Take heART: Making a case for the essential role of art in medicine

June 24, 2021

Experiencing art can be viewed simply as a pleasant pastime. But what if it could also improve observation skills, increase tolerance for uncertainty, forge connection between viewers, address burnout, and even provide a venue to confront systemic bias? Sarah Clever, MD ’96, leads a brief didactic followed by an interactive session that will introduce Visual Thinking Strategies (VTS). VTS is an inquiry-based teaching method, created by a cognitive psychologist and a museum educator, that improves critical (and clinical) thinking skills through teacher-facilitated discussion of visual images.

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00:10I think we're going to wait
00:12for a few more people. I and.
00:17A while while we're waiting.
00:22If you can go ahead in the chat
00:25and I just drop in one word about
00:29how you're feeling right now.
00:42Search
00:53great, so I'm seeing anticipo Tori.
00:55So for the people who just joined,
00:57I've asked that people drop
00:59one word about how they're
01:01feeling right now into the chat.
01:20OK. Uh, so.
01:26Emily, should we wait one more minute?
01:30Then get ready to start whenever
01:32you're ready, OK? Alright, so.
01:40So I'll I'll go ahead and and get started.
01:44So I just I'm so happy that
01:47you've made the choice to attend.
01:49And so for the talk,
01:52I'm going to first start with just a
01:55little bit about what visual literacy is.
01:58And then it's influence on cognition.
02:01How it's thought that visual
02:03literacy develops and then how it
02:06can be used in medical education.
02:09So next slide please.
02:14Visual literacy is probably
02:16more easily thought about in
02:18its analogy to verbal literacy,
02:20so verbal literacy uses symbols
02:22which are letters to convey meaning,
02:25and with some education people
02:27can learn to use those symbols
02:30to communicate through writing.
02:32Similarly, using philosophy,
02:33art and linguistics is
02:35theoretical foundations.
02:36Visual literacy has been defined
02:40as the ability to understand
02:43or read in the analogous.
02:45Verbal literacy and use or write
02:48images and to think and learn
02:50in terms of Internet images.
02:53Similarly,
02:53visually literate people can discriminate
02:55and interpret the visible actions,
02:57objects and symbols,
02:59natural or man made that they
03:01encounter in their environment.
03:06When I. In other words,
03:09visual literacy, seeing with insight,
03:11enables viewers of pictures to
03:14examine elements such as color,
03:15line shape, form depth and detail
03:17to see what relations exist.
03:19Both among these components and between
03:22what it is what is in the picture and
03:25their previous visual experiences.
03:27The viewer can extract meaning and
03:29respond to it either by talking
03:32or writing about the pictures.
03:34When to find this way?
03:36It becomes clear how visual literacy
03:38could improve physician skills.
03:40Beyond that, Haley and Yenawine argue,
03:42and I think correctly,
03:44that a visually literate person looks
03:46with a questioning state of mind
03:48involving as much inquiry as visual acuity.
03:51Next slide.
03:55Vision is now understood to be
03:57more than just image transmission.
04:00It involves information processing.
04:02It triggers a cognitive process,
04:05particularly aesthetic experience is
04:07defined as multi sensory activity
04:10rooted in the visual produced
04:12highly synthetic brain activity,
04:14stimulating the prefrontal cortex
04:16locus of complex cognition,
04:18decision-making personality and
04:20self moderation, and the limbic
04:22system system involving emotions,
04:24memories and self preservation.
04:26Viewing art has been shown to
04:28activate and has the potential
04:30to enable awareness of high level
04:33cognitive functions like intention,
04:35organization and selection.
04:37Next slide, please.
04:40The development of visual literacy typically
04:43receives little attention in education.
04:45Unlike verbal literacy as
04:46defined by Abigail Housing,
04:48a cognitive psychologist who received
04:50her doctorate of education from Harvard
04:53Visual Literacy developed over several
04:55stages movement from one stage to the
04:58next comes as a result of extended,
05:00thoughtful examination of visually
05:03complex material overtime.
05:04Art observation is particularly
05:06suited to developing visual literacy.
05:09It contains a certain amount of readily,
05:12readily recognizable information.
05:14It is intentionally ambiguous
05:16and layered with meaning.
05:19And it creates impetus for searching
05:21beyond the obvious next slide, please.
05:26So what does developing
05:28visual literacy look like?
05:30Compare 1/3 grader's
05:31description of Winslow Homer.
05:32Snap the whip before an after 7 VTS sessions.
05:35So with the prompt, what do you think
05:37is going on in this picture before the
05:39visual thinking strategies sessions?
05:41Those students said,
05:42I think that the boys are playing in
05:45a field outside of school and that
05:46there are no girls in the picture.
05:49After the seven sessions the child said,
05:51I think that the boys just got
05:53out of school because I see that
05:55there is a building that looks
05:56like an old fashioned schoolhouse.
05:58I also think that the boys are having recess.
06:01I think that they're playing
06:03ring around the Rosie's.
06:04I also think that they're at the
06:06countryside because I see mountains.
06:07In the first statement,
06:09the students summarizes what
06:10he sees in the picture,
06:12making observations without
06:13evidence and with minimal details.
06:15In the second description,
06:17there is much more detail.
06:18He makes 4 inferences.
06:20Just got out of school recess,
06:22ring around the Rosie Zan countryside,
06:24three of which are supported by evidence.
06:27This demonstrates his ability to
06:29infer meaning from observation,
06:30and his persistence in looking
06:32and finding more next slide.
06:36The same student shortly before the
06:38post test and after a discussion
06:39of the images with his classmates.
06:41Had this to offer about this artwork,
06:43I think the boy is punished
06:44because his face looks sad.
06:46I also think he got into a fight
06:47because his knees look dirty.
06:49I also think that the man at the top
06:51left of the picture is a maid and the
06:53lady is the boys mom because it looks
06:56like she is using a sewing machine.
06:58I also think that the boy just
06:59came in from outside because in
07:01the old days people used to play
07:03with those types of hula hoops.
07:04I think that the time of day is afternoon.
07:07Because the light is very bright,
07:09I also think the wallpaper design is a tree,
07:11because I see leaves.
07:14Again, there are many more inferences made.
07:16A total of nine most was supporting evidence,
07:19and significant details such as
07:21the boys expression and time,
07:23both historical,
07:23the old days and time of day,
07:26the afternoon.
07:27This shows the impact that group
07:29discussion can have on the growth
07:32of individuals visual literacy.
07:33It may be argued that this ability
07:36is separate ability to separate
07:38observation from inference involves the
07:40mental work of suspending judgment.
07:43This mental work is not easy,
07:45but being able to manage our impulses to
07:47arrive at conclusions is not only the
07:50basis of thoughtful decision making,
07:52but also essential to avoiding
07:53errors in judgment. Next slide.
07:58The American Association for
07:59Medical Colleges or Double AMC
08:01has identified the humanities as a
08:04key area for further exploration.
08:06An intervention in medical education
08:08skills based outcomes such as honing,
08:11observation and interpretation skills.
08:12Relational outcomes such as empathy,
08:14communication and teamwork
08:16and transformation.
08:16O'll outcomes at the level of prevent of
08:19professional identity formation and advocacy.
08:22They commissioned a scoping review
08:24which has just been published,
08:26which identified over 21,000 scholarly
08:28works involving art and medicine.
08:30With over 600 selected for full text review.
08:34Next slide.
08:38In fact, over 70 medical schools have
08:40learning partnerships with art museums.
08:43Next slide, please. And in fact,
08:46I think that the L School of Medicine was
08:49actually in the vanguard of this work,
08:52spurred by a passion for
08:54teaching in dermatology.
08:55Doctor Braverman, who actually spoke.
08:57I spoke yesterday,
08:58piloted the use of fine art to enhance
09:01visual diagnostic skills at the Yale
09:03Center for British Art in 1998.
09:05I only wish that he had done it in 1996,
09:09'cause that's when I graduated.
09:11But 176 students over two years
09:13were at randomly decided to
09:14control either clinical tutorial.
09:16Anatomy lecture or guided art
09:18observation and description at the
09:20YCBA student scores on a number on the
09:23number of descriptors of photographs
09:25of patients with medical illness
09:28increased significantly more in the
09:30group that was exposed to art than in
09:33the clinical tutorial or anatomy lecture,
09:3656% versus 46% or 47% ALPI
09:39values very significant.
09:41Next, apply next slide.
09:45Here is a possibly illegible partial
09:47list of the 70 medical schools that
09:50include art and medical education,
09:52including peer institutions such as Columbia,
09:55Harvard University of Washington and Hopkins.
09:59Next slide.
10:03So looking at art has widely
10:05demonstrated positive impacts on
10:07observation skills both broadly
10:08and in specific domains such as
10:11ophthalmology and dermatology.
10:13What's more, observing art not
10:15only impacts observation skills
10:17but impacts training's ability
10:19to communicate that information.
10:21Next slide.
10:26In addition, thinking about art or
10:29aesthetic thought engages critical
10:32and creative thinking. Next line.
10:37Art based curricula have also been
10:39shown to positively impact trainees
10:41comfort with and tolerance of ambiguity.
10:44Comfort with ambiguity has been
10:46associated both with improved resilience,
10:48but also with important
10:49downstream clinical impacts,
10:51such as rates of testing invasive procedures.
10:53An admission to hospital.
10:57Next line.
11:00Looking at art can contribute to
11:02the development of empathy and
11:04increased ability to take and
11:06share perspectives next line.
11:12Art can generate environments
11:13to challenge assumptions and
11:14examine ones implicit biases.
11:16Rebecca Voelker,
11:17described in JAMA how an art based
11:19activity led medical students to
11:21change their views of patients with
11:23dementia and zayden and colleagues
11:25describe how they used art and
11:27archaeology at a local museum to
11:29get students to think about implicit
11:31bias outside the classroom setting.
11:35Next time. Art can also function as a
11:39powerful means to process challenging
11:41or traumatic situations in Hopkins
11:44Department of Emergency Medicine,
11:46two faculty members,
11:47comma baharaan, Nathan Irvin,
11:48have developed a series of 10 humanities
11:51sessions integrated into their
11:53weekly virtual resident didactics.
11:55Prompted by difficult works of art they
11:57have grappled with violence and racial bias.
12:00These sessions have allowed residents
12:01and faculty members to share their
12:04own stories of discrimination and
12:05lead to the creation of a longitudinal
12:08antiracism humanities curriculum.
12:09Next slide.
12:13And finally, as those of
12:14us who enjoy art know,
12:16observing art closely or not,
12:18can foster Wellness and
12:20resilience. Next line.
12:24Now I'd like to introduce you
12:27to visual thinking strategies,
12:29which is 1 means of of
12:31helping people approach art.
12:33I and then we'll have a
12:36chance to do it ourselves.
12:39ETS is a structured teaching
12:41teaching method that,
12:42through close looking and open
12:44discussions of art have been
12:46demonstrated to foster critical thinking,
12:48communication and collaboration skills.
12:50It was developed by Filipino wine and
12:53Abigail Housing and it has been used,
12:55studied and refined over the past 30
12:57years with all levels of learners from
12:59Pre K to adults and more recently
13:02among health professional learners.
13:04There are three deceptively
13:05simple phrases that are used.
13:07First.
13:07What do you think is going on
13:10in this picture?
13:11What do you see that makes you say that?
13:13And what more can we find?
13:15So before we start doing some
13:17of our own art interpretation,
13:18I would be happy to hear any
13:20questions that people might have.
13:24Let's see and maybe maybe Emily.
13:26You can UN share the screen so
13:29we can all see each other just
13:32just for right now. Awesome.
13:37Any questions?
13:42You say this deceptively. I agree.
13:44When you look at a artwork,
13:47you have to ask yourself
13:49what they're trying to do,
13:51not so much what they're
13:53what is being represented,
13:54but are they trying to be representational,
13:57or are they trying to be
13:59allegorical, or what?
14:02Yes, you have achieved a fairly
14:04high level of visual literacy.
14:06Actually, because you are,
14:07you are trying to have.
14:09I mean the way you describe your
14:11own interactions with art you're
14:13you're trying to understand
14:15what what the artist was
14:17intending to say or demonstrate.
14:19Other questions.
14:23OK, great so I will go to the next slide.
14:28Emily, if you can. Uhm?
14:32Go back to the slide sharing.
14:36And thank you, by the way, to Emily.
14:40And in all of the Yale staff,
14:43it's been wonderful working with them,
14:45and I really appreciate
14:47their help with this so.
14:49So uhm, Emily will put up a slide.
14:55In just a second.
14:58Alright, so.
14:59Please take some time to
15:02look closely at this artwork.
15:27Alright, so. Whoever would like
15:30to start out, what do you think
15:32is going on in this picture?
15:57The artist is added the wings to make
15:59a statement since they go outside
16:01the margin of the original picture.
16:06Great so there we go.
16:08You're talking about about the wings
16:12here and drawing our attention to the
16:17fact that there is a frame for the
16:21artwork and the artist has modified it.
16:25You can tell because because
16:28it extends beyond that frame.
16:30Thank you, what more can we find?
16:33Well, the key here is that it's a photograph.
16:36Will it graphic overlay?
16:39And for as the issue here to me is
16:43and it's a black and white photograph
16:46which is kind of interesting.
16:50There's this funny bug.
16:53On what looks like film strip
16:55on the left side of the.
16:59Photograph and it makes me wonder
17:02if the plan here is to have.
17:06This child looking at the bug.
17:10And I had a couple of thoughts
17:12and looking at it first of all,
17:15I thought, well, this is wings.
17:17It's an Angel.
17:18And so maybe this is a deceased person.
17:22And looking out the window and it's a
17:25fantasy of what this Angel looks like.
17:28But given the bug,
17:30I'll go one step further and say
17:32that this child is imagining he
17:34were a blood bug and could fly.
17:39Wonderful, wonderful,
17:40so Harold is looking at a lot of
17:44the elements in in this artwork.
17:47Also focusing and Jennifer.
17:49If you could erase the marks that I made.
17:55We oh great.
17:57Thank you so so noticing that there
18:00is this other bug and I and also
18:04interpreting the wings and wondering
18:07if the if the artist is intending to.
18:11I. Make us think that this
18:14child is an Angel, perhaps I,
18:16and then noticing that the child seems
18:19to be looking at this other bug,
18:21what do you see that makes you say child?
18:31It just looks like a young face.
18:36You know terms of anatomy.
18:37The nasal bridge isn't developed.
18:44Harold referred to this child is he?
18:46I notice an earring and I was wondering
18:49if it's more likely to be a girl.
18:53Was that Randy? Let's poke up.
18:58It was yes, yeah. Thank you. I can't.
19:01I can't always see this talking.
19:03Yeah, yes so so you've noticed
19:05another detail which is which is the
19:08earring which makes you wonder if
19:10perhaps this might be female child.
19:13Indeterminate gender but
19:15more likely female, I agree.
19:18I alright thank you, I'm sorry I
19:21just had something this is pet.
19:23This is Penny Randy's wife.
19:25Yes I'm stowaway today.
19:27My mom is going away too.
19:29That's fine and my am I dad
19:31and one of my kids. OK,
19:34I just I. I very much get the
19:36idea of going back to the idea of
19:39the wings and the desire flight.
19:42I even see perhaps a desire for
19:44escape the way that the child
19:47is flat and against the window.
19:49As in people she cannot get,
19:51cannot get any further.
19:52There seem to be as a desire
19:54for the unattainable.
19:58So, so pennies. Noticing the way the
20:01child's hands are are pressed up
20:04against the glass and wondering if
20:06that you know that might represent that
20:10the child's is being prevented from
20:12something that they that they want.
20:15Did I get that right?
20:17Yeah, yeah, absolutely alright.
20:19Thank you. Is wearing has all
20:22the sartorial elegance of the average
20:24Johnny coat in a doctors office.
20:29Right, right?
20:30So so Harold is then further noticing.
20:33So the the elegance of of the
20:35Johnny coat in the doctor's office.
20:38I think that you're speaking tongue in cheek.
20:43Alright, so what's that?
20:45Yes indeed, yes, right,
20:47right and and what?
20:49What do you,
20:50what Harkins of the jonico?
20:54Well my take is it looks
20:56like a sick child who is wishing
20:59that she could be outside.
21:04Yeah, yeah, so so you're noticing
21:07perhaps some longing in the child.
21:09What do you see that makes you say that?
21:14Or but? It's that long.
21:17If I'm characterizing that correctly.
21:22Her expression, yeah, definitely seriousness
21:24to the face.
21:28Right, so you see the seriousness.
21:30And Jenn, if you could again remove the.
21:35Yeah, great, thank you.
21:37Yes, yes that the child looks
21:39wistfulness perhaps might be
21:40the good scripture for her
21:42expression research question.
21:43Yeah, and if I don't say
21:45your name, it's just because I can't
21:47see all the participants at once,
21:49but I'm so glad that people are
21:52just speaking up. That's great.
21:55Point to be made, which is sort of.
21:58Tangential. Is that you
22:00called the photograph art?
22:03I called the photograph art. Yes yes yes.
22:08I so so I I did and I feel comfortable
22:12with that and not all of the work we're
22:16going to look at our photographs.
22:19I know that some people can
22:21feel differently about that.
22:23I would argue it is using
22:26photographic technique,
22:26but not not purely photograph.
22:29As you, as you pointed out,
22:31I think it was pointed out that
22:34you know the the wings that
22:36are that are extending beyond.
22:41So, so thank you. What more can we find?
22:46Well, the only other point I was gonna
22:49make about using a photograph is I can
22:51recall there's a series of psychological
22:53tests that I can't remember who did it,
22:56which is a series of photographs.
22:58Oh I wanna guess they were taken in
23:01the 30s of different family situations
23:04and in child psychology you or you
23:07were asking them them to interpret.
23:10You know what was he feeling?
23:14Yes, yes I. I think I'm familiar with.
23:17I know of some of them.
23:20And, uh, yeah. Uh, there's a T80.
23:24The thematic apperception test,
23:25but they're more drawings and photographs,
23:28but there looked like they might be
23:30black and white photographs if it's the
23:32same thing that heralds thinking of I, I
23:35think I think I
23:37may be thinking of those as well. Else,
23:41what else can we find in the artwork?
23:45It's interesting that it's not
23:47just a photograph, it's actually
23:48seems to be a frame from a strip of
23:52negatives or something like that,
23:54and the artist is taking pains to show that.
23:58I think that that might be significant in
24:01some way positive.
24:04Right, right? So the person who just
24:07spoke has drawn our attention to the
24:10fact that we can see the film that that
24:14holds this image and is is wondering
24:18what what the artists intent might have
24:21been in doing that since since you
24:25see that or your perception is that
24:29they've taken great pains to show that.
24:32Yeah it did. I did. I get that right.
24:35Yeah, absolutely no great.
24:36Thank you. What more can we find?
24:40There are two people on the background.
24:44No, let's see.
24:47I I'm going to go ahead and call
24:50on Linda clever. 'cause well,
24:53I was just there. There are
24:55two people at this end who noticed that the.
24:59Young persons gaze is not looking at the bug.
25:04It is and I must say that I
25:06didn't even see the bug until
25:08somebody else pointed it out.
25:10I saw that the wings and I first
25:13thought it looked like Angel wings.
25:15And then I thought it was about
25:18escape and it's such a longing,
25:20sad, trapped kind of situation.
25:24But I I I don't even know if the bug is
25:27supposed to be part of the whole thing.
25:30Count on it.
25:32Right so so. You're you're noticing or
25:37other people in the room have noticed that
25:40the child may not be looking at the bug,
25:43and I've I've done my best approximating
25:46the gays and the thing it seems.
25:49Maybe, maybe that's not what
25:51the child is looking at and.
25:54Well, one person has mentioned the
25:57intentionality of of the artists
25:59framing and presentation of the image.
26:02It seeing seeing a bug there
26:05seem different to you. Maybe.
26:08Maybe it was. It was a mistake.
26:11Bugs were in Maryland right now and
26:14we have all kinds of cicadas going
26:18around who accidentally get into
26:22everything and so so is that is that?
26:25What I'm what you meant to capture?
26:27Yep, great, great. Thank you.
26:29What more can we find?
26:33More details would unlikely be looking
26:35at the bug because the bug wasn't
26:38there when the photograph was taken.
26:40That's the artist addition.
26:42I think the rings look more like insect
26:45wings than Angel wings that the child
26:47may be wishing that she could fly away.
26:53Also that the furniture
26:54you see in the background,
26:56even though she looks like she's
26:58wearing a Johnny code, doesn't look
27:00like more like a
27:02home than a doctor's office.
27:04Yeah, yeah. So Stan is picking up
27:06more on on the imagery, you know,
27:09wings being angels or but these
27:11are clearly insects and also
27:13directing our attention toward the
27:15background in this artwork and
27:17saying that it looks like a home.
27:19What do you see that makes you say that?
27:25With the size of the windows
27:27and the placement of the chair.
27:29Makes it more sound like it's.
27:33In a home rather than the doctor's office,
27:35which would be unlikely to
27:36have such large ringtones.
27:39I wonder if it's appropriate to
27:41draw a distinction between a
27:43photograph and a work of art rendered
27:46by some other, more intentional means,
27:48such as painting or drawing,
27:50because in a photograph
27:51they will often necessity,
27:52perhaps be things which just happened
27:55to be there which the camera captures,
27:57which are maybe not entirely germane
27:59to what the photograph is about.
28:01Where am I sticking my neck out a bit there?
28:06Oh well, I'm I'm really just
28:08here to to have the aesthetic
28:11experience of what we're seeing and
28:14what it makes us think about and.
28:18And for me, kind of the community
28:21that can that can grow from
28:24from this shared experience.
28:27I I am certainly aware of the debate about,
28:32you know whether photography
28:34can be considered art.
28:36I I and is there something that
28:39that in this in this artwork that
28:43makes you think that there is
28:47less intention ality?
28:49Then there might be
28:50found. Not necessarily.
28:52I'm just thinking that maybe the
28:54choice of genre itself leads to that.
28:57Perhaps leads to that conclusion.
29:00Yeah, right, right? Yeah,
29:04So what more can we find? Thank you.
29:16There is some vertical
29:17lines in the background,
29:18maybe that I thought initially
29:20they were like cords for
29:21blinds or something.
29:22I don't know what they are,
29:24but it does, kind of.
29:27Add the idea of maybe like
29:30prison bars constraint,
29:31something like that.
29:35Right, so you're noticing you noticing
29:37some of the kind of structural
29:40elements in the artwork and right,
29:42right and and making the association
29:45that vertical bars are often a
29:47sign of imprisonment that you
29:49perhaps is is intensifying.
29:51This this sense that this child
29:54is being prevented from doing
29:56what they might prefer to do,
29:59and if I were to get really carried
30:02away, I point out that the pattern on her.
30:06Clothing is also vertical lines.
30:10Oh yes, so so you you see some
30:14repeated elements in in this
30:16artwork that you know in in the
30:19the fabric of the child's garment.
30:23There are also those same vertical
30:26lines being being repeated.
30:27Thank you. Now
30:30you know we talked about where this is
30:33and these are Florida ceiling windows
30:37and there's those cords with long.
30:40Florida ceiling blinds and the column
30:42that tells me it's an institution but the
30:45hospital and it's it's not an office.
30:48There are a lot of Windows I I would find it.
30:53Hard to believe that this is
30:55something like somebody's son parlor,
30:57particularly since the back wall is solid.
31:01Alright, and and so so your your.
31:07Trying to draw some information
31:10from the size of the windows and
31:13what that says about what this
31:15building could be used for and that
31:18the height of it and the way the
31:21windows are dressed suggests more
31:23of an institutional setting to you.
31:25Is that? Did I get that right?
31:28Yes, yeah, yeah.
31:32The fact it looks a bit rundown
31:35the there's a stain on the window
31:38ledge the window is put the the
31:40glass pane of glass right away.
31:43I was gonna see the stain there so you
31:46know that perhaps suggested institution.
31:50Yes, so so you're you're
31:54looking very closely at.
31:57The condition of of the
31:59environment and and and does
32:01that make it seem more or less
32:04institutional to you, would you say?
32:09More institutional, more institutional.
32:10This is, I'm not judging from our own house.
32:15No no no no no no. Yeah yeah.
32:18My background here is carefully curated.
32:20I'm not turning myself.
32:25Oh wonderful, so let's see I wanna
32:27I wanna keep an eye on that I'm
32:30oh we're doing great OK are there
32:32what more can we find? I don't
32:34think that's a stain on the
32:36window on the window so I think
32:39that's a reflection of her elbow.
32:42Yeah, yeah. Or maybe it's an
32:46imprint of her elbow? Yeah, and
32:47Jennifer. If you could take
32:48off my marks, I'd be great.
32:52Thank you.
32:55Or you say, yeah, yeah,
32:57I I, I'll admit, I thought it was a
33:00stain on my computer screen, but. Uh, so.
33:07Yeah, So what more can we find? One
33:10of the things that we're thinking
33:13here together building community,
33:15which is brilliant.
33:17Is I at least I originally thought that the
33:21furniture in the background was kind of?
33:25Chairs and then I had the a-ha
33:28that maybe those are those tall
33:31institutional cribs that there
33:33used to be like in a TB Sandor.
33:38Something like that that.
33:42Something like that.
33:45One comment which could could
33:47explain the longing and the Oh my
33:50goodness and and the the comment
33:52about the looking a little decrepit.
33:55I think that the there is separation
33:58between an on the railing there between
34:01the kind of the grout and the the
34:05wood down to the left of her elbow.
34:08So it's a little bit decrepit and
34:11maybe the bug means you know, like.
34:15That's.
34:16What?
34:18Is around this place is or their
34:20part part of this environment may
34:22be the bugs and the other thing
34:25that's really interesting is how
34:27much time we've taken on this and
34:29what a gift time is to be able
34:32to look at something and think
34:34about it and think about it and
34:37talk about it and think about it,
34:39that it makes me kind of
34:41want to do more of that.
34:44Well,
34:44we
34:44we we will have a chance.
34:48So, so you also are.
34:50Thank you for those observations.
34:52You're also in it.
34:53It is kind of difficult because
34:56it's it's out of focus trying
34:58to kind of visually assemble the
35:00shapes that are in the background
35:02and some of which you know.
35:04If you see it more on the vertical seam,
35:08perhaps more like chairs.
35:09But then if you if you organize it more,
35:13you know more kind of horizontally.
35:15It could seem perhaps like like a
35:17crib like this is an institution.
35:20And drawing our attention to again,
35:23a way in which the.
35:27Built environment around this
35:28child may not be as well cup.
35:31Not that we're not judging,
35:33we're not judging I and and then and then.
35:36Also kind of bringing in.
35:39I'll paraphrase it is kind of
35:41the ick factor of bugs and and
35:44things kind of decaying and and
35:47the contrast perhaps of having a
35:50child in that in that atmosphere.
35:52In that environment,
35:54I agree with Harold on second thought
35:57that it does look more institutional,
35:59and certainly the Johnny Code.
36:01She wouldn't be wearing in her own home.
36:06And So what I read in this is a
36:08sad child who wishes she could
36:10fly away from the situation.
36:15Yeah, yeah, so stand your your
36:20again referencing with several
36:23people have touched on this.
36:26Appearing to want to to fly
36:29away and be away. So I do think
36:33that we could sad sick
36:35child. Yes, yes, an interpreting
36:38the clothing, perhaps combined with
36:40the background and some of what the
36:44artist is added as a child who is ill.
36:48I so so only in the interest of time I'd
36:52like to go on to our next artwork so.
36:56Jennifer, if you could.
36:58Will have a grey screen, it's OK.
37:03That's OK, that's intended. I.
37:07And then yeah, go ahead, present,
37:09do that, put up the next slide,
37:12please. McCain so.
37:17Please take some time to look
37:19carefully at this work of art.
37:49Alright. So what do you think
37:52is going on in this picture?
38:08Aside from the obvious that this
38:11is a black man with a Lantern,
38:14blue jeans and a red shirt.
38:17Standing on a rockledge.
38:20What strikes me is.
38:22The amount of light from the
38:27Lantern versus the area of rock.
38:31Is well lit, as is his back.
38:35It's it's, it's, you know.
38:37It's obviously some sort
38:39of painting or watercolor,
38:41but the the dispersion or
38:44dispersal of light is is not.
38:48What one would expect to see?
38:51Yeah, yeah, there's another
38:52light source in that Lantern and
38:54the whole thing has to kind of an
38:57allegorical feel to it that he's about
38:59to step into the. Dark unknown OK.
39:06So let me let me jump in and, uh,
39:10so so Harold you're you're describing.
39:13A man you know,
39:15black man holding a Lantern as you
39:18said it closed in the way you said,
39:21standing on some rocks and you're
39:23trying to make sense of how there
39:26can be this one small point of light
39:29that we can see an yet there is.
39:31There is quite the most of the of
39:34what we can see in in the artwork
39:37seems to be well lit or some you know
39:41maybe half of it seems well lit.
39:43Which seems unlikely to be provided
39:46just by that one source of light,
39:48Stendhal going to put a pin in what you said.
39:52And Harold, what do you see in that?
39:55That makes you say rocks?
39:58Just the pattern.
39:59I mean it, it looks like.
40:02Looks like rocks.
40:03I mean it's in their sort of abstract,
40:06but they are sedimentary and there
40:09are regular. In terms of an allegory,
40:12I mean you have somebody who is going from.
40:16From lightness in the darkness.
40:19Sky is obviously a night sky with stars.
40:23For whatever it's worth, it looks like
40:26the Big Dipper and he's looking north. Uh.
40:29And I mean the the allegory that that.
40:34Comes to mind is the Argenis
40:36carrying the Lantern,
40:36looking for an honest man.
40:40Right, so you
40:42should know about that one
40:44little dot by his right leg,
40:47which I was trying to tie it
40:50into being the sky at night,
40:53but that one little dot in there
40:56makes you think I reconsider that
40:58they might be fireflies in the little
41:02variations are represent a dark for
41:05us, huh? Alright, so so we're
41:07hearing is is was that Randy?
41:10Yes, yeah yeah. So so.
41:12First of all, Jennifer,
41:14if you could and I wanted to mention
41:17my other wonderful helper who's
41:19who is Jennifer who's helping.
41:22If you can remove my my lines so
41:24you're offering a different possible
41:27interpretation of of these these spots.
41:30Saying that perhaps they could be fireflies.
41:33And I and then also I was curious
41:37which is is this the the point of
41:41light that you were curious about?
41:44No, oh I'm doing the wrong side.
41:47This is
41:48his right leg, right leg just
41:51below his gastrocnemius.
41:53OK, popliteal fossa? About a oh
41:57this this one here is that Nope, OK.
42:01John, go ahead and erase those.
42:06OK, follow his right toe
42:08to the right along the edge of the
42:11rocks and then it goes straight
42:13up here as it turns right,
42:16you turn left near the white spot there
42:19and it just doesn't fit this one. Yes
42:23yes OK OK yeah.
42:25So so you you are so so there's a
42:28lot going on with light it seems,
42:31or at least that people are are queuing
42:33on both the what we perceive to be some
42:37lights and in the background, whether that's.
42:41Fireflies or maybe stars,
42:43or you know then the light from the Lantern.
42:47And as we've said, the incongruence
42:50between the amount of light in the picture
42:53and what seemed to be the sources of light.
42:57I know we just covered that.
42:59What more can we find? I'm
43:03noticing that he's not looking in the
43:05same direction as his own light source.
43:07He does seem to be looking to the right
43:09if I'm interpreting what I see correctly.
43:12I believe I see his right ear,
43:14which kind of indicates to me that
43:17he's looking down into the right,
43:18yet he's got the Lantern in his left hand,
43:21so he's looking away from
43:23his own light source.
43:26Right so so. I.
43:31Uh, was that who just I'm just so I
43:35know who who shared that penny Penny.
43:38OK, thank you yeah,
43:40so you're you're picking up
43:42on some some kind of anatomic
43:45cues and seeing the central or
43:47the only figures right here.
43:50Now that I got my left and right
43:53figured out and and drawing from that
43:56that his his head must be turned.
43:59And also from how we've done.
44:02Notes to us that so much time
44:04looking at the back of people's
44:06heads know that he's looking kind
44:08of down into the right.
44:10Yeah, he's at odds as I say,
44:12with the fact that he's holding
44:14the Lantern in his left hand, right right?
44:16So you're you're, you're curious.
44:18Maybe it. Maybe it seems that
44:20there wouldn't be anything to see.
44:22Or perhaps asking what is there to see.
44:26Down there an that may not may or may not.
44:29Since we're still not sure what's
44:31going on with light in the painting,
44:34but may not be adequately lit by by the
44:37Lantern that he's carrying, which might.
44:41So technique. His shirt and
44:43arms are well outline and his
44:47jeans are not a little there.
44:49Little rougher and his left leg
44:52looks bigger than his right leg.
44:56So, Harold, you're you're noticing
44:59some artistic techniques that that
45:02the the shirt and the upper portion,
45:05perhaps of the figures body,
45:08seemed to be very carefully or or.
45:13Distinctly drawn would you say?
45:16Whereas the the pants or the jeans
45:19and the way they are drawn are or is
45:23more indistinct and and furthermore
45:26that the left leg seems a bit
45:29bigger than than the right leg. And.
45:37Yeah, uhm.
45:40If this were a photograph,
45:41I would say that there's a
45:43light source above and to the right
45:45that outlines his shoulder in light.
45:49So. So that that's so there's
45:52there's light from somewhere up here.
45:54Is that right? And in front of him
45:57so that it just catches a little bit
46:00of his shoulder. Uh-huh, uh, huh.
46:04They had a photograph that would be
46:06my assumption uh-huh, right? So Stan is.
46:10So I I think you're wondering,
46:12perhaps if the artist is trying to help
46:15us answer the question about light.
46:17If, as you say, if it were a photograph
46:20where the light source you know in order
46:23for the medium to work has to be there,
46:26even if you can't see it.
46:30Suggesting that that that's
46:32how there is this much light.
46:36I in this in this painting did I get
46:38that right, yeah, but I
46:40mean overall, which strikes me is
46:42the contrast between light and
46:43dark and how he sort of seems
46:45to be heading into the big dark.
46:47But only Atlanta to help him.
46:50So, so you're you're getting back.
46:53Thank you drawing us back to to the allegory,
46:57more perhaps than just stones and
47:00a starry sky or sky full of of.
47:04And a fireflies that the artist
47:07is actually depicting a liminal
47:09moment moment of crossing over.
47:12Into the darkness is that it is
47:14because the foreground is lit from a
47:17source we don't see or understand,
47:19and what's in front of him is this darkness.
47:24That seems almost menacing mean.
47:26I had one thought that he's
47:28standing at the edge of a Cliff
47:30and considering jumping off.
47:33Uh, so so stand your your drawing us,
47:36perhaps somewhat to the intent
47:38of or what the what the figure
47:41in the painting might be.
47:43Might be going through that, you said.
47:45You said that the the
47:47darkness seemed menacing.
47:49What do you see that makes you say that it's
47:52just this dark hole?
47:55Yeah, a scattering of stars, but.
47:59They only serve to illustrate
48:01that this is. Not a cave,
48:03but the sky that he's facing.
48:08Again, I mean I see the contrast
48:10between light and dark as.
48:12Essential to the allegory that I see.
48:17Thank you and Jenn.
48:18If you could remove my marks,
48:20what more can we find?
48:31One thing I'll say one thing that's
48:34always interested me about this.
48:36This painting is trying to puzzle out
48:39what can be interpreted as rocks,
48:42but to me also it almost.
48:45It almost looks like you know it's it's a.
48:49It's a hand that some of these.
48:54You know crevices or cracks?
48:57Are actually you know the
49:00lines of someone's palm?
49:02I and and I've I've.
49:07And I've wondered about that and that
49:10perhaps it's even more allegorical that
49:13there is this kind of rocky texture to it.
49:18I Harold I would agree.
49:19It looks like sedimentary rock,
49:21but then but then it it's.
49:24Uh, it doesn't.
49:25Some of the some of the figures
49:28just don't don't quite reflect.
49:31Uh, you know the kind of cracks
49:33that I'm accustomed to seeing and.
49:38In sedimentary rock. 4 minutes. Well,
49:44in the rocks you know getting back
49:48to the shirt versus the pants.
49:51Where is part of this photo?
49:54The painting is the technique
49:56is is very deliberate.
49:58The pants are semi abstract,
50:00as are the rocks.
50:02Lantern is very deliberate.
50:07Right, so you're noticing which which
50:10we talked about a little bit before,
50:13but the the artist one would presume
50:17is making choices about what to do.
50:20Present very crisply and clearly and like
50:24the shirt, the outline of the arms, the.
50:30The Lantern, whereas the jeans and the rocks.
50:38Are presented without without,
50:40perhaps such attention to detail.
50:42Did I get that right? Yes.
50:47Thank you, what more can we find?
50:50Oh, 10 minutes remaining OK thank you Emily.
50:56So I I am going to move on to
50:58our final artwork because I think
51:00it's a bit of a pallet cleanser.
51:02So Jennifer, if you would please.
51:05Oh yeah, yes, clear my clear,
51:09my Marks and then advance
51:12to the next artwork please.
51:15Do we ever get to know what
51:17the truth of this all is? I.
51:22I wanted to ask that question but
51:24I didn't have the nerve.
51:27Or at least with the name
51:29of the artist in the in
51:30the title was right, right, right?
51:32So so that. The previous one I have
51:36not been able to find the artist
51:38in the title of the first one.
51:41The second one is.
51:42His last name is Davis and it's it's
51:46called painting for my father. I am.
51:49He painted it three days before his
51:52father died and so gentle into that
51:55dark night. Yeah, yeah, Anan painting
51:57in some light for him to carry with him.
52:01I mean, it's so it's so poignant.
52:05And I've wondered if the other Points
52:07of Light are actually, you know,
52:09this void that he's going into,
52:11but that had been preceded by other
52:14people carrying their own light into it.
52:17So in any case,
52:19that's that's where I ended up with it,
52:22but but I continue to puzzle over it.
52:26I think it's an amazing work,
52:28so take some time to look
52:31carefully at at this artwork.
52:45I'm very struck by the geometry
52:48of the composition in a
52:50way that the two finger boards
52:52of the guitars kind of frame
52:55the people in the doorway.
52:59Yeah yeah yeah is that penny again?
53:02Yeah yeah so so you're you're
53:05noticing first some compositional
53:06elements, yeah? And then.
53:10However, those stick that sort
53:12of those palisade things. Uh-huh.
53:14Yeah, right? How how they are, you
53:16know there there is a couple
53:18of figures in the foreground,
53:20but the way they and some of
53:23the other elements in in the
53:25artwork are are organized.
53:27It also perhaps draws your
53:29attention to you know,
53:30to these figures who are
53:32kind of in the background.
53:34There's an element of poverty, too.
53:37I mean, the little girl is in bare
53:41feet his the the man with the guitar,
53:44his shoes are worn.
53:48But it's also a very happy setting in all.
53:53The kids are smiling.
53:55He's presumably not only playing,
53:57but moving or dancing is is playing.
54:01And what I can't figure out is if
54:03the little girl is playing with him.
54:05Or it wants to play with him and and his.
54:09I can't decide on the position of her
54:12hands whether she's actually strumming,
54:14but if she is,
54:16she's having a great time. He's
54:19showing off that is a guitar virtuoso
54:22who can play it behind his head.
54:25Right, right so? So Jenn,
54:28if you could take my my marks off and so so.
54:34It was there was a lot there.
54:37So Harold you're,
54:39you're noticing you know a depiction of.
54:43And some poverty is,
54:45as you say, in in this picture.
54:48Noticing that the girl in the foreground is
54:52barefoot at the man's shoes or are worn,
54:56and that in spite of that,
54:59it seems like a very happy picture.
55:02Certainly the girl in the foreground
55:05is beaming and the girl who's
55:08who's in the background also seems
55:11to be enjoying the scene.
55:14Wait a bit and then.
55:18Stand you you mentioned.
55:19I think I can't.
55:21I'm sorry I I lost.
55:23Where were the two of you transition
55:25but I think you mentioned the kind
55:28of virtuoso performance of of the
55:31figure in the front that he's able
55:33to play the guitar behind his head,
55:36which is impressive. And yeah, so so.
55:40So all adding up to a scene
55:43where people are having fun.
55:45What more can we find?
55:49But
55:50it seems to be in the Caribbean or something
55:53because of the sort of bamboo like.
55:56Quality of the the fencing or whatever it
56:00is, yeah. So stand your drawing
56:03some some inferences about location
56:05based on the bamboo thinking that
56:08that could be in the Caribbean.
56:13Could be.
56:16I think it's fair to say they're playing
56:18around rather than playing because
56:20they've got 2 electric guitars with
56:22no visible means of amplification,
56:24so it looks to me like
56:27they're just goofing about.
56:28I mean, the little girl isn't playing
56:31'cause she doesn't have between.
56:33Our hands are arguably too
56:34far up the Fingerboard. She's
56:36not. Anyway, yeah, yeah, yeah.
56:38So Penny is is perhaps bringing
56:40some knowledge of as a musician.
56:43I don't know.
56:44Pointing out that there isn't.
56:46There isn't anything amplifying the music,
56:48although I will say one of my sons,
56:51I has an electric guitar that
56:53he's learning on and you
56:55can still get a good bit of
56:57music out of it, but but
56:59you can play them. It just
57:01does not sound. Yeah, right right?
57:03And also noticing that the
57:05positioning of the girls hands.
57:08Although she she's at
57:09least at the very least,
57:11seen somebody who's held a guitar before,
57:13if not held it herself,
57:15'cause a lot of the positions
57:17right where her where her right
57:19hand is wouldn't really allow
57:21for the instrument to be played.
57:26What more can we find?
57:30I'm just sort of curious of what that
57:33is on his chest under his right arm,
57:36some sort of a pouch,
57:38but it's just I don't think it
57:40adds anything in this story,
57:42it's just. Distraction.
57:49Yeah, well. I yeah, it's it's perhaps
57:54in an environment that's different from
57:57ones that we may have been in before.
58:01And yeah, and you're noticing a detail that.
58:05It's kind of hard to resolve
58:07in a way he must have his jacket
58:09buttoned, because if he didn't,
58:11it would have flown away from him with
58:13his arms raised up as high as it is.
58:16Yeah, so I think that's just
58:18the reduplication of his lapel
58:19caused by the button underneath.
58:22Yes, so Randy's bringing side.
58:25Uh, some sartorial will see a while, so
58:27I guess it couldn't be. It's like that.
58:32Some sartorial information in
58:34an pointing out that you know,
58:35given the how dynamic the
58:37figure in the very front is,
58:39if he had one. If he hadn't.
58:46Buttoned his coat, the coat
58:48would also be flying up so he's
58:51he's buttoned up in spite of.
58:53In spite of having the
58:55guitar behind his head.
58:57Great work and we find.
59:01We're noticing that whatever is
59:04inside that door is very dark.
59:06Seems as if it may not ever be very light.
59:11I don't know, but it's this is it must
59:15be on kind of a bright yet overcast day.
59:19There aren't any shadows.
59:22And inside whatever is inside
59:24it looks as if there's a shelf.
59:27However, it looks as if it must
59:30be dark almost all the time.
59:34So, uh, so Linda and Alex.
59:37I are noticing more about the
59:41setting that these people are in
59:44that it doesn't seem like there is.
59:47Would you say there is
59:50an electricity perhaps?
59:51Or at least if there is,
59:54it's not turned on and also noticing.
60:00How details of the photograph
01:00:02inform us about the weather.
01:00:04Although we can't see
01:00:06any sky without shadows,
01:00:08it must be overcast during the daytime
01:00:11for us to be able to see them,
01:00:15but not count the shadows.
01:00:19With respect and great gratitude,
01:00:21my class is meeting right now
01:00:23and I do wanna go to them.
01:00:25Thank you very much for this and
01:00:27really enjoyed it. So you're you're
01:00:29quite welcome. Great if people
01:00:30want to stay on their welcome
01:00:32too and thank you so much.
01:00:34All of you for attending.
01:00:36I've really enjoyed it.
01:00:40Alright.
01:00:48OK.
01:00:51Let's see. So there are.
01:00:54There are some people still
01:00:56here and what more can we find?
01:01:00And then if you could remove
01:01:02my marks from the artwork.
01:01:04Thank you. But we cannot.
01:01:13I think the fact that it is dark best
01:01:16daylight outside in the case that
01:01:19there are no windows in that space
01:01:21behind them or very little windows,
01:01:23there's no source of light
01:01:25in there besides electricity,
01:01:27whether it's on or off,
01:01:29there is no window.
01:01:32Right, right? So is it double that?
01:01:35Do that how you pronounce your name?
01:01:40Yes, OK. Yeah, noticing more that
01:01:44we can tell even without light,
01:01:48that this this building.
01:01:51Perhaps has been constructed without
01:01:53windows, which which is curious.
01:01:58Thank you, what more can we find?
01:02:15Alright, so not not hearing much.
01:02:18I don't have any more artworks to show.
01:02:21We had one thing we had one
01:02:23thing to add.
01:02:24Just one thing to add that it looks as
01:02:28if it's kind of a compound this the curb
01:02:31or seat or half of a wall or whatever
01:02:35it is in back of the fellows buys.
01:02:39And that is a gate or something that's open,
01:02:43so it almost looks as if that on the
01:02:47left side could be closed sometimes.
01:02:51So it seems like a village scene
01:02:54that's in pretty remote poor area,
01:02:57although at some point or another
01:03:00they were able to have building
01:03:04materials that are pretty sturdy.
01:03:07Makes you wonder if there was a
01:03:10colonial power there at one point,
01:03:12or some aid of some sort so that
01:03:15building is got some heft to it,
01:03:18however the the.
01:03:20Reeds or whatever they are,
01:03:22are pretty pretty frail,
01:03:23and yet they do divide people off,
01:03:26or may provide some security of some sort.
01:03:30So, so you're really drawing a lot of
01:03:34attention to the built environment in in
01:03:39this photograph, noting that although.
01:03:42And there are certainly things that
01:03:45make us think that there aren't a lot
01:03:48of resources for the people here.
01:03:51For you know, for the other reasons
01:03:54that people have mentioned that perhaps
01:03:56where their living was actually
01:03:59built by somebody else and maybe.
01:04:01Now wondering about colonial history,
01:04:03possibly?
01:04:03What do you see that makes you say sturdy?
01:04:08Sturdy. Well, I mean there's a doorway
01:04:12and the the IT looks as if I can't tell
01:04:15if those are bricks or cement blocks or.
01:04:20It looks across the top of the door.
01:04:22There may have been some repairs.
01:04:26I do see there's a light colored
01:04:29piece of wood just to the.
01:04:32Left of the young person in the the white so
01:04:38that one what did I just circle it?
01:04:43Yes yeah. So somebody's trying to keep
01:04:47something intact fixed up. Perhaps?
01:04:53Compositionally, there are a lot of
01:04:55vertical elements that are naturally
01:04:58sort of sticks out. In contrast to that.
01:05:02Yeah, yeah, so Stan you're going back
01:05:05to some of the compositional elements.
01:05:08I how there is so much that's vertical Anan.
01:05:12Also interesting Lee,
01:05:13Linda, you notice this?
01:05:15This is one of the other few.
01:05:20Horizontal elements the guitar
01:05:22neck is kind of on the diagonal.
01:05:26And then just wondering if
01:05:28maybe that's what drew you to
01:05:30the to the wall behind ulcer?
01:05:32Compositionally,
01:05:33this is sort of the leading line from
01:05:36the lower left hand corners, with the
01:05:39bottom of the reeds of leading up to
01:05:42the door. Yes, yes, so Stan,
01:05:44you're noticing this that?
01:05:47That tends to lead the eye toward the back.
01:05:51It's a great observation.
01:05:56Wonderful, what more can we find?
01:06:00I was I was just going to comment on
01:06:02the technique that the photographer.
01:06:05Has focused on the girls face more
01:06:07than anything else that's sharp.
01:06:10Background is is is partially blurred.
01:06:12And indeed the if you look at the man's
01:06:16pant leg, he's partially blurred,
01:06:18so the focal plane is that girls face.
01:06:22That's what he wanted to take pictures. Yeah,
01:06:25yeah. So you're, you're noticing
01:06:27it's the theme today was not
01:06:30supposed to be blurry pants but but
01:06:33you're you're noticing how the.
01:06:35The photographer has used his technique
01:06:38and it is a man who's the photographer
01:06:42has used his technique to to perhaps
01:06:46draw our focus to this this shining face.
01:06:50I kind of towards the center of the picture.
01:06:53I yeah yeah, but that.
01:06:56In addition to the compositional elements,
01:06:59how he's chose to focus
01:07:02literally has drawn us there.
01:07:06What more can we find?
01:07:10On her left foot is raised,
01:07:11so she's walking out to meet him.
01:07:15Yeah, so so. Harold you've noticed
01:07:18she's she's about to do that first
01:07:21heel strike in the in the gate,
01:07:24and interpreting that as we know from medical
01:07:27school that that she's moving forward.
01:07:30So it's it's giving us a little bit of
01:07:34sense of time within this within this
01:07:38moment that that there is movement and.
01:07:41That we we've captured,
01:07:43this group of people kind of in transition.
01:07:47I would say what it is,
01:07:49Harold, do
01:07:50I remember from your
01:07:52college days that you were a
01:07:54photographer yourself?
01:07:55Yep, Yep. That's what I thought.
01:07:58I remember. Yes still AM.
01:08:03Yes, this stand and I were both in Morris.
01:08:06He was what two years ahead of me?
01:08:1057 in the undergraduate school.
01:08:12Oh, great, great.
01:08:15Alright, so uh in in the interest of time,
01:08:19unless people have another,
01:08:21another observation that they want to,
01:08:24they want to share with us, I'm going to.
01:08:30At least you all back to your afternoon.
01:08:34Thank you so much for participating.
01:08:36It's really.
01:08:37I love doing these sessions.
01:08:40I and I was just so pleased and grateful
01:08:43when the you know the School of Medicine
01:08:47gave me the opportunity to do it.
01:08:50If you have any feedback,
01:08:53I would love it.
01:08:54S clever at jhmi.edu or
01:08:57questions or anything.
01:08:58I will say that I learned this
01:09:01technique through the Harvard Macy.
01:09:04An Art Museum in Medical education
01:09:06fellowship that I completed just
01:09:09this year and it's been thrilling for
01:09:11me to find that my application and
01:09:14looking at art could actually be used
01:09:17to bring about some of the outcomes
01:09:20in medicine that I care most about.
01:09:25Thank you, thank you. It
01:09:26was fun. I'm so glad you enjoyed it.
01:09:29Thank you very much. Yeah,
01:09:30yeah, thank you.
01:09:31Thank you so much for coming.