everyone suddenly became fascinated with it, and indeed they were scattered all over the world, in america, in europe, and somehow this apparently alternated, but again, i didn’t specifically study history, but it’s easy to find out, of course, but still less so, it turns out that in 1925 the soviet country, where the civil war had recently ended and was in a difficult situation, nevertheless found the means to buy this land, build a pavilion, by the way, these are the women you are talking about they said

what else she did besides these wonderful costumes and this exhibition? she had very broad interests, in general she was very fascinated by the synthesis of arts, she was one of the first to make sculptures from glass, for example, she was interested in this plastic material, she also said that there is no need to go against the properties of the material, that is, you need to adapt to it will then have natural forms.

she still made flower vases, asters, tulips, that is, design is not necessarily clothes, design is anything, it can be, it can be dishes, for example, her first projects, which were not realized, she made sketches, she made watches, for example, she made writing instruments, and some objects for the table, and for writing sets, she supplemented them with small figures, that is, she is also a sculptor i was thinking, i was already starting to make some objects, in fact, from the very early days.

the head of the leningrad art glass factory, and - accordingly, this is also her work, yes, yes, this is her work and she was on the artistic council of the leningrad farkhorov factory, she these works of hers, which she did in red lfz, are also interesting, because she very carefully removed the clothes for her sculptures and when there were reliefs and three-dimensional sculptures, she looked at how they would be exactly, so that it would be logical in the first place, yes.

for the character, secondly, so that it is harmonious with the character itself, so that the clothes seem to consider that they complement, complement the image, she researched a lot, that is , all her works, they were based on pre-design research, for example, before to make glass she studied the archives of russian museum, everything that was connected with glass and the hermitage, that is, in fact, right now... in the modern world, designers work exactly like this before doing any project, well, any project, not just a designer, an architect, yes, all people project workers, who are engaged in activities, they first of all look, follow everything in this direction, that is , she did not have a purely creative interest, but she really wanted to make the life of every soviet person better, so that they would have some kind of normal dishes, a normal objects in the interior, of course it was difficult, but in the end everything she could do was fantastic. on friday on the first.

at the entrance to the legendary bamov village of zvezdna we are greeted by this wedge heel. 50 years ago they were the first to get here on it. we didn’t look in the rain under any conditions, but when i reach the horizon, we’ll see what’s beyond the horizon, but the horizon goes away, and you ’re chasing after it, we had a group of 13 people, a year later, from these 13 there were five left, another year later year.

conversation about vera mukhina, visiting me founder of the moscow design museum and director of this museum alexandra sankova and architect, artist yuri avakumov, well , what happens is that this woman, yes, who did these cute things that are so necessary in everyday life and which would seem so far from any general ideology, but this particular woman, probably already to you then, but yuri, let’s move on, she creates this one completely. an amazing project that has become, in general, a symbol, some kind of pinnacle, as it seems to me, of soviet art, soviet thoughts, the soviet spirit, flight, whatever you want to call it, that’s how it all happened in your opinion, well, in general, a lot of things happen for artists thanks to luck,

which means it’s a lucky coincidence of circumstances, and more than one thing happened there, happened, in the first, of course, the first person, it was of course boris eofan in this whole story, that is... the author of the soviet pavilion in paris, in a very difficult area a competition was announced and it even seems more than one competition, but in general architects participated in a custom competition like the same milnikov or that but shchyusego, and he bypassed them, he bypassed them, he really had, even if you look at it with today’s eyes, he really had the best project, even better than melnikov from shchusev, better, better, better, shchusev is generally quite good. he did it too much, as they rightly said, he was too original, but iofan, of course, turned out to be a great thing, and it also turned out to be fashionable, so he just turned out such an art deco

very beautiful, and with the same art deco , you can put it in a nutshell for those people it's like that the style is very industrial on the one hand. and the whole thing is built on such a kind of stratified movement, so in this pavilion, in particular, this kind of thing happens all the time, knocking down, step-by-step knocking down, and the form stretches, as if it was filmed in slow motion, it’s all stratified like that, and at the same time this is the style of dere-jables in these corrugated suitcases, in clothes it manifested itself in all sorts of corrugations, plesses and so on, this. this is the style of this, well, i don’t know, aerodynamics too, but how does this literally translate into art for french, art and decorative, decorative, yeah, well, the plot was really difficult, because we got it, although we bought a large plot, it was over

the highway, so the only thing that could be done was to make it very long, in -firstly, that is, it was 160 something meters, very narrow in width. literally 20 m, it turned into such a suite of exhibition spaces, that is, people entered from one side and exited there from the tail of this pavilion, and up there at the climax or something, iofan started sculpture, and he imagined a certain sculpture, a two-figure composition, he had some of his own examples of this from greece, there were tyrant fighters, say, and then for this sculpture it was already on request. let's just say, according to afan's technical specifications , a competition was announced among sculptors and the best there, such as shadr, also participated, who, by the way, also studied with bourdelle together with mukhina, yeah, that is, in general, yes, it is important to emphasize that mukhina is in in paris she studied, studied, studied and actually mukhina won

and that’s all, this is one of the best sculptures of the 20th century, so if you compare it in its own genre, in the genre of monumental sculpture, it ’s rough to compare. his man back in the first century bc, well, in his ten books about

architecture, he had a connection between the proportions of a person and the proportions of architecture, which means this connection has been going on for a long time, and this connection, in fact, it is expressed in the fact that we started, we counted for a long time until the eighteenth year in russia, and we counted in regrets, yes, yes, we counted in spans, we considered. it’s just that we now have kilometers, and what is a meter, it’s an absolutely abstract quantity,

it doesn’t come from anywhere, so it was assigned, it’s different from a yard there, from a step there and so on, so we’ve lost a lot of humanity, these are the artists like mukhina, they kept it, even though the diameter was probably already calculated there in millimeters, but they still kept the connection. manually and through classical proportion with all this, because all this remained, that is, on the one hand, she drew these classical samples there worker and collective farm woman, on the other hand, and kept in mind where the center of the figure is, how the length of the arms is laid out, how it fits, how many times the palm fits in the foot, and so on, these interconnected... human modules, she, through from them we moved on to design, where,

as sasha rightly says, to ergonomics, this, this connection of the huge with the simple, it’s all, for me, at least, read through the connection with ancient proportions, well, on the one hand we are talking about ergonomics, yes, that directly related to design, on the other hand about materials, because this sculpture was made. even then, this mode of broad discussion was adopted, yes, we were invited, we are participating in the expo, yes, that means, as is usually done, we are participating in the expo, a government meeting, and the directors of the cereals are invited to it.

naturally, i’m exaggerating, i didn’t sit at this meeting, but this is roughly how it happens, there was such a proposal, it was naturally defended by representatives of this metalworking enterprise advanced, it suddenly turned out that this steel , while there, is half a millimeter thick, it is quite plastic, plus it is not going to be welded on rivets, and so on and so forth, that is, it has appeared... some, plus it is literally brilliant in a sense , it reflects the sunlight, and it

simply glows, yes, yes, it glows, all these qualities, it really was some kind of purely technological breakthrough, well , that is, it really wasn’t a choice, according to mukhina’s faith, it was a proposal, she was told that she needed to make it out of steel, that is, it was as if they had already come to her with this material, i wonder what she was doing, that’s when, for example, the sculpture came out about the synthesis of art, about how she generally thought outside the standard. transparent, transparent cake, because it’s not in a museum, but somewhere in a park or garden, where there is greenery all around, and as if this sculpture had collected moisture from plants around it, it was formed from dew, from rain, that’s what it is wanted, that is, when she even thought about sculptures, how they would be exhibited, she had this figurative conceptual thinking, it’s as if she was after all - not

just an application specialist, but in order to do something to order, she thought very globally, dear friends, all episodes of the podcast lab, you can watch on the website of the first channel 1tv.ru , but it’s true that at first this figure, well, this sculpture of a collective farm worker, should have been naked, but she was forbidden, well, yes, well, thank god, because there this scarf was added, and that is, it was going, well, how can i say, ordinary creative work here is of course not good. when outsiders intervene, but sometimes they can be useful. this was also not the first version, there are other search models that are located in the new tretyukov building on krymsky val, you can come and see vera mukhina’s actual train of thought. and how much time did they have to do all this, that is, it was still in record time, you know that i myself participated here in 2015 in one of these

expos, this is monstrously small, simple and even i don't understand. a gigantic experience of participation, they still begin to get together and decide something for several months, all this in a few months, naturally in spasms, in convulsions, absolutely all this happens, it’s completely impossible to understand why this is done, there is no logic, it was always always done then, that is, they worked there 18 hours a day in the cold they assembled and hammered out this sculpture, because it was already by may. they had to take it to install it, but first they assembled it here, and then they assembled it here, then they looked at it, looked, everything there that they could check, although the work was almost by chance, because well, sort of it’s customary that a sculptor works on a model, makes a model and looks at it, comes, shapers come, they enlarge it eight times, here the model itself was a meter long

or there it was 95 cm small, but it was necessary to enlarge it simply by 20’. more than once, and it’s kind of incomprehensible, you’re a mistake , a millimeter mistake here, it can grow, it was such a process, well, that ’s why i said luck, luck was with them, they did everything very well, everything came together and so on, then there were adventures when all this was necessary take them to paris, but the whole train there, 28 cars, was filled, which consisted of fragments, yes, but what’s funny is that they divided 65 neatly. to prevent the soviets from getting through there , some say they had to saw off something protruding beyond it

with an autogenous gun in some tunnel, it was easy to cut it off, but it still wasn’t scary, then they brought it to... paris, the french communists came to the rescue they helped a lot there, including even with the security of this area, that’s it, because they found some kind of sawed cable there, the communists helped a lot, thank god, very well, and they really built it very quickly, they built a pavilion there in less than a month, a gigantic pavilion, 160 meters long, they built it, but they didn’t let anyone back out to dismantle it, they came. people completely unfamiliar with installation, with sculpture, with technologies there and so on, sawed into 44 pieces, here in 65 neat ones, and here just like that, this is in paris, yes, in paris they sawed into 44 pieces, roughly and there somehow they sent it all, they were already collecting it from us, they were already changing the metal from

thin to thick and violated the proportions, in general they put. for this stump in quotes and so on, in general, it was already, i think that for her it was extremely traumatic, but still the game was worth the candle, as i understand it, this statue made a splash in paris, that everyone was in its entirety, of course, but of course massfilm did even more to perpetuate it, and well, naturally, because since 1945, since 1945 in my opinion, it’s the screensaver of all massfilm films, all soviet. there's a political cartoon there you draw it, it’s still as if you can’t get around it, it’s wonderful, well, after all, it’s clear that vera ignatievna is best known for

this sculpture, and for this cut glass, about which the rows will always continue, after all, what else are these more important works of hers must be said, please, pyotr ilyich is sitting there at the conservatory, and in some amazing pose, he’s sitting all quietly, everyone passes by him. but in the very center of the city, or maybe not even that noticeable there, but in general gorky near the belorussian station, gorky is also hers, yes, well gorky is also very famous, your brother is a writer, and ours, but how many were not realized, it’s just that, for example, what was not realized, here are some interesting plans that failed, she had some kind of very dramatic story with the sculpture icarus, which she dedicated to chkalov, that means... this is really the fall of icarus, the wing is unfolded and there one sculpture was stolen from the exhibition, the second sculpture, the second

sculpture was somehow stolen from the third edition, i don’t even understand how this perhaps, in general, there was only one plaster model left, and she wanted to turn it into a monument, but that didn’t happen either, well, in general , of course, a lot of such stories happened at that time, and in fact a lot... in general, with mukhina’s life , we don’t know, how widely unknown, but, for example, the same art glass factory in leningrad, where she essentially led it, yes, as an artistic director, but she was also the initiator of its creation, back in the forties there hasn't been any such plant in years, she suggested. to create an experimental workshop on the basis of a mirror factory, just a glass factory, that is, no one talked about art glass there.

including, because it was important, yes, how, to go together with the technology with the material, that is, as if it was constantly searching, and there was no final decision, what is this good, and this is bad, she was always looking for, this is mobility, it is also, in principle, very, when a person studies all the time, is always looking for something, this also, as a rule, accompanies great talent, when a person all the time, like a child, discovers something for himself, that is, she is on her laurels for no reason. but in production , directly to the workshop, right in the thick

of it, to work with the workers, that was interesting to her, here are her students, mukhina’s school, you can talk about it, i don’t think so, that is, she remained like this and somehow a unique unprecedented phenomenon, well, thank god, but in fact being an artistic director and being on artistic councils is also very important, because firstly there... they just send something to production, they sign it, they give recommendations when it needs to be done, what needs to be changed there from a technological point of view, that is, as if it were actually some kind of teacher, well, in fact, you come, and they tell you, so here’s the project, you show your final presentation, and they tell you: so let’s think about it, maybe you can do this if someone who knows the technology, who already knows a lot of experience, can advise, here it is just for a large number of artists at two enterprises in the largest country , she seems advised them yes, yes, well, you can easily imagine a situation where there is a young man going out with... and vera ignatievna praised me, and for him it may be some kind of motivation for, if not all, but for some period of his life was creative, and

moreover, the plant was made in order to do, as we would now say , set trends, because it would be necessary to make good samples for artists to do, and further assumed that these projects would be bought by glass factories all over the country, that is, how would they art glass business. then they experiment, develop new models, and then it is released everywhere, that is , in fact, the same thing happened with some ordinary glasses, the same ones, or these were called wine utensils , these are, like, sets, but still , the most important thing is that the collective farm workers are the most famous, and of course it’s very cool that, first of all, the sculpture returned here, i realized that the french wanted to keep it, buy it, at least i read such information, wanted to buy, but money. they didn’t give it, but this, well, maybe not so, but in any case, here’s what i read, yes, that they still brought it here, that it wasn’t lost, it was installed, and it’s really now restored.

the restoration was very good, it really decorates one of the most important places in moscow, it remains such a wonderful symbol of the era, it really is a monument to that time and, in general, a monument to vera ignatyevna mukhina herself, which is simply to say thank you very much for everything she did, for what she was, for her appearance, for her personality, well, dear guests, i must say thank you very much for this conversation, i personally learned a lot of new things for myself. with this we say goodbye to you, our dear viewers, so, we talked about vera ignatyevna mukhina, in our studio there were alexandra sankova, director and founder of the moscow design museum, and yuri avakumov, architect, artist, curator. thank you very much, dear friends.

hello, this is the substance deception podcast, with you olesya nosova, editor-in-chief of komsomolskaya pravda, and with me my permanent presenter, zukhra pavlova, a famous endocrinologist. today we will talk about eating disorders , and since this topic is at the intersection of physiology and psychology, we invited a famous psychologist, a candidate of psychological sciences, to visit us . our body is structured in such a way that we feel physiological hunger, we eat, we feel satiety, we stop eating, and this is the basis of healthy eating behavior, so everything...

where a person either feels hungry, but we start from exactly that place, ignores it, either doesn’t feel hunger, or doesn’t feel full and overeats, that’s how the basis of the disorders is precisely the failure of this perception of processes, sensations of hunger, sensations of satiety, and here comes a big the story is about the fact that you need to look in a special way, you need to somehow influence your... body, this can be done through food, so i, for example, feel hungry, but ignore it, or i will limit myself in food , will i will use food to regulate some emotions, then i will overeat, that is , this physiological basis is initially disrupted, uh-huh, natal, isn’t it normal to limit yourself in food, well, that is, you understand, that you should look normal, feel normal, and for this you

must somehow... not grab everything, that everything that is at hand, in fact, choose somehow, no, in fact, saturation should work as a limiter, then eat i stop eating when i'm full, not when i've eaten a certain amount of calories or never i began to worry that tomorrow it would be reflected on the scales, or never i looked at myself in the mirror and said a bunch of nasty things to myself, that is, a restriction that comes from a feeling, it is essentially not a restriction, i have eaten enough. enough, these are the restrictions because you need to look somehow - this is precisely the foundation that further leads to breakdowns, because people limit themselves, go on diets, and as we all know from research, 95% of people after 5 years of being on diets diets have weight more than they entered into this diet, this is the moment, and if you eat very quickly, you will feel full when you have definitely overeaten than if you eat...

slowly, and you will have time to eat with less , here , i would generally talk about awareness of the process of nutrition itself, that is , nutrition, the process of consuming food, in a good way, is a separate type of activity, when we eat quickly, because we are in a hurry, when we are simultaneously scrolling through something on the phone, arguing with household members and do a bunch of other things, of course we we overeat because satiety is a signal that needs to be caught, it needs to be felt. great, yes, this story about 33 times joke - this is exactly what i would say, that any artificial introduction of some numbers is redundant, well, someone needs to live 33 times, someone 26 , someone is 48, the question here is that we enjoy the process, we feel the taste, we feel how the food changes its taste, we are in contact with our own body, and

this is all separate. yeah, well, what if a person enjoys it only if he gets something sweet? a bun, how can he live, this is also a disorder, the disorder begins when there are a lot of sweets. no, when we have diagnostic criteria by which we can already diagnose this disorder, sweet buns are not included in this, we, in principle , evolutionarily prefer sweet food, because it is energy-intensive food, we need glucose food for muscles, for the brain, and this is a rare food in a certain sense, but the main problem is that initially, where there was sweet food, there was sugar cane, go chew it, go get this from there... fruits, fruits that still contain fiber, and there the process of the pancreas responding to glucose coming in was much smoother, of course, now that we have industrial sweets, if you

simply overeat sweets, yes, or cakes, well , to some extent this will not be very useful for the body, but this does not mean that you need to completely exclude it and sit, and then break down again, uh-huh, so people... well... some tangible things, why 33, not 48, not 26, because on average, to survive solid food, 33 is a sufficient amount, 32 teeth are one tongue, and it’s easy to remember, yes, when there are some numbers, you can practice a little, as they say, then it becomes a reflex, and a person stops counting, but gets used to the fact that food must be chewed, and you don’t know, this is the movement: when this food is pushed straight through, it’s a lump that is not chewed, not moistened with saliva, and naturally, this food is of little use, because that nothing can be extracted from it, yet so that we don’t go too far, in the icd this same disorder, yes, an eating disorder

, is called, excuse me, the international classification of diseases, thank you, you never let me run into this dark side, there it is called an eating disorder, it’s... one and the same too, or are these different things, equal eating disorder , eating disorder, these are different things, if we take dsm5, the latest version of the diagnostic manual of mental disorders, in 2013 avoidant restrictive eating disorder appeared there, and we can say that we have an eating disorder, this is bulimia nervosa, anorexia nervosa, overeating syndrome, where. disorder lies precisely at the basis of this experience of the body, i don’t like my body, and i’m trying to do something through food with my difficult emotions about the way i look,

eating disorder is a completely different category, these are people who, for example, the feeling of hunger is initially disturbed, they do not feel it, they forget to eat, they have no idea to lose weight, they simply do not remember what to eat, lucky ones. but i wouldn’t say that such children may experience developmental disorders due to lack of nutrients, slow growth, in adulthood these are people who understand that it’s time to eat after they have fainted from starvation, but this is a common story, you want to say, well , it’s still very difficult to talk about statistics, because it was only in 2013 that this began to be discussed as a separate diagnostic category, research is still underway. therefore it is difficult to talk about any percentages, but in general, i think it will be approximately at the level of anorexia nervosa, somewhere around 1-5% of the population, is this perhaps more related to people on the autism spectrum and

mental disorders? there are correlations, yes, we really do, firstly, in people with autism and autistic spectrum we see an eating disorder; in the opposite direction, we will also see autistic traits. but in general, at the moment, three groups can be distinguished, these are people whose physiological hunger is very disturbed, plus they have practically no hunger for tastes, so we have for many people, this story is that we ate something there, well, we ate soup, a cutlet, and now we want something sweet, we’re full, but our taste buds need something else, but it’s missing here and people can, well... eat the same food, the same taste, this suits them quite well, they eat little, not varied, and this is one group, the second group of people are people who seem to have very strongly developed papillae, that is, they are

such natural tasters , from childhood they do not like food that has a strong taste for them, and these are children who eat macaroni, macaroni and cheese. cheese, in my opinion, these children now predominate, that is , they choose food that has a very neutral taste, very understandable, and as a rule, these are just... carbohydrates, that is , here, on the contrary, we can see a situation when a person is overweight because he also has a very unbalanced diet, and the third group are people who in childhood experienced some kind of, well, let’s say, trauma in their relationship with food, they choked very badly, got burned, got scared, got poisoned, for them this is an experience, it’s like begins to change their eating behavior, that is , food begins to frighten and the child begins to avoid, he choked on soup and... removes all liquid food altogether, or he choked on

cutlets and stop eating meat, because it reminds him of it, here they are essentially very different people can fall into the category of orfits, it's called avoidant restrictive food intake disorder, with very different past experiences, but it can be harmless, for example, i know a child who doesn't eat red foods, so he doesn't eat strawberries, tomatoes are not eats, it depends on how limited the diet is, that is, if the diet is so limited that it already has certain consequences for health, then it is dangerous, it’s good if a person simply does not eat tomatoes, well, in the end, everyone has taste preferences , this is not yet an eating disorder, it has eased up, yes, yes, thank you, but what is not a disorder at all, what is just some kind of disorder, well, as you said, how to distinguish,

complex carbohydrates, there are proteins, vegetables, fruits, fats, sugars, and in case of severe arfit a person eats one or two products, in principle, with lighter forms, this is one or two products. from each of this category, from each, from each layer of the pyramid, taste preferences are taste preferences, if this does not affect the functioning of the body, this is a preference, if the question arises that the nutritional structure cannot be changed, perhaps a person needs, for example , add some nutritional supplements, separately, sometimes they are directly prescribed these nutritional supplements that are used, functional, and - so here we are talking about a disorder, yeah, but there

are some genetic predispositions, well, let’s say, they can be traced in the family, and we can say that this is genetically based, it is believed that there is, again, for sure now it is difficult to determine the genetic component, but since we are talking about correlation with the autism spectrum, yes, most likely it will be there, and some structural features of the same... taste buds, well, most likely yes, there is some kind of genetic basis. revelation by former us secretary of state hillary clinton, specially for our program. this concerns the upcoming us elections. you need to go on the offensive. i am doing everything i can to re-elect president biden. we are just used to saying that, well, hillary, yes, they are a downed pilot, and men are also a downed pilot. they are puppeteers, they believe her, they give money at her word. the main threat is trump, he

wants to end the conflict on russia’s terms, i know he is a very bad guy, personal hatred for trump because he did it like that in the elections, if only a similar recording appeared with the participation of someone other than hillary clinton, one of the republicans, then they would have decided that they were dealing a blow to american democracy; in establishment circles they say: god forbid anyone criticize her. the omen is bad, they are really afraid of it, the vavan and lexus show, premiering on wednesday on the first. in fact, you brought her under the article, this is a fact, she fell into this trap, let’s gather the old choir and take our favorite a major, we don’t have much nostalgia, because it seems to me that we live in such an atmosphere, it’s something special for me to be in russia for the first time in my life.

on friday on the first. we continue the substance deception podcast, we talk about eating disorders. this is... olesya nosova with me zukhra pavlova and natalya fomicheva. well, by the way, you said, here’s an interesting thing about the fact that, uh, some children, but this starts from childhood, prefer to eat pasta, macaroni and cheese, cheese and so on, because they have very highly developed taste buds, they are like that potential, as you said,

tasters, potential tasters. does this mean that if a person is fat, if he likes macaroni and cheese. the show doesn’t matter, so to say here like this that you weigh so much, that’s why you have this, this is too much of a simplification, and what kind of dynamics should there be for it to look scary for anorexia nervosa, and 30% of the original weight for 6 months, that’s a lot, well, that is, for a woman, 60 kg is 20

kg, a loss of 20 kg, yes, almost 18, yeah, 20 kg, yeah, yeah, that’s significant, huh? is inpatient treatment always required for anorexia nervosa? yes, this is very desirable, because in fact this is a complex complex disorder, and there is a need for a team, there is a need for a psychologist who specializes in eating disorders, there is a need for a doctor, a psychotherapist or a psychiatrist, there is a need for a general practitioner, there is preferably a gastroenterologist, endocrinologist and so on, therefore, well, of course, it is desirable that this be a command, well, anorexia nervosa is not genetically conditioned, genetic, there is such a predisposition, there is a predisposition to paradoxical experience of hunger, people with anorexia nervosa, or rather no, people with

such a genetic predisposition do not feel hunger as discomfort, yeah, that is, they feel that they are hungry, but in general and... when a very narrow corridor of calories is kept there, 500 -600 calories a day maybe, you can hold on to this for a long time only if you have a genetic predisposition to cope with hunger, there are questionnaires, tests to check yourself for

some autostitic disorders, with a disorder food is eat in attitude test, it-23, on26 - called, there is a dutch eating behavior questionnaire, there are also separate questionnaires for bulimia, for orthorexia, there is a body image questionnaire, because again we return to the fact that the root lies in such distorted perception of oneself, so yes, there are tests, you can pass, and what is artorexia, so that our listeners simply understand what we are talking about, orthorexia nervosa is an eating disorder, which... is characterized by the fact that a person constantly eats only the right food, yes, i don’t eat the right food all the time, in fact, yes, it ’s such a, uh, taco, such a relationship with food.