1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:11,000 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your 3 00:00:11,039 --> 00:00:15,160 Speaker 1: Mind Listener Mail. This is Robert Lamb and I'm Joe McCormick. 4 00:00:15,240 --> 00:00:17,720 Speaker 1: And in today's very special episode of Stuff to Blow 5 00:00:17,760 --> 00:00:20,160 Speaker 1: Your Mind Listener Mail, the mail bought Carnie will be 6 00:00:20,200 --> 00:00:23,560 Speaker 1: played by special guest star John Saxon. Everybody, get a 7 00:00:23,600 --> 00:00:28,400 Speaker 1: round of applause. Okay, Robert, you ready if I jump 8 00:00:28,560 --> 00:00:31,400 Speaker 1: right into this first message about the tide of gold, 9 00:00:31,640 --> 00:00:39,800 Speaker 1: Let's do it. Okay, this comes from Joseph, He writes, 10 00:00:40,360 --> 00:00:45,160 Speaker 1: I just recently listened to the episode from June about 11 00:00:45,240 --> 00:00:48,320 Speaker 1: harvesting gold from the ocean. I wanted to share that 12 00:00:48,360 --> 00:00:51,720 Speaker 1: I received my master's degree in chemistry from San Francisco 13 00:00:51,760 --> 00:00:55,680 Speaker 1: State University for studying a class of proteins known as 14 00:00:56,120 --> 00:00:59,200 Speaker 1: and I think this would be phido key laton's uh 15 00:00:59,440 --> 00:01:01,640 Speaker 1: if it'd be pronounced kind of like the word key lation, 16 00:01:01,760 --> 00:01:04,880 Speaker 1: which is about bonding to metals. And that's also what 17 00:01:05,000 --> 00:01:07,360 Speaker 1: these things do, I believe, so I think it's phyto 18 00:01:07,440 --> 00:01:11,640 Speaker 1: keelatons or PCs. PCs are a family of sulfur rich 19 00:01:11,720 --> 00:01:15,920 Speaker 1: peptides which are induced in plants yeast and fungi exposed 20 00:01:15,920 --> 00:01:19,520 Speaker 1: to heavy metals and are thought to detoxify metals by 21 00:01:19,560 --> 00:01:25,600 Speaker 1: forming PC metal complexes. I specifically studied PC cadmium complexes 22 00:01:25,680 --> 00:01:29,800 Speaker 1: isolated from jimsunweed, native to California. It was the first 23 00:01:29,840 --> 00:01:32,720 Speaker 1: study to report the size and nature of native PC 24 00:01:32,800 --> 00:01:37,240 Speaker 1: cadmium complexes from plant tissue samples. Maybe I should start 25 00:01:37,280 --> 00:01:39,920 Speaker 1: trying to round up investors from my new company to 26 00:01:39,920 --> 00:01:42,880 Speaker 1: get more gold out of the soil. It might just work. 27 00:01:43,440 --> 00:01:45,640 Speaker 1: Check out the paper if you're interested. And then Joseph 28 00:01:45,920 --> 00:01:48,120 Speaker 1: links to the paper on which he's one of the 29 00:01:48,120 --> 00:01:50,880 Speaker 1: co authors, published in the Journal of Mass Spectrometry in 30 00:01:50,960 --> 00:01:54,600 Speaker 1: the R nine and Joseph says, thanks so much for 31 00:01:54,640 --> 00:01:58,520 Speaker 1: the podcast. I'm now subscribed on Spotify. Joseph excellently well, 32 00:01:58,560 --> 00:02:02,400 Speaker 1: thank you, Joseph, apreciate the subscription. But more to the point, 33 00:02:02,480 --> 00:02:06,360 Speaker 1: we appreciate the the the expert feedback here on on 34 00:02:06,480 --> 00:02:09,920 Speaker 1: this past episode and always happy to give people ideas 35 00:02:09,960 --> 00:02:19,960 Speaker 1: for hoaxes, scams and scammers. All right, here we have 36 00:02:20,080 --> 00:02:23,440 Speaker 1: another one. We keep getting email regarding our episodes on 37 00:02:23,600 --> 00:02:26,320 Speaker 1: queueing on standing in line, and we love it because 38 00:02:26,360 --> 00:02:28,400 Speaker 1: we knew this would be something that everybody would have 39 00:02:28,800 --> 00:02:33,280 Speaker 1: some sort of insight on, personal, cultural, historic, et cetera. 40 00:02:34,200 --> 00:02:37,320 Speaker 1: Hi Joe and Robert Joe's comments about the zipper merge 41 00:02:37,360 --> 00:02:41,440 Speaker 1: when lanes are closed reminds me of a similar phenomenon 42 00:02:41,440 --> 00:02:44,919 Speaker 1: that I experienced in Boston. It's something that outsiders generally 43 00:02:44,960 --> 00:02:47,919 Speaker 1: perceived as rude and crazy, but I think it makes 44 00:02:48,000 --> 00:02:51,040 Speaker 1: perfect sense, and it is to use some new vocabulary, 45 00:02:51,560 --> 00:02:56,720 Speaker 1: almost a Parado improvement. In Boston, where the roads are narrow, 46 00:02:56,919 --> 00:03:00,120 Speaker 1: there are rarely left turn lanes. At traffic lights, is 47 00:03:00,240 --> 00:03:02,720 Speaker 1: very common for a left turner waiting at a red 48 00:03:02,800 --> 00:03:05,960 Speaker 1: light to jump the light, making their left turn as 49 00:03:06,000 --> 00:03:08,520 Speaker 1: soon as the light turns green, essentially cutting off the 50 00:03:08,520 --> 00:03:12,359 Speaker 1: oncoming driver who is going straight through. In general, the 51 00:03:12,520 --> 00:03:15,360 Speaker 1: driver in the oncoming lane will at least be prepared 52 00:03:15,400 --> 00:03:18,160 Speaker 1: for this maneuver, and often will even wave the left 53 00:03:18,200 --> 00:03:21,400 Speaker 1: turner ahead to make sure all involved parties are on 54 00:03:21,480 --> 00:03:25,400 Speaker 1: the same page. This all results in an imperceptible loss 55 00:03:25,440 --> 00:03:28,280 Speaker 1: of time for all cars in the oncoming direction, but 56 00:03:28,400 --> 00:03:30,880 Speaker 1: saves all of the cars behind the left turner from 57 00:03:30,919 --> 00:03:33,839 Speaker 1: having to wait for the entire light cycle in order 58 00:03:33,880 --> 00:03:36,720 Speaker 1: to drive straight through the intersection. I have never seen 59 00:03:36,760 --> 00:03:39,200 Speaker 1: this done outside of Boston, but to me, it makes 60 00:03:39,200 --> 00:03:43,400 Speaker 1: perfect sense. It seems like a win for everyone involved. John, 61 00:03:43,440 --> 00:03:45,800 Speaker 1: I think this does take place outside of Boston. I 62 00:03:45,840 --> 00:03:49,520 Speaker 1: believe this is probably something that's just common in very 63 00:03:49,680 --> 00:03:53,120 Speaker 1: busy urban streets that are tight with a lot of 64 00:03:53,160 --> 00:03:55,760 Speaker 1: traffic on them, and is less common and you know, 65 00:03:55,800 --> 00:03:58,320 Speaker 1: places where traffic is moving at a more leisurely pace 66 00:03:58,440 --> 00:04:01,680 Speaker 1: or there's more room for every ready to get around. Yeah, 67 00:04:01,680 --> 00:04:03,600 Speaker 1: I mean here here in Atlanta, we do have some 68 00:04:03,600 --> 00:04:06,880 Speaker 1: some hellish left turns and some and some strains. I 69 00:04:07,720 --> 00:04:10,800 Speaker 1: know other cities have these as well, obviously, but reversible 70 00:04:10,800 --> 00:04:14,320 Speaker 1: turn lanes. Oh no, that that is the whoever came 71 00:04:14,400 --> 00:04:16,560 Speaker 1: up with that idea. I'm sure it seemed like a 72 00:04:16,560 --> 00:04:19,120 Speaker 1: good idea at the time, but I guess it's reversible 73 00:04:19,200 --> 00:04:22,400 Speaker 1: lanes rather. Oh yeah, not eternally sorry, Yeah, the reverse. 74 00:04:22,880 --> 00:04:25,240 Speaker 1: So there's like one major road at least here in 75 00:04:25,279 --> 00:04:28,680 Speaker 1: town that for a long stretch has three lanes in 76 00:04:28,720 --> 00:04:31,800 Speaker 1: the middle lane changes directions depending on what time of 77 00:04:31,880 --> 00:04:33,040 Speaker 1: day it is or I don't know if it does 78 00:04:33,080 --> 00:04:35,840 Speaker 1: that anymore. It usually does, it totally does, it still does. 79 00:04:36,360 --> 00:04:39,880 Speaker 1: And the souper, the super infuriating and dangerous. Part of 80 00:04:39,920 --> 00:04:42,520 Speaker 1: it is that, yes, some people know this, some people 81 00:04:43,000 --> 00:04:45,920 Speaker 1: are not aware of it or have forgotten about it. 82 00:04:46,040 --> 00:04:48,400 Speaker 1: And some people will treat that middle lane as a 83 00:04:48,480 --> 00:04:51,839 Speaker 1: turn lane, regardless of what time of day it is 84 00:04:51,880 --> 00:04:55,760 Speaker 1: and who is actually supposed to be in that lane. Um, yeah, 85 00:04:55,880 --> 00:05:00,680 Speaker 1: it gets it gets insane anyway, John continues, I realized 86 00:05:00,720 --> 00:05:02,320 Speaker 1: this is a little late, but I've spent the last 87 00:05:02,320 --> 00:05:05,680 Speaker 1: two weeks on an unplanned visit to my hometown of Madison, 88 00:05:06,240 --> 00:05:09,080 Speaker 1: Wisconsin to help make arrangements for my mom, who had 89 00:05:09,080 --> 00:05:11,479 Speaker 1: a stroke two weeks ago. She's doing well in rehab, 90 00:05:11,600 --> 00:05:14,600 Speaker 1: but I will be up here right until my teaching 91 00:05:14,640 --> 00:05:17,239 Speaker 1: year starts to get her settled into a new living arrangement. 92 00:05:17,320 --> 00:05:20,239 Speaker 1: Having you guys in my ear has made the driving, packing, 93 00:05:20,240 --> 00:05:22,880 Speaker 1: and even the waiting much easier. So thanks for being 94 00:05:22,920 --> 00:05:26,719 Speaker 1: there yours. John. Oh well, that's so nice to hear, John, 95 00:05:26,760 --> 00:05:34,799 Speaker 1: and I hope for the best for your mom. Absolutely Okay. 96 00:05:34,839 --> 00:05:38,200 Speaker 1: This next message is from Gabe. Gabe says dear Robert 97 00:05:38,240 --> 00:05:40,480 Speaker 1: and Joe. Hello, there, I've been listening to stuff to 98 00:05:40,520 --> 00:05:42,480 Speaker 1: blow your mind off and on for a few years now, 99 00:05:42,520 --> 00:05:45,880 Speaker 1: and always come back to you. Guys for delightful science stuff. 100 00:05:46,200 --> 00:05:48,599 Speaker 1: I was listening to the recent episodes on queuing, and 101 00:05:48,600 --> 00:05:51,240 Speaker 1: I thought of a potentially interesting example of queueing that 102 00:05:51,279 --> 00:05:54,840 Speaker 1: I've experienced. I live in Washington State, where we rely 103 00:05:54,920 --> 00:05:57,400 Speaker 1: on ferry boats to get to certain islands or across 104 00:05:57,440 --> 00:06:00,720 Speaker 1: bodies of water. These ferries are often either the only 105 00:06:00,839 --> 00:06:03,679 Speaker 1: route or the quickest route. To get on the ferries, 106 00:06:03,760 --> 00:06:06,880 Speaker 1: you often have to wait in lines of cars, sometimes 107 00:06:06,920 --> 00:06:11,360 Speaker 1: for hours, and line cutting or attempted line cutting certainly happens. 108 00:06:11,640 --> 00:06:14,839 Speaker 1: It is advertised and treated as a real significant threat. 109 00:06:15,200 --> 00:06:17,800 Speaker 1: Signs are put up along the queuing route with numbers 110 00:06:17,800 --> 00:06:20,680 Speaker 1: to call, the with numbers to call to report quote 111 00:06:20,800 --> 00:06:25,080 Speaker 1: interlopers and local in queue protests to these interjections is 112 00:06:25,120 --> 00:06:29,840 Speaker 1: often severe, characterized by horn honks and sometimes shouting. This 113 00:06:29,920 --> 00:06:32,840 Speaker 1: example struck me as interesting because it seems to hybridize 114 00:06:32,880 --> 00:06:35,719 Speaker 1: the ideas of waiting in traffic as a queue and 115 00:06:35,880 --> 00:06:38,880 Speaker 1: waiting in lines for a more quantifiable commodity e g. 116 00:06:39,080 --> 00:06:42,200 Speaker 1: A bagel sandwich. I was curious what psychology was at 117 00:06:42,240 --> 00:06:45,880 Speaker 1: play here that, at least anecdotally, people waiting waiting in 118 00:06:45,880 --> 00:06:48,480 Speaker 1: the car and ferry lines seem more eager to defend 119 00:06:48,520 --> 00:06:52,000 Speaker 1: the line than queues on foot. Anyway, Thanks very much 120 00:06:52,000 --> 00:06:56,240 Speaker 1: for your excellent content and I look forward to future episodes. Gabe, Well, 121 00:06:56,279 --> 00:06:58,719 Speaker 1: that's interesting. I mean, it instantly makes me think back 122 00:06:58,760 --> 00:07:03,560 Speaker 1: to research we come in our our episode on vehicular 123 00:07:03,600 --> 00:07:07,920 Speaker 1: cognition about how we perceive ourselves and how we perceive 124 00:07:08,000 --> 00:07:11,960 Speaker 1: others when we're in a driving environment, and how some 125 00:07:12,160 --> 00:07:15,200 Speaker 1: of these uh, some of the constraints that might be 126 00:07:15,240 --> 00:07:17,600 Speaker 1: there otherwise they're washed away when we're in a vehicle. 127 00:07:18,320 --> 00:07:22,000 Speaker 1: There's another distinction I wonder about, which is um I 128 00:07:22,040 --> 00:07:26,680 Speaker 1: wonder if we tend to naturally behave differently when we're 129 00:07:26,760 --> 00:07:30,800 Speaker 1: waiting for something like waiting for a product or service, 130 00:07:30,880 --> 00:07:32,600 Speaker 1: a waiting in line and to drive through at a 131 00:07:32,640 --> 00:07:36,880 Speaker 1: bank or at a restaurant, versus when we are in 132 00:07:36,920 --> 00:07:40,960 Speaker 1: a transition period, meaning we're waiting to get somewhere or 133 00:07:41,080 --> 00:07:43,680 Speaker 1: not to you know, not for the product or service, 134 00:07:43,920 --> 00:07:46,200 Speaker 1: but we're just trying to in our minds sort of 135 00:07:46,240 --> 00:07:48,840 Speaker 1: like escape wherever we are now and get you know, 136 00:07:48,960 --> 00:07:51,560 Speaker 1: get back home. I think often you know, when people 137 00:07:51,600 --> 00:07:54,720 Speaker 1: would be really frustrated or try to get somewhere on time, 138 00:07:54,760 --> 00:07:57,200 Speaker 1: get to work on time. I wonder if we actually 139 00:07:57,240 --> 00:07:59,920 Speaker 1: have less tolerance for waiting in these sort of trans 140 00:08:00,000 --> 00:08:03,840 Speaker 1: positioning traveling states because the waiting for a ferry, you're 141 00:08:03,880 --> 00:08:06,559 Speaker 1: still it's kind of combining the two. It's like waiting 142 00:08:06,560 --> 00:08:09,560 Speaker 1: in a drive through, but it's also like waiting in traffic. 143 00:08:09,600 --> 00:08:13,600 Speaker 1: As the escape says, here, m I wonder too if 144 00:08:13,720 --> 00:08:16,040 Speaker 1: if there's a hint of this to it as well. 145 00:08:16,120 --> 00:08:18,080 Speaker 1: So if we're if we're waiting in line with other 146 00:08:18,120 --> 00:08:21,960 Speaker 1: people to get that bagel sandwich, we know, on some 147 00:08:22,080 --> 00:08:24,120 Speaker 1: level we all have a shared objective here. We all 148 00:08:24,160 --> 00:08:26,880 Speaker 1: want that sweet bagel sandwich, you know. We that's that's 149 00:08:26,880 --> 00:08:29,760 Speaker 1: why we're here. Maybe we feel that some of us 150 00:08:29,800 --> 00:08:32,400 Speaker 1: deserve it more than others, but but we all have 151 00:08:32,440 --> 00:08:35,600 Speaker 1: the same goal. Whereas if it's just people driving somewhere 152 00:08:35,679 --> 00:08:39,000 Speaker 1: or you know, you can I guess you could lean 153 00:08:39,040 --> 00:08:41,599 Speaker 1: into an interpretation where, hey, we're just all trying to 154 00:08:41,640 --> 00:08:44,400 Speaker 1: get home, We're all trying to get to someplace where 155 00:08:44,400 --> 00:08:45,920 Speaker 1: we need to be, or hey, we're all just trying 156 00:08:45,960 --> 00:08:47,800 Speaker 1: to get to work in the morning, something of that nature. 157 00:08:48,200 --> 00:08:51,120 Speaker 1: But it also is ambiguous enough that you could perhaps 158 00:08:51,240 --> 00:08:53,120 Speaker 1: lean more into this idea of like, well, I'm just 159 00:08:53,120 --> 00:08:54,760 Speaker 1: trying to get home. I don't know what this guy 160 00:08:54,840 --> 00:08:56,839 Speaker 1: is trying to do. He's maybe he's he's just he 161 00:08:56,920 --> 00:08:58,600 Speaker 1: just wants to go home and watch a football game 162 00:08:58,679 --> 00:09:00,400 Speaker 1: or something. He's just in a hurry off or something 163 00:09:00,400 --> 00:09:03,559 Speaker 1: that doesn't matter as much as my thing, which is 164 00:09:03,840 --> 00:09:07,440 Speaker 1: ultimately a very unfair, um criticism to make. I mean, 165 00:09:07,440 --> 00:09:09,280 Speaker 1: they maybe they have to go to the bathroom really bad. 166 00:09:09,360 --> 00:09:13,280 Speaker 1: I don't know. I mean, not that it excuses dangerous 167 00:09:13,320 --> 00:09:17,640 Speaker 1: driving or anything, but um, you know, everyone conceivably has 168 00:09:17,640 --> 00:09:20,120 Speaker 1: a reason for what they're doing. Oh, this is totally 169 00:09:20,120 --> 00:09:21,800 Speaker 1: how we think. I mean, I think I said this 170 00:09:21,840 --> 00:09:24,160 Speaker 1: in one of the queuing episodes of the difference between 171 00:09:24,320 --> 00:09:26,880 Speaker 1: you and everybody else on the road is that you've 172 00:09:26,920 --> 00:09:30,160 Speaker 1: got somewhere you need to be, yeah, yeah, and everyone 173 00:09:30,200 --> 00:09:33,319 Speaker 1: else just wants to be somewhere and is impatient about 174 00:09:33,320 --> 00:09:36,880 Speaker 1: getting there or too patient about getting there, depending on 175 00:09:36,960 --> 00:09:44,480 Speaker 1: how fast they're driving. All right, here's another one who 176 00:09:44,520 --> 00:09:46,960 Speaker 1: comes to us from Alex Hi, Joe, and Robert. I've 177 00:09:46,960 --> 00:09:48,960 Speaker 1: listened to your podcast for a handful of years, and 178 00:09:49,000 --> 00:09:52,560 Speaker 1: sometimes I get unreasonably excited at the episode titles before 179 00:09:52,559 --> 00:09:56,280 Speaker 1: having played them. Recently, regression to the mean and Reconsider 180 00:09:56,360 --> 00:09:59,640 Speaker 1: the Bean had me cheering with my cats. I'm not 181 00:10:00,280 --> 00:10:03,439 Speaker 1: on cinema, but still love when cinema spills into your 182 00:10:03,480 --> 00:10:07,000 Speaker 1: other discussions. The joy you both find in linking ideas 183 00:10:07,000 --> 00:10:10,559 Speaker 1: with media is infectious, even if I don't get the references. 184 00:10:10,600 --> 00:10:13,520 Speaker 1: Thanks for your hard work and love your stuff, Alex. 185 00:10:14,000 --> 00:10:16,360 Speaker 1: What what's the common thread with regression to the mean 186 00:10:16,440 --> 00:10:20,200 Speaker 1: and reconsider the Bean? They rhyme, That's what I was thinking. 187 00:10:20,240 --> 00:10:24,640 Speaker 1: But could that be it? Um? Alex is just looking 188 00:10:24,679 --> 00:10:27,000 Speaker 1: for the next line in the in that rap song 189 00:10:27,120 --> 00:10:29,319 Speaker 1: that they've been working on forever. I mean, I get 190 00:10:29,400 --> 00:10:32,479 Speaker 1: maybe it's just you know, those lined up with with 191 00:10:32,480 --> 00:10:35,520 Speaker 1: with Alex's particular interests, I guess more than other things. 192 00:10:36,000 --> 00:10:39,160 Speaker 1: Um and and anyway, as well as far as cinema goes, 193 00:10:39,160 --> 00:10:43,079 Speaker 1: hopefully our word how cinema episodes allow us to allow 194 00:10:43,240 --> 00:10:47,040 Speaker 1: room for our more obscure cinema references to to grow 195 00:10:47,240 --> 00:10:50,160 Speaker 1: without you know, taking up too much space in some 196 00:10:50,240 --> 00:10:52,000 Speaker 1: of our core episodes. I don't know. We'll see how 197 00:10:52,000 --> 00:11:00,120 Speaker 1: it goes, all right. This next message is about the 198 00:11:00,240 --> 00:11:03,400 Speaker 1: episode on the Speaking Sword. This one comes from Nada 199 00:11:03,520 --> 00:11:07,680 Speaker 1: and the subject line is the animate sound Lineman. I 200 00:11:07,720 --> 00:11:10,040 Speaker 1: had to look that word up. Actually, lineman L I 201 00:11:10,360 --> 00:11:15,240 Speaker 1: M E N, and alignment means the the boundary of 202 00:11:15,400 --> 00:11:20,199 Speaker 1: perceptibility or the threshold of perceptibility for something. So aligneman 203 00:11:20,360 --> 00:11:24,920 Speaker 1: is like the point at which something goes from imperceptible 204 00:11:25,000 --> 00:11:29,200 Speaker 1: to perceptible. You know, it's the lowest possible volume sound 205 00:11:29,320 --> 00:11:31,839 Speaker 1: you can hear, or or amount of light you can 206 00:11:31,880 --> 00:11:35,160 Speaker 1: perceive with your eyes or something. So anyway, Renata says, hi, 207 00:11:35,320 --> 00:11:37,800 Speaker 1: Rob and Joe, oh, and I'm gonna skip a bit here, 208 00:11:37,800 --> 00:11:40,880 Speaker 1: but she begins with the paragraph talking about saying she 209 00:11:41,120 --> 00:11:43,800 Speaker 1: enjoys listening to the podcast, but also, like another listener 210 00:11:43,840 --> 00:11:46,959 Speaker 1: who wrote in recently, enjoys listening to our episodes is 211 00:11:47,000 --> 00:11:50,200 Speaker 1: a sleep aide, especially weird house cinema. No judgment, They're 212 00:11:50,600 --> 00:11:54,640 Speaker 1: glad you're enjoying it. Um. But but then she goes 213 00:11:54,679 --> 00:11:57,160 Speaker 1: on to say, anyway, I got the sleepy vibe from 214 00:11:57,160 --> 00:12:00,960 Speaker 1: the whispers of the Speaking Sword until about thirty five 215 00:12:01,000 --> 00:12:04,720 Speaker 1: minutes into the episode when you started to talk about agency, 216 00:12:04,800 --> 00:12:08,079 Speaker 1: and then I could not fall asleep. I studied cognitive 217 00:12:08,080 --> 00:12:11,040 Speaker 1: science in college, and this subject has always fascinated me. 218 00:12:11,400 --> 00:12:13,920 Speaker 1: It reminded me of a thought experiment. I sometimes do 219 00:12:14,000 --> 00:12:16,160 Speaker 1: when I'm bored and I've been looking for an excuse 220 00:12:16,200 --> 00:12:18,440 Speaker 1: to write to you two about this. I think of 221 00:12:18,480 --> 00:12:22,760 Speaker 1: the perceptual boundary between non agency and agency as a 222 00:12:22,840 --> 00:12:26,560 Speaker 1: type of lineman or perceptual threshold, though I might be 223 00:12:26,600 --> 00:12:29,520 Speaker 1: stretching the term too much. In the episode, you talked 224 00:12:29,559 --> 00:12:32,959 Speaker 1: about movement as being key to the human perception giving 225 00:12:33,040 --> 00:12:36,800 Speaker 1: agency to an object. So here's my thought experiment. What 226 00:12:37,000 --> 00:12:41,080 Speaker 1: is the lineman of ascribing sentience or agency to a sound? 227 00:12:41,679 --> 00:12:44,160 Speaker 1: And then, to take that a step further, what is 228 00:12:44,200 --> 00:12:48,079 Speaker 1: the lineman to hear a sound as music. I can 229 00:12:48,120 --> 00:12:50,320 Speaker 1: no longer remember where I was when I first thought 230 00:12:50,360 --> 00:12:53,040 Speaker 1: about this, but probably outside and heard a sound that 231 00:12:53,080 --> 00:12:55,160 Speaker 1: I couldn't immediately tell if it was coming from a 232 00:12:55,240 --> 00:12:58,080 Speaker 1: human being or if it was just an ambient nature noise. 233 00:12:58,640 --> 00:13:00,839 Speaker 1: I don't know if you experience this, but I often 234 00:13:00,880 --> 00:13:04,040 Speaker 1: find myself hearing a weird sound than waiting until I 235 00:13:04,080 --> 00:13:06,240 Speaker 1: hear it a few more times to decide if it's 236 00:13:06,280 --> 00:13:10,040 Speaker 1: from a human, animal, electronic device, or just a noise. 237 00:13:10,600 --> 00:13:12,400 Speaker 1: I don't have the answer to this question, and I'd 238 00:13:12,440 --> 00:13:14,120 Speaker 1: love it if you could look into whether it has 239 00:13:14,160 --> 00:13:17,200 Speaker 1: been studied. I since that rhythm has something to do 240 00:13:17,280 --> 00:13:19,959 Speaker 1: with it. Either a sound is too regular and it 241 00:13:20,040 --> 00:13:23,520 Speaker 1: is probably a faucet dripping, for example, or the sound 242 00:13:23,640 --> 00:13:26,480 Speaker 1: is too irregular, like a branch hitting the side of 243 00:13:26,480 --> 00:13:29,200 Speaker 1: the house in the wind, which brings me to music. 244 00:13:29,559 --> 00:13:33,000 Speaker 1: I listened to ambient music sometimes again as a sleep aid, 245 00:13:33,040 --> 00:13:36,360 Speaker 1: and you might be surprised how sparse and amorphous an 246 00:13:36,400 --> 00:13:39,719 Speaker 1: ambient track can get. Before you say to yourself, this 247 00:13:39,800 --> 00:13:42,400 Speaker 1: is just noise. I know. There have been studies on 248 00:13:42,440 --> 00:13:46,000 Speaker 1: the extent to which animals have musical rhythm. Birds seem 249 00:13:46,040 --> 00:13:48,520 Speaker 1: to get the closest to dancing and making music like 250 00:13:48,679 --> 00:13:52,520 Speaker 1: sounds our music and rhythm on the same sentience continuum. 251 00:13:52,600 --> 00:13:55,320 Speaker 1: Is there alignment for being able to detect that a 252 00:13:55,400 --> 00:13:58,680 Speaker 1: sound was definitely intended as music by a human being 253 00:13:59,280 --> 00:14:02,480 Speaker 1: versus an animal sound? And where does AI fit in? 254 00:14:02,960 --> 00:14:06,160 Speaker 1: Thanks for inspiring me to ask these questions. Sorry, last time, 255 00:14:06,320 --> 00:14:08,959 Speaker 1: I I think this is referring to a previous email. Uh, 256 00:14:09,080 --> 00:14:11,560 Speaker 1: last time I said that your show doesn't give me chills. 257 00:14:11,720 --> 00:14:14,200 Speaker 1: I was just being cheeky. I have I have a 258 00:14:14,240 --> 00:14:16,880 Speaker 1: blast listening to you guys, even when it's putting me 259 00:14:16,920 --> 00:14:20,200 Speaker 1: to sleep. Cheers, Renata. I think that other email was 260 00:14:20,240 --> 00:14:22,080 Speaker 1: in response to the episode that Seth and I did 261 00:14:22,080 --> 00:14:26,280 Speaker 1: about free so on. Yeah, but these are really interesting questions, 262 00:14:26,320 --> 00:14:29,800 Speaker 1: I think, like, what are the limits of what we 263 00:14:29,920 --> 00:14:33,920 Speaker 1: perceive as music? To some degree? I think that's going 264 00:14:33,960 --> 00:14:37,360 Speaker 1: to be partially uh, you know, subjective, like some people 265 00:14:37,440 --> 00:14:40,320 Speaker 1: just have you know, or you might say, more open 266 00:14:40,400 --> 00:14:43,640 Speaker 1: minded about what they're willing to listen to and say, yeah, okay, 267 00:14:43,680 --> 00:14:46,200 Speaker 1: this is music. But I guess to ask the question 268 00:14:46,240 --> 00:14:49,720 Speaker 1: a little bit differently on average, like how much can 269 00:14:49,760 --> 00:14:53,880 Speaker 1: you deviate from, say, the rhythmic norms of music before 270 00:14:54,040 --> 00:14:58,400 Speaker 1: most people don't recognize a sound as even something intended 271 00:14:58,440 --> 00:15:01,600 Speaker 1: to be music, you know. Yeah, I mean, on one hand, 272 00:15:01,640 --> 00:15:04,440 Speaker 1: I think it's definitely gonna it's gonna vary from person 273 00:15:04,480 --> 00:15:09,720 Speaker 1: to person. Um. I got to interview Stephen hill Uh, 274 00:15:10,400 --> 00:15:13,240 Speaker 1: the creator of the Hearts of Space radio program years 275 00:15:13,240 --> 00:15:17,040 Speaker 1: and years ago, and he spoke of people having an 276 00:15:17,080 --> 00:15:21,240 Speaker 1: ambient DNA, of having sort of an innate inclination to 277 00:15:21,640 --> 00:15:25,200 Speaker 1: um to love the more ambient styles of music out there, 278 00:15:25,280 --> 00:15:28,200 Speaker 1: be it something you know, modern and synth based, or 279 00:15:28,280 --> 00:15:31,360 Speaker 1: something that is more versed in classical music, or some 280 00:15:31,440 --> 00:15:34,720 Speaker 1: sort of you know, cultural tradition. But that some people 281 00:15:34,960 --> 00:15:38,520 Speaker 1: maybe are more inclined to uh, to to lean into 282 00:15:38,520 --> 00:15:41,000 Speaker 1: those kind of sounds um. And I don't know if 283 00:15:41,040 --> 00:15:44,200 Speaker 1: that actually is something that matches up with with anything 284 00:15:44,240 --> 00:15:46,000 Speaker 1: scientific at all, or it's just kind of a fun 285 00:15:46,040 --> 00:15:48,800 Speaker 1: way to think about these things. But but I do 286 00:15:48,840 --> 00:15:51,400 Speaker 1: think it does vary from person to person. As someone 287 00:15:51,440 --> 00:15:55,040 Speaker 1: who does listen to a fair amount of of ambient 288 00:15:55,120 --> 00:15:58,160 Speaker 1: music and also some things that are categorized as noise music, 289 00:15:58,160 --> 00:16:00,280 Speaker 1: I know that I I have a different thresh old 290 00:16:00,520 --> 00:16:02,840 Speaker 1: compared to say my wife, Like there's stuff that that 291 00:16:03,040 --> 00:16:07,479 Speaker 1: I will enjoy that that she might barely tolerate, and 292 00:16:07,480 --> 00:16:10,760 Speaker 1: and we're continually working out those borders as we play 293 00:16:10,840 --> 00:16:13,840 Speaker 1: music in the house. One example of variation on this 294 00:16:13,920 --> 00:16:15,720 Speaker 1: that I wonder about, I can't remember if I mentioned 295 00:16:15,800 --> 00:16:18,400 Speaker 1: this a minute ago, but I wonder about, like, what 296 00:16:18,440 --> 00:16:23,160 Speaker 1: are the natural limits on tempo? So if if you 297 00:16:23,240 --> 00:16:27,640 Speaker 1: have something that is occurring at regular intervals, uh, people 298 00:16:27,680 --> 00:16:30,160 Speaker 1: will you know, can eventually start to pick that out 299 00:16:30,200 --> 00:16:32,160 Speaker 1: as a kind of rhythm and maybe if there are 300 00:16:32,200 --> 00:16:36,000 Speaker 1: certain tonalities associated with it, most people would say, Okay, 301 00:16:36,040 --> 00:16:38,280 Speaker 1: I think this is the sound is intended to be 302 00:16:38,320 --> 00:16:41,760 Speaker 1: a kind of music. But like how slow can the 303 00:16:41,840 --> 00:16:45,520 Speaker 1: repetition of of whatever that sound is get or how 304 00:16:45,640 --> 00:16:49,359 Speaker 1: fast can it get before you have foreclosed the possibility 305 00:16:49,440 --> 00:16:52,400 Speaker 1: that anybody listening to it will think that it's supposed 306 00:16:52,440 --> 00:16:55,520 Speaker 1: to be musical sound. If you imagine a song has 307 00:16:55,880 --> 00:16:59,320 Speaker 1: has one beat per minute, would most people who hear 308 00:16:59,400 --> 00:17:03,480 Speaker 1: that sound likely to perceive that as rhythm or perceive 309 00:17:03,600 --> 00:17:06,439 Speaker 1: it as music spontaneously unless they were primed to in 310 00:17:06,480 --> 00:17:09,160 Speaker 1: some way? I would guess probably not, But like what's 311 00:17:09,200 --> 00:17:11,680 Speaker 1: the limit there? Like how slow can a tempo get? 312 00:17:11,720 --> 00:17:15,520 Speaker 1: And consequently also how fast can it get before you 313 00:17:15,600 --> 00:17:18,120 Speaker 1: reach the point where people are not hearing music, They're 314 00:17:18,160 --> 00:17:20,920 Speaker 1: just hearing kind of a buzz or a whir As 315 00:17:20,920 --> 00:17:23,440 Speaker 1: I say, this thunder is rumbling right outside my window. 316 00:17:23,480 --> 00:17:25,720 Speaker 1: I don't know if he likes picking that up. It 317 00:17:25,760 --> 00:17:29,919 Speaker 1: also reminds me of the the fictional drug in the 318 00:17:30,000 --> 00:17:33,840 Speaker 1: Dune novels, Simuda, which that that which, of course you 319 00:17:34,200 --> 00:17:37,640 Speaker 1: In the books, we're told that individuals will take Simuda 320 00:17:37,920 --> 00:17:40,560 Speaker 1: in in order to enjoy Simuda music, which is a 321 00:17:40,600 --> 00:17:42,960 Speaker 1: special kind of music that is just going to sound 322 00:17:43,000 --> 00:17:47,240 Speaker 1: like just straight garbage unless you are currently using this 323 00:17:47,440 --> 00:17:50,760 Speaker 1: mysterious narcotic was it like a chopped in screwed kind 324 00:17:50,760 --> 00:17:55,120 Speaker 1: of thing. I don't know, but it also I think 325 00:17:55,119 --> 00:17:59,359 Speaker 1: there was something similar in uh in a Brass Eyes Get, 326 00:17:59,840 --> 00:18:05,080 Speaker 1: the British satire series from Chris Morris Um in which 327 00:18:05,119 --> 00:18:08,639 Speaker 1: there were people who would take this fictional drug called 328 00:18:08,680 --> 00:18:11,679 Speaker 1: cake and they would listen to some sort of music 329 00:18:11,720 --> 00:18:14,399 Speaker 1: and of course it likes Samuda music. It sounds like 330 00:18:14,440 --> 00:18:18,840 Speaker 1: garbage unless you are on this fictional drug. Have you 331 00:18:18,880 --> 00:18:21,560 Speaker 1: seen the Cake episode, Joe, No, I haven't pressed. Oh 332 00:18:21,600 --> 00:18:24,760 Speaker 1: it's it's so good. They are actually trolld um, actual 333 00:18:24,880 --> 00:18:28,919 Speaker 1: British politicians into comment to commenting on the cake epidemic. 334 00:18:29,200 --> 00:18:33,359 Speaker 1: Oh nice, nice, well like condemning this, this epidemic of 335 00:18:33,400 --> 00:18:43,000 Speaker 1: degenerate culture. Yes, yes, calling out the cake in particular. Nice. 336 00:18:46,800 --> 00:18:48,480 Speaker 1: Al right, Well, why don't we do a little bit 337 00:18:48,520 --> 00:18:51,720 Speaker 1: of weird house cinema listener mail while we're at it. Uh, 338 00:18:51,760 --> 00:18:54,000 Speaker 1: this is a really fun one. And this is where 339 00:18:54,040 --> 00:18:57,359 Speaker 1: we got the title for this particular episode of listener mail. 340 00:18:57,680 --> 00:19:00,080 Speaker 1: We heard from the home dad abroad, who I've I 341 00:19:00,080 --> 00:19:02,720 Speaker 1: believe it was written in before because I remember that 342 00:19:02,720 --> 00:19:06,200 Speaker 1: that moniker um. So they say, hey, Robert and Joe, 343 00:19:06,560 --> 00:19:09,399 Speaker 1: just a silly little personal connection to John Sackson, the 344 00:19:09,440 --> 00:19:12,879 Speaker 1: star of your Weird House Celebration Cannibal Apocalypse that I 345 00:19:12,960 --> 00:19:16,600 Speaker 1: thought you might enjoy. And at this point the home 346 00:19:16,680 --> 00:19:18,960 Speaker 1: Dad Abroad points out that they were employed as a 347 00:19:19,040 --> 00:19:23,240 Speaker 1: key grip on a small budget film many years ago. 348 00:19:23,520 --> 00:19:29,719 Speaker 1: It was like a medieval themed film that starred Mark Singer, 349 00:19:30,200 --> 00:19:34,000 Speaker 1: Claudia Christian, and John Saxon, who, he says, it was 350 00:19:34,040 --> 00:19:37,640 Speaker 1: a quote a quiet, contemplative and kind man if there 351 00:19:37,640 --> 00:19:41,359 Speaker 1: ever was one. So wait, so Mark Singer was that 352 00:19:41,520 --> 00:19:45,000 Speaker 1: beast Master. That's beast Master himself. Yes, and we confirmed 353 00:19:45,040 --> 00:19:48,000 Speaker 1: before we started recording this. Claudia Christian was in another 354 00:19:48,080 --> 00:19:51,160 Speaker 1: movie that we did for Weird House Cinema, which was Arena, 355 00:19:51,320 --> 00:19:55,360 Speaker 1: the alien boxing movie. Yes, yes, she was the love 356 00:19:55,400 --> 00:19:59,159 Speaker 1: interest in Arena. Yeah, as she's also I think we 357 00:19:59,200 --> 00:20:02,000 Speaker 1: didn't realize this when we recorded that episode, but I 358 00:20:02,080 --> 00:20:04,760 Speaker 1: just recently found out that she was also in one 359 00:20:04,800 --> 00:20:06,960 Speaker 1: of the movies that many years ago was one of 360 00:20:06,960 --> 00:20:11,080 Speaker 1: my favorite terrible, terrible movies, which was the Steven Seagal 361 00:20:11,160 --> 00:20:15,320 Speaker 1: film Half Past Dead starring Seagal and jaw Rule and 362 00:20:15,720 --> 00:20:20,560 Speaker 1: Morris Chestnut. And uh, it's it is a truly awful film, 363 00:20:20,600 --> 00:20:23,439 Speaker 1: but I remember it got one of the best Roger 364 00:20:23,480 --> 00:20:26,399 Speaker 1: Ebert descriptors of any movie I've ever seen. In his review, 365 00:20:26,480 --> 00:20:30,120 Speaker 1: he said that half Past Dead is is like an 366 00:20:30,119 --> 00:20:33,960 Speaker 1: alarm that is going off in an unoccupied room. It 367 00:20:34,040 --> 00:20:39,800 Speaker 1: does its job, it stops, and no one cares. All right, well, 368 00:20:39,840 --> 00:20:43,760 Speaker 1: the home dat abroad continues here quote. During the shooting 369 00:20:43,800 --> 00:20:48,480 Speaker 1: of the climactic sword fight betwixt Singer's Lancelot and Saxon's 370 00:20:48,520 --> 00:20:51,639 Speaker 1: I want to say Voldemort, but definitely predated Harry Potter, 371 00:20:52,080 --> 00:20:54,440 Speaker 1: I was moving along with the actors, holding a four 372 00:20:54,480 --> 00:20:58,160 Speaker 1: by four soft bounce board for reflecting sunlight as phil 373 00:20:58,760 --> 00:21:01,840 Speaker 1: onto the actor's face is to soften the harsh shadows 374 00:21:02,240 --> 00:21:06,320 Speaker 1: on mostly overtight handheld close ups. I don't think the 375 00:21:06,359 --> 00:21:10,000 Speaker 1: camera could even see the swords a good thing at 376 00:21:10,040 --> 00:21:13,800 Speaker 1: that as Saxon lost his grip on the unnecessarily heavy 377 00:21:14,040 --> 00:21:16,840 Speaker 1: and sharp punk of metal that the art department provided 378 00:21:17,240 --> 00:21:21,000 Speaker 1: that took the kinetic energy from singer swords impact to 379 00:21:21,040 --> 00:21:24,399 Speaker 1: carry it hurtling through the air, finding a point first 380 00:21:24,480 --> 00:21:27,760 Speaker 1: purchase in the upper left center of the bounce board, 381 00:21:27,760 --> 00:21:30,800 Speaker 1: I held an inch away from my chest, knocking me 382 00:21:30,920 --> 00:21:35,720 Speaker 1: backwards and stumbling to the ground. The sword plunged through 383 00:21:35,720 --> 00:21:39,040 Speaker 1: the inch thick layer of styrofoam, through the quarter inch 384 00:21:39,080 --> 00:21:43,280 Speaker 1: foam core board, jutting out half an inch from my flesh, 385 00:21:43,560 --> 00:21:48,960 Speaker 1: almost perfectly poised above my heart woe. After the director 386 00:21:49,080 --> 00:21:51,679 Speaker 1: murmured cut and a couple of people asked if I 387 00:21:51,720 --> 00:21:54,639 Speaker 1: was okay. I looked up to the smiling silhouette of 388 00:21:54,720 --> 00:21:58,560 Speaker 1: John Saxon extending a hand to help me up. Next time. 389 00:21:58,600 --> 00:22:01,920 Speaker 1: I won't miss he said, I have that bounced board 390 00:22:01,920 --> 00:22:05,760 Speaker 1: to this very day, signed by him in character. Oh 391 00:22:06,000 --> 00:22:10,320 Speaker 1: what a story. Uh? And then and then they had uh. 392 00:22:10,359 --> 00:22:12,280 Speaker 1: And my son, who was twelve at the time, was 393 00:22:12,359 --> 00:22:16,720 Speaker 1: unimpressed by the controversy surrounding the unexceptional Cannibal Holocaust. After 394 00:22:16,760 --> 00:22:20,960 Speaker 1: he watched it, cheers the home dat Abroad. Okay, well 395 00:22:20,960 --> 00:22:25,240 Speaker 1: you heard it here, every all twelve year old holocaust. No. No, 396 00:22:25,720 --> 00:22:29,840 Speaker 1: I would say, absolutely, absolutely not. Um. Maybe, and I'm 397 00:22:29,840 --> 00:22:32,200 Speaker 1: not sure if the Home Dad Abroad meant cannibal Apocalypse 398 00:22:32,240 --> 00:22:35,680 Speaker 1: of cannibal Holocaust. But I I don't think either film 399 00:22:35,760 --> 00:22:39,040 Speaker 1: is necessarily for twelve year olds. But that's just me. 400 00:22:39,440 --> 00:22:40,960 Speaker 1: But I don't know twelve year olds are different. I 401 00:22:41,000 --> 00:22:44,119 Speaker 1: don't know, twelve year olds are different these days. Everything 402 00:22:44,200 --> 00:22:46,119 Speaker 1: is different. When you've had a brush with a sword 403 00:22:46,160 --> 00:22:49,159 Speaker 1: through the heart from the hand of John Saxon, I 404 00:22:49,200 --> 00:22:51,439 Speaker 1: think that's got to change you in in in every 405 00:22:51,480 --> 00:23:00,920 Speaker 1: conceivable sense. Anyway, that's a great story. Yeah, okay. One 406 00:23:01,000 --> 00:23:04,600 Speaker 1: last message, this comes from our WA area, says, Hello, guys, 407 00:23:04,680 --> 00:23:07,520 Speaker 1: I'm emailing you about your recent weird house cinema episode 408 00:23:07,520 --> 00:23:10,719 Speaker 1: on Deep Blue Sea. My friend and I recently watched 409 00:23:10,720 --> 00:23:12,960 Speaker 1: this movie together and I can't seem to get over 410 00:23:13,000 --> 00:23:15,679 Speaker 1: this scene in the shot where L L cool J 411 00:23:15,880 --> 00:23:18,960 Speaker 1: is hiding in the oven and it is suddenly turned on. 412 00:23:19,760 --> 00:23:22,439 Speaker 1: Did the shark do that on purpose because it is 413 00:23:22,480 --> 00:23:27,240 Speaker 1: a super intelligent shark or was it just a lucky coincidence? Uh? 414 00:23:27,720 --> 00:23:29,840 Speaker 1: Very good question. Are I do not know how the 415 00:23:29,840 --> 00:23:32,560 Speaker 1: shark turned on the oven? I mean, you know how 416 00:23:32,680 --> 00:23:36,520 Speaker 1: oven knobs are there. You can occasionally turn them on 417 00:23:36,640 --> 00:23:38,840 Speaker 1: just with your body if you're like squeezing past somebody 418 00:23:38,880 --> 00:23:41,560 Speaker 1: in the kitchen or something. So I imagine a giant 419 00:23:41,600 --> 00:23:43,840 Speaker 1: shark might do that as well. I want to hear 420 00:23:43,880 --> 00:23:46,200 Speaker 1: from people out there, how many have had this perilous 421 00:23:46,240 --> 00:23:49,199 Speaker 1: problem of doing things in the kitchen while listening to 422 00:23:49,280 --> 00:23:53,879 Speaker 1: earbuds or headphones and having that dastardly chord grab and 423 00:23:54,000 --> 00:23:57,960 Speaker 1: snag and hook over things like knobs and drawer handles, 424 00:23:58,000 --> 00:24:00,719 Speaker 1: and oh that's dangerous. You know, even a you got 425 00:24:00,760 --> 00:24:03,040 Speaker 1: a knife handle kind of off the edge of the counter. 426 00:24:03,480 --> 00:24:05,760 Speaker 1: It can be it can be perilous. That's a good 427 00:24:05,760 --> 00:24:08,040 Speaker 1: reason why if you listen to headphones in the kitchen, 428 00:24:08,119 --> 00:24:11,200 Speaker 1: invest in some wireless ones. Oh wow, I never even 429 00:24:11,200 --> 00:24:13,440 Speaker 1: thought about that. I mean, it's frustrating enough when your 430 00:24:13,600 --> 00:24:17,840 Speaker 1: head like earbuds, cord or whatever gets caught on something, 431 00:24:17,920 --> 00:24:22,240 Speaker 1: but if there's their knives and fire and boiling water involved, 432 00:24:22,280 --> 00:24:26,400 Speaker 1: all the worse live lobsters getting caught up in your 433 00:24:26,440 --> 00:24:30,520 Speaker 1: headphone cord lying across the room. My cooking and kitchen 434 00:24:30,560 --> 00:24:34,200 Speaker 1: experiences in general became became filled with a lot less 435 00:24:34,280 --> 00:24:37,840 Speaker 1: screaming and and and swearing once I got some some 436 00:24:37,880 --> 00:24:42,600 Speaker 1: bluetooth headphones. But anyway, I'm going with the shark did 437 00:24:42,640 --> 00:24:45,800 Speaker 1: turn on the oven on purpose, because that's a smart shark. 438 00:24:45,880 --> 00:24:48,240 Speaker 1: You know, they can use their they've got their surprisingly 439 00:24:48,680 --> 00:24:52,720 Speaker 1: uh dexterous with the tip of their nose. Yeah and true, 440 00:24:52,800 --> 00:24:55,480 Speaker 1: I mean that's what that's what's up in Deep bluecy 441 00:24:55,560 --> 00:24:57,800 Speaker 1: and the shirt. The sharks are super intelligent, they have 442 00:24:57,840 --> 00:25:00,960 Speaker 1: an agenda, so we have every reason to lean into 443 00:25:01,000 --> 00:25:03,920 Speaker 1: that explanation. We didn't even touch on this, did we, 444 00:25:04,000 --> 00:25:07,199 Speaker 1: in the our deeply seated discussion, But that's ultimately the 445 00:25:07,240 --> 00:25:10,879 Speaker 1: reveal that the sharks are not just harassing the humans 446 00:25:10,880 --> 00:25:14,600 Speaker 1: for revenge. They're escaping from their prison and they're using 447 00:25:14,600 --> 00:25:17,639 Speaker 1: the humans to achieve this. Right, Yeah, they want to 448 00:25:17,640 --> 00:25:20,560 Speaker 1: get out. Yeah, they want freedom, which again is weird 449 00:25:20,600 --> 00:25:24,760 Speaker 1: that we're supposed to be anti shark in this. Well, 450 00:25:24,800 --> 00:25:26,520 Speaker 1: you know, if it's just the sharks versus still in 451 00:25:26,560 --> 00:25:29,800 Speaker 1: Scars Guard and Saffron Burrows, you might be more sympathetic 452 00:25:29,840 --> 00:25:32,160 Speaker 1: to the shark's side. But hey, what did ll cool 453 00:25:32,200 --> 00:25:34,480 Speaker 1: j Ever do to them? He's just he's just a 454 00:25:34,480 --> 00:25:36,440 Speaker 1: great cook. And they go in there and they start 455 00:25:36,480 --> 00:25:38,560 Speaker 1: messing up his kitchen. They try to burn him in 456 00:25:38,560 --> 00:25:41,679 Speaker 1: an oven. That you can't do that to LLL I know, 457 00:25:41,720 --> 00:25:43,520 Speaker 1: all he wants to do is create the perfect omelet. 458 00:25:44,000 --> 00:25:47,000 Speaker 1: That's for any of this, Okay, so are what goes on? 459 00:25:47,600 --> 00:25:50,199 Speaker 1: Another scene that made us burst out laughing was the 460 00:25:50,240 --> 00:25:53,080 Speaker 1: one where they are explaining the background of the research 461 00:25:53,160 --> 00:25:56,000 Speaker 1: and why they decided to use quote big brain sharks 462 00:25:56,480 --> 00:26:00,320 Speaker 1: to the Samuel L. Jackson character, and he replies by saying, 463 00:26:00,520 --> 00:26:03,760 Speaker 1: using sharks to harvest more protein, like it was a 464 00:26:03,840 --> 00:26:07,679 Speaker 1: logical expected course of action. This is especially funny to 465 00:26:07,760 --> 00:26:10,840 Speaker 1: us because we are both researchers in the biology field 466 00:26:11,119 --> 00:26:14,560 Speaker 1: and often have to produce proteins for lab experiments. However, 467 00:26:14,640 --> 00:26:18,719 Speaker 1: the commonly used practice involves using programmed bacteria or yeast 468 00:26:18,720 --> 00:26:21,520 Speaker 1: to produce the proteins, as they can produce very large 469 00:26:21,520 --> 00:26:24,640 Speaker 1: amounts of the desired protein fast and at very low costs, 470 00:26:25,000 --> 00:26:28,000 Speaker 1: especially compared to a research facility in the middle of 471 00:26:28,040 --> 00:26:31,399 Speaker 1: the sea that houses only three sharks. Very astute. I 472 00:26:31,760 --> 00:26:34,520 Speaker 1: agree that the movie that it would have been harder 473 00:26:34,560 --> 00:26:36,960 Speaker 1: to make this movie if they had gone with bacteria 474 00:26:37,119 --> 00:26:39,760 Speaker 1: or yeast instead of sharks. But I don't know, maybe 475 00:26:39,800 --> 00:26:43,439 Speaker 1: you could have done it smart yeast. I mean, I 476 00:26:43,440 --> 00:26:45,440 Speaker 1: guess if you wanted to make a blob film, that's 477 00:26:45,440 --> 00:26:48,439 Speaker 1: one way to go about it, you know. Oh yeah, yeah. Anyway, 478 00:26:48,760 --> 00:26:50,840 Speaker 1: R says, thank you so much for the great podcast. 479 00:26:51,400 --> 00:26:53,840 Speaker 1: It has really helped me stay in enlightened during those long, 480 00:26:53,960 --> 00:26:57,359 Speaker 1: tedious lab experiments. Best area. Well, thank you so much. 481 00:26:57,960 --> 00:26:59,840 Speaker 1: All right, Well, that's that's what we have for you 482 00:26:59,880 --> 00:27:03,040 Speaker 1: here today. That is the mail bag for this installment 483 00:27:03,080 --> 00:27:04,960 Speaker 1: of Stuff to Blow Your Mind Listener Mail. But we'll 484 00:27:05,000 --> 00:27:07,320 Speaker 1: be back because there's more stuff we didn't read. There's 485 00:27:07,359 --> 00:27:10,879 Speaker 1: more stuff we're still reading and processing, and of course 486 00:27:10,920 --> 00:27:12,760 Speaker 1: we asked that you keep it coming. If you have 487 00:27:12,840 --> 00:27:15,480 Speaker 1: thoughts on episodes that are coming out now, thoughts on 488 00:27:15,560 --> 00:27:20,000 Speaker 1: past episodes, rerun to of Vault episodes, Weird How Cinema episodes, 489 00:27:20,200 --> 00:27:23,000 Speaker 1: or thoughts about what future episodes of the show could be, 490 00:27:23,680 --> 00:27:26,320 Speaker 1: let us know we would love to hear from you. 491 00:27:26,640 --> 00:27:28,200 Speaker 1: In the meantime, you can check out Stuff to Blow 492 00:27:28,240 --> 00:27:30,960 Speaker 1: your Mind Listener Mail on Monday's core episodes of Stuff 493 00:27:30,960 --> 00:27:33,440 Speaker 1: to Blow Your Mind on Tuesday and Thursday. On Wednesday 494 00:27:33,440 --> 00:27:35,840 Speaker 1: we do the Artifact and on Friday's we do Weird 495 00:27:35,880 --> 00:27:38,480 Speaker 1: How Cinema. That's our time to just look at a 496 00:27:38,520 --> 00:27:41,760 Speaker 1: weird or interesting film. Huge thanks as always to our 497 00:27:41,840 --> 00:27:44,919 Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like 498 00:27:44,960 --> 00:27:47,080 Speaker 1: to get in touch with us with feedback on this 499 00:27:47,119 --> 00:27:49,760 Speaker 1: episode or any other, to suggest topic for the future, 500 00:27:49,800 --> 00:27:51,920 Speaker 1: or just to say hello, you can email us at 501 00:27:52,040 --> 00:28:02,639 Speaker 1: contact at stuff to Blow your Mind dot com. Stuff 502 00:28:02,640 --> 00:28:04,879 Speaker 1: to Blow Your Mind is a production of I heart Radio. 503 00:28:05,200 --> 00:28:07,560 Speaker 1: For more podcasts for my heart Radio, visit the iHeart 504 00:28:07,600 --> 00:28:10,359 Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your 505 00:28:10,359 --> 00:28:11,040 Speaker 1: favorite shows.