 WITH BIFOCALS OR DID THEY 970 00:44:37,024 --> 00:44:38,025 DEVELOP INDEPENDENTLY IN OTHER 971 00:44:38,025 --> 00:44:40,061 PLACES AS WELL? 972 00:44:40,061 --> 00:44:41,562 >> I COULDN'T TELL YOU. 973 00:44:41,562 --> 00:44:42,697 I DON'T KNOW. 974 00:44:42,697 --> 00:44:45,099 BENJAMIN FRANKLY IS A LITTLE 975 00:44:45,099 --> 00:44:47,668 AFTER MY TIME AS AN AREA OF 976 00:44:47,668 --> 00:44:48,436 RESEARCH. 977 00:44:48,436 --> 00:44:49,804 I'LL HAVE TO DIG INTO THAT ONE. 978 00:44:49,804 --> 00:44:50,571 I CAN'T HELP YOU THERE. 979 00:44:50,571 --> 00:44:59,246 >> FAIR ENOUGH. 980 00:44:59,246 --> 00:45:01,015 ARE SPECTACLES USED DIFFERENTLY 981 00:45:01,015 --> 00:45:04,218 IN DIFFERENT RELIGIOUS CONTEXT. 982 00:45:04,218 --> 00:45:06,687 FOR EXAMPLE, CHRISTIAN VERSUS 983 00:45:06,687 --> 00:45:17,198 JEWISH AND IF YOU COME ACROSS 984 00:45:20,735 --> 00:45:24,672 AND A LOT OF IMAGES ARE PRODUCED 985 00:45:24,672 --> 00:45:35,116 BY CREATORS AND MENASTIC 986 00:45:36,751 --> 00:45:43,657 SCRIBES. 987 00:45:43,657 --> 00:45:45,392 AND THERE WERE SCRIPTS BUT LIKE 988 00:45:45,392 --> 00:45:47,128 I SAID I'VE NOT LOOKED INTO THAT 989 00:45:47,128 --> 00:45:50,898 ITCH A HUGE A OF DETAIL AND 990 00:45:50,898 --> 00:45:57,371 WOULDN'T WANT TO MAKE A BROAD 991 00:45:57,371 --> 00:45:58,873 OBSERVATION BUT I HAVE SPENT 992 00:45:58,873 --> 00:46:00,674 TIME LOOKING AT SAINTS WEARING 993 00:46:00,674 --> 00:46:01,475 SPECTACLES IN THE CHRISTIAN 994 00:46:01,475 --> 00:46:01,742 TRADITION. 995 00:46:01,742 --> 00:46:08,649 YOU SEE IT OFTEN. 996 00:46:08,649 --> 00:46:11,819 AND WITH IMAGES AND FOCUS ON 997 00:46:11,819 --> 00:46:14,121 READING OR WRITING OF RELIGIOUS 998 00:46:14,121 --> 00:46:15,990 TEXT OR TREATIES. 999 00:46:15,990 --> 00:46:21,328 YOU HAVE THE EVANGELISTS AND 1000 00:46:21,328 --> 00:46:24,565 THERE'S INTERESTING CASE AS 1001 00:46:24,565 --> 00:46:29,537 MATTHEW MARK AND LUKE FREQUENTLY 1002 00:46:29,537 --> 00:46:30,938 APPEAR WEARING SPECTACLES AND 1003 00:46:30,938 --> 00:46:31,939 JOHN DOESN'T AND THERE'S NOT 1004 00:46:31,939 --> 00:46:34,074 TIME TO DISCUSS THIS NOW BUT I 1005 00:46:34,074 --> 00:46:35,276 THINK THAT'S LARGELY BECAUSE 1006 00:46:35,276 --> 00:46:38,779 HE'S ALSO PRESENTED AS THE MORE 1007 00:46:38,779 --> 00:46:40,681 YOUTHFUL MEMBER OF THE 1008 00:46:40,681 --> 00:46:41,448 EVANGELISTS. 1009 00:46:41,448 --> 00:46:43,517 YOU HAVE TWO VISUAL SIGNIFIERS 1010 00:46:43,517 --> 00:46:45,352 AT CONFLICT WITH ONE ANOTHER. 1011 00:46:45,352 --> 00:46:47,154 ONE IS HIS YOUTH AND ONE IS THE 1012 00:46:47,154 --> 00:46:49,590 IDEA IF YOU SPEND A LONG TIME 1013 00:46:49,590 --> 00:46:53,027 READING AND WRITING HOLY TEXTUAL 1014 00:46:53,027 --> 00:46:56,664 BE AT AN AGE WHERE YOUR EYES ARE 1015 00:46:56,664 --> 00:46:59,967 DEGENERATING AND NEED 1016 00:46:59,967 --> 00:47:00,267 SPECTACLES. 1017 00:47:00,267 --> 00:47:02,236 THEY'RE AT ODDS WITH EACH OTHER. 1018 00:47:02,236 --> 00:47:03,804 WE DON'T SEE JOHN WEARING 1019 00:47:03,804 --> 00:47:09,543 SPECTACLES BUT SEE THE OTHER 1020 00:47:09,543 --> 00:47:10,277 THREE. 1021 00:47:10,277 --> 00:47:11,478 LATER OTHERS ARE REPRESENTED 1022 00:47:11,478 --> 00:47:13,581 WEARING SPECTACLES OR HAVING 1023 00:47:13,581 --> 00:47:15,683 THEM IN THEIR VICINITY. 1024 00:47:15,683 --> 00:47:18,619 YOU MAY SEE SPECTACLES ON THE 1025 00:47:18,619 --> 00:47:19,787 DESK AS IF THEY'VE JUST BEEN 1026 00:47:19,787 --> 00:47:20,988 TAKEN OFF OR USED. 1027 00:47:20,988 --> 00:47:24,658 >> THIS PROMPTS ME TO ASK A 1028 00:47:24,658 --> 00:47:28,028 FOLLOW ON QUESTIONS ABOUT THAT. 1029 00:47:28,028 --> 00:47:32,499 WHAT ABOUT WOMEN WEARING 1030 00:47:32,499 --> 00:47:34,401 SPECTACLES AND YOU MENTIONED ONE 1031 00:47:34,401 --> 00:47:36,670 WOMAN BUT I DON'T RECALL HER 1032 00:47:36,670 --> 00:47:39,273 WEARING SPECTACLES BUT YOU DID 1033 00:47:39,273 --> 00:47:39,840 REFERENCE HER. 1034 00:47:39,840 --> 00:47:40,975 WHAT ABOUT HER CONTEMPORARIES IN 1035 00:47:40,975 --> 00:47:43,510 THAT PERIOD OR OTHERS? 1036 00:47:43,510 --> 00:47:45,312 >> I THINK THIS IS WHERE IT GETS 1037 00:47:45,312 --> 00:47:47,648 A LITTLE BIT MORE COMPLICATED. 1038 00:47:47,648 --> 00:47:52,586 WE HAVE THOSE SPECTACLES FROM 1039 00:47:52,586 --> 00:47:56,690 THE NUNNERY AND WE KNOW THEY 1040 00:47:56,690 --> 00:47:58,225 WERE ALL FOUND IN THE GAPS 1041 00:47:58,225 --> 00:47:59,393 BETWEEN THE SEATS IN THE CHOIR 1042 00:47:59,393 --> 00:48:01,295 WHERE THE NUNS WOULD HAVE SAT. 1043 00:48:01,295 --> 00:48:03,764 WE CAN ASSUME THOSE BELONGED TO 1044 00:48:03,764 --> 00:48:05,332 THE NUNS AND THAT'S INTERESTING 1045 00:48:05,332 --> 00:48:08,669 TO ME BECAUSE IT IMPLIES THAT 1046 00:48:08,669 --> 00:48:10,604 THE GLASSES WERE SIMULTANEOUSLY 1047 00:48:10,604 --> 00:48:14,508 IMPORTANT FOR THE NUNS TO CARRY 1048 00:48:14,508 --> 00:48:16,677 THEM ON THEIR PERSON AND WOULD 1049 00:48:16,677 --> 00:48:18,712 NOT HAVE NEEDED THEM IN THE 1050 00:48:18,712 --> 00:48:21,515 CHOIR BUT ONE LARGE BOOK TO 1051 00:48:21,515 --> 00:48:24,018 SPEAK OR SING FROM IN FRONT OF 1052 00:48:24,018 --> 00:48:26,086 THEM ALL FINE FOR LONG DISTANCE. 1053 00:48:26,086 --> 00:48:27,988 YOU WOULDN'T NECESSARILY NEED 1054 00:48:27,988 --> 00:48:28,188 THEM. 1055 00:48:28,188 --> 00:48:29,523 IT'S INTERESTING THEY STILL 1056 00:48:29,523 --> 00:48:35,329 CARRY THEM ON THEIR PERSON BUT 1057 00:48:35,329 --> 00:48:37,598 ALSO WEREN'T PULLING A PART TO 1058 00:48:37,598 --> 00:48:39,133 DIG THEM OUT WHEN THEY FELL 1059 00:48:39,133 --> 00:48:40,668 BETWEEN THE SEAT. 1060 00:48:40,668 --> 00:48:42,703 THAT SAYS SOMETHING ABOUT THE 1061 00:48:42,703 --> 00:48:44,104 WORTH OF GLASSES. 1062 00:48:44,104 --> 00:48:45,306 SO THERE'S EVIDENCE OF WOMEN 1063 00:48:45,306 --> 00:48:47,374 WEARING THEM THERE. 1064 00:48:47,374 --> 00:48:49,877 AND THEN REALLY THE PROBLEM 1065 00:48:49,877 --> 00:48:52,646 COMES DOWN TO THINKING ABOUT 1066 00:48:52,646 --> 00:48:54,682 FEMALE LITERACY IN THE MIDDLE 1067 00:48:54,682 --> 00:48:54,915 AGES. 1068 00:48:54,915 --> 00:48:56,650 WOMEN WEREN'T WORKING AS SCRIBES 1069 00:48:56,650 --> 00:49:00,321 OR ACADEMICS OR PRODUCING TEXT. 1070 00:49:00,321 --> 00:49:02,823 THEY DIDN'T REALLY FIT IN THE 1071 00:49:02,823 --> 00:49:04,658 EARLY CATEGORY OF USES BUT AS 1072 00:49:04,658 --> 00:49:08,629 THEY BECOME MORE MAINSTREAM, WE 1073 00:49:08,629 --> 00:49:15,135 SEE IMAGES OF WOMEN WHO ARE 1074 00:49:15,135 --> 00:49:20,107 SEAMSTRESSES, ARE MAKING USE OF 1075 00:49:20,107 --> 00:49:20,674 THOSE. 1076 00:49:20,674 --> 00:49:23,544 YEAH, LOOKING AT WOMEN'S WORK 1077 00:49:23,544 --> 00:49:25,913 AND LITERACY AS WELL. 1078 00:49:25,913 --> 00:49:27,648 >> WE HAVE TIME FOR ONE MORE 1079 00:49:27,648 --> 00:49:28,115 QUESTION. 1080 00:49:28,115 --> 00:49:30,384 HOW DOES THE HISTORICAL 1081 00:49:30,384 --> 00:49:32,486 SKEPTICISM TOWARDS SPECTACLES 1082 00:49:32,486 --> 00:49:36,190 RESONATE WITH CURRENT CONCERNS 1083 00:49:36,190 --> 00:49:40,661 ABOUT TECHNOLOGICAL ADVANCES 1084 00:49:40,661 --> 00:49:42,696 AFFECTING HUMAN PERSPECTIVE. 1085 00:49:42,696 --> 00:49:43,964 >> I THINK -- 1086 00:49:43,964 --> 00:49:44,598 >> BIG QUESTION. 1087 00:49:44,598 --> 00:49:47,368 >> IT'S NICE TO BRING IT BACK TO 1088 00:49:47,368 --> 00:49:52,406 THE PRESENT DAY AS WELL WHEN WE 1089 00:49:52,406 --> 00:49:54,274 STUDY HISTORY IT FEELS LIKE A 1090 00:49:54,274 --> 00:49:57,277 LONG WAY AND NICE TO THINK ABOUT 1091 00:49:57,277 --> 00:50:00,314 PRESENT DAY IMPLICATIONS AND THE 1092 00:50:00,314 --> 00:50:02,449 LONG STANDING CONCERN ABOUT HOW 1093 00:50:02,449 --> 00:50:04,685 NEW FORMS OF REPRESENTATION CAN 1094 00:50:04,685 --> 00:50:10,657 DISTORT REALITY AND MANIPULATE 1095 00:50:10,657 --> 00:50:12,292 MISCONCEPTION STRONGLY RESONATE 1096 00:50:12,292 --> 00:50:15,229 WITH CURRENT ANXIETY LIKE A.I. 1097 00:50:15,229 --> 00:50:17,097 GENERATED IMAGES AND POTENTIAL 1098 00:50:17,097 --> 00:50:18,699 IMPACT ON HUMAN PERCEPTION. 1099 00:50:18,699 --> 00:50:22,803 SO USE OF SPECTACLES WERE 1100 00:50:22,803 --> 00:50:24,271 CRITIQUES IN THE MEDIEVAL PERIOD 1101 00:50:24,271 --> 00:50:27,174 FOR POTENTIALLY DECEIVING 1102 00:50:27,174 --> 00:50:28,409 AUDIENCES, NEW TECHNOLOGIES 1103 00:50:28,409 --> 00:50:30,244 THINGS TODAY LIKE A.I. GENERATED 1104 00:50:30,244 --> 00:50:32,546 IMAGES CHALLENGE OUR 1105 00:50:32,546 --> 00:50:35,182 UNDERSTANDING OF AUTHENTICITY. 1106 00:50:35,182 --> 00:50:40,387 WE HAVE NEW ADVANCEMENTS IN DEEP 1107 00:50:40,387 --> 00:50:46,093 FAKE TECHNOLOGY AND IT CAN BLUR 1108 00:50:46,093 --> 00:50:50,030 THE LINE BETWEEN REAL IMAGERY 1109 00:50:50,030 --> 00:50:52,666 AND FABRICATED IMAGERY PROMOTING 1110 00:50:52,666 --> 00:50:54,668 SKEPTICISM IN THE POPULAR MIND 1111 00:50:54,668 --> 00:51:00,674 SET ABOUT THE VALIDITY AND 1112 00:51:00,674 --> 00:51:02,476 VERACITY OF VISUAL INFORMATION. 1113 00:51:02,476 --> 00:51:04,711 THIS FEAR ABOUT A.I. AND 1114 00:51:04,711 --> 00:51:06,947 MANIPULATING CONCEPTION ALIGNS 1115 00:51:06,947 --> 00:51:10,250 WITH THE EARLY FEARS AROUND 1116 00:51:10,250 --> 00:51:11,618 SPECTACLES AS SOMETHING THAT 1117 00:51:11,618 --> 00:51:14,288 SPREAD MISINFORMATION AND HAVE 1118 00:51:14,288 --> 00:51:16,457 THE POTENTIAL FOR VISUAL 1119 00:51:16,457 --> 00:51:17,791 MANIPULATION. 1120 00:51:17,791 --> 00:51:19,660 I DON'T THINK IT'S TOO 1121 00:51:19,660 --> 00:51:20,427 DISSIMILAR THERE. 1122 00:51:20,427 --> 00:51:21,361 >> THANK YOU AND A GREAT 1123 00:51:21,361 --> 00:51:25,499 QUESTION TO CONCLUDE ON. 1124 00:51:25,799 --> 00:51:27,000 ON BEHALF OF MY COLLEAGUES AT 1125 00:51:27,000 --> 00:51:28,602 THE NATIONAL LIBRARY OF 1126 00:51:28,602 --> 00:51:30,237 MEDICINE, WE THANK YOU AND 1127 00:51:30,237 --> 00:51:31,939 EVERYONE WATCHING THANKS YOU FOR 1128 00:51:31,939 --> 00:51:33,574 A WONDERFUL TALK. 1129 00:51:33,574 --> 00:51:34,541 WE WISH YOU THE BEST IN YOUR 1130 00:51:34,541 --> 00:51:36,143 RESEARCH AND LOOK FORWARD TO 1131 00:51:36,143 --> 00:51:38,312 YOUR FUTURE BOOK AND REMAINING 1132 00:51:38,312 --> 00:51:39,379 IN TOUCH. 1133 00:51:39,379 --> 00:51:40,447 SO, THANK YOU AGAIN, 1134 00:51:40,447 --> 00:51:41,448 DR. GILLIBRAND FOR TAKING THE 1135 00:51:41,448 --> 00:51:43,784 TIME TO PREPARE THE TALK AND 1136 00:51:43,784 --> 00:51:45,586 BEING WITH US THIS AFTERNOON AND 1137 00:51:45,586 --> 00:51:46,453 FOR YOU IN THE EVENING. 1138 00:51:46,453 --> 00:51:48,655 THANK YOU SO MUCH. 1139 00:51:48,655 --> 00:51:48,889 1140 00:51:48,889 --> 00:51:52,659 WE'LL KEEP IN TOUCH. 1141 00:51:52,659 --> 00:51:54,528 TO EVERYONE WATCHING, THANK YOU 1142 00:51:54,528 --> 00:51:55,062 VERY MUCH. 1143 00:51:55,062 --> 00:51:58,198 I'D LIKE TO JUST CONCLUDE BY NOT 1144 00:51:58,198 --> 00:52:00,033 ONLY THANKING YOU BUT MENTIONING 1145 00:52:00,033 --> 00:52:02,236 THAT OUR NEXT HISTORY TALK IS 1146 00:52:02,236 --> 00:52:04,605 GOING TO BE ON THURSDAY, 1147 00:52:04,605 --> 00:52:06,773 NOVEMBER 7 AT 2:00 P.M. EASTERN 1148 00:52:06,773 --> 00:52:10,811 TIME WE'RE GOING TO BE WELCOMING 1149 00:52:10,811 --> 00:52:18,185 DR. NAMHE LEE. 1150 00:52:18,185 --> 00:52:20,420 SHE'LL BE SPEAKING IN THE 1151 00:52:20,420 --> 00:52:24,658 PURSUIT OF MENTAL WELL BEING, 1152 00:52:24,658 --> 00:52:26,560 ROBERT H. FELIX AND HIS ROLE IN 1153 00:52:26,560 --> 00:52:28,428 ESTABLISHING MENTAL HEALTH IN 1154 00:52:28,428 --> 00:52:28,662 AMERICA. 1155 00:52:28,662 --> 00:52:33,200 JOIN US NOVEMBER 7, 2:00 P.M. 1156 00:52:33,200 --> 00:52:35,569 AND IN THE MEANTIME THANK YOU 1157 00:52:35,569 --> 00:52:36,270 FOR TUNING IN. 1158 00:52:36,270 --> 00:52:38,105 BE IN TOUCH WITH US IF WE CAN BE 1159 00:52:38,105 --> 00:52:40,674 A RESOURCE FOR YOU IN YOUR 1160 00:52:40,674 --> 00:52:42,009 RESEARCH, TEACHING OR LEARNING 1161 00:52:42,009 --> 00:52:44,178 AND WE BID YOU A GREAT AFTERNOON 1162 00:52:44,178 --> 00:52:44,611 AND THANK YOU AGAIN. 1163 00:52:44,611 --> 00:52:44,845 BYE-BYE. 1164 00:52:44,845 --> 00:52:44,912