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Bill book sample in word format for Life Sciences
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Bill book sample in word format for Life Sciences
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What is a bill book sample in word format for Life Sciences?
A bill book sample in word format for Life Sciences refers to a template that helps organizations in the life sciences industry manage and document their billing processes. This template can simplify the creation of invoices, making it easier for companies to stay organized and compliant with industry standards. -
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Bill book sample in word format for Life Sciences
Good evening, everyone, and welcome. Thank you so much for tuning in tonight. My name is Kate Brouns, and on behalf of Harvard Book Store, the Harvard University Division of Science and the Harvard Library, I am so pleased to welcome you to this event, with Bill Schutt presenting his new book "Pump: A Natural History of the Human Heart", joined in conversation tonight by Patricia Wynne, with an introduction from Harvard's own Daniel Lieberman. Uh - before I turn things over to Dr. Lieberman to introduce tonight's event, I'll just say a few remarks. uh - This event is a part of our Harvard Science Book Talk series, which brings the authors of recently-published science-related literature to our Cambridge community and now very far beyond it. Be on the lookout for more virtual Science Book Talks coming up this fall, including with Mary Roach on October 5th discussing her latest book "Fuzz: When Nature Breaks the Law" and the new edition of her best-selling classic, "Stiff: The Curious Lives of Human Cadavers". To learn more about the series, visit the webpage harvard.com/ science, or sign up for the Book Store's email newsletter at harvard.com. We also have a YouTube page where you can view previous talks you might have missed, including Daniel Lieberman's. I will post links in the Zoom Chat in just a few minutes. Tonight's event is going to conclude with some time for your questions. If you would like to ask our speaker something, please go to the Q&A button at the bottom of your screen, and we're going to get through as many as time allows for. I'd also like to say a tremendous "thank you" for your patronage during these strange virtual times. Your support makes this author series possible and it ensures the future of a landmark local independent bookstore. So thank you to our partners at Harvard University, and thank you to all of you for tuning in and showing up for our authors, for indie book selling, and especially for science. And finally, as you'd likely know, with virtual gatherings, technical issues do arise and if they do, I'm gonna do my best to resolve them quickly. So thank you for your patience and your understanding. So now I am excited to turn things over to paleoanthropologist Daniel Lieberman for tonight's intro. Dan is the Edwin M. Lerner Professor of Biological Sciences and Professor of Human Evolutionary Biology at Harvard. He's also the beloved author of several previous science books, including most recently, "Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding". Dan, the digital podium is yours. --uh- Thank you, Kate -um and -uh- good evening to everybody. It's a pleasure to introduce tonight's speakers. So -uh- um- so Bill Schutt was born in New York City and raised in- on Long Island by parents who encouraged his early passion for peering under logs and stones to study the natural world - and sure enough, he became a biologist, received a Ph.D. in zoology from Cornell, and held a postdoctoral fellowship at the American Museum of Natural History before becoming a professor of biology at LIU Post (Long Island University Post). He's now an emeritus professor but is still a research associate at the American Museum of Natural History. Now before his current book "Pump: The Natural History of the Heart" which he will discuss today, Bill wrote two other highly acclaimed popular books on biology: "Dark Banquet: Blood and the Curious Lives of Blood-Feeding Creatures" in 2008, and "Cannibalism: A Perfectly Natural History". As you'll see, Bill is a master at interweaving, in a witty and enlightening way, comparative and human biology with all manner of anecdotes, stories and unexpected diversions, to explain seemingly bizarre and abstruse but fundamentally important aspects of biology. I should also mention that Bill has published three novels with J.R. Finch. So tonight, Bill will discuss his latest book, on hearts, "Pump: A Natural History of the Human Heart" which I haven't yet had a chance to read because it only came out today, but looks to me like a logical continuation of his previous book on blood. I'm especially looking forward to reading the book because my colleagues and I recently published some studies on how the human heart evolved to make us exceptional endurance athletes - and regardless of whether he cites me or not, "Pump" has already received glowing reviews in Publishers Weekly. the Wall Street Journal, Cool Green Science and elsewhere, and I'm sure more - more rave reviews are in the works. And joining Bill tonight is Patricia Wynne, who is a famous illustrator, who did the illustrations for "Pump". Patricia is an award-winning artist, printmaker and freelance scientific- scientific illustrator based in New York City, and she's illustrated over 200 books for both adults and children. And her work has also appeared in numerous publications, including New York Times, Wall Street Journal, Cricket and Scientific American. I'm sure you've probably seen her illustrations already. So without further ado, Bill and Patricia, the virtual podium is yours. --Let me give my name here - you can't miss it. Welcome. So that's us. I hope everybody can hear us. It's really nice to be here - and uh- and I'm really lucky tonight because it's - it's -uh- it's rare that I get to do these kinds of talks with - with Patricia and -um- and just to give you a little bit of background about her because you'll - you'll- she'll tell you more about herself later- is every single scientific paper, book chapter, novel and non-fiction book that I've ever written, Patricia has illustrated, and we've been -uh - and so I've been incredibly lucky in that- in that regard, and so - um - when it came time to- to write "Pump", it was only natural that I asked her to - to do this, and it's- and I think it's worked out really well - uh- as you'll- as you're going to see. So I'm just going to move through this and - and -um- answer your questions at the end, if you have any. So I'll give you my past history: I've been asked a bunch of times how did I come to write a book about the heart, because it doesn't really seem weird enough to me - and-and-and really, it was something that my- my agent, Julian McKenzie and -um- and my editors at Algonquin suggested that- that I go a bit more mainstream with my third book. And I thought to myself, 'oh, I don't know - I'm into the macabre - I'm into kind of strangeness and weird history and-and-and I just didn't think that - that there was enough there. So they said 'Well, check it out' so- so I went and did some research, and- and I was really surprised to find that there were, of course, many books written about the heart, but - but none that had taken the-the-the sort of tack that I took with cannibalism, where you look through the animal kingdom and you- it's not an encyclopedia or a textbook, but you're looking for interesting stories to tell, and then you're doing it in a way that is- uh- that, you know, that's friendly to- to non-scientist types - don't use a lot of jargon, try to be entertaining and- and try to be humorous. And - and so I was lucky enough to find that there was plenty to write about in- with "Pump", and - and so- um - what came out of it is what I'll be briefly going over right now. So how much can you learn about the heart and circulatory systems? Because I didn't think I could separate "heart" from "circulatory system" -uh- so I did both. um - How much can you learn about that in 30 minutes? Well one of the key things that -off the bat - is the fact that when you look at the heart, it is -um- these are structures that are- that-that have a muscular component - and the way I describe it here is if you- so- so if you look down at the bottom right, um- here are muscle fibers wrapped around a vessel, and- and- and if those muscle fibers contract - think of squeezing a water balloon, and-and that's how -um- the blood vessels help to move blood along. But the heart does the same thing, too: you're really compressing a small volume, and the fluid that's in that small volume is going to move when you contract it. And -uh- there are two really different types of circulatory systems that you find in the animal kingdom, and I'm being really broad here, because among the- the both of these open and closed circulatory systems, there's all sorts of different -uh- you know, there's different takes on both of these. In a closed circulatory system like ours, you have a pump, a muscular pump, and it sends blood out through vessels to supply organs with oxygen, takes away carbon dioxide, delivers nutrients and takes away waste, and then that blood heads back to the heart -um- to be pumped out to the lungs or to gills, and then the whole thing takes place over again. But the key here with a note- with a closed circulatory system, is that the blood never leaves, it never dumps out of these- of these vessels, whether it's the heart or arteries or- or- or capillaries or veins. Most animals on this planet don't have closed circulatory systems like we do, like mammals and reptiles and amphibians and fish - most of them have open circulatory systems. So you've got a pumping mechanism and when this substance gets pumped out - and I'm calling it a "substance" because it might be blood, or if you're an insect, it might be hemolymph, and an insect's -um- hemolymph does not carry -uh- doesn't carry gases, doesn't carry oxygen and carbon dioxide, so - so it's solely carrying nutrients and waste products. But the key in an open circulatory system is that the the hemolymph with the blood gets dumped into a chamber called the hemocoel, and surrounding that chamber are tissues and cells that are bathed by this fluid, and that's how the transport of this material - oxygen, carbon dioxide, nutrients, waste products - takes place. So you can see an example of that on the lower left -um- with the hemocoel and you've got this- you know- someone who's - uh- who's a - uh - you know, a card-carrying cardiologist might not consider this to be a heart, it's - it's really a - a vessel that is contractile, all right, so you can see that here and here's the hemocoel and in this instance, with insects, it's carrying things like -uh- like waste products and nutrients. All right, so -um- here's examples of- of hearts that I found to be really interesting. This is a non- this is an invertebrate, of course this is a squid, and the neat thing about them is that they have three different hearts: they have two brachial hearts that- that pump blood to the gills, which are located on either side of the body, and then they have a systemic heart that takes this oxygenated blood now and pumps it out to the body tissue, then the deoxygenated blood comes back, heads into the brachial hearts, and the same thing takes place again. By the same , over here, you have - um - fish and they've got a two-chambered heart, so they only have a single- or they have a single ventricle and a- and a single atrium, and you can see that the blood kind of goes in a single circuit here, that's the key: um - the ventricle here, atrium receiving the deoxygenated blood from the organs, that blood goes into a ventricle which is a pumping structure, sends it to the gills, out to the organs. Once you get into the reptiles and to- oops, excuse me - once you get to the reptiles - you have a three-chambered heart, and in these three-chambered hearts, there is some mixing of the blood. The deoxygenated blood -um- mixes- um - until you get into something like crocodiles, where the blood is completely separated; you have venous blood which is coming back from the body deoxygenated, sent to the lungs to pick up oxygen, and then back to the left side of the heart which pumps it out to the body. There's no mixing of the oxygenated and deoxygenated blood; so as I said, who has that would be -uh- crocodiles, and - and alligators - um - birds and - and mammals. Now there's so much to cover in this that I think I was just gonna- I decided to pick out some interesting stories that I was able to cover and - and something unfortunate happened in 2014 - and that is that nine blue whales -uh- died - uh- they got stuck in the ice in Canada and then and- and usually blue whales sink, and so not a whole lot was known about - about blue whales, their- their anatomy. And my friends at the Royal Ontario Museum in -uh- in Toronto, they've been asked on a number of occasions "what's the largest heart in the world?" and they would answer "Well, it's the blue whale heart." "How big is it? "Well, it's the size of a sedan." but they didn't really know, and so when these whales washed up, luckily, uh they were able to go in and recover two of them and -and one of them, actually, was they were able to go in and take the- and remove the heart. So we're talking about -uh- about construction equipment - uh - four guys getting inside this animal and pushing the heart out through a space in the ribs and then putting it through a process that took five years and you can see right - right off the bat, if you look at the lower figure, one of the things that was really interesting was that the whale hearts are really different than- than say, a human heart, and they're both mammal hearts, they both have four chambers, but when I looked at pictures of this it looked- it reminded me of a giant soup dumpling it completely collapsed; it didn't sit there like if you had a sheep heart or something that you got from a butcher. And we think that that has to do with the fact that these animals are able to withstand tremendous amounts of pressure as they dive deeply, but here they've- you can see the team it took to remove this; this is actually just part of the team and the preservation process took five years. Here you can see -um- those of you who have been in biology labs you - you get frightened when you get a little bit of formaldehyde splashed on you. Here they were using hundreds of gallons of this poison and the fear was that someone would fall into this vat - so they plugged up all of the blood vessels with -um- with various-size bottles because they had to fill it with preservatives - and here you can see it, up top there, in the- this is after they recovered it - they moved it - they transported it in a large net -um- and after five years and - and sending this thing across to Europe and plastinating it, which those of you who are familiar with the "Bodies" exhibit, that's- this is what you get - and this is the largest structure that has ever been plastinated and it came in - it weighed about roughly 400 pounds which was a huge surprise to them, because it was going to be a lot bigger when they -uh- when they had the exhibition with this heart, instead of the the car that they -you know, the large car that they were going to put next to it - that they would end up putting a little mini. It's - the thing is more like a golf cart size. So that to me the interesting thing was well, why is the heart so small? and - and the answer became because these guys, they're- they don't have a really high metabolic rate - maybe their heart beats 10 to 15 times a minute and when they dive deeper, it does- when they dive deeply, it can maybe be two or three times a minute, so they don't have this huge oxygen demand. But if you look at something like a shrew or a hummingbird: now, a hummingbird can- can beat its wings, you know, can beat its wings 800 times per minute. Now that's prob- and - and all those muscles need to be supplied with - with blood. So that 800 times a minute that - in order to do that, the heart can beat up to 1200 times a minute and that is about, we think, the physical limit of how fast a heart can beat. So if you're going to get more blood to these muscles the only other way to do that besides speeding up the heart rate is to have a larger heart. So relatively speaking, a hummingbird has a heart that's four or five times larger than the heart of a blue whale. And that was to me very- and- and to the researchers up at the ROM really -uh- extremely surprising. The other thing is that they if you look at these vessels, some of them, they don't even know quite what they are because they've never seen them before, so this research is ongoing and- and these -uh- and my scientist friends are learning a lot about this single specimen. So I want to switch gears now and talk about something else that I found fascinating, and that was the horseshoe crabs. And these are the types of horseshoe crabs that you'd see in Massachusetts and that's actually where I went up and - and studied with -uh- with some folks. um - This is truly a - a living fossil; they probably looked very much like what you see here for about a half a billion years. And so when I started to look at-at structures like their heart and circulatory system, it was really complex and-and-and it was to me, because of Patricia Wynne's figures, I could put this into a form that - that explained it and it actually made sense, because it's pretty complex how this works when you compare it to a human heart. But the thing that I wanted to talk to you about today is the fact that - that someone discovered about 30 years ago that horseshoe crab blood has a substance in it that when you isolate it, can be used to detect endotoxin, and endotoxins are produced when you kill bacteria, so if you're in a sterile environment and you kill the bacteria that happen to be on a- you know, on something that's not sterile- when these bacteria are destroyed, they release a substance that is not- you know, it wasn't a toxin that they carried around to protect them, but it's a substance that was involved in their- in their cell membrane- and this is released and it is a- it's called an endotoxin for us, because once it gets into us -uh- it can cause serious, serious trouble -um- and-and even death. So it's not that- that this substance is- is released by these bacteria as they're trying to ward off humans, it's that when we kill these bacteria it becomes extremely dangerous. And so what the substance does is -uh- it allows us to detect that material that - that - those endotoxins. The problem is - is that you can see this is now being done on an industrial scale, where you're going out collecting horseshoe crabs - many of them are that- you know, are [in] pre-mating stages, they're about to mate so they come in and they- they- um- they gather on beaches like many of you have probably seen, and at that point they're collected in large numbers, hung up in these in these sort of industrial -uh- types of situations, and a cannula- and a needle- is stuck into their heart and their blood drains until it stops. And so now because of this -um- these animals are endangered after a half a billion years, this and the bait industry which chops them up; but to me, fascinating that- that this substance -um- which is vital and has saved many, many lives has now put these creatures into -uh- into jeopardy. One of the things that is a bit of good news is that they have now perfected a sort of a synthetic version of this material that they're able to detect -uh- endotoxin with- without using horseshoe crabs, but unfortunately when Covid hit -um- these new techniques sort of got put to the back burner and-and-and there was this much more of a- an old-time reliance on - on the - uh - the tests that had worked in the past. So what else do we have here? Other interesting topics that-that I got to-to-to look at tied into the medical industry and then- was you can go as far as your tropical fish tank and see -uh- zebrafish, which have this amazing ability that if you cut off 20 percent of their heart, it grows back and it's functional. So this is functional tissue. It contracts. This is something that is really the complete opposite with humans: if you have a -um- if you have the blood supply to your heart, if there's a blockage and the-the tissue downstream of that blockage doesn't receive oxygen and nutrients, it can die. and now even if you resupply that- if you were able to clear the clot and resupply that tissue, then that's problematic, because when that tissue grows back it's not contractile. That is not real muscle anymore, it's more like scar tissue. So researchers are trying to figure out what do these zebrafish have that enabled them to produce functional cardiac tissue after such a serious -uh- event as -uh- as having their part of their- their -uh- their heart snipped off. uh- Burmese pythons which are an invasive species - big problem in places like Florida now. um- they're- The interesting aspect of their heart is that after they have a large meal, which you can see here - their heart grows 40 percent. And- and you've heard the term that "enlarged heart" is bad, but this heart is fully functional and healthy. So scientists are looking at this not because they want to grow human hearts instead of having people exercise that there is a problem, but in cases where you have someone with a cardiac condition where they're not able to exercise, is there a substance that - that we can then -um- add - you know, give to these people that would cause their heart to grow but in a in a healthy fashion. Antarctic ice fish - no red blood cells -um- and they live in this absolutely frigid - these frigid conditions - the Antarctic ocean. How do they do that? Well -um- they have no scales and-and so they are able to absorb oxygen through their skin. Cold water has a tremendous amount of oxygen compared to warm water. Their heart is four times the size of a fish that would be the same size - a normal fish; they have 40 percent more blood than you'd expect in a fish that size. um - Takotsubo syndrome - that's probably the last animal thing I-I think I'll talk about and then moving to - into -um- humans. Takotsubo syndrome was named when Japanese researchers had these people coming into -uh- into hospitals that were women. They were all pre-menopausal women, and they exhibited symptoms of heart attacks. So they were short of breath, they had chest pains, but when they did the the work-up on them they found that there was no blockage, they were completely fine. but all these women shared this-this singularity in that they-they-they'd all gone through some type of traumatic experience relatively recently: they'd either lost loved ones or they lost their jobs or-or they were going to lose their houses. And so when they did a ventriculogram was take a picture of the ventricle -um- when the- after the ventricle contracted, it took on this form of a-of a -um- an octopus pot which the Chinese fishermen used to catch octopuses. And so they called the Takotsubo syndrome - "taco" for octopus, "tsubo" being the trap. So this is "broken heart syndrome" and we think that it is -um- -usually when you get excited or emotional, the part of your autonomic nervous system which is the "fight or flight" part, the sympathetic division of your nervous system, kicks in -um- and-and- and releases a bunch of chemicals that enable you to deal with this threat. And then after the threat goes away, or this emotional experience, then- then these substances are no longer released and your heart rate goes back to normal and you sort of calm down - that sort of thing. um- But what we think is going on here, what researchers think, is that there's a disconnect between that part of the brain that signals this - these substances to be released -uh- to stop, that there's a problem there, and so you're getting a sort of an -um- a hyper-response that does not stop after a certain period of time. So you're really causing damage to blood vessels and to the lining of the heart and that is this- and so there is a connection between the-the heart and the mind, even though I spent a lot of time looking at this transition between -um- between the ancient beliefs which we'll talk about now -um- that the heart was really the center of emotion and intellect and the soul. That started with the Egyptians. They are the ones who first- who gave so much weight to the-to the value of the heart. They didn't care much about the brain at all. They pulled it out with a hook through the nose -uh- and the heart they- they would preserve and put back into the body so that it could be weighed against the temp- against the-the feather of Maat, who was the-the goddess of virtue and-and truth. And so from there the ancient Greeks picked up on that, and from there the Romans and- and- and along with the medicine and techniques that they picked up from the from the ancient Egyptians came this idea that the heart was really central with regard to things like emotion and the soul. Now, all well and good, but the Roman surgeon Galen, who lived in the first and second century C.E. -um- he was extremely, extremely influential and-and-and what the problem was is that he was not able to do any human dissections so everything that he said about the human body he learned from animals, and when he- a whole lot of what he wrote and three million words of his were preserved -was wrong. So the idea here that there's two very separate types of blood: arterial blood coming from from animal spirit and-and other places and on the- on the venous side, this separate entity which was being produced by the heart. um - The problem is that this stayed around for 1500 years because during the translation from Latin - during the trans- during the translation into Latin -um- that was actually done by Syrian Christians and so they put their slant on the translation; Western Church picked up on that and so, Galen's work was determined to be divinely inspired. So for 1500 years medicine stagnated, and so very, very little was done -um- until - well - some of the things that you'll see here, and I'm going to have to move a little bit quicker - is that Galen believed in the four humors that you would- that you- there were these four substances in the human body and in order to keep them in balance you would -uh- you would either get rid of them, like bleeding, or you would drink blood -um- and that would cure every disease. That would take care of any kind of mental problems. People who were drowned were bled. And this carried on until the early 19th century - here you can see that -um- and you used to go to a barber shop not just to get a haircut but to get bled - um - yeah- so Humphrey Bogart in "The African Queen" hated leeches, which were used to draw blood. John Wayne Bobbitt loved it, and the reason was- is because the- in the 1970s, leeches were then- were begun to be used for reattachment surgeries; uh - they would- if you reattach the finger or- I'll split back to this slide- -um- if you reattach the finger, or an ear got bit off by a dog or something like that, then -um- instead of having that- the blood clot because you couldn't really tie these tiny little vessels together, you'd attach leeches and they would set up in a sense -uh- their own circulatory system - the blood would supply the tissue that would have been reattached - and then the leeches would drain it off, then new blood would come in, leeches would drain it off. They also had an anticoagulant in their blood -uh- that would keep the clots from forming. So the use of leeches is still a- popular now and if you were to get - you know, have a finger sliced off or something like that, and they did a reattachment surgery, they might use hundreds of leeches to keep that-that circulation taking place until your body's ability to heal -uh- kicked in. um - so one of the things that seemed to change away from -uh- from Galen that took place in- probably in like the 17th century, with William Harvey, who figured out that they were really two different systems here, that the heart was really a double pump. -uh- And from there you had a number of other- and and Igo into these in depth in the book- -um- and you had all sorts of other -uh- innovations like the stethoscope, which came around in 1816 - pretty much -uh- during tuberculosis outbreak in Paris, and then the first cardiac catheterization, which to me was maybe the most interesting thing that I covered as far as -um- as far as these innovations. This-this-this gentleman -um- a German - uh- he wound up catheterizing himself in 1928 after tricking a nurse into thinking that she was going to be, like catheterized - he really just wanted to get a-a-a urethral catheter and she had the key to the cabinet, so he told her 'okay, well, you can do this part of the experiment and I'll- I'll put this catheter in you' but when he- so he tied her down to a chair and he wound up doing it to himself. um- And so - incredibly interesting story... uh - the Werner Forssmann that- that you see here- um- he was fired after that from the-the college - from the hospital that he worked at. He became a Nazi during World War II; after that, he became a lumberjack; finally won the Nobel prize years later. As far as cardiac research in the future, I was completely blown away by two gentlemen that I met in-in Massachusetts and - and one was Dr. Glenn Gaudette at Worcester Polytech and- and what he was doing - to make a long story short, it's very difficult if you make - if you're doing transplants, to transplant veins because they're so thin, whereas arteries are thicker because they have a muscular layer, but veins are very thin, very delicate. and so he said 'I'm going to look for a way to to build a vein' so I walk into his lab. And he shows me a- a salad bowl that's got spinach in it. He says 'What does this look like?' I said 'It looks like spinach.' He says 'Let me show you what we did.' So he takes this spinach leaf that you can see here, and puts a-a cannula on the end of it and then hangs it at the- in a bottle and drips down this solution of detergent that washes away all of the cellular material except for the cellulose, and the cellulose is the- is really the skeleton of that leaf, including the veins that usually carry water within this leaf, and he's taking these vessels and you can see now once this thing has been washed, it looks like this. This is pretty much done - but if you look here there's- a there's a vessel in this spinach leaf and now what he's doing is isolating those, because they're not going to have a reaction to the human body, and impregnating them with muscle- with- with- with cardi- excuse me' with vascular tissue with vascular cells and growing them on this scaffold of -um -of cell, of a plant cell material - absolutely amazing stuff - and the hope there is that they'll be able to to build these tiny vessels -um- and then implant them into people. So then I went to - to Harvard, and you probably have heard of Dr. Harold Ott, and what he's doing is- is to me was- was just incredible. There's a problem with waiting lists for organs - and I'm talking about not only the heart, but things like kidneys and- and- and livers, and a lot of people die waiting on those- on those- on those lists. So what Dr. Ott is doing and the reason- and one of the reasons why - is because you've got to find the the correct tissue type to implant from a donor to a recipient, and that's very difficult; then you've got to keep them cold - really tough to do this; and finding enough hearts is- is generally a problem as well - so what Dr. Ott is trying to do is take a cadaver heart and just like you saw in the last slide, put it onto a system that is - as you can- you can see down here- what they- what they're doing is they're putting a detergent- they're running a detergent through this and- and getting rid of- washing away all of the- see, this is all muscle tissue here that you see- as he begins his experiment, and as that- the detergent moves through it- -um- that muscle tissue, that becomes less and less, it dissolves away until finally, down here on the lower right, all you can see there is connective tissue. So his idea is this: we now have the ability to take samples of cells from- -uh- from a person that's going to be a heart recipient. And this is not a biopsy, anything that's difficult - you're taking skin cells, called fibroblasts - and we have the technology now to convert those into stem cells, and we have the technology to convert those stem cells into cardiac muscle tissue - so his dream is to take- that is-is to take these - -um- this-this cardiac muscle tissue that is generated from the recipient, embed it - seed it - into this connective tissue scaffold and grow a heart that will then be implanted into this person who was -uh- who would have, beforehand, would have had to wait on-on a long line and may have died waiting for a heart. So this is the type of thing that I- that I cover as far as -uh- as-as new developments, and I said 'So - so how long do you think this is gonna take?' and he says that-that-that he wouldn't be surprised if -um- if we're doing this type of thing -uh- in 10 years. So conclusions: a variety of structures have evolved to address problems of supply and oxygen and nutrients to bodies of every size, every type of heart shape and-and-and some of them look like hearts and some of them don't. The ancient Egyptians were probably the first folks to-to believe that the heart was the seat of intelligence and emotion and what we consider to be the soul, and-and the big problem, and this has really shown up in all three of my books, has been this lockstep adherence -uh- to-to Galen, because his works were determined to be divinely inspired, and that's why many fields advanced over that per- time period, but not so much medicine, and-and finally that medical advances in the past and-and present and future have, and will, transform this, the science of dealing with-with the heart and trying to keep people alive. -um- What I want to do now is-is that- and we're really fortunate- is that Patricia Wynne is here and I'd like to have her pick up this talk and and -uh- and give us some information about what she does and and how she puts these types of figures together - so I'm going to turn this over to Patricia. --This is good. Okay. Hi - very glad to be here, and -um- generally speaking, when I talk with Bill, which we have done -um- done several times, I explained that I am not a scientist, I had very few scientific classes when I was a student, but I've been an artist my whole life, and I look at everything, I learn everything, visually, especially when I receive an assignment like this. So I thought I would walk you through a little bit of history and a little bit of how I approach something that I truly know nothing about. So Bill called me before he had gotten very far into his book and said, "Would you like to go to Toronto to draw a whale heart?" and I said, without skipping a beat, "Yes - I would like to do that" so we went up - they locked me in a warehouse with this enormous heart - and it always looked small to me in the photographs because it was the largest organic thing I have ever seen and I drew it in my sketchbook and I never redrew it. The - the piece that's published is my original sketch, and I would never have changed it- was- it was an event I will never forget. So here I am, drawing it, and I was going to get into the book but I didn't make it -uh- because this was just a mesmerizing event for me -um- and so I didn't get in but that's what I would have looked like, had I gotten in so I have drawn a very long time that's my Adirondack chair that I told you about I have been drawing, my mother said, since I was one years old - that's all I ever wanted to do was be an artist. I never thought I would be a science but it's a good fit and I'll show you why. So I always kept -um- very elaborate sketchbooks. It's how I learned: I would pick a subject - this, obviously, is a snow leopard- and I would draw it and draw it and draw it until I had some hunch of what it was - and that's the way I do science books. So -um- I was originally a printmaker. I taught printmaking at the University of Windsor in Ontario -um- and I love teaching printmaking - that's what my degree is in- but there's another print and all kinds of prints - I wasn't making a good enough living, so I thought let me see if I can find some freelance work. I can - I have a really tight hand, this is called the "tight hand" -um- and I will see if I can find a job. So I got- I interviewed for a job at the University of Michigan Museum of Zoology. This is a- this is a piece for Reeve Bailey, who was an ichthyologist there, and it turns out this is a very famous specimen - I find these things out later since nobody tells me about it when I'm trying it - and I quit my printmaking job and I went into science. This is one of my first ones. I also had to do other things to make a living, so I did Star Wars. uh - I worked for Scientific American where I learned - really, really learned - my trade. Uh - The piece on the left is a Scientific American publication from Lord knows when, some time ago - and I also work for the Science Times. Two of my favorite clients that I ever did for corporations that- were these two people. I also into- was-was interviewed and was interviewed by the first people to dive on the hotbeds, and they came up with lousy photographs that looked like fuzz - here, there and there - and I had to put- turn the fuzz into a readable scene. And this was my scene, which has totally been surpassed by excellent photographs but I was very proud of it for the time. I did the Burgess shale - I did the Burgess shale ten times - but I did the last Burgess shale for Stephen J. Gould, and I think I will retire on that one because it was emotionally a good thing. Um - I did eplesia i fell in love with eplesia and um- Eric Kandel uses myoplesia on his website, or he used to, I don't know if he does now. Um - I also did archaeology. I love doing points - that's because I'm obsessive - and this is a little Mississippian figure - uh- -and I did paleo humans, which is very new for me- I've only started doing those in the last three years but I've fallen madly in love with them - um - and teeth, which is nice because bill's next book is gonna be white so these are bad teeth. I went to the Museum of Natural History in New York and said 'Have you any jobs?' and they said 'No' and- but I never take no for an answer, so I ended up working there with about seven different scientists and I learned more than I ever thought I could learn. um - I did marsupials with Ron Foss - and this was a study that Bill and another friend of mine -uh- Darren Lundy - had done years ago, and it turned out to be validated by observation and ended up in a really good paper on marsupials. This is also a scientific illustration that I did for Ross MacPhee talking about possible reasons for mass extinction in the Pleistocene [-illustrated?], and this is my- my boss at the museum said 'Go across the hall and meet Bill Schutt; he needs some art' and that's how I met Bill - I walked across the hall, he had these bats laid out on his lab table, and he said 'Can you draw these?' and I said 'Yes' and that was where we started. So this was my first one. um - I did a lot of thinking after that: "What do I do now? Do I keep here? Do I go somewhere else?" and Bill got this book on blood drinkers, so I-I got the job to illustrate it. I really loved it. I knew very little about this and by the end of the book, I'm-I'm pretty good with blood drinkers. I'm-I'm not bad about them at all. They are cute - I buy into Bill's scenario that they're cute - and more. This is -uh- this is- this is cannibals, and I enjoyed cannibals a lot; cannibals was a lot of fun to do. I didn't think it would be, but it was great. Uh- this is one of- Bill and my favorite illustrations from "Cannibalism" because quite clearly- um- if you want to be safe, keep your gills and stay on the water. And this is a tick- tick- tick waving at a human to be bitten. um - These - this is a water spider um really a phenomenal little animal that lives underwater and so - I'm- I'm still drawing - I'm still wondering 'How do I learn these things?' These were two different books- three different books I was doing and I drew them all on the same page while I was trying to figure out how to do it, and that led me to another: we're doing "heart" - 'how do I do this impossible illustration of the horseshoe crab?' And really, in the whole book, this is the only one I had some misgivings that I wouldn't be able to figure out. I thought it was really hard. So the first thing I did was just draw them - this is the way they are, I'm going to draw them - and then I tried to figure out the things he was telling me that they did. What was the best way for me to graphically put these down? My art director at Scientific American used to just give me one phrase: when I left the room, she would say "Patricia, make clear, make nice" and that's my - my marching orders for every illustration I do: it's got to be clear, it's got to be nice. Well, I was clear, but I'm not sure I was nice; so I kept going and then, I thought, 'Well, we're going to turn it on the side because that's the way people will recognize it - but then how will I explain it?' So I turned it on the side that's the lower part, and the topper part- top part - I tried to interpose what we were learning about this, which was not easy. So this was the final illustration. This was the best I could do; I had a parallel one which was like a cross-section, a medial section of the guy, and it looked great, except it only showed three of the five things we wanted to show. So this showed all of them, and I will not go through it but good luck for you to go through it - it really is there, it's all there. Um - Bill was also doing fiction, and I did three spots for every fiction book he did, and this is the mata mata for -um- "Hell's Gate". Then - so Im still sketching. This is- these are from my sketchbook. If you saw my sketchbook - can you open it up? - this is what you'll see: I was trying to figure out what view would be good for ice fish for the thing that he wanted to- say he wanted an aggressive-looking fish swimming toward the reader, chasing little little -uh- krill across the page and I was trying to figure out 'How do I do that when I-I don't have an ice fish in my studio and the ice fish photos online are copyrighted and they're fuzzy?' So I just kept drawing and -um- that's- this is- was the final result. It exists nowhere - if you look for it, good luck- and then the pot here - I thought, "What view do I do of the pot? What view do I do of the- of the heart to make this story seem real?" and he picked one - I just showed him two, I said "Which one?" and he picked it. But he said "I think we should do something inside the pot" and that's where the octopus is. Harry - Harryhausen - homage to Harryhausen - and then the- his favorite illustration, emotionally, in the book was the python eating the alligator. And I didn't - I looked at films, and they're very graphic, and I thought "Well, I can't do a film, I'm doing a flat drawing". So the heart itself was not hard - it's a very easy object, you'll see it there under -under the alligator jaw. um - The python - I've drawn pythons lots, but I've never drawn a python eating an alligator, so I just kept sketching and I - actually, I made a mistake; I had the whole alligator inside the stomach of the python, not yet digested, and the heart didn't enlarge at that point so I had to change it. I changed it by computer at the end because I got it wrong - it's my last change, so it's right there - and I did it by drawing a complete skeleton and then taking my pen and breaking the lines all the way up and down the skeleton, so it looked like it was partly- partially digesting and I was - I was happy with it when it was finished. So um- I do lot- I do lots of things while I'm waiting for Bill to get ready to give me my next project; um - I did this one on the Galapagos tortoise, and the little turtle sitting on top was my pet who passed away last year, so it was for scale. um - This is a print - I still make prints, this is a print - but you can see the influence of my -uh- learning over things, called "My Visit to the Pleistocene" - I'm in there somewhere - oh, yeah, there I am - and I did - I did plants - this was for a book on wine for Ian Tattersall and Rob DeSalle; this was copulating uh- unisexual - lizards - [?] - which I did for a guy named David Cruz in Texas, and -um- he sent me a real lizard which I had for years -beautiful -[?] - um - I never saw this, but it was for a book on the size of insects, and this was a big guy - uh - again - for Ian Tattersall's book. Then I started doing a lot of prints for the Smithsonian - huge ones - uh and this is one. I love them - I've done 30 so far, I'm still doing 'em. uh - Another print: this is an etching - this is my last drawing - this is the thing I just finished last week, so you're right up to date. It was very nice talking to you and -um- I've enjoyed this very much, so I'll give it back to Bill - there you go. --Well, for everybody who's -uh- out there watching, I just want to thank you all and acknowledge the Harvard Book Store at Harvard; I want to thank LIU-Post, my school, that just granted me emeritus status, and-and also the American Museum of Natural History where I've worked for about the last since- 1992, I think, first as a graduate student, then a postdoc, and now a research associate; and -and I really want to thank Patricia for her friendship and her incredible artwork. And if you'd like to read more and learn more about Patricia, you can follow her by going to patriciawin.com and for me, you can- my books are all still for- on sale; you can visit me at BillSchutt.com or @Bill SchuttBooks or on Bill Schutt, Author (Facebook) and there's -uh- I've got three TED-Ed videos out there that -that you might be interested in - two of them on cannibalism and one on blood transfusions. And with that, I'd like to say thank you very much, and I look forward to your questions. --Thank you so much, Bill and Patricia! -um- I have -I'm reading off the audience Q&A that we're getting right now, so if anyone has any burning questions, please add them - I'm gonna try and get through all of them. um - All right, so we have a question from Kat - um let's see - oh, let me have you stop sharing your screen really fast, Bill - I think you might still be sharing --oh - meaning the PowerPoint --I'm sorry Let's click this on the green thing - try that Oh, got it - yeah - okay - sorry - perfect, that's fine, all right - so we have a question from Kat who asks: -um says - "Hi Patricia and Bill, thank you so much for this presentation. Could you each talk a bit about how a close collaboration works ideally for you, a science illustrator and a science writer? it's always struck me that illustrations are in a sense more than additive in books like "Pump": they illuminate, clarify, and even move in ways that photographs simply cannot." --I guess I'll start off because usually, it's - um - well, first of all, I got to tell you that's incredibly easy now to do, because we've worked together so long that- that -um- that-that -um- I think that Patricia knows exactly what I want before I ask her for it, but it generally starts with a- with a-a good description of something that I have in mind, and uh- what do you call it --Steven Spielberg! - --by Steven Spielberg, description - which is this elaborate description and very detailed, with you know, things going on in the background, spaceships, aliens - uh maybe nothing --No --but in any event, from there, Patricia takes it, and I will let her explain what happens next. --So one of the -um- a good collaboration grows over the years, and if you've got - I once had an editor who told me 'you like working with that author, don't let them go, because you do read their minds' - but it's hard in the beginning because everyone has a visual -uh- thing that they go through themselves, and you must learn to see the way they see. What he describes to me is not what's going on in my head, so I have to find a way to see the way he sees. So I told him to pretend he was Steven Spielberg and write me a tiny paragraph of what he sees and I can work from that, and it works perfectly and he likes doing it. um - I worked with Kat I - we did - we did a book, we're buddies- and she and I just hit it off right away and I think we saw things the same way from the very first conversation. That's not normal, that's very unusual, and I'll do anything she wants, so I really enjoy it. You have to like your author; if you don't like your author, you're in for a long year. And -and no matter how good the book is, and I've had this happen - I'm proud of the book- I'm very unhappy about the memories - so you don't want that. You -you - I mean, it's part of making a living, but -um- it's so much better to enjoy it and to respect the person and to think the same way. Does that help? --We have run into- to figures where it took a long time, it took many more versions - so the Humphrey Bogart -uh, "African Queen" picture was probably the one, because I said 'all right, all right, I want to do" --so -so hard! --so I wrote this chapter from the opening of the chapter from the point of view of the leeches that attach that attack Humphrey Bogart, and so the whole perspective of- of these things swimming towards him, and everything that was going on in the background, just took a long time. --One of the problems was people who are not artists do not think in terms of scale, so if you say you want Humphrey Bogart and the African Queen and you want hundreds of little leeches about this long you're talking about two different scales altogether, and I had to- I had to find a way to give him what he wanted and still say 'it's the scale is your problem - not the content, the scale' - so a lot of talking. I don't think we've had a problem like that in a long time, but it is- it's a little bit of learning for both of us, so - --That's great, yeah. I've seen actually a few questions in here about collaboration, especially virtually. um - The different question for you -um- so this is an anonymous question: are there any other unique or interesting hearts like the blue whale's that you talked about that have yet to be studied extensively? --Oh, boy, great question. Yeah, yeah - we're looking for grads- grad student project potential going on here, so - so since I've - since- you should contact me, send me an email so that we won't blab this out, and I can tell you some of the creatures that-that do need work and some of the topics that -um- that are out there. One of the things that - I can give this one away- is the whole idea of-of cryogenics and what happens when some animals -uh- go into deep hibernation and actually freeze their bodies, so - so there's - there's certainly room in there for - for research -uh- but some- I've got some others. If you- if you contact me, I'll let you know as far as -uh- possibly following up on them. --Are there like -I guess my follow-up would be, so the whale's wasn't accessible because it was, like, usually at the bottom of the ocean. Are there things I guess like that that are just like rare or hard to find? --I-I would say the ice fish was the one - you know, they- --Yeah --the fishermen had pulled this thing up in-in nets, but they hadn't really studied it, and when- when they took a look at its blood, they were like 'Wait a minute - " these are scientists looking at this thing - "where's the red blood cells? This blood is clear' -so much more recently, scientists started to look at that and they found that there was- you know, I didn't even mention this - that-that-there, you know, there there are substances in there that keep the blood from-from-from freezing, so it's it's -uh, you know, it's kind of like the radiator of your car - which is with anti-freeze compounds. --A non-scientific point of view: one of the things that surprised me when I got into this trade and started running 24 hours a day with scientists - I found out that new things get found, all the time, and they are shocking, and you sit there and say 'How is it this wasn't known?' or 'Where was this hiding?' or 'Why did this come about?' and it's a whole new - it's a very exciting field. If I had to start over I'd still be an artist but I would still do science, because it's very exciting. --Yeah, it really is. If I could- if I can interject and just give a little bit of- of a-of a plug to something that I tell my students all the time: there are a lot of projects out there waiting for you where if you take a step back and don't try to - you know - invent the wheel, but look at projects, look at-at work - research that was done 50 years ago, 40 years ago, where the technology was very different, or even further than that, where the questions that they were asking were very different - or if it's an anatomical -um- if it's something about- if it's an anatomical study- excuse me- they were just looking to describe the structure, where now we're looking at 'how did it evolve? how does it work like a machine - the biomechanics of this thing? um - you know- you know - what's the difference in this structure between two very similar organisms?' All those things can can lead to projects where you take a look at it in your initial responses: 'oh well, this was done' - so - so that's something that I always tell my students, 'Just go back and look at old studies, and - and imagine how would they do that study today, and then go do it.' --That makes sense. um - Let's see: we have a question from David: um - "In the non-Christian world where Galen wasn't - presumably - venerated, were there advances in cardiology prior to Harvey?" --Absolutely -um- and - and of course, you could look at- right at Chinese traditional medicine - there and certainly in-in places like India, there was a lot of work done. And - and a lot of these folks - so there were three or four people who came who determined that the heart was a double pump long before -um- long before Harvey did, and it wasn't until this European who had- who was popular and was able to publish that this became popularized, and a lot of it was done- a lot of science was done by -uh- by non-Europeans and non-Westerners and that stuff was, you know, basically ignored and now is being rediscovered. So I found a lot of that when I was doing the book- working on the- on this book, so I didn't want to imply that -um- that- that-that Harvey was the -you know- the beginning of this new type of understanding about the heart, because he absolutely wasn't. uh- But-but-but as far as popularizing that sort of thing in the West. yes. --We have -uh- so we have one last question, which is perfect for right on time -um- it's for Patricia: "Do you design tattoos or would you consider it?" --um- I have designed tattoos and I have -um- accidentally designed tattoos: I -one of the first books I did was a book called "Hungry Hungry Sharks" and I- on the Internet, I got an email and it was a guy who had photographed his - his upper arm, and it had a shark, and he said "Is that your drawing?" and I wrote back and said "Yep, it is" - so now I- if somebody wants one, I'll do the drawing rather than have them take it out of the pages of my children's book. But it's not - I've never thought of it as a career, but yep, I've done it. --It's good for inquiring minds to know - including -[?] Well thank you so much, this was so lovely. I don't know if you both have closing thoughts - I'm gonna drop the links that I shared in the Chat one more time before we close out. Let's see - all right, there we go. um - Well, thank you both for this totally fascinating talk with so many interesting new facts, and as you said, things that I did not know were still being discovered - that are still discovered every day, that's really wild. um - That's not what I think about nowadays when I think about scientific research - I think of very, very niche topics and small discoveries in the grand scheme of things - um- so this is really fascinating. And thank you, everyone else, for joining us this evening. If you'd like to learn more, copies of "Pump" are for sale on harvard.com via the links I just provided. So on behalf of Harvard Book Store, the Harvard Division of Science and the Harvard Library, have a great evening, everyone, please keep reading, and stay well. --Thank you. --Thank you.
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