WEBVTT - How Optical Illusions Work

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<v Speaker 1>Hey, March is tripod month, my friend, and you know

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<v Speaker 1>to be our show, just any podcast you like in

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<v Speaker 1>So get on board the dry pod train. Welcome to

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<v Speaker 1>stuff you should know from house stuff Works dot com. Hey,

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<v Speaker 1>and welcome to the podcast. I'm Josh Clark, This Charles W.

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<v Speaker 1>Chuck Bryant, and there is well Jerry just issappure Chuck

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<v Speaker 1>did she she did? Oh? There she's back. David copper

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<v Speaker 1>Fields in here with us as well. Today he made

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<v Speaker 1>the Statue of Liberty disappear. And now Jerry Jerry as

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<v Speaker 1>drawn by mc escher. Oh that's nice. How do you

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<v Speaker 1>feel about optical illusions? I feel I feel happy about

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<v Speaker 1>optical illusions. I'm not asking Josh from the third grade,

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<v Speaker 1>but I feel sad about articles on optical illusions in general.

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<v Speaker 1>It's a it's a really difficult thing to write about,

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<v Speaker 1>as we're about to demonstrate, it's an even more difficult

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<v Speaker 1>thing to talk about. Um. But it's just I think

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<v Speaker 1>the idea that every article has to inherently describe an

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<v Speaker 1>optical illusion and then basically follows that discrip o shin

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<v Speaker 1>up with and scientists don't really know what's going on.

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<v Speaker 1>Here's a couple of guesses that will be fully discredited

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<v Speaker 1>in twenty years. It's just dissatisfying. Yeah, I mean because

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<v Speaker 1>we were kind of we're the kind of dudes who

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<v Speaker 1>like concrete answers or at least like really solid hypotheses.

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<v Speaker 1>Some of these are flimsy to me. Yeah, So we

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<v Speaker 1>would encourage folks if you are listening at home or work,

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<v Speaker 1>because you can blow off work. Let's be honest, um, like,

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<v Speaker 1>look look up. Some of these will describe them as

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<v Speaker 1>best we can, and most of them you've probably seen

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<v Speaker 1>before because as you will learn, uh many many illusions

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<v Speaker 1>optical illusions were were drawn and conceived many years ago,

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<v Speaker 1>and I have just been sort of played upon over

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<v Speaker 1>the years in different ways. Right. Yeah, the nineteenth century was,

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<v Speaker 1>like the classics, the foundation of optical illusions, which not

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<v Speaker 1>coincidentally coincided with the foundation of psychology and brain research. Um,

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<v Speaker 1>and optical illusions were created to kind of test the

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<v Speaker 1>stuff or explore this stuff, right. But yeah, most of

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<v Speaker 1>the stuff today are just variations on these themes. Yeah. So,

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<v Speaker 1>like I was saying, if you're if you're able to

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<v Speaker 1>just you know, kind of just google this junk as

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<v Speaker 1>we say them, and you'll go, oh that thing and chuck. Actually,

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<v Speaker 1>there's a website called Michael Bach dot d E okay

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<v Speaker 1>might yeah, which is Deutscheland Germany in the English, but

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<v Speaker 1>it's h M I C H A E l B

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<v Speaker 1>A c H dot d E. And this guy just

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<v Speaker 1>listed he's got links to every optical illusion you could

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<v Speaker 1>possibly imagine. So that'd be a good place to go.

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<v Speaker 1>Just sit there and click on his site while we're

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<v Speaker 1>talking about these things. Yeah, and UM, what I found

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<v Speaker 1>is that I get um a bit of optical illusion

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<v Speaker 1>fatigue when I look at too many of these things

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<v Speaker 1>in a row. Oh, well that should be studied. Well,

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<v Speaker 1>I think that. I mean, we know so little about

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<v Speaker 1>optical illusions that that is, I mean, that's kind of groundbreaking. Well,

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<v Speaker 1>I don't mean fatigue is in like scientifically, I just

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<v Speaker 1>mean like I'm tired of looking at this junk. Oh,

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<v Speaker 1>I see what you mean. Yeah, it just bores me

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<v Speaker 1>after a bit. Plus a lot of require ugly color

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<v Speaker 1>combinations or un unpleasant color combinations. So I think that

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<v Speaker 1>probably contributes to it too. And we should do a

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<v Speaker 1>We don't talk a lot about Er in this one,

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<v Speaker 1>but we should. He deserves his own show. Sure, you

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<v Speaker 1>know Escher and Geiger. Maybe we'll do a combo show

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<v Speaker 1>with those two. Oh yeah, oh yeah, man, that guy's

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<v Speaker 1>brain is beautiful. Yeah. There's a lot of cultural icon

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<v Speaker 1>biographies that are floating out there. Mr Rogers and Dr SEUs.

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<v Speaker 1>I know we've talked about those. So maybe we'll go

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<v Speaker 1>on a kick. Okay, I'm ready for some kicking. Alright,

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<v Speaker 1>so we were Let's go back a little bit to

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<v Speaker 1>the history of thinking about or study optical illusions. Right,

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<v Speaker 1>As with most things in the West, the basis of

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<v Speaker 1>optical illusions of the first mention of optical illusions in

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<v Speaker 1>the literature comes from the Greeks and Aristotle in particular. Yeah.

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<v Speaker 1>He uh, he probably munched on some some some weird

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<v Speaker 1>route and stared at a waterfall for a little while

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<v Speaker 1>and he said, hey, dudes, if you stare at that

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<v Speaker 1>waterfall long enough, man, and then you quickly look at

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<v Speaker 1>that rock, it looks like the rock is moving, right,

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<v Speaker 1>and then the rocks like, AREM not moving? Aristotle? But

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<v Speaker 1>that actually has a name, correct, Yeah, it's called the

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<v Speaker 1>waterfall illusion appropriately or um, what's the other word for it,

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<v Speaker 1>the motion after effect. Yeah, that's what I was looking for.

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<v Speaker 1>This is this is like, if this is true the

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<v Speaker 1>explanation for it, then I'm just disappointed with our our

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<v Speaker 1>brains hit. The explanation is that when we're staring at

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<v Speaker 1>the waterfall, are neurons tracking the movement of the water

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<v Speaker 1>become tired out, exhausted, yeah, overwhelmed. So when we stopped

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<v Speaker 1>looking at it and they take a break, all the

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<v Speaker 1>other ones that weren't at work are suddenly working over

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<v Speaker 1>time and making things move that aren't actually moving right.

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<v Speaker 1>That's a stupid explanation. Uh, I don't know how buy that.

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<v Speaker 1>I mean, it makes sense but I think it's stupid,

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<v Speaker 1>it's boring, you know, just worn out neurons. Yeah, I'm

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<v Speaker 1>tired to sit down over here. Uh yeah. And then

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<v Speaker 1>there was, um, if we go forward a bit in

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<v Speaker 1>the nineteenth century, like you were talking about, there was

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<v Speaker 1>that that was when people got really sort of interested

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<v Speaker 1>in studying these things and what was going on in

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<v Speaker 1>the brain, because it's sort of coincided with um, studying

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<v Speaker 1>perception and how our eyes worked, and how our eyes

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<v Speaker 1>worked in relation to our brain. Right. And then I

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<v Speaker 1>guess what some of the earliest optical illusions kind of

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<v Speaker 1>proved though, was this longstanding idea that it are perception

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<v Speaker 1>of vision. Our visual experience was based in how the

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<v Speaker 1>eyes interpreted objects. And what these early optical illusions started

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<v Speaker 1>to prove was, no, it's actually the brain that's getting

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<v Speaker 1>messed up here. And some now we're starting to get

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<v Speaker 1>into here at this point, like some some theories that

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<v Speaker 1>that makes sense to me, that I think are cool.

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<v Speaker 1>But what these this early study started to reveal was

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<v Speaker 1>that the brain is extremely lazy and it likes to

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<v Speaker 1>take shortcuts. Right, Yeah, I thought, I thought this is

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<v Speaker 1>actually pretty interesting. Are you talking about the lag time?

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<v Speaker 1>The lag time, but also, yeah, there's there's plenty of

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<v Speaker 1>other stuff, but the lag time seems to me to

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<v Speaker 1>be like one specific slice of this the general tricks

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<v Speaker 1>of the trade that the brain uses to cut corners. Yeah,

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<v Speaker 1>and the lag time is basically, when you know, everything

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<v Speaker 1>seems to happen instantaneous when you when you look at something,

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<v Speaker 1>your eyeballs pick it up, the neurons start firing, and

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<v Speaker 1>the brain tells you, you know, that's a coffee cup.

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<v Speaker 1>But there's just the slightest little lag and the time

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<v Speaker 1>it takes for that to happen. And one of the

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<v Speaker 1>theories with optical illusions is the brain is trying to

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<v Speaker 1>predict and that slight, slight, slight. You know, I'm not

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<v Speaker 1>good with small uh. Units of time is nanosecond, Jordana, Yeah, Nana,

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<v Speaker 1>second is definitely sure, but I think we're talking tenth

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<v Speaker 1>of a second, Okay, So the brain basically tries to

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<v Speaker 1>predict what what is should come next based on what

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<v Speaker 1>we're used to seeing in real life. Is that a

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<v Speaker 1>good way to say it? Yeah? And the reason they

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<v Speaker 1>would do this is because a tenth of a second,

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<v Speaker 1>something can change, like a tiger can suddenly appear. Um,

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<v Speaker 1>so the brain is constantly looking clues in the environment

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<v Speaker 1>to to predict what what is that what a tenth

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<v Speaker 1>of a second in the future is going to be? Like, right,

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<v Speaker 1>I think things move slow enough for us humans that

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<v Speaker 1>it usually works pretty well. But what this researcher Mark

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<v Speaker 1>Changizi says is an optical illusion. Some of the optical

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<v Speaker 1>illusions are actually reliable ways to trick the brain into

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<v Speaker 1>making the wrong decision about what the future is gonna hold.

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<v Speaker 1>One of the ones that that classically falls into this

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<v Speaker 1>example is um what's the one that that he talks

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<v Speaker 1>about where it's the It's the one with the so

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<v Speaker 1>that you've got two parallel lines running horizontally, just you know,

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<v Speaker 1>separated by a little amount of space, and then in

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<v Speaker 1>the background there's radial lines all going toward a um

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<v Speaker 1>the point, the vanishing point on the horizon. Right. Yes,

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<v Speaker 1>I can't remember the name of this one, but the

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<v Speaker 1>the point that Changizi makes is that the radial lines,

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<v Speaker 1>lines that radiate from a center point our brains use

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<v Speaker 1>as a shortcut indicator of motion, the Herring illusion. Thank you.

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<v Speaker 1>So these radial lines that we see tell our brain, oh,

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<v Speaker 1>we're moving and we're moving towards this vanishing point in

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<v Speaker 1>the distance. So these these horizontal lines that are in

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<v Speaker 1>the foreground are actually appear to be bent in the center,

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<v Speaker 1>bent outward from one another very much. So, So what

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<v Speaker 1>Changizi saying is that the brain is predicting since it

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<v Speaker 1>thinks we're moving forward towards this point and then toward

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<v Speaker 1>these lines that as we get closer, they have to

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<v Speaker 1>bend to basically allow us to enter in another way.

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<v Speaker 1>But the thing is that they're they're not moving because

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<v Speaker 1>it's a static image, but it's the brain being tricked

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<v Speaker 1>into thinking we're moving forward, changing our perspective unnecessarily. Yeah,

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<v Speaker 1>because the brain is used to the way we move

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<v Speaker 1>forward in real life. I r L right for you

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<v Speaker 1>kids out there, and so you know, it's a lot

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<v Speaker 1>of this seemed like the brain almost kind of negotiating

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<v Speaker 1>with itself. Yeah, you know, yes, but I think part

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<v Speaker 1>of it so that lag time one makes sense, right.

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<v Speaker 1>Another one that makes sense to me as far as

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<v Speaker 1>why the brain makes shortcuts is that when when like

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<v Speaker 1>the physical world is in at least three dimensions that

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<v Speaker 1>we interact with it in, right, but our eyes are

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<v Speaker 1>giving us two dimensional representations that the brain then has

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<v Speaker 1>to reconstruct into three dimensions, and it's learned to take

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<v Speaker 1>all sorts of neat little um, it's neat little clues

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<v Speaker 1>to put together a pretty good prediction of what it's

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<v Speaker 1>looking at. Yeah, and and it can also flip flop

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<v Speaker 1>between different two different views like the is it the

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<v Speaker 1>Necker cube? I love it any c K E R.

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<v Speaker 1>And it's it's sort of that classic cube that you

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<v Speaker 1>learned to draw, the one that's slightly more advanced and

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<v Speaker 1>than the basic cube that you first learned to draw.

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<v Speaker 1>It's the second cube that you learned to draw right

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<v Speaker 1>on your your What was those things that you put

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<v Speaker 1>on your books and people? Oh, just like yeah, homemade

0:12:22.000 --> 0:12:25.960
<v Speaker 1>book covers, right exactly. Yeah, basically a brown grocery sack

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<v Speaker 1>is what I used. Yeah, same here. Uh that's because

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<v Speaker 1>we were poor. Well plus those those things held up

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<v Speaker 1>oh sure yeah. Um. So you look at the Necker

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<v Speaker 1>cube and um. The fun thing about the Necker cube

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<v Speaker 1>is you you look at it and your brain is

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<v Speaker 1>able to flip back and forth between the cube basically

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<v Speaker 1>having two different um uh positions? Is that the best

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<v Speaker 1>way to say it? I keep saying that, But you

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<v Speaker 1>know again, these things are kind of hard to describe. Well, yeah,

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<v Speaker 1>it's kind of like the cube is transparent and you

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<v Speaker 1>can see all corners of it. Yeah, so you're rain

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<v Speaker 1>is saying, Okay, is that corner close to me or

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<v Speaker 1>furthest away from me? It changes perspective. Yeah, and so

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<v Speaker 1>thanks to UM, to the wonder machine, we can put

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<v Speaker 1>people in these things and UM see the neurons responsible

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<v Speaker 1>for the different perspectives, uh, flipping back and forth depending

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<v Speaker 1>on how we're looking at it. Yeah, exactly. Pretty helpful

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<v Speaker 1>at this point because you had the nineteenth century where

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<v Speaker 1>they started to to suss out that the ideas that

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<v Speaker 1>the brain was responsible for this, it was the brain

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<v Speaker 1>messing up. And then not a lot happened in between

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<v Speaker 1>then and the two thousands when f M R I

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<v Speaker 1>came into UM widespread use. And then now we're starting

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<v Speaker 1>to see, yeah, this the a lot of these early

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<v Speaker 1>theories are actually correct because we can see the neurons

0:13:51.920 --> 0:13:54.640
<v Speaker 1>responsible for them. All Right, Well, let's take a little

0:13:54.640 --> 0:13:57.480
<v Speaker 1>break here and then we're gonna come back and talk

0:13:57.520 --> 0:14:00.320
<v Speaker 1>about the Herman illusion and what the Mr I said

0:14:00.320 --> 0:14:27.280
<v Speaker 1>about that one. Okay, so the Herman Herman I'm not

0:14:27.280 --> 0:14:30.160
<v Speaker 1>sure how to pronounce that H E R M A

0:14:30.400 --> 0:14:34.600
<v Speaker 1>N N. The Herman Grid conceived by Ludamore Herman in

0:14:35.840 --> 0:14:38.480
<v Speaker 1>you nailed this first first name? Oh yeah, Well, it's

0:14:38.520 --> 0:14:41.520
<v Speaker 1>it's one of those classic illusions that we've all seen

0:14:41.640 --> 0:14:44.400
<v Speaker 1>and it's really simple. It's just a black and white

0:14:44.440 --> 0:14:48.040
<v Speaker 1>grid of squares, and that's the one where if you're

0:14:48.040 --> 0:14:50.080
<v Speaker 1>just looking at it, it looks like there's these little

0:14:50.600 --> 0:14:55.440
<v Speaker 1>gray circles, little gray dots in between where these things intersect,

0:14:56.000 --> 0:14:58.280
<v Speaker 1>and there's really nothing there though, of course when you

0:14:58.280 --> 0:15:00.880
<v Speaker 1>focus on that, it goes away. Uh. And the m

0:15:01.000 --> 0:15:03.400
<v Speaker 1>R I showed that when you're looking at an illusion

0:15:03.440 --> 0:15:08.080
<v Speaker 1>like this and others like this, um the neurons are

0:15:08.080 --> 0:15:10.920
<v Speaker 1>competing with one another to see the light and the dark,

0:15:11.440 --> 0:15:15.640
<v Speaker 1>and basically one set of neurons wins out over the

0:15:15.680 --> 0:15:18.600
<v Speaker 1>other and then influences the message to the other. For

0:15:18.640 --> 0:15:21.480
<v Speaker 1>what you end up perceiving, right, fairly interesting and think

0:15:21.720 --> 0:15:23.760
<v Speaker 1>it is it is And this one kind of stands

0:15:23.800 --> 0:15:26.240
<v Speaker 1>on its owner in its own class, and that it's

0:15:26.280 --> 0:15:29.040
<v Speaker 1>not really the brain that's being duped. It's because of

0:15:29.040 --> 0:15:31.640
<v Speaker 1>the physiology of the eyes and the light receptors in

0:15:31.720 --> 0:15:35.160
<v Speaker 1>the eyes. Right, So there are arranged so that they

0:15:35.200 --> 0:15:40.280
<v Speaker 1>are they they sense distinction, like contrast between light and dark, right,

0:15:40.920 --> 0:15:44.240
<v Speaker 1>and if they're sensing both, they create this blob. There's

0:15:44.240 --> 0:15:49.280
<v Speaker 1>spill over where um, some receptors in a single cell

0:15:49.880 --> 0:15:52.720
<v Speaker 1>um are getting dark and some are getting light. When

0:15:52.760 --> 0:15:55.000
<v Speaker 1>you can create these blobs in the intersection, but then

0:15:55.040 --> 0:15:57.560
<v Speaker 1>when you focus your attention on the white part the

0:15:57.600 --> 0:16:02.239
<v Speaker 1>intersection between the black squares, you're using your phobio receptors,

0:16:02.240 --> 0:16:06.880
<v Speaker 1>which have far less inhibition or spill over um, so

0:16:06.920 --> 0:16:09.360
<v Speaker 1>that the gray blob disappears. In what you see is

0:16:09.360 --> 0:16:13.880
<v Speaker 1>is white. It's actually really I read probably like four

0:16:14.040 --> 0:16:17.800
<v Speaker 1>different explanations of it before it started to sink in. Yeah,

0:16:18.200 --> 0:16:22.040
<v Speaker 1>it's straightforward, but it's tough to explain. I think another word. Yeah,

0:16:22.120 --> 0:16:24.800
<v Speaker 1>and uh, I totally agree. Um. And one of the

0:16:24.800 --> 0:16:29.040
<v Speaker 1>reasons we know that these neurons are sort of individually

0:16:29.080 --> 0:16:33.520
<v Speaker 1>picking things up is because in these two dudes, David

0:16:33.600 --> 0:16:39.160
<v Speaker 1>Hubil and torched In Festal, great name, you're going to

0:16:39.240 --> 0:16:42.200
<v Speaker 1>say that, uh, in one they won the Nobel Prize

0:16:42.200 --> 0:16:46.240
<v Speaker 1>in Physiology or Medicine because they found out that there's

0:16:46.240 --> 0:16:50.000
<v Speaker 1>actually a process and how the brain uh picks of stuff.

0:16:50.080 --> 0:16:51.680
<v Speaker 1>Up and and what the I C s. And they

0:16:51.720 --> 0:16:55.800
<v Speaker 1>found that each neuron is actually responsible for one little part,

0:16:55.920 --> 0:16:59.760
<v Speaker 1>one little detail of that pattern uh in the retinal image.

0:16:59.760 --> 0:17:03.080
<v Speaker 1>And so that explains why these neurons can do get

0:17:03.080 --> 0:17:07.320
<v Speaker 1>out basically on what it's seen. Yeah. So, and it's

0:17:07.320 --> 0:17:11.120
<v Speaker 1>not just like uh, like neurons competing seeing light and dark.

0:17:11.240 --> 0:17:16.280
<v Speaker 1>It's it's from what I understand the the understanding of

0:17:16.280 --> 0:17:20.879
<v Speaker 1>our brain and vision is that an individual neuron is

0:17:20.920 --> 0:17:26.399
<v Speaker 1>responsible for, um, say a circle, It sees circles, and

0:17:26.440 --> 0:17:30.359
<v Speaker 1>it's transmitting any circular information to the brain. Another neuron

0:17:30.440 --> 0:17:33.439
<v Speaker 1>is responsible for seeing dark, another is responsible for seeing light,

0:17:33.440 --> 0:17:37.360
<v Speaker 1>another's responsible for seeing red, another is responsible for seeing texture,

0:17:37.760 --> 0:17:41.199
<v Speaker 1>and all of this sensory information, this visual information is

0:17:41.240 --> 0:17:44.320
<v Speaker 1>coming to the brain all at once, and these various

0:17:44.320 --> 0:17:48.480
<v Speaker 1>brain regions responsible for vision putting it together the best

0:17:48.520 --> 0:17:52.560
<v Speaker 1>way it can. You see a red ball. And there's

0:17:52.600 --> 0:17:55.159
<v Speaker 1>a lot of cues that the brain uses that just

0:17:55.280 --> 0:18:01.199
<v Speaker 1>fascinate me. For basically what's called monocular vision. Right, so

0:18:01.240 --> 0:18:03.920
<v Speaker 1>when you are using both of your eyes, especially when

0:18:03.960 --> 0:18:07.760
<v Speaker 1>something's up close, you're getting two separate pictures of the

0:18:07.800 --> 0:18:11.520
<v Speaker 1>same thing, and the differences between these pictures the brain

0:18:11.600 --> 0:18:14.560
<v Speaker 1>can use to easily translate it into three dimensions, right

0:18:14.600 --> 0:18:17.680
<v Speaker 1>to to to handle things like perspective and stuff like that.

0:18:18.000 --> 0:18:21.840
<v Speaker 1>But when something's further away, um, the brain has to

0:18:21.960 --> 0:18:25.280
<v Speaker 1>use other little tricks of the trade. Right. So you've

0:18:25.280 --> 0:18:27.719
<v Speaker 1>got things like inner position. That's a pretty straight up

0:18:27.760 --> 0:18:32.120
<v Speaker 1>one where if one objects in front of another object,

0:18:32.119 --> 0:18:36.199
<v Speaker 1>your brain says, well, the object that's behind is further away. Yeah.

0:18:36.280 --> 0:18:39.359
<v Speaker 1>Is that is that what explains like force perspective? Yes?

0:18:39.880 --> 0:18:44.480
<v Speaker 1>In art, Yes, right, I do like force perspective stuff

0:18:44.560 --> 0:18:46.679
<v Speaker 1>I do. It's kind of cool, it's neat stuff. I

0:18:46.680 --> 0:18:50.800
<v Speaker 1>guess that's that's probably part of the op art movement, right, Uh, yeah,

0:18:50.840 --> 0:18:52.800
<v Speaker 1>when it was at like sixties and seventies. Yeah, it

0:18:52.840 --> 0:18:55.280
<v Speaker 1>seems like yeah. And then you know, kind of coincided

0:18:55.320 --> 0:18:59.800
<v Speaker 1>with drugs, right, not surprisingly. And then there's another one

0:18:59.800 --> 0:19:03.119
<v Speaker 1>that I hadn't heard of, called atmospheric perspective. Had you

0:19:03.160 --> 0:19:07.800
<v Speaker 1>heard of that one? I had not. So. Atmospheric perspective is, um,

0:19:07.840 --> 0:19:10.840
<v Speaker 1>it's basically the dust, particles in the water, vapor in

0:19:10.840 --> 0:19:13.480
<v Speaker 1>the air. The further something is a way, the more

0:19:13.520 --> 0:19:15.920
<v Speaker 1>of an effect those things have on the detail you see.

0:19:15.920 --> 0:19:19.200
<v Speaker 1>If it so your brain says, well, that's a little blurry. Uh,

0:19:19.240 --> 0:19:22.880
<v Speaker 1>that's that's a far away object. And then there's there's

0:19:22.920 --> 0:19:26.560
<v Speaker 1>plenty of other ones, but the gold standard is um

0:19:27.080 --> 0:19:31.480
<v Speaker 1>is object size. Right, that's where you um, you know

0:19:32.080 --> 0:19:34.680
<v Speaker 1>that roughly the size of an object, and you can

0:19:34.760 --> 0:19:37.400
<v Speaker 1>use it to compare to see whether it's it's far

0:19:37.480 --> 0:19:40.440
<v Speaker 1>away or close, depending on whether it's small or large,

0:19:40.600 --> 0:19:42.679
<v Speaker 1>or if you don't know the size of an object,

0:19:42.720 --> 0:19:45.240
<v Speaker 1>but you know two objects are identical and one is

0:19:45.280 --> 0:19:47.479
<v Speaker 1>smaller than the other, well, then you know the smaller

0:19:47.520 --> 0:19:49.720
<v Speaker 1>one is further away. So the brain is like constantly

0:19:49.840 --> 0:19:52.960
<v Speaker 1>using all of these little cues and tricks to put

0:19:53.000 --> 0:19:56.359
<v Speaker 1>together a conception of what it's seeing at any given

0:19:56.400 --> 0:20:00.400
<v Speaker 1>point in time. And then what what um optical allusions

0:20:00.440 --> 0:20:03.919
<v Speaker 1>are are Again these things you can produce to to

0:20:04.040 --> 0:20:07.479
<v Speaker 1>reliably trick the brain into making these wrong decisions. That

0:20:07.480 --> 0:20:12.119
<v Speaker 1>that shows its hand. It reveals how the brain functions

0:20:12.200 --> 0:20:14.840
<v Speaker 1>to take these shortcuts and the tricks that uses. Right,

0:20:14.920 --> 0:20:17.320
<v Speaker 1>Like a brain you think you're so smart, you're really dumb.

0:20:18.240 --> 0:20:22.120
<v Speaker 1>Look at this, and the brain says, oh, stop looking,

0:20:22.280 --> 0:20:26.959
<v Speaker 1>stop looking at those things, look at normal things. Um

0:20:27.040 --> 0:20:30.480
<v Speaker 1>kind of like sorry, I kind of like the apparent

0:20:30.560 --> 0:20:34.119
<v Speaker 1>motion ones, although I can't look at a lot of them. Um,

0:20:34.160 --> 0:20:38.200
<v Speaker 1>those are the ones where something is drawn in such

0:20:38.200 --> 0:20:40.000
<v Speaker 1>a way that it looks like it's moving when it's

0:20:40.040 --> 0:20:43.720
<v Speaker 1>not right. The very famous snake illusion is a great example.

0:20:44.440 --> 0:20:47.160
<v Speaker 1>And you know, this is another one of those theories

0:20:47.200 --> 0:20:49.679
<v Speaker 1>that to me is a little weak. But one of

0:20:49.720 --> 0:20:54.359
<v Speaker 1>the theories is that, um, they're these almost like unnoticeable

0:20:54.640 --> 0:20:57.240
<v Speaker 1>rapid eye movements that we make. Uh how do you

0:20:57.280 --> 0:21:02.800
<v Speaker 1>pronounce that? Yeah, no, s A C C A D

0:21:02.960 --> 0:21:05.760
<v Speaker 1>E s YEA CICADs the cads. I think you could

0:21:05.760 --> 0:21:07.679
<v Speaker 1>probably get away with either one. All right, Well that's

0:21:07.720 --> 0:21:10.399
<v Speaker 1>what they're called. And uh, it's it's like Pruett Taylor

0:21:10.480 --> 0:21:15.240
<v Speaker 1>Vince syndrome. You remember him. Yeah, he's a great actor,

0:21:15.400 --> 0:21:19.000
<v Speaker 1>Yeah he is. Um, so those little movements he usually

0:21:19.000 --> 0:21:21.800
<v Speaker 1>get smoothed out by the brain, so we you know,

0:21:21.920 --> 0:21:25.200
<v Speaker 1>get like a static picture. But um, what it's causing

0:21:25.240 --> 0:21:27.840
<v Speaker 1>in this case is perceiving motion where there was no motion.

0:21:28.680 --> 0:21:30.760
<v Speaker 1>And then the other theory on this one for apparent

0:21:30.840 --> 0:21:34.520
<v Speaker 1>motion illusions is there's just so much information going on

0:21:35.320 --> 0:21:40.160
<v Speaker 1>that uh, you know, there's just confusion. Right. I saw

0:21:40.240 --> 0:21:44.159
<v Speaker 1>one that actually combined the two that that's basically said, Um,

0:21:44.280 --> 0:21:49.439
<v Speaker 1>the the CICADs are creating the illusion of motion, but

0:21:49.640 --> 0:21:52.560
<v Speaker 1>what they're really doing is because the brain is being

0:21:52.640 --> 0:21:55.719
<v Speaker 1>hit with all this visual information that is just totally

0:21:55.760 --> 0:21:59.520
<v Speaker 1>doesn't make sense that we never never happen in nature

0:21:59.560 --> 0:22:03.720
<v Speaker 1>except maybe in motion. That these CICADs actually each time

0:22:03.800 --> 0:22:07.960
<v Speaker 1>your eye makes this tiny movement, it refreshes this overwhelming

0:22:08.640 --> 0:22:13.600
<v Speaker 1>um overload of information onto the brain, which creates the

0:22:13.720 --> 0:22:17.960
<v Speaker 1>sensation of movement. Oh yeah, pretty cool. Well, one of

0:22:18.000 --> 0:22:20.800
<v Speaker 1>the cool aspects of all of this to me is

0:22:21.160 --> 0:22:25.080
<v Speaker 1>um is the fact that once you've once you've seen

0:22:25.760 --> 0:22:30.280
<v Speaker 1>the illusion and the trick to it, you can't undo that, right,

0:22:30.400 --> 0:22:32.720
<v Speaker 1>So the brain is like a, ha, you know, I

0:22:32.840 --> 0:22:35.960
<v Speaker 1>got this one, like you know, the famous one, the

0:22:35.960 --> 0:22:39.320
<v Speaker 1>old lady or the or the young woman, the black

0:22:39.359 --> 0:22:42.560
<v Speaker 1>and white. It's a you know, classic illusion. And once

0:22:42.640 --> 0:22:44.560
<v Speaker 1>you you know, you can stare at and be like,

0:22:44.640 --> 0:22:46.400
<v Speaker 1>I just see the young lady or I just see

0:22:46.440 --> 0:22:49.879
<v Speaker 1>the old lady. Once you've seen both, then your brain

0:22:50.000 --> 0:22:52.200
<v Speaker 1>has like I said, it says ah, and it files

0:22:52.240 --> 0:22:55.320
<v Speaker 1>that away as prior knowledge and a little folder in

0:22:55.359 --> 0:22:58.239
<v Speaker 1>the brain and you can't undo that. So once you've

0:22:58.280 --> 0:23:00.199
<v Speaker 1>seen it, and you've seen the trick. You can aways

0:23:00.240 --> 0:23:02.199
<v Speaker 1>look at it and kind of make that flip in

0:23:02.240 --> 0:23:05.160
<v Speaker 1>your mind, right exactly. And it's the same thing too

0:23:05.200 --> 0:23:08.960
<v Speaker 1>with them contour less figures. Where is it a wine

0:23:09.000 --> 0:23:12.479
<v Speaker 1>goblet or is it two people's faces facing one another?

0:23:12.560 --> 0:23:15.720
<v Speaker 1>Kind of thing? Right? Oh yeah, yeah, yeah, you know

0:23:15.880 --> 0:23:18.560
<v Speaker 1>the negative space. Yeah, And apparently the trick to those

0:23:18.760 --> 0:23:22.199
<v Speaker 1>is you focus on the black or the white and

0:23:22.240 --> 0:23:24.960
<v Speaker 1>you see whichever one appears to be in the foreground,

0:23:25.040 --> 0:23:28.679
<v Speaker 1>because what your brain is doing is saying, um, I

0:23:28.760 --> 0:23:30.600
<v Speaker 1>need a foreground and I need a background, and then

0:23:30.640 --> 0:23:33.480
<v Speaker 1>I've got something to work with, and depending on what

0:23:33.520 --> 0:23:36.399
<v Speaker 1>it's which one it's looking at, it decides this is

0:23:36.440 --> 0:23:38.480
<v Speaker 1>the foreground or this is the background. So it's either

0:23:38.520 --> 0:23:40.960
<v Speaker 1>a wine goblet in the foreground or it's two people's

0:23:41.000 --> 0:23:43.560
<v Speaker 1>faces in the foreground. You know, I wonder if this

0:23:43.680 --> 0:23:46.120
<v Speaker 1>stuff if they know anything about because they didn't see

0:23:46.119 --> 0:23:49.160
<v Speaker 1>anything in the research, but if they know anything that

0:23:49.160 --> 0:23:54.280
<v Speaker 1>that this is like a brain exercise and helps you out,

0:23:55.080 --> 0:23:58.600
<v Speaker 1>like you know, playing suduco or doing word puzzles, or

0:23:58.640 --> 0:24:02.720
<v Speaker 1>if the brain is like stop looking at these, you know,

0:24:03.280 --> 0:24:06.399
<v Speaker 1>I don't like this I can't take anymore, you know,

0:24:06.600 --> 0:24:08.719
<v Speaker 1>or you know, like literally maybe, or if it causes

0:24:08.760 --> 0:24:12.199
<v Speaker 1>stress on the brain by by taxing it in a

0:24:12.200 --> 0:24:15.280
<v Speaker 1>way that it is not accustomed to or doesn't say

0:24:15.240 --> 0:24:17.520
<v Speaker 1>it doesn't like. Obviously the brain doesn't have a you know,

0:24:17.960 --> 0:24:21.600
<v Speaker 1>it's not a little person, but you know what I'm saying. Yeah, no,

0:24:21.680 --> 0:24:24.400
<v Speaker 1>I know what you mean. But the brain, even if

0:24:24.400 --> 0:24:28.240
<v Speaker 1>it's not a little person, it could still not like things. Right,

0:24:28.760 --> 0:24:31.120
<v Speaker 1>So let's take another break and then, um, I want

0:24:31.119 --> 0:24:33.959
<v Speaker 1>to tell everybody what my favorite optical illusion of all

0:24:34.040 --> 0:24:59.640
<v Speaker 1>time is. Alright, chuck, Yeah, I'm ready. Well there's two

0:24:59.760 --> 0:25:03.719
<v Speaker 1>one I like slightly less than the other. Okay, so

0:25:03.840 --> 0:25:06.960
<v Speaker 1>start with the second place one. Okay, I knew you

0:25:06.960 --> 0:25:08.760
<v Speaker 1>were gonna say that. I think that's a great way

0:25:08.800 --> 0:25:11.880
<v Speaker 1>to do it too. So you've got um, I don't

0:25:11.880 --> 0:25:13.720
<v Speaker 1>know the name of it. I'm sure there is a name,

0:25:13.760 --> 0:25:17.159
<v Speaker 1>but actually I think it's the contour less figure as well.

0:25:17.680 --> 0:25:21.560
<v Speaker 1>You take three circles, and you cut a pie slice

0:25:21.560 --> 0:25:24.159
<v Speaker 1>out of all of them, like a pac man, and

0:25:24.280 --> 0:25:27.800
<v Speaker 1>you orient those pie slices so that each one forms

0:25:27.840 --> 0:25:30.800
<v Speaker 1>what appears to be the corner of a coherent square,

0:25:31.840 --> 0:25:33.240
<v Speaker 1>and you look at it, and you're like, well, there's

0:25:33.240 --> 0:25:37.200
<v Speaker 1>a square right there with some that's overlaying four circles.

0:25:37.240 --> 0:25:38.960
<v Speaker 1>But if you stop and think about it, there's no

0:25:39.080 --> 0:25:43.720
<v Speaker 1>line whatsoever that that makes that square. It's your brain

0:25:44.160 --> 0:25:50.120
<v Speaker 1>exclusively filling in some suggestible information to say, well, there's

0:25:50.119 --> 0:25:52.960
<v Speaker 1>a square over a field of four circles. It's pretty

0:25:53.000 --> 0:25:55.920
<v Speaker 1>neat to me. I like that one. Uh so what's

0:25:56.080 --> 0:26:03.720
<v Speaker 1>what's number one? Um? Yeah, it's called the Addleston checkerboard. Okay,

0:26:04.200 --> 0:26:06.600
<v Speaker 1>surely you've seen this one, right, So I'm looking it

0:26:06.680 --> 0:26:08.800
<v Speaker 1>up as we speak. It's from the nineties. There was

0:26:08.880 --> 0:26:13.719
<v Speaker 1>an M I. T Vision researcher named Edward Addolson and um,

0:26:13.760 --> 0:26:17.359
<v Speaker 1>he created this checkerboard where on the checkerboard there's you know,

0:26:17.520 --> 0:26:20.560
<v Speaker 1>dark and light squares like a normal checkerboard, and then

0:26:20.600 --> 0:26:23.639
<v Speaker 1>there's like I think, a cylinder on the checkerboard and

0:26:23.680 --> 0:26:28.200
<v Speaker 1>it's casting a shadow. And so um, he says, look

0:26:28.240 --> 0:26:32.800
<v Speaker 1>at this white square and then look at this black square, um,

0:26:32.840 --> 0:26:35.240
<v Speaker 1>which is lighter, which is darker. And you say, well,

0:26:35.280 --> 0:26:39.320
<v Speaker 1>that's easy. The darker square, figure B say, is obviously

0:26:39.440 --> 0:26:43.440
<v Speaker 1>darker than figure A. And he says that's wrong, that's

0:26:43.480 --> 0:26:46.520
<v Speaker 1>absolutely wrong. Figuring and figure B are exactly the same

0:26:46.600 --> 0:26:49.800
<v Speaker 1>color and shade. Um, I'm looking at it. I've seen

0:26:49.800 --> 0:26:53.240
<v Speaker 1>that one for sure. The whole thing. Um, it really

0:26:53.280 --> 0:26:56.399
<v Speaker 1>really works because it takes it takes advantage of two

0:26:56.440 --> 0:26:59.840
<v Speaker 1>different um tricks that you can play on the brain,

0:27:00.320 --> 0:27:03.359
<v Speaker 1>or it takes advantage of two different shortcuts the brain makes. Right.

0:27:03.440 --> 0:27:07.200
<v Speaker 1>One is that cylinder is casting a shadow, that's putting

0:27:07.440 --> 0:27:12.200
<v Speaker 1>appears to be putting Figure A into um well into

0:27:12.200 --> 0:27:16.840
<v Speaker 1>a shadow. Right, So your brain automatically makes assumptions that

0:27:16.920 --> 0:27:20.800
<v Speaker 1>if something is in a shadow, it would normally be lighter,

0:27:21.680 --> 0:27:24.159
<v Speaker 1>which is in this case an incorrect assumption. It's actually

0:27:24.200 --> 0:27:27.560
<v Speaker 1>the same shade as the other one. And then the

0:27:27.600 --> 0:27:31.000
<v Speaker 1>other assumption that's making is that because that square is

0:27:31.040 --> 0:27:36.040
<v Speaker 1>surrounded by um squares of a darker color, uh, and

0:27:36.240 --> 0:27:38.480
<v Speaker 1>it seems and it's in a shadow, it seems to

0:27:38.520 --> 0:27:41.879
<v Speaker 1>contrast it where the other figure figure B is a

0:27:42.000 --> 0:27:45.040
<v Speaker 1>dark square surrounded by light. Uh, it seems to be

0:27:45.560 --> 0:27:49.760
<v Speaker 1>darker because of the it's surrounded, because the context of

0:27:49.760 --> 0:27:52.800
<v Speaker 1>the squares that it's surrounded by. So your brain is

0:27:52.880 --> 0:27:55.320
<v Speaker 1>using two different things, the presence of a shadow and

0:27:55.359 --> 0:27:59.800
<v Speaker 1>then the context where if something is surrounded by lighter stuff,

0:27:59.840 --> 0:28:02.480
<v Speaker 1>it seems darker. If something surrounded by darker stuff, it

0:28:02.520 --> 0:28:06.640
<v Speaker 1>seems lighter. UM. And that's just not always the case, obviously,

0:28:06.640 --> 0:28:09.920
<v Speaker 1>because Edward Adolson proved it's not. So you want to

0:28:09.920 --> 0:28:16.240
<v Speaker 1>know My favorite the classic Ebbing House illusion E B

0:28:16.320 --> 0:28:19.320
<v Speaker 1>B I N G H A U s uh. This

0:28:19.359 --> 0:28:22.400
<v Speaker 1>one is sort of similar, but it's not so much

0:28:22.400 --> 0:28:25.760
<v Speaker 1>about color, but it uses adjacent objects and a lot

0:28:25.760 --> 0:28:29.399
<v Speaker 1>of these do too. They use other things surrounding something

0:28:29.440 --> 0:28:32.320
<v Speaker 1>to trick your brain. Uh. And in this case, it's

0:28:32.400 --> 0:28:35.920
<v Speaker 1>it's the classic one. Go look it up. It's the UM.

0:28:36.000 --> 0:28:40.160
<v Speaker 1>You have two orange dots. One on the left, let's say, uh,

0:28:40.360 --> 0:28:44.960
<v Speaker 1>is surrounded by six larger gray dots, and the other

0:28:44.960 --> 0:28:47.640
<v Speaker 1>one on the right is surrounded by eight smaller dots.

0:28:47.720 --> 0:28:50.160
<v Speaker 1>It's very simple, that's why I love it. And the

0:28:50.200 --> 0:28:53.360
<v Speaker 1>orange dots are the same size, but they look completely

0:28:53.400 --> 0:28:59.000
<v Speaker 1>different sizes, and it's just it's so simple. And I

0:28:59.040 --> 0:29:01.600
<v Speaker 1>think this is one of the one is that UM

0:29:01.640 --> 0:29:04.120
<v Speaker 1>and too they have this contest every year, I think

0:29:04.160 --> 0:29:06.280
<v Speaker 1>for like, I don't know, it's been going on for

0:29:06.960 --> 0:29:10.240
<v Speaker 1>at least ten or twelve years, right, uh for new

0:29:10.280 --> 0:29:12.720
<v Speaker 1>illusions and like we said earlier. You know, a lot

0:29:12.760 --> 0:29:15.280
<v Speaker 1>of these new illusions are still just sort of riffs

0:29:15.280 --> 0:29:18.080
<v Speaker 1>on the classics. Um. But the one that won a

0:29:18.080 --> 0:29:22.280
<v Speaker 1>couple of years ago was a new version of the

0:29:22.280 --> 0:29:25.240
<v Speaker 1>ebbing House illusion where um, it's actually a video that

0:29:25.240 --> 0:29:28.960
<v Speaker 1>you have to play, so it moves. Um that the

0:29:29.000 --> 0:29:33.920
<v Speaker 1>outer dots they it looks like at pulsates and uh,

0:29:33.920 --> 0:29:37.000
<v Speaker 1>well it is pulsating. They get bigger and smaller, and

0:29:37.160 --> 0:29:39.080
<v Speaker 1>the orange dots stays the same, but it looks like

0:29:39.120 --> 0:29:42.960
<v Speaker 1>it's shrinking and expanding, right, So it's kind of cool.

0:29:43.040 --> 0:29:45.120
<v Speaker 1>It's just to just to play on the ebbing House illusion.

0:29:46.280 --> 0:29:48.680
<v Speaker 1>But that's that's what we were saying earlier too. It's

0:29:48.720 --> 0:29:50.720
<v Speaker 1>like it's almost like they invented all of them in

0:29:50.760 --> 0:29:52.960
<v Speaker 1>the nineteenth century and then now we're just able to

0:29:53.000 --> 0:29:57.280
<v Speaker 1>perfect him a little more. Yeah, pretty cool. Another thing

0:29:57.280 --> 0:30:01.040
<v Speaker 1>I thought was really neat was that there's this biological

0:30:01.080 --> 0:30:05.240
<v Speaker 1>basis that is the same for everyone on planet Earth, obviously,

0:30:05.760 --> 0:30:10.440
<v Speaker 1>but they did find there some across different cultures that

0:30:11.000 --> 0:30:14.640
<v Speaker 1>they didn't take the same visual cues necessarily. And the

0:30:14.760 --> 0:30:20.360
<v Speaker 1>classic Mula Layah illusion that everyone has seen, and that's

0:30:20.400 --> 0:30:25.840
<v Speaker 1>just the really simple one of two straight lines, horizontal lines, uh,

0:30:25.880 --> 0:30:28.880
<v Speaker 1>and they have arrows on the ends. On one of them,

0:30:28.880 --> 0:30:31.280
<v Speaker 1>the arrows are pointing out. On the other the arrows

0:30:31.280 --> 0:30:34.320
<v Speaker 1>are pointing in. And those two horizontal lines appear to

0:30:34.360 --> 0:30:36.880
<v Speaker 1>be different links. And so they did a study in

0:30:36.880 --> 0:30:39.320
<v Speaker 1>South Africa and they found that most of the European

0:30:39.840 --> 0:30:43.320
<v Speaker 1>South Africans thought, yeah, like, look at them, they're different links.

0:30:43.800 --> 0:30:45.880
<v Speaker 1>Then they showed it to like, you know, the bushmen

0:30:45.920 --> 0:30:50.920
<v Speaker 1>of South Africa, and they're like, no, dummies, they're the

0:30:50.960 --> 0:30:53.600
<v Speaker 1>same weak can't you see that? And the researchers are

0:30:53.640 --> 0:30:57.320
<v Speaker 1>like what yeah, and they really, I mean, they had

0:30:57.360 --> 0:31:00.040
<v Speaker 1>some theories about it. Uh. That kind of makes and

0:31:00.120 --> 0:31:02.960
<v Speaker 1>so that Western societies may be a little more used

0:31:03.000 --> 0:31:05.360
<v Speaker 1>to these things that are built in straight lines and

0:31:05.360 --> 0:31:09.040
<v Speaker 1>a little more geometrical, where the other culture might be

0:31:09.120 --> 0:31:12.040
<v Speaker 1>like just more attuned to nature where there aren't so

0:31:12.040 --> 0:31:15.520
<v Speaker 1>many straight lines. Right. And because the explanation for the

0:31:16.000 --> 0:31:20.400
<v Speaker 1>what was it, the Meyer the mula, the Mueller liar effect,

0:31:20.920 --> 0:31:24.840
<v Speaker 1>or optical illusion is that depending on which way the

0:31:25.240 --> 0:31:27.600
<v Speaker 1>arrow was pointing, whether at the at the end of

0:31:27.640 --> 0:31:31.120
<v Speaker 1>the line or away from the line um, the brain

0:31:31.320 --> 0:31:34.719
<v Speaker 1>is used to seeing corners right. Two walls coming together

0:31:34.760 --> 0:31:37.880
<v Speaker 1>at a ceiling make that that same kind of arrow,

0:31:38.320 --> 0:31:41.360
<v Speaker 1>and one that's pointing away means the point of it

0:31:41.400 --> 0:31:43.840
<v Speaker 1>is further away, so it would make the line look longer,

0:31:43.960 --> 0:31:46.600
<v Speaker 1>whereas one that's pointing inward would make it look like

0:31:46.640 --> 0:31:49.640
<v Speaker 1>the corners closest to us, right, so it would seem

0:31:49.720 --> 0:31:53.880
<v Speaker 1>like the line is shorter. But but the explanation was that, well, bushman,

0:31:54.120 --> 0:31:56.479
<v Speaker 1>have never seen two walls come together at the ceiling,

0:31:56.560 --> 0:31:58.880
<v Speaker 1>so that's why it didn't happen to them. But the

0:31:58.880 --> 0:32:02.440
<v Speaker 1>thing that just proved that is that, um, they trained

0:32:03.080 --> 0:32:06.800
<v Speaker 1>UH computer to to look at this stuff, and they

0:32:06.840 --> 0:32:09.840
<v Speaker 1>didn't train it on three dimensional objects, so it wasn't

0:32:09.880 --> 0:32:12.480
<v Speaker 1>familiar with walls coming together with the ceiling, and it

0:32:12.520 --> 0:32:14.480
<v Speaker 1>was fooled by it as well. So they were like, well,

0:32:14.520 --> 0:32:17.200
<v Speaker 1>we we have no idea. What's going on? Then, bushman

0:32:17.320 --> 0:32:20.760
<v Speaker 1>or magic is what they said. I wonder why so

0:32:20.840 --> 0:32:26.520
<v Speaker 1>many of these UH illusion UH enthusiasts seemed to be

0:32:27.440 --> 0:32:31.120
<v Speaker 1>like German and Austrian. I think I had to do.

0:32:31.440 --> 0:32:37.480
<v Speaker 1>That was where the UH largely where psychology took off. Yeah,

0:32:37.520 --> 0:32:39.480
<v Speaker 1>I guess that makes sense. I guess Escher was Dutch

0:32:40.040 --> 0:32:43.920
<v Speaker 1>buzzy but um, yeah, it seems like a lot of

0:32:43.920 --> 0:32:47.440
<v Speaker 1>these are like German and Austrian. Yeah. I think it

0:32:47.440 --> 0:32:50.760
<v Speaker 1>has to do with that was where the hot seat

0:32:50.920 --> 0:32:54.640
<v Speaker 1>of psychology and brain research was at the time. Interesting,

0:32:55.720 --> 0:32:58.400
<v Speaker 1>h you got anything else? Actually I do have one more.

0:32:58.480 --> 0:33:02.280
<v Speaker 1>There was um a guy named Hermann von helm Holtz.

0:33:02.600 --> 0:33:06.360
<v Speaker 1>Oh he wasn't German, right, No, nice Irish guy who's

0:33:06.400 --> 0:33:12.360
<v Speaker 1>from Indiana. Von Helmholtz came up with these um squares

0:33:12.560 --> 0:33:15.960
<v Speaker 1>right that are not Actually they don't have confining lines

0:33:16.040 --> 0:33:20.400
<v Speaker 1>or defining lines. They're just equal lines of squares or

0:33:20.560 --> 0:33:24.280
<v Speaker 1>lines lines equally apart that formed to the brain a square.

0:33:24.960 --> 0:33:30.360
<v Speaker 1>But ones that are horizontal seems smaller and shorter than

0:33:30.560 --> 0:33:35.560
<v Speaker 1>ones that are vertical, which is weird because if you

0:33:35.720 --> 0:33:38.680
<v Speaker 1>are wearing like a horizontally striped shirt, everybody's like, you

0:33:38.720 --> 0:33:42.440
<v Speaker 1>look fat in that shirt. Well, von Helmholtz, you don't.

0:33:42.760 --> 0:33:46.120
<v Speaker 1>You should actually look slimmer, which surprised me. So I

0:33:46.160 --> 0:33:49.200
<v Speaker 1>started wearing horizontal stripes as a result. You got your

0:33:49.280 --> 0:33:52.960
<v Speaker 1>Charlie brown shirt out. Yeah, because that was sort of

0:33:52.960 --> 0:33:54.680
<v Speaker 1>the old I don't know if it's true or not,

0:33:54.720 --> 0:33:57.040
<v Speaker 1>but they said that the New York Yankees designed their

0:33:57.080 --> 0:34:00.240
<v Speaker 1>pin stripes to make Babe Ruth look thinner. I could

0:34:00.240 --> 0:34:01.920
<v Speaker 1>totally buy that, but I don't know if that's true.

0:34:01.960 --> 0:34:04.120
<v Speaker 1>I thought they had been stripes before then. But Babe

0:34:04.160 --> 0:34:06.239
<v Speaker 1>Ruth was eating a steak while they were fitting him

0:34:06.280 --> 0:34:08.440
<v Speaker 1>for and he said, thanks for thinking of me. But

0:34:08.520 --> 0:34:10.560
<v Speaker 1>he wasn't even using silver. Is he eating it with

0:34:10.640 --> 0:34:14.840
<v Speaker 1>his hand? Yeah? And he also, um uh, blended a

0:34:14.840 --> 0:34:17.239
<v Speaker 1>steak into a milkshake and drank that along with his

0:34:17.560 --> 0:34:20.359
<v Speaker 1>regular steak, right, And he didn't take a cigar out

0:34:20.360 --> 0:34:22.120
<v Speaker 1>while he drank it. He just put that in the

0:34:22.160 --> 0:34:24.800
<v Speaker 1>corner of his mouth. Yeah, And it's after dinner cognac.

0:34:25.840 --> 0:34:28.400
<v Speaker 1>That's why we love Babe Ruth. Ye, you know what,

0:34:28.440 --> 0:34:29.920
<v Speaker 1>we didn't get into it all. And I don't know

0:34:30.680 --> 0:34:32.680
<v Speaker 1>if they even count as illusions or if there's something

0:34:32.680 --> 0:34:34.640
<v Speaker 1>else or those and they were a boy, they were

0:34:34.680 --> 0:34:37.600
<v Speaker 1>all the rage and the early nineties I feel like

0:34:37.640 --> 0:34:41.600
<v Speaker 1>were those um magic I yeah, where you stare at

0:34:41.600 --> 0:34:43.920
<v Speaker 1>the thing and all of a sudden a ship pops

0:34:43.960 --> 0:34:47.160
<v Speaker 1>out at you. If you're you know, lucky enough to

0:34:47.160 --> 0:34:48.239
<v Speaker 1>be able to see it. I know a lot of

0:34:48.239 --> 0:34:50.719
<v Speaker 1>people that would just endlessly not be able to see him,

0:34:50.760 --> 0:34:52.719
<v Speaker 1>and it would frustrate them to no end. I think,

0:34:52.760 --> 0:34:56.320
<v Speaker 1>if I remember correctly, they advised that you stare into

0:34:56.360 --> 0:35:00.279
<v Speaker 1>the middle ground. Yeah, and sort of like unFocus your eyes. Yeah,

0:35:00.320 --> 0:35:03.120
<v Speaker 1>I was looking those up. Um. There's a Mental Floss

0:35:03.320 --> 0:35:06.560
<v Speaker 1>article on it that was pretty brief and it made sense.

0:35:06.600 --> 0:35:10.319
<v Speaker 1>I think they were machine vision learning researchers who were like, hey,

0:35:10.360 --> 0:35:12.640
<v Speaker 1>let's make some money on the side if they start

0:35:12.640 --> 0:35:15.600
<v Speaker 1>with like a depth map of something and put it

0:35:15.600 --> 0:35:18.600
<v Speaker 1>in gray scale. And I think they make two of them,

0:35:18.880 --> 0:35:22.719
<v Speaker 1>so your eyes are getting the two different versions of it,

0:35:22.760 --> 0:35:25.160
<v Speaker 1>but one smaller than the other, so it really makes

0:35:25.160 --> 0:35:28.320
<v Speaker 1>it pop as far as depth goes. And then somehow

0:35:28.360 --> 0:35:34.279
<v Speaker 1>the random repeating pattern that overlays it transmits that information

0:35:34.320 --> 0:35:38.279
<v Speaker 1>to your brain unconsciously. Well, so you did look it up,

0:35:38.320 --> 0:35:41.160
<v Speaker 1>then I did. I don't know if I got it

0:35:41.239 --> 0:35:44.319
<v Speaker 1>fully right because it's it's actually kind of complex, but

0:35:44.440 --> 0:35:46.200
<v Speaker 1>I thought they did a pretty good I would describe me.

0:35:46.320 --> 0:35:50.360
<v Speaker 1>Could you see those? Yeah? Sometimes sometimes Yeah, I always

0:35:50.400 --> 0:35:52.200
<v Speaker 1>could see them. And that's another one of those where

0:35:52.200 --> 0:35:55.600
<v Speaker 1>once you see it you can just immediately like draw

0:35:55.640 --> 0:35:58.680
<v Speaker 1>it out. Um. And of course that's there's the one

0:35:59.600 --> 0:36:03.919
<v Speaker 1>Ethan's supply and mall Rats sort of the one joke

0:36:04.000 --> 0:36:05.640
<v Speaker 1>through that movie. It was he just stares at this

0:36:05.680 --> 0:36:08.160
<v Speaker 1>thing like through the whole movie and he couldn't see it.

0:36:08.200 --> 0:36:10.879
<v Speaker 1>I couldn't see it, poor guy. What a great joke,

0:36:11.280 --> 0:36:13.680
<v Speaker 1>you know, speaking of that something that's always bothered me.

0:36:14.040 --> 0:36:16.840
<v Speaker 1>Stephen King said, and one of his books or something

0:36:16.880 --> 0:36:19.360
<v Speaker 1>like that, he was talking about how you can't unsee something.

0:36:19.480 --> 0:36:21.920
<v Speaker 1>I thought you said, he's talking about Mall Rats. He was,

0:36:22.480 --> 0:36:24.400
<v Speaker 1>and he he used the Man in the moon as

0:36:24.440 --> 0:36:26.399
<v Speaker 1>an example. He's like, it's like the man in the moon.

0:36:26.440 --> 0:36:29.560
<v Speaker 1>Once you see it, you can't unsee it, right can

0:36:30.680 --> 0:36:32.640
<v Speaker 1>I Like, I've seen the man in the moon before

0:36:32.760 --> 0:36:36.960
<v Speaker 1>and I totally can't find him again, so you can

0:36:37.040 --> 0:36:39.040
<v Speaker 1>un see it. Stephen King is wrong? What is the

0:36:39.040 --> 0:36:41.359
<v Speaker 1>man in the moon? What are you talking about? You've

0:36:41.360 --> 0:36:44.400
<v Speaker 1>never seen the man in the moon now, so I

0:36:44.440 --> 0:36:46.759
<v Speaker 1>guess probably look it up. I think it would help

0:36:47.000 --> 0:36:50.080
<v Speaker 1>to see somebody else pointing it out. And then when

0:36:50.080 --> 0:36:51.879
<v Speaker 1>you see the when you look at the full moon,

0:36:51.960 --> 0:36:53.959
<v Speaker 1>you you should be able to see it. But there's

0:36:54.120 --> 0:36:58.160
<v Speaker 1>a man looking down. It's Jackie Gleeson. I don't think

0:37:00.680 --> 0:37:04.520
<v Speaker 1>are you looking it up right now? Yeah? I'd never

0:37:04.600 --> 0:37:06.640
<v Speaker 1>do that was a thing that's weird. And then the

0:37:06.719 --> 0:37:09.279
<v Speaker 1>Japanese think it's a rabbit and that the rabbit is

0:37:09.360 --> 0:37:13.000
<v Speaker 1>up there making mochi. Really, I don't know what other

0:37:13.040 --> 0:37:18.359
<v Speaker 1>cultures think. Those are the two I'm familiar with. Huh yeah,

0:37:18.719 --> 0:37:22.520
<v Speaker 1>so mochi. All right, if you want to know more

0:37:22.560 --> 0:37:25.920
<v Speaker 1>about optical illusions, type those words into the search bar

0:37:25.960 --> 0:37:28.920
<v Speaker 1>at how stuff works better yet, go to Michael Bach

0:37:29.080 --> 0:37:32.239
<v Speaker 1>dot d E and just have some fun. Uh. And

0:37:32.280 --> 0:37:34.960
<v Speaker 1>since I said d E, it's time for a listener mail.

0:37:37.440 --> 0:37:41.640
<v Speaker 1>I'm gonna call this Aussie slang. We love our and

0:37:41.680 --> 0:37:44.640
<v Speaker 1>I said Aussie. I met Aussie, right, we love our

0:37:44.640 --> 0:37:47.960
<v Speaker 1>Australian listeners. We've got a lot of them. They've long

0:37:48.000 --> 0:37:51.600
<v Speaker 1>supported the show, so we'd like to shout them out. Yeah, Australia. Uh,

0:37:51.719 --> 0:37:55.799
<v Speaker 1>he said, get eye, fellas. That's pretty good. I'm not

0:37:55.800 --> 0:37:57.120
<v Speaker 1>gonna read the whole thing like that, but I will

0:37:57.239 --> 0:38:00.879
<v Speaker 1>just nailed Canberra. I'm a debut a listener from down

0:38:00.880 --> 0:38:03.960
<v Speaker 1>on and I'm doing my best to get through your podcast.

0:38:04.000 --> 0:38:05.480
<v Speaker 1>I love the show and finish every show with a

0:38:05.520 --> 0:38:08.560
<v Speaker 1>smile and some new fact to tell my mates about. Anyway,

0:38:08.560 --> 0:38:09.880
<v Speaker 1>I got a quick story for you to have a

0:38:09.920 --> 0:38:13.279
<v Speaker 1>laugh at and possibly be very confused by the Other night,

0:38:13.320 --> 0:38:15.760
<v Speaker 1>my mate and I were going on a uh Marcus

0:38:15.880 --> 0:38:18.480
<v Speaker 1>run M A C C A S. I think we've

0:38:18.520 --> 0:38:22.120
<v Speaker 1>talked about that before, right, didn't that beer? I don't know?

0:38:22.760 --> 0:38:27.800
<v Speaker 1>Uh Fosters was us Chilian? And he goes, OHI mate,

0:38:28.360 --> 0:38:30.640
<v Speaker 1>after we've been to Macus, we can drop by the

0:38:30.640 --> 0:38:33.759
<v Speaker 1>sub grab a packet dairies and then the bottle. I'll

0:38:33.760 --> 0:38:36.400
<v Speaker 1>grab a slab of EV Studies and head back to

0:38:36.480 --> 0:38:38.800
<v Speaker 1>yells and get piste. Okay, so let me let me

0:38:40.160 --> 0:38:45.560
<v Speaker 1>oi mate, Hello friend, after we've been to Marcus after

0:38:45.960 --> 0:38:48.880
<v Speaker 1>I don't know what that was. Next, can we dropped

0:38:48.880 --> 0:38:52.440
<v Speaker 1>by the servo? We can go hang out with Tom Servo.

0:38:53.120 --> 0:38:55.160
<v Speaker 1>I bet you anything. A servo is like a gas station.

0:38:56.520 --> 0:39:01.360
<v Speaker 1>Grab a pack of dirries, Uh, get some milk and

0:39:01.400 --> 0:39:06.400
<v Speaker 1>then the bottle. Oh uh, get a bottle, grab a

0:39:06.400 --> 0:39:11.440
<v Speaker 1>slab of v B Studies, get some ribs. I think

0:39:11.480 --> 0:39:15.040
<v Speaker 1>I think that's it, uh, and head back to yours

0:39:15.040 --> 0:39:18.800
<v Speaker 1>and get pissed uh and then go to sleep. I

0:39:18.840 --> 0:39:22.120
<v Speaker 1>think you're right on the money. Yeah, I know you

0:39:22.160 --> 0:39:24.360
<v Speaker 1>guys don't often do request be rad If you guys

0:39:24.360 --> 0:39:27.959
<v Speaker 1>did a podcast on Aussie slang's history and meanings, mostly

0:39:28.000 --> 0:39:30.399
<v Speaker 1>because I would love to hear Chuck's Aussie accent. Oh

0:39:30.400 --> 0:39:33.880
<v Speaker 1>well yeah, granted he didn't wait, he didn't translate it

0:39:34.000 --> 0:39:37.719
<v Speaker 1>himself now, so we'll never know whether I was completely right.

0:39:37.960 --> 0:39:40.879
<v Speaker 1>Someone someone will uh. And I'd love to hear both

0:39:40.880 --> 0:39:43.400
<v Speaker 1>of you pronounced as much Assie slang as possible. But

0:39:43.480 --> 0:39:46.360
<v Speaker 1>also because i'd like to have facts about why I

0:39:46.440 --> 0:39:49.759
<v Speaker 1>speak the way I do. Stay rad And that is

0:39:49.800 --> 0:39:53.120
<v Speaker 1>from Liam and he said, ps, we swear a lot

0:39:53.360 --> 0:39:56.400
<v Speaker 1>down here. Uh. And if that's why you can't do

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<v Speaker 1>an Aussie slang podcast, I don't blame you. Well, I

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<v Speaker 1>swear a lot. I r L Liam, but we just

0:40:03.800 --> 0:40:08.279
<v Speaker 1>keep it clean for the show. That's right. Nice? Yeah,

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<v Speaker 1>well thanks Liam. I'm not gonna do an Australian accent

0:40:11.560 --> 0:40:15.040
<v Speaker 1>because it would hurt everyone's ears. Uh. If you want

0:40:15.040 --> 0:40:16.839
<v Speaker 1>to get in touch with us, like Liam did, you

0:40:16.880 --> 0:40:19.560
<v Speaker 1>can tweet to us. I'm at josh um Clark and

0:40:19.760 --> 0:40:22.879
<v Speaker 1>at s y s K podcast, Chuck's on Facebook dot

0:40:22.880 --> 0:40:25.319
<v Speaker 1>com slash Stuff you Should Know, and Charles W. Chuck

0:40:25.400 --> 0:40:28.000
<v Speaker 1>Bryant and you can send us an email to Stuff

0:40:28.040 --> 0:40:30.640
<v Speaker 1>Podcasts at how stuff works dot com, and it's always

0:40:30.719 --> 0:40:32.200
<v Speaker 1>hang out with us at her home on the web.

0:40:32.440 --> 0:40:39.200
<v Speaker 1>Stuff you Should Know dot com For more on this

0:40:39.320 --> 0:40:41.839
<v Speaker 1>and thousands of other topics. Does it How stuff works

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