Structure & Movement

So let's look into the structure and then the movements that certainly find first in the superficial fashionable, treat them all sequence. Okay, this is my least favorite slide. Okay. This is from the anatomical charts. Catalog is a good one, I'm assuming. Um, so you're in your massage therapists office and there's isn't blob on the counter next to a pal in cosmo and you figured out that absentmindedly stroke in and I picked it up and absent minded and massage, I was kind of like what is this thing? And they say, oh well that's a camera's fat. And you're like, [inaudible] dropped out.

Why? Because this is on model of fat that's designed to kill. Discuss for your own body, discuss for, for the tissues. And what's your name? This is why it's not a favorite of mine. Models are really important. They convey, they teach, you know, and the teach behavior, we behave according to the model. So if you have a model that inculcates discussed, you are breathing that kind of [inaudible]. I had a chiropractor, he had a five pound version of this.

It looked like the San Juan mountains of the Rockies. There was this big eye shange and my shift, right? Because what this is, I tell you, [inaudible] poorly dissected superficial fashion. This represents a certain kind of unconsciousness. Any competence on the part of the dissector, uh, that I sought to overcome. So this full arm, I love this lady. This is the venous Mary most precious to me, hopefully to you as well. We have to recognize the Halima Lang vulnerability of cadavers.

These are the dense forms of our relatives that have five or 10 gallons of fluid pumped into the naval war. Like water balloons, right at the effect of the embalmers are in order to create the fluid presence to outgassing cup, the tissues counted, right? So when we see the form in these conditions, we, we say thanks [inaudible] and we'd go out in the morning after having worked in an area for a few minutes, right there afforded no such courtesy. So we'll give that to them at our heart reflecting this skin. We see the whole superficial fashion now not blob or a chain. You see the bogger chunk as wanted in any competent person does when they're hacking to the layer and putting it in a bucket, right?

That chunk is something you put in the bucket. This thing is kind of curious. This thing makes you wonder, it makes you ask questions. Alright. If I were to reflect the whole thing like I did with that sponge at the beginning, we have a whole superficial Fascia here and then the day fashion body or some folks that seen this in 90 days, that's my, uh, it's kind of a cool image. Huh? Um, because when have you that and now when you see that as an insight on the, on timeless Oregon independent of itself, I hope it makes you curious. And it's quite a distinct image as compared to the lump, right?

If we look closer, we start to ask questions. What's it for? It's distinctly feminine. I told them we were going into the divine feminine. We see the breast slip here, right? The mammary glands. There are many specialty functions of any organ [inaudible] tissues with specialty functions. That's the definition in Oregon, right? So we have it's nourishing capacity.

We think of our viscera as being internal to, to our, our visceral spaces. And this is the viscera you're wearing on your sleeve foes, right? This is, uh, it's, this is a great endocrine gland, okay? As soon as the anatomist who isn't painting puts that in the bucket, the endocrinologist comes along and takes it out of the bucket because the adipocyte connective tissue cells are pumping out hormones that, that regulate the storage and the burning of fat in comp and cooperation with the pancreas, which is pumping out hormones, regulating the storage and burning your fat. So we have this kind of punk going back and forth from inner to outer that to the periphery. All right? We're regulating our metabolism. It's a great organ of Metabolic Regulation, okay?

So we have not gone for it. As I thought grand went for your Oregon and sweeping your body like a great clay poultice whiskey and toxins to the periphery for you. And people will be like, oh, fat is terrible. It's called toxins. It's like, no, it's cool to talk to them because it's good. It's helping you to retain them from the general circulation. So you come to the shape, keep on eating. [inaudible] don't blame the fat for painful all the time.

[inaudible] also, you know, um, I love this stuff. I love like kind of surfing on it. I love [inaudible] this stuff here, right? This is part of our sensual body, right? This is, this is our intimacy, right? This is also our, um, I'm going baby nurses and falls asleep on this soft mattress. Wait, we grow it too. We grew up a bed for the baby. It's a new, it's a marvel. These are just a few of those many features. I've been thinking about all of them for years now, ever since seeing it in this form represent it as a, as a beautiful yellow wedding dress and a great compliment to the body rather than that insult we saw earlier now Renoir's the a baler.

You see those master painters, Andrew stood this layer. They represented it to inform and their art. This lady has the same superficial fashion as what I dissected off of being a scenario. If I'm to dissect this body, I want to get that very scene suit she wore in her age, her wedding dress and its original beauty all the way to the end. I'm, I'm all for, uh, appreciating that and now the off you're an artist, you learn a little bit of anatomy and I teach about sternocleidomastoid, right? And every work of art for the last 50 years, disaster popping up like that. 10 is like I studied [inaudible] holidays and drink the wines in the superficial fashion and, and recognize this essential sensuality. I said this a bit of a stretch from here. So I hope I write, I hope that that took you through a few steps towards appreciating that layer in a, in a way and for having done so though. It's still not.

Yeah. And sometimes we react to yellow and orange. I've been showing these images for years and it's still sitting here though, like still unsure. But y'all get all this bad. Isn't it just patching or you're really just getting ready to put them back? I have no, I call fashion argument. He's like, Huh. [inaudible] coming to Vancouver. [inaudible] talking about fat, it would be a really [inaudible] [inaudible] talk about fashion [inaudible].

Lori Namis is a, a friend and colleague. Uh, some of you may know her, she works with Tom Myers and this has come through my labs numerous times. She has a professor, a college in New York state. She got interested in, in the organ transplant work that's being done where they, they take our donor, say donor bladder, rinse the cells of the donor away from the scaffolding, retain the connected tissue scaffolding, put it in a solution and inject stem cells from an, from the recipient may proliferate on that scaffolding. We put that new growing bladder into their body and they don't protect it cause there's some, there's that's cool. That's the future of organ transplantation. She was interested in that, not as an organ transplant planner but as a fashion lover and so she thought I want to rinse the heart and see how it goes. All right. She followed their procedures with household chemicals in the lab and did a great job. She did it with a kidney as well.

It's quite beautiful and it inspired me. And when I saw what she had done with that, I thought, I want to see a ghost, superficial fashion. I want to see a white wedding dress right next to your wedding dress. Wouldn't that be cool? Yeah, I mean it's an ambitious thing. How can we see through it and appreciate it even more?

A metaphor for the tissue is that it as a honeycomb or a bubble around, right as a honeycomb. Then they'll say that the a honey would be the lipids and the wax would be the connective tissue matrix. So out of the last four or maybe as a bubble wrap, how do I, you know, get that Air Ho poles and get all the air and off. So I just have the plastic and a bit and left us the connective tissue matrix. So those are like metaphors that I approached the study of whip.

I took [inaudible] household chemicals that she had used. Uh, I took a section of superficial Fascia. I've used it for about a day. I did the protocol and got absolutely nowhere. So I thought I'd poke it full of holes this way. You know, I'll poke, I'll poke holes in all the honey cells are all the our apples and that way they can call again and it'll be over with and we'll supply this last ad and it'll clear it out. So I did that and nothing, nothing happened again. So a try number three. Okay. Take a section. Superficial fashion [inaudible] on picky.

It's not at the right temperature and if I want to run it, this is the heat. Like in Florida you take the stick of butter out of the fridge, you put it on the counters, you call it, right. It goes level cause it warms up I guess to the right temperature. So I thought if I could do that to the superficial fashion, I'll just melt the fat over there. I'll be able to see the structure of it. So I put it crop up.

[inaudible] anything else? [inaudible] a warm bath at a certain temperature. [inaudible] a certain amount of time. 24 hours too slow. So [inaudible] it didn't render it at all. But what it did do is curl up like an Irish brisket caravan.

[inaudible] it was so, so elastic. I couldn't believe it. It was like, it was like rubber and that told me something I told me that was lovely with Collagen. I got to see inside by the transformed mechanics of cooking in college and it does over the college. I want to see it. Okay, so then another section, hey, I have a long metaphor. This could be my problem. Watch the metaphor you use. You'll behave according to it and it might lead you down pathways that aren't so helpful. So here's the section of superficial fashion.

It's about this big. This is a fatty layer taken from over the it band. I'm totally one 82. It's the fat from over the it man, not the ITV man. It's not the skin, the fat from all the it. Then uh, I did again, you poke balls on them. [inaudible] is two crunches sufficient? [inaudible] okay. That this was a Japanese flower arranging tools like a bar.

So better now space. I does that. So I was using to poke holes in it. If you took that tool and stuck it in a stick of butter to make that sound olive oil to make that sound. There's something in there, folks. Something in there. Oh, it turned out that the method that worked was, you're going to love this, that side. [inaudible] my friend Chris. It's been about four hours rubbing this squish more hours. The bike, I'm off in the background. [inaudible] come here, check this out.

That's what was punching in there. That's what cooked and curled until into a rubber band. That's the, it's dense. Not loose connective tissue. It's quite thick, dense collagenous fibers folks. But it's circular, not linear. Right? The bag of the guy is one year the age of the gals circular.

This is a gal thing going on here. Okay. It's, it's, it's Oregon. It's not, it's not chaos. It's, it's an organized fiber matrix. It's just organized differently. It's differently regular and, and, and quite beautiful. And this is not color corrected. I don't know how to do color though. Perfect. Okay. So, um, if you, now there's a lot on the table for lift lifted up a little bit. You can see it hasn't been done. Mentioned. It's kind of popped, Huh? It's kind of popped. Okay.

Yeah, we caught it into that. Flooded it. Wow. Would you say a little clap? Sponge coral. What else do you see? [inaudible] fair. [inaudible] Toro. Elastic. Cool.

Pretty good. Pretty bad. Out of this, what are you looking at? You're looking at the inner structure of the sponge where the smaller bits of sponge and squished down at it because it turns out it's not a honeycomb or bubble wrap. It's a fractal egress of sponginess, meaning the sponge patterns repeating at the smallest levels. Right. And the more fragile fits of the sponge. We scorched out of there. We broke away. There was not a pile of liquid on the table. There was a pile of bits of sponge. Right. So the Sturdier, it's a sponge word retained the surgery or bits of the structuring. Right, and the smaller bits where we are in the fat cells are r w and chilled.

They broke away to re. I can poke holes in that thing all day long. And there's never been a run liquid because the is not a liquid. Right. But the facts are suspended even in a scout and this intercellular skeleton. Right. And the only way, the way to empty it would be to metabolize it. Right. You can't, you can't poke it out of there cause it's not a honeycomb.

It's not a bag of fluid. In the 70s when I was at child, we learned that a cell was a bag of fluid with organelles floating around in it. Um, so I kind of maybe retain that, that, that uh, Mr Mr Mr Rectum, the metaphor when I first was approaching this, but now I know better. I know, I know I've got a sponge on my hands or maybe just a cloud and it's just fashion is fashion. Do you think that it's all mine? Gosh, a session [inaudible] one question. It gets another, right. So when I first started learning how to dissect the superficial Fascia in like slots that were larger and larger, until eventually you could demonstrate the Venus Mary's entire beautiful fleecy wedding dress. It got me thinking, could I do the whole thing, you know, with, with the, um, kind of do the white wedding dress in its entirety. But if I want you to just take a larger section, this was sort of like big man, 250 pound man standing, maybe six foot two. He was lying down and, and uh, this section here, I removed a very large, slotted out this big tree, the thickness of the other one.

And I started switching. I had two weeks to switch. I switched and I squished, I poked holes on the top, I poked holes in the bottom, I scorched in a squeeze and square for a week and I poked holes in the middle. I have to poking holes and I squished and I squish. And uh, I missed my lunch for two weeks and sometimes I miss my dinner for two weeks and people start to feel sorry for me. And they came around the table. Some people came to splurge with me after two weeks. So I ran out of lab time on the side project and we had pretty far with them. Alright, so we got something like that going and floated it on a, on a dissection table and about an inch of water.

And what turned me on, particularly about this section was the way I could watch the waves stuff through it. Honestly, I just sent it, Wade through it, and this totally something I'm top of the elasticity, which I can demonstrate it in the tissue, which is a kind of movement of property and yourself, right? Elasticity. You pick it up, drop it down, pick it up, drop it down the side of the last of properties also. All right. It's waive conducting. Okay. This is an important one. We don't normally think about force conduction by names and waves, right?

But we're transferring all kinds of forces in our bodies. Every step we take through wave conduction to this tissue. This is cool. It's a wavy tissue, right? It's not a force isn't all about do this. Right? There's also this, right? There's fluid dynamics and the forces transfer through our body in ways.

When you take a step away and go serve, you take another step. Always go, sir, you have to wave doesn't go through. You will be experiencing differential movement. You'll be experiencing walking on blocks of what now this can happen. I had a cadaver about a year and a half, two years ago. This woman had a lymphatic disease. Remember, this is a great one for yours, right? How lymphatic disease, although in for Dean and renders, people are working at this level, right? How little channel, emphatic problem and crystallize for superficial fascist, so hard to recommend scalpel like, wow.

Can you imagine what it would be like to be walking around with ski boots and [inaudible] to skin? No differential movement there, right? You're going to be lifting your feet and putting them up and putting down in blocks of wood, so you might not know about the way it's moving into your body until you're missing them, but I'm alerting you to feel for them. Now pay attention. You got waves gone through you and they're really awesome and salt water with waves coming through. I was flying all over the country and saw that very same slot floating in the sky. Let me her a full cloud [inaudible]. I did this for about half an hour in front of the camera.

That very same section. I lifted it out of the water to see its dimension and put it back down and watch it float and lifted it and dropped it and lifted it and drop it. I rule on the water out of it to see. It was like a sponge. I put it back down so I thought the world lifted it up to see this cross section, which absolutely reminded me of that First Section I showed you. All right.

That cross section of superficial fashion with which I originally identified the wire. Now we're seeing through it. We have your raced to yellow and you're seeing in Carlo Matrix, right? The incredible matrix that's structuring the fatty tissue, the structure of fat that it's funny, Huh? Now one question you gets another EIT. You find yourself chasing it if it's not a chunk, but it's an Oregon, what's it for? And once you think about what's it for, for while I kind of want to look more deeply into it.

Once you've looked a little more deeply into any kind of notice, it looks kind of strong. It makes you wonder how strong is it? [inaudible] this is my process. [inaudible] I'm like, I call them for, hey from over the shoulder of an elderly man. Sure. No other labs friend spent a day massaging this. She's old and rendered it to that same section.

We've flown in it and enjoyed it. We did the one prior and I was amazed to see actually how similar look from the shoulder of an old man [inaudible] I went all the way and so we decided to stress it and I went to Home Depot. I bought four clamps, I got some Brillo pads cause everything's kind of slippery in a lab and you need to improve the grip. I got some electric plates to make sandwiches and Bobbin below the section so I could clamp it with the electrical plates. You got broad grip so it's not simply tear the tissue with a hawk or something and then I hung some weight off of it.

Now in the lab was blocks like weighed down about 32 pounds of weight blocks. Tennis shopping, right? [inaudible] this is your Caribbean. Yours. No problem. Okay, cool. Now this is, this is a total turn, right?

A torn piece of Matrix of superficial Fascia that can just lift up 32 constant problem. I guarantee you if we did that with muscle tissue and put two pounds on it and we shred it, right, there's no integrity to muscle tissue. We like to say in the lab guys that new muscle is fashion bitch [inaudible]. If it's a good strong torn and a beard is basically annual minute durations. What's it like if I just start with a regular section of it and test it for strength? This was taken from the chest. Oh Man. Could see that.

Net ball has several markers. Location, I added weight. Now we're up to about 50 pounds on on what that is in kilos. Some I'm doing that. Do you do? What is she doing in this country? We do to do both 50 pounds. I pitch on two goals.

This is the fashion Olympics coats. Okay. Yes, no problem. Do you see how kind of stretches to, do you see this as an elastic properties? Huh? Great. Got It. [inaudible] yeah. [inaudible] went back to us seeing smooth muscle tissue.

I did a, the superficial pattern is also a loaded with smooth muscle cells. Right? It's profoundly up. Give yourself a gaping woman and watch it pulse and the constantly at the edge of the wound back to on us how we heal. So I had a lady walk up so it's a really strong, right how they walk up to me after class five or six cities ago. And she came up to me after the section of the talkers is, do you know anything about suspensions? And I was like, uh, no for sex. And she said, no. [inaudible] she said no or strength. This was an amazingly beautiful, tall woman. She was a couple of pounds, very elegant and strong.

She said they basically, um, she appears to get her friends. Here's her back in a sequence. And this lady pulls up at four 50 truck with her flesh and she said, that's nothing. My friends, all tractor trailers with daisy apparatus that they pierce themselves on. And she was very excited to see, right. To see what the piercings work anchoring on and its strength.

And this makes cute. Ask yourself why [inaudible] for pulling tractor trailers [inaudible] like why this tremendous sheer strength. Oh, well I mean I've got three kids and a half in sequence. It started out with 10,000 or 2030 40 50,000 negative 10,000 on being like peeling an orange for the 20,001 one hand all down together. I was crying. Okay, so, so does your flesh tear from your body because you have 50 pounds hanging on? No, no, no problem at all. You pick up something of object large.

It doesn't rip the flesh off your hands. We had this incredible flexible living, highly structured chain, now buried in our that layer. Strong, dense fashion. Cool. Interesting. I was going to just put this in the bucket after having that done in June was like, no, what? Yeah, she had to render. That's [inaudible].

She do know John [inaudible] did all the squishing farming. Christopher also runs all my computers. And this is Laura and MS, the lady you've got into the Oregon stuff. He can read her articles and the abstracts of the fashion congress. Yeah. So do you know, did render that section and then we back lit. So cool.

So on movement. Okay, so what were we not, we have Alaska city and elastic property is a movement property of the superficial fashion we have, we have its waves conductivity, but we also have shearing, I'm going to show you two types of shearing in the superficial fashion is the one clip, one shield in the depth of the tissue and one shearing of a whole layer over what's beneath it. So sharing is going what? Just say a lot of people's shit relative to each other and there's differential movement of the lobules in the layer. How else can that wave go through it? Right? So the structure of the laundry list structure of the superficial fashion, Alaska to conduct those ways and then look, you throw a baseball, you don't throw your skin off, but there's a certain [inaudible] and use of your body is involved in the shear. You have the whole superficial fashion land over what's underneath him.

Two more movements of the layer. All of these movements together comprise like the movement system, facilitating your movement through space. [inaudible] the fatty layer. Yeah, you may have palpated from body to body, different densities of fatty tissue, massage therapists. You know, some person feels very dense, some person filled, very fluffy. All right, and then and that will move if I move differently so we can feel into those textures. Here's the exception that proves the rule, but humans aren't a fatty body. This was the only body for my entire career over 24 years. The best section has no, so you can see through to the, through the matrix of the superficial fashion and that happy to render it as a cheers over the people fascia and that image j again, the exception that proves the rule.

Anthropologists study us and identify us as the species with the abundant fatty layer under the skin that's distinctly human, this characteristic. Um, we don't share it with rabbits or deer right there. They're very thin, thin, fatty layer, and that's typical of them. We do share it with our puppies and dogs that live with us, lumbering downstairs from the Woodlawn that, um, but a wild dog, there's only one, if you've ever been to a country where there's just one dog I got, I spent months in Haiti and there's only one dog in Haiti. It's Tan, it's ribs. They're sticking out in this looking mango pits. Right. There's one dog. Right.

And it's like, like a rabbit again, having a very thin layer of super official fashion on their hyper dentists' located in our, in our own environments than that. Then they'll, they'll change up. Mm hmm. Um, so as surely as the whole layer of superficial fashion can sheer over what's underneath that, that's not universally true over the whole surface of your body. The relationship between skin and superficial fashion is always fibers and there's no differential moment. But the relationship between the superficial fashion and then deep fashion is sometimes by a membrane and sometimes directly with fixed through fiber into the the fascist. So take your pawn as a good example.

There is shearing in your palm, you can feel movement back and forth on the lobules in their depth, right as you squidge back and forth on your palm. But you noticed the whole layer of fat doesn't shear over the day. Fashion is fixed into it. That enables you to correct. So there's the group function as represented in a lack of membrane in your hands. Similarly, the grip of my feet enabling me to stand on my pins and speak to you in this way, right? Because based on that same thing, right? There's movement in the depth of the superficial Fascia, but there's no moment of the superficial Fascia over the deep fascia.

It's fixed into, it gives my photograph. Oh, by the way, I noticed you're all sitting in chairs without slipping out, right? You have as grid [inaudible] superficial fashions in here. What as great as ripping in to the next layer as well. So we have this in different areas of their body and this, this enables, this is distinguished us again from a rabbit who skin you can sweat and you get going about flaming them rabbit would go flying out of his skin, right, because it's so thorough. Growingly membranous over the surface of his body. It doesn't have these certain anchor points. So we do.

So you don't have to write this down and I give it to you about this. Just a brief reminder out of postal fashional paws, superficial fashion. The spongy one. Okay. It's movements sharing within itself, sharing over what's underneath him. Sometimes elastic wave conduction, this dissectable as a fashion. Did I show you that? Yeah. Okay. They have a regular lobular fibers matrix as well as membranes.

It's a combo deal. Dissected bodies with great dimension. I have had many bodies over 400 pounds that I've dissected. I had an embalmer frame Boston who got into his head that you want, you want the big ones. So I couldn't want the good ones. [inaudible] John, what about five hours and 450 pounds a piece and it's very interesting. Very interesting. I was like, John, you know this, it's amazing.

The variety of human bodies in the world. Some of them are big and some of them are smaller movies. So full of Cla. So like, yeah, we'll do like the big ones, right until I do the [inaudible] [inaudible] cross-section. You can see, oh, kind of a layer cake Cain effect within this, the superficial layer while you're have some, some uh, fatty lobular matrix and then brain more fatty lobular matrix and membranes can go three, four times that. So, uh, multilayer, uh, that's what I'm talking about. Great variable in depth. That's from one area of your body to another. Everybody's variable in duff. It's variable in depth from one time in your life to another time in your life.

It's greatly variable depth from person to person and it's strictly variable in depth from gender, gender in a very loose sense. Females are generally more complemented with this layer than, than the masses. It has a very loose observation. Um, sometimes sticks, sometimes translated or demonstrating expression potential, highly structured, well resilient, flexible, pliable, super cool chain mail inside your circuits. So why don't we start out with total connection and differential movement by, uh, the [inaudible] system, a laugh fluids. We can anchor that within and we can witness it without here. I see total connection and differential movement via [inaudible].

Can you see it? The way I see it talk, connection, differential of this tremendous and that connection going on between these creatures. Hi, my lady friend Marjorie, she, she is a very competent swimmer. She was in The Bahamas on a post. You saw a pod of wild dolphins and jumped in. There's a whole bunch of people on the boat who weren't so audacious, except there was a photographer who unbeknownst to her also slipped into the water while she proceeded to have this experience with these dolphins, knowing dolphin behavior, she didn't try and swim after that might take one click flick and the tail 30 miles. Now that he can't run. But instead she started turning circles. Now she could attract the dolphins to come play with her. So she started turning circles and the Dolphin starts circling.

Her little potted officer comes. She said there's one in three inches that are high though, to make eye contact. [inaudible] I say highlight, you know, who they're playing with as they circled around her or, and uh, to me, I think that's a beautiful demonstration of total connection and differential movement in this case, via a fluid.