- Speaker #0
If engineers had to design a mechanical crane capable of lifting heavy loads...
- Speaker #1
Good luck to them.
- Speaker #0
My great good luck. Especially if this crane had to evolve in absolutely all angles and all planes of space.
- Speaker #1
Yeah, and all in balance on a tiny surface.
- Speaker #0
That's it, like the size of a two-euro coin. These engineers would probably throw the sponge directly.
- Speaker #1
They would say that it's physically impossible, quite simply.
- Speaker #0
Exactly. The laws of physics do not allow it. The structure would collapse under its own weight.
- Speaker #1
Completely.
- Speaker #0
And yet... C'est très exactement ce que fait l'épaule humaine, des milliers de fois par jour.
- Speaker #1
C'est ahurissant quand on y pense.
- Speaker #0
Mais oui. Le simple fait de tendre le bras pour attraper une tasse de café sur une étagère en hauteur, en fait, c'est un vrai miracle d'ingénierie, qui défie la gravité.
- Speaker #1
Et on n'y pense absolument jamais.
- Speaker #0
Non, jamais. Le cerveau donne l'ordre et bam, l'action s'exécute. Mais sous la peau, c'est une toute autre histoire.
- Speaker #1
C'est même, je dirais, le paradoxe le plus fascinant de notre anatomie.
- Speaker #0
Ah ouais ?
- Speaker #1
Ouais. Evolution has made a radical choice in this regard. Unlike a knee or a elbow, which works a bit like a simple door hinge,
- Speaker #0
with hyper-predictable trajectories,
- Speaker #1
very predictable and limited, the shoulder is designed for almost total freedom. But in biomechanics, free will does not exist. Each degree of additional freedom is paid at a high price.
- Speaker #0
That is to say ?
- Speaker #1
That of vulnerability and incredible mechanical complexity.
- Speaker #0
Well, let's sort it out. Because to understand how this fluid movement is possible without our arm detaching from our torso every time we throw a ball...
- Speaker #1
Which would be a bit embarrassing.
- Speaker #0
Very embarrassing, yes. Well, you have to plunge into the heart of the whirlwind. And we have under our eyes a fascinating document to guide us today.
- Speaker #1
Absolutely. We will explore this mechanic through the ultra-detailed notes of Caroline Berger.
- Speaker #0
The founder of the studio Biopilates Paris.
- Speaker #1
That's it. And what is captivating in her approach, is that the objective is not at all to scratch a rigid medical dictionary. Oh,
- Speaker #0
thank you, because the lists of non-Latins, very little for me.
- Speaker #1
We agree. No one wants to learn that by heart. No, the idea is to understand the shoulder as a living system.
- Speaker #0
An ecosystem, almost.
- Speaker #1
Exactly. The movement of the arm, it never comes from a single isolated piece, which would do all the work. It's the result of a permanent dialogue.
- Speaker #0
A kind of negotiation in real time. Yes,
- Speaker #1
a hyper-complex negotiation between the iso, the ligaments, and a neuromuscular network of innuendous precision.
- Speaker #0
So we're really talking about a choreography.
- Speaker #1
That's the word. A choreography that involves the glenohumeral joint, the clavicles, and the sliding of the omoplate on the thoracic cages.
- Speaker #0
It's fascinating. But to really grasp the magnitude of this miracle, I think we need to stop at the way in which the bones are clenched.
- Speaker #1
Or rather, the way in which they don't clench, for the moment.
- Speaker #0
Yeah, that's true. If we focus on the main articulation, the glenohumeral.
- Speaker #1
So, where the arm's bone, the humerus, comes to attach to the rest of the body.
- Speaker #0
Voilà. To make a mental image, if we look at a radiograph, it would literally look like a big golf ball, balanced on a very small, very flat tee.
- Speaker #1
That's exactly the image.
- Speaker #0
The head of the humerus is this big voluminous sphere, and it rests on the glenoid cavity of the homoplate, which is tiny in comparison.
- Speaker #1
It's a really reduced contact surface, yeah.
- Speaker #0
And knowing that my golf level is catastrophic, and that the ball falls from the tee at the slightest wind, I find it terrifying to tell me that my arm is like that.
- Speaker #1
It's a very rational anxiety, you figure. And the comparison with other joints makes this choice of nature even more flagrant.
- Speaker #0
Like the hip?
- Speaker #1
Exactly. If we take the hip, the contrast is total. It is conceived as a very deep bowl.
- Speaker #0
So the bone really sinks inside. That's it.
- Speaker #1
The head of the femur comes in, it sinks in deeply, and it's the bones themselves that lock the structure.
- Speaker #0
It's hyper-stable, then.
- Speaker #1
It's made for. It's an articulation made to support all the weight of the body, with a natural, really passive and massive bone stability.
- Speaker #0
And the shoulder took the opposite direction, in fact.
- Speaker #1
Totally opposite. It sacrificed this structural security to allow us to climb, to throw, to reach objects in our back.
- Speaker #0
The famous big ball on the little guy there.
- Speaker #1
That's it. It gives an immense amplitude, but on paper, it should tilt and luxe at the slightest shake.
- Speaker #0
So if stability does not come from the clumping of the bones, what prevents my arm from falling to the ground when I wear a heavy shopping bag? First,
- Speaker #1
there are what are called passive structures.
- Speaker #0
Okay.
- Speaker #1
Even if the cavity is bone and flat, it is surrounded by a burlap called the labrum.
- Speaker #0
Wait, a labrum, what is it exactly? Is it like a rubber band? Yes,
- Speaker #1
it's a very good image.
- Speaker #0
What is it exactly? Is it like a rubber band?
- Speaker #1
Yes. C'est une très bonne image. C'est un anneau de cartilage fibreux qui fait tout le tour de la petite cavité plate pour l'approfondir un tout petit peu.
- Speaker #0
Ah, un peu comme un rebord souple ajouté autour du Tide Golf.
- Speaker #1
Exactement, pour retenir un peu mieux la balle, mais sans bloquer le mouvement. Et par-dessus ça, on a la capsule articulaire.
- Speaker #0
Une capsule, genre une enveloppe qui emballe le tout.
- Speaker #1
C'est ça. Une sorte de manchon fibreux, un peu comme un gros ruban adhésif biologique très résistant qui relie les os entre eux.
- Speaker #0
Et c'est renforcé par des ligaments, j'imagine.
- Speaker #1
Tout à fait. Mais attention. The real secret doesn't lie in these passive elements. Really? No. Because if we only counted on them, they would end up distending themselves under the load. The real magic of the shoulder is its active muscle control. What's fascinating here is that the shoulder muscles are not only used to create movement.
- Speaker #0
They have another role.
- Speaker #1
They have a fundamental role of structural maintenance. And that's where the real stars of the shadow come into play. The famous rotator cuff.
- Speaker #0
Ah, we constantly hear this term. Like, I got hurt at the rotator cuff at tennis or at the gym.
- Speaker #1
It's a great classic, yes.
- Speaker #0
We really feel like it's the Achilles heel of all athletes. But concretely, who are these famous shoulder muscles? de l'ombre.
- Speaker #1
They have very specific small muscles, which are located in depth, under the large muscles that we see with the naked eye.
- Speaker #0
Their little name ?
- Speaker #1
There is the subscapular, the supraepine, the infraepine and the little round.
- Speaker #0
Ok. And what are they so special about ?
- Speaker #1
Their particularity, is that their first function is absolutely not to lift 50 kg of dumbbells or to generate brute force.
- Speaker #0
So they don't move their arm properly ?
- Speaker #1
Yes. But their vital role is dynamic stabilization. They wrap the head of Lumerus and as soon as a movement begins,
- Speaker #0
they contract.
- Speaker #1
They contract to firmly place the big golf ball against the little tee. And they keep it perfectly centered.
- Speaker #0
I see. It's a bit like the big golf ball was connected to the little tee by four very powerful elastic cables.
- Speaker #1
It's a nice way to visualize it, yes.
- Speaker #0
Or to change the image, as if a huge paquebot was trying to maneuver in a tiny port.
- Speaker #1
I really like this metaphor.
- Speaker #0
You see, the large superficial muscles, it's the main motors that push hard. But the muscles of the rotator cuff are the small shock absorbers on the sides.
- Speaker #1
Hyper-reactive shock absorbers, yes.
- Speaker #0
That's it. They adjust the trajectory millimeter by millimeter to prevent the ship from hitting the quay.
- Speaker #1
That's exactly the dynamic. The rotator cuff manages the precision micromechanics.
- Speaker #0
The compression at the center of the articulation, in fact.
- Speaker #1
Exactly. And thanks to this work of the shadow of the cuff, the large muscles can do their work of force without destroying everything.
- Speaker #0
And let's talk about these large muscles and this work of force. Because we are often used to seeing anatomy as a very square picture.
- Speaker #1
That is to say ?
- Speaker #0
Well, like, this muscle makes this movement, final point. The biceps fold the arm, the triceps the time. It's simple.
- Speaker #1
It's the very school vision,
- Speaker #0
yes. But in Caroline's notes on the shoulder, when we look at how the movements are distributed, it's much less binary.
- Speaker #1
Ah, but the anatomy of the shoulder, it's all except binary. It's not a system with buttons, or a button activates a single movement. Not at all.
- Speaker #0
It's more complex than that.
- Speaker #1
It's a symphony. A real relay race coupled with a rope shot. If we want to raise the arm on the side...
- Speaker #0
Like to do a dance move in the snow.
- Speaker #1
Exactly. What we call the abduction in jargon.
- Speaker #0
Ok, the abduction.
- Speaker #1
If we try to raise the arm laterally, we could logically think that it's the deltoid that does everything.
- Speaker #0
The big round muscle above the shoulder. Yes,
- Speaker #1
we say that it pulls the arm up from the beginning to the end.
- Speaker #0
That seems logical.
- Speaker #1
It's the biggest muscle in the area. It's placed just above, so it pulls up.
- Speaker #0
It's instinctive abduction.
- Speaker #1
But biomechanically speaking, it would be an absolute disaster.
- Speaker #0
Really?
- Speaker #1
Why? Imagine if the arm is completely along the body, against the ribs, and the deltoid contracts brutally. Yes. The force line of these muscle fibers is almost vertical at that moment. So, it wouldn't lift the arm on the side.
- Speaker #0
What would it do then?
- Speaker #1
It would simply pull the bone from the arm violently up. It would crush the head of the humerus directly against the ceiling of the joint.
- Speaker #0
Ouch That looks painful.
- Speaker #1
That's right. The movement would block immediately.
- Speaker #0
So the big engine can't start on its own, in fact.
- Speaker #1
No, it needs someone else to initiate the trajectory.
- Speaker #0
And that's where one of our little rumblers comes in.
- Speaker #1
You got it all wrong. It's the supra-epineus muscle, one of the members of the rotator cuff.
- Speaker #0
Ok, the supra-epineus.
- Speaker #1
It's positioned with an absolutely perfect angle to give the very first impulse.
- Speaker #0
It takes off the arm first?
- Speaker #1
Voilà, it takes off the arm of the body, just for the 15 to 20 first degrees. It really acts like the start of a car.
- Speaker #0
And then it's the deltoid that takes over.
- Speaker #1
That's right. Once the arm has taken this little angle, the deltoid's traction axis becomes mechanically favorable. And the big engine lights up to lift the arm up.
- Speaker #0
It's crazy. A movement that seems to us to be a single fluid movement, in fact, it's a very precise flambeau transition between several muscles.
- Speaker #1
Choreography, I tell you.
- Speaker #0
And there's another detail that strikes me when we explore this shoulder mechanic. Some muscles, they seem to be absolutely everywhere.
- Speaker #1
Ah, you're thinking about which one?
- Speaker #0
Well, if we take the big dorsal, for example, we often hear that it's used to pull the arms back, like when we row on a boat. Yes,
- Speaker #1
the extension.
- Speaker #0
But it's also mentioned to bring the arm against the body, and even to turn the arm inwards. That's true. But how can one muscle do things that seem to be opposed to that point?
- Speaker #1
Because we absolutely have to abandon the idea that a muscle belongs to a single conceptual box.
- Speaker #0
Okay.
- Speaker #1
The big dorsal is an immense muscle. It starts from the bottom of the back, It escapes on the entire lower half of the spine. And its fibers rise and converge. to attach itself by one tendon to the front of the humerus.
- Speaker #0
It's huge, yeah.
- Speaker #1
You have to imagine it like a gigantic sailboat that would connect the entire bottom of the pelvis to the top of the arm.
- Speaker #0
A giant sail attached to a single little mast, basically.
- Speaker #1
Exactly. And because of this very particular insertion, all the way to the front of the bone, and the diagonal orientation of its fibers, the way it acts depends entirely on the initial position of the arm.
- Speaker #0
I see.
- Speaker #1
If it contracts, yes, it pulls the arm down and the back. Since he pulls from the back to the front of the shoulder, he also causes an internal rotation of the arm.
- Speaker #0
So the muscle doesn't say to itself, today I'm doing rotation.
- Speaker #1
No, he's happy to shorten his fibers, simply. It's the angle of his fibers compared to the articulation that creates this multitude of functions.
- Speaker #0
Well, and that's where it gets really interesting. Because all this muscular collaboration we're talking about, it's already super complex just to move the bone of the arm. But Lumerus is not alone. I mean, I'm literally sitting there right now, trying to lift my arm. Well up, above my head.
- Speaker #1
I'm looking at you, yeah.
- Speaker #0
And I'm trying to block my back and my shoulder against the dossier of my chair.
- Speaker #1
And the result? Well,
- Speaker #0
it's impossible. I'm stuck at half. If the shoulder doesn't move, the arm stops. Well,
- Speaker #1
it's an excellent empirical demonstration. The shoulder, or the scapula in anatomical terms, is never a simple rigid wall on which the arm would be hung.
- Speaker #0
It's the impression we have,
- Speaker #1
though. Yeah, we tend to forget it because it's in our back. We see it move in the mirror. But the movement of the humerus sole, it's not enough at all.
- Speaker #0
So the word plate must follow the movement.
- Speaker #1
It must imperatively pivot, slide and accompany the arm. That's what literature calls the scapula-humeral rhythm.
- Speaker #0
A rhythm ? Like there's a precise cadence between the two bones ?
- Speaker #1
Yeah, we can really see it as a dance, with a very strict choreography.
- Speaker #0
And what's the tempo of this dance ?
- Speaker #1
To simplify, we often use a global pedagogical ratio of 2 for 1.
- Speaker #0
2 for 1, that is ?
- Speaker #1
That means that if we raise the arm to the absolute vertical, So a 180 degree angle. This movement does not come only from the shoulder itself. About 120 degrees come from the humerus, which rotates in its cavity.
- Speaker #0
And the rest?
- Speaker #1
The remaining 60 degrees are created by the scapula, which turns upwards by sliding on the surface of the thoracic cage.
- Speaker #0
So a third of the total movement of my arm comes from my back, which is oriented differently to make room.
- Speaker #1
Exactly.
- Speaker #0
But who drives the scapula during this dance?
- Speaker #1
Mainly muscles like the anterior dentle. which tapestries the ribs on the side of the thorax and the different beams of the trapezoid muscle. They work together, a bit like two hands on a car steering wheel. I like the image. If the left hand pulls down, while the right hand pushes up, the steering wheel turns. The dentle and the trapeze create what we call a couple of forces to make the scapula pivot up.
- Speaker #0
It's super brilliant. But what happens if this dance fails?
- Speaker #1
That is to say?
- Speaker #0
If, for example, I have a bad posture, you know, the shoulders are bent. And that my scapula refuses to pivot upwards while I lift my arm in force.
- Speaker #1
So, there, if the scapula doesn't orient itself correctly, we run straight to the mechanical catastrophe. Ah yeah ? Yeah. This brings us to a crucial notion, the artrocinematic. Ah,
- Speaker #0
it's the intimate mechanics of the articular surfaces, is that it ? That's it.
- Speaker #1
And there's a vital concept to understand here, it's the space available under the coracoacromial arch.
- Speaker #0
Oula ! Wait, the arch ? Coraco-Achromial. It looks like a gothic architecture.
- Speaker #1
It's not that far, actually.
- Speaker #0
What exactly is a bone bridge?
- Speaker #1
Literally. It's a real small, hard bridge formed by bone extensions of the scapula and which goes just above the head of the humerus.
- Speaker #0
So it's like a rigid ceiling above the joint.
- Speaker #1
Exactly. And under this hard ceiling, in an extremely narrow space of just a few millimeters, we find hypersensitive structures. Like what? Well, let's say, the head of the rotators. which we talked about earlier, but also tight bags.
- Speaker #0
Tight bags. They look like little cushions.
- Speaker #1
That's exactly it. They're small pockets filled with liquid that serve as cushions to prevent the tendons from rubbing against the bone.
- Speaker #0
A kind of biological lubrication, basically.
- Speaker #1
That's it. But this space is so narrow that the slightest movement defect poses a major problem. And this is where the rule of convex over concave comes in.
- Speaker #0
Convex over concave. Explain to me how to avoid crushing everything underneath, because it looks super exiguous.
- Speaker #1
You have to visualize the geometric shapes. The head of the humerus is convex. It is pumped outwards. The cavity of the scapula is concave. It is dug inwards. So the ball is in the hollow.
- Speaker #0
That's it.
- Speaker #1
When you lift the arm, let's say on the side, the head of the humerus rolls upwards in the cavity.
- Speaker #0
That's logical. The arm goes up, so the bone rolls upwards. Yes,
- Speaker #1
but be careful. If a big ball rolls up on a flat surface, or very little dug, what does it do physically? It goes up,
- Speaker #0
it comes out of the center.
- Speaker #1
And if the head of Lumerus goes up, if only a few millimeters, it will violently hit this famous bone bridge we were talking about, the Coraco-Achromial arch. She's going to crush tendons and little cushions against the ceiling. That's what creates the famous acromion-like conflicts. Terrible pains.
- Speaker #0
Wait, I'm trying to visualize the physics of the thing. If the bone rolls up, it has to go up. How does the joint prevent that?
- Speaker #1
For the bone to stay centered despite the rolling up, it must simultaneously slide down.
- Speaker #0
A rolling up and a sliding down at the same time.
- Speaker #1
Exactly. Rolling and sliding in opposite directions.
- Speaker #0
But that sounds totally counterintuitive.
- Speaker #1
It's like moving forward and back at the same time. It's the whole genius of the system. Imagine a car wheel on a verglas plate.
- Speaker #0
Ok, the car on the verglas.
- Speaker #1
If we accelerate very hard, the wheel turns at full speed forward. It rolls. But as it slips on the ice, the car doesn't move forward.
- Speaker #0
Ah yeah, the wheel stays in place compared to the ground.
- Speaker #1
That's exactly the goal we're looking for in the pole. The head of the humerus rolls up to raise the arm. But it has to slide down. to avoid falling and hitting the ceiling.
- Speaker #0
Ah, the image of the car on the glass glass makes things super clear. The bone turns on itself, but it stays in its place.
- Speaker #1
Voilà, it stays centered.
- Speaker #0
But in the car, it's the loss of adhesion that does that. In the shoulder, who pulls the bone down while the big deltoid pulls it up? Well,
- Speaker #1
it's the big return of our heroes of the shadow.
- Speaker #0
The head of the rotators.
- Speaker #1
Absolutely. While the deltoid pulls the bone up, The head muscles generate powerful compressive and directional forces towards the bottom.
- Speaker #0
They pull the golf ball towards the bottom to counter the ascent. That's it.
- Speaker #1
They cancel the dangerous ascending force. It's really a magistral illustration of a great law of the human movement. Mobility and stability are never opposites.
- Speaker #0
They work as a team, in fact.
- Speaker #1
They work as a concert, yes. Without the incessant work of traction towards the bottom of these tiny stabilizing muscles, the brute force of the deltoid would self-destruct.
- Speaker #0
By crushing its own articulation.
- Speaker #1
Exactly.
- Speaker #0
It's fascinating. It's micromechanics of very high precision, but in a living body.
- Speaker #1
That's what's beautiful.
- Speaker #0
So, what does all this mean concretely? Because we don't spend our days thinking about our ratio of scapular rhythm or the sliding of our humerus when we put on a coat or when we do sports.
- Speaker #1
Fortunately, otherwise we wouldn't get out of it.
- Speaker #0
But how does this ultra-fine theory apply in my conscious mind in real life or in a reflected physical practice?
- Speaker #1
C'est justement là qu'est la frontière entre bouger par automatisme, en survivant vaguement au mouvement, et bouger avec une conscience biomécanique totale.
- Speaker #0
D'accord.
- Speaker #1
L'application de ces principes, c'est vraiment au cœur des disciplines comme le pilates. Et c'est ce que Caroline Berger souligne brillamment dans ses analyses.
- Speaker #0
T'as des exemples concrets ?
- Speaker #1
Oui. Si on prend des exercices classiques du répertoire pilates, comme le hundred, les cercles de bras, ou même une simple pompe, le push-up.
- Speaker #0
Les fameuses pompes.
- Speaker #1
L'erreur courante... It's to approach these exercises only under the prism of superficial effort.
- Speaker #0
The famous no pain no gain, where you tighten your teeth and you only think about burning in the pectorals.
- Speaker #1
Exactly. And it's the best way to create compensation. In an enlightened approach, the mental guideline should never be limited to what big muscles I'm contracting.
- Speaker #0
What should we think about then?
- Speaker #1
The practitioner must learn to scan the organization of his internal architecture in real time.
- Speaker #0
Scan his body?
- Speaker #1
You have to ask yourself the right questions. Where is the head of my humerus, there, now? Is it well centered in its cavity? Or do I let my shoulder roll forward under the weight?
- Speaker #0
Ah yeah, the global posture.
- Speaker #1
And how does my scapula accompany the push? And above all, does my thoracic cage remain aligned to offer a solid base? Or did I bend my back to cheat and finish my movement?
- Speaker #0
It's a complete mental reprogramming, in fact.
- Speaker #1
It's a real work of conscience, yeah.
- Speaker #0
Because it's so easy to compensate when the body is tired. The most universal sign, by the way, I think it's this famous... Oh yes. That's exactly it.
- Speaker #1
It's the sign that the precision mechanic has been abandoned.
- Speaker #0
The panic system.
- Speaker #1
The nervous system. Faced with difficulty, it chooses survival and massive recruitment.
- Speaker #0
And who takes the lead, then?
- Speaker #1
The upper trapeze. The shoulder goes up towards the ears. The rotator cuff is completely out of place. And the acromial space we were talking about...
- Speaker #0
It closes.
- Speaker #1
They close dangerously. We destroy the choreography. Which leads me to say that if we relate this to a more global vision, the great teaching of this analysis is to twist the neck to a tenacious myth of posture.
- Speaker #0
What myth?
- Speaker #1
The military trick of the torso bomb and pull the shoulders back.
- Speaker #0
Precisely that.
- Speaker #1
We often hear, whether in sports or even in the office, to keep straight, that it is always necessary to lock these shoulder blades down and back.
- Speaker #0
Isn't that what you have to do to protect your shoulders?
- Speaker #1
It's... A biomechanical heresy.
- Speaker #0
Really?
- Speaker #1
We should never try to immobilize the homoplates. The goal is not to make blocks of cement stuck on the back. On the contrary.
- Speaker #0
They have to move.
- Speaker #1
They need to be able to slide, turn, move away and get closer. But always with absolute muscle control.
- Speaker #0
Like a surfer who accompanies the wave rather than fighting it.
- Speaker #1
It's a very nice image. A really healthy and functional shoulder is not just a massive deltoid able to push 100 kilos. It's a system able to organize with elegance divergent forces.
- Speaker #0
To guarantee the integrity of an articulation which, at the base, has sacrificed everything for mobility.
- Speaker #1
Exactly.
- Speaker #0
In short, we realize that anatomy should never be approached like these frozen posters that we see in medical cabinets, you know, with static arrows that point at colored muscles.
- Speaker #1
It's so much more than that.
- Speaker #0
Anatomy is the living science of movement. It's a low-pitched conversation, renegotiated millisecond by millisecond, between a numerous wanderer, a homoplate dancing on the coasts, a clavicle that uses pivots and a central nervous system that orchestrates this whole little world.
- Speaker #1
It's nicely summarized. And memorizing who does what is really just the surface of things.
- Speaker #0
The real expertise is elsewhere.
- Speaker #1
The real expertise, the one that prevents injuries and fluidifies the body, is to be able to visualize this famous golf ball on its flat tip, subtly pulled down by the invisible bands of the rotator cuff, while the scapula pivots graciously to open the passage.
- Speaker #0
It's an incredible image, really. And knowing all this, knowing that raising an arm without destroying the shoulder depends on a microscopic balance, on a surgical precision between the brute force of the large motors and the invisible control of the small deep stabilizers.
- Speaker #1
It's fragile.
- Speaker #0
It's fascinating, even a little worrying, to observe certain drifts in modern sports culture.
- Speaker #1
I can see very well where you're coming from.
- Speaker #0
In a lot of sports rooms today, training glorifies almost exclusively the load. The goal is to develop the volume and explosive power of the large facade muscles.
- Speaker #1
The big engines.
- Speaker #0
We push the bars of the lying down developper even heavier. We lift huge alters above the head. And we can legitimately wonder if this frenetic quest for pure performance which isolates and overloads the big muscles Voilà, by superbly ignoring the meticulous work of the little remarkers doesn't it actually program our own mechanical destruction?
- Speaker #1
It's a real question.
- Speaker #0
Aren't we breaking, on a small fire, under the weight of the fountain, this arthro-cinematic harmony so fragile and so great?
- Speaker #1
It's the major risk, yes.
- Speaker #0
It's a rather dizzying reflection to keep in the corner of the head The next time a heavy weight is lifted. Or even more simply, the next time it will be about raising your arm to go grab this banal cup of coffee on the kitchen counter.
- Speaker #1
A real daily miracle.
- Speaker #0
A miracle of engineering that takes place in our own body and it definitely deserves all our respect.
