WEBVTT - From the Vault: Odds and Evens, Part 2

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<v Speaker 1>Hey, welcome to Stuff to Blow your Mind. My name

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<v Speaker 1>is Robert Lamb. Today is Saturday, so we have another

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<v Speaker 1>VAULD episode for you. This is going to be Odds

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<v Speaker 1>and Evens Part two. This one originally published nine ten,

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<v Speaker 1>twenty twenty four. Let's jump right in.

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<v Speaker 2>Welcome to Stuff to Blow Your Mind, the production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 3>My name is Robert Lamb, and I am Joe McCormick,

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<v Speaker 3>and we are back with Part two in our series

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<v Speaker 3>on the psychology and cultural significance of number parody p

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<v Speaker 3>A r it y parody, meaning whether a number is

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<v Speaker 3>odd or even. In Part one, we described the principle

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<v Speaker 3>of number parody, and we talked about evidence that in

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<v Speaker 3>some cases people seem to have surprising feelings about associations

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<v Speaker 3>with and even preferences for odd and even quantities. And

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<v Speaker 3>so one of the big examples we discussed in that

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<v Speaker 3>first episode was the concept in various branches of visual

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<v Speaker 3>art theory, that people have a preference for, say, three

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<v Speaker 3>part divisions of imagery over two part divisions, or that

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<v Speaker 3>people prefer an image composed with an odd number of

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<v Speaker 3>subjects over an even number, even to the extent that

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<v Speaker 3>even numbers of subjects will sometimes be subdivided into groups

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<v Speaker 3>of odd numbers, so you know, instead of four subjects,

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<v Speaker 3>you would get a painting with three and one. But

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<v Speaker 3>we also got into a bit of empirical research interrogating

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<v Speaker 3>these ideas and questioning to what extent they're truly natural

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<v Speaker 3>aesthetic preferences. Maybe they're just sort of random conventions that

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<v Speaker 3>people latched onto, including you know, one thing that came

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<v Speaker 3>up in part one was the domain of food plating

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<v Speaker 3>and food styling, with us just you know, shooting from

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<v Speaker 3>the hips saying I think three little slide are better

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<v Speaker 3>than four. We're going to come back to that later today.

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<v Speaker 3>You might be surprised.

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<v Speaker 1>I mean it is still you still see this idea

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<v Speaker 1>out there, But how does it hold up to any

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<v Speaker 1>manner of study. Well, we'll take a look at that.

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<v Speaker 3>So one thing I wanted to talk about today was

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<v Speaker 3>the cognitive psychology of number parity, how we process the

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<v Speaker 3>idea of numbers being odd and even in the brain.

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<v Speaker 3>So I came across a very interesting paper about this

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<v Speaker 3>that was published in the journal Frontiers in Psychology in

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<v Speaker 3>the year twenty eighteen by Hubner at All and it's

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<v Speaker 3>called a mental odd even continuum account some numbers may

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<v Speaker 3>be more odd than others, and some numbers may be

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<v Speaker 3>more even than others. And so if you're not initially

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<v Speaker 3>thrilled about the idea of that the cognitive psychology of

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<v Speaker 3>numbers how we represent number properties internally, stick around. I

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<v Speaker 3>think this might be more interesting than you would at

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<v Speaker 3>first suspect, because it's kind of it kind of reveals

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<v Speaker 3>deeper ways that our brains work in general, at least

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<v Speaker 3>I think. So we can come back to that after

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<v Speaker 3>we look at the findings of the study. But anyway

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<v Speaker 3>to start with the mathematical fact is that number parity

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<v Speaker 3>is binary. In math, natural numbers are either odd or even.

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<v Speaker 3>Any positive integer is even if it can be represented

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<v Speaker 3>as two times in wherein is also a positive integer,

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<v Speaker 3>and it's odd if it can be represented as two

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<v Speaker 3>times in plus one. All positive whole numbers are either

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<v Speaker 3>odd or even. But this paper is focused not on

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<v Speaker 3>the question of the mathematics of parity, but on the

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<v Speaker 3>question of how number parity is represented in the brain,

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<v Speaker 3>how we think about quantities that are odd and even.

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<v Speaker 3>And the authors propose an interesting hypothesis that people do

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<v Speaker 3>not think about odd and even as a mathematical binary,

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<v Speaker 3>but rather as a spectrum of odd ness and even ness,

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<v Speaker 3>where some numbers can be relatively more odd or even

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<v Speaker 3>than others, and in a kind of amusing aside. The

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<v Speaker 3>authors acknowledge that if this is true, it may prove

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<v Speaker 3>irritating to some researchers. But you know, this is the

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<v Speaker 3>kind of thing I like reading about, because I think

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<v Speaker 3>it's when you observe the mismatch between how a concept

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<v Speaker 3>is technically defined and how we actually think about it.

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<v Speaker 3>When we know when we consider it in practice, it's

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<v Speaker 3>a great way to get insights into our brains.

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<v Speaker 1>Yeah. Yeah, And I'm already thinking about thinking about ways

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<v Speaker 1>that I might qualify certain numbers as more even or

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<v Speaker 1>more odd than others. But I want to see where

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<v Speaker 1>you're taking us here and see if any of these

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<v Speaker 1>are are the examples that are coming to my mind.

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<v Speaker 3>So to provide a model for how this would be

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<v Speaker 3>happening in the brain, the authors refer to a psychology

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<v Speaker 3>concept called prototype theory, which has been established going at

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<v Speaker 3>least as far back as the nineteen sixties. As they explain, quote,

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<v Speaker 3>prototype theory has long suggested that certain members of distinct

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<v Speaker 3>categories are more typical examples of that category than others,

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<v Speaker 3>and that membership to such a category may be graded. Now,

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<v Speaker 3>they don't use the following example, And in fact, I

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<v Speaker 3>don't know if this is strictly a perfect example of

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<v Speaker 3>prototype theory, because the category I'm going to use is

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<v Speaker 3>not strictly defined, But I think this will still illustrate it.

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<v Speaker 3>Both Pumpkinhead and Grover from Sesame Street are examples of

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<v Speaker 3>the category monster. And yet while they are undoubtedly both monsters,

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<v Speaker 3>and if you doubt Grover is a monster, go read

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<v Speaker 3>up about them. Grover's a monster, one of them just

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<v Speaker 3>seems like a better example of the category monster than

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<v Speaker 3>the other. Now, there are no real objective criteria for

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<v Speaker 3>what is and is not a monster, but you could

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<v Speaker 3>learn a lot about how people mentally construct the idea

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<v Speaker 3>of a monster by studying how easy it is to

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<v Speaker 3>associate particular examples of creatures with the category monster. And

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<v Speaker 3>one way of studying this would be time latency. So

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<v Speaker 3>imagine you're in a psychological study and you're given a task.

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<v Speaker 3>Somebody's going to show you a series of images of creatures,

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<v Speaker 3>and it's your job to say as quickly as you

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<v Speaker 3>can whether the creature in the image is a monster

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<v Speaker 3>or not. In this kind of test, the speed with

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<v Speaker 3>which you make the categorization could be one piece of

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<v Speaker 3>evidence for how easily you associate the example with the category.

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<v Speaker 3>So even if everybody who takes this kind of test

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<v Speaker 3>correctly recognizes that Grover is a monster, I would still

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<v Speaker 3>bet that on average people would say Pumpkinhead is a

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<v Speaker 3>monster a good bit faster. It would just it takes

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<v Speaker 3>less thinking to get there, so you can click the

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<v Speaker 3>monster button faster.

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<v Speaker 1>Yeah, you don't have to catch yourself and go, oh, well, yes,

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<v Speaker 1>of course he is the monster at the end of

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<v Speaker 1>the book.

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<v Speaker 3>Yeah, exactly. And so with this kind of study you

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<v Speaker 3>could maybe get some insights. For example, you could look

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<v Speaker 3>at these specific attributes that make an individual picture of

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<v Speaker 3>a creature a better prototype example of the monster category

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<v Speaker 3>as measured by people selecting it as a monster faster.

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<v Speaker 3>Maybe creatures that have sharp teeth or claws or threatening

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<v Speaker 3>posture or something like that. It just clicks in the

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<v Speaker 3>brain faster that it's a monster. You got to think

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<v Speaker 3>about it less. And so in this paper, the authors

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<v Speaker 3>do the same thing with odd and even numbers. They're

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<v Speaker 3>going to study the degree to which different numbers are

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<v Speaker 3>prototypes of their parity class, and then they're going to

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<v Speaker 3>try to look for the different factors that make a

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<v Speaker 3>number more easily identifiable as odd or even. And this is,

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<v Speaker 3>by the way, not the first study ever to do this.

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<v Speaker 3>There have been studies in the past that have used

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<v Speaker 3>processing time as a measure of prototypicality for odd and

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<v Speaker 3>even numbers, like they mentioned one study that showed six

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<v Speaker 3>took people longer to classify as even than two four

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<v Speaker 3>or eight did.

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<v Speaker 1>Why.

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<v Speaker 3>I don't know. That's kind of interesting. I mean, two, four, six,

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<v Speaker 3>and eight are all equally even in real mathematics, but

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<v Speaker 3>apparently two four and eight are just easier to identify

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<v Speaker 3>as even. Something's a little different about six.

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<v Speaker 1>Huh. Interesting.

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<v Speaker 3>So in their introduction, the authors lay out a bunch

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<v Speaker 3>of different numerical reasons that they think a number might

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<v Speaker 3>be more easily recognizable as even or odd, and the

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<v Speaker 3>hypothetical explanations they include are first of all, ease of divisibility.

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<v Speaker 3>So the easier a number is to divide, the more

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<v Speaker 3>even and less odd it should feel. And this principle

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<v Speaker 3>could subconsciously be applied within the categories and not just

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<v Speaker 3>between them. So twenty five and twenty seven are both odd.

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<v Speaker 3>But the author's idea here is that twenty five may

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<v Speaker 3>feel less odd and take longer to classify as odd

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<v Speaker 3>because it's easy to divide it.

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<v Speaker 1>Now, this is where my mind was headed that. Yeah,

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<v Speaker 1>just thinking about the way I divide numbers is if

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<v Speaker 1>it's easier to divide, then yes, on some level, it

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<v Speaker 1>is more even than an even number that I have

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<v Speaker 1>to sort of like pause a second with then do

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<v Speaker 1>a little extra math in my head.

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<v Speaker 3>Yeah, I think that's a strong instinct that they had

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<v Speaker 3>the same idea to begin with. Here. Another thing they

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<v Speaker 3>hypothesize would make a number feel more even is powers

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<v Speaker 3>of two, so that would be two, four, eight, sixteen,

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<v Speaker 3>thirty two. They think these are cognitively more even. Another

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<v Speaker 3>factor is whether a number is prime. The authors argue

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<v Speaker 3>that prime numbers may feel more odd than non prime odds,

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<v Speaker 3>and one piece of evidence for this is that a

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<v Speaker 3>couple of different previous studies have found that people are

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<v Speaker 3>quicker to flag three, five, and seven as odd than

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<v Speaker 3>they are to flag nine. That's interesting, Now, this is

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<v Speaker 3>kind of like the inverse of the six not feeling

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<v Speaker 3>as even as the other even numbers under ten. In

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<v Speaker 3>this case, apparently, maybe nine does not feel as odd

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<v Speaker 3>as the other odd numbers under ten, and the authors

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<v Speaker 3>argue that this may be because the other three odd

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<v Speaker 3>numbers under ten, three, five, and seven are all prime.

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<v Speaker 3>Nine is not prime three times three is nine, so

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<v Speaker 3>the divisibility of it maybe makes it feel less odd.

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<v Speaker 3>The authors also hypothesize maybe being part of a standard

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<v Speaker 3>multiplication table that children memorize in school that might make

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<v Speaker 3>numbers feel more even and less odd, but we'll have

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<v Speaker 3>to look at the results and see if that bears out. However,

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<v Speaker 3>the authors point out that previous studies have shown that

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<v Speaker 3>it is probably not only the mathematical properties of a number.

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<v Speaker 3>The number properties of a number that influence how long

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<v Speaker 3>we take to make judgments about other factors, such as

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<v Speaker 3>linguistic factors, appear to play a role as well. And

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<v Speaker 3>illustrate this, the authors bring up a really interesting concept

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<v Speaker 3>that I don't think I'd ever read about before, but

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<v Speaker 3>this really stuck with me. So they refer to previous

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<v Speaker 3>research by Hines in the journal Memory and Cognition in

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<v Speaker 3>nineteen ninety and this paper found that if you give

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<v Speaker 3>people random numbers, especially in pairs or in triples, and

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<v Speaker 3>ask them to judge whether the numbers are odd or even.

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<v Speaker 3>People simply take longer to recognize oddness than they do

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<v Speaker 3>to recognize evenness. So odd numbers were just harder to

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<v Speaker 3>judge overall, So people more quickly recognize that fifty two

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<v Speaker 3>and fifty four are even than that fifty three and

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<v Speaker 3>fifty five are odd. Now that that's kind of weird,

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<v Speaker 3>Like why would oddness itself take longer to process? Pretty

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<v Speaker 3>much across the board? In older paper, the author argued

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<v Speaker 3>that part of the explanation may lie in the idea

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<v Speaker 3>of what are called marked and unmarked terms in language.

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<v Speaker 3>Marked and unmarked This is a concept in linguistics, and

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<v Speaker 3>it goes like this, So there exist in languages pairs

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<v Speaker 3>of adjectives that have opposite meanings, so long and short,

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<v Speaker 3>old and young, even an odd, alive and dead, things

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<v Speaker 3>like that. Linguistic markedness theory says that usually when you

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<v Speaker 3>have pairs of adjectives like this, one of the terms

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<v Speaker 3>in the pair is treated as the more basic and

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<v Speaker 3>natural of the two in the brain. So we think

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<v Speaker 3>about one of these two terms in a way that

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<v Speaker 3>what they call they call it unmarked. It is the

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<v Speaker 3>natural state of this measure, and then the other term

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<v Speaker 3>is treated as mentally more complex, complicated, and unnatural. This

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<v Speaker 3>is the marked word in the pair, and there are

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<v Speaker 3>experiments that will show this. But the unmarked word in

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<v Speaker 3>the pair, for example, is used more frequently than the

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<v Speaker 3>marked word. It's learned earlier in language acquisition, when you're

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<v Speaker 3>a child, and it is considered usually the default measure. So,

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<v Speaker 3>for example, you say how old are you, not how

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<v Speaker 3>young are you? Because in old and young, old is

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<v Speaker 3>treated as the unmarked word and young is the marked concept. Similarly,

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<v Speaker 3>you will say how long will it take? Not how

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<v Speaker 3>short will it take? I thought this was interesting. They

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<v Speaker 3>say also that in some cases you can create the

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<v Speaker 3>same meaning as the marked word simply by adding a

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<v Speaker 3>negative prefix to the unmarked word. So you can say

0:13:51.840 --> 0:13:55.280
<v Speaker 3>uneven to mean the same thing as odd, But nobody

0:13:55.280 --> 0:13:57.400
<v Speaker 3>says un odd to mean even.

0:13:58.080 --> 0:13:59.559
<v Speaker 1>Oh that's true. There's a great point.

0:13:59.800 --> 0:14:03.160
<v Speaker 3>Now, whatever this division between marked and unmarked comes from,

0:14:03.520 --> 0:14:07.719
<v Speaker 3>it seems that it results in different processing times in

0:14:07.760 --> 0:14:12.800
<v Speaker 3>the brain, that we just deal with unmarked concepts faster

0:14:13.000 --> 0:14:16.000
<v Speaker 3>and more easily, and it takes us you know, maybe

0:14:16.040 --> 0:14:19.480
<v Speaker 3>a split second longer to think about, or deliver or

0:14:19.560 --> 0:14:23.640
<v Speaker 3>deal with a marked concept. And so if even is

0:14:23.800 --> 0:14:27.120
<v Speaker 3>unmarked and odd is marked, it may in fact be

0:14:27.400 --> 0:14:30.440
<v Speaker 3>that we just deal with the concept of evenness a

0:14:30.520 --> 0:14:33.160
<v Speaker 3>little bit more easily in the brain than oddness. It's

0:14:33.280 --> 0:14:36.800
<v Speaker 3>oddness is linguistically marked, and so it takes us a

0:14:36.840 --> 0:14:40.760
<v Speaker 3>split second longer to kind of process this concept whenever

0:14:40.760 --> 0:14:43.160
<v Speaker 3>we're dealing with it or producing a judgment about it,

0:14:43.560 --> 0:14:45.560
<v Speaker 3>and this may play a role in explaining the so

0:14:45.640 --> 0:14:49.320
<v Speaker 3>called odd effect that was discovered in this paper in

0:14:49.360 --> 0:15:01.960
<v Speaker 3>the nineties. Moving on from that, there's another linguistic effect

0:15:02.040 --> 0:15:06.040
<v Speaker 3>that actually shows up when you compare judgments about parody

0:15:06.080 --> 0:15:10.960
<v Speaker 3>across different languages, and this is the inversion property of

0:15:11.120 --> 0:15:15.080
<v Speaker 3>multiple digit numbers. So in English, when we want to

0:15:15.280 --> 0:15:17.840
<v Speaker 3>say or write out in words the number that is

0:15:17.920 --> 0:15:21.200
<v Speaker 3>one quarter of one hundred, we say twenty five, we

0:15:21.280 --> 0:15:24.640
<v Speaker 3>write the twenty first and then the five, or we

0:15:24.680 --> 0:15:27.160
<v Speaker 3>say the twenty first and then the five. So for

0:15:27.200 --> 0:15:31.160
<v Speaker 3>two digit numbers, it's always the decade digit first in language,

0:15:31.240 --> 0:15:34.120
<v Speaker 3>and then the unit digit. But not all languages work

0:15:34.160 --> 0:15:38.000
<v Speaker 3>this way. For example, in German, twenty five is and

0:15:38.040 --> 0:15:40.400
<v Speaker 3>I'm sorry, I'm sure I'm pronouncing this wrong. It is

0:15:40.440 --> 0:15:46.880
<v Speaker 3>something like fun Fundzwanzig, meaning five and twenty, And this

0:15:46.960 --> 0:15:49.600
<v Speaker 3>has been found to have all sorts of interesting effects

0:15:49.680 --> 0:15:54.560
<v Speaker 3>on number cognition. For example, German speakers our studies have

0:15:54.600 --> 0:15:58.680
<v Speaker 3>shown more likely to make trans coding errors when writing

0:15:58.800 --> 0:16:03.080
<v Speaker 3>numbers out, so likely to write fifty two when they

0:16:03.160 --> 0:16:07.440
<v Speaker 3>mean twenty five. In terms of digits. Also, compared to

0:16:07.640 --> 0:16:12.400
<v Speaker 3>non inverted languages, German speakers pay relatively more attention to

0:16:12.560 --> 0:16:16.320
<v Speaker 3>the unit digit in a multi digit number, and so

0:16:16.400 --> 0:16:20.080
<v Speaker 3>the authors write quote. This prioritizing of either the unit

0:16:20.200 --> 0:16:24.359
<v Speaker 3>or decade digit might influence participants' performance in number processing

0:16:24.400 --> 0:16:28.320
<v Speaker 3>tasks in which units play a decisive role. Parity judgment

0:16:28.400 --> 0:16:31.520
<v Speaker 3>is clearly one of those tasks, because only the unit

0:16:31.760 --> 0:16:35.640
<v Speaker 3>parity is relevant for answering correctly, which is true when

0:16:35.640 --> 0:16:37.560
<v Speaker 3>you look at you can judge whether it's odd or

0:16:37.600 --> 0:16:40.800
<v Speaker 3>even without knowing any of the numbers before the last one.

0:16:41.280 --> 0:16:43.840
<v Speaker 3>And just a couple of other factors the authors mention

0:16:44.120 --> 0:16:49.120
<v Speaker 3>that have been possibly shown to influence parity judgments. Larger

0:16:49.240 --> 0:16:53.680
<v Speaker 3>numbers may cause longer processing times, regardless of the parity

0:16:53.840 --> 0:16:56.080
<v Speaker 3>or any other facts about them, just like the bigger

0:16:56.120 --> 0:16:58.960
<v Speaker 3>the number is, the longer you have to think about it. Also,

0:16:59.200 --> 0:17:02.760
<v Speaker 3>word frequently. Numbers that appear more often in language get

0:17:02.800 --> 0:17:05.760
<v Speaker 3>faster responses, and this is not just true of numbers

0:17:05.840 --> 0:17:08.520
<v Speaker 3>in any words. In general that are used more often

0:17:08.600 --> 0:17:13.280
<v Speaker 3>are processed more efficiently. So this study tried to test

0:17:13.320 --> 0:17:18.080
<v Speaker 3>the relative influence of number prototypicality and the linguistic factors

0:17:18.080 --> 0:17:20.520
<v Speaker 3>we were just talking about. And the way they did

0:17:20.560 --> 0:17:24.800
<v Speaker 3>this was by getting a group of subjects and giving

0:17:24.800 --> 0:17:29.120
<v Speaker 3>them auditory prompts of numbers between twenty and ninety nine,

0:17:29.240 --> 0:17:31.560
<v Speaker 3>and then they would try to analyze how long it

0:17:31.600 --> 0:17:34.280
<v Speaker 3>took people to classify these numbers as odd or even

0:17:35.040 --> 0:17:39.000
<v Speaker 3>to test the linguistic factors. The author's recruited subjects from

0:17:39.080 --> 0:17:42.600
<v Speaker 3>three different language groups. They had English speakers, German speakers,

0:17:42.600 --> 0:17:47.000
<v Speaker 3>and Polish speakers. In Polish, two digit numbers are expressed

0:17:47.000 --> 0:17:50.600
<v Speaker 3>with the decade digit first, like in English. And I'm

0:17:50.640 --> 0:17:52.720
<v Speaker 3>not going to discuss all of their findings, but just

0:17:52.760 --> 0:17:55.879
<v Speaker 3>to summarize and pick a few highlights, they do say

0:17:55.960 --> 0:18:00.560
<v Speaker 3>that quote. Overall, the results suggests that perceived parody is

0:18:00.600 --> 0:18:03.720
<v Speaker 3>not the same as objective parity, and some numbers are

0:18:03.800 --> 0:18:09.800
<v Speaker 3>more prototypical exemplars of their categories, and specifically with regards

0:18:09.800 --> 0:18:14.840
<v Speaker 3>to these mathematical or numerical factors influencing things, they found

0:18:14.960 --> 0:18:19.400
<v Speaker 3>that some but not all, of the characteristics they hypothesized

0:18:19.920 --> 0:18:24.159
<v Speaker 3>actually did play a role in perceived parity. So, for evens,

0:18:24.960 --> 0:18:29.199
<v Speaker 3>the numbers that people identified as even the fastest tended

0:18:29.240 --> 0:18:33.200
<v Speaker 3>to be even squares, so a square being the product

0:18:33.200 --> 0:18:36.479
<v Speaker 3>of a number multiplied by itself. Sixteen is a square

0:18:36.520 --> 0:18:39.320
<v Speaker 3>because it's four times four, sixty four is a square

0:18:39.400 --> 0:18:42.720
<v Speaker 3>because it's eight times eight. Thirty six is a square

0:18:42.760 --> 0:18:46.000
<v Speaker 3>because it's six times six. So in the results, you

0:18:46.040 --> 0:18:50.080
<v Speaker 3>would find that sixty four was significantly easier to identify

0:18:50.160 --> 0:18:54.159
<v Speaker 3>as even than sixty two, So squares tended to be

0:18:54.359 --> 0:18:58.840
<v Speaker 3>very fast. Multiples of four also did really good. For

0:18:58.880 --> 0:19:02.560
<v Speaker 3>some reason, our brains love noticing that multiples of four

0:19:02.680 --> 0:19:06.600
<v Speaker 3>are even. Now, when it came to recognizing odd numbers,

0:19:06.680 --> 0:19:09.480
<v Speaker 3>things got a little more complicated, and the authors say

0:19:09.560 --> 0:19:12.560
<v Speaker 3>that there's a good reason for this. It may have

0:19:12.640 --> 0:19:17.200
<v Speaker 3>to do with multiple hypothesized effects working against one another,

0:19:17.280 --> 0:19:20.639
<v Speaker 3>and these would be number prototypicality on one hand, but

0:19:20.880 --> 0:19:25.639
<v Speaker 3>linguistic markedness on the other. So to refresh. The explanation

0:19:25.760 --> 0:19:29.639
<v Speaker 3>based on linguistic markedness says that because even is an

0:19:29.760 --> 0:19:34.240
<v Speaker 3>unmarked concept and odd is marked, we will usually recognize

0:19:34.320 --> 0:19:38.160
<v Speaker 3>evens faster than odds across the board, and it may

0:19:38.280 --> 0:19:42.240
<v Speaker 3>also possibly mean that numbers that seem odder to us

0:19:42.720 --> 0:19:47.440
<v Speaker 3>will take longer to recognize. So this effect, if present,

0:19:47.520 --> 0:19:51.840
<v Speaker 3>would work in opposite directions depending on parity. For example,

0:19:52.040 --> 0:19:56.080
<v Speaker 3>the super even numerical properties like say being a multiple

0:19:56.119 --> 0:19:59.879
<v Speaker 3>of four, will make a number feel more even, but

0:20:00.040 --> 0:20:03.520
<v Speaker 3>they will also make it easier to process the evenness

0:20:03.520 --> 0:20:06.920
<v Speaker 3>of the number quickly from a linguistic standpoint, because now

0:20:06.960 --> 0:20:10.720
<v Speaker 3>the number is especially unmarked. On the other hand, as

0:20:10.760 --> 0:20:14.359
<v Speaker 3>a number becomes more subjectively odd by say being a

0:20:14.400 --> 0:20:19.000
<v Speaker 3>prime number, the prototypicality explanation would predict that we can

0:20:19.400 --> 0:20:24.679
<v Speaker 3>notice that it's odd faster, but because it's especially numerically odd.

0:20:25.160 --> 0:20:28.720
<v Speaker 3>Working against this would be the linguistic markedness, which might

0:20:28.840 --> 0:20:32.960
<v Speaker 3>predict that the more odd number seems, the more linguistically

0:20:33.040 --> 0:20:36.160
<v Speaker 3>complicated it will feel, and thus the longer our reaction

0:20:36.320 --> 0:20:39.960
<v Speaker 3>time before we can say anything about it. So with evens,

0:20:40.320 --> 0:20:44.040
<v Speaker 3>these two explanations stack, but with odds they work against

0:20:44.119 --> 0:20:47.760
<v Speaker 3>each other and so they said that the results with

0:20:47.880 --> 0:20:51.440
<v Speaker 3>odd numbers were more muddled, but they did find basically

0:20:51.480 --> 0:20:56.200
<v Speaker 3>that primes and numbers divisible by five took the longest

0:20:56.320 --> 0:21:01.040
<v Speaker 3>to classify as odds. Odd squares were the fastest, kind

0:21:01.040 --> 0:21:05.840
<v Speaker 3>of counterintuitively a couple of other results. They also found

0:21:06.080 --> 0:21:10.280
<v Speaker 3>effects from what's called paroity congruity. That's whether the two

0:21:10.359 --> 0:21:13.280
<v Speaker 3>digits in the number are the same parody, so whether

0:21:13.480 --> 0:21:17.960
<v Speaker 3>you know, like sixty eight, they're both even, sixty seven

0:21:18.119 --> 0:21:20.360
<v Speaker 3>one is even and one is odd. That had an effect,

0:21:20.920 --> 0:21:25.480
<v Speaker 3>and also decade magnitude, so how high the first number

0:21:25.480 --> 0:21:28.280
<v Speaker 3>in the pair was had an effect on how long

0:21:28.320 --> 0:21:30.879
<v Speaker 3>it took to process. As it gets bigger, it takes

0:21:30.920 --> 0:21:34.560
<v Speaker 3>longer to think about. They also did find some major

0:21:34.600 --> 0:21:38.399
<v Speaker 3>differences in reaction times by language group. In general, German

0:21:38.480 --> 0:21:42.600
<v Speaker 3>speakers identified two digit numbers as odd or even faster

0:21:42.720 --> 0:21:45.840
<v Speaker 3>than English or Polish speakers, and this could be due

0:21:45.880 --> 0:21:49.679
<v Speaker 3>again to this linguistic inversion principle that you say the

0:21:49.840 --> 0:21:53.240
<v Speaker 3>unit number first when you're speaking German, and the unit

0:21:53.320 --> 0:21:55.439
<v Speaker 3>number is actually all you need to know whether a

0:21:55.520 --> 0:21:58.520
<v Speaker 3>number is odd or even. But anyway, I found this

0:21:58.600 --> 0:22:02.600
<v Speaker 3>whole thing so interesting because it sort of reveals to

0:22:02.640 --> 0:22:08.160
<v Speaker 3>me that while the actual, you know, the mathematical algorithm

0:22:08.720 --> 0:22:12.080
<v Speaker 3>for determining whether a number is even or odd is

0:22:12.440 --> 0:22:18.080
<v Speaker 3>extremely simple, and it's and it's totally binary, and yet

0:22:18.359 --> 0:22:21.480
<v Speaker 3>when we think about it, apparently we must be using

0:22:21.640 --> 0:22:27.240
<v Speaker 3>all these different kind of heuristics and influences and different

0:22:27.320 --> 0:22:30.680
<v Speaker 3>kinds of little rules to make these judgments about numbers

0:22:30.720 --> 0:22:33.320
<v Speaker 3>as fast as we can. And the study did find

0:22:33.359 --> 0:22:35.200
<v Speaker 3>that people get the right answer most of the time,

0:22:35.240 --> 0:22:37.520
<v Speaker 3>and people rarely get it wrong when asked to judge

0:22:37.520 --> 0:22:40.400
<v Speaker 3>whether a number is even or odd, but they're they're

0:22:40.400 --> 0:22:44.680
<v Speaker 3>clearly using like different, little, different little principles are at

0:22:44.720 --> 0:22:47.480
<v Speaker 3>work in helping them get to that answer as fast

0:22:47.520 --> 0:22:51.560
<v Speaker 3>as they can. And some numbers are just easier to

0:22:51.680 --> 0:22:54.640
<v Speaker 3>judge faster than other ones, meaning that they're just more

0:22:54.800 --> 0:22:58.720
<v Speaker 3>represented as as a correct answer within this category than

0:22:58.800 --> 0:23:02.600
<v Speaker 3>others are. And no number in reality is any more

0:23:02.640 --> 0:23:04.439
<v Speaker 3>even or any more odd than another.

0:23:05.080 --> 0:23:07.199
<v Speaker 1>Yeah, I mean, I can't help but think about the

0:23:07.359 --> 0:23:12.000
<v Speaker 1>basic reality of when I'm using real world math, particularly

0:23:12.000 --> 0:23:14.320
<v Speaker 1>say with money, Uh, you know, any amount of money

0:23:14.400 --> 0:23:16.920
<v Speaker 1>is divisible by two, you just get into change. And

0:23:17.040 --> 0:23:19.479
<v Speaker 1>that holds true elsewhere as well. I mean, it's not

0:23:19.600 --> 0:23:23.080
<v Speaker 1>like something that an odd number cannot be split into

0:23:23.359 --> 0:23:27.200
<v Speaker 1>two equal portions. It's it's just it's just you're gonna

0:23:27.200 --> 0:23:28.760
<v Speaker 1>have to go into the decimal points to do so.

0:23:29.119 --> 0:23:31.560
<v Speaker 1>But when you do have to divide an even number

0:23:32.200 --> 0:23:34.960
<v Speaker 1>into in the real world, it does feel like a

0:23:35.000 --> 0:23:38.720
<v Speaker 1>more wholesome act. Yeah, maybe I just hate doing math,

0:23:38.760 --> 0:23:39.800
<v Speaker 1>but that's the way I feel.

0:23:40.400 --> 0:23:42.760
<v Speaker 3>Well, no, no, I see, yeah, what you're saying. I mean,

0:23:42.880 --> 0:23:48.000
<v Speaker 3>so when you're talking about whole number division, obviously dividing

0:23:48.040 --> 0:23:50.359
<v Speaker 3>an even number is you know, you can get to

0:23:50.440 --> 0:23:52.800
<v Speaker 3>an unproblematic answer to that, And if you have an

0:23:52.800 --> 0:23:54.720
<v Speaker 3>odd number, you're going to have a problem. You're gonna

0:23:54.760 --> 0:23:57.120
<v Speaker 3>have to figure out what to do about the fact

0:23:57.160 --> 0:23:59.600
<v Speaker 3>that it doesn't split down the middle correctly. If you're

0:23:59.800 --> 0:24:01.720
<v Speaker 3>dealing with some kind of like whole I don't know,

0:24:01.760 --> 0:24:03.439
<v Speaker 3>if you're trying to figure out how to split the

0:24:03.480 --> 0:24:04.800
<v Speaker 3>three scallops on your plate.

0:24:05.080 --> 0:24:06.480
<v Speaker 1>M yeah, yeah.

0:24:06.520 --> 0:24:08.479
<v Speaker 3>But this also it just makes me think about all

0:24:08.520 --> 0:24:12.119
<v Speaker 3>the ways that you know, you might have categories in

0:24:12.160 --> 0:24:15.800
<v Speaker 3>the real world, whether it's mathematical or whatever, that you

0:24:15.840 --> 0:24:18.600
<v Speaker 3>know are are technically distinct in the way that they

0:24:18.600 --> 0:24:21.719
<v Speaker 3>are defined, and yet our brains are just not going

0:24:21.760 --> 0:24:24.720
<v Speaker 3>to be bound by that for having like strict inclusion criteria,

0:24:25.359 --> 0:24:27.960
<v Speaker 3>Like we'll get into these like ways of thinking about

0:24:28.000 --> 0:24:30.479
<v Speaker 3>it as some kind of gradient, and that's just kind

0:24:30.520 --> 0:24:32.280
<v Speaker 3>of interesting that we tend to work that way.

0:24:32.680 --> 0:24:35.000
<v Speaker 1>Yeah. Yeah, Like now that you think about it, I'm

0:24:35.040 --> 0:24:38.639
<v Speaker 1>pretty sure that five and seven especially are just like

0:24:38.760 --> 0:24:41.920
<v Speaker 1>disgustingly odd, you know. Oh okay, I mean it gets

0:24:41.920 --> 0:24:44.119
<v Speaker 1>more disgusting the more sevens you have. I guess, like

0:24:44.320 --> 0:24:47.960
<v Speaker 1>like seventy seven, seven hundred and seventy seven just I

0:24:47.960 --> 0:24:49.120
<v Speaker 1>don't even want to think about those.

0:24:50.680 --> 0:24:53.400
<v Speaker 3>Oh, that's starting to make me think about the stacking

0:24:53.400 --> 0:24:54.600
<v Speaker 3>of sevens in the Bible.

0:24:54.640 --> 0:24:54.840
<v Speaker 1>You know.

0:24:55.200 --> 0:24:57.280
<v Speaker 3>Sometimes they really like to get into the there will

0:24:57.280 --> 0:25:00.359
<v Speaker 3>be like seven seven seven of something that there's seventy

0:25:00.400 --> 0:25:01.760
<v Speaker 3>seven of on the seventh Day.

0:25:02.320 --> 0:25:04.400
<v Speaker 1>Yeah, I mean it kind of gets into the idea

0:25:04.440 --> 0:25:07.240
<v Speaker 1>of something Okay, well, you know it's not easily divisible.

0:25:07.280 --> 0:25:09.280
<v Speaker 1>I guess it's you know, it's more solid, it's more

0:25:09.280 --> 0:25:11.600
<v Speaker 1>holy in that regard. It depends on how you want

0:25:11.600 --> 0:25:22.560
<v Speaker 1>to spend it. All. Right, now, it's time to come

0:25:22.600 --> 0:25:26.080
<v Speaker 1>back to the idea of three sliders on a plate.

0:25:27.640 --> 0:25:30.960
<v Speaker 1>The supposed rule of odds. So in part one I

0:25:31.040 --> 0:25:34.320
<v Speaker 1>mentioned the rule of odds and visual composition, and yeah,

0:25:34.359 --> 0:25:35.800
<v Speaker 1>I want to come back and discuss it a bit

0:25:35.800 --> 0:25:39.159
<v Speaker 1>more here, so refresh. This is the idea that if

0:25:39.160 --> 0:25:42.120
<v Speaker 1>you're going to present multiple objects or subjects in an image,

0:25:42.160 --> 0:25:45.960
<v Speaker 1>you should gravitate toward odd numbers rather than evens. The

0:25:45.960 --> 0:25:49.760
<v Speaker 1>basic concept here, as described by David Taylor in Understanding

0:25:49.800 --> 0:25:53.080
<v Speaker 1>Composition from twenty fifteen, is that a presentation of odd

0:25:53.160 --> 0:25:56.080
<v Speaker 1>numbers is always more esthetically pleasing. With an odd number,

0:25:56.119 --> 0:26:00.840
<v Speaker 1>there's always a central object or subject framed by the others. Meanwhile,

0:26:00.960 --> 0:26:04.679
<v Speaker 1>even numbered subjects or objects will read as symmetrical with

0:26:04.840 --> 0:26:08.680
<v Speaker 1>no central subject or object unless they are, as we discussed,

0:26:08.760 --> 0:26:13.679
<v Speaker 1>grouped in a manner that reads more as odd than even.

0:26:14.400 --> 0:26:16.840
<v Speaker 3>Yeah, And we talked about examples of that last time,

0:26:16.880 --> 0:26:19.480
<v Speaker 3>with like paintings that will have four people in them

0:26:19.520 --> 0:26:22.600
<v Speaker 3>and it's like three standing together and one standing apart.

0:26:22.720 --> 0:26:24.800
<v Speaker 1>Right, And I and I know I've seen this pointed

0:26:24.840 --> 0:26:27.280
<v Speaker 1>out as something that factors into food photography as well.

0:26:27.760 --> 0:26:31.560
<v Speaker 1>And I kind of like ended on that point on

0:26:31.560 --> 0:26:34.000
<v Speaker 1>a Friday afternoon and then spent the whole weekend thinking

0:26:34.040 --> 0:26:36.359
<v Speaker 1>about it and like, went to a restaurant with my

0:26:36.400 --> 0:26:39.720
<v Speaker 1>family and you know, at one point, appetizer just came

0:26:39.720 --> 0:26:42.040
<v Speaker 1>out in a pair of two and I was, I was,

0:26:42.160 --> 0:26:43.680
<v Speaker 1>you know, thinking about that a lot. I was like,

0:26:43.680 --> 0:26:45.480
<v Speaker 1>why is it too? It should be three? Right? That

0:26:45.960 --> 0:26:48.760
<v Speaker 1>is that the whole sense here? And so then I

0:26:48.800 --> 0:26:51.800
<v Speaker 1>came back to it Monday morning and read a bit

0:26:51.840 --> 0:26:53.199
<v Speaker 1>more about it. So I'm going to come back to

0:26:53.240 --> 0:26:56.159
<v Speaker 1>the food spin on this in just a minute. But

0:26:56.320 --> 0:26:59.200
<v Speaker 1>just this idea of Okay, if you have odd images,

0:26:59.200 --> 0:27:01.880
<v Speaker 1>there's always a center, and if you have even there's

0:27:02.000 --> 0:27:06.240
<v Speaker 1>no centrality. It's it's symmetrical. It's like a group of

0:27:06.240 --> 0:27:08.560
<v Speaker 1>two and two. And that's just how our brains end

0:27:08.640 --> 0:27:12.560
<v Speaker 1>up taking it all in. Now, I started wondering, what

0:27:12.720 --> 0:27:15.000
<v Speaker 1>is this reminding me of. There's some sort of image

0:27:15.040 --> 0:27:17.000
<v Speaker 1>in my head, and I realized I was thinking of

0:27:17.000 --> 0:27:20.080
<v Speaker 1>a particular puppet on display in the museum at the

0:27:20.080 --> 0:27:23.520
<v Speaker 1>Center for Puppetry Arts here in Atlanta. The puppet is

0:27:23.560 --> 0:27:29.200
<v Speaker 1>of the demon king Ravana from the Hindu epic the Ramayana.

0:27:29.880 --> 0:27:33.960
<v Speaker 1>This is the demon king, the villain of that particular work.

0:27:34.359 --> 0:27:37.960
<v Speaker 1>He rules over the island of Lanka and famously abducts

0:27:38.640 --> 0:27:42.639
<v Speaker 1>Lord Rama's wife Sita. So yeah, he's the big bad

0:27:42.680 --> 0:27:45.720
<v Speaker 1>and he's often depicted as having ten heads, though for

0:27:45.800 --> 0:27:48.960
<v Speaker 1>reasons i'll get into, he also sometimes is depicted as

0:27:49.000 --> 0:27:52.400
<v Speaker 1>having nine heads. These heads are generally presented lined up

0:27:52.720 --> 0:27:55.760
<v Speaker 1>ear to ear, with only a single head connected by

0:27:55.800 --> 0:27:58.840
<v Speaker 1>a neck to a single humanoid body. Now, the puppet

0:27:58.840 --> 0:28:00.440
<v Speaker 1>that's on display in the center of a re arts

0:28:00.440 --> 0:28:03.840
<v Speaker 1>this is a West Bengal puppet in the tradition of

0:28:03.920 --> 0:28:08.080
<v Speaker 1>and I'm maybe mispronouncing this, my apologies, don jier Putl knocked.

0:28:08.119 --> 0:28:10.480
<v Speaker 1>This is a style of wooden rod puppetry. Literally it

0:28:10.560 --> 0:28:14.640
<v Speaker 1>means dance of the wooden dolls. This puppet has ten heads,

0:28:14.920 --> 0:28:18.239
<v Speaker 1>and you can guess what that means. It means that

0:28:18.320 --> 0:28:21.760
<v Speaker 1>a ten headed ravena presented in this fashion does not

0:28:21.880 --> 0:28:24.399
<v Speaker 1>have an even number of heads on either side of

0:28:24.440 --> 0:28:28.000
<v Speaker 1>the bodied head. The center for Puppetry arts puppet ravena

0:28:28.000 --> 0:28:29.920
<v Speaker 1>has a row of four heads to one side of

0:28:29.960 --> 0:28:31.879
<v Speaker 1>the main head and a row of five heads to

0:28:31.920 --> 0:28:34.639
<v Speaker 1>the other side of the main head. It's also hard

0:28:34.640 --> 0:28:40.000
<v Speaker 1>to portray that with nonlinear depictions of Rabina, so I

0:28:40.080 --> 0:28:43.680
<v Speaker 1>came across a likely AI generated depiction of Ravena on

0:28:43.720 --> 0:28:47.560
<v Speaker 1>Shutterstock with a different grouping that does read is more balanced,

0:28:48.520 --> 0:28:51.160
<v Speaker 1>you know, to the average observer. But I should note

0:28:51.160 --> 0:28:53.640
<v Speaker 1>that this is non or traditional means of depicting the character.

0:28:53.720 --> 0:28:55.680
<v Speaker 1>This one has like a group of four on one side,

0:28:55.760 --> 0:28:58.120
<v Speaker 1>group of four on the other, and then one above

0:28:58.200 --> 0:29:01.800
<v Speaker 1>the central head. I also ran across a statue of

0:29:01.920 --> 0:29:06.400
<v Speaker 1>Ravena from Statue Park in Muraswar, India that seems to

0:29:06.440 --> 0:29:08.920
<v Speaker 1>have a circular representation, so I guess kind of like

0:29:08.960 --> 0:29:13.479
<v Speaker 1>a radial alignment of the heads. But I believe this

0:29:13.520 --> 0:29:15.720
<v Speaker 1>is a more modern interpretation. It's not what you tend

0:29:15.720 --> 0:29:19.320
<v Speaker 1>to see in sculpture, puppetry, masks and so forth, And

0:29:19.360 --> 0:29:23.520
<v Speaker 1>it is a depiction of Ravena attempting to lift a

0:29:23.560 --> 0:29:28.120
<v Speaker 1>mountain in order to impress or intimidate Lord Shiva. Now, meanwhile,

0:29:28.360 --> 0:29:30.840
<v Speaker 1>like I said earlier, Ravena is sometimes depicted as having

0:29:30.960 --> 0:29:34.200
<v Speaker 1>nine heads, and when presented in the traditional fashion, this

0:29:34.280 --> 0:29:36.479
<v Speaker 1>does even things out and gives us a central bodied

0:29:36.520 --> 0:29:39.840
<v Speaker 1>head with four heads to either side. Why does Ravena

0:29:39.960 --> 0:29:42.920
<v Speaker 1>sometimes only have nine heads? Well, remember the tail of

0:29:43.000 --> 0:29:46.760
<v Speaker 1>him lifting the mountains to impress Lord Shiva. Well, according

0:29:46.800 --> 0:29:50.080
<v Speaker 1>to this telling, Lord Shiva was not impressed and merely

0:29:50.120 --> 0:29:52.800
<v Speaker 1>put one toe on the mountain to squash Ravena beneath

0:29:52.840 --> 0:29:55.320
<v Speaker 1>it like a bug. He howls out in pain, but

0:29:55.360 --> 0:29:57.320
<v Speaker 1>he realizes, Oh, the only way I'm going to escape

0:29:57.320 --> 0:29:59.600
<v Speaker 1>this is if I can play a sweet hymn, a

0:29:59.640 --> 0:30:02.920
<v Speaker 1>sweet song for Shiva about how great he is. But

0:30:03.000 --> 0:30:06.200
<v Speaker 1>I need an instrument to do that. So what does

0:30:06.240 --> 0:30:08.360
<v Speaker 1>he do? He plucks off one of his heads, He

0:30:08.720 --> 0:30:11.400
<v Speaker 1>plucks off one of his twenty arms, some of his

0:30:11.480 --> 0:30:13.760
<v Speaker 1>intestines and tendency plucks out as well, and he makes

0:30:13.800 --> 0:30:16.960
<v Speaker 1>himself a traditional stringed instrument known as a vina to play.

0:30:17.680 --> 0:30:20.720
<v Speaker 1>And there are some there are different depictions of this.

0:30:20.800 --> 0:30:24.160
<v Speaker 1>I think sometimes Ravena is seen to basically just be

0:30:24.280 --> 0:30:29.280
<v Speaker 1>holding a traditional stringed instrument here, but other times, for instance,

0:30:29.280 --> 0:30:32.680
<v Speaker 1>there's at least one temple example saw an image of this.

0:30:32.680 --> 0:30:35.240
<v Speaker 1>This is a photograph from Sri Lanka. It is the

0:30:35.720 --> 0:30:40.800
<v Speaker 1>Konswaram Hindu temple, and we see this kind of I guess,

0:30:40.880 --> 0:30:47.160
<v Speaker 1>mildly grisly musical instrument that the Ravna has made out

0:30:47.160 --> 0:30:49.600
<v Speaker 1>of his body parts, and he's playing it there. And

0:30:49.760 --> 0:30:52.920
<v Speaker 1>in this image he does have foreheads to either side

0:30:52.960 --> 0:30:55.840
<v Speaker 1>of the central head instead of again that kind of

0:30:56.480 --> 0:31:00.440
<v Speaker 1>visually reading lop sided arrangement that we see in a

0:31:00.520 --> 0:31:03.480
<v Speaker 1>tin head at Ravena. Now you may wonder why does

0:31:03.600 --> 0:31:06.280
<v Speaker 1>Ravena have ten heads to begin with? Well, I was

0:31:06.600 --> 0:31:11.720
<v Speaker 1>reading different examples in different stories regarding this number, and

0:31:12.200 --> 0:31:15.840
<v Speaker 1>one in particular, there's an article titled the Untold Story

0:31:15.840 --> 0:31:20.640
<v Speaker 1>of Ravena on the Hindu American Foundation website by Mahakashuk

0:31:21.120 --> 0:31:24.320
<v Speaker 1>from twenty twenty two. The author here recounts the story

0:31:24.400 --> 0:31:26.560
<v Speaker 1>of how Ravena came to have ten heads to begin

0:31:26.640 --> 0:31:30.560
<v Speaker 1>with in some tellings, and this one involves Ravena seeking

0:31:30.560 --> 0:31:34.600
<v Speaker 1>atonement from Shiva by annexing his head, which I'm to

0:31:34.600 --> 0:31:38.160
<v Speaker 1>assume means a form of self decapitation. And he does

0:31:38.200 --> 0:31:41.600
<v Speaker 1>this enough times that when the head grows back each time,

0:31:41.640 --> 0:31:44.520
<v Speaker 1>he ends up with ten. Now, symbolically, the author also

0:31:44.560 --> 0:31:47.800
<v Speaker 1>has that ten heads represent the six Shastras or say,

0:31:47.880 --> 0:31:49.960
<v Speaker 1>these are sacred scriptures of Hinduism, as well as the

0:31:49.960 --> 0:31:54.400
<v Speaker 1>four Vedas. Thus it's a manifestation of Ravna's scholarly mastery

0:31:54.440 --> 0:31:57.800
<v Speaker 1>over these subjects. So multiple heads can mean great knowledge.

0:31:58.120 --> 0:32:00.680
<v Speaker 1>Another take on the ten heads that the other points

0:32:00.680 --> 0:32:02.600
<v Speaker 1>out here, and I've seen this sighted elsewhere as well,

0:32:02.720 --> 0:32:07.880
<v Speaker 1>is that they stand in for the ten emotions lust, anger, delusion, greed, pride,

0:32:07.920 --> 0:32:11.640
<v Speaker 1>in the mind, intellect, will, and ego. And the idea

0:32:11.680 --> 0:32:14.440
<v Speaker 1>here apparently is that you want intellect to overpower all

0:32:14.480 --> 0:32:17.280
<v Speaker 1>the rest, but Ravna is instead controlled by all of them,

0:32:17.400 --> 0:32:19.560
<v Speaker 1>which leads him to make the choices that result in

0:32:19.600 --> 0:32:23.920
<v Speaker 1>his downfall. Now, in Hindu iconography, as with most religious iconography,

0:32:23.960 --> 0:32:26.040
<v Speaker 1>we have to remember that these images are meant to

0:32:26.080 --> 0:32:29.000
<v Speaker 1>convey ideas. So multiple arms on a deity are more

0:32:29.000 --> 0:32:33.560
<v Speaker 1>about displaying their power and via the objects in said hands,

0:32:34.280 --> 0:32:39.160
<v Speaker 1>other particularities about the deity. But power is definitely key,

0:32:39.200 --> 0:32:42.000
<v Speaker 1>which is why you'll definitely see multiple hands when various

0:32:42.240 --> 0:32:46.920
<v Speaker 1>deities are depicted as being in battle or overcoming an adversary. Again,

0:32:47.000 --> 0:32:50.960
<v Speaker 1>multiple heads may likewise speak to the intellect of a

0:32:51.000 --> 0:32:54.840
<v Speaker 1>particular entity or various other aspects of that deity and

0:32:54.880 --> 0:32:58.280
<v Speaker 1>their differing nature. So, for instance, Shiva is sometimes depicted

0:32:58.280 --> 0:33:02.240
<v Speaker 1>with a triple head blissful and wrathful aspects to either side.

0:33:02.720 --> 0:33:05.080
<v Speaker 1>And of course this also lines up with the general

0:33:05.120 --> 0:33:08.080
<v Speaker 1>tradition of the great triad. You know, a triple face

0:33:08.160 --> 0:33:11.120
<v Speaker 1>or triple headed god that is depicted in religions around

0:33:11.120 --> 0:33:13.720
<v Speaker 1>the world. Other times, Shiva is depicted with five heads,

0:33:13.760 --> 0:33:18.440
<v Speaker 1>each representing the five divine activities creation, preservation, destruction, concealing grace,

0:33:18.440 --> 0:33:21.720
<v Speaker 1>and revealing grace, and Brahma may be depicted with four

0:33:21.760 --> 0:33:24.360
<v Speaker 1>faces and four arms. Four arms is very common in

0:33:24.440 --> 0:33:28.120
<v Speaker 1>Hindu symbolism for multiple gods. Now, as to the particular

0:33:28.160 --> 0:33:31.800
<v Speaker 1>fondness for odd numbers and Hindu traditions, I haven't run

0:33:31.800 --> 0:33:34.400
<v Speaker 1>across anything that draws a fine line on the matter.

0:33:35.080 --> 0:33:37.400
<v Speaker 1>In large part this is not surprising because, as we've

0:33:37.400 --> 0:33:40.000
<v Speaker 1>discussed in the show before, Hinduism is not a monolith.

0:33:40.040 --> 0:33:42.720
<v Speaker 1>It's a deep well of belief that's thousands of years

0:33:42.760 --> 0:33:45.480
<v Speaker 1>old and contains many of her schools. And while one

0:33:45.560 --> 0:33:49.800
<v Speaker 1>does see a tendency towards odd numbers a law of

0:33:49.800 --> 0:33:52.240
<v Speaker 1>odds to a certain extent, I guess in Hindu traditions

0:33:52.240 --> 0:33:54.400
<v Speaker 1>it's probably easier to loop all of that in to

0:33:54.560 --> 0:33:58.360
<v Speaker 1>what might seem like a global tendency towards sacred odd

0:33:58.440 --> 0:34:02.000
<v Speaker 1>numbers as opposed to anything that is particular to Hinduism.

0:34:02.720 --> 0:34:05.040
<v Speaker 1>And I was reading about this in a book from

0:34:05.160 --> 0:34:07.960
<v Speaker 1>nineteen eighty three titled The Mystery of Numbers by Anne

0:34:07.960 --> 0:34:11.799
<v Speaker 1>Maurice Schimmel, and the author here points to various examples

0:34:11.840 --> 0:34:16.000
<v Speaker 1>from the ancient Mediterranean, from Christian, Muslim, and Jewish traditions

0:34:16.040 --> 0:34:21.440
<v Speaker 1>as well that dwell on odd numbers, particularly in ritual acts, prayers,

0:34:21.560 --> 0:34:26.919
<v Speaker 1>and incantations. She writes, one performs acts of magic three

0:34:27.120 --> 0:34:30.280
<v Speaker 1>or seven times and repeats a prayer or the concluding

0:34:30.360 --> 0:34:34.520
<v Speaker 1>ahmen thrice. In earlier times, physicians and medicine men used

0:34:34.600 --> 0:34:38.120
<v Speaker 1>to give their patients pills in odd numbers. Magic knots, too,

0:34:38.160 --> 0:34:41.080
<v Speaker 1>had to be tied in odd numbers. The Talmud offers

0:34:41.280 --> 0:34:43.799
<v Speaker 1>numerous examples of the use of odd numbers and the

0:34:43.840 --> 0:34:46.680
<v Speaker 1>avoidance of even ones, and the Muslim tradition states that

0:34:46.719 --> 0:34:50.080
<v Speaker 1>the prophet Muhammad broke his fast with an odd number

0:34:50.120 --> 0:34:53.600
<v Speaker 1>of dates. When performing witchcraft or black magic, an odd

0:34:53.680 --> 0:34:56.480
<v Speaker 1>number of persons should be present, and even today it

0:34:56.520 --> 0:34:58.960
<v Speaker 1>is the custom in Europe at least to send someone

0:34:59.040 --> 0:35:02.520
<v Speaker 1>bouquet's containing an odd number of flowers, with the exception

0:35:02.760 --> 0:35:03.360
<v Speaker 1>of a dozen.

0:35:03.760 --> 0:35:07.719
<v Speaker 3>Hmm, yeah, I think it's it's so interesting to consider

0:35:07.840 --> 0:35:11.799
<v Speaker 3>why these kinds of patterns emerge now on one hand,

0:35:11.920 --> 0:35:15.719
<v Speaker 3>I do think there can be a temptation, probably to

0:35:16.160 --> 0:35:19.520
<v Speaker 3>quickly jump to some kind of like universal in you know,

0:35:19.680 --> 0:35:21.759
<v Speaker 3>built in thing in our brains is like, oh, we

0:35:21.920 --> 0:35:26.279
<v Speaker 3>just everybody around the world something about being human prefers

0:35:26.360 --> 0:35:29.480
<v Speaker 3>odd numbers or thinks they're more sacred. And I wouldn't

0:35:29.520 --> 0:35:32.000
<v Speaker 3>rule that out. It could be possible, but I wouldn't

0:35:32.080 --> 0:35:34.719
<v Speaker 3>jump to that conclusion either, because you know, you can

0:35:34.719 --> 0:35:38.080
<v Speaker 3>think about all kinds of ways that that sort of

0:35:38.200 --> 0:35:41.520
<v Speaker 3>accidents of history can become ingrained in a culture or

0:35:41.640 --> 0:35:45.480
<v Speaker 3>literary tradition and then just get amplified from there that

0:35:45.600 --> 0:35:49.279
<v Speaker 3>maybe something about you know, initial bits of storytelling that

0:35:49.440 --> 0:35:51.920
<v Speaker 3>happened to include an odd number of something or an

0:35:51.920 --> 0:35:54.960
<v Speaker 3>even number of something can build up over time and

0:35:55.120 --> 0:35:58.239
<v Speaker 3>suddenly that starts to feel just like the fabric of reality.

0:35:58.920 --> 0:36:01.400
<v Speaker 1>Yeah. Yeah, I mean, we definitely don't want to overstate

0:36:01.440 --> 0:36:04.400
<v Speaker 1>it because from on one hand, any given faith that

0:36:04.440 --> 0:36:06.880
<v Speaker 1>we mentioned just now, there are going to be examples

0:36:07.400 --> 0:36:09.480
<v Speaker 1>in both odd and even you know, you can come

0:36:09.560 --> 0:36:12.759
<v Speaker 1>up with plenty of examples of wholly even numbers or

0:36:12.960 --> 0:36:15.239
<v Speaker 1>the use of even numbers, and you know, some sort

0:36:15.239 --> 0:36:20.200
<v Speaker 1>of sacred tradition of one sort or another, and likewise, yeah,

0:36:20.200 --> 0:36:23.000
<v Speaker 1>there's information that is being related, ideas that are being

0:36:23.040 --> 0:36:26.759
<v Speaker 1>related that may just incidentally be even odd. It's not like,

0:36:27.760 --> 0:36:29.719
<v Speaker 1>you know, it's not like they were putting together the

0:36:29.719 --> 0:36:32.080
<v Speaker 1>ten Commandments and they're like, well, this is a good

0:36:32.120 --> 0:36:34.520
<v Speaker 1>even number of commandments. We don't need to add or

0:36:34.560 --> 0:36:36.279
<v Speaker 1>subtract one. Or it's not like they were, oh, we

0:36:36.360 --> 0:36:38.600
<v Speaker 1>have nine nine commandments. We better come up with one more.

0:36:38.640 --> 0:36:39.480
<v Speaker 1>We want an even ten.

0:36:39.880 --> 0:36:43.879
<v Speaker 3>Well, who knows, maybe, But I mean, at the same time,

0:36:44.200 --> 0:36:46.920
<v Speaker 3>with the example of the Bible, like I was saying earlier,

0:36:47.000 --> 0:36:49.879
<v Speaker 3>like it is hard not to if you just read

0:36:49.920 --> 0:36:53.200
<v Speaker 3>through the Old Testament, notice a huge amount of odd numbers,

0:36:53.280 --> 0:36:57.320
<v Speaker 3>especially a lot of sevens. I don't know that that's

0:36:57.400 --> 0:36:58.160
<v Speaker 3>meaning something.

0:36:58.640 --> 0:37:01.000
<v Speaker 1>Yeah, I couldn't help but think about this one as

0:37:01.000 --> 0:37:03.920
<v Speaker 1>well over the weekend because I went with my family

0:37:03.960 --> 0:37:06.800
<v Speaker 1>to see the new Beetlejuice movie. Oh and of course

0:37:07.120 --> 0:37:10.960
<v Speaker 1>one uh summons the character in question by saying his

0:37:11.080 --> 0:37:12.399
<v Speaker 1>name three times.

0:37:13.320 --> 0:37:14.479
<v Speaker 3>In two or four.

0:37:14.920 --> 0:37:17.359
<v Speaker 1>Yeah, And we see the same with you know other

0:37:17.440 --> 0:37:19.920
<v Speaker 1>you know, folk traditions, the old idea of bloody Mary,

0:37:20.640 --> 0:37:24.360
<v Speaker 1>you know, summoning her, scaring yourself by seeing her in

0:37:24.440 --> 0:37:27.600
<v Speaker 1>the mirror by saying her name three times in a row,

0:37:27.680 --> 0:37:28.439
<v Speaker 1>that sort of thing.

0:37:29.000 --> 0:37:30.759
<v Speaker 3>I got real freaked out about that when I was

0:37:30.760 --> 0:37:33.960
<v Speaker 3>a kid, I had I had a phase where that

0:37:34.040 --> 0:37:35.319
<v Speaker 3>was just like super scary to me.

0:37:36.680 --> 0:37:38.080
<v Speaker 1>I mean, I still am not going to do it.

0:37:39.600 --> 0:37:41.680
<v Speaker 1>I don't believe it, but I'm not gonna still not

0:37:41.719 --> 0:37:43.440
<v Speaker 1>going to say her name three times in front of

0:37:43.480 --> 0:37:48.560
<v Speaker 1>a mirror and I mess around. Yeah, yeah, okay, so uh,

0:37:48.960 --> 0:37:51.520
<v Speaker 1>coming back to the law of odds in general, Yeah,

0:37:51.520 --> 0:37:56.120
<v Speaker 1>it's often touted as a deciding factor in various various

0:37:56.120 --> 0:37:59.200
<v Speaker 1>approaches to visual imagery, and I have seen it mentioned.

0:38:00.280 --> 0:38:02.760
<v Speaker 1>Is lining up with food imagery as well. You know again,

0:38:02.880 --> 0:38:05.080
<v Speaker 1>I think the example used before was if you're going

0:38:05.120 --> 0:38:08.400
<v Speaker 1>to have an appetizer of sliders at a restaurant, you

0:38:08.440 --> 0:38:11.720
<v Speaker 1>want as your menu photo or your Instagram food photo,

0:38:12.040 --> 0:38:16.120
<v Speaker 1>you want an image of three sliders, not two. You

0:38:16.160 --> 0:38:18.560
<v Speaker 1>want an image of three sliders and not four, because

0:38:18.600 --> 0:38:20.960
<v Speaker 1>three is going to be an odd number. It's more attractive.

0:38:21.000 --> 0:38:23.200
<v Speaker 1>And yeah, you can throw in these other ideas of like,

0:38:23.200 --> 0:38:26.160
<v Speaker 1>well there's a central slider, I know which one is

0:38:26.200 --> 0:38:30.080
<v Speaker 1>the lead slider. But the thing is, when I started

0:38:30.080 --> 0:38:33.560
<v Speaker 1>looking around for studies about this. It seems like that

0:38:34.080 --> 0:38:38.440
<v Speaker 1>experiments don't back this up. So according to odd versus

0:38:38.480 --> 0:38:41.399
<v Speaker 1>even a scientific study of the rules of plating by

0:38:41.440 --> 0:38:44.360
<v Speaker 1>woods at all published in twenty sixteen in pere j

0:38:44.719 --> 0:38:50.759
<v Speaker 1>Law and Environment. Yeah, according to this paper, it just

0:38:50.800 --> 0:38:54.759
<v Speaker 1>doesn't seem to work quite as strongly as some might

0:38:55.000 --> 0:38:58.120
<v Speaker 1>have you believe. They actually conducted some experiments. I want

0:38:58.120 --> 0:39:00.880
<v Speaker 1>to say it was over a thousand and folks involved

0:39:00.880 --> 0:39:04.239
<v Speaker 1>in this, but you know, they ended up contending that

0:39:04.280 --> 0:39:07.720
<v Speaker 1>we have to take various cultural factors into consideration here.

0:39:09.000 --> 0:39:11.000
<v Speaker 1>You know, there's a lot going on when we look

0:39:11.040 --> 0:39:13.319
<v Speaker 1>at an image and if we add but if we

0:39:13.360 --> 0:39:16.279
<v Speaker 1>add that that image is image of food, and it's

0:39:16.280 --> 0:39:20.040
<v Speaker 1>food that we are on some level considering eating, then

0:39:20.160 --> 0:39:24.640
<v Speaker 1>it seems that overall portion size is more important than

0:39:24.680 --> 0:39:27.279
<v Speaker 1>odd or even numbers when it comes to human perceptions

0:39:27.280 --> 0:39:27.720
<v Speaker 1>of food.

0:39:28.320 --> 0:39:31.759
<v Speaker 3>Okay, so we would rather have on average, would rather

0:39:31.880 --> 0:39:33.239
<v Speaker 3>have four sliders than three?

0:39:33.719 --> 0:39:35.920
<v Speaker 1>Right, We'd rather have three than two, yes, but not

0:39:35.960 --> 0:39:39.319
<v Speaker 1>because three is odd, but because three is more sliders.

0:39:39.840 --> 0:39:43.280
<v Speaker 1>And of course this seems like a gross over statement

0:39:43.280 --> 0:39:45.040
<v Speaker 1>of the obvious, right, because it's like you go to

0:39:45.080 --> 0:39:47.400
<v Speaker 1>a restaurant you're like, I'm paying you know, close to

0:39:47.440 --> 0:39:50.239
<v Speaker 1>twenty dollars for this plate of sliders. Of course i

0:39:50.280 --> 0:39:52.200
<v Speaker 1>want it to be four and not three, because I'm

0:39:52.200 --> 0:39:55.760
<v Speaker 1>getting more slider for my buck. Also, when you're hungry,

0:39:55.840 --> 0:39:58.640
<v Speaker 1>you're hungry, and your hunger is not always a great

0:39:58.680 --> 0:40:03.080
<v Speaker 1>gauge of how many sliders you need to satisfy yourself

0:40:03.239 --> 0:40:06.319
<v Speaker 1>and or those around you, you know, so you know,

0:40:07.239 --> 0:40:10.359
<v Speaker 1>on that level, of course four sliders sound better. Let

0:40:10.400 --> 0:40:13.200
<v Speaker 1>it be four and not three. Three is just maybe

0:40:13.239 --> 0:40:16.000
<v Speaker 1>a little less likely to satisfy everyone's cravings.

0:40:16.239 --> 0:40:18.640
<v Speaker 3>But so on my understanding this right there, it's not

0:40:18.719 --> 0:40:23.000
<v Speaker 3>necessarily that they found that people prefer evens to odds.

0:40:23.080 --> 0:40:26.120
<v Speaker 3>It's just that maybe, like if there is a preference

0:40:26.160 --> 0:40:29.000
<v Speaker 3>for odds, it doesn't play that big of a role

0:40:29.040 --> 0:40:31.719
<v Speaker 3>when compared to people just wanting more food.

0:40:32.000 --> 0:40:35.000
<v Speaker 1>Right right, And they provide some wiggle room there, because again,

0:40:35.520 --> 0:40:38.080
<v Speaker 1>there's a lot going on when you're considering an image

0:40:38.160 --> 0:40:41.000
<v Speaker 1>or you're considering a presentation. I think there could based

0:40:41.000 --> 0:40:42.480
<v Speaker 1>on what I was reading here, I mean, there could

0:40:42.480 --> 0:40:46.920
<v Speaker 1>easily be a situation where ultimately having an odd number

0:40:47.200 --> 0:40:50.600
<v Speaker 1>is more important. Like maybe it's a very you know,

0:40:50.719 --> 0:40:55.359
<v Speaker 1>ritualistic presentation of food. Maybe it's a situation where the

0:40:55.400 --> 0:40:58.719
<v Speaker 1>present where the presentation is is more about just having

0:40:58.800 --> 0:41:02.720
<v Speaker 1>a great photograph as a posed to, you know, making

0:41:02.760 --> 0:41:06.239
<v Speaker 1>the potential customer salivate. Again, there are a lot there's

0:41:06.280 --> 0:41:08.120
<v Speaker 1>so much going on when we look at an image,

0:41:08.680 --> 0:41:12.120
<v Speaker 1>but you cannot discount the importance of hunger when that

0:41:12.239 --> 0:41:13.200
<v Speaker 1>image is of food.

0:41:13.640 --> 0:41:16.480
<v Speaker 3>It's it's about tricking people into believing that if you

0:41:16.520 --> 0:41:18.879
<v Speaker 3>get this sandwich, the tomato on, it will be red

0:41:18.920 --> 0:41:19.440
<v Speaker 3>and juicy.

0:41:20.960 --> 0:41:23.320
<v Speaker 1>Yeah, in reality, it may not. It may be very anemic.

0:41:23.600 --> 0:41:26.640
<v Speaker 1>Look at it. It may not have much flavor to it.

0:41:26.640 --> 0:41:29.600
<v Speaker 1>It may merely be wet and hopefully cold. In some cases,

0:41:29.640 --> 0:41:31.480
<v Speaker 1>that's fine. Maybe it's gonna work well within the context

0:41:31.520 --> 0:41:34.480
<v Speaker 1>of the slider the studying question. They also looked at like,

0:41:34.600 --> 0:41:37.480
<v Speaker 1>you know, they were looking at it like horizontal versus

0:41:37.560 --> 0:41:41.440
<v Speaker 1>vertical plating scenario. So I would be very interested to

0:41:41.480 --> 0:41:43.800
<v Speaker 1>hear from anyone out there who is involved in plating,

0:41:43.880 --> 0:41:47.040
<v Speaker 1>either professionally or you know, on an amateur chef level,

0:41:47.520 --> 0:41:48.799
<v Speaker 1>what your thoughts are on this.

0:41:49.640 --> 0:41:54.360
<v Speaker 3>Oh yeah, I actually just got interested in how much

0:41:54.480 --> 0:41:56.560
<v Speaker 3>of say you're at, you know, sort of some kind

0:41:56.560 --> 0:41:58.239
<v Speaker 3>of elite level. You know, you're working at it like

0:41:58.239 --> 0:42:02.960
<v Speaker 3>a very fancy, expensive restaurant or something. Plating choices, how

0:42:03.040 --> 0:42:05.640
<v Speaker 3>much of that is is an art and how much

0:42:05.680 --> 0:42:07.640
<v Speaker 3>is a science? Are you just sort of going off

0:42:07.680 --> 0:42:11.000
<v Speaker 3>of some kind of chef or stylists instinct there or

0:42:11.040 --> 0:42:15.359
<v Speaker 3>do you actually do research on what people dining there

0:42:15.400 --> 0:42:17.360
<v Speaker 3>prefer in terms of plating in appearance?

0:42:17.719 --> 0:42:19.239
<v Speaker 1>Yeah? I mean, and then there's also the whole the

0:42:19.320 --> 0:42:21.560
<v Speaker 1>economic value out there, right, you know, because I mean

0:42:21.600 --> 0:42:23.719
<v Speaker 1>you have to have to factor in like can we

0:42:23.800 --> 0:42:27.680
<v Speaker 1>afford to have a four slider platter? Shouldn't it just

0:42:27.719 --> 0:42:29.640
<v Speaker 1>be a three slider platter? Are we really going to

0:42:29.719 --> 0:42:32.359
<v Speaker 1>lose business because everyone thinks they need a fourth one?

0:42:32.360 --> 0:42:33.840
<v Speaker 1>If they need a fourth one, they can buy that

0:42:33.920 --> 0:42:36.440
<v Speaker 1>alto a la carte. Perhaps, I don't know. There are

0:42:36.440 --> 0:42:38.360
<v Speaker 1>a number of factors involved. You know.

0:42:38.360 --> 0:42:40.400
<v Speaker 3>I'm a big fan of chips and dips, and for

0:42:40.440 --> 0:42:43.520
<v Speaker 3>some reason, I really like it when there are two dips.

0:42:43.840 --> 0:42:47.360
<v Speaker 3>Oh okay, there were two different dips. It seems like

0:42:47.440 --> 0:42:49.640
<v Speaker 3>there should be three. Though there should be three tips.

0:42:50.080 --> 0:42:52.440
<v Speaker 3>I mean, yeah, but then you start once they're three,

0:42:52.640 --> 0:42:55.200
<v Speaker 3>that's just like that's like a buffet of dips. You

0:42:55.239 --> 0:42:57.520
<v Speaker 3>get two dips, that's like really focused. Do you get

0:42:57.520 --> 0:43:00.759
<v Speaker 3>like one I don't know, one roasted Toto salsa and

0:43:00.800 --> 0:43:02.240
<v Speaker 3>one guacamole or something.

0:43:02.520 --> 0:43:04.400
<v Speaker 1>Yeah, when there are three dips, I do find that

0:43:04.440 --> 0:43:07.760
<v Speaker 1>one dip is definitely going back in the fridge for dinner.

0:43:07.760 --> 0:43:10.000
<v Speaker 1>And then because you think, well, I'll use that later,

0:43:10.320 --> 0:43:12.319
<v Speaker 1>I'll definitely dip something in that later. And you don't

0:43:12.360 --> 0:43:14.360
<v Speaker 1>you just wash that up out and recycle it like

0:43:14.520 --> 0:43:17.319
<v Speaker 1>a week or two later. All right, I guess we're

0:43:17.320 --> 0:43:18.799
<v Speaker 1>out of time for this, but we didn't even get

0:43:18.800 --> 0:43:22.200
<v Speaker 1>into the whole idea of the seven layer burrito. So

0:43:22.840 --> 0:43:26.520
<v Speaker 1>just leave listeners to contemplate the seven layer burrito and

0:43:26.520 --> 0:43:29.360
<v Speaker 1>if that is an appropriate number of layers or should

0:43:29.360 --> 0:43:30.240
<v Speaker 1>it be less or more?

0:43:30.560 --> 0:43:32.520
<v Speaker 3>I don't know, the magic burrito?

0:43:34.000 --> 0:43:36.200
<v Speaker 1>All right, just a reminder for everyone that Stuff to

0:43:36.200 --> 0:43:38.320
<v Speaker 1>Flow Your Mind is primarily a science and culture podcast,

0:43:38.400 --> 0:43:41.840
<v Speaker 1>with core episodes on Tuesdays and Thursdays, short form episode

0:43:41.840 --> 0:43:44.720
<v Speaker 1>on Wednesday, and on Fridays. We set aside most serious concerns,

0:43:44.760 --> 0:43:47.000
<v Speaker 1>would just talk about a weird film on Weird House

0:43:47.200 --> 0:43:50.560
<v Speaker 1>Cinema and let's see what else to remind you of?

0:43:50.600 --> 0:43:53.759
<v Speaker 1>Oh yeah, if you were on Instagram, follow us on Instagram.

0:43:54.000 --> 0:43:57.319
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0:43:57.360 --> 0:43:59.440
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0:43:59.600 --> 0:44:01.760
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0:44:02.280 --> 0:44:05.680
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:44:05.800 --> 0:44:07.239
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0:44:07.239 --> 0:44:09.640
<v Speaker 3>with feedback on this episode or any other, to suggest

0:44:09.640 --> 0:44:11.560
<v Speaker 3>a topic for the future, or just to say hello,

0:44:11.960 --> 0:44:14.719
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0:44:23.360 --> 0:44:26.279
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