WEBVTT - Listener Mail: Centaur on Fire

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>Listener mail. My name is Robert Lamb and I'm Joe McCormick.

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<v Speaker 1>And here we are bringing you some of the messages

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<v Speaker 1>you've sent us over the past couple of weeks. Rob,

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<v Speaker 1>if you're ready, I think we can jump right in.

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<v Speaker 1>Let's see. Uh. Do you mind if I read this

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<v Speaker 1>one from Kate about our navigation episodes? Make it so

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<v Speaker 1>so in our three part are on Pacific Island navigation. Uh.

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<v Speaker 1>One thing we asked for was if any listeners had

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<v Speaker 1>experienced themselves with sailing, if they had thoughts about it. Uh.

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<v Speaker 1>And so we did hear from someone. Kate wrote in

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<v Speaker 1>to say hello, Robert, Joe, and Seth. I'm writing in

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<v Speaker 1>today in regards to the navigation episodes. I have multiple

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<v Speaker 1>reasons this episode hit home, but I will try to

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<v Speaker 1>keep it brief. First, I have the book you referenced

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<v Speaker 1>throughout the series and it is next on my reading list.

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<v Speaker 1>She's talking about We the Navigators by David Lewis um.

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<v Speaker 1>But then second, I am a licensed day skipper small

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<v Speaker 1>sailboats and also lived on a tall ship for five

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<v Speaker 1>months and crossed the Atlantic. During this crossing, the second

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<v Speaker 1>mate on board offered the opportunity to learn to navigate

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<v Speaker 1>by the stars, and no one else took advantage of it,

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<v Speaker 1>which was good in that it allowed me a solo

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<v Speaker 1>course for our twenty one day crossing, but also may

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<v Speaker 1>say something of people's disinterest in something they don't directly require.

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<v Speaker 1>The other thing I wanted to mention was that although

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<v Speaker 1>there may have been specialized navigators, there would have been

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<v Speaker 1>a massive amount of knowledge of the sea that would

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<v Speaker 1>have been as commonplace as our understanding of a stop

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<v Speaker 1>sign within today's society. The decline of this knowledge it

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<v Speaker 1>could be compared to even fifty years ago, when the

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<v Speaker 1>majority of people were able to keep a decent sense

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<v Speaker 1>of direction in the bush, or at least enough knowledge

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<v Speaker 1>to stay on a path that they wouldn't get lost on,

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<v Speaker 1>even if it wasn't a very noticeable path. Now out

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<v Speaker 1>with the urbanization of humanity, there's considerably less common knowledge

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<v Speaker 1>about bushcraft. It takes very little time for this information

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<v Speaker 1>to be lost to a culture. Anyways, I really enjoy

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<v Speaker 1>your shows, and my long drives to work are much

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<v Speaker 1>more enjoyable when I have something to occupy my mind.

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<v Speaker 1>Hope you're all well, Kate. Uh, thanks Kate, And yeah,

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<v Speaker 1>one thing you say in here that I think is

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<v Speaker 1>absolutely true and that sort of comes through in uh

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<v Speaker 1>in in Lewis's book, is that knowledge is a is

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<v Speaker 1>a fragile thing, especially if you don't have a written

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<v Speaker 1>culture like knowledge. In an oral culture, it could take

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<v Speaker 1>hundreds of years maybe to build up this this vast

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<v Speaker 1>store of wisdom and lore that's communicated from generation to generation.

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<v Speaker 1>But if you don't have like written sources of it,

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<v Speaker 1>it could easily be lost in just one generation. Yeah. Absolutely,

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<v Speaker 1>I mean, even of course in a in a written

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<v Speaker 1>culture and in modern culture, there is still the risk

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<v Speaker 1>of slipping into another dark age. And of course writers

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<v Speaker 1>have been um, I've been discussing this are pretty much

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<v Speaker 1>as as long as as we've been out of the

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<v Speaker 1>dark ages. Um, So it's always worth keeping in mind. Now,

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<v Speaker 1>I like what the what Kate shared about about knowledge

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<v Speaker 1>of of of the bush Bushcraft. This reminds me of

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<v Speaker 1>our discussions I'm getting Lost in the Woods. I can't

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<v Speaker 1>recall that those were stand different episodes or that was

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<v Speaker 1>part of our look at the leshy. Oh I think, yeah,

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<v Speaker 1>it was in the lesson and some follow up stuff

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<v Speaker 1>we did about the less Yeah, but just the idea

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<v Speaker 1>that that if you don't know anything about the woods,

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<v Speaker 1>if you're just you've just stuck to the path, you

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<v Speaker 1>might well think that you can get off the path

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<v Speaker 1>and easily return, that your sense of direction will will

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<v Speaker 1>guide you and it will be something you can trust.

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<v Speaker 1>And as we discussed in that episode, experiments have shown

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<v Speaker 1>that humans do not have that innate ability. Um, if

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<v Speaker 1>you if you don't know what you're doing, leaving the

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<v Speaker 1>path can be fatal. Yes, and of course that varies

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<v Speaker 1>a lot with like individual skill in the local terrain.

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<v Speaker 1>You know, some places are easier to get lost than others.

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<v Speaker 1>But there are these stories, uh that we did discuss

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<v Speaker 1>in the least the episode about Yeah, people go, you know,

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<v Speaker 1>they think they're just going ten or twenty feet off

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<v Speaker 1>the path to go to the bathroom and then suddenly

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<v Speaker 1>like they have no idea where they are and they

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<v Speaker 1>can't find the path again. So I'd say that, together

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<v Speaker 1>with the Pacific Navigation episodes, just should make you to

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<v Speaker 1>to keep in mind appreciate direction finding and appreciate the

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<v Speaker 1>tools and the resources you have. Appreciate the skills people

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<v Speaker 1>have in that area. It's it's very valuable, and this

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<v Speaker 1>something we often take for granted. Absolutely all right, This

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<v Speaker 1>next one comes to us from ian Ian Ritson and says,

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<v Speaker 1>Dear Rob and Joe, I am still writing in about

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<v Speaker 1>robot punishment, despite it having been a couple of weeks

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<v Speaker 1>since I listened to it. In that episode, you mentioned

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<v Speaker 1>in passing that humans often have less conscious control of

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<v Speaker 1>our actions than we like to believe. This has come

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<v Speaker 1>up in other episodes as well, specifically the one you

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<v Speaker 1>did about how our choices effect our preferences instead of

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<v Speaker 1>the other way around. I meditate daily, a practice that,

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<v Speaker 1>among other things, can be looked at as a way

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<v Speaker 1>to gain more conscious control of your actions, emotions, and

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<v Speaker 1>even your thoughts. Of course, this is easier said than done.

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<v Speaker 1>I wrote most of this email in my head this

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<v Speaker 1>morning while attempting to clear my mind of all thoughts

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<v Speaker 1>I've certainly been there. It's got me thinking about the

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<v Speaker 1>rider and the horse analogy and the criticism that this

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<v Speaker 1>view separates the mind and body in a way that

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<v Speaker 1>isn't justified. We are inherently embodied beings. You've also discussed

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<v Speaker 1>this idea, which I believe with that. I believe Rob

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<v Speaker 1>saying we are more like a centaur, which I like. However,

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<v Speaker 1>I wonder if it isn't more apt than we give

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<v Speaker 1>it credit for. The common way the analogy is explained

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<v Speaker 1>is that people think of the mind as a rider

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<v Speaker 1>in command of a horse the body, but considered that

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<v Speaker 1>in reality, a human rider isn't actually in command of

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<v Speaker 1>the horse they're riding. As much as they might like

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<v Speaker 1>to think they are sound familiar, a human is not

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<v Speaker 1>strong enough to actually make the horse do anything it

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<v Speaker 1>doesn't want to do. All the human can do is

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<v Speaker 1>create incentives and disincentives to try to encourage the horse

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<v Speaker 1>to behave in the way the human desires. But ultimately

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<v Speaker 1>it is still the horse that is deciding what it

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<v Speaker 1>will do. And this is I think this is a

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<v Speaker 1>valid point. And certainly uh in meditation and meditative practices, Uh,

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<v Speaker 1>sometimes your body is a bit barn sour, you know. Uh,

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<v Speaker 1>sometimes it's in a bit too much of a hurry

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<v Speaker 1>uh to get out of the wilds and back to uh,

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<v Speaker 1>you know, the sweet hay of the barn. Anyway, Ian continues,

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<v Speaker 1>even though our consciousness isn't in charge of our actions

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<v Speaker 1>like we think it is, and it's mostly post facto explanation.

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<v Speaker 1>Perhaps it evolved as an incentive system to train our

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<v Speaker 1>other mental processes. For instance, it may be my emotions

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<v Speaker 1>and other lower mental processes that determine whether I have

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<v Speaker 1>that second piece of cake, but maybe those are influenced

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<v Speaker 1>by my conscious thoughts, or at least the conscious thoughts

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<v Speaker 1>I've had in the past. Perhaps my doctor has told

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<v Speaker 1>me I need to cut back on sugar, but at

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<v Speaker 1>the last birthday party I decided to have a second

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<v Speaker 1>piece of cake anyway, and then, upon reflection, felt guilt

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<v Speaker 1>about having done so, which changes the emotional calculus this time.

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<v Speaker 1>As you've mentioned before, evolution is stingy and expensive. Things

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<v Speaker 1>like mental processes don't tend to stick around unless they

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<v Speaker 1>serve a purpose. Perhaps this is that purpose. So maybe

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<v Speaker 1>the horse and rider idea isn't so bad after all,

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<v Speaker 1>we're just drawing the line in the wrong place. Maybe

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<v Speaker 1>instead of the rider being the mind and the horse

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<v Speaker 1>being the body, the rider is our consciousness and the

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<v Speaker 1>horses the rest of our mental, emotional, and bodily processes.

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<v Speaker 1>The rider thinks they're in charge, but really they're just

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<v Speaker 1>one influence on the horse among many as an aside,

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<v Speaker 1>this brings up another way this analogy works well, the

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<v Speaker 1>feeling of loss of control when very upset. I'm sure

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<v Speaker 1>we all have experienced being so upset that we act

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<v Speaker 1>entirely on our emotions while simultaneously experiencing the conscious part

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<v Speaker 1>of ourselves watching our actions and thinking stop, I shouldn't

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<v Speaker 1>be doing this, but being unable to actually stop ourselves.

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<v Speaker 1>I suppose this would be akin to the horse buck

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<v Speaker 1>king and the rider not being able to do much

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<v Speaker 1>besides hold on. To go back to my original thoughts

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<v Speaker 1>about meditation, perhaps the way that helps us gain control

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<v Speaker 1>was by teaching us to be a horse whisper. We're

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<v Speaker 1>still without true control of the horse, but it helps

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<v Speaker 1>us be a heck of a lot better at motivating

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<v Speaker 1>it to do what we want. Ian Ian, I think

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<v Speaker 1>this is a fantastic analogy. I mean, and I think

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<v Speaker 1>there are, uh, there are truths to both methods here.

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<v Speaker 1>I mean, rob in your analogy of the centaur, you're

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<v Speaker 1>emphasizing that you can't make a clear distinction between the

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<v Speaker 1>brain and the body. The body influences the brain, of course,

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<v Speaker 1>the brain influences the body, but it goes the other

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<v Speaker 1>way too. You know, they're they're inherently connected, and trying

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<v Speaker 1>to think about them as like two separate things, uh

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<v Speaker 1>leads to some confusion. But I think Ian also has

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<v Speaker 1>a very good point here. Yeah, yeah, I I love

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<v Speaker 1>all of this, but also I can't help may be

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<v Speaker 1>reminded of the most recent episode of Weird House Cinema

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<v Speaker 1>where we discussed Spontaneous Combustion starring Brad Dorrif because that

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<v Speaker 1>is a that is, as we discussed, it's a film

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<v Speaker 1>about an individual who has trouble controlling his emotions, and

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<v Speaker 1>when his emotions are out of control, um, fire erupts

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<v Speaker 1>from his body, from the world around him, from bits

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<v Speaker 1>of technology, etcetera. And and he had he seems to

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<v Speaker 1>have very little, if if if any control over these

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<v Speaker 1>these flames, and the flames are indiscriminate and who and

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<v Speaker 1>what they burn. Uh So I feel like that is

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<v Speaker 1>kind of a proper analogy for for some of this

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<v Speaker 1>as well. You know, this idea of loss of control. Stop,

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<v Speaker 1>I shouldn't be doing this because once the fire is out,

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<v Speaker 1>the fire does what fire does? It burns and um,

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<v Speaker 1>and what can you do but watch very apt all

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<v Speaker 1>John Landises take note. Um, But I would also say that, um,

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<v Speaker 1>I can see some merit to Ian's other points. So

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<v Speaker 1>Ian is uh I think sort of making a case

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<v Speaker 1>against epiphenomenalism. You know, So epiphenomenalism is one take on

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<v Speaker 1>the mind by the problem that would tend to say

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<v Speaker 1>that actually consciousness does nothing. I mean, consciousness exists and

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<v Speaker 1>it is. It is the part of your brain that

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<v Speaker 1>can reflect upon itself. But your brain could do everything

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<v Speaker 1>it does without being conscious. Consciousness is just some sort

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<v Speaker 1>of strange byproduct maybe that we don't understand, but it

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<v Speaker 1>doesn't actually have power over anything, and epiphenomenalism would be

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<v Speaker 1>something that's difficult to demonstrate. But but here I think

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<v Speaker 1>Ian is sort of equating consciousness with having some kind

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<v Speaker 1>of reinforcing power on the metacognition of the brain in

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<v Speaker 1>order to influence future the future behavior of the brain,

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<v Speaker 1>saying that the consciousness actually does play this role in metacognition,

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<v Speaker 1>that that helps us better rain in our own mental processes.

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<v Speaker 1>And I guess that's possible, but it's hard to know.

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<v Speaker 1>I can't recall who's written like this before, but I

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<v Speaker 1>know I have encountered this idea that in some ways

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<v Speaker 1>basically sees uh consciousness as necessary to or coextensive with metacognition,

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<v Speaker 1>so it remains an open question. Is the human mental condition?

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<v Speaker 1>Is it a is it a centaur? Is it a

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<v Speaker 1>rider on a horse? Is it a character actor on fire?

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<v Speaker 1>Is it a satyr? I don't know. You can go

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<v Speaker 1>in various directions, all right, Oh, and so also apologies

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<v Speaker 1>to and I had to make some abridgements to the

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<v Speaker 1>previous email for length. Apologies to the next writer because Sean.

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<v Speaker 1>I also had to make some abridgements to this email

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<v Speaker 1>as well. I'm sure you'll understand. But Sean writes to

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<v Speaker 1>us about sorry. I was just thinking, we've we've we

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<v Speaker 1>telled everybody not to not to say they sorry for

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<v Speaker 1>writing a long email, but now we're apologizing for a

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<v Speaker 1>carving uploo emails. Well, okay, No, So I don't usually

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<v Speaker 1>mention if I just cut out like a line here

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<v Speaker 1>or there at the beginning or end, that's just sort

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<v Speaker 1>of introductory material or whatever. But if I have to,

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<v Speaker 1>if I have to chop out like huge paragraphs or something,

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<v Speaker 1>I might note it just just so the writer doesn't

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<v Speaker 1>believe I missed it by accident. But maybe me saying

0:12:05.720 --> 0:12:07.199
<v Speaker 1>this now means I won't have to say it in

0:12:07.240 --> 0:12:09.600
<v Speaker 1>the future. Yeah. Sometimes, folks, I'm just gonna have to

0:12:09.760 --> 0:12:13.600
<v Speaker 1>edit emails down a bit anyway. Uh, thank you very much, Ian,

0:12:13.679 --> 0:12:16.160
<v Speaker 1>And then Sean gets in touch with us about finger

0:12:16.240 --> 0:12:20.160
<v Speaker 1>counting and free San. Sean says, Hi, Joe, Robert, and Seth.

0:12:20.800 --> 0:12:22.840
<v Speaker 1>Someone might have written in to tell you this already,

0:12:22.880 --> 0:12:25.960
<v Speaker 1>but I have a method of counting to thirty three.

0:12:26.000 --> 0:12:29.240
<v Speaker 1>On one hand, I first learned this method from my

0:12:29.360 --> 0:12:31.600
<v Speaker 1>late father in law, who was teaching me how to

0:12:31.720 --> 0:12:35.160
<v Speaker 1>make thicker. Um. Well, okay, so the word here is

0:12:35.160 --> 0:12:37.880
<v Speaker 1>spelled d h i k r or d h i

0:12:38.000 --> 0:12:42.199
<v Speaker 1>k i r. I've heard it pronounced thicker before, um,

0:12:42.240 --> 0:12:45.680
<v Speaker 1>but Sean gives a pronunciation guide in which he says

0:12:45.720 --> 0:12:48.360
<v Speaker 1>to pronounce it thick keer, which might be like a

0:12:48.440 --> 0:12:51.480
<v Speaker 1>regional language variation. I'm not sure. But but since, uh,

0:12:51.800 --> 0:12:54.120
<v Speaker 1>since Sean gives that, I'm going to say the keyer

0:12:54.200 --> 0:12:57.240
<v Speaker 1>instead of thicker for the rest of the email. So

0:12:57.480 --> 0:13:00.360
<v Speaker 1>uh in thick ear here, which is in his Lamic

0:13:00.400 --> 0:13:03.520
<v Speaker 1>practice of praying, Sean says, the first time he showed

0:13:03.520 --> 0:13:05.760
<v Speaker 1>me how to count this way. On one hand, I

0:13:05.880 --> 0:13:08.440
<v Speaker 1>nodded along, but really it took a long time before

0:13:08.480 --> 0:13:12.199
<v Speaker 1>I understood. I'll try to describe the method. Imagine each

0:13:12.280 --> 0:13:16.959
<v Speaker 1>finger split into four sections. The fingertip, then each crease

0:13:17.120 --> 0:13:20.520
<v Speaker 1>where there is a joint. By placing your thumb before

0:13:20.679 --> 0:13:23.600
<v Speaker 1>the first joint crease of a finger, you can count

0:13:23.640 --> 0:13:28.080
<v Speaker 1>to one, then after that same crease makes two. Continue

0:13:28.160 --> 0:13:31.240
<v Speaker 1>up the finger, counting up one both before and after

0:13:31.360 --> 0:13:35.319
<v Speaker 1>each crease, finally counting one when you reach the fingertip.

0:13:35.679 --> 0:13:38.600
<v Speaker 1>This makes a total of account of seven for each finger.

0:13:38.960 --> 0:13:41.120
<v Speaker 1>You can do the same with the index finger on

0:13:41.240 --> 0:13:44.160
<v Speaker 1>the thumb, counting to a total of five. As there

0:13:44.160 --> 0:13:47.280
<v Speaker 1>are only two joint creases in the thumb, four times

0:13:47.320 --> 0:13:50.000
<v Speaker 1>seven plus five makes a total of thirty three for

0:13:50.080 --> 0:13:54.400
<v Speaker 1>one hand. This is useful for the gear as each

0:13:54.480 --> 0:13:58.160
<v Speaker 1>mantra should be said thirty three times. However, I can't

0:13:58.160 --> 0:14:00.840
<v Speaker 1>imagine many other situations and what you need to count

0:14:00.840 --> 0:14:03.440
<v Speaker 1>to a base thirty three. I'm sure if one has

0:14:03.480 --> 0:14:05.640
<v Speaker 1>been learning to count this way since childhood it would

0:14:05.679 --> 0:14:08.319
<v Speaker 1>be easier to remember. But after learning this method as

0:14:08.320 --> 0:14:11.040
<v Speaker 1>a second language, I doubt I'll ever be able to

0:14:11.080 --> 0:14:14.800
<v Speaker 1>master it for day to day needs. Technically, with mastery

0:14:14.840 --> 0:14:17.720
<v Speaker 1>of this counting method, you could count these single digits

0:14:17.760 --> 0:14:20.600
<v Speaker 1>on one hand up to thirty three, then count orders

0:14:20.640 --> 0:14:23.640
<v Speaker 1>of magnitude on the other hand, again up to thirty three.

0:14:23.960 --> 0:14:27.000
<v Speaker 1>So theoretically one could count up to one thousand, eighty

0:14:27.080 --> 0:14:32.640
<v Speaker 1>nine or thirty three times thirty three with just two hands. Absolutely,

0:14:32.680 --> 0:14:35.680
<v Speaker 1>I've never heard about this before, But then Sean goes on.

0:14:36.160 --> 0:14:39.480
<v Speaker 1>Sean says, changing topic. I wanted to offer my experience

0:14:39.480 --> 0:14:42.560
<v Speaker 1>of Freesan. I noticed while listening to an episode of

0:14:42.600 --> 0:14:45.280
<v Speaker 1>Listener Mail that you were talking about the backing vocals

0:14:45.320 --> 0:14:49.000
<v Speaker 1>of Gimme Shelter, and I experienced a wave of goose bumps.

0:14:49.040 --> 0:14:52.240
<v Speaker 1>I first heard these particular vocals in the original Freesan

0:14:52.360 --> 0:14:55.440
<v Speaker 1>episode and they triggered Freesan in me, but it was

0:14:55.520 --> 0:14:59.480
<v Speaker 1>unexpected that a mere description of the vocals would trigger

0:14:59.520 --> 0:15:03.040
<v Speaker 1>it too. I often experienced musical free song, as well

0:15:03.080 --> 0:15:06.720
<v Speaker 1>as a similar sensation in emotional movies or podcasts, and

0:15:06.760 --> 0:15:09.840
<v Speaker 1>sometimes while just thinking about an emotional story or movie

0:15:09.880 --> 0:15:12.800
<v Speaker 1>scene all the best Sean. Now, that does make me

0:15:12.840 --> 0:15:18.600
<v Speaker 1>wonder when Sean is is thinking about these particular musical bits,

0:15:19.560 --> 0:15:23.000
<v Speaker 1>are they playing out in their head? You know? Because

0:15:23.240 --> 0:15:24.920
<v Speaker 1>I find that like that's the case for me, like

0:15:24.960 --> 0:15:29.120
<v Speaker 1>if if someone was to mention say, um, like the

0:15:29.120 --> 0:15:32.080
<v Speaker 1>the very opening of Radioheads everything in its right place

0:15:32.400 --> 0:15:35.520
<v Speaker 1>or um, you know, or to or to say, hey,

0:15:35.520 --> 0:15:39.840
<v Speaker 1>how about that really that really uh dramatic part of

0:15:39.960 --> 0:15:43.200
<v Speaker 1>Carmina barana um which I know which which dramatic part,

0:15:43.280 --> 0:15:46.200
<v Speaker 1>but um, but like if if there's enough of a

0:15:46.960 --> 0:15:49.600
<v Speaker 1>of a hook there, then I will I do replay

0:15:49.640 --> 0:15:52.360
<v Speaker 1>it in my mind and then I can certainly feel

0:15:52.360 --> 0:15:55.320
<v Speaker 1>a certain amount of chills, you know, I can experience

0:15:55.320 --> 0:15:58.680
<v Speaker 1>goose bumps if it is the right song. Yeah, parts

0:15:58.680 --> 0:16:01.160
<v Speaker 1>of le miss for me, I will do that. Yeah,

0:16:01.520 --> 0:16:04.680
<v Speaker 1>I'm not sorry, no, no, lately, this is a good music.

0:16:04.840 --> 0:16:06.200
<v Speaker 1>I got to see it once. It had the big

0:16:06.400 --> 0:16:13.080
<v Speaker 1>the big wheel stage. Yeah yeah, yeah, yeah, you know

0:16:13.160 --> 0:16:17.920
<v Speaker 1>that actually powers the the whole the whole theater. It's

0:16:17.960 --> 0:16:20.520
<v Speaker 1>just the pure acting energy of the of the of

0:16:20.560 --> 0:16:22.960
<v Speaker 1>the cast and crew. They've got a little gavroche on

0:16:23.040 --> 0:16:34.600
<v Speaker 1>a hamster wheel. Yeah all right. Here's one from Taylor

0:16:35.200 --> 0:16:37.040
<v Speaker 1>and this has to comes to the response to our

0:16:37.040 --> 0:16:40.640
<v Speaker 1>episode on Queuing Robert and Joe. Great episode on waiting.

0:16:40.800 --> 0:16:44.120
<v Speaker 1>It finally prompted me to write. After years listing uh

0:16:44.320 --> 0:16:48.800
<v Speaker 1>consistently since the how stuff works days. In the Waiting episodes,

0:16:48.880 --> 0:16:51.000
<v Speaker 1>I'd be curious to hear more of our tendency to

0:16:51.040 --> 0:16:54.240
<v Speaker 1>wait or follow orderly lines when there is no line

0:16:54.320 --> 0:16:56.880
<v Speaker 1>or correct order. For example, in New York City, when

0:16:56.880 --> 0:16:59.320
<v Speaker 1>hailing a cab, there's always the situation where a cab

0:16:59.400 --> 0:17:01.760
<v Speaker 1>can pull over, but it takes time for it to stop,

0:17:01.800 --> 0:17:04.680
<v Speaker 1>so he overshoots you by a few feet. Innately, people

0:17:04.800 --> 0:17:07.080
<v Speaker 1>understand that the cab pulled over for me from the

0:17:07.160 --> 0:17:10.000
<v Speaker 1>line of I was earlier in the streets, so he

0:17:10.040 --> 0:17:12.960
<v Speaker 1>saw me, even if they may be closer to where

0:17:12.960 --> 0:17:15.560
<v Speaker 1>he finally stopped. So we make a line of where

0:17:15.600 --> 0:17:17.800
<v Speaker 1>you are in the street, even though there isn't an

0:17:17.840 --> 0:17:22.000
<v Speaker 1>actual line. I think I understand that you should prove

0:17:22.119 --> 0:17:25.880
<v Speaker 1>this nuance. How we innately create unwritten laws by labeling

0:17:25.920 --> 0:17:29.640
<v Speaker 1>the show the Waiting Part four, only to a week

0:17:29.760 --> 0:17:33.280
<v Speaker 1>later have a the Waiting Part three for thirty seconds

0:17:33.320 --> 0:17:36.680
<v Speaker 1>when you point out many people probably waited patiently for

0:17:36.720 --> 0:17:38.880
<v Speaker 1>a part three before listening to part four, because that's

0:17:38.920 --> 0:17:43.200
<v Speaker 1>what people do. Great show, Taylor, I love these this

0:17:43.320 --> 0:17:46.359
<v Speaker 1>guidance on how to screw with listeners heads. Yeah, I

0:17:47.000 --> 0:17:48.640
<v Speaker 1>would do. I feel like we're doing enough of that,

0:17:48.800 --> 0:17:52.919
<v Speaker 1>um um without trying to So I don't know if

0:17:52.920 --> 0:17:56.679
<v Speaker 1>we need to to orchestrate anything to sinister here the Taylor.

0:17:56.720 --> 0:17:59.280
<v Speaker 1>I do think that's interesting about the understanding of the

0:17:59.440 --> 0:18:02.200
<v Speaker 1>unspoken queuing rules for for cabs on the New York

0:18:02.200 --> 0:18:06.520
<v Speaker 1>City streets, especially since there is this there's this uh

0:18:06.800 --> 0:18:10.520
<v Speaker 1>cultural meme or reputation for like people in New York

0:18:10.600 --> 0:18:13.240
<v Speaker 1>being like rude and pushy and selfish and just trying

0:18:13.280 --> 0:18:16.120
<v Speaker 1>to get ahead of everything. Um. I mean, for one thing,

0:18:16.160 --> 0:18:19.000
<v Speaker 1>we saw plenty of opposition to that in those Stanley

0:18:19.000 --> 0:18:21.760
<v Speaker 1>Milgram experiments which were carried out in New York City

0:18:22.320 --> 0:18:24.560
<v Speaker 1>or at least around the New York City area. But

0:18:24.560 --> 0:18:27.520
<v Speaker 1>but also I think that's, you know, to whatever extent

0:18:27.680 --> 0:18:30.680
<v Speaker 1>that's true, it clearly doesn't extend to people not obeying

0:18:30.760 --> 0:18:33.520
<v Speaker 1>lines like you know, lines dominate even when everybody's really

0:18:33.560 --> 0:18:36.040
<v Speaker 1>got to get a cab. Yeah, I mean, if things

0:18:36.040 --> 0:18:37.480
<v Speaker 1>get too out of hand out, what we're gonna have

0:18:37.520 --> 0:18:39.600
<v Speaker 1>to do is just make everybody roll for initiative. That's

0:18:39.600 --> 0:18:41.480
<v Speaker 1>just the only way to handle it. Let's get those

0:18:41.480 --> 0:18:45.560
<v Speaker 1>dexterity uh rolls out here. Let's let's see what we

0:18:45.560 --> 0:18:48.679
<v Speaker 1>get on a d twenty and we will rank everybody accordingly,

0:18:48.760 --> 0:18:56.399
<v Speaker 1>and you will know exactly what order you go in. Alright.

0:18:56.440 --> 0:18:59.879
<v Speaker 1>This next listener wanted to remain anonymous, but they write

0:19:00.040 --> 0:19:02.800
<v Speaker 1>in concerning queuing at a place where where I have

0:19:02.920 --> 0:19:06.120
<v Speaker 1>experienced some of the most nerve racking lines and wait

0:19:06.200 --> 0:19:10.200
<v Speaker 1>times ever, which is at border crossing checkpoints. You ever

0:19:10.240 --> 0:19:13.159
<v Speaker 1>have this experience, rob Um, Yeah, I mean going through

0:19:13.200 --> 0:19:16.280
<v Speaker 1>customs at the airport. That's that kind of thing. Yeah. So,

0:19:16.359 --> 0:19:20.280
<v Speaker 1>this anonymous listener says, I currently live in Chula Vista, California,

0:19:20.400 --> 0:19:24.440
<v Speaker 1>and I crossed almost religiously to Tijuana for family and business.

0:19:24.920 --> 0:19:27.439
<v Speaker 1>One of the biggest fight starters that always happens at

0:19:27.440 --> 0:19:29.760
<v Speaker 1>the border are those who cut in line via car

0:19:29.920 --> 0:19:33.600
<v Speaker 1>or foot. Fights and arrests happen weekly, especially people who

0:19:33.600 --> 0:19:38.280
<v Speaker 1>cross without appropriate documentations such as spring breakers or weekend drunks.

0:19:38.760 --> 0:19:41.520
<v Speaker 1>There are people who cross daily because of work or school,

0:19:41.600 --> 0:19:44.399
<v Speaker 1>and there's always people who don't respect the line, And

0:19:44.440 --> 0:19:47.000
<v Speaker 1>when you least expected, a fight breaks out and the

0:19:47.040 --> 0:19:49.200
<v Speaker 1>cops show up, and then the border has to close

0:19:49.200 --> 0:19:52.159
<v Speaker 1>for a while until everything is calmed down. People are

0:19:52.200 --> 0:19:55.000
<v Speaker 1>always in a rush. There aren't enough CBP officers and

0:19:55.080 --> 0:19:57.760
<v Speaker 1>the lines have taken from two minutes to four hours

0:19:57.760 --> 0:20:01.600
<v Speaker 1>on foot and ten minutes to ten wors via car. Uh.

0:20:01.640 --> 0:20:05.200
<v Speaker 1>This is through my own experience crossing through the port

0:20:05.240 --> 0:20:07.760
<v Speaker 1>at Santa Cedro. Thanks for taking the time to read

0:20:07.760 --> 0:20:10.720
<v Speaker 1>my email. Uh and man this one well, thank you

0:20:10.760 --> 0:20:12.520
<v Speaker 1>for getting in touch. But also this one makes me

0:20:12.560 --> 0:20:15.560
<v Speaker 1>think about some of the downsides of the single file

0:20:15.680 --> 0:20:19.879
<v Speaker 1>queuing for access to things where they're like wildly different

0:20:20.000 --> 0:20:23.080
<v Speaker 1>stakes for different cures. So you have somebody like the

0:20:23.320 --> 0:20:25.920
<v Speaker 1>person writing in or here, who probably has to cross

0:20:26.000 --> 0:20:29.720
<v Speaker 1>the border frequently, maybe every day for work and family

0:20:29.880 --> 0:20:31.960
<v Speaker 1>and stuff like that, and then at the same time,

0:20:32.040 --> 0:20:35.800
<v Speaker 1>like the same cues are being shared by like drunk

0:20:35.840 --> 0:20:38.600
<v Speaker 1>tourists who are just partying. I can't believe it didn't

0:20:38.600 --> 0:20:40.560
<v Speaker 1>bring us up. But this reminds me of a form

0:20:40.600 --> 0:20:43.760
<v Speaker 1>of queuing that I have really appreciated in the I

0:20:43.800 --> 0:20:47.479
<v Speaker 1>guess few establishments that I found it integrated. And that

0:20:47.680 --> 0:20:50.159
<v Speaker 1>is the idea of having two lines that I know

0:20:50.160 --> 0:20:52.800
<v Speaker 1>what I want line and the I need some helpline

0:20:53.320 --> 0:20:56.480
<v Speaker 1>um that's smart, that can that can really strange and

0:20:56.520 --> 0:20:58.600
<v Speaker 1>move things along. You know, if you know exactly what

0:20:58.600 --> 0:21:02.120
<v Speaker 1>you're getting, let's going back to our bagel sandwich analogy.

0:21:02.200 --> 0:21:04.119
<v Speaker 1>If you just know you're getting the number three, no

0:21:04.320 --> 0:21:07.199
<v Speaker 1>changes whatever, then then yeah, let's have a line for

0:21:07.200 --> 0:21:10.320
<v Speaker 1>those people. But if you need to enquire about about

0:21:10.440 --> 0:21:14.119
<v Speaker 1>changes to the menu, about about the ingredients, if you

0:21:14.119 --> 0:21:16.840
<v Speaker 1>need some guidance on which bagel sandwich to order, then yes,

0:21:16.960 --> 0:21:18.280
<v Speaker 1>let's have a separate line for that, and we can

0:21:18.280 --> 0:21:23.720
<v Speaker 1>have a specialized teller that deals with with those clientele. Yeah.

0:21:23.760 --> 0:21:26.159
<v Speaker 1>I mean it may be the case that some border

0:21:26.200 --> 0:21:28.760
<v Speaker 1>border checkpoints have something like this. I don't know, but

0:21:28.800 --> 0:21:30.920
<v Speaker 1>I mean, if they don't, you should find a way

0:21:30.960 --> 0:21:33.920
<v Speaker 1>to organize things into, you know, one line for people

0:21:33.960 --> 0:21:36.480
<v Speaker 1>who have business and family obligations, and then the other

0:21:36.520 --> 0:21:38.639
<v Speaker 1>all the spring breakers and stuff. Could they get their

0:21:38.640 --> 0:21:40.600
<v Speaker 1>own line? Yeah, but I guess that one of the

0:21:40.680 --> 0:21:42.399
<v Speaker 1>challenges is just how do you any time you get

0:21:42.400 --> 0:21:43.600
<v Speaker 1>into a system like that, how do you do it

0:21:43.640 --> 0:21:52.199
<v Speaker 1>in a in a way that's that's fair for everybody? Right? Yeah,

0:21:52.400 --> 0:21:54.679
<v Speaker 1>all right, here's another one. Some comes to us from Chris,

0:21:54.760 --> 0:22:00.199
<v Speaker 1>Dear Robert and Mr Joe listening. Okay, it's the one

0:22:00.280 --> 0:22:03.320
<v Speaker 1>might might be maybe this is, uh Mr Joe, the

0:22:03.359 --> 0:22:05.560
<v Speaker 1>only person I think I've introduced you to as Mr

0:22:05.640 --> 0:22:08.360
<v Speaker 1>Joe as my son um. But it's okay. I guess

0:22:08.359 --> 0:22:11.760
<v Speaker 1>if the people call you Mr Joe listener from the

0:22:11.800 --> 0:22:15.359
<v Speaker 1>Science Lab days thanks for years of podcast stuff in

0:22:15.440 --> 0:22:17.920
<v Speaker 1>the Science Lab was, of course, the original name of

0:22:17.960 --> 0:22:20.679
<v Speaker 1>this podcast way back in the day when I co

0:22:20.800 --> 0:22:25.040
<v Speaker 1>hosted with Alice and Loudermilk. Anyway, Chris continues queueing. I

0:22:25.080 --> 0:22:27.520
<v Speaker 1>had an experience with queuing yesterday that I had that

0:22:27.600 --> 0:22:29.639
<v Speaker 1>I thought i'd write in with. I was at the

0:22:29.680 --> 0:22:31.840
<v Speaker 1>county Clerk's office to get a title from my car.

0:22:31.960 --> 0:22:34.560
<v Speaker 1>The queuing system was a paper system. You would get

0:22:34.600 --> 0:22:37.400
<v Speaker 1>a number and have a waiting area. The wait was long,

0:22:37.440 --> 0:22:39.040
<v Speaker 1>an hour and a half, and during that time I

0:22:39.080 --> 0:22:41.159
<v Speaker 1>saw a couple of things you may be interested in.

0:22:41.720 --> 0:22:44.440
<v Speaker 1>First Off, several people left after waiting for a while.

0:22:44.600 --> 0:22:47.520
<v Speaker 1>This meant their number was getting unused. What is the

0:22:47.560 --> 0:22:50.920
<v Speaker 1>morality of taking their number? I didn't get the chance,

0:22:50.960 --> 0:22:53.560
<v Speaker 1>as they threw it out while leaving. But would it

0:22:53.600 --> 0:22:56.000
<v Speaker 1>be cutting in line? I don't think anyone would have noticed.

0:22:56.320 --> 0:22:59.280
<v Speaker 1>They were too busy looking at their phones. What would

0:22:59.320 --> 0:23:02.919
<v Speaker 1>that change the morality of it? Second, in a system

0:23:02.960 --> 0:23:05.359
<v Speaker 1>where it is easy to understand once you understand what

0:23:05.440 --> 0:23:08.280
<v Speaker 1>the system is. What is your responsibility as a line

0:23:08.280 --> 0:23:11.440
<v Speaker 1>waiter to communicate with others who are trying to understand

0:23:11.480 --> 0:23:14.320
<v Speaker 1>the system. In a normal queue, people point out the

0:23:14.400 --> 0:23:16.879
<v Speaker 1>line and the end of the line for the person,

0:23:17.240 --> 0:23:19.399
<v Speaker 1>I think, to make sure the system is orderly for

0:23:19.440 --> 0:23:23.560
<v Speaker 1>their own convenience. In this case, someone stood waiting where

0:23:23.680 --> 0:23:26.080
<v Speaker 1>you would get called up as if there were a

0:23:26.119 --> 0:23:29.680
<v Speaker 1>regular queue. Do you tell them or let them learn

0:23:29.760 --> 0:23:33.320
<v Speaker 1>to pay attention, perhaps allowing a person or two to

0:23:33.359 --> 0:23:35.439
<v Speaker 1>grab a number in front of them as a lesson.

0:23:36.000 --> 0:23:39.520
<v Speaker 1>It felt like it was an an easy system. I

0:23:39.560 --> 0:23:42.320
<v Speaker 1>had seen many people figure it out before her. Or

0:23:42.359 --> 0:23:44.679
<v Speaker 1>am I just being rude because I don't like to

0:23:44.720 --> 0:23:48.720
<v Speaker 1>talk to people anyhow? Great podcast. Thanks Chris Well on

0:23:48.760 --> 0:23:51.639
<v Speaker 1>the first question, I think yes, taking the number of

0:23:51.720 --> 0:23:54.879
<v Speaker 1>someone who has there's actually a technical term for this

0:23:55.000 --> 0:23:58.920
<v Speaker 1>in the queuing literature. It's known as bulking. People who

0:23:58.960 --> 0:24:01.880
<v Speaker 1>who look day line or look at a queuing system

0:24:01.960 --> 0:24:04.879
<v Speaker 1>and then just say like, Okay, the service or product

0:24:04.960 --> 0:24:07.399
<v Speaker 1>I want is not worth whatever this waiting or queuing

0:24:07.400 --> 0:24:11.040
<v Speaker 1>situation is and they just leave. That's called balking. So

0:24:11.320 --> 0:24:14.080
<v Speaker 1>somebody boks they've already got a number they you know,

0:24:14.240 --> 0:24:16.480
<v Speaker 1>they do a late balk and then they leave. If

0:24:16.480 --> 0:24:18.919
<v Speaker 1>you take your their number, yes, you are violating the

0:24:18.960 --> 0:24:21.040
<v Speaker 1>first in, first out principle there, So I would say

0:24:21.080 --> 0:24:23.879
<v Speaker 1>that is cutting. I would say the only real variation

0:24:23.920 --> 0:24:27.840
<v Speaker 1>on that is if somehow an abandoned number took as

0:24:27.920 --> 0:24:32.240
<v Speaker 1>much time as a as like an actual customer. But

0:24:32.359 --> 0:24:34.560
<v Speaker 1>usually an abandoned number just means like they call it out,

0:24:34.600 --> 0:24:37.120
<v Speaker 1>nobody comes and they go to the next one. Right, Yeah,

0:24:37.240 --> 0:24:38.960
<v Speaker 1>I don't I don't know how. I never really thought

0:24:39.000 --> 0:24:41.600
<v Speaker 1>about this before because yet, generally, I don't think I've

0:24:41.640 --> 0:24:44.480
<v Speaker 1>ever seen anyone say, hey, I'm leaving, I'm I'm out

0:24:44.480 --> 0:24:48.040
<v Speaker 1>of here. Who wants my number? It's generally just discarded

0:24:48.160 --> 0:24:50.320
<v Speaker 1>or maybe they might sort of casually lead it out.

0:24:50.359 --> 0:24:54.000
<v Speaker 1>I don't know, but um, yeah, I guess I could

0:24:54.000 --> 0:24:57.159
<v Speaker 1>see a case going either way. Kind of a gray area. Now, now,

0:24:57.240 --> 0:25:00.520
<v Speaker 1>this idea of balking, it's interesting because I I heard, uh,

0:25:00.680 --> 0:25:05.359
<v Speaker 1>I think an NPR story recently about balking in terms

0:25:05.440 --> 0:25:09.760
<v Speaker 1>of reservations for restaurants, UH, which especially during you know

0:25:10.000 --> 0:25:12.840
<v Speaker 1>this time when restaurants are are opening up often from

0:25:12.960 --> 0:25:18.760
<v Speaker 1>very um slim down models of operation, and you have

0:25:18.840 --> 0:25:21.240
<v Speaker 1>people do something that can make a lot of sense

0:25:21.240 --> 0:25:23.399
<v Speaker 1>on the consumer end. You you're not sure if you're

0:25:23.400 --> 0:25:24.960
<v Speaker 1>gonna eat at this restaurant or not. You're gonna go

0:25:24.960 --> 0:25:27.399
<v Speaker 1>ahead and get a reservation. Maybe you'll go ahead and

0:25:27.440 --> 0:25:30.240
<v Speaker 1>get two reservations for restaurants that are close to each

0:25:30.240 --> 0:25:32.240
<v Speaker 1>other and see how you feel when you get closer

0:25:32.280 --> 0:25:35.159
<v Speaker 1>to the time. And of course that may give you

0:25:35.200 --> 0:25:37.440
<v Speaker 1>a lot of options, but it takes options away from

0:25:37.760 --> 0:25:40.840
<v Speaker 1>the restaurant that's trying to to to you know, to

0:25:40.840 --> 0:25:43.760
<v Speaker 1>to run a business. And so they're talking about how

0:25:43.880 --> 0:25:47.320
<v Speaker 1>some places are turning this model of of of requiring

0:25:47.359 --> 0:25:49.280
<v Speaker 1>you in order to make a reservation you have to

0:25:49.440 --> 0:25:52.520
<v Speaker 1>pay a small fee um, which which I have I

0:25:52.600 --> 0:25:54.800
<v Speaker 1>have done. I was kind of surprised when that came up.

0:25:54.840 --> 0:25:57.639
<v Speaker 1>I was like, oh wow, this this place thinks they're fancy,

0:25:57.720 --> 0:26:01.159
<v Speaker 1>but they weren't that fancy. And after I heard the

0:26:01.240 --> 0:26:03.480
<v Speaker 1>radio story, it made a lot more sense. It's like, yeah, yeah,

0:26:03.520 --> 0:26:06.879
<v Speaker 1>you want you want people to have um an investment

0:26:06.960 --> 0:26:09.960
<v Speaker 1>in actually following up on that reservation. As somebody who

0:26:09.960 --> 0:26:12.879
<v Speaker 1>has worked in restaurants, people don't do this. This is

0:26:12.960 --> 0:26:15.679
<v Speaker 1>so annoying to the to the staff that works at

0:26:15.680 --> 0:26:18.240
<v Speaker 1>the restaurant. It can mean lost business of course, but

0:26:18.280 --> 0:26:21.199
<v Speaker 1>it also is just like a huge pain in the

0:26:21.280 --> 0:26:24.240
<v Speaker 1>neck for like the host or whoever's managing the seating.

0:26:24.320 --> 0:26:27.600
<v Speaker 1>And a lot of restaurants they have like, uh cycles

0:26:27.840 --> 0:26:31.080
<v Speaker 1>of they go through cycles of giving the tables to

0:26:31.200 --> 0:26:34.200
<v Speaker 1>the different servers. So like you might have a server

0:26:34.240 --> 0:26:36.920
<v Speaker 1>who's getting skipped in one cycle of seating because they

0:26:36.920 --> 0:26:39.719
<v Speaker 1>know they've got a big party coming next with a reservation.

0:26:39.800 --> 0:26:41.600
<v Speaker 1>But then if that party doesn't show up, they're just

0:26:41.680 --> 0:26:44.280
<v Speaker 1>out that table and out the tip. It just it

0:26:44.359 --> 0:26:48.800
<v Speaker 1>screws things up for everybody. It's extremely rude. Don't do that. Yeah, sorry,

0:26:48.800 --> 0:26:51.080
<v Speaker 1>I didn't mean to get a two finger wagg either,

0:26:51.280 --> 0:26:53.440
<v Speaker 1>but no, no, I know it from the other end,

0:26:53.920 --> 0:26:57.560
<v Speaker 1>Yeah yeah, I mean and from the consumer and like it.

0:26:57.720 --> 0:26:59.440
<v Speaker 1>You know, it sucks to try and get a reservation

0:26:59.480 --> 0:27:01.280
<v Speaker 1>somewhere you can or you show up at a place

0:27:01.320 --> 0:27:05.680
<v Speaker 1>and you can't get a table. Uh, So help reduce

0:27:05.760 --> 0:27:09.639
<v Speaker 1>the number of like of ghosts that have reservations, you know,

0:27:09.720 --> 0:27:16.919
<v Speaker 1>people that are never going to show up. Okay, one

0:27:17.000 --> 0:27:19.159
<v Speaker 1>last message here. This is in response I think to

0:27:19.320 --> 0:27:22.640
<v Speaker 1>a previous Listener mail episode and generally too Weird House Cinema.

0:27:22.960 --> 0:27:25.800
<v Speaker 1>This is from Megan. Megan says, hello, I've been an

0:27:25.800 --> 0:27:28.159
<v Speaker 1>avid listener for many years now, and I love the

0:27:28.200 --> 0:27:31.720
<v Speaker 1>addition of Weird House Cinema and your recent Listener Mail episode.

0:27:31.760 --> 0:27:35.679
<v Speaker 1>You were discussing why nuclear radiation is depicted as a

0:27:35.800 --> 0:27:39.520
<v Speaker 1>green glow rather than a more realistic blue glow. Something

0:27:39.560 --> 0:27:41.879
<v Speaker 1>you didn't discuss was a fact I learned while getting

0:27:41.880 --> 0:27:45.280
<v Speaker 1>my Film studies degree, a fact that I can't unsee

0:27:45.359 --> 0:27:47.960
<v Speaker 1>ever since I learned it. In film, the use of

0:27:48.080 --> 0:27:52.280
<v Speaker 1>green often foreshadows death. For example, if a character is

0:27:52.320 --> 0:27:55.640
<v Speaker 1>bathed in green light during a tense scene, the outcome

0:27:55.800 --> 0:27:58.880
<v Speaker 1>is usually not good for that character. Maybe the use

0:27:58.920 --> 0:28:02.040
<v Speaker 1>of green to depict radiation glow is also related to

0:28:02.080 --> 0:28:06.840
<v Speaker 1>this cinematic shorthand, since radioactive substances can lead to illness

0:28:06.920 --> 0:28:10.280
<v Speaker 1>or death. Anyways, keep your eyes peeled for this. In movies,

0:28:10.320 --> 0:28:12.919
<v Speaker 1>it is surprising how often a character's demise can be

0:28:12.960 --> 0:28:15.679
<v Speaker 1>forecast by the color green being subtly added to the

0:28:15.760 --> 0:28:18.480
<v Speaker 1>character in some way. Thanks for all you do. Stuff

0:28:18.480 --> 0:28:20.320
<v Speaker 1>to blow your mind is the metric by which I

0:28:20.320 --> 0:28:24.920
<v Speaker 1>measure all other podcasts. Megan, all that's sweet. Uh, thank

0:28:24.960 --> 0:28:27.480
<v Speaker 1>you Megan. Yeah, this is interesting. I think maybe I've

0:28:27.480 --> 0:28:29.959
<v Speaker 1>heard this before, but it's definitely never been front of

0:28:30.000 --> 0:28:33.000
<v Speaker 1>mind for me. Yeah, I guess it's something I need

0:28:33.040 --> 0:28:34.680
<v Speaker 1>to look out for next time I sat down and

0:28:34.720 --> 0:28:37.040
<v Speaker 1>watch a film. But it does bring to mind. I

0:28:37.080 --> 0:28:40.239
<v Speaker 1>was I was looking at different Brad Dorriff clips for

0:28:40.400 --> 0:28:43.360
<v Speaker 1>a recent Weird House Cinema episode and I ran across

0:28:44.440 --> 0:28:48.719
<v Speaker 1>one of those just unnecessarily grotesque scenes from David Lynch's

0:28:48.800 --> 0:28:53.240
<v Speaker 1>Dune that invent the features Clan Harconan sitting around grossing

0:28:53.240 --> 0:28:56.840
<v Speaker 1>it up, and and it has these just just disturbingly

0:28:56.960 --> 0:28:59.160
<v Speaker 1>green walls in the background. You know the scene I'm

0:28:59.200 --> 0:29:01.600
<v Speaker 1>talking about. Oh yeah, the very first time we meet

0:29:01.640 --> 0:29:03.959
<v Speaker 1>the Harcone And so you got Baron harcon in there,

0:29:03.960 --> 0:29:06.800
<v Speaker 1>like I think he ends up like floating around the room.

0:29:06.840 --> 0:29:11.160
<v Speaker 1>But it's, uh, what's Brad Dourf has Peter Davries there

0:29:11.240 --> 0:29:13.320
<v Speaker 1>and what is sting in the room? I think, yeah,

0:29:13.360 --> 0:29:16.240
<v Speaker 1>I think, um fad Ratha is there. Also the Beast

0:29:16.320 --> 0:29:20.160
<v Speaker 1>is there, and yeah, so it's it's the whole crew

0:29:20.320 --> 0:29:25.440
<v Speaker 1>just hanging out in the room. Yeah yeah, but they're

0:29:25.480 --> 0:29:27.480
<v Speaker 1>hanging out in the room is just green. It is

0:29:27.520 --> 0:29:32.800
<v Speaker 1>just Lepericon green shockingly green, like green enough that by

0:29:32.840 --> 0:29:34.640
<v Speaker 1>modern standards, you look at it and you're like, is

0:29:34.680 --> 0:29:37.480
<v Speaker 1>this a finished scene? Is this is there? They were

0:29:37.560 --> 0:29:40.280
<v Speaker 1>they gonna add something digitally in the background, and you're like, no, no, no,

0:29:40.320 --> 0:29:41.880
<v Speaker 1>I think that no, this is before all that this

0:29:41.960 --> 0:29:45.560
<v Speaker 1>is just a really green color choice for their wall.

0:29:46.360 --> 0:29:49.400
<v Speaker 1>Do I recall that also in in Lynches Dune when

0:29:49.440 --> 0:29:52.000
<v Speaker 1>you see the harcon and planet, it's sort of green

0:29:52.120 --> 0:29:54.760
<v Speaker 1>on the outside too, but not like a not like

0:29:54.800 --> 0:29:57.640
<v Speaker 1>a natural green like trees and foliage and all that,

0:29:57.680 --> 0:30:01.880
<v Speaker 1>but it's just like green buildings. That sounds familiar, But

0:30:01.960 --> 0:30:03.880
<v Speaker 1>I I don't recall, It's been a while since I've

0:30:03.920 --> 0:30:08.320
<v Speaker 1>seen it in full Well, it's quite appropriate. Harconan means death, yeah,

0:30:08.520 --> 0:30:10.520
<v Speaker 1>and I think by the end of the movie or

0:30:10.560 --> 0:30:15.040
<v Speaker 1>all those characters dead. I believe they are. Um. I

0:30:15.080 --> 0:30:17.520
<v Speaker 1>don't know what happens to the beast, but I think

0:30:17.520 --> 0:30:21.880
<v Speaker 1>the beast dies. Yeah, Okay, spoiler for DOUN Sorry, Yeah,

0:30:21.920 --> 0:30:24.040
<v Speaker 1>I mean these these these bad guys are all are

0:30:24.080 --> 0:30:26.520
<v Speaker 1>all doomed. But um, but they cause a lot of

0:30:26.520 --> 0:30:30.000
<v Speaker 1>havit before that comes. It comes around. So oh yeah, yeah,

0:30:30.040 --> 0:30:33.120
<v Speaker 1>good good old Clan Harconan. All right, we're gonna go

0:30:33.160 --> 0:30:36.240
<v Speaker 1>ahead and close the mail bag here, but we will

0:30:36.280 --> 0:30:39.040
<v Speaker 1>be back, so keep writing in. We didn't get to

0:30:39.080 --> 0:30:41.800
<v Speaker 1>everything in this episode as usual, but we'll come back

0:30:41.840 --> 0:30:44.200
<v Speaker 1>to it. So right in with your thoughts about navigation,

0:30:44.400 --> 0:30:49.640
<v Speaker 1>about emotional outbursts and centaurs on fire, uh more, more

0:30:49.680 --> 0:30:53.960
<v Speaker 1>listener mail, about Harkonen's and waiting in line. We'd love

0:30:54.000 --> 0:30:57.560
<v Speaker 1>to hear all of it. Let's say yes if you

0:30:57.600 --> 0:31:01.080
<v Speaker 1>want to hear listener mail. It occurs on Monday, as Artifact,

0:31:01.080 --> 0:31:04.320
<v Speaker 1>occurs on Wednesday's Weird How Cinema occurs on Fridays, and

0:31:04.320 --> 0:31:06.640
<v Speaker 1>two season Thursdays. Those are our core episodes of Stuff

0:31:06.680 --> 0:31:08.920
<v Speaker 1>to Blow Your Mind. Huge thanks as always to our

0:31:09.000 --> 0:31:12.200
<v Speaker 1>excellent audio producer Seth Nicholas Johnson. If you would like

0:31:12.240 --> 0:31:14.200
<v Speaker 1>to get in touch with us with feedback on this

0:31:14.240 --> 0:31:16.840
<v Speaker 1>episode or any other, to suggest a topic for the future,

0:31:16.920 --> 0:31:18.840
<v Speaker 1>or just to say hello, you can email us at

0:31:18.960 --> 0:31:29.200
<v Speaker 1>contact at stuff to Blow your Mind dot com. Stuff

0:31:29.200 --> 0:31:31.440
<v Speaker 1>to Blow Your Mind is production of I Heart Radio.

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