1 00:00:03,120 --> 00:00:06,000 Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff 2 00:00:06,000 --> 00:00:15,760 Speaker 1: Works dot com. Hey, welcome to Stuff to bow your Mind. 3 00:00:15,960 --> 00:00:18,200 Speaker 1: My name is Robert Lamb and my name is Julie 4 00:00:18,239 --> 00:00:22,120 Speaker 1: Dante Decklas. That's your that's your your nickname today. Does 5 00:00:22,120 --> 00:00:26,000 Speaker 1: that make me Robert Virgil Lamb? Yes, I did that. 6 00:00:26,200 --> 00:00:28,600 Speaker 1: I think that And um, you know we're talking about 7 00:00:28,760 --> 00:00:32,760 Speaker 1: hell all Hell. Yep. We just did a whole episode 8 00:00:32,800 --> 00:00:35,519 Speaker 1: which I think would be like an hour about the 9 00:00:35,840 --> 00:00:38,479 Speaker 1: problem of Hell and about this our belief in Hell 10 00:00:38,560 --> 00:00:40,920 Speaker 1: and where it comes from, why it's problematic, and what 11 00:00:41,040 --> 00:00:43,200 Speaker 1: some of the what a couple of studies say about 12 00:00:43,200 --> 00:00:45,080 Speaker 1: how it may affect the way we go about our 13 00:00:45,120 --> 00:00:48,720 Speaker 1: daily lives. And so in this episode we're taking on 14 00:00:48,800 --> 00:00:51,279 Speaker 1: the science of Hell, where we're gonna look at some 15 00:00:51,400 --> 00:00:56,200 Speaker 1: scientific explorations about the structure of Hell, how it works, 16 00:00:56,240 --> 00:00:59,280 Speaker 1: how big it is. Um, A lot of this deals 17 00:00:59,320 --> 00:01:02,240 Speaker 1: with with doant but but but some of it gets 18 00:01:02,280 --> 00:01:06,160 Speaker 1: a little Miltonian as well. It does, And we're covering 19 00:01:06,160 --> 00:01:08,959 Speaker 1: this because it's sort of the ultimate magical thinking. We've 20 00:01:08,959 --> 00:01:13,800 Speaker 1: talked about magical thinking before, about ascribing these supernatural properties 21 00:01:13,840 --> 00:01:18,399 Speaker 1: to this construct. All right, and here we have an 22 00:01:18,400 --> 00:01:23,280 Speaker 1: extension of our mind. Uh, that's troubled by being physically 23 00:01:23,360 --> 00:01:26,160 Speaker 1: tethered to this body. This is how this is my 24 00:01:26,160 --> 00:01:28,760 Speaker 1: read of hell, by the way, So we're unable to 25 00:01:29,000 --> 00:01:32,840 Speaker 1: escape our physical selves or even our minds, and in 26 00:01:32,959 --> 00:01:35,600 Speaker 1: that there's there's a certain amount of pain to be processed, 27 00:01:35,600 --> 00:01:39,760 Speaker 1: physical pain and mental pain. And to me, this the 28 00:01:39,840 --> 00:01:42,440 Speaker 1: repository for all of this is Hell. It's the pit. 29 00:01:43,319 --> 00:01:47,080 Speaker 1: And we have put so much effort into Hell that 30 00:01:47,120 --> 00:01:49,760 Speaker 1: we've actually mapped it out, or rather those of us 31 00:01:49,840 --> 00:01:52,360 Speaker 1: who came before us, like Dante, have mapped it out, 32 00:01:52,520 --> 00:01:54,880 Speaker 1: just so that we can place that angst, in that 33 00:01:54,920 --> 00:01:58,080 Speaker 1: pain in very specific pockets. Yes, well, I think that's 34 00:01:58,080 --> 00:02:00,240 Speaker 1: a pretty good read on it. Yeah, and it's only 35 00:02:00,240 --> 00:02:02,280 Speaker 1: we've put a lot of effort into mapping it out, 36 00:02:02,400 --> 00:02:05,440 Speaker 1: creating depictions of it. And a lot of it stems 37 00:02:05,440 --> 00:02:07,160 Speaker 1: from the fact that if you're an artist, or if 38 00:02:07,200 --> 00:02:10,800 Speaker 1: you're a writer, you're a poet. Um the idea of 39 00:02:10,800 --> 00:02:13,440 Speaker 1: Hell is just a rich territory to play around in. 40 00:02:13,840 --> 00:02:15,600 Speaker 1: And if you're living in a time when say, the 41 00:02:16,080 --> 00:02:19,520 Speaker 1: Catholic Church holds way over pretty much everything, it's pretty 42 00:02:19,600 --> 00:02:22,520 Speaker 1: much it's one of the few acceptable ways to say, 43 00:02:22,680 --> 00:02:25,360 Speaker 1: draw a grotesque monster making love to a woman. You 44 00:02:25,360 --> 00:02:27,640 Speaker 1: know that that kind of stuff in the same way 45 00:02:27,680 --> 00:02:32,280 Speaker 1: that the Classics allowed the painters to to paint the 46 00:02:32,639 --> 00:02:35,240 Speaker 1: you know, the the nude human body. And if it's 47 00:02:35,240 --> 00:02:39,480 Speaker 1: incorporated into the right um, mythical or religious context, then 48 00:02:39,520 --> 00:02:42,520 Speaker 1: it's okay. So before we get into all these explorations, 49 00:02:42,520 --> 00:02:44,480 Speaker 1: I want to read just a quick bit from Chris 50 00:02:44,480 --> 00:02:47,920 Speaker 1: Wright's Measuring hell Um, which appeared in the Boston Globe 51 00:02:48,160 --> 00:02:50,799 Speaker 1: Um when he was talking about a publication that came 52 00:02:50,800 --> 00:02:54,920 Speaker 1: out dealing with Galileos calculations about Dante's Inferno, which will 53 00:02:54,919 --> 00:02:57,960 Speaker 1: discuss shortly, But but this particular quote I think sums 54 00:02:58,000 --> 00:03:00,919 Speaker 1: up a lot of why we're talking about it. He says, 55 00:03:01,080 --> 00:03:04,919 Speaker 1: debating the mechanics of the inferno might sound like intellectual horseplay, 56 00:03:05,000 --> 00:03:08,080 Speaker 1: the sixteenth century equivalent of M. I. T. Cafeteria debates 57 00:03:08,120 --> 00:03:11,600 Speaker 1: about the viability of star trek teleporters. But there was 58 00:03:11,680 --> 00:03:14,600 Speaker 1: more to the lectures than this. The insides Galileo gleaned 59 00:03:14,720 --> 00:03:18,600 Speaker 1: from analyzing Dante's measurements in fact anticipated a vital principle 60 00:03:18,840 --> 00:03:21,280 Speaker 1: of structural engineering by asserting that you cannot create a 61 00:03:21,320 --> 00:03:24,120 Speaker 1: giant Lucifer by supersizing the model of a man that 62 00:03:24,240 --> 00:03:27,160 Speaker 1: increasing an object's magnitude would create a whole new set 63 00:03:27,160 --> 00:03:30,839 Speaker 1: of structural and material imperatives. Galileo was paving the way 64 00:03:30,880 --> 00:03:34,160 Speaker 1: for the construction of everything from ocean liners to skyscrapers 65 00:03:34,240 --> 00:03:38,040 Speaker 1: to Macy's parade floats, um. And he goes down in 66 00:03:38,040 --> 00:03:40,960 Speaker 1: that article to even compare it to our our attempts 67 00:03:40,960 --> 00:03:43,560 Speaker 1: to understand many other things in the universe that that 68 00:03:43,760 --> 00:03:47,120 Speaker 1: are based in science, but we cannot see. You're trying 69 00:03:47,120 --> 00:03:50,200 Speaker 1: to understand how this universe works, and so you're applying 70 00:03:50,520 --> 00:03:53,680 Speaker 1: these thought experiments to aspects of it, which is pretty 71 00:03:53,680 --> 00:03:56,360 Speaker 1: cool because it's not just a repository for our fears. 72 00:03:56,360 --> 00:03:58,640 Speaker 1: It's a thought experiment, right, It's a way for us 73 00:03:58,680 --> 00:04:01,520 Speaker 1: to try to figure out physical universe. And a lot 74 00:04:01,520 --> 00:04:03,320 Speaker 1: of these these studies, they do have a lot in 75 00:04:03,360 --> 00:04:05,880 Speaker 1: common with some of these fun papers that you see. 76 00:04:06,240 --> 00:04:08,760 Speaker 1: There's one that came out recently dealing with the created 77 00:04:08,760 --> 00:04:11,480 Speaker 1: world of George R. Martin's wester Ros in the Game 78 00:04:11,520 --> 00:04:15,320 Speaker 1: of Thrones series, in the and in books, and and 79 00:04:15,320 --> 00:04:16,960 Speaker 1: they were trying to figure out, well, how would the 80 00:04:16,960 --> 00:04:20,479 Speaker 1: celestial mechanics of this planet work to provide it with 81 00:04:20,560 --> 00:04:24,440 Speaker 1: this weird seasonal cycle you see. Any we've we've seen 82 00:04:24,480 --> 00:04:26,160 Speaker 1: some other papers though there's a number of them that 83 00:04:26,240 --> 00:04:28,320 Speaker 1: dealt with the Harry Potter universe, where they're like, well, 84 00:04:28,320 --> 00:04:31,760 Speaker 1: how the genetics of muggles and vizards work? And it's 85 00:04:31,800 --> 00:04:33,960 Speaker 1: it's it's fascinating because it allows people to take their 86 00:04:33,960 --> 00:04:35,479 Speaker 1: science and sort of play around with it, put it 87 00:04:35,520 --> 00:04:38,120 Speaker 1: into this this box and and see what comes out 88 00:04:38,160 --> 00:04:39,720 Speaker 1: of it. I can't help but think that of gale 89 00:04:39,800 --> 00:04:42,200 Speaker 1: Leo's studies came out today that he would have been 90 00:04:42,240 --> 00:04:45,760 Speaker 1: awarded a Noble prize. Yes, but which is kind of great. 91 00:04:46,040 --> 00:04:48,600 Speaker 1: I talked about that Noble prize. Noble prize wonderful because 92 00:04:48,600 --> 00:04:52,200 Speaker 1: it's not merely in some cases a little mocking. But 93 00:04:52,200 --> 00:04:53,880 Speaker 1: but in most of the time, it's not about saying, 94 00:04:53,880 --> 00:04:55,600 Speaker 1: look at this idiot doing this study. It's like, this 95 00:04:55,640 --> 00:04:58,440 Speaker 1: is awesome. This person is is taking the science, applying 96 00:04:58,480 --> 00:05:01,760 Speaker 1: it to some some little corner of of our understanding 97 00:05:01,839 --> 00:05:04,239 Speaker 1: and uh and creating something useful out of it, or 98 00:05:04,920 --> 00:05:09,080 Speaker 1: you know, marginally useful, but still amazing. Alright, so let's 99 00:05:09,080 --> 00:05:12,080 Speaker 1: talk about the troublemaker who started this all. Dante and 100 00:05:12,279 --> 00:05:15,960 Speaker 1: his publication of a Divine Comedy in thirteen fourteen. Yes, 101 00:05:16,080 --> 00:05:20,000 Speaker 1: Dante a Leghari born twelve sixty five and Florence, Italy. 102 00:05:20,200 --> 00:05:24,279 Speaker 1: Died September fourteen one in Ravenna, Italy. And that's pretty 103 00:05:24,320 --> 00:05:27,839 Speaker 1: key because because of course Dante loved Florence and this 104 00:05:27,960 --> 00:05:30,919 Speaker 1: was his hometown and he eventually was not allowed to 105 00:05:30,920 --> 00:05:32,960 Speaker 1: return to it, and it was it was a bitter, 106 00:05:34,120 --> 00:05:36,400 Speaker 1: bitter fact for him, and and it factors into a 107 00:05:36,400 --> 00:05:38,960 Speaker 1: lot of his writings. But Uh, Dante was orphaned at 108 00:05:38,960 --> 00:05:41,680 Speaker 1: a young age, but he grew off with with well 109 00:05:41,680 --> 00:05:44,280 Speaker 1: off relatives in Florence, and he was well educated in 110 00:05:44,320 --> 00:05:47,200 Speaker 1: the classics and poetry, and he went on to be 111 00:05:47,320 --> 00:05:49,240 Speaker 1: a number of things in life. He was a businessman, 112 00:05:49,360 --> 00:05:51,360 Speaker 1: he was a soldier, he was a politician, he was 113 00:05:51,400 --> 00:05:54,159 Speaker 1: a philosophy professor, and of course, most importantly, he was 114 00:05:54,240 --> 00:05:57,280 Speaker 1: a writer. Uh and eventually, as I said, a writer 115 00:05:57,360 --> 00:06:00,680 Speaker 1: in exile from his beloved Florence. And of course he 116 00:06:00,720 --> 00:06:04,200 Speaker 1: was also extremely interested in the sciences um, which as 117 00:06:04,240 --> 00:06:08,440 Speaker 1: we've discussed before, um, when we're talking about consciousness and philosophy, UM, 118 00:06:08,480 --> 00:06:10,839 Speaker 1: to be interested in the sciences was to be interested 119 00:06:10,839 --> 00:06:13,479 Speaker 1: in philosophy. They often went hand in hand, and for instance, 120 00:06:13,520 --> 00:06:16,480 Speaker 1: he uh he read the works of of Aristotle, including 121 00:06:16,520 --> 00:06:20,720 Speaker 1: Aristotle's Meteorology. So what do you do if you are 122 00:06:20,920 --> 00:06:25,000 Speaker 1: exiled from your country and you have, uh, maybe some 123 00:06:25,200 --> 00:06:28,520 Speaker 1: very interesting ideas to explore, Well, you maybe map out 124 00:06:28,560 --> 00:06:31,320 Speaker 1: this terrain, not so much of your country, but of 125 00:06:31,400 --> 00:06:34,960 Speaker 1: your psyche. And this terrain would be in the form 126 00:06:35,160 --> 00:06:38,880 Speaker 1: of hell purgatory in heaven. And this is the divine comedy. 127 00:06:38,920 --> 00:06:41,120 Speaker 1: No comedy does not mean like funny, ha ha. Comedy 128 00:06:41,120 --> 00:06:43,839 Speaker 1: means that is going to end well, yes, which it 129 00:06:43,880 --> 00:06:49,279 Speaker 1: does in Paradise, Um. But the divine comedies. Inferno is 130 00:06:49,279 --> 00:06:51,440 Speaker 1: the part that we really want to talk about because 131 00:06:51,560 --> 00:06:56,080 Speaker 1: it's it's part of this epic poem, and the detail 132 00:06:56,200 --> 00:06:59,840 Speaker 1: is so florid, it's so imaginative, and it is so 133 00:07:00,160 --> 00:07:03,760 Speaker 1: very complete. It reminded me of Um the author. And 134 00:07:04,120 --> 00:07:05,920 Speaker 1: this is going to escape me. It's gonna dropping nuts. 135 00:07:05,920 --> 00:07:08,000 Speaker 1: So I'll follow up with this. But we talked about 136 00:07:08,040 --> 00:07:10,760 Speaker 1: this in one of our mapping episodes. He spent thirty 137 00:07:10,840 --> 00:07:14,920 Speaker 1: years creating this world language for he mapped it out 138 00:07:15,160 --> 00:07:18,480 Speaker 1: in great detail, the topography and in a way, Dante's 139 00:07:18,520 --> 00:07:21,680 Speaker 1: Inferno reminds me of this, because there's so much detail 140 00:07:21,720 --> 00:07:26,200 Speaker 1: packed into this that it really became for people the 141 00:07:26,320 --> 00:07:29,679 Speaker 1: landscape of how and it became such a popular text 142 00:07:29,760 --> 00:07:32,160 Speaker 1: because of this. Yeah, I mean you, you really can't 143 00:07:32,200 --> 00:07:34,800 Speaker 1: underscore this is the amazing level of world creation's going 144 00:07:34,840 --> 00:07:38,440 Speaker 1: on here, um, exceeding at least on part of not 145 00:07:38,480 --> 00:07:41,600 Speaker 1: exceeding the work that you see in uh in George R. 146 00:07:41,640 --> 00:07:45,680 Speaker 1: Martin's novels, or in Tolkien's novels, any kind of fantastic 147 00:07:45,680 --> 00:07:49,040 Speaker 1: world that we we think of when someone has created wholesale. Uh. 148 00:07:49,120 --> 00:07:51,680 Speaker 1: You know, Dante basically did this with with the Inferno. 149 00:07:51,800 --> 00:07:54,920 Speaker 1: He figured out exactly what the landscape would be, he 150 00:07:54,960 --> 00:07:57,560 Speaker 1: figured out who the characters occupying it were, and and 151 00:07:57,600 --> 00:08:00,520 Speaker 1: to your point, it is as much uh dante psyche 152 00:08:00,720 --> 00:08:04,360 Speaker 1: as place as it is uh an imagined version of Hell. 153 00:08:04,520 --> 00:08:08,640 Speaker 1: Because too, to read Inferno and and to read the 154 00:08:08,640 --> 00:08:10,920 Speaker 1: Divine Comedy as a whole, is to get to know 155 00:08:11,200 --> 00:08:13,880 Speaker 1: Dante's mind in and out. He doesn't hold back about 156 00:08:13,880 --> 00:08:17,000 Speaker 1: his feelings about about this person or that person, about 157 00:08:17,040 --> 00:08:19,960 Speaker 1: this subject or or this subject, And certainly along those lines, 158 00:08:20,680 --> 00:08:23,600 Speaker 1: the Divine Comedy is a crash course in in medieval 159 00:08:23,600 --> 00:08:27,200 Speaker 1: Italian culture, everything from the body stories and a little 160 00:08:27,200 --> 00:08:29,320 Speaker 1: bit of dirt on this guy to what the church 161 00:08:29,400 --> 00:08:32,640 Speaker 1: was doing. Who you know, what kind of heresies we 162 00:08:32,640 --> 00:08:34,760 Speaker 1: were we're taking place in the world, and when we're 163 00:08:34,760 --> 00:08:38,760 Speaker 1: still resonating, um, he's at times pursuing sort of petty 164 00:08:38,840 --> 00:08:43,040 Speaker 1: vendetta's with individuals and and other times he's championing individuals 165 00:08:43,040 --> 00:08:47,200 Speaker 1: who who who are are kind of scandalized, but that 166 00:08:47,280 --> 00:08:49,360 Speaker 1: he had a lot of empathy for their. Plenty of 167 00:08:49,400 --> 00:08:52,080 Speaker 1: characters there's there are one or two characters in particularly 168 00:08:52,080 --> 00:08:53,640 Speaker 1: the encounters in Hell that he kind of kicks them 169 00:08:53,679 --> 00:08:56,880 Speaker 1: on there down because they weren't they weren't friends with Dante. 170 00:08:57,120 --> 00:08:59,560 Speaker 1: But there are others that he's really sympathetic for. Right, 171 00:08:59,600 --> 00:09:01,760 Speaker 1: So you see some of the Florentine politicians who didn't 172 00:09:01,760 --> 00:09:03,960 Speaker 1: square with him end up in Hell. See a number 173 00:09:03,960 --> 00:09:06,559 Speaker 1: of popes are down there as well. Yeah, I mean 174 00:09:06,640 --> 00:09:09,920 Speaker 1: popes that they send as well, right in uh in Dante. 175 00:09:09,600 --> 00:09:13,199 Speaker 1: So let's walk really quickly through the landscape of this 176 00:09:13,280 --> 00:09:15,679 Speaker 1: so we can kind of get rooted in what is 177 00:09:15,800 --> 00:09:19,880 Speaker 1: important here when we talk about the science of Dante's Inferno, 178 00:09:20,120 --> 00:09:23,400 Speaker 1: all right, so you can find maps of this everywhere. 179 00:09:23,400 --> 00:09:26,320 Speaker 1: I encourage anyone listening to this who's not driving a 180 00:09:26,400 --> 00:09:29,160 Speaker 1: vehicle whatnot, to look up a map and I'll try 181 00:09:29,160 --> 00:09:31,440 Speaker 1: and include one on the blog posts that accompanies this. 182 00:09:32,080 --> 00:09:36,240 Speaker 1: But to imagine Dante's Hell, Dante's Inferno, imagine, first of all, 183 00:09:36,320 --> 00:09:39,120 Speaker 1: the round Earth, the Earth, that is the center of 184 00:09:39,160 --> 00:09:43,440 Speaker 1: the universe. Okay, and uh, then Lucifer falls from about 185 00:09:43,520 --> 00:09:47,000 Speaker 1: falls from Heaven like a rogue asteroid, and his impact 186 00:09:47,080 --> 00:09:50,559 Speaker 1: forms an enormous crater in the Earth, all right, craater 187 00:09:50,760 --> 00:09:53,240 Speaker 1: all and the crater goes all the way down to 188 00:09:53,280 --> 00:09:56,200 Speaker 1: the core of the Earth. And that's where Lucifer stops. 189 00:09:56,200 --> 00:09:58,800 Speaker 1: That's where he hits the bottom, okay, And that there's 190 00:09:58,800 --> 00:10:00,960 Speaker 1: this enormous crater up aroun on him. Now, then you 191 00:10:01,000 --> 00:10:03,840 Speaker 1: cover that crater with a vast vault, okay, So you 192 00:10:03,880 --> 00:10:07,040 Speaker 1: have this vaulted crater in the Earth. The Earth has 193 00:10:07,080 --> 00:10:10,679 Speaker 1: been pushed up for this entrance into Hell. Yeah, and 194 00:10:10,720 --> 00:10:12,600 Speaker 1: the and the some of the displaces Earth too, has 195 00:10:12,720 --> 00:10:14,640 Speaker 1: come out on the bottom the other side of the 196 00:10:14,640 --> 00:10:17,000 Speaker 1: planet in the form of the Mount of Purgatory. But 197 00:10:17,080 --> 00:10:18,720 Speaker 1: more on that in a little bit. So let's go 198 00:10:18,760 --> 00:10:21,400 Speaker 1: to the very bottom of this this crater again where 199 00:10:21,440 --> 00:10:24,760 Speaker 1: Lucifer fell. He's down there still his his crotch. Is 200 00:10:24,800 --> 00:10:29,040 Speaker 1: basically the center of the of the world, kid. Yeah, 201 00:10:29,600 --> 00:10:32,000 Speaker 1: this is the very bottom of the crater. It's also 202 00:10:32,080 --> 00:10:33,800 Speaker 1: the center of the Earth and kind of the bottom 203 00:10:33,840 --> 00:10:37,360 Speaker 1: of the universe too. And so Lucifer is frozen in 204 00:10:37,640 --> 00:10:41,280 Speaker 1: the Lake of Cassias. Okay. And also you'll find other 205 00:10:41,320 --> 00:10:43,920 Speaker 1: traitors frozen here as well. Uh. This is also the 206 00:10:43,960 --> 00:10:47,320 Speaker 1: Well of Giants where we find the Titans of Greek lore. Uh. 207 00:10:48,080 --> 00:10:50,720 Speaker 1: And it's also the ninth circle of Hell overall the 208 00:10:50,800 --> 00:10:54,600 Speaker 1: domain of treacherous fraud. Okay. So let's we're walking out 209 00:10:54,720 --> 00:10:58,240 Speaker 1: outward from the center and and emerging out of Hell. Okay, 210 00:10:58,440 --> 00:11:00,600 Speaker 1: so we're going up, We're going it up. Yeah, we're 211 00:11:00,600 --> 00:11:02,959 Speaker 1: doing the reverse of Dante on this. Okay. So when 212 00:11:03,000 --> 00:11:04,839 Speaker 1: we reached the edge of this domain is a high 213 00:11:04,880 --> 00:11:08,240 Speaker 1: cliff that rises up to a region of ascending terraces, 214 00:11:08,280 --> 00:11:10,840 Speaker 1: each composed of the pit and this is the Maliboca, 215 00:11:11,280 --> 00:11:14,280 Speaker 1: the eighth circle of Hell, and each bolgia, each each 216 00:11:14,400 --> 00:11:17,400 Speaker 1: terrace that's kind of a pit unto its own uh 217 00:11:17,720 --> 00:11:21,319 Speaker 1: and ringing all the way around. Okay. Uh, it's devote. 218 00:11:21,360 --> 00:11:24,040 Speaker 1: Each one is devoted to a different form of simple fraud, 219 00:11:24,320 --> 00:11:26,640 Speaker 1: such as there's one for panderas and seducers, there's one 220 00:11:26,679 --> 00:11:31,400 Speaker 1: for flatters, one for sorcerers and astrologers, one for hypocrites. Um, 221 00:11:32,080 --> 00:11:35,080 Speaker 1: it's worth exploring on your own, believe me. And then 222 00:11:35,120 --> 00:11:37,520 Speaker 1: there are these demons who work there as well, the Malibraca, 223 00:11:37,840 --> 00:11:41,120 Speaker 1: and they are in charge of tournamenting the individuals that 224 00:11:41,160 --> 00:11:44,199 Speaker 1: are imprisoned. There one thing you mentioned when you were 225 00:11:44,920 --> 00:11:47,160 Speaker 1: looking at this, you you were a little surprised to 226 00:11:47,200 --> 00:11:49,000 Speaker 1: find that that Lucifer at the very bottom of this 227 00:11:49,120 --> 00:11:51,320 Speaker 1: is just stuck and he's they're chewing on the three 228 00:11:51,360 --> 00:11:54,680 Speaker 1: great traders of all time, Mark Anthony, Brutus and Judas right, 229 00:11:54,720 --> 00:11:58,120 Speaker 1: because my satan is it is tethered into the version 230 00:11:58,360 --> 00:12:02,560 Speaker 1: of of Paradise Lost, where he's just he's ruling and 231 00:12:02,600 --> 00:12:05,559 Speaker 1: he's causing all sorts of mayhem. Yeah, he's a sympathetic character. 232 00:12:06,320 --> 00:12:09,440 Speaker 1: But here falling more in line with some of the 233 00:12:09,480 --> 00:12:12,680 Speaker 1: traditional accounts of hell previous, a lot of them would either, 234 00:12:13,120 --> 00:12:15,679 Speaker 1: because Dante was again wasn't the first person to describe 235 00:12:15,720 --> 00:12:18,520 Speaker 1: a trip to to even a Christian hell, but in 236 00:12:18,520 --> 00:12:19,839 Speaker 1: the past a lot of times they would just sort 237 00:12:19,880 --> 00:12:23,439 Speaker 1: of reference Lucifer or Satan from Afar. They wouldn't really 238 00:12:23,440 --> 00:12:26,360 Speaker 1: get into him as a character. And so here Lucifer 239 00:12:26,520 --> 00:12:28,920 Speaker 1: is very prominent, but he's not really a character. He's 240 00:12:28,920 --> 00:12:31,560 Speaker 1: more just a force. He's the he's the force that 241 00:12:31,760 --> 00:12:35,000 Speaker 1: formed this whole entire region. So he's really more asteroid 242 00:12:35,000 --> 00:12:38,320 Speaker 1: than character. He's kind of in suspended animation because he's 243 00:12:38,600 --> 00:12:40,720 Speaker 1: trapped in this ice. But what I do of is 244 00:12:40,760 --> 00:12:45,000 Speaker 1: the imagery of his, not his public region, but his 245 00:12:45,120 --> 00:12:47,719 Speaker 1: you know, his his hairy legs sticking up and then 246 00:12:47,840 --> 00:12:52,079 Speaker 1: traveling across it. But we'll get okay, so um, so 247 00:12:52,120 --> 00:12:54,440 Speaker 1: again we we we came out of that pit, out 248 00:12:54,440 --> 00:12:59,400 Speaker 1: of the casitas. Then we encountered the mal the mal Bojo, 249 00:12:59,480 --> 00:13:01,600 Speaker 1: with all these olds and all these little terraces where 250 00:13:01,600 --> 00:13:04,520 Speaker 1: people were pubnished. Okay, and if the limits of this 251 00:13:04,600 --> 00:13:07,360 Speaker 1: circle again we're moving out. We climb another steep cliff, 252 00:13:07,400 --> 00:13:09,839 Speaker 1: and now we're at the seventh circle, the violent, and 253 00:13:09,920 --> 00:13:12,440 Speaker 1: this is where the violence against other self or God. 254 00:13:13,080 --> 00:13:15,960 Speaker 1: It's a fiery plane. At first we crossed that, and 255 00:13:15,960 --> 00:13:18,640 Speaker 1: then we pass through the wood of the suicides. We 256 00:13:18,640 --> 00:13:21,360 Speaker 1: have these individuals whore grown into trees. Uh. And then 257 00:13:21,400 --> 00:13:24,440 Speaker 1: we pass over the boiling blood river of the Flagathon 258 00:13:24,840 --> 00:13:27,920 Speaker 1: and then there's another sheer cliff wall okay, and we 259 00:13:27,960 --> 00:13:31,160 Speaker 1: climb that wall. Then we're in the sixth circle. Okay, 260 00:13:31,200 --> 00:13:33,120 Speaker 1: this is the domain of the heretics, and beyond that 261 00:13:33,160 --> 00:13:36,200 Speaker 1: we find the walls of diss. This is this basically 262 00:13:36,200 --> 00:13:40,439 Speaker 1: a medieval fortress, walled fortress, and it goes again. It's 263 00:13:40,440 --> 00:13:42,600 Speaker 1: a circle, it's a ring wall. It's all the way around. 264 00:13:42,800 --> 00:13:46,000 Speaker 1: So you can almost think of this wall existing to 265 00:13:46,120 --> 00:13:48,400 Speaker 1: keep the horrors of inner hell from spilling out into 266 00:13:48,440 --> 00:13:50,720 Speaker 1: the outer hill. Uh. Not that it's actually doing that. 267 00:13:50,760 --> 00:13:52,640 Speaker 1: They just think of that in terms of a dividing point. 268 00:13:52,960 --> 00:13:55,559 Speaker 1: It's a fiery fortress. Um. As you said, it's kind 269 00:13:55,559 --> 00:13:59,679 Speaker 1: of where um it's staff only works right, and just 270 00:13:59,840 --> 00:14:02,600 Speaker 1: in the train it's it's situated on a plateau here. 271 00:14:03,960 --> 00:14:05,920 Speaker 1: So beyond the gates of Disk we pass into an 272 00:14:05,920 --> 00:14:08,800 Speaker 1: outer region of lighter sins. First there's the angry the 273 00:14:08,800 --> 00:14:11,320 Speaker 1: fifth circle, and then there's another cliff wall, and then 274 00:14:11,320 --> 00:14:14,280 Speaker 1: there's the fourth circle of average, and then there's another wall, 275 00:14:14,559 --> 00:14:17,200 Speaker 1: and then there's the third circle of Gluttony. Then there's 276 00:14:17,200 --> 00:14:19,480 Speaker 1: the second circle of lust, where the souls are whipped 277 00:14:19,480 --> 00:14:21,400 Speaker 1: about in the vortex of winds. And then there's another 278 00:14:21,440 --> 00:14:24,120 Speaker 1: cliff and we find the first circle of Limbo, where 279 00:14:24,120 --> 00:14:27,080 Speaker 1: the noble thinkers of old reside, people who are basically, 280 00:14:27,600 --> 00:14:29,680 Speaker 1: you know, they're they're too good for Hell, but they're 281 00:14:29,880 --> 00:14:33,240 Speaker 1: stuck there in the technicality. So so that's where they live, 282 00:14:33,280 --> 00:14:35,920 Speaker 1: on the outskirts of Hell basically. But then finally we 283 00:14:35,920 --> 00:14:39,240 Speaker 1: get to the we cross the River Acron and we 284 00:14:39,320 --> 00:14:42,160 Speaker 1: find the real very outskirts of Hell, and that's where 285 00:14:42,160 --> 00:14:45,520 Speaker 1: the lukewarm are, like, you know, the whole thing with Jesus, 286 00:14:45,520 --> 00:14:47,800 Speaker 1: the luke you know, the lukewarm a warm I spit 287 00:14:47,840 --> 00:14:49,320 Speaker 1: you out. You know you're not you know, you know 288 00:14:49,360 --> 00:14:51,160 Speaker 1: they're good, they're bad. You really don't have a place 289 00:14:51,160 --> 00:14:52,760 Speaker 1: in this And that's where these guys are. They're not 290 00:14:52,800 --> 00:14:54,840 Speaker 1: even bad enough to get into Hell, but they're not 291 00:14:54,880 --> 00:14:56,600 Speaker 1: good enough to be anywhere else. I guess you could 292 00:14:56,640 --> 00:14:59,320 Speaker 1: say ne'er do wells or loafers. Yeah, right. They didn't 293 00:14:59,320 --> 00:15:01,240 Speaker 1: really commit to need one thing, and so that's why 294 00:15:01,280 --> 00:15:03,840 Speaker 1: they haven't done any wonderful deeds in there in heaven 295 00:15:04,120 --> 00:15:07,840 Speaker 1: or anything terribly bad. And they're cast about into another level. Yeah, 296 00:15:07,840 --> 00:15:09,680 Speaker 1: it's like yeah, they're just like, yeah, we don't have 297 00:15:09,720 --> 00:15:12,560 Speaker 1: a place for you here. You can hang out outside 298 00:15:12,600 --> 00:15:15,120 Speaker 1: the gates, I guess. Yeah. So, as you guys can see, 299 00:15:15,120 --> 00:15:18,480 Speaker 1: this is a vast hell. We're talking about nine circles 300 00:15:18,520 --> 00:15:24,000 Speaker 1: featuring three rivers, one very cold lake. There's fire, there's ice. Uh, 301 00:15:24,040 --> 00:15:26,680 Speaker 1: there's a lot going on here, and just to get 302 00:15:26,720 --> 00:15:29,240 Speaker 1: into the detail of it would probably take us hours, 303 00:15:29,240 --> 00:15:31,280 Speaker 1: but we wanted to try to at least steep you 304 00:15:31,320 --> 00:15:34,440 Speaker 1: guys at the beginning here with the basic geography. Yeah, 305 00:15:34,440 --> 00:15:37,040 Speaker 1: with the vestival at the very top in the city 306 00:15:37,080 --> 00:15:40,720 Speaker 1: of disc in the middle of just fiery compound, and 307 00:15:40,760 --> 00:15:43,200 Speaker 1: then at the very bottom because site is the lake. 308 00:15:43,640 --> 00:15:47,040 Speaker 1: So there you go, basic geographic summary of Hell. It's 309 00:15:47,120 --> 00:15:49,240 Speaker 1: very important because this is the this is the world 310 00:15:49,240 --> 00:15:52,680 Speaker 1: that these scientific inquiries and papers are going to deal with. 311 00:15:53,160 --> 00:15:55,320 Speaker 1: So after the break we're gonna come back. We're gonna 312 00:15:55,320 --> 00:15:57,680 Speaker 1: look at how the roof of Hell works, We're gonna 313 00:15:57,680 --> 00:16:00,280 Speaker 1: look at how the weather in Hell works, and we're 314 00:16:00,280 --> 00:16:03,000 Speaker 1: going to look at another a couple of other scientific 315 00:16:03,400 --> 00:16:18,720 Speaker 1: concerns as well, regarding the inferno. All right, let's get 316 00:16:18,720 --> 00:16:21,640 Speaker 1: back to Galileo and in what might have been his 317 00:16:21,760 --> 00:16:26,880 Speaker 1: ignoble Prize for his studies about Hell and the measurements 318 00:16:26,920 --> 00:16:30,040 Speaker 1: concerning them. Yeah, the year was galile I was just 319 00:16:30,080 --> 00:16:31,960 Speaker 1: twenty four years old, hadn't really made a name for 320 00:16:32,000 --> 00:16:35,240 Speaker 1: himself yet, He's a medical school dropout. And then he 321 00:16:35,320 --> 00:16:37,920 Speaker 1: was invited to deliver to deliver a couple of lectures 322 00:16:37,960 --> 00:16:42,760 Speaker 1: on Dante's Divine Comedy um and particularly about the structure 323 00:16:42,760 --> 00:16:45,760 Speaker 1: of Hell, how hell might work from a a an 324 00:16:45,880 --> 00:16:50,920 Speaker 1: architectural physical standpoint. Now, just put this in the proper context. 325 00:16:50,960 --> 00:16:55,640 Speaker 1: By this time, Dante's Inferno or Divine Comedy would have 326 00:16:55,680 --> 00:16:59,360 Speaker 1: been extremely well known and was the authority on Hell. 327 00:17:00,160 --> 00:17:03,240 Speaker 1: People took a lot of stock in this is, taking 328 00:17:03,240 --> 00:17:05,400 Speaker 1: it really as a sort of gospel of what Hell 329 00:17:05,480 --> 00:17:08,119 Speaker 1: might look like. So for this upstart to come in 330 00:17:08,320 --> 00:17:15,080 Speaker 1: deliver this speech about how the mathematics don't really hold up. Yeah, 331 00:17:15,160 --> 00:17:18,359 Speaker 1: the very least, this was a highly regarded text. It 332 00:17:18,440 --> 00:17:20,600 Speaker 1: was this is like you know, I mean, it stands today, 333 00:17:20,600 --> 00:17:23,359 Speaker 1: it's still one of one of the greatest works of 334 00:17:23,400 --> 00:17:26,920 Speaker 1: Western civilization, and at the time it was was still 335 00:17:27,080 --> 00:17:29,960 Speaker 1: very well regarded. And so for anyone to come along 336 00:17:30,000 --> 00:17:32,280 Speaker 1: and start knocking at the science of it and saying, well, 337 00:17:32,359 --> 00:17:35,400 Speaker 1: you know, pointing out plot holes essentially. You know, people, 338 00:17:35,400 --> 00:17:36,760 Speaker 1: you can get a little up in arms over there 339 00:17:36,800 --> 00:17:42,280 Speaker 1: and to be weaving science with a little story here. Yeah. Now, 340 00:17:42,320 --> 00:17:45,520 Speaker 1: in particular, the interesting thing he did um in this 341 00:17:45,680 --> 00:17:49,320 Speaker 1: talk was that he dealt with a couple of existing theories. 342 00:17:49,400 --> 00:17:51,280 Speaker 1: He was not the first person to do a little 343 00:17:51,280 --> 00:17:55,280 Speaker 1: science thinking about the structure of the inferno. Uh So 344 00:17:55,640 --> 00:17:58,720 Speaker 1: what he did is he attacked one particular architectural model 345 00:17:58,720 --> 00:18:02,640 Speaker 1: of the inferno for an inferno, one proposed by Alexandro 346 00:18:03,040 --> 00:18:07,199 Speaker 1: Valtulio of of Luca and while while he supported a 347 00:18:07,320 --> 00:18:12,679 Speaker 1: second model that was suggested by the Florentine architect Antonio Manetti. Now, 348 00:18:12,760 --> 00:18:16,920 Speaker 1: of course Florence again the birthplace of Dante. Uh it's 349 00:18:17,080 --> 00:18:18,600 Speaker 1: important to keep in mind, well, it's kind of like 350 00:18:18,640 --> 00:18:20,480 Speaker 1: the Bloods and the Cripts here too, because Luca is 351 00:18:20,560 --> 00:18:22,760 Speaker 1: kind of like Bloods and and Florence is the Cripts 352 00:18:22,760 --> 00:18:25,920 Speaker 1: and they have a long standing rivalry. Yeah, and Florence 353 00:18:25,920 --> 00:18:28,560 Speaker 1: had just suffered a humiliating defeat by Luca in four 354 00:18:29,600 --> 00:18:31,719 Speaker 1: and so this is on everybody's mind. So what does 355 00:18:31,720 --> 00:18:33,840 Speaker 1: Galileo come It comes in. He comes in and says, 356 00:18:34,119 --> 00:18:36,960 Speaker 1: Belatulo's his argument, his structure for the inferno that would 357 00:18:37,000 --> 00:18:39,359 Speaker 1: just collapse. The guy's got it right, is our boy 358 00:18:39,359 --> 00:18:42,760 Speaker 1: from Florence. And so he hands uh, he hands Manetti 359 00:18:42,800 --> 00:18:47,240 Speaker 1: the victory and uh and then leaves. Basically, now, after 360 00:18:47,280 --> 00:18:50,560 Speaker 1: the fact, he probably realized that both models would collapse 361 00:18:50,600 --> 00:18:52,639 Speaker 1: because that is a huge vault that would have to 362 00:18:52,680 --> 00:18:57,240 Speaker 1: be constructed to cover this enormous crater in the earth. Yeah, 363 00:18:57,240 --> 00:18:58,919 Speaker 1: but he did. He took all the measurements that he 364 00:18:58,960 --> 00:19:02,000 Speaker 1: could from the town X, like the blasted canyons and 365 00:19:02,040 --> 00:19:04,440 Speaker 1: the valleys and the rivers, and he did find out 366 00:19:04,440 --> 00:19:06,760 Speaker 1: that they did not stand up to mathematical scrutiny. As 367 00:19:06,840 --> 00:19:10,280 Speaker 1: you say, he did sort of discredit one of um, 368 00:19:10,320 --> 00:19:12,640 Speaker 1: one of them, But then later on he just quit 369 00:19:12,680 --> 00:19:15,040 Speaker 1: talking about that whole thing. Yeah, and he knew that 370 00:19:15,080 --> 00:19:16,919 Speaker 1: both of them were wrong, and a lot of Galileo 371 00:19:17,040 --> 00:19:19,879 Speaker 1: scholars they kind of just they just kind of cast 372 00:19:19,920 --> 00:19:21,960 Speaker 1: this this aside. It's just being sort of an early, 373 00:19:22,520 --> 00:19:26,640 Speaker 1: kind of fun but not really important aspect of Galileo's life, 374 00:19:26,680 --> 00:19:28,239 Speaker 1: And really it is more of a footnote to the 375 00:19:28,240 --> 00:19:30,240 Speaker 1: great things that he would do later on. Yeah, But 376 00:19:30,280 --> 00:19:32,920 Speaker 1: as Chris Wright had said, you know, it's his measurements 377 00:19:32,960 --> 00:19:37,480 Speaker 1: of Hell inadvertently contributed to the foundation of theoretical physics. Exactly. 378 00:19:38,040 --> 00:19:39,680 Speaker 1: All right, let's get out of the weather in Hell. 379 00:19:40,040 --> 00:19:41,879 Speaker 1: And I believe they're used. My wife was telling me 380 00:19:41,880 --> 00:19:43,159 Speaker 1: they used to be a website. We could go and 381 00:19:43,160 --> 00:19:44,840 Speaker 1: you could get the weather in Hell, like whatever the 382 00:19:44,880 --> 00:19:47,000 Speaker 1: weather is going to be, and it's gonna be like 383 00:19:47,000 --> 00:19:49,520 Speaker 1: like a flash floods of ran said, yogurt and stuff. 384 00:19:49,560 --> 00:19:53,200 Speaker 1: But you know, even better would be David Lynch reading it. Yes, 385 00:19:53,280 --> 00:19:55,200 Speaker 1: there's a website where you can also get the weather. 386 00:19:55,240 --> 00:19:57,679 Speaker 1: It's the weather than the normal world, right right by 387 00:19:57,720 --> 00:20:02,080 Speaker 1: David Lynch. So Dante was of course possessed of an 388 00:20:02,080 --> 00:20:05,240 Speaker 1: amazing curiosity, and and as I mentioned earlier, he'd already 389 00:20:05,280 --> 00:20:09,000 Speaker 1: certainly read Aristotle's work on meteorology. He found rich poetic 390 00:20:09,160 --> 00:20:11,600 Speaker 1: use of not only the weather, because certainly everyone loves 391 00:20:11,640 --> 00:20:13,760 Speaker 1: to throw a little weather into a poem or whatnot, 392 00:20:13,920 --> 00:20:15,680 Speaker 1: but he also understood the mechanics of weather, and you 393 00:20:15,760 --> 00:20:17,920 Speaker 1: like to play with that as well. So meteorological themes 394 00:20:17,960 --> 00:20:20,479 Speaker 1: pop up throughout his work in some of his earlier poems, 395 00:20:20,480 --> 00:20:24,000 Speaker 1: and certainly uh with in the Divine Comedy. He lacked 396 00:20:24,000 --> 00:20:28,439 Speaker 1: our modern understanding of meteorology. But but the relationship between 397 00:20:28,520 --> 00:20:31,040 Speaker 1: water and earth, all of it factors into some of 398 00:20:31,080 --> 00:20:34,720 Speaker 1: his earliest poems, and it's certainly a part of the Inferno. 399 00:20:35,600 --> 00:20:37,760 Speaker 1: So yeah, he would have taken this knowledge and then 400 00:20:37,800 --> 00:20:41,880 Speaker 1: applied it to this mapping of Hell, in this descent 401 00:20:42,000 --> 00:20:45,800 Speaker 1: into Hell, and in the article a great article, the 402 00:20:45,800 --> 00:20:49,359 Speaker 1: Weather of Hell by Randy Servenni, actually take a look 403 00:20:49,359 --> 00:20:52,600 Speaker 1: at specifically his descriptions of the weather and how it 404 00:20:52,880 --> 00:20:57,120 Speaker 1: really weirdly lines up what would would really happen if 405 00:20:57,160 --> 00:21:01,080 Speaker 1: you have Hell in those weather systems. Again, we talked 406 00:21:01,119 --> 00:21:03,719 Speaker 1: about sort of the basic landmarks here, but let me 407 00:21:03,760 --> 00:21:07,720 Speaker 1: just describe them once more. You have the Vestia Puble, 408 00:21:07,720 --> 00:21:09,760 Speaker 1: which is at the very top. You have the city 409 00:21:09,760 --> 00:21:12,280 Speaker 1: of Discs in the middle, and then you have Casitas, 410 00:21:12,280 --> 00:21:14,680 Speaker 1: the frozen lake at the very Okay, and I want 411 00:21:14,720 --> 00:21:17,359 Speaker 1: to point this out again because Casita is the frozen 412 00:21:17,440 --> 00:21:19,560 Speaker 1: lake in the city of dis and all of its fireingness. 413 00:21:19,800 --> 00:21:25,159 Speaker 1: These are creating two major circulation cells in Hell, which 414 00:21:25,400 --> 00:21:30,159 Speaker 1: the author points out is um creating various winds and 415 00:21:30,200 --> 00:21:33,280 Speaker 1: so on and so forth. That would really line up 416 00:21:33,320 --> 00:21:37,120 Speaker 1: with what would happen. So, uh, with that in mind, 417 00:21:37,160 --> 00:21:40,080 Speaker 1: let's talk about circulation cells. Because we're not going to 418 00:21:40,119 --> 00:21:42,920 Speaker 1: go into weather in earnest. But hey, in fact, I'm 419 00:21:42,920 --> 00:21:45,680 Speaker 1: just gonna briefly run through some run through some stuff 420 00:21:45,720 --> 00:21:48,679 Speaker 1: from our article how weather works that I wrote. Okay, 421 00:21:48,720 --> 00:21:51,800 Speaker 1: so two key properties that govern the atmosphere air pressure 422 00:21:51,800 --> 00:21:54,359 Speaker 1: dictated by gravity, and air temperature dictated by solar and 423 00:21:54,440 --> 00:21:57,760 Speaker 1: terrestrial radiation. But all these gases make up the make 424 00:21:57,800 --> 00:21:59,760 Speaker 1: up the atmosphere, and they don't just stay in one place. 425 00:22:00,119 --> 00:22:03,879 Speaker 1: As he certainly observed, air moves. Vertical air currents result 426 00:22:03,920 --> 00:22:06,600 Speaker 1: from changes in temperature and pressure. When air heats up, 427 00:22:06,600 --> 00:22:10,480 Speaker 1: its molecules move around more rapidly, pushing each other farther apart. 428 00:22:10,560 --> 00:22:13,159 Speaker 1: The air becomes less dense and rises up through the 429 00:22:13,160 --> 00:22:16,720 Speaker 1: troposphere towards thinner air. In doing so, however, it moves 430 00:22:16,760 --> 00:22:18,920 Speaker 1: into colder regions, it begins to cool, and it eventually 431 00:22:19,080 --> 00:22:22,080 Speaker 1: cools down to a denser state and sinks back down. Okay, 432 00:22:22,080 --> 00:22:24,200 Speaker 1: So when the air in one area heats up faster 433 00:22:24,280 --> 00:22:27,160 Speaker 1: than the air in an enjoining area, the pressure differential 434 00:22:27,200 --> 00:22:30,840 Speaker 1: generates wind. For example, Uh, look, you can just look 435 00:22:30,840 --> 00:22:33,480 Speaker 1: at a modern city. All that concrete and steel observed 436 00:22:33,520 --> 00:22:36,600 Speaker 1: absorbs a much more heat than the surrounding countryside. As such, 437 00:22:36,920 --> 00:22:39,280 Speaker 1: the air in that city grows hotter during the day, 438 00:22:39,520 --> 00:22:42,400 Speaker 1: becomes less dense, and rises in a vertical movement known 439 00:22:42,400 --> 00:22:45,400 Speaker 1: as an updraft. Meanwhile, the cooler air in the countryside 440 00:22:45,440 --> 00:22:47,440 Speaker 1: is under far more pressure and begins to flow into 441 00:22:47,480 --> 00:22:49,800 Speaker 1: the city in the form of surface wind to fill 442 00:22:49,840 --> 00:22:53,119 Speaker 1: the low pressure area. Once it enters the hot city, however, 443 00:22:53,640 --> 00:22:55,960 Speaker 1: it heats up and begins to rise in an updraft. 444 00:22:56,200 --> 00:22:58,280 Speaker 1: The air above it cools, but it can't settle back 445 00:22:58,280 --> 00:23:01,399 Speaker 1: into place due to all the rise hot air underneath it. Instead, 446 00:23:01,440 --> 00:23:03,840 Speaker 1: the cooling air simply pushes out to the side in 447 00:23:03,840 --> 00:23:06,399 Speaker 1: the form of an upper air wind heading back to 448 00:23:06,440 --> 00:23:09,680 Speaker 1: the countryside, and this wind cycle continues in a nightfall 449 00:23:09,720 --> 00:23:12,520 Speaker 1: sends everything into reverse as the city cools faster than 450 00:23:12,520 --> 00:23:15,240 Speaker 1: the surrounding areas. So to put this into the form 451 00:23:15,280 --> 00:23:18,480 Speaker 1: of a simplified version of the Earth, imagine an Earth 452 00:23:18,520 --> 00:23:22,159 Speaker 1: that doesn't rotate and doesn't experience night In this example, 453 00:23:22,200 --> 00:23:25,119 Speaker 1: let's also pretend that the sun heats the areas around 454 00:23:25,119 --> 00:23:27,960 Speaker 1: the equator the most, and the poles the least. This 455 00:23:28,080 --> 00:23:30,320 Speaker 1: is a lot like the city example, except the entire 456 00:23:30,760 --> 00:23:33,560 Speaker 1: equatorial belt would be the city in the scenario, and 457 00:23:33,600 --> 00:23:35,680 Speaker 1: the land and sea cooling towards the poles would be 458 00:23:35,680 --> 00:23:38,840 Speaker 1: the countryside that This would result in two massive bowl 459 00:23:38,880 --> 00:23:43,119 Speaker 1: shaped convection cells, one for each hemisphere. Surface flows of 460 00:23:43,160 --> 00:23:46,400 Speaker 1: cool air would sweep toward the equator, heating up along 461 00:23:46,440 --> 00:23:49,440 Speaker 1: the way. Upon arrival, this air would ascend in an updraft, 462 00:23:49,600 --> 00:23:51,480 Speaker 1: and then it would sweep back toward the poles in 463 00:23:51,520 --> 00:23:54,320 Speaker 1: a cooling upper air wind. So there's a simplified version 464 00:23:54,320 --> 00:23:56,239 Speaker 1: of how air moves in the real world. It's all 465 00:23:56,280 --> 00:23:59,920 Speaker 1: about about pressure differentials and air swooping into one area, 466 00:24:00,280 --> 00:24:02,680 Speaker 1: rising and swooping back across over the top. Okay, yeah, 467 00:24:02,680 --> 00:24:05,359 Speaker 1: So in a nutshell, you've got the sun which is 468 00:24:05,400 --> 00:24:08,200 Speaker 1: heating the molecules. They rise because they they've got high 469 00:24:08,240 --> 00:24:11,040 Speaker 1: pressure now, and then you've got low pressure more condensed 470 00:24:11,080 --> 00:24:14,520 Speaker 1: air rushing into displace. That we're talking about displaced air, 471 00:24:14,840 --> 00:24:17,600 Speaker 1: and that's how winds are creating. That's how air moves about, 472 00:24:17,760 --> 00:24:20,439 Speaker 1: and it creates this circular movement of air. Right, So 473 00:24:20,480 --> 00:24:23,560 Speaker 1: you have a circulation cell, so you have certain areas 474 00:24:23,560 --> 00:24:27,520 Speaker 1: that become this this closed loop. And when you look 475 00:24:27,560 --> 00:24:31,080 Speaker 1: at Dante's inferno, you have to circulation cells. And the 476 00:24:31,119 --> 00:24:34,000 Speaker 1: first one starts, of course, at the very beginning, and 477 00:24:34,080 --> 00:24:36,720 Speaker 1: it ends at the city of This. Okay, because you 478 00:24:36,800 --> 00:24:41,120 Speaker 1: have again all of this weather happening, this heat from 479 00:24:41,160 --> 00:24:44,359 Speaker 1: the city of This, which is informing things at say, 480 00:24:44,440 --> 00:24:46,960 Speaker 1: the first circle of Hell. Yeah, and pluses of boiling 481 00:24:47,040 --> 00:24:48,680 Speaker 1: river next to it, so you have the hat heading 482 00:24:48,680 --> 00:24:51,200 Speaker 1: to the possible heat as well. Um. So yeah, hot 483 00:24:51,240 --> 00:24:54,200 Speaker 1: air rises from the sixth circle just beyond the walls 484 00:24:54,240 --> 00:24:56,240 Speaker 1: of dis and then it rolls back towards the gates 485 00:24:56,240 --> 00:24:58,320 Speaker 1: of Hell at a high altitude and then sinks back 486 00:24:58,359 --> 00:25:00,840 Speaker 1: down at the first circle of Hell, and it sweeps 487 00:25:00,880 --> 00:25:03,800 Speaker 1: across the surface till it blows through diss and back 488 00:25:03,880 --> 00:25:06,639 Speaker 1: up the sixth circle again. So that's the the upper 489 00:25:06,840 --> 00:25:09,560 Speaker 1: circulation cell as laid out by Serviny. But then he 490 00:25:09,600 --> 00:25:14,080 Speaker 1: also says that are Dante's text lays out this lower 491 00:25:14,119 --> 00:25:18,040 Speaker 1: circulation cell as well. Yeah. Now that second loop stretches 492 00:25:18,200 --> 00:25:20,800 Speaker 1: from the rising air of the the fiery city of 493 00:25:20,880 --> 00:25:24,800 Speaker 1: discs as it redistributes air towards the central pit of Hell, 494 00:25:24,960 --> 00:25:29,159 Speaker 1: and it sinks into the bone freezing cold um of 495 00:25:29,280 --> 00:25:33,400 Speaker 1: the Cosatukcitis excuse me lake, and then it makes its 496 00:25:33,400 --> 00:25:36,119 Speaker 1: way back over Malbolga, which is the terraced area, and 497 00:25:36,160 --> 00:25:38,360 Speaker 1: then back up to the city of Diss. So that's 498 00:25:38,359 --> 00:25:42,240 Speaker 1: your second circulation cell. Yes now, and I'm gonna I'll 499 00:25:42,240 --> 00:25:44,960 Speaker 1: sketch out a little version of what this looks like 500 00:25:45,000 --> 00:25:46,760 Speaker 1: and include this on the website so you can you 501 00:25:46,800 --> 00:25:49,360 Speaker 1: can look at it. It's it's really incredible because Serveni 502 00:25:49,440 --> 00:25:51,480 Speaker 1: makes a really strong case that you if you look 503 00:25:51,480 --> 00:25:54,680 Speaker 1: at the meteorological details that are included in Inferno, and 504 00:25:54,680 --> 00:25:57,760 Speaker 1: there are a lot of them, because because Dante's clearly 505 00:25:57,760 --> 00:26:00,480 Speaker 1: a weather bug, and it included all these details along 506 00:26:00,520 --> 00:26:03,439 Speaker 1: with all these other world building details of what Inferno 507 00:26:03,480 --> 00:26:05,760 Speaker 1: consisted of. But you you read the details, you read 508 00:26:05,800 --> 00:26:07,679 Speaker 1: about the movements of air and the descriptions of what 509 00:26:07,720 --> 00:26:10,240 Speaker 1: the wind is doing and what the temperature is doing. 510 00:26:10,520 --> 00:26:14,920 Speaker 1: It clearly spells out a working um to sell air 511 00:26:14,920 --> 00:26:18,200 Speaker 1: circulation system. It does, and we can actually run through 512 00:26:18,240 --> 00:26:20,920 Speaker 1: every single point or every single circle and help, but 513 00:26:20,960 --> 00:26:22,920 Speaker 1: we won't do that. But I did want to talk 514 00:26:23,000 --> 00:26:26,640 Speaker 1: about a couple of them because it's really interesting. Uh. 515 00:26:26,720 --> 00:26:29,359 Speaker 1: Servening talks about in the vegetable in the first circle. 516 00:26:29,440 --> 00:26:33,000 Speaker 1: That these are dominated by high pressure with pretty calm winds. 517 00:26:33,040 --> 00:26:35,600 Speaker 1: But when Virgil and Dante enter the second circle, them 518 00:26:35,840 --> 00:26:40,000 Speaker 1: with a stormy blast of hell and um. This is 519 00:26:40,080 --> 00:26:43,040 Speaker 1: where Servenny says the strong pressure gradient causes winds as 520 00:26:43,040 --> 00:26:46,200 Speaker 1: a function of the high and low pressure systems. And 521 00:26:46,560 --> 00:26:48,280 Speaker 1: this is kind of a nice touch because when you 522 00:26:48,320 --> 00:26:51,600 Speaker 1: go into the second circle, it's extremely windy, and this 523 00:26:51,680 --> 00:26:54,679 Speaker 1: is where the lustful are punished and the winds are 524 00:26:54,680 --> 00:26:57,880 Speaker 1: whipping around them, the winds of their desires. And then 525 00:26:57,880 --> 00:26:59,240 Speaker 1: of course you go in the third circle and there's 526 00:26:59,280 --> 00:27:02,520 Speaker 1: lots of showers and uh, that's that's where it's really 527 00:27:02,520 --> 00:27:06,640 Speaker 1: heavy and cold wind and it's really stank there by 528 00:27:06,640 --> 00:27:09,480 Speaker 1: the way. Um. And then the third circle of course 529 00:27:09,480 --> 00:27:13,359 Speaker 1: has glotony and there's intense storms. Um. And again this 530 00:27:13,440 --> 00:27:15,960 Speaker 1: is a result of the strong surface heat blowing back 531 00:27:16,040 --> 00:27:18,800 Speaker 1: from the city of Discs and the low pressure system 532 00:27:18,840 --> 00:27:22,679 Speaker 1: that exists in the valley that descends before Dante in Virgil. 533 00:27:22,840 --> 00:27:24,720 Speaker 1: So again, as you say, Dante had a really good 534 00:27:24,760 --> 00:27:27,520 Speaker 1: idea of how weather systems were working, a good enough 535 00:27:27,560 --> 00:27:31,639 Speaker 1: idea to try to imagine it in this place and 536 00:27:31,880 --> 00:27:38,200 Speaker 1: set the territory and the geography to the weather conditions. 537 00:27:38,560 --> 00:27:40,320 Speaker 1: It's kind of beautiful. It is, I mean, it's it's 538 00:27:40,320 --> 00:27:43,080 Speaker 1: amazing to think of because it's I mean, you'd be 539 00:27:43,119 --> 00:27:48,120 Speaker 1: hard pressed to find an earlier, more fully formed world 540 00:27:48,720 --> 00:27:51,200 Speaker 1: in in in literature and in someone's mind, as as 541 00:27:51,400 --> 00:27:54,800 Speaker 1: as the Inferno and Them and Purgatory in Paradise as well. 542 00:27:55,280 --> 00:27:58,440 Speaker 1: But but certainly Infernos the best of the three because 543 00:27:58,480 --> 00:28:01,640 Speaker 1: it's it's it's where you have all these rich, gross details. 544 00:28:01,640 --> 00:28:04,879 Speaker 1: That's where you have demons playing trumpets with their butts. Um. 545 00:28:05,240 --> 00:28:07,159 Speaker 1: You don't encounter much of that though, the higher up 546 00:28:07,200 --> 00:28:09,439 Speaker 1: you get, so there's less because because Dante's Inferno is 547 00:28:09,560 --> 00:28:13,440 Speaker 1: rather humorous at times, there is some good schatology and yeah, yeah, 548 00:28:13,520 --> 00:28:17,200 Speaker 1: and of course because there's so much treacherous detail that 549 00:28:17,280 --> 00:28:19,639 Speaker 1: he had to put some sort of comedy elements in 550 00:28:19,680 --> 00:28:22,000 Speaker 1: there just as a little break. Now, some people would 551 00:28:22,040 --> 00:28:28,160 Speaker 1: take issue with gravity, yes, because in Dante's Inferno, when 552 00:28:28,920 --> 00:28:32,800 Speaker 1: Dante in Virgil are descending, they're experiencing the same kind 553 00:28:32,800 --> 00:28:35,960 Speaker 1: of gravity that they would on the surface of Earth. 554 00:28:36,040 --> 00:28:40,160 Speaker 1: So if they're crossing a bridge or you know, if 555 00:28:40,200 --> 00:28:45,040 Speaker 1: they're dodging arrows, or you know, some sort of missile 556 00:28:45,080 --> 00:28:48,400 Speaker 1: as with hell Um. Then that's all being acted on 557 00:28:48,520 --> 00:28:50,840 Speaker 1: as if everything were normal. But things, of course, as 558 00:28:50,880 --> 00:28:53,360 Speaker 1: we know, would not be normal. If you plunged down 559 00:28:53,360 --> 00:28:56,320 Speaker 1: into Earth. Well now, I've read arguments though that that 560 00:28:57,000 --> 00:29:00,200 Speaker 1: cross gravity is is due to mass, and so you 561 00:29:00,240 --> 00:29:02,440 Speaker 1: have the gravity on the Earth is determined by the 562 00:29:02,480 --> 00:29:05,680 Speaker 1: amount of mass involved. I've read arguments though that that 563 00:29:05,920 --> 00:29:08,840 Speaker 1: that you descended deeper, it would be about the mass 564 00:29:08,920 --> 00:29:11,680 Speaker 1: around you, and that would that would determine how much 565 00:29:11,880 --> 00:29:14,640 Speaker 1: up a gravitational pull was beneath your feet. It would 566 00:29:14,680 --> 00:29:17,600 Speaker 1: slow you down because there's more there's more mass above 567 00:29:17,640 --> 00:29:20,320 Speaker 1: you and around you, so your descent would be slower. 568 00:29:20,400 --> 00:29:22,760 Speaker 1: In fact, we have a really good article by Nicholas 569 00:29:22,760 --> 00:29:24,920 Speaker 1: Gurbas called what would happen if I drolled the tunnel 570 00:29:24,920 --> 00:29:26,560 Speaker 1: through the center of the Earth and jumped into it? 571 00:29:26,600 --> 00:29:28,040 Speaker 1: Now that's a little bit different. We're talking about a 572 00:29:28,040 --> 00:29:31,120 Speaker 1: free fall jump as opposed to just descending in but 573 00:29:31,160 --> 00:29:34,400 Speaker 1: the idea is essentially the same. It is, but in 574 00:29:35,040 --> 00:29:38,840 Speaker 1: gurbs article he does say that at the core as 575 00:29:38,880 --> 00:29:41,720 Speaker 1: you as you get to the core the planet's center, 576 00:29:41,760 --> 00:29:46,280 Speaker 1: your acceleration uh due to gravity is zero, and Earth's 577 00:29:46,520 --> 00:29:49,520 Speaker 1: maths around you, and then gravity cancels out and you 578 00:29:49,520 --> 00:29:53,720 Speaker 1: are weightless. And a curious thing happens along these lines. 579 00:29:53,720 --> 00:29:56,960 Speaker 1: In Dante's Inferro, at the very end, after they've worked 580 00:29:56,960 --> 00:29:59,360 Speaker 1: their way to the very bottom, the like Accitis, they 581 00:29:59,360 --> 00:30:02,760 Speaker 1: see the massive Lucifer there with his three faces, ting 582 00:30:02,760 --> 00:30:06,840 Speaker 1: on the three great traders of Western civilization. Uh. They 583 00:30:06,880 --> 00:30:10,120 Speaker 1: go up and the way out is down, and they 584 00:30:10,240 --> 00:30:15,080 Speaker 1: start climbing down the furry shanks of Lucifer. Uh. And 585 00:30:15,120 --> 00:30:18,200 Speaker 1: remember his clatches the center of of of the planet 586 00:30:18,200 --> 00:30:20,760 Speaker 1: in this model. So what happens when they reach the 587 00:30:20,920 --> 00:30:23,920 Speaker 1: very center, Well, there is up as down and down 588 00:30:23,960 --> 00:30:26,440 Speaker 1: as up, just as if you were in space, right. 589 00:30:27,200 --> 00:30:29,680 Speaker 1: And this is called the antipodes. Yeah, this is what 590 00:30:29,960 --> 00:30:31,800 Speaker 1: NASA has to say about it. This is from Angela 591 00:30:31,920 --> 00:30:35,600 Speaker 1: Richard about the center of the Earth, not about Lucifer's hinder. Uh. 592 00:30:35,760 --> 00:30:37,600 Speaker 1: She says, if you could be at the exact center, 593 00:30:37,640 --> 00:30:40,880 Speaker 1: the forces that each bit of Earth matter exerted on 594 00:30:40,960 --> 00:30:44,800 Speaker 1: you would counsel out up, canceling down, east, canceling west, etcetera. 595 00:30:45,080 --> 00:30:47,840 Speaker 1: This only occurs for a single point, though, and you 596 00:30:47,840 --> 00:30:50,160 Speaker 1: would still feel a gravitational force on the rest of 597 00:30:50,160 --> 00:30:54,240 Speaker 1: your body. So there would be this point that where 598 00:30:54,240 --> 00:30:58,000 Speaker 1: things would switch, and that's what happens to Virgil and Dunte. Yeah, 599 00:30:58,000 --> 00:31:01,520 Speaker 1: and Servendice says that Dante may have lifted this concept 600 00:31:01,640 --> 00:31:04,000 Speaker 1: from first century writer Plutarch, who said, if a man 601 00:31:04,040 --> 00:31:06,560 Speaker 1: should so coalesce with the earth that its center is 602 00:31:06,640 --> 00:31:10,000 Speaker 1: at his navel, the same person at the same time 603 00:31:10,320 --> 00:31:13,920 Speaker 1: has his head up and his feet up too. So yeah, 604 00:31:14,080 --> 00:31:18,440 Speaker 1: this idea that the portal kind of shifts. And this 605 00:31:18,560 --> 00:31:21,880 Speaker 1: is actually taken from Dante's Inferno. It says, and when 606 00:31:22,040 --> 00:31:24,240 Speaker 1: we had come to where the huge thigh bone rides 607 00:31:24,280 --> 00:31:26,400 Speaker 1: in its socket, that the haunts swell my gude with 608 00:31:26,520 --> 00:31:29,400 Speaker 1: labor and great exertion, turned head to where his feet 609 00:31:29,440 --> 00:31:32,440 Speaker 1: had been, and fell to hoisten himself up in the air, 610 00:31:32,960 --> 00:31:36,480 Speaker 1: so that I thought us mounting back to Hell. In 611 00:31:36,520 --> 00:31:40,320 Speaker 1: other words, this is he's completely discombobled and trying to 612 00:31:40,320 --> 00:31:42,680 Speaker 1: figure out where he is and he sees this different 613 00:31:42,760 --> 00:31:47,960 Speaker 1: view of Satan's hairy leg. Yeah. Now, some of this 614 00:31:48,120 --> 00:31:53,520 Speaker 1: also comes from Professor Andrew J. Simolson's article The Gravity 615 00:31:53,520 --> 00:31:56,760 Speaker 1: of Hell the Gravity of Hades rather and he gets 616 00:31:56,760 --> 00:32:00,960 Speaker 1: into a little Miltonian physics as well um Milton's A 617 00:32:01,000 --> 00:32:04,240 Speaker 1: Paradise Lost. Of course, we mentioned this uh briefly earlier 618 00:32:04,360 --> 00:32:06,600 Speaker 1: in this podcaster and the other one about Hell. Uh. 619 00:32:06,720 --> 00:32:10,719 Speaker 1: In Milton's Paradise Lost, Lucifer's and more relatable character, sympathetic character, 620 00:32:11,120 --> 00:32:12,960 Speaker 1: and the dark Angel. He's the dark Angel and we 621 00:32:13,000 --> 00:32:15,960 Speaker 1: get to learn about his fall. So somos and looks 622 00:32:15,960 --> 00:32:18,959 Speaker 1: at this, and he's realized that naturally, Lucifer's fall from 623 00:32:19,000 --> 00:32:21,520 Speaker 1: Heaven to Hell is the perfect measuring stick to figure 624 00:32:21,520 --> 00:32:24,600 Speaker 1: out what is the distance between Heaven and Hell. So 625 00:32:24,920 --> 00:32:28,400 Speaker 1: in this article he looks at at Lucifer's descent from 626 00:32:28,640 --> 00:32:30,680 Speaker 1: from Heaven to Hell and says, well, this would be 627 00:32:30,920 --> 00:32:33,160 Speaker 1: a great way of measuring the distance between Heaven and 628 00:32:33,200 --> 00:32:35,520 Speaker 1: Hell if we could figure out if we could apply 629 00:32:35,640 --> 00:32:37,760 Speaker 1: some equations to this. And that's what he does in 630 00:32:37,760 --> 00:32:41,320 Speaker 1: this paper. He applies a lot of mathematical computation to 631 00:32:41,560 --> 00:32:43,760 Speaker 1: what he can glean from the test from the text. 632 00:32:44,000 --> 00:32:47,640 Speaker 1: Uh and basically it says uh him Satan the almighty 633 00:32:47,680 --> 00:32:52,040 Speaker 1: power hurled headlong, flaming from the eternal sky with hideous 634 00:32:52,120 --> 00:32:57,520 Speaker 1: ruin and combustion down to bottomless perdition and uh and 635 00:32:57,560 --> 00:33:01,200 Speaker 1: apparently it takes him about nine days to reach between 636 00:33:01,240 --> 00:33:03,640 Speaker 1: Heaven and Hell. So he starts breaking that down. Uh 637 00:33:03,680 --> 00:33:06,479 Speaker 1: you know, how how how great a distance would that be? 638 00:33:06,880 --> 00:33:08,600 Speaker 1: And then you also have to wonder, Okay, if this 639 00:33:08,640 --> 00:33:11,440 Speaker 1: occurred not long after the Big Bang, then maybe certain 640 00:33:11,480 --> 00:33:14,040 Speaker 1: laws are not applying. Is he bound by the speed 641 00:33:14,080 --> 00:33:17,480 Speaker 1: of light, is he bound by the uh, by the 642 00:33:17,520 --> 00:33:20,120 Speaker 1: speed of a physical object? Or is he surpassing it? 643 00:33:20,200 --> 00:33:23,440 Speaker 1: So it could take you know, forty million years, he figures, 644 00:33:23,520 --> 00:33:25,680 Speaker 1: if he was to reach the center of the Milky Way, 645 00:33:26,480 --> 00:33:28,520 Speaker 1: but it could take, you know, take a much shorter 646 00:33:28,560 --> 00:33:31,120 Speaker 1: amount of time if he's going faster than light. So 647 00:33:32,280 --> 00:33:35,880 Speaker 1: it's it's some some wonderful thought experimentation it's going on 648 00:33:35,920 --> 00:33:40,240 Speaker 1: in that article. Yeah, it's again, it's a wonderful Hell 649 00:33:40,320 --> 00:33:43,080 Speaker 1: is a wonderful idea to play with to explore our universe. 650 00:33:44,080 --> 00:33:45,960 Speaker 1: All right, Well, there you go. Hopefully we did not 651 00:33:46,040 --> 00:33:48,560 Speaker 1: lose you too much in the descriptions of hell and 652 00:33:48,600 --> 00:33:52,600 Speaker 1: the descriptions of weather in the real world. But uh, 653 00:33:53,240 --> 00:33:55,160 Speaker 1: but but again, look at some of these charts that 654 00:33:55,200 --> 00:33:57,480 Speaker 1: we're talking about. Look on the website, and I think 655 00:33:57,520 --> 00:33:59,480 Speaker 1: that should help it. I'll make a little more sense. 656 00:33:59,520 --> 00:34:01,440 Speaker 1: It's again it's very much in keeping with some of 657 00:34:01,440 --> 00:34:05,320 Speaker 1: these papers that are out there about about how the 658 00:34:05,440 --> 00:34:08,600 Speaker 1: how DNA works, how genetics work, and Harry Potter how 659 00:34:08,680 --> 00:34:12,319 Speaker 1: the solar system works in Game of Thrones. Uh, but 660 00:34:12,360 --> 00:34:14,600 Speaker 1: then it also hints it something greater. This the idea 661 00:34:14,640 --> 00:34:17,200 Speaker 1: that the science is this this way that we can 662 00:34:17,280 --> 00:34:19,279 Speaker 1: we can feel the unknown, we can reach out and 663 00:34:19,320 --> 00:34:22,359 Speaker 1: touch things that we haven't yet explored yet and and 664 00:34:22,400 --> 00:34:24,839 Speaker 1: try to figure out what is the black hole? Uh, 665 00:34:24,920 --> 00:34:26,880 Speaker 1: you know, what is dark matter. But then we can 666 00:34:26,920 --> 00:34:30,400 Speaker 1: also reach them into the imagined worlds and try and 667 00:34:30,440 --> 00:34:33,040 Speaker 1: figure out the limits of those worlds as well. Yeah, 668 00:34:33,040 --> 00:34:36,120 Speaker 1: I mean, what are the coordinates of Satan's touch exactly? 669 00:34:36,200 --> 00:34:39,319 Speaker 1: Science is still the science is still still out on that, 670 00:34:39,400 --> 00:34:42,200 Speaker 1: by the works. So in the meantime, if you would 671 00:34:42,200 --> 00:34:43,640 Speaker 1: like to get in touch with us, you can find 672 00:34:43,680 --> 00:34:46,240 Speaker 1: us in the usual ways. Again, that website is Stuff 673 00:34:46,239 --> 00:34:48,120 Speaker 1: to Abow your Mind dot com. You can also find 674 00:34:48,200 --> 00:34:50,799 Speaker 1: us on social media. We're on Twitter as Blow the Mind. 675 00:34:50,840 --> 00:34:53,759 Speaker 1: We're on Facebook and tumbler as Stuff to Blow your Mind. 676 00:34:53,800 --> 00:34:56,560 Speaker 1: On YouTube we are Mind Stuff Show and you can 677 00:34:56,560 --> 00:34:58,640 Speaker 1: always drop us a line at Blow the Mind at 678 00:34:58,640 --> 00:35:05,640 Speaker 1: Discovery dot com. For more on this and thousands of 679 00:35:05,640 --> 00:35:14,040 Speaker 1: other topics, visit how stuff Works dot com.