The spellbinding art of human anatomy | Vanessa Ruiz

122,345 views ใƒป 2016-09-19

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: Tal Baruch ืžื‘ืงืจ: Ido Dekkers
00:13
As a lover of human anatomy,
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ื‘ืชื•ืจ ืื—ืช ืฉืื•ื”ื‘ืช ืื ื˜ื•ืžื™ื” ืื ื•ืฉื™ืช,
00:15
I'm so excited that we're finally putting our bodies at the center of focus.
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ืื ื™ ื ืจื’ืฉืช ืฉืื ื—ื ื• ืกื•ืฃ-ืกื•ืฃ ืฉืžื™ื ืืช ื”ื’ื•ืฃ ืฉืœื ื• ื‘ืžืจื›ื–.
00:19
Through practices such as preventive medicine,
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ืžืจืคื•ืื” ืžื•ื ืขืช,
00:22
patient empowerment
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ื”ืขืฆืžืช ื”ืžื˜ื•ืคืœ
00:23
and self-monitoring --
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ื•ื‘ืงืจื” ืขืฆืžื™ืช --
00:25
down to now obsessing over every single step we take in a day.
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ืขื“ ืœื”ืชืขืกืงื•ืช ื”ืขื›ืฉื•ื•ื™ืช ื‘ื›ืœ ืฆืขื“ ืฉืื ื• ืขื•ืฉื™ื ื‘ื™ื•ื
00:29
All of this works to promote
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ื›ืœ ื”ืขื‘ื•ื“ื” ื”ื–ื•, ืœืฉื ืงื™ื“ื•ื
00:31
a healthy connection between ourselves and our bodies.
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ื—ื™ื‘ื•ืจ ื‘ืจื™ื ื‘ื™ื ื™ื ื• ืœื‘ื™ืŸ ื”ื’ื•ืฃ ืฉืœื ื•.
00:37
Despite all this focus on the healthy self,
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ืœืžืจื•ืช ื›ืœ ื”ื”ืชืžืงื“ื•ืช ื”ื–ื• ื‘ื‘ืจื™ืื•ืช ื”ืขืฆืžื™ ืฉืœื ื•,
00:41
general public knowledge of the anatomical self is lacking.
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ื”ื™ื“ืข ื”ื›ืœืœื™ ืฉืœ ื”ืฆื™ื‘ื•ืจ ืื•ื“ื•ืช ื”ืื ื˜ื•ืžื™ื” ื”ืขืฆืžื™ืช ืœื•ืงื” ื‘ื—ืกืจ.
00:45
Many people don't know the location of their vital organs,
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ืื ืฉื™ื ืจื‘ื™ื ืœื ื™ื•ื“ืขื™ื ืืช ืžื™ืงื•ืžื ืฉืœ ื”ืื™ื‘ืจื™ื ื”ื—ื™ื•ื ื™ื™ื ืฉืœื”ื,
00:48
or even how they function.
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ืื• ืืคื™ืœื• ื›ื™ืฆื“ ื”ื ืžืชืคืงื“ื™ื.
00:50
And that's because human anatomy
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ื•ื–ืืช ืžื›ื™ื•ื•ืŸ ืฉื”ืื ื˜ื•ืžื™ื” ื”ืื ื•ืฉื™ืช
00:52
is a difficult and time-intensive subject to learn.
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ื”ื™ื ื ื•ืฉื ืงืฉื” ื•ืื™ื ื˜ื ืกื™ื‘ื™ ืœืœืžื™ื“ื”.
00:56
How many of you here made it through anatomy?
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ื›ืžื” ืžื›ื ืกื™ื™ืžื• ืœื™ืžื•ื“ื™ ืื ื˜ื•ืžื™ื” ื‘ื”ืฆืœื—ื”?
00:59
Wow, good --
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ื•ื•ืื•, ื™ื•ืคื™ --
01:01
most of you are in medicine.
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ืจื•ื‘ื›ื ืขื•ืกืงื™ื ื‘ืจืคื•ืื”.
01:03
I, like you, spent countless hours memorizing hundreds of structures.
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ืื ื™, ื‘ื“ื™ื•ืง ื›ืžื•ื›ื, ื”ืขื‘ืจืชื™ ืื™ืŸ-ืกืคื•ืจ ืฉืขื•ืช ื‘ืฉื™ื ื•ืŸ ืžืื•ืช ืฉืœ ืžื‘ื ื™ื.
01:09
Something no student of anatomy could do without the help of visuals.
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ื“ื‘ืจ ืฉืืฃ ืกื˜ื•ื“ื ื˜ ืœืื ื˜ื•ืžื™ื” ื™ื•ื›ืœ ืœืขืฉื•ืช ืœืœื ืขื–ืจืชื ืฉืœ ื“ื™ืžื•ื™ื™ื ื—ื–ื•ืชื™ื™ื.
01:15
Because at the end of the day,
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ืžื›ื™ื•ื•ืŸ ืฉื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ,
01:16
whether you remember every little structure or not,
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ื‘ื™ืŸ ืื ืืชื ื–ื•ื›ืจื™ื ื›ืœ ืžื‘ื ื” ืื• ืœื,
01:19
these medical illustrations are what makes studying anatomy so intriguing.
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ื”ืื™ื•ืจื™ื ื”ืจืคื•ืื™ื™ื ื”ืœืœื• ื”ื ืืœื• ืฉื”ื•ืคื›ื™ื ืœื™ืžื•ื“ื™ ืื ื˜ื•ืžื™ื” ืœืžืขื ื™ื™ื ื™ื ื›ืœ ื›ืš.
01:24
In looking at them,
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ื‘ืจื’ืข ืฉืื ื—ื ื• ืžืชื‘ื•ื ื ื™ื ื‘ื”ื,
01:25
we're actually viewing a manual of our very selves.
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ืื ื—ื ื• ืžืกืชื›ืœื™ื ืœืžืขืฉื” ืขืœ ืกืคืจ ื”ื•ืจืื•ืช ืฉืœ ืขืฆืžื ื•.
01:30
But what happens when we're done studying?
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ืื‘ืœ ืžื” ืงื•ืจื” ื‘ืจื’ืข ืฉืื ื—ื ื• ืžืกื™ื™ืžื™ื ืœืœืžื•ื“?
01:32
These beautiful illustrations are then shut back
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ื”ืื™ื•ืจื™ื ื”ื™ืคื™ื ื”ืœืœื• ื ื•ืชืจื™ื ืžืื—ื•ืจ
01:36
into the pages of a medical textbook,
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ื‘ื“ืคื™ื• ืฉืœ ื˜ืงืกื˜ ืจืคื•ืื™,
01:38
or an app,
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ืื• ื‘ืืคืœื™ืงืฆื™ื”,
01:39
referenced only when needed.
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ืžืงื‘ืœื™ื ื™ื™ื—ื•ืก ืจืง ื›ืฉืžื’ื™ืข ื”ืฆื•ืจืš ืœื›ืš.
01:41
And for the public,
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ื•ื‘ืขื‘ื•ืจ ื”ืฆื™ื‘ื•ืจ,
01:42
medical illustrations may only be encountered passively
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ืื™ื•ืจื™ื ืจืคื•ืื™ื™ื ื ื™ืชืŸ ืœืคื’ื•ืฉ ืื•ืœื™ ืจืง ื‘ืื•ืคืŸ ืคืกื™ื‘ื™
01:45
on the walls of a doctor's office.
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ืขืœ ืงื™ืจื•ืช ื—ื“ืจ ื”ืจื•ืคื.
01:48
From the beginnings of modern medicine,
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ืžืชื—ื™ืœืชื” ืฉืœ ื”ืจืคื•ืื” ื”ืžื•ื“ืจื ื™ืช,
01:50
medical illustration,
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ืื™ื•ืจื™ื ืจืคื•ืื™ื™ื,
01:51
and therefore anatomy,
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ื•ื‘ืฉืœ ื›ืš ืื ื˜ื•ืžื™ื”,
01:53
have existed primarily within the realm of medical education.
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ื”ืชืงื™ื™ืžื• ื‘ืขื™ืงืจ ื‘ืชื•ืš ืชื—ื•ื ื”ื—ื™ื ื•ืš ื”ืจืคื•ืื™.
01:58
Yet there's something fascinating happening right now.
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ืขื ื–ืืช, ืžืฉื”ื• ืžืจืชืง ืžืชืจื—ืฉ ื›ืจื’ืข.
02:01
Artists are breaking anatomy out of the confines of the medical world
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ืืžื ื™ื ืžื•ืฆื™ืื™ื ืืช ื”ืื ื˜ื•ืžื™ื” ืžื—ื•ืฅ ืœืชื—ื•ืžื™ ื”ืขื•ืœื ื”ืจืคื•ืื™
02:05
and are thrusting it into the public space.
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ื•ืชื•ื—ื‘ื™ื ืื•ืชื” ืืœ ื”ืžืจื—ื‘ ื”ืฆื™ื‘ื•ืจื™.
02:07
For the past nine years, I have been cataloguing and sharing
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ื‘ืชืฉืข ื”ืฉื ื™ื ื”ืื—ืจื•ื ื•ืช, ืงื™ื˜ืœื’ืชื™ ื•ืฉื™ืชืคืชื™
02:10
this rise in anatomical art with the public --
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ื”ืชืจื•ืžืžื•ืช ื–ื• ื‘ืื•ืžื ื•ืช ื”ืื ื˜ื•ืžื™ืช ืขื ื”ืฆื™ื‘ื•ืจ --
02:13
all from my perspective as a medical illustrator.
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ื›ืœ ื–ืืช ืžื ืงื•ื“ืช ื”ืžื‘ื˜ ืฉืœื™ ื›ืžืื™ื™ืจืช ืจืคื•ืื™ืช.
02:17
But before I get into showing you how artists are reclaiming anatomy today,
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ืืš ืœืคื ื™ ืฉืืจืื” ืœื›ื ื›ื™ืฆื“ ืื•ืžื ื™ื ืžื—ื–ื™ืจื™ื ืืช ื”ืื ื˜ื•ืžื™ื” ื›ื™ื•ื,
02:21
it's important to understand how art influenced anatomy in the past.
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ื—ืฉื•ื‘ ืœื”ื‘ื™ืŸ ื›ื™ืฆื“ ืื•ืžื ื•ืช ื”ืฉืคื™ืขื” ืขืœ ื”ืื ื˜ื•ืžื™ื” ื‘ืขื‘ืจ.
02:27
Now, anatomy is by its very nature a visual science,
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ื›ื™ื•ื, ืื ื˜ื•ืžื™ื” ืžื˜ื‘ืขื” ื”ื™ื ืžื“ืข ื—ื–ื•ืชื™,
02:30
and the first anatomists to understand this lived during the Renaissance.
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ื•ื”ืื ื˜ื•ืžื™ื ื”ืจืืฉื•ื ื™ื ืฉื”ื‘ื™ื ื• ืืช ื–ื” ื—ื™ื• ื‘ืชืงื•ืคืช ื”ืจื ืกื ืก.
02:34
They relied on artists
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ื”ื ื”ืกืชืžื›ื• ืขืœ ืื•ืžื ื™ื
02:36
to help advertise their discoveries to their peers in the public.
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ืฉื™ืขื–ืจื• ืœื”ื "ืœืคืจืกื" ืชื’ืœื™ื•ืช ืœืขืžื™ืชื™ื”ื ื‘ืฆื™ื‘ื•ืจ.
02:40
And this drive to not only teach but also to entertain
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ื•ื”ื“ื—ืฃ ื”ื–ื” ืœืœื ืจืง ืœืœืžื“, ืืœื ื’ื ืœืฉืขืฉืข
02:45
resulted in some of the strangest anatomical illustrations.
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ื”ื‘ื™ื ืœื—ืœืง ืžื”ืื™ื•ืจื™ื ื”ืื ื˜ื•ืžื™ื™ื ื”ืžื•ื–ืจื™ื ื‘ื™ื•ืชืจ.
02:51
Anatomy was caught in a struggle between science, art and culture
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ื”ืื ื˜ื•ืžื™ื” ื ืงืœืขื” ืœืžืื‘ืง ื‘ื™ืŸ ืžื“ืข, ืื•ืžื ื•ืช ื•ืชืจื‘ื•ืช
02:56
that lasted for over 500 years.
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ืฉื ืžืฉืš ืœืžืขืœื” ืž-500 ืฉื ื™ื.
03:01
Artists rendered dissected cadavers as alive,
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ืืžื ื™ื ื”ืฆื™ื’ื• ื’ื•ืคื•ืช ืžื‘ื•ืชืจื•ืช ื›ืฉื ืฉื”ืŸ ื‘ื—ื™ื™ื,
03:06
posed in these humorous anatomical stripteases.
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ื‘ืขื•ื“ืŸ ื ืขืžื“ื•ืช ื‘ืชื ื•ื—ื•ืช ื—ืฉืคื ื•ืช ืื ื˜ื•ืžื™ื•ืช ื”ื•ืžื•ืจื™ืกื˜ื™ื•ืช.
03:10
Imagine seeing that in your textbooks today.
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ื“ืžื™ื™ื ื• ืฉื”ื™ื™ืชื ืจื•ืื™ื ืื™ื•ืจื™ื ืืœื” ื‘ื—ื•ื‘ืจื•ืช ืฉืœื›ื ื”ื™ื•ื.
03:14
They also showed them as very much dead --
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ื”ื ื’ื ื”ืฆื™ื’ื• ืื•ืชืŸ ื›ืžืชื™ื ืžืื•ื“--
03:17
unwillingly stripped of their skin.
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ืžื•ืคืฉื˜ื™ื ืžืขื•ืจื ื‘ืขืœ ื›ื•ืจื—ื.
03:21
Disembodied limbs were often posed in literal still lives.
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ื’ืคื™ื™ื ืžื•ืคืจื“ื™ื ืžื”ื’ื•ืฃ ื”ื•ืฆื’ื• ืœืขืชื™ื ืงืจื•ื‘ื•ืช ื‘ืกืคืจื•ืช ื”ื“ื•ืžืžืช.
03:28
And some illustrations even included pop culture references.
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ื•ื›ืžื” ืžืื™ื™ืจื™ื ืฉื™ืœื‘ื• ื’ื ืื–ื›ื•ืจื™ื ืžื”ืชืจื‘ื•ืช ื”ืคื•ืคื•ืœืืจื™ืช.
03:32
This is Clara,
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ื–ื• ื”ื™ื ืงืœืจื”,
03:34
a famous rhinoceros that was traveling Europe in the mid-1700s,
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ืงืจื ืคื™ืช ืžืคื•ืจืกืžืช ืฉื˜ื™ื™ืœื” ื‘ืื™ืจื•ืคื” ื‘ืืžืฆืข ื”ืžืื” ื”18.
03:37
at a time when seeing a rhino was an exciting rarity.
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ื‘ืชืงื•ืคื” ืฉื‘ื” ืœืจืื•ืช ืงืจื ืฃ ื ื—ืฉื‘ ืœื“ื‘ืจ ื ื“ื™ืจ ื•ืžืจื’ืฉ.
03:40
Including her in this illustration was akin to celebrity sponsorship today.
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ืฉื™ืœื•ื‘ื” ื‘ืื™ื•ืจ ื–ื” ืฉื•ื•ื” ืขืจืš ืœื ืชื™ื ืช ื—ืกื•ืช ืœืžืคื•ืจืกืžื™ื ื›ื™ื•ื.
03:46
The introduction of color
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ื›ื ื™ืกืชื• ืฉืœ ื”ืฆื‘ืข
03:49
then brought a whole new depth and clarity to anatomy
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ื”ื‘ื™ื ืขืžื• ืขื•ืžืง ื•ื‘ื”ื™ืจื•ืช ื‘ืจืžื” ื—ื“ืฉื” ืœื’ืžืจื™ ืœืื ื˜ื•ืžื™ื”
03:52
that made it stunning.
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ืฉืขืฉื” ืื•ืชื” ืœืžืจืฉื™ืžื”.
03:56
By the early 20th century,
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ื‘ืชื—ื™ืœืช ื”ืžืื” ื”-20,
03:57
the perfect balance of science and art had finally been struck
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ื”ืื™ื–ื•ืŸ ื”ืžื•ืฉืœื ื‘ื™ืŸ ืžื“ืข ืœืื•ืžื ื•ืช ืกื•ืฃ ืกื•ืฃ ื ืชื’ืœื”
04:01
with the emergence of medical illustrators.
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ืขื ื”ื’ื—ืชื ืฉืœ ื”ืžืื™ื™ืจื™ื ื”ืจืคื•ืื™ื™ื.
04:04
They created a universal representation of anatomy --
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ื”ื ื™ืฆืจื• ื™ื™ืฆื•ื’ ืื•ื ื™ื‘ืจืกืœื™ ืœืื ื˜ื•ืžื™ื” --
04:07
something that was neither alive nor dead,
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ื“ื‘ืจ ืฉืœื ื”ื™ื” ื—ื™ ืื• ืžืช,
04:09
that was free from those influences of artistic culture.
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ื“ื‘ืจ ืฉื”ื™ื” ื—ื•ืคืฉื™ ืžืื•ืชืŸ ื”ื”ืฉืคืขื•ืช ืฉืœ ืชืจื‘ื•ืช ืื•ืžื ื•ืชื™ืช.
04:14
And this focus on no-frills accuracy
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ื•ื”ืชืžืงื“ื•ืช ื–ืืช ื‘ื“ื™ื™ืงื ื•ืช ืœืœื ื—ื•ื›ืžื•ืช
04:16
was precisely for the benefit of medical education.
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ื”ื™ื™ืชื” ื‘ื“ื™ื•ืง ืœืฉื ื”ื™ืชืจื•ืŸ ืฉืœ ื”ื—ื™ื ื•ืš ื”ืจืคื•ืื™.
04:20
And this is what we get to study from today.
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ืžื“ื‘ืจ ื–ื” ื ื–ื›ื” ืœืœืžื•ื“ ื”ื™ื•ื.
04:26
But why is it that medical illustration --
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ืื‘ืœ ืžื” ื™ืฉ ื‘ืื™ื•ืจ ื”ืจืคื•ืื™ --
04:28
both past and present --
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ื”ืŸ ื‘ืขื‘ืจ ื•ื‘ื”ื•ื•ื” --
04:30
captures our imaginations?
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ืฉืฉื•ื‘ื” ืืช ื”ื“ืžื™ื•ืŸ ืฉืœื ื•?
04:33
Now, we are innately tuned into the beauty of the human body.
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ืื ื—ื ื• ืžื•ื›ื•ื•ื ื™ื ื‘ืื•ืคืŸ ืžื•ืœื“ ืืœ ื”ื™ื•ืคื™ ืฉืœ ื”ื’ื•ืฃ ื”ืื ื•ืฉื™.
04:37
And medical illustration is still art.
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ื•ืื™ื•ืจ ืจืคื•ืื™ ื”ื•ื ืขื“ื™ื™ืŸ ืื•ืžื ื•ืช.
04:42
Nothing can elicit an emotional response --
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ื“ื‘ืจ ืื™ื ื• ื™ื›ื•ืœ ืœื”ืคื™ืง ืชื’ื•ื‘ื” ืจื’ืฉื™ืช --
04:44
from joy to complete disgust --
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ื”ื—ืœ ืžื”ื ืื” ื•ืขื“ ืœื’ื•ืขืœ ืžื•ื—ืœื˜ --
04:47
more than the human body.
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ื™ื•ืชืจ ืžื”ื’ื•ืฃ ื”ืื ื•ืฉื™.
04:49
And today,
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ื•ื›ื™ื•ื,
04:50
artists armed with that emotion,
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ืื•ืžื ื™ื ืฉื—ืžื•ืฉื™ื ื‘ืจื’ืฉ ื–ื”,
04:53
are grasping anatomy from the medical world,
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ืชื•ืคืกื™ื ืืช ื”ืื ื˜ื•ืžื™ื” ืžื”ืขื•ืœื ื”ืจืคื•ืื™,
04:55
and are reinvigorating it through art in the most imaginative ways.
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ื•ืžื—ื™ื™ื ืื•ืชื” ื‘ืืžืฆืขื•ืช ื”ืื•ืžื ื•ืช, ื‘ื“ืจื›ื™ื ื”ืฆื™ื•ืจื™ื•ืช ื‘ื™ื•ืชืจ.
05:01
A perfect example of this is Spanish contemporary artist Fernando Vicente.
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ื“ื•ื’ืžื” ืžืฆื•ื™ื ืช ืœื›ืš ื”ื™ื ื”ืื•ืžืŸ ื”ืกืคืจื“ื™ ื”ืขื›ืฉื•ื•ื™ ืคืจื ื ื“ื• ื•ื™ืกื ื˜ื”.
05:07
He takes 19th century anatomical illustrations of the male body
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ื”ื•ื ืœื•ืงื— ืื™ื•ืจื™ื ืื ื˜ื•ืžื™ื™ื ืžื”ืžืื” ื”-19 ืฉืœ ื’ื•ืฃ ื”ื–ื›ืจ
05:13
and envelops them in a female sensuality.
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ื•ืขื•ื˜ืฃ ืื•ืชื ื‘ื—ื•ืฉื ื™ื•ืช ื ืฉื™ืช.
05:18
The women in his paintings taunt us to view beyond their surface anatomy,
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ื”ื ืฉื™ื ื‘ืฆื™ื•ืจื™ื ืฉืœื• ืžืชื’ืจื•ืช ื‘ื ื• ื›ื“ื™ ืœืจืื•ืช ืžืขื‘ืจ ืœืื ื˜ื•ืžื™ื” ื”ื‘ืกื™ืกื™ืช ืฉืœื”ืŸ,
05:23
thereby introducing a strong femininity
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ื•ื‘ืฉืœ ื›ืš ืžืฆื™ื’ื™ื ื ืฉื™ื•ืช ื—ื–ืงื”
05:26
that was previously lacking in the history of anatomical representation.
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ืฉื”ื™ื™ืชื” ื—ืกืจื” ื‘ืขื‘ืจ ื‘ื”ื™ืกื˜ื•ืจื™ื” ืฉืœ ื”ื™ื™ืฆื•ื’ ืื ื˜ื•ืžื™.
05:32
Artistry can also be seen in the repair and recovery of the human body.
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ื”ืื•ืžื ื•ืช ืžื•ืคื™ืขื” ื’ื ื‘ืชื™ืงื•ืŸ ื•ื”ื‘ืจืื” ืฉืœ ื”ื’ื•ืฃ ื”ืื ื•ืฉื™.
05:37
This is an X-ray of a woman who fractured and dislocated her ankle
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ื–ื”ื• ืชืฆืœื•ื ืจื ื˜ื’ืŸ ืฉืœ ืื™ืฉื” ืฉื ืงืขื” ื•ืฉื‘ืจื” ืืช ื”ืงืจืกื•ืœ ืฉืœื”
05:40
in a roller-skating accident.
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ื‘ืชืื•ื ืช ื”ื—ืœืงื” ืขืœ ื’ืœื’ื™ืœื™ื•ืช.
05:42
As a tribute to her trauma,
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ื›ืžื—ื•ื” ืœื˜ืจืื•ืžื” ืฉืœื”,
05:44
she commissioned Montreal-based architect Federico Carbajal
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ื”ื™ื ื”ื–ืžื™ื ื” ืืช ื”ืืจื›ื™ื˜ืงื˜ ืžืžื•ื ื˜ืจืืœ, ืคื“ืจื™ืงื• ืงืจื‘ื—ืœ,
05:48
to construct a wire sculpture of her damaged lower leg.
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ืœืคืกืœ ื‘ืชื™ืœ ืคืกืœ ืฉืœ ื”ืจื’ืœ ื”ืชื—ืชื•ื ื” ื”ื ืงื•ืขื” ืฉืœื”.
05:53
Now, notice those bright red screws magnified in the sculpture.
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ืฉื™ืžื• ืœื‘ ืœื‘ืจื’ื™ื ื”ืื“ื•ืžื™ื ืฉืžื•ื’ื“ืœื™ื ื‘ืคืกืœ.
05:57
These are the actual surgical screws used in reconstructing her ankle.
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ืืœื• ื”ื ื”ื‘ืจื’ื™ื ื”ื›ื™ืจื•ืจื’ื™ื™ื ื”ืžืงื•ืจื™ื™ื ื‘ื”ื ื ืขืฉื” ืฉื™ืžื•ืฉ ื‘ืฉื™ืงื•ื ื”ืงืจืกื•ืœ ืฉืœื”.
06:02
It's medical hardware that's been repurposed as art.
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ื–ื”ื• ื›ืœื™ ืžืชื›ืช ืจืคื•ืื™, ืฉืฉื™ื ื” ืืช ื™ื™ืขื•ื“ื• ืœืื•ืžื ื•ืช.
06:08
People often ask me how I choose the art that I showcase online
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ืื ื™ ื ืฉืืœืช ืœืขืชื™ื ืงืจื•ื‘ื•ืช ื›ื™ืฆื“ ืื ื™ ื‘ื•ื—ืจืช ืืช ื”ืื•ืžื ื•ืช ืฉืื ื™ ืžืฆื™ื’ื” ื‘ืื™ื ื˜ืจื ื˜
06:12
or feature in gallery shows.
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ืื• ื‘ืชืขืจื•ื›ื•ืช ืื•ืžื ื•ืช.
06:14
And for me it's a balance between the technique
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ื•ื‘ืฉื‘ื™ืœื™ ื–ื”ื• ืื™ื–ื•ืŸ ื‘ื™ืŸ ื”ื˜ื›ื ื™ืงื”
06:17
and a concept that pushes the boundaries of anatomy as a way to know thyself,
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ืœืขื™ืงืจื•ืŸ ืฉื“ื•ื—ืฃ ืืช ื”ื’ื‘ื•ืœื•ืช ืฉืœ ื”ืื ื˜ื•ืžื™ื” ื›ื“ืจืš ืœื”ื›ื™ืจ ืืช ืขืฆืžืš,
06:21
which is why the work of Michael Reedy struck me.
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ื•ื–ื• ื”ืกื™ื‘ื” ืฉื”ืขื‘ื•ื“ื” ืฉืœ ืžื™ื™ืงืœ ืจื™ื“ื™ ื”ื›ืชื” ื‘ื™.
06:25
His serious figure drawings are often layered in elements of humor.
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ื”ืื™ื•ืจื™ื ื”ืจืฆื™ื ื™ื™ื ืฉืœื• ืžืจื•ื‘ื“ื™ื ืœืขืชื™ื ืงืจื•ื‘ื•ืช ื‘ืืœืžื ื˜ื™ื ืฉืœ ื”ื•ืžื•ืจ.
06:29
For instance, take a look at her face.
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ืœืžืฉืœ, ืชืกืชื›ืœื• ืขืœ ื”ืคื ื™ื ืฉืœื”.
06:33
Notice those red marks.
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ืฉื™ืžื• ืœื‘ ืœืกื™ืžื ื™ื ื”ืื“ื•ืžื™ื ื”ืœืœื•.
06:36
Michael manifests the consuming insecurity of a skin condition
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ืžื™ื™ืงืœ ืžืคื’ื™ืŸ ืืช ื—ื•ืกืจ ื”ื‘ื™ื˜ื—ื•ืŸ ื”ืจื‘ ืฉื ื•ื‘ืข ื‘ืขืงื‘ื•ืช ืžื—ืœืช ืขื•ืจ
06:40
as these maniacal cartoon monsters
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ื›ืฉื‘ืจืงืข ืžืฆื•ื™ืจื•ืช ืžืคืœืฆื•ืช ืžื˜ื•ืจืคื•ืช
06:42
annoying and out of control in the background.
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ืžืขืฆื‘ื ื•ืช ื•ื—ืกืจื•ืช ืฉืœื™ื˜ื”.
06:45
On the mirrored figure,
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ื‘ืื™ื•ืจ ื”ืฉืงื•ืฃ,
06:47
he renders the full anatomy
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ื”ื•ื ืžืฆื™ื’ ืืช ื”ืื ื˜ื•ืžื™ื” ื”ืžืœืื”
06:49
and covers it in glitter,
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ื•ืžื›ืกื” ืื•ืชื” ื‘ื ืฆื ืฆื™ื,
06:51
making it look like candy.
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ื•ื‘ื›ืš ื’ื•ืจื ืœื” ืœื”ืจืื•ืช ื›ืžื• ืžืžืชืง.
06:54
By doing this,
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ื‘ืขืฉื•ืชื• ื–ืืช,
06:55
Michael downplays the common perception of anatomy
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ืžื™ื™ืงืœ ืžืžืขื™ื˜ ืžื”ืชืคื™ืกื” ื”ืžืงื•ื‘ืœืช ืฉืœ ื”ืื ื˜ื•ืžื™ื”
06:58
so closely tied to just disease and death.
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ืฉืžืงื•ืฉืจืช ื›ืœ ื›ืš ืœืžื—ืœื•ืช ื•ืžื•ื•ืช ื‘ืœื‘ื“.
07:03
Now, this next concept might not make much sense,
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ื”ืขื™ืงืจื•ืŸ ื”ื‘ื ืขืฉื•ื™ ืœื‘ืœื‘ืœ,
07:06
but human anatomy is no longer limited to humans.
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ืืš ื”ืื ื˜ื•ืžื™ื” ื”ืื ื•ืฉื™ืช ืœื ืžื•ื’ื‘ืœืช ืจืง ืœื‘ื ื™ ืื“ื.
07:10
When you were a child,
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ื›ืฉื”ื™ื™ืชื ื™ืœื“ื™ื,
07:11
did you ever wish that your toys could come to life?
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ื”ืื ืื™ ืคืขื ื™ื™ื—ืœืชื ืœื›ืš ืฉื”ืฆืขืฆื•ืขื™ื ืฉืœื›ื ื™ืชืขื•ืจืจื• ืœื—ื™ื™ื?
07:14
Well, Jason Freeny makes those dreams come true
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ื•ื‘ื›ืŸ, ื’'ื™ื™ืกื•ืŸ ืคืจื™ื ื™ ืžื’ืฉื™ื ืืช ื”ื—ืœื•ืžื•ืช ื”ืœืœื•
07:16
with his magical toy dissections.
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ืขื ื‘ื™ืชื•ืจื™ ื”ืฆืขืฆื•ืขื™ื ื”ืงืกื•ืžื™ื ืฉืœื•.
07:18
(Laughter)
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(ืฆื—ื•ืง ื”ืงื”ืœ)
07:20
One might think that this would bring a morbid edge
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ื—ืœืง ืขืฉื•ื™ื™ื ืœื—ืฉื•ื‘ ืฉื”ื“ื‘ืจ ื™ื‘ื™ื ืœืงื™ืฆื•ื ื™ื•ืช ืžื•ืจื‘ื™ื“ื™ืช
07:23
to one's innocent childhood characters,
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ืœื“ืžื•ื™ื•ืช ื™ืœื“ื•ืช ืชืžื™ืžื•ืช,
07:25
but Jason says of his dissections,
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ืื•ืœื ื’'ื™ื™ืกื•ืŸ ืื•ืžืจ ืขืœ ื”ื‘ื™ืชื•ืจื™ื ืฉืœื•,
07:28
"One thing I've never seen in a child's reaction to my work is fear."
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"ื“ื‘ืจ ืื—ื“ ืฉืžืขื•ืœื ืœื ืจืื™ืชื™ ื‘ืชื’ื•ื‘ื” ืฉืœ ื™ืœื“ ืœืขื‘ื•ื“ื” ืฉืœื™ ื”ื™ื ืคื—ื“."
07:33
It's always wonder,
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ื–ื” ืชืžื™ื“ ืคืœื™ืื”,
07:35
amazement
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ื”ืฉืชืื•ืช
07:36
and wanting to explore.
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ื•ืจืฆื•ืŸ ืœื—ืงื•ืจ.
07:38
Fear of anatomy and guts is a learned reaction.
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ืคื—ื“ ืžืื ื˜ื•ืžื™ื” ื•ืžืื™ื‘ืจื™ื ืคื ื™ืžื™ื™ื ื–ื• ืชื’ื•ื‘ื” ื ืœืžื“ืช.
07:44
This anatomization also extends to politically and socially charged objects.
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ื ื™ืชื•ื— ื–ื” ืžืฉืชืจืข ื’ื ืœื ื•ืฉืื™ื ื˜ืขื•ื ื™ื ืคื•ืœื™ื˜ื™ืช ื•ื—ื‘ืจืชื™ืช.
07:51
In Noah Scalin's "Anatomy of War,"
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ื‘-"ื”ืื ื˜ื•ืžื™ื” ืฉืœ ื”ืžืœื—ืžื”" ืฉืœ ื ื•ื— ืกืงืœื™ื ืก,
07:53
we see a gun dissected to reveal human organs.
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ืื ื—ื ื• ืจื•ืื™ื ืืงื“ื— ืžื‘ื•ืชืจ ืฉื—ื•ืฉืฃ ืื™ื‘ืจื™ื ืื ื•ืฉื™ื™ื.
07:57
But if you look closely,
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ืื•ืœื ืื ืชืกืชื›ืœื• ืžืงืจื•ื‘,
07:59
you'll notice that it lacks a brain.
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ืชืฉื™ืžื• ืœื‘ ืฉื—ืกืจ ืœื• ืžื•ื—.
08:02
And if you keep looking, you might also notice
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ื•ืื ืชืžืฉื™ื›ื• ืœื”ืกืชื›ืœ, ืชื•ื›ืœื• ื’ื ืœืฉื™ื ืœื‘
08:05
that Noah has so thoughtfully placed the rectum
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ืœื›ืš ืฉื ื•ื—, ื‘ืื•ืคืŸ ืžื—ื•ืฉื‘ ื‘ื™ื•ืชืจ, ืžื™ืงื ืืช ื”ืจืงื˜ื•ื
08:08
at the business end of that gun barrel.
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ื‘ืงืฆื” ืฉืœ ืงื ื” ื”ืืงื“ื—.
08:13
Now, this next artist I've been following for many years,
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ืื—ืจื™ ื”ืื•ืžืŸ ื”ื‘ื ืขืงื‘ืชื™ ื‘ืžืฉืš ืฉื ื™ื ืจื‘ื•ืช,
08:16
watching him excite the public about anatomy.
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ื‘ืขื•ื“ื™ ืจื•ืื” ืื•ืชื• ืžืœื”ื™ื‘ ืืช ื”ืฆื™ื‘ื•ืจ ืขืœ ืื ื˜ื•ืžื™ื”.
08:21
Danny Quirk is a young artist
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ื“ื ื™ ืงื•ื•ื™ืจืง ื”ื•ื ืื•ืžืŸ ืฆืขื™ืจ
08:23
who paints his subjects in the process of self-dissection.
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ืฉืžืฆื™ื™ืจ ืืช ื”ื“ืžื•ื™ื•ืช ืฉืœื• ื‘ืชื”ืœื™ืš ืฉืœ ื‘ื™ืชื•ืจ-ืขืฆืžื™.
08:27
He bends the rules of medical illustration
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ื”ื•ื ืžื›ื•ืคืฃ ืืช ื”ื—ื•ืงื™ื ืฉืœ ื”ืื™ื•ืจ ื”ืจืคื•ืื™
08:29
by inserting a very dramatic light and shadow.
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ืขืœ ื™ื“ื™ ื”ื›ื ืกื” ื“ืจืžื˜ื™ืช ืžืื•ื“ ืฉืœ ืชืื•ืจื” ื•ื”ืฆืœืœื”.
08:32
And this creates a 3-D illusion
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ื•ื“ื‘ืจ ื–ื” ื™ื•ืฆืจ ืืฉืœื™ื” ืชืœืช ืžื™ืžื“ื™ืช
08:35
that lends itself very well to painting directly on the human skin.
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ืฉืžืฉืื™ืœื” ืืช ืขืฆืžื” ื˜ื•ื‘ ืžืื•ื“ ืœืฆื™ื•ืจ ืขืœ ื”ื’ื•ืฃ ื”ืื ื•ืฉื™.
08:41
Danny makes it look as if a person's skin has actually been removed.
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ื“ื ื™ ื’ื•ืจื ืœืขื•ืจ ืฉืœ ืื“ื ืœื”ื™ืจืื•ืช ื›ืื™ืœื• ื”ื•ื ื”ื•ืกืจ.
08:46
And this effect --
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ื•ืืคืงื˜ ื–ื” --
08:47
also cool and tattoo-like --
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ืฉื”ื•ื ืžื’ื ื™ื‘ ื•ืžื–ื›ื™ืจ ืงืขืงื•ืข --
08:50
easily transitions into a medical illustration.
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ื ื”ืคืš ื‘ืงืœื•ืช ืœืื™ื•ืจ ืจืคื•ืื™.
08:55
Now Danny is currently traveling the world,
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ื›ืจื’ืข ื“ื ื™ ืžื˜ื™ื™ืœ ื‘ืจื—ื‘ื™ ื”ืขื•ืœื,
08:57
teaching anatomy to the public via his body paintings,
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ืžืœืžื“ ืื ื˜ื•ืžื™ื” ืœืฆื™ื‘ื•ืจ ื‘ืขื–ืจืช ืฆื™ื•ืจื™ ื”ื’ื•ืฃ ืฉืœื•,
09:00
which is why it was so shocking to find out
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ื•ืœื›ืŸ ื–ื” ื”ื™ื” ืžืคืชื™ืข ืœื’ืœื•ืช
09:02
that he was rejected from medical illustration programs.
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ืฉื”ื•ื ื ื“ื—ื” ืžืชื›ื ื™ื•ืช ืœืื™ื•ืจ ืจืคื•ืื™.
09:05
But he's doing just fine.
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ืื‘ืœ ื”ื•ื ืžืกืชื“ืจ ื˜ื•ื‘ ืžืื•ื“.
09:10
Then there are artists
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ื•ื™ืฉ ืื•ืžื ื™ื
09:11
who are extracting anatomy from both the medical world and the art world
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ืฉืžื—ืœืฆื™ื ืืช ื”ืื ื˜ื•ืžื™ื” ืžื”ืขื•ืœืžื•ืช ื”ืจืคื•ืื™ื™ื ื•ื”ืื•ืžื ื•ืชื™ื™ื ื’ื ื™ื—ื“
09:15
and are placing it directly on the streets.
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ื•ืžืžืงืžื™ื ืื•ืชื” ื™ืฉื™ืจื•ืช ื‘ืจื—ื•ื‘ื•ืช.
09:18
London-based SHOK-1 paints giant X-rays of pop culture icons.
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SHOK-1 ื”ืœื•ื ื“ื•ื ื™ ืžืฆื™ื™ืจ ืฆื™ืœื•ืžื™ ืจื ื˜ื’ืŸ ืขื ืงื™ื™ื ืฉืœ ื“ืžื•ื™ื•ืช ืžื”ืชืจื‘ื•ืช ื”ืคื•ืคื•ืœืจื™ืช.
09:23
His X-rays show how culture can come to have an anatomy of its own,
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ืฆื™ืœื•ืžื™ ื”ืจื ื˜ื’ืŸ ืฉืœื• ืžืจืื™ื ื›ื™ืฆื“ ืœืชืจื‘ื•ืช ื™ื›ื•ืœื” ืœื”ื™ื•ืช ืื ื˜ื•ืžื™ื” ืžืฉืœ ืขืฆืžื”,
09:27
and conversely how culture can become part of the anatomy of a person.
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ื•ืœื—ื™ืœื•ืคื™ืŸ, ื›ื™ืฆื“ ื™ื›ื•ืœื” ืชืจื‘ื•ืช ืœื”ืคื•ืš ืœื—ืœืง ืžื”ืื ื˜ื•ืžื™ื” ืฉืœ ื‘ืŸ ืื“ื.
09:32
You come to admire his work
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ื™ืฉ ืœื”ืขืจื™ืš ืืช ื”ืขื‘ื•ื“ื” ืฉืœื•
09:33
because reproducing X-rays by hand, let alone with spray paint,
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ืžื›ื™ื•ื•ืŸ ืฉื™ื™ืฆื•ืจ ืฆื™ืœื•ืžื™ ืจื ื˜ื’ืŸ ื™ื“ื ื™ืช, ืงืœ ื•ื—ื•ืžืจ ืขื ืฆื‘ืขื™ ืกืคืจื™ื™,
09:36
is extremely difficult.
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ื–ื”ื• ื“ื‘ืจ ืงืฉื” ื‘ื”ื—ืœื˜.
09:38
But then again this is a street artist,
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ื•ื‘ื›ืœ ื–ืืช, ื–ื”ื• ืื•ืžืŸ ืจื—ื•ื‘,
09:40
who also happens to hold a degree in applied chemistry.
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ืฉื‘ืžืงืจื” ื’ื ื™ืฉ ืœื• ืชื•ืืจ ื‘ื›ื™ืžื™ื” ื™ื™ืฉื•ืžื™ืช.
09:45
Nychos, an Austrian street artist,
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ื ื™ื™ืงื•ืก, ืื•ืžืŸ ืจื—ื•ื‘ ืื•ืกื˜ืจื™,
09:47
takes the term "exploded view" to a whole new level,
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ืœื•ืงื— ืืช ื”ืžื•ืฉื’ "ืžื‘ื˜ ืžืคื•ืฆืฅ" ืœืจืžื” ื—ื“ืฉื” ืœื’ืžืจื™,
09:50
splattering human and animal dissections on walls all over the world.
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ื›ืฉื”ื•ื ืžืชื™ื– ื‘ื™ืชื•ืจื™ ืื ื•ืฉ ื•ื‘ืขืœื™ ื—ื™ื™ื ืขืœ ืงื™ืจื•ืช ื‘ืจื—ื‘ื™ ื”ืขื•ืœื.
09:55
Influenced by comics and heavy metal,
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ืชื•ืš ื›ื“ื™ ืฉื”ื•ื ืžื•ืฉืคืข ืžืงื•ืžื™ืงืกื™ื ื•ืžื˜ืืœ ื›ื‘ื“,
09:58
Nychos inserts a very youthful and enticing energy into anatomy
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ื ื™ื™ืงื•ืก ืžื˜ื‘ื™ืข ืื ืจื’ื™ื” ืฆืขื™ืจื” ื•ืžืœื‘ื‘ืช ืžืื•ื“ ืœืื ื˜ื•ืžื™ื”
10:03
that I just love.
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ืฉืื ื™ ืคืฉื•ื˜ ืื•ื”ื‘ืช.
10:06
Street artists believe that art belongs to the public.
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ืื•ืžื ื™ ืจื—ื•ื‘ ืžืืžื™ื ื™ื ืฉื”ืื•ืžื ื•ืช ืฉื™ื™ื›ืช ืœืฆื™ื‘ื•ืจ.
10:10
And this street anatomy is so captivating
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ื•ืื ื˜ื•ืžื™ื™ืช ื”ืจื—ื•ื‘ ื”ื–ื• ื›ื” ืฉื•ื‘ืช ืœื‘
10:13
because it is the furthest removed from the medical world.
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ืžื›ื™ื•ื•ืŸ ืฉื”ื™ื ื”ืžืจื•ื—ืงืช ื‘ื™ื•ืชืจ ืžื”ืขื•ืœื ื”ืจืคื•ืื™.
10:16
It forces you to look at it,
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ื”ื™ื ืžื›ืจื™ื—ื” ืืชื›ื ืœื”ืกืชื›ืœ ืขืœื™ื”,
10:18
and confront your own perceptions about anatomy,
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ื•ืœื”ืชืขืžืช ืžื•ืœ ื”ืชืคื™ืกื•ืช ืฉืœื›ื ืื•ื“ื•ืช ื”ืื ื˜ื•ืžื™ื”,
10:21
whether you find it beautiful,
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ื‘ื™ืŸ ืื ืืชื ืžื•ืฆืื™ื ืื•ืชื” ื›ื™ืคื”,
10:23
gross,
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ืžื’ืขื™ืœื”,
10:24
morbid
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ื—ื•ืœื ื™ืช
10:26
or awe-inspiring, like I do.
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ืื• ืžืขื•ืจืจืช ื”ืฉืจืื”, ื›ืžื•ื ื™.
10:28
That it elicits these responses at all
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ื”ืกื™ื‘ื” ืฉื”ื™ื ื‘ื›ืœืœ ืžืขื•ืจืจืช ืชื’ื•ื‘ื•ืช ืืœื”
10:30
is due to our intimate and often changing relationship with it.
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ื”ื™ื ื‘ืฉืœ ืžืขืจื›ืช ื”ื™ื—ืกื™ื ื”ืื™ื ื˜ื™ืžื™ืช ื•ื”ืžืฉืชื ื” ืœืขืชื™ื ืฉืœื ื• ืื™ืชื”.
10:36
All of the artists that I showed you here today
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ื›ืœ ื”ืืžื ื™ื ืฉื”ืจืืชื™ ืœื›ื ื›ืืŸ ื”ื™ื•ื
10:38
referenced medical illustrations for their art.
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ื”ืชื™ื™ื—ืกื• ืœืื™ื•ืจื™ื ืจืคื•ืื™ื™ื ื›ืืžื ื•ืช ืฉืœื”ื.
10:41
But for them,
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ืื‘ืœ ืขื‘ื•ืจื,
10:42
anatomy isn't just something to memorize,
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ืื ื˜ื•ืžื™ื” ื”ื™ื ืœื ืจืง ื“ื‘ืจ ืฉืฆืจื™ืš ืœืฉื ืŸ,
10:45
but a base from which to understand the human body on a meaningful level;
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ืืœื ื‘ืกื™ืก ืฉืžืžื ื• ื ื™ืชืŸ ืœื”ื‘ื™ืŸ ืืช ื”ื’ื•ืฃ ื”ืื ื•ืฉื™ ื‘ืจืžื” ืžืฉืžืขื•ืชื™ืช;
10:50
to depict it in ways that we can relate,
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ืœืชืืจ ืื•ืชื• ื‘ืจืžื•ืช ืฉืืœื™ื”ืŸ ืื ื• ื™ื›ื•ืœื™ื ืœื”ืชื—ื‘ืจ,
10:52
whether it be through cartoons,
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ื‘ื™ืŸ ืื ื–ื” ื“ืจืš ืงืจื™ืงื˜ื•ืจื•ืช,
10:54
body painting
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ืฆื™ื•ืจื™ ื’ื•ืฃ
10:56
or street art.
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ืื• ืืžื ื•ืช ืจื—ื•ื‘.
10:57
Anatomical art has the power
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ืœืืžื ื•ืช ืื ื˜ื•ืžื™ืช ื™ืฉ ืืช ื”ื›ื•ื—
11:00
to reach far beyond the pages of a medical textbook,
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ืœื”ื’ื™ืข ืจื—ื•ืง ืžืขื‘ืจ ืœื“ืคื™ื ืฉืœ ื”ื—ื•ื‘ืจื•ืช ื”ืจืคื•ืื™ื•ืช,
11:03
to ignite an excitement in the public,
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ืœืขื•ืจืจ ื”ืชืจื’ืฉื•ืช ื‘ืงืจื‘ ื”ืฆื™ื‘ื•ืจ,
11:05
and reinvigorate an enthusiasm in the medical world,
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ื•ืœื”ื—ื™ื•ืช ื”ืชืœื”ื‘ื•ืช ื‘ืขื•ืœื ื”ืจืคื•ืื™,
11:08
ultimately connecting our innermost selves with our bodies through art.
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ื•ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ ืœื—ื‘ืจ ืืช ื”ืื ื™ ื”ืคื ื™ืžื™ ื‘ื™ื•ืชืจ ืฉืœื ื• ืขื ื”ื’ื•ืฃ ืฉืœื ื• ื“ืจืš ื”ืืžื ื•ืช.
11:15
Thank you.
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ืชื•ื“ื”.
11:17
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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