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Twyla Tharp
Dancer and Choreographer
Twyla Tharp: It depends on how you define vision. If it's a sense of the way I enjoyed spending time most was dancing. It was from the time I was a very small child, when I puttered around the house. I was four or five years old, I remember already having a regime. It was the way I always identified myself. If you're speaking of professionally, it was not until I was after college, until I had graduated. So, it was much, much later that I made a professional commitment to it because quite frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer because it's very difficult to earn a living; because there's very little continuity, and because just when you arrive at the apex of your skills, it's time to retire. And consequently, it seemed like perhaps a not wise investment of a substantial portion of my life. But as it turned out, I decided that since it was the thing that I felt I did the best, that I owed it to all that be to pursue it. That that was what I had to do, whether it meant I was going to be able to earn a living or not. View Interview with Twyla Tharp View Biography of Twyla Tharp View Profile of Twyla Tharp View Photo Gallery of Twyla Tharp
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Wayne Thiebaud
Painter and Teacher
Wayne Thiebaud: A single point perspective, where you look at a railroad track, that's one system. Two-point perspective is when you have two-point perspective. Cezanne's paintings have eight or nine perspectives, various views of the same still life viewed from several angles and trying to incorporate that into one. Chinese perspective -- which is the opposite of one-point perspective -- where instead of the railroad tracks vanishing, they're coming into you. And to orchestrate those into one entity is a wonderful challenge and a great treat to fool around with, mostly unsuccessfully, but wonderfully exciting. View Interview with Wayne Thiebaud View Biography of Wayne Thiebaud View Profile of Wayne Thiebaud View Photo Gallery of Wayne Thiebaud
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James Thomson
Father of Stem Cell Research
If you could take an embryo that hasn't yet implanted from a mouse, and one's from a black mouse, and take another embryo from a white mouse and you just nudge them together, they form one mouse. And that adult mouse has black and white patches along it. And it basically has potentially four different parents, but it's all one integrated mouse. And I was just fascinated that embryogenesis was so regulative that you could take two individuals, put them together, and get this single individual. And that degree of self-regulation ultimately is what allows embryonic stem cells to be derived. I certainly wasn't thinking about that at the time, but I just really thought that experiment was fascinating and wanted to be in that field. View Interview with James Thomson View Biography of James Thomson View Profile of James Thomson View Photo Gallery of James Thomson
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James Thomson
Father of Stem Cell Research
James Thomson: I think the cells are neat, right? I can't tell you precisely why, but I think it's good, whatever you work on, to just think it's cool, right? And I really hope it does help people someday. But it's also not the reason I go into work today and do my work. It's just because I think that thing is really interesting, and I want to work on that. But then, when I step back a little bit and look like, you know, what I want to accomplish over my career, I very much hope that what I do in my laboratory does benefit people. I think my career would be extremely satisfying if that's true, but I don't think about that day to day. Which is probably the patience thing, again, is that I'm more focused on the questions I'm trying to address and trying to do as efficiently as possible, but I'm not thinking about the direct translational benefits of my work every day. View Interview with James Thomson View Biography of James Thomson View Profile of James Thomson View Photo Gallery of James Thomson
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