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Speaker 1: Hey, March is tripod month, my friend, and you know

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Speaker 1: what that means. Yes, that means it's time to let

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Speaker 1: people know about your favorite podcasts, just to share the

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Speaker 1: sheer joy of podcast listening. That's right, it's t r

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Speaker 1: y pod still in nascent industry. A lot of people

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Speaker 1: don't know what podcasts are and helps everybody out if

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Speaker 1: you would go out and just say, hey, family member,

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Speaker 1: who I see it? Thanksgiving once a year? Right, you

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Speaker 1: should try out this thing called a podcast. Here's what

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Speaker 1: they are. Here's a cool show you should try, and

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Speaker 1: here's how to get it. Yeah, and it doesn't have

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Speaker 1: to be our show, just any podcast you like in

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Speaker 1: general that you think someone else would like, just share it. Yeah,

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Speaker 1: So get on board the dry pod train. Welcome to

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Speaker 1: stuff you should know from house stuff Works dot com. Hey,

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Speaker 1: and welcome to the podcast. I'm Josh Clark, This Charles W.

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Speaker 1: Chuck Bryant, and there is well Jerry just issappure Chuck

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Speaker 1: did she she did? Oh? There she's back. David copper

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Speaker 1: Fields in here with us as well. Today he made

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Speaker 1: the Statue of Liberty disappear. And now Jerry Jerry as

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Speaker 1: drawn by mc escher. Oh that's nice. How do you

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Speaker 1: feel about optical illusions? I feel I feel happy about

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Speaker 1: optical illusions. I'm not asking Josh from the third grade,

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Speaker 1: but I feel sad about articles on optical illusions in general.

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Speaker 1: It's a it's a really difficult thing to write about,

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Speaker 1: as we're about to demonstrate, it's an even more difficult

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Speaker 1: thing to talk about. Um. But it's just I think

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Speaker 1: the idea that every article has to inherently describe an

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Speaker 1: optical illusion and then basically follows that discrip o shin

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Speaker 1: up with and scientists don't really know what's going on.

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Speaker 1: Here's a couple of guesses that will be fully discredited

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Speaker 1: in twenty years. It's just dissatisfying. Yeah, I mean because

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Speaker 1: we were kind of we're the kind of dudes who

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Speaker 1: like concrete answers or at least like really solid hypotheses.

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Speaker 1: Some of these are flimsy to me. Yeah, So we

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Speaker 1: would encourage folks if you are listening at home or work,

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Speaker 1: because you can blow off work. Let's be honest, um, like,

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Speaker 1: look look up. Some of these will describe them as

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Speaker 1: best we can, and most of them you've probably seen

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Speaker 1: before because as you will learn, uh many many illusions

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Speaker 1: optical illusions were were drawn and conceived many years ago,

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Speaker 1: and I have just been sort of played upon over

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Speaker 1: the years in different ways. Right. Yeah, the nineteenth century was,

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Speaker 1: like the classics, the foundation of optical illusions, which not

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Speaker 1: coincidentally coincided with the foundation of psychology and brain research. Um,

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Speaker 1: and optical illusions were created to kind of test the

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Speaker 1: stuff or explore this stuff, right. But yeah, most of

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Speaker 1: the stuff today are just variations on these themes. Yeah. So,

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Speaker 1: like I was saying, if you're if you're able to

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Speaker 1: just you know, kind of just google this junk as

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Speaker 1: we say them, and you'll go, oh that thing and chuck. Actually,

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Speaker 1: there's a website called Michael Bach dot d E okay

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Speaker 1: might yeah, which is Deutscheland Germany in the English, but

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Speaker 1: it's h M I C H A E l B

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Speaker 1: A c H dot d E. And this guy just

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Speaker 1: listed he's got links to every optical illusion you could

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Speaker 1: possibly imagine. So that'd be a good place to go.

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Speaker 1: Just sit there and click on his site while we're

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Speaker 1: talking about these things. Yeah, and UM, what I found

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Speaker 1: is that I get um a bit of optical illusion

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Speaker 1: fatigue when I look at too many of these things

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Speaker 1: in a row. Oh, well that should be studied. Well,

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Speaker 1: I think that. I mean, we know so little about

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Speaker 1: optical illusions that that is, I mean, that's kind of groundbreaking. Well,

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Speaker 1: I don't mean fatigue is in like scientifically, I just

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Speaker 1: mean like I'm tired of looking at this junk. Oh,

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Speaker 1: I see what you mean. Yeah, it just bores me

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Speaker 1: after a bit. Plus a lot of require ugly color

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Speaker 1: combinations or un unpleasant color combinations. So I think that

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Speaker 1: probably contributes to it too. And we should do a

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Speaker 1: We don't talk a lot about Er in this one,

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Speaker 1: but we should. He deserves his own show. Sure, you

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Speaker 1: know Escher and Geiger. Maybe we'll do a combo show

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Speaker 1: with those two. Oh yeah, oh yeah, man, that guy's

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Speaker 1: brain is beautiful. Yeah. There's a lot of cultural icon

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Speaker 1: biographies that are floating out there. Mr Rogers and Dr SEUs.

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Speaker 1: I know we've talked about those. So maybe we'll go

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Speaker 1: on a kick. Okay, I'm ready for some kicking. Alright,

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Speaker 1: so we were Let's go back a little bit to

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Speaker 1: the history of thinking about or study optical illusions. Right,

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Speaker 1: As with most things in the West, the basis of

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Speaker 1: optical illusions of the first mention of optical illusions in

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Speaker 1: the literature comes from the Greeks and Aristotle in particular. Yeah.

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Speaker 1: He uh, he probably munched on some some some weird

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Speaker 1: route and stared at a waterfall for a little while

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Speaker 1: and he said, hey, dudes, if you stare at that

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Speaker 1: waterfall long enough, man, and then you quickly look at

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Speaker 1: that rock, it looks like the rock is moving, right,

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Speaker 1: and then the rocks like, AREM not moving? Aristotle? But

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Speaker 1: that actually has a name, correct, Yeah, it's called the

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Speaker 1: waterfall illusion appropriately or um, what's the other word for it,

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Speaker 1: the motion after effect. Yeah, that's what I was looking for.

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Speaker 1: This is this is like, if this is true the

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Speaker 1: explanation for it, then I'm just disappointed with our our

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Speaker 1: brains hit. The explanation is that when we're staring at

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Speaker 1: the waterfall, are neurons tracking the movement of the water

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Speaker 1: become tired out, exhausted, yeah, overwhelmed. So when we stopped

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Speaker 1: looking at it and they take a break, all the

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Speaker 1: other ones that weren't at work are suddenly working over

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Speaker 1: time and making things move that aren't actually moving right.

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Speaker 1: That's a stupid explanation. Uh, I don't know how buy that.

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Speaker 1: I mean, it makes sense but I think it's stupid,

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Speaker 1: it's boring, you know, just worn out neurons. Yeah, I'm

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Speaker 1: tired to sit down over here. Uh yeah. And then

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Speaker 1: there was, um, if we go forward a bit in

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Speaker 1: the nineteenth century, like you were talking about, there was

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Speaker 1: that that was when people got really sort of interested

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Speaker 1: in studying these things and what was going on in

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Speaker 1: the brain, because it's sort of coincided with um, studying

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Speaker 1: perception and how our eyes worked, and how our eyes

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Speaker 1: worked in relation to our brain. Right. And then I

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Speaker 1: guess what some of the earliest optical illusions kind of

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Speaker 1: proved though, was this longstanding idea that it are perception

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Speaker 1: of vision. Our visual experience was based in how the

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Speaker 1: eyes interpreted objects. And what these early optical illusions started

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Speaker 1: to prove was, no, it's actually the brain that's getting

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Speaker 1: messed up here. And some now we're starting to get

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Speaker 1: into here at this point, like some some theories that

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Speaker 1: that makes sense to me, that I think are cool.

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Speaker 1: But what these this early study started to reveal was

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Speaker 1: that the brain is extremely lazy and it likes to

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Speaker 1: take shortcuts. Right, Yeah, I thought, I thought this is

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Speaker 1: actually pretty interesting. Are you talking about the lag time?

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Speaker 1: The lag time, but also, yeah, there's there's plenty of

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Speaker 1: other stuff, but the lag time seems to me to

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Speaker 1: be like one specific slice of this the general tricks

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Speaker 1: of the trade that the brain uses to cut corners. Yeah,

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Speaker 1: and the lag time is basically, when you know, everything

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Speaker 1: seems to happen instantaneous when you when you look at something,

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Speaker 1: your eyeballs pick it up, the neurons start firing, and

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Speaker 1: the brain tells you, you know, that's a coffee cup.

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Speaker 1: But there's just the slightest little lag and the time

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Speaker 1: it takes for that to happen. And one of the

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Speaker 1: theories with optical illusions is the brain is trying to

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Speaker 1: predict and that slight, slight, slight. You know, I'm not

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Speaker 1: good with small uh. Units of time is nanosecond, Jordana, Yeah, Nana,

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Speaker 1: second is definitely sure, but I think we're talking tenth

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Speaker 1: of a second, Okay, So the brain basically tries to

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Speaker 1: predict what what is should come next based on what

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Speaker 1: we're used to seeing in real life. Is that a

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Speaker 1: good way to say it? Yeah? And the reason they

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Speaker 1: would do this is because a tenth of a second,

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Speaker 1: something can change, like a tiger can suddenly appear. Um,

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Speaker 1: so the brain is constantly looking clues in the environment

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Speaker 1: to to predict what what is that what a tenth

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Speaker 1: of a second in the future is going to be? Like, right,

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Speaker 1: I think things move slow enough for us humans that

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Speaker 1: it usually works pretty well. But what this researcher Mark

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Speaker 1: Changizi says is an optical illusion. Some of the optical

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Speaker 1: illusions are actually reliable ways to trick the brain into

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Speaker 1: making the wrong decision about what the future is gonna hold.

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Speaker 1: One of the ones that that classically falls into this

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Speaker 1: example is um what's the one that that he talks

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Speaker 1: about where it's the It's the one with the so

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Speaker 1: that you've got two parallel lines running horizontally, just you know,

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Speaker 1: separated by a little amount of space, and then in

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Speaker 1: the background there's radial lines all going toward a um

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Speaker 1: the point, the vanishing point on the horizon. Right. Yes,

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Speaker 1: I can't remember the name of this one, but the

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Speaker 1: the point that Changizi makes is that the radial lines,

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Speaker 1: lines that radiate from a center point our brains use

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Speaker 1: as a shortcut indicator of motion, the Herring illusion. Thank you.

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Speaker 1: So these radial lines that we see tell our brain, oh,

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Speaker 1: we're moving and we're moving towards this vanishing point in

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Speaker 1: the distance. So these these horizontal lines that are in

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Speaker 1: the foreground are actually appear to be bent in the center,

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Speaker 1: bent outward from one another very much. So, So what

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Speaker 1: Changizi saying is that the brain is predicting since it

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Speaker 1: thinks we're moving forward towards this point and then toward

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Speaker 1: these lines that as we get closer, they have to

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Speaker 1: bend to basically allow us to enter in another way.

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Speaker 1: But the thing is that they're they're not moving because

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Speaker 1: it's a static image, but it's the brain being tricked

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Speaker 1: into thinking we're moving forward, changing our perspective unnecessarily. Yeah,

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Speaker 1: because the brain is used to the way we move

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Speaker 1: forward in real life. I r L right for you

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Speaker 1: kids out there, and so you know, it's a lot

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Speaker 1: of this seemed like the brain almost kind of negotiating

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Speaker 1: with itself. Yeah, you know, yes, but I think part

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Speaker 1: of it so that lag time one makes sense, right.

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Speaker 1: Another one that makes sense to me as far as

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Speaker 1: why the brain makes shortcuts is that when when like

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Speaker 1: the physical world is in at least three dimensions that

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Speaker 1: we interact with it in, right, but our eyes are

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Speaker 1: giving us two dimensional representations that the brain then has

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Speaker 1: to reconstruct into three dimensions, and it's learned to take

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Speaker 1: all sorts of neat little um, it's neat little clues

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Speaker 1: to put together a pretty good prediction of what it's

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Speaker 1: looking at. Yeah, and and it can also flip flop

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Speaker 1: between different two different views like the is it the

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Speaker 1: Necker cube? I love it any c K E R.

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Speaker 1: And it's it's sort of that classic cube that you

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Speaker 1: learned to draw, the one that's slightly more advanced and

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Speaker 1: than the basic cube that you first learned to draw.

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Speaker 1: It's the second cube that you learned to draw right

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Speaker 1: on your your What was those things that you put

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Speaker 1: on your books and people? Oh, just like yeah, homemade

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Speaker 1: book covers, right exactly. Yeah, basically a brown grocery sack

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Speaker 1: is what I used. Yeah, same here. Uh that's because

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Speaker 1: we were poor. Well plus those those things held up

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Speaker 1: oh sure yeah. Um. So you look at the Necker

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Speaker 1: cube and um. The fun thing about the Necker cube

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Speaker 1: is you you look at it and your brain is

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Speaker 1: able to flip back and forth between the cube basically

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Speaker 1: having two different um uh positions? Is that the best

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Speaker 1: way to say it? I keep saying that, But you

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Speaker 1: know again, these things are kind of hard to describe. Well, yeah,

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Speaker 1: it's kind of like the cube is transparent and you

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Speaker 1: can see all corners of it. Yeah, so you're rain

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Speaker 1: is saying, Okay, is that corner close to me or

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Speaker 1: furthest away from me? It changes perspective. Yeah, and so

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Speaker 1: thanks to UM, to the wonder machine, we can put

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Speaker 1: people in these things and UM see the neurons responsible

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Speaker 1: for the different perspectives, uh, flipping back and forth depending

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Speaker 1: on how we're looking at it. Yeah, exactly. Pretty helpful

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Speaker 1: at this point because you had the nineteenth century where

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Speaker 1: they started to to suss out that the ideas that

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Speaker 1: the brain was responsible for this, it was the brain

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Speaker 1: messing up. And then not a lot happened in between

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Speaker 1: then and the two thousands when f M R I

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Speaker 1: came into UM widespread use. And then now we're starting

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Speaker 1: to see, yeah, this the a lot of these early

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Speaker 1: theories are actually correct because we can see the neurons

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Speaker 1: responsible for them. All Right, Well, let's take a little

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Speaker 1: break here and then we're gonna come back and talk

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Speaker 1: about the Herman illusion and what the Mr I said

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Speaker 1: about that one. Okay, so the Herman Herman I'm not

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Speaker 1: sure how to pronounce that H E R M A

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Speaker 1: N N. The Herman Grid conceived by Ludamore Herman in

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Speaker 1: you nailed this first first name? Oh yeah, Well, it's

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Speaker 1: it's one of those classic illusions that we've all seen

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Speaker 1: and it's really simple. It's just a black and white

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Speaker 1: grid of squares, and that's the one where if you're

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Speaker 1: just looking at it, it looks like there's these little

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Speaker 1: gray circles, little gray dots in between where these things intersect,

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Speaker 1: and there's really nothing there though, of course when you

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Speaker 1: focus on that, it goes away. Uh. And the m

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Speaker 1: R I showed that when you're looking at an illusion

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Speaker 1: like this and others like this, um the neurons are

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Speaker 1: competing with one another to see the light and the dark,

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Speaker 1: and basically one set of neurons wins out over the

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Speaker 1: other and then influences the message to the other. For

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Speaker 1: what you end up perceiving, right, fairly interesting and think

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Speaker 1: it is it is And this one kind of stands

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Speaker 1: on its owner in its own class, and that it's

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Speaker 1: not really the brain that's being duped. It's because of

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Speaker 1: the physiology of the eyes and the light receptors in

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Speaker 1: the eyes. Right, So there are arranged so that they

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Speaker 1: are they they sense distinction, like contrast between light and dark, right,

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Speaker 1: and if they're sensing both, they create this blob. There's

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Speaker 1: spill over where um, some receptors in a single cell

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Speaker 1: um are getting dark and some are getting light. When

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Speaker 1: you can create these blobs in the intersection, but then

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Speaker 1: when you focus your attention on the white part the

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Speaker 1: intersection between the black squares, you're using your phobio receptors,

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Speaker 1: which have far less inhibition or spill over um, so

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Speaker 1: that the gray blob disappears. In what you see is

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Speaker 1: is white. It's actually really I read probably like four

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Speaker 1: different explanations of it before it started to sink in. Yeah,

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Speaker 1: it's straightforward, but it's tough to explain. I think another word. Yeah,

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Speaker 1: and uh, I totally agree. Um. And one of the

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Speaker 1: reasons we know that these neurons are sort of individually

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Speaker 1: picking things up is because in these two dudes, David

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Speaker 1: Hubil and torched In Festal, great name, you're going to

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Speaker 1: say that, uh, in one they won the Nobel Prize

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Speaker 1: in Physiology or Medicine because they found out that there's

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Speaker 1: actually a process and how the brain uh picks of stuff.

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Speaker 1: Up and and what the I C s. And they

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Speaker 1: found that each neuron is actually responsible for one little part,

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Speaker 1: one little detail of that pattern uh in the retinal image.

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Speaker 1: And so that explains why these neurons can do get

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Speaker 1: out basically on what it's seen. Yeah. So, and it's

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Speaker 1: not just like uh, like neurons competing seeing light and dark.

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Speaker 1: It's it's from what I understand the the understanding of

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Speaker 1: our brain and vision is that an individual neuron is

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Speaker 1: responsible for, um, say a circle, It sees circles, and

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Speaker 1: it's transmitting any circular information to the brain. Another neuron

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Speaker 1: is responsible for seeing dark, another is responsible for seeing light,

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Speaker 1: another's responsible for seeing red, another is responsible for seeing texture,

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Speaker 1: and all of this sensory information, this visual information is

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Speaker 1: coming to the brain all at once, and these various

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Speaker 1: brain regions responsible for vision putting it together the best

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Speaker 1: way it can. You see a red ball. And there's

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Speaker 1: a lot of cues that the brain uses that just

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Speaker 1: fascinate me. For basically what's called monocular vision. Right, so

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Speaker 1: when you are using both of your eyes, especially when

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Speaker 1: something's up close, you're getting two separate pictures of the

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Speaker 1: same thing, and the differences between these pictures the brain

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Speaker 1: can use to easily translate it into three dimensions, right

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Speaker 1: to to to handle things like perspective and stuff like that.

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Speaker 1: But when something's further away, um, the brain has to

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Speaker 1: use other little tricks of the trade. Right. So you've

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Speaker 1: got things like inner position. That's a pretty straight up

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Speaker 1: one where if one objects in front of another object,

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Speaker 1: your brain says, well, the object that's behind is further away. Yeah.

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Speaker 1: Is that is that what explains like force perspective? Yes?

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Speaker 1: In art, Yes, right, I do like force perspective stuff

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Speaker 1: I do. It's kind of cool, it's neat stuff. I

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Speaker 1: guess that's that's probably part of the op art movement, right, Uh, yeah,

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Speaker 1: when it was at like sixties and seventies. Yeah, it

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Speaker 1: seems like yeah. And then you know, kind of coincided

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Speaker 1: with drugs, right, not surprisingly. And then there's another one

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Speaker 1: that I hadn't heard of, called atmospheric perspective. Had you

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Speaker 1: heard of that one? I had not. So. Atmospheric perspective is, um,

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Speaker 1: it's basically the dust, particles in the water, vapor in

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Speaker 1: the air. The further something is a way, the more

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Speaker 1: of an effect those things have on the detail you see.

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Speaker 1: If it so your brain says, well, that's a little blurry. Uh,

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Speaker 1: that's that's a far away object. And then there's there's

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Speaker 1: plenty of other ones, but the gold standard is um

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Speaker 1: is object size. Right, that's where you um, you know

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Speaker 1: that roughly the size of an object, and you can

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Speaker 1: use it to compare to see whether it's it's far

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Speaker 1: away or close, depending on whether it's small or large,

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Speaker 1: or if you don't know the size of an object,

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Speaker 1: but you know two objects are identical and one is

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Speaker 1: smaller than the other, well, then you know the smaller

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Speaker 1: one is further away. So the brain is like constantly

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Speaker 1: using all of these little cues and tricks to put

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Speaker 1: together a conception of what it's seeing at any given

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Speaker 1: point in time. And then what what um optical allusions

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Speaker 1: are are Again these things you can produce to to

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Speaker 1: reliably trick the brain into making these wrong decisions. That

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Speaker 1: that shows its hand. It reveals how the brain functions

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Speaker 1: to take these shortcuts and the tricks that uses. Right,

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Speaker 1: Like a brain you think you're so smart, you're really dumb.

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Speaker 1: Look at this, and the brain says, oh, stop looking,

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Speaker 1: stop looking at those things, look at normal things. Um

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Speaker 1: kind of like sorry, I kind of like the apparent

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Speaker 1: motion ones, although I can't look at a lot of them. Um,

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Speaker 1: those are the ones where something is drawn in such

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Speaker 1: a way that it looks like it's moving when it's

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Speaker 1: not right. The very famous snake illusion is a great example.

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Speaker 1: And you know, this is another one of those theories

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Speaker 1: that to me is a little weak. But one of

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Speaker 1: the theories is that, um, they're these almost like unnoticeable

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Speaker 1: rapid eye movements that we make. Uh how do you

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Speaker 1: pronounce that? Yeah, no, s A C C A D

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Speaker 1: E s YEA CICADs the cads. I think you could

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Speaker 1: probably get away with either one. All right, Well that's

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Speaker 1: what they're called. And uh, it's it's like Pruett Taylor

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Speaker 1: Vince syndrome. You remember him. Yeah, he's a great actor,

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Speaker 1: Yeah he is. Um, so those little movements he usually

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Speaker 1: get smoothed out by the brain, so we you know,

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Speaker 1: get like a static picture. But um, what it's causing

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Speaker 1: in this case is perceiving motion where there was no motion.

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Speaker 1: And then the other theory on this one for apparent

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Speaker 1: motion illusions is there's just so much information going on

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Speaker 1: that uh, you know, there's just confusion. Right. I saw

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Speaker 1: one that actually combined the two that that's basically said, Um,

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Speaker 1: the the CICADs are creating the illusion of motion, but

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Speaker 1: what they're really doing is because the brain is being

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Speaker 1: hit with all this visual information that is just totally

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Speaker 1: doesn't make sense that we never never happen in nature

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Speaker 1: except maybe in motion. That these CICADs actually each time

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Speaker 1: your eye makes this tiny movement, it refreshes this overwhelming

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Speaker 1: um overload of information onto the brain, which creates the

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Speaker 1: sensation of movement. Oh yeah, pretty cool. Well, one of

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Speaker 1: the cool aspects of all of this to me is

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Speaker 1: um is the fact that once you've once you've seen

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Speaker 1: the illusion and the trick to it, you can't undo that, right,

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Speaker 1: So the brain is like a, ha, you know, I

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Speaker 1: got this one, like you know, the famous one, the

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Speaker 1: old lady or the or the young woman, the black

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Speaker 1: and white. It's a you know, classic illusion. And once

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Speaker 1: you you know, you can stare at and be like,

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Speaker 1: I just see the young lady or I just see

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Speaker 1: the old lady. Once you've seen both, then your brain

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Speaker 1: has like I said, it says ah, and it files

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Speaker 1: that away as prior knowledge and a little folder in

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Speaker 1: the brain and you can't undo that. So once you've

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Speaker 1: seen it, and you've seen the trick. You can aways

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Speaker 1: look at it and kind of make that flip in

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Speaker 1: your mind, right exactly. And it's the same thing too

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Speaker 1: with them contour less figures. Where is it a wine

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Speaker 1: goblet or is it two people's faces facing one another?

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Speaker 1: Kind of thing? Right? Oh yeah, yeah, yeah, you know

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Speaker 1: the negative space. Yeah, And apparently the trick to those

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Speaker 1: is you focus on the black or the white and

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Speaker 1: you see whichever one appears to be in the foreground,

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Speaker 1: because what your brain is doing is saying, um, I

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Speaker 1: need a foreground and I need a background, and then

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Speaker 1: I've got something to work with, and depending on what

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Speaker 1: it's which one it's looking at, it decides this is

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Speaker 1: the foreground or this is the background. So it's either

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Speaker 1: a wine goblet in the foreground or it's two people's

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Speaker 1: faces in the foreground. You know, I wonder if this

388
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Speaker 1: stuff if they know anything about because they didn't see

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Speaker 1: anything in the research, but if they know anything that

390
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Speaker 1: that this is like a brain exercise and helps you out,

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Speaker 1: like you know, playing suduco or doing word puzzles, or

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Speaker 1: if the brain is like stop looking at these, you know,

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Speaker 1: I don't like this I can't take anymore, you know,

394
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Speaker 1: or you know, like literally maybe, or if it causes

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Speaker 1: stress on the brain by by taxing it in a

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Speaker 1: way that it is not accustomed to or doesn't say

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Speaker 1: it doesn't like. Obviously the brain doesn't have a you know,

398
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Speaker 1: it's not a little person, but you know what I'm saying. Yeah, no,

399
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Speaker 1: I know what you mean. But the brain, even if

400
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Speaker 1: it's not a little person, it could still not like things. Right,

401
00:24:28,760 --> 00:24:31,120
Speaker 1: So let's take another break and then, um, I want

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Speaker 1: to tell everybody what my favorite optical illusion of all

403
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Speaker 1: time is. Alright, chuck, Yeah, I'm ready. Well there's two

404
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Speaker 1: one I like slightly less than the other. Okay, so

405
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Speaker 1: start with the second place one. Okay, I knew you

406
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Speaker 1: were gonna say that. I think that's a great way

407
00:25:08,800 --> 00:25:11,880
Speaker 1: to do it too. So you've got um, I don't

408
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Speaker 1: know the name of it. I'm sure there is a name,

409
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Speaker 1: but actually I think it's the contour less figure as well.

410
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Speaker 1: You take three circles, and you cut a pie slice

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Speaker 1: out of all of them, like a pac man, and

412
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Speaker 1: you orient those pie slices so that each one forms

413
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Speaker 1: what appears to be the corner of a coherent square,

414
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Speaker 1: and you look at it, and you're like, well, there's

415
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Speaker 1: a square right there with some that's overlaying four circles.

416
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Speaker 1: But if you stop and think about it, there's no

417
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Speaker 1: line whatsoever that that makes that square. It's your brain

418
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Speaker 1: exclusively filling in some suggestible information to say, well, there's

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Speaker 1: a square over a field of four circles. It's pretty

420
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Speaker 1: neat to me. I like that one. Uh so what's

421
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Speaker 1: what's number one? Um? Yeah, it's called the Addleston checkerboard. Okay,

422
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Speaker 1: surely you've seen this one, right, So I'm looking it

423
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Speaker 1: up as we speak. It's from the nineties. There was

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Speaker 1: an M I. T Vision researcher named Edward Addolson and um,

425
00:26:13,760 --> 00:26:17,359
Speaker 1: he created this checkerboard where on the checkerboard there's you know,

426
00:26:17,520 --> 00:26:20,560
Speaker 1: dark and light squares like a normal checkerboard, and then

427
00:26:20,600 --> 00:26:23,639
Speaker 1: there's like I think, a cylinder on the checkerboard and

428
00:26:23,680 --> 00:26:28,200
Speaker 1: it's casting a shadow. And so um, he says, look

429
00:26:28,240 --> 00:26:32,800
Speaker 1: at this white square and then look at this black square, um,

430
00:26:32,840 --> 00:26:35,240
Speaker 1: which is lighter, which is darker. And you say, well,

431
00:26:35,280 --> 00:26:39,320
Speaker 1: that's easy. The darker square, figure B say, is obviously

432
00:26:39,440 --> 00:26:43,440
Speaker 1: darker than figure A. And he says that's wrong, that's

433
00:26:43,480 --> 00:26:46,520
Speaker 1: absolutely wrong. Figuring and figure B are exactly the same

434
00:26:46,600 --> 00:26:49,800
Speaker 1: color and shade. Um, I'm looking at it. I've seen

435
00:26:49,800 --> 00:26:53,240
Speaker 1: that one for sure. The whole thing. Um, it really

436
00:26:53,280 --> 00:26:56,399
Speaker 1: really works because it takes it takes advantage of two

437
00:26:56,440 --> 00:26:59,840
Speaker 1: different um tricks that you can play on the brain,

438
00:27:00,320 --> 00:27:03,359
Speaker 1: or it takes advantage of two different shortcuts the brain makes. Right.

439
00:27:03,440 --> 00:27:07,200
Speaker 1: One is that cylinder is casting a shadow, that's putting

440
00:27:07,440 --> 00:27:12,200
Speaker 1: appears to be putting Figure A into um well into

441
00:27:12,200 --> 00:27:16,840
Speaker 1: a shadow. Right, So your brain automatically makes assumptions that

442
00:27:16,920 --> 00:27:20,800
Speaker 1: if something is in a shadow, it would normally be lighter,

443
00:27:21,680 --> 00:27:24,159
Speaker 1: which is in this case an incorrect assumption. It's actually

444
00:27:24,200 --> 00:27:27,560
Speaker 1: the same shade as the other one. And then the

445
00:27:27,600 --> 00:27:31,000
Speaker 1: other assumption that's making is that because that square is

446
00:27:31,040 --> 00:27:36,040
Speaker 1: surrounded by um squares of a darker color, uh, and

447
00:27:36,240 --> 00:27:38,480
Speaker 1: it seems and it's in a shadow, it seems to

448
00:27:38,520 --> 00:27:41,879
Speaker 1: contrast it where the other figure figure B is a

449
00:27:42,000 --> 00:27:45,040
Speaker 1: dark square surrounded by light. Uh, it seems to be

450
00:27:45,560 --> 00:27:49,760
Speaker 1: darker because of the it's surrounded, because the context of

451
00:27:49,760 --> 00:27:52,800
Speaker 1: the squares that it's surrounded by. So your brain is

452
00:27:52,880 --> 00:27:55,320
Speaker 1: using two different things, the presence of a shadow and

453
00:27:55,359 --> 00:27:59,800
Speaker 1: then the context where if something is surrounded by lighter stuff,

454
00:27:59,840 --> 00:28:02,480
Speaker 1: it seems darker. If something surrounded by darker stuff, it

455
00:28:02,520 --> 00:28:06,640
Speaker 1: seems lighter. UM. And that's just not always the case, obviously,

456
00:28:06,640 --> 00:28:09,920
Speaker 1: because Edward Adolson proved it's not. So you want to

457
00:28:09,920 --> 00:28:16,240
Speaker 1: know My favorite the classic Ebbing House illusion E B

458
00:28:16,320 --> 00:28:19,320
Speaker 1: B I N G H A U s uh. This

459
00:28:19,359 --> 00:28:22,400
Speaker 1: one is sort of similar, but it's not so much

460
00:28:22,400 --> 00:28:25,760
Speaker 1: about color, but it uses adjacent objects and a lot

461
00:28:25,760 --> 00:28:29,399
Speaker 1: of these do too. They use other things surrounding something

462
00:28:29,440 --> 00:28:32,320
Speaker 1: to trick your brain. Uh. And in this case, it's

463
00:28:32,400 --> 00:28:35,920
Speaker 1: it's the classic one. Go look it up. It's the UM.

464
00:28:36,000 --> 00:28:40,160
Speaker 1: You have two orange dots. One on the left, let's say, uh,

465
00:28:40,360 --> 00:28:44,960
Speaker 1: is surrounded by six larger gray dots, and the other

466
00:28:44,960 --> 00:28:47,640
Speaker 1: one on the right is surrounded by eight smaller dots.

467
00:28:47,720 --> 00:28:50,160
Speaker 1: It's very simple, that's why I love it. And the

468
00:28:50,200 --> 00:28:53,360
Speaker 1: orange dots are the same size, but they look completely

469
00:28:53,400 --> 00:28:59,000
Speaker 1: different sizes, and it's just it's so simple. And I

470
00:28:59,040 --> 00:29:01,600
Speaker 1: think this is one of the one is that UM

471
00:29:01,640 --> 00:29:04,120
Speaker 1: and too they have this contest every year, I think

472
00:29:04,160 --> 00:29:06,280
Speaker 1: for like, I don't know, it's been going on for

473
00:29:06,960 --> 00:29:10,240
Speaker 1: at least ten or twelve years, right, uh for new

474
00:29:10,280 --> 00:29:12,720
Speaker 1: illusions and like we said earlier. You know, a lot

475
00:29:12,760 --> 00:29:15,280
Speaker 1: of these new illusions are still just sort of riffs

476
00:29:15,280 --> 00:29:18,080
Speaker 1: on the classics. Um. But the one that won a

477
00:29:18,080 --> 00:29:22,280
Speaker 1: couple of years ago was a new version of the

478
00:29:22,280 --> 00:29:25,240
Speaker 1: ebbing House illusion where um, it's actually a video that

479
00:29:25,240 --> 00:29:28,960
Speaker 1: you have to play, so it moves. Um that the

480
00:29:29,000 --> 00:29:33,920
Speaker 1: outer dots they it looks like at pulsates and uh,

481
00:29:33,920 --> 00:29:37,000
Speaker 1: well it is pulsating. They get bigger and smaller, and

482
00:29:37,160 --> 00:29:39,080
Speaker 1: the orange dots stays the same, but it looks like

483
00:29:39,120 --> 00:29:42,960
Speaker 1: it's shrinking and expanding, right, So it's kind of cool.

484
00:29:43,040 --> 00:29:45,120
Speaker 1: It's just to just to play on the ebbing House illusion.

485
00:29:46,280 --> 00:29:48,680
Speaker 1: But that's that's what we were saying earlier too. It's

486
00:29:48,720 --> 00:29:50,720
Speaker 1: like it's almost like they invented all of them in

487
00:29:50,760 --> 00:29:52,960
Speaker 1: the nineteenth century and then now we're just able to

488
00:29:53,000 --> 00:29:57,280
Speaker 1: perfect him a little more. Yeah, pretty cool. Another thing

489
00:29:57,280 --> 00:30:01,040
Speaker 1: I thought was really neat was that there's this biological

490
00:30:01,080 --> 00:30:05,240
Speaker 1: basis that is the same for everyone on planet Earth, obviously,

491
00:30:05,760 --> 00:30:10,440
Speaker 1: but they did find there some across different cultures that

492
00:30:11,000 --> 00:30:14,640
Speaker 1: they didn't take the same visual cues necessarily. And the

493
00:30:14,760 --> 00:30:20,360
Speaker 1: classic Mula Layah illusion that everyone has seen, and that's

494
00:30:20,400 --> 00:30:25,840
Speaker 1: just the really simple one of two straight lines, horizontal lines, uh,

495
00:30:25,880 --> 00:30:28,880
Speaker 1: and they have arrows on the ends. On one of them,

496
00:30:28,880 --> 00:30:31,280
Speaker 1: the arrows are pointing out. On the other the arrows

497
00:30:31,280 --> 00:30:34,320
Speaker 1: are pointing in. And those two horizontal lines appear to

498
00:30:34,360 --> 00:30:36,880
Speaker 1: be different links. And so they did a study in

499
00:30:36,880 --> 00:30:39,320
Speaker 1: South Africa and they found that most of the European

500
00:30:39,840 --> 00:30:43,320
Speaker 1: South Africans thought, yeah, like, look at them, they're different links.

501
00:30:43,800 --> 00:30:45,880
Speaker 1: Then they showed it to like, you know, the bushmen

502
00:30:45,920 --> 00:30:50,920
Speaker 1: of South Africa, and they're like, no, dummies, they're the

503
00:30:50,960 --> 00:30:53,600
Speaker 1: same weak can't you see that? And the researchers are

504
00:30:53,640 --> 00:30:57,320
Speaker 1: like what yeah, and they really, I mean, they had

505
00:30:57,360 --> 00:31:00,040
Speaker 1: some theories about it. Uh. That kind of makes and

506
00:31:00,120 --> 00:31:02,960
Speaker 1: so that Western societies may be a little more used

507
00:31:03,000 --> 00:31:05,360
Speaker 1: to these things that are built in straight lines and

508
00:31:05,360 --> 00:31:09,040
Speaker 1: a little more geometrical, where the other culture might be

509
00:31:09,120 --> 00:31:12,040
Speaker 1: like just more attuned to nature where there aren't so

510
00:31:12,040 --> 00:31:15,520
Speaker 1: many straight lines. Right. And because the explanation for the

511
00:31:16,000 --> 00:31:20,400
Speaker 1: what was it, the Meyer the mula, the Mueller liar effect,

512
00:31:20,920 --> 00:31:24,840
Speaker 1: or optical illusion is that depending on which way the

513
00:31:25,240 --> 00:31:27,600
Speaker 1: arrow was pointing, whether at the at the end of

514
00:31:27,640 --> 00:31:31,120
Speaker 1: the line or away from the line um, the brain

515
00:31:31,320 --> 00:31:34,719
Speaker 1: is used to seeing corners right. Two walls coming together

516
00:31:34,760 --> 00:31:37,880
Speaker 1: at a ceiling make that that same kind of arrow,

517
00:31:38,320 --> 00:31:41,360
Speaker 1: and one that's pointing away means the point of it

518
00:31:41,400 --> 00:31:43,840
Speaker 1: is further away, so it would make the line look longer,

519
00:31:43,960 --> 00:31:46,600
Speaker 1: whereas one that's pointing inward would make it look like

520
00:31:46,640 --> 00:31:49,640
Speaker 1: the corners closest to us, right, so it would seem

521
00:31:49,720 --> 00:31:53,880
Speaker 1: like the line is shorter. But but the explanation was that, well, bushman,

522
00:31:54,120 --> 00:31:56,479
Speaker 1: have never seen two walls come together at the ceiling,

523
00:31:56,560 --> 00:31:58,880
Speaker 1: so that's why it didn't happen to them. But the

524
00:31:58,880 --> 00:32:02,440
Speaker 1: thing that just proved that is that, um, they trained

525
00:32:03,080 --> 00:32:06,800
Speaker 1: UH computer to to look at this stuff, and they

526
00:32:06,840 --> 00:32:09,840
Speaker 1: didn't train it on three dimensional objects, so it wasn't

527
00:32:09,880 --> 00:32:12,480
Speaker 1: familiar with walls coming together with the ceiling, and it

528
00:32:12,520 --> 00:32:14,480
Speaker 1: was fooled by it as well. So they were like, well,

529
00:32:14,520 --> 00:32:17,200
Speaker 1: we we have no idea. What's going on? Then, bushman

530
00:32:17,320 --> 00:32:20,760
Speaker 1: or magic is what they said. I wonder why so

531
00:32:20,840 --> 00:32:26,520
Speaker 1: many of these UH illusion UH enthusiasts seemed to be

532
00:32:27,440 --> 00:32:31,120
Speaker 1: like German and Austrian. I think I had to do.

533
00:32:31,440 --> 00:32:37,480
Speaker 1: That was where the UH largely where psychology took off. Yeah,

534
00:32:37,520 --> 00:32:39,480
Speaker 1: I guess that makes sense. I guess Escher was Dutch

535
00:32:40,040 --> 00:32:43,920
Speaker 1: buzzy but um, yeah, it seems like a lot of

536
00:32:43,920 --> 00:32:47,440
Speaker 1: these are like German and Austrian. Yeah. I think it

537
00:32:47,440 --> 00:32:50,760
Speaker 1: has to do with that was where the hot seat

538
00:32:50,920 --> 00:32:54,640
Speaker 1: of psychology and brain research was at the time. Interesting,

539
00:32:55,720 --> 00:32:58,400
Speaker 1: h you got anything else? Actually I do have one more.

540
00:32:58,480 --> 00:33:02,280
Speaker 1: There was um a guy named Hermann von helm Holtz.

541
00:33:02,600 --> 00:33:06,360
Speaker 1: Oh he wasn't German, right, No, nice Irish guy who's

542
00:33:06,400 --> 00:33:12,360
Speaker 1: from Indiana. Von Helmholtz came up with these um squares

543
00:33:12,560 --> 00:33:15,960
Speaker 1: right that are not Actually they don't have confining lines

544
00:33:16,040 --> 00:33:20,400
Speaker 1: or defining lines. They're just equal lines of squares or

545
00:33:20,560 --> 00:33:24,280
Speaker 1: lines lines equally apart that formed to the brain a square.

546
00:33:24,960 --> 00:33:30,360
Speaker 1: But ones that are horizontal seems smaller and shorter than

547
00:33:30,560 --> 00:33:35,560
Speaker 1: ones that are vertical, which is weird because if you

548
00:33:35,720 --> 00:33:38,680
Speaker 1: are wearing like a horizontally striped shirt, everybody's like, you

549
00:33:38,720 --> 00:33:42,440
Speaker 1: look fat in that shirt. Well, von Helmholtz, you don't.

550
00:33:42,760 --> 00:33:46,120
Speaker 1: You should actually look slimmer, which surprised me. So I

551
00:33:46,160 --> 00:33:49,200
Speaker 1: started wearing horizontal stripes as a result. You got your

552
00:33:49,280 --> 00:33:52,960
Speaker 1: Charlie brown shirt out. Yeah, because that was sort of

553
00:33:52,960 --> 00:33:54,680
Speaker 1: the old I don't know if it's true or not,

554
00:33:54,720 --> 00:33:57,040
Speaker 1: but they said that the New York Yankees designed their

555
00:33:57,080 --> 00:34:00,240
Speaker 1: pin stripes to make Babe Ruth look thinner. I could

556
00:34:00,240 --> 00:34:01,920
Speaker 1: totally buy that, but I don't know if that's true.

557
00:34:01,960 --> 00:34:04,120
Speaker 1: I thought they had been stripes before then. But Babe

558
00:34:04,160 --> 00:34:06,239
Speaker 1: Ruth was eating a steak while they were fitting him

559
00:34:06,280 --> 00:34:08,440
Speaker 1: for and he said, thanks for thinking of me. But

560
00:34:08,520 --> 00:34:10,560
Speaker 1: he wasn't even using silver. Is he eating it with

561
00:34:10,640 --> 00:34:14,840
Speaker 1: his hand? Yeah? And he also, um uh, blended a

562
00:34:14,840 --> 00:34:17,239
Speaker 1: steak into a milkshake and drank that along with his

563
00:34:17,560 --> 00:34:20,359
Speaker 1: regular steak, right, And he didn't take a cigar out

564
00:34:20,360 --> 00:34:22,120
Speaker 1: while he drank it. He just put that in the

565
00:34:22,160 --> 00:34:24,800
Speaker 1: corner of his mouth. Yeah, And it's after dinner cognac.

566
00:34:25,840 --> 00:34:28,400
Speaker 1: That's why we love Babe Ruth. Ye, you know what,

567
00:34:28,440 --> 00:34:29,920
Speaker 1: we didn't get into it all. And I don't know

568
00:34:30,680 --> 00:34:32,680
Speaker 1: if they even count as illusions or if there's something

569
00:34:32,680 --> 00:34:34,640
Speaker 1: else or those and they were a boy, they were

570
00:34:34,680 --> 00:34:37,600
Speaker 1: all the rage and the early nineties I feel like

571
00:34:37,640 --> 00:34:41,600
Speaker 1: were those um magic I yeah, where you stare at

572
00:34:41,600 --> 00:34:43,920
Speaker 1: the thing and all of a sudden a ship pops

573
00:34:43,960 --> 00:34:47,160
Speaker 1: out at you. If you're you know, lucky enough to

574
00:34:47,160 --> 00:34:48,239
Speaker 1: be able to see it. I know a lot of

575
00:34:48,239 --> 00:34:50,719
Speaker 1: people that would just endlessly not be able to see him,

576
00:34:50,760 --> 00:34:52,719
Speaker 1: and it would frustrate them to no end. I think,

577
00:34:52,760 --> 00:34:56,320
Speaker 1: if I remember correctly, they advised that you stare into

578
00:34:56,360 --> 00:35:00,279
Speaker 1: the middle ground. Yeah, and sort of like unFocus your eyes. Yeah,

579
00:35:00,320 --> 00:35:03,120
Speaker 1: I was looking those up. Um. There's a Mental Floss

580
00:35:03,320 --> 00:35:06,560
Speaker 1: article on it that was pretty brief and it made sense.

581
00:35:06,600 --> 00:35:10,319
Speaker 1: I think they were machine vision learning researchers who were like, hey,

582
00:35:10,360 --> 00:35:12,640
Speaker 1: let's make some money on the side if they start

583
00:35:12,640 --> 00:35:15,600
Speaker 1: with like a depth map of something and put it

584
00:35:15,600 --> 00:35:18,600
Speaker 1: in gray scale. And I think they make two of them,

585
00:35:18,880 --> 00:35:22,719
Speaker 1: so your eyes are getting the two different versions of it,

586
00:35:22,760 --> 00:35:25,160
Speaker 1: but one smaller than the other, so it really makes

587
00:35:25,160 --> 00:35:28,320
Speaker 1: it pop as far as depth goes. And then somehow

588
00:35:28,360 --> 00:35:34,279
Speaker 1: the random repeating pattern that overlays it transmits that information

589
00:35:34,320 --> 00:35:38,279
Speaker 1: to your brain unconsciously. Well, so you did look it up,

590
00:35:38,320 --> 00:35:41,160
Speaker 1: then I did. I don't know if I got it

591
00:35:41,239 --> 00:35:44,319
Speaker 1: fully right because it's it's actually kind of complex, but

592
00:35:44,440 --> 00:35:46,200
Speaker 1: I thought they did a pretty good I would describe me.

593
00:35:46,320 --> 00:35:50,360
Speaker 1: Could you see those? Yeah? Sometimes sometimes Yeah, I always

594
00:35:50,400 --> 00:35:52,200
Speaker 1: could see them. And that's another one of those where

595
00:35:52,200 --> 00:35:55,600
Speaker 1: once you see it you can just immediately like draw

596
00:35:55,640 --> 00:35:58,680
Speaker 1: it out. Um. And of course that's there's the one

597
00:35:59,600 --> 00:36:03,919
Speaker 1: Ethan's supply and mall Rats sort of the one joke

598
00:36:04,000 --> 00:36:05,640
Speaker 1: through that movie. It was he just stares at this

599
00:36:05,680 --> 00:36:08,160
Speaker 1: thing like through the whole movie and he couldn't see it.

600
00:36:08,200 --> 00:36:10,879
Speaker 1: I couldn't see it, poor guy. What a great joke,

601
00:36:11,280 --> 00:36:13,680
Speaker 1: you know, speaking of that something that's always bothered me.

602
00:36:14,040 --> 00:36:16,840
Speaker 1: Stephen King said, and one of his books or something

603
00:36:16,880 --> 00:36:19,360
Speaker 1: like that, he was talking about how you can't unsee something.

604
00:36:19,480 --> 00:36:21,920
Speaker 1: I thought you said, he's talking about Mall Rats. He was,

605
00:36:22,480 --> 00:36:24,400
Speaker 1: and he he used the Man in the moon as

606
00:36:24,440 --> 00:36:26,399
Speaker 1: an example. He's like, it's like the man in the moon.

607
00:36:26,440 --> 00:36:29,560
Speaker 1: Once you see it, you can't unsee it, right can

608
00:36:30,680 --> 00:36:32,640
Speaker 1: I Like, I've seen the man in the moon before

609
00:36:32,760 --> 00:36:36,960
Speaker 1: and I totally can't find him again, so you can

610
00:36:37,040 --> 00:36:39,040
Speaker 1: un see it. Stephen King is wrong? What is the

611
00:36:39,040 --> 00:36:41,359
Speaker 1: man in the moon? What are you talking about? You've

612
00:36:41,360 --> 00:36:44,400
Speaker 1: never seen the man in the moon now, so I

613
00:36:44,440 --> 00:36:46,759
Speaker 1: guess probably look it up. I think it would help

614
00:36:47,000 --> 00:36:50,080
Speaker 1: to see somebody else pointing it out. And then when

615
00:36:50,080 --> 00:36:51,879
Speaker 1: you see the when you look at the full moon,

616
00:36:51,960 --> 00:36:53,959
Speaker 1: you you should be able to see it. But there's

617
00:36:54,120 --> 00:36:58,160
Speaker 1: a man looking down. It's Jackie Gleeson. I don't think

618
00:37:00,680 --> 00:37:04,520
Speaker 1: are you looking it up right now? Yeah? I'd never

619
00:37:04,600 --> 00:37:06,640
Speaker 1: do that was a thing that's weird. And then the

620
00:37:06,719 --> 00:37:09,279
Speaker 1: Japanese think it's a rabbit and that the rabbit is

621
00:37:09,360 --> 00:37:13,000
Speaker 1: up there making mochi. Really, I don't know what other

622
00:37:13,040 --> 00:37:18,359
Speaker 1: cultures think. Those are the two I'm familiar with. Huh yeah,

623
00:37:18,719 --> 00:37:22,520
Speaker 1: so mochi. All right, if you want to know more

624
00:37:22,560 --> 00:37:25,920
Speaker 1: about optical illusions, type those words into the search bar

625
00:37:25,960 --> 00:37:28,920
Speaker 1: at how stuff works better yet, go to Michael Bach

626
00:37:29,080 --> 00:37:32,239
Speaker 1: dot d E and just have some fun. Uh. And

627
00:37:32,280 --> 00:37:34,960
Speaker 1: since I said d E, it's time for a listener mail.

628
00:37:37,440 --> 00:37:41,640
Speaker 1: I'm gonna call this Aussie slang. We love our and

629
00:37:41,680 --> 00:37:44,640
Speaker 1: I said Aussie. I met Aussie, right, we love our

630
00:37:44,640 --> 00:37:47,960
Speaker 1: Australian listeners. We've got a lot of them. They've long

631
00:37:48,000 --> 00:37:51,600
Speaker 1: supported the show, so we'd like to shout them out. Yeah, Australia. Uh,

632
00:37:51,719 --> 00:37:55,799
Speaker 1: he said, get eye, fellas. That's pretty good. I'm not

633
00:37:55,800 --> 00:37:57,120
Speaker 1: gonna read the whole thing like that, but I will

634
00:37:57,239 --> 00:38:00,879
Speaker 1: just nailed Canberra. I'm a debut a listener from down

635
00:38:00,880 --> 00:38:03,960
Speaker 1: on and I'm doing my best to get through your podcast.

636
00:38:04,000 --> 00:38:05,480
Speaker 1: I love the show and finish every show with a

637
00:38:05,520 --> 00:38:08,560
Speaker 1: smile and some new fact to tell my mates about. Anyway,

638
00:38:08,560 --> 00:38:09,880
Speaker 1: I got a quick story for you to have a

639
00:38:09,920 --> 00:38:13,279
Speaker 1: laugh at and possibly be very confused by the Other night,

640
00:38:13,320 --> 00:38:15,760
Speaker 1: my mate and I were going on a uh Marcus

641
00:38:15,880 --> 00:38:18,480
Speaker 1: run M A C C A S. I think we've

642
00:38:18,520 --> 00:38:22,120
Speaker 1: talked about that before, right, didn't that beer? I don't know?

643
00:38:22,760 --> 00:38:27,800
Speaker 1: Uh Fosters was us Chilian? And he goes, OHI mate,

644
00:38:28,360 --> 00:38:30,640
Speaker 1: after we've been to Macus, we can drop by the

645
00:38:30,640 --> 00:38:33,759
Speaker 1: sub grab a packet dairies and then the bottle. I'll

646
00:38:33,760 --> 00:38:36,400
Speaker 1: grab a slab of EV Studies and head back to

647
00:38:36,480 --> 00:38:38,800
Speaker 1: yells and get piste. Okay, so let me let me

648
00:38:40,160 --> 00:38:45,560
Speaker 1: oi mate, Hello friend, after we've been to Marcus after

649
00:38:45,960 --> 00:38:48,880
Speaker 1: I don't know what that was. Next, can we dropped

650
00:38:48,880 --> 00:38:52,440
Speaker 1: by the servo? We can go hang out with Tom Servo.

651
00:38:53,120 --> 00:38:55,160
Speaker 1: I bet you anything. A servo is like a gas station.

652
00:38:56,520 --> 00:39:01,360
Speaker 1: Grab a pack of dirries, Uh, get some milk and

653
00:39:01,400 --> 00:39:06,400
Speaker 1: then the bottle. Oh uh, get a bottle, grab a

654
00:39:06,400 --> 00:39:11,440
Speaker 1: slab of v B Studies, get some ribs. I think

655
00:39:11,480 --> 00:39:15,040
Speaker 1: I think that's it, uh, and head back to yours

656
00:39:15,040 --> 00:39:18,800
Speaker 1: and get pissed uh and then go to sleep. I

657
00:39:18,840 --> 00:39:22,120
Speaker 1: think you're right on the money. Yeah, I know you

658
00:39:22,160 --> 00:39:24,360
Speaker 1: guys don't often do request be rad If you guys

659
00:39:24,360 --> 00:39:27,959
Speaker 1: did a podcast on Aussie slang's history and meanings, mostly

660
00:39:28,000 --> 00:39:30,399
Speaker 1: because I would love to hear Chuck's Aussie accent. Oh

661
00:39:30,400 --> 00:39:33,880
Speaker 1: well yeah, granted he didn't wait, he didn't translate it

662
00:39:34,000 --> 00:39:37,719
Speaker 1: himself now, so we'll never know whether I was completely right.

663
00:39:37,960 --> 00:39:40,879
Speaker 1: Someone someone will uh. And I'd love to hear both

664
00:39:40,880 --> 00:39:43,400
Speaker 1: of you pronounced as much Assie slang as possible. But

665
00:39:43,480 --> 00:39:46,360
Speaker 1: also because i'd like to have facts about why I

666
00:39:46,440 --> 00:39:49,759
Speaker 1: speak the way I do. Stay rad And that is

667
00:39:49,800 --> 00:39:53,120
Speaker 1: from Liam and he said, ps, we swear a lot

668
00:39:53,360 --> 00:39:56,400
Speaker 1: down here. Uh. And if that's why you can't do

669
00:39:56,440 --> 00:40:00,160
Speaker 1: an Aussie slang podcast, I don't blame you. Well, I

670
00:40:00,200 --> 00:40:03,719
Speaker 1: swear a lot. I r L Liam, but we just

671
00:40:03,800 --> 00:40:08,279
Speaker 1: keep it clean for the show. That's right. Nice? Yeah,

672
00:40:08,719 --> 00:40:11,520
Speaker 1: well thanks Liam. I'm not gonna do an Australian accent

673
00:40:11,560 --> 00:40:15,040
Speaker 1: because it would hurt everyone's ears. Uh. If you want

674
00:40:15,040 --> 00:40:16,839
Speaker 1: to get in touch with us, like Liam did, you

675
00:40:16,880 --> 00:40:19,560
Speaker 1: can tweet to us. I'm at josh um Clark and

676
00:40:19,760 --> 00:40:22,879
Speaker 1: at s y s K podcast, Chuck's on Facebook dot

677
00:40:22,880 --> 00:40:25,319
Speaker 1: com slash Stuff you Should Know, and Charles W. Chuck

678
00:40:25,400 --> 00:40:28,000
Speaker 1: Bryant and you can send us an email to Stuff

679
00:40:28,040 --> 00:40:30,640
Speaker 1: Podcasts at how stuff works dot com, and it's always

680
00:40:30,719 --> 00:40:32,200
Speaker 1: hang out with us at her home on the web.

681
00:40:32,440 --> 00:40:39,200
Speaker 1: Stuff you Should Know dot com For more on this

682
00:40:39,320 --> 00:40:41,839
Speaker 1: and thousands of other topics. Does it How stuff works

683
00:40:41,880 --> 00:40:52,759
Speaker 1: dot com