1 00:00:03,800 --> 00:00:06,680 Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff 2 00:00:06,720 --> 00:00:13,960 Speaker 1: Works dot com. Hey, welcome to Stuff to Blow your Mind. 3 00:00:14,000 --> 00:00:16,400 Speaker 1: My name is Robert Lamb and I'm Julie Douglas. Julie 4 00:00:16,520 --> 00:00:17,840 Speaker 1: was starting this one off. I understand you want to 5 00:00:17,840 --> 00:00:20,120 Speaker 1: call somebody out. You want to call out an individual 6 00:00:20,120 --> 00:00:22,119 Speaker 1: by the name of j Alfred Proof Rock on something. 7 00:00:22,160 --> 00:00:25,320 Speaker 1: He said, it doesn't exactly line up with science, that's right. 8 00:00:25,680 --> 00:00:29,520 Speaker 1: And um, my friend Tated s Elliott had this idea 9 00:00:29,800 --> 00:00:32,600 Speaker 1: about the silent sees, right, I think we all have 10 00:00:32,640 --> 00:00:34,880 Speaker 1: to do. Right. We think about the ocean, the vastness 11 00:00:35,600 --> 00:00:40,120 Speaker 1: of it, just being this quiescent ocean of nothingness. Right. Yeah, 12 00:00:40,120 --> 00:00:43,319 Speaker 1: I'm sure they're waves and storms and crashing, but when 13 00:00:43,360 --> 00:00:45,839 Speaker 1: you put your head underwater, suddenly all or most of 14 00:00:45,880 --> 00:00:49,880 Speaker 1: these surface sounds just disappear, right, Right, it's really nice 15 00:00:49,880 --> 00:00:52,199 Speaker 1: and quiet. And I was thinking about that quote from 16 00:00:52,200 --> 00:00:54,200 Speaker 1: the love song of j Alfred Proof franc Case. He said, 17 00:00:54,520 --> 00:00:56,200 Speaker 1: some of you may have heard it before. I should 18 00:00:56,280 --> 00:01:00,160 Speaker 1: have been a pair of ragged claws scuttling across the 19 00:01:00,200 --> 00:01:05,080 Speaker 1: floors of silent seas. There's that silent part. Yeah, I 20 00:01:05,080 --> 00:01:07,080 Speaker 1: gotta call you out. It turns out that there's kind 21 00:01:07,080 --> 00:01:10,080 Speaker 1: of a disco going on underneath the water there. I 22 00:01:10,080 --> 00:01:12,000 Speaker 1: don't think proof Rock is gonna take this well because 23 00:01:12,000 --> 00:01:14,000 Speaker 1: he's kind of a he's kind of a gloomy dude. 24 00:01:14,240 --> 00:01:17,280 Speaker 1: He's kind of feeling down here. He's gonna take rough 25 00:01:17,360 --> 00:01:19,240 Speaker 1: huge in those silent seas. Yeah, and you just took 26 00:01:19,280 --> 00:01:22,680 Speaker 1: that away from him. So sorry. Yeah. Yeah, Well let's 27 00:01:22,680 --> 00:01:25,919 Speaker 1: talk about these seas and what happens when we eaves 28 00:01:26,000 --> 00:01:29,440 Speaker 1: drop on the ocean. Yeah, this episode is going to 29 00:01:29,520 --> 00:01:33,440 Speaker 1: be all about sounds underwater, sounds under the sea, sounds 30 00:01:33,520 --> 00:01:36,360 Speaker 1: in your swimming pool, but not in your bathtub, but 31 00:01:36,480 --> 00:01:37,919 Speaker 1: not in your well, it could be in your bathtub, 32 00:01:38,000 --> 00:01:39,559 Speaker 1: I guess all. The bathtub is kind of a small 33 00:01:39,959 --> 00:01:42,280 Speaker 1: environment for Yeah, I was making a part joke. I 34 00:01:42,319 --> 00:01:46,560 Speaker 1: apologize about that. Okay, Well, you know we don't throw 35 00:01:46,600 --> 00:01:50,720 Speaker 1: them in there often, No, we don't, you sparingly alright, alright, 36 00:01:50,760 --> 00:01:52,600 Speaker 1: let's get back to the whole eaves dropping on the 37 00:01:52,640 --> 00:01:57,040 Speaker 1: sea thing. Yes, so sound underwater, Yes, it does exist. 38 00:01:57,240 --> 00:02:00,400 Speaker 1: If anyone out there was not sure on this sound 39 00:02:00,440 --> 00:02:02,680 Speaker 1: does travel through water. In fact, it's travels four times 40 00:02:02,720 --> 00:02:05,120 Speaker 1: as fast. Where we get this weird idea of that 41 00:02:05,200 --> 00:02:07,800 Speaker 1: of course is that as humans, we have evolved, for 42 00:02:07,880 --> 00:02:10,280 Speaker 1: the most part to live on the surface. We have 43 00:02:10,360 --> 00:02:13,320 Speaker 1: evolved to hear on the surface. So when we put 44 00:02:13,360 --> 00:02:16,920 Speaker 1: our head underwater and water fills our earn, it cuts 45 00:02:16,960 --> 00:02:18,799 Speaker 1: down on our ability to hear and the way that 46 00:02:18,880 --> 00:02:20,920 Speaker 1: the vibrations are actually picked up by our inner ear. 47 00:02:20,960 --> 00:02:22,760 Speaker 1: We end up having to hear for the most part 48 00:02:22,840 --> 00:02:25,600 Speaker 1: with bone connectivity hearing, it means we're actually hearing with 49 00:02:25,680 --> 00:02:28,399 Speaker 1: the bones in our skull rather than with the inner 50 00:02:28,440 --> 00:02:30,720 Speaker 1: ear itself. So it's a muffled sound to us, right, 51 00:02:30,760 --> 00:02:33,760 Speaker 1: it's not really representative of what's going on. Yeah, because 52 00:02:33,800 --> 00:02:38,639 Speaker 1: even bone connectivity hearing is less effective than air conductivity 53 00:02:38,720 --> 00:02:41,440 Speaker 1: hearing for humans. So yeah, we're often going to hear 54 00:02:41,480 --> 00:02:43,680 Speaker 1: something kind of muddy, where they're going to be ranges 55 00:02:43,840 --> 00:02:45,320 Speaker 1: that we're not going to even be able to pick 56 00:02:45,360 --> 00:02:47,639 Speaker 1: up on at all, or we're not going to hear 57 00:02:47,720 --> 00:02:50,080 Speaker 1: them as clearly as we would hear them on the surface. 58 00:02:50,560 --> 00:02:52,600 Speaker 1: Though if we were a dolphin or a whale, we 59 00:02:52,680 --> 00:02:55,239 Speaker 1: would have echolocation on our side and we'd be able 60 00:02:55,280 --> 00:02:59,280 Speaker 1: to hear much differently. In fact, sonar and radar systems 61 00:02:59,440 --> 00:03:02,000 Speaker 1: are based on this idea of echolocation. And we'll talk 62 00:03:02,000 --> 00:03:04,760 Speaker 1: about this a little bit later, but certainly during the 63 00:03:04,840 --> 00:03:10,359 Speaker 1: Cold War, this idea of echo location and sonar was employed, 64 00:03:10,840 --> 00:03:12,760 Speaker 1: and the U. S. Navy set up a series of 65 00:03:12,880 --> 00:03:16,359 Speaker 1: massive arrays of hydrophones planted on the ocean floor to 66 00:03:16,480 --> 00:03:20,360 Speaker 1: detect submarine sounds. Now that data was transmitted to store 67 00:03:20,400 --> 00:03:22,680 Speaker 1: stations where the sounds were analyzed to direct a ship 68 00:03:22,840 --> 00:03:24,880 Speaker 1: or an aircraft to the site. And it was a 69 00:03:24,960 --> 00:03:28,560 Speaker 1: way to listen in on Soviet submarines, right, because in 70 00:03:28,680 --> 00:03:32,639 Speaker 1: sound travels really far underwater, So submarines, even when they're 71 00:03:32,960 --> 00:03:35,560 Speaker 1: trying to run silent, there's a lot of machinery in there. 72 00:03:35,640 --> 00:03:37,680 Speaker 1: There's a lot of noise to be made. Yeah, you 73 00:03:37,720 --> 00:03:39,480 Speaker 1: could pick up on that. With some microphones, we could 74 00:03:39,520 --> 00:03:41,960 Speaker 1: consuvably know what the enemy is doing. Yeah, And apparently 75 00:03:42,040 --> 00:03:44,560 Speaker 1: there is a phenomenon known as the deep sound channel, 76 00:03:44,640 --> 00:03:47,440 Speaker 1: and that's an ocean layer where low frequency sound waves 77 00:03:47,480 --> 00:03:49,880 Speaker 1: that enter the channel can become trapped and bounced around 78 00:03:49,920 --> 00:03:52,800 Speaker 1: in this layer for thousands of miles. So this allowed 79 00:03:52,800 --> 00:03:56,520 Speaker 1: the Navy to detect even relatively weak sounds from hundreds 80 00:03:56,560 --> 00:03:58,760 Speaker 1: of miles away. But then they began to pick up 81 00:03:58,760 --> 00:04:03,000 Speaker 1: on things that work really not submarines. It seemed organic, 82 00:04:03,840 --> 00:04:06,920 Speaker 1: but based on the sounds they were picking up, they 83 00:04:06,960 --> 00:04:11,440 Speaker 1: seemed enormous, like something larger than any known sea creature. Yeah, 84 00:04:11,520 --> 00:04:13,400 Speaker 1: if we should note that. Um, you know, after Cold 85 00:04:13,480 --> 00:04:15,600 Speaker 1: War ended that they were like, okay, what are we 86 00:04:15,600 --> 00:04:17,360 Speaker 1: gonna do with all these hydrophones? And they began to 87 00:04:17,480 --> 00:04:20,080 Speaker 1: just sort of listen to everything they turn in an 88 00:04:20,120 --> 00:04:22,640 Speaker 1: open mic night. They're like, alright, alright, ocean, what have 89 00:04:22,720 --> 00:04:25,920 Speaker 1: you got If you're squid with some sort of slam 90 00:04:26,040 --> 00:04:29,320 Speaker 1: style poetry stuff, we'll hear it. Got some stand up comedy. 91 00:04:29,720 --> 00:04:33,360 Speaker 1: Whale shark, bring it whar Yeah, born to run? Here 92 00:04:33,440 --> 00:04:36,000 Speaker 1: you go watch the monitor sing it. But no, I 93 00:04:36,040 --> 00:04:38,240 Speaker 1: mean it was sort of like open Mi night. I 94 00:04:38,320 --> 00:04:42,320 Speaker 1: like that analogy. They were gathering data on earthquakes, tremor ships, whales, 95 00:04:42,480 --> 00:04:46,640 Speaker 1: and unidentified sounds. And this is where it gets really interesting. 96 00:04:46,800 --> 00:04:48,920 Speaker 1: The grandaddy of all these, of course, is the bloop sound. 97 00:04:49,040 --> 00:04:51,240 Speaker 1: And we have an article on this on how stuff works. 98 00:04:51,320 --> 00:04:53,040 Speaker 1: If you'll go to the House Stuff Work webpage and 99 00:04:53,120 --> 00:04:56,200 Speaker 1: you type in bloop into the search bar, you will 100 00:04:56,200 --> 00:04:59,320 Speaker 1: find this article and they'll be and in the discussion. 101 00:04:59,400 --> 00:05:01,440 Speaker 1: But there's nothing like hearing it. So I suppose we 102 00:05:01,480 --> 00:05:03,560 Speaker 1: should we should actually play the blue. Well, I think 103 00:05:03,600 --> 00:05:06,440 Speaker 1: we should save the blue. Yeah. Yeah. And the reason 104 00:05:06,440 --> 00:05:09,000 Speaker 1: why I'm not trying to, you know, withhold the Blue. 105 00:05:09,080 --> 00:05:10,840 Speaker 1: We're gonna hold the blue for you because I want 106 00:05:10,880 --> 00:05:14,800 Speaker 1: to tell everybody that just a little bit about ocean 107 00:05:14,880 --> 00:05:17,800 Speaker 1: sounds and how researchers identify them. I mean, for the 108 00:05:17,839 --> 00:05:20,440 Speaker 1: most part, it's really not very hard to identify them 109 00:05:20,640 --> 00:05:23,680 Speaker 1: because you have whales that have very low frequency and 110 00:05:23,800 --> 00:05:25,920 Speaker 1: you can record those and they have sort of a 111 00:05:26,000 --> 00:05:29,320 Speaker 1: sound print. Same thing if you've heard sounds of whale 112 00:05:29,360 --> 00:05:32,960 Speaker 1: songs and nothing else sounds quite like it, right, I mean, 113 00:05:33,080 --> 00:05:35,680 Speaker 1: that's actually kind of the New Age call anyway, Right, 114 00:05:35,760 --> 00:05:37,920 Speaker 1: I mean, I'm sure if someone has heard the whale 115 00:05:37,960 --> 00:05:43,280 Speaker 1: call in a song before, right, it's something that again, Okay, 116 00:05:43,400 --> 00:05:46,520 Speaker 1: you got your tool reference and so other markers sound 117 00:05:46,560 --> 00:05:50,640 Speaker 1: prints are volcanic activity, iceberg movement. But there are these 118 00:05:50,680 --> 00:05:54,280 Speaker 1: sounds that defy explanation, and they remain a mystery as 119 00:05:54,320 --> 00:05:58,719 Speaker 1: to whether they are man made or from some mysterious creature. Okay, 120 00:05:58,800 --> 00:06:00,960 Speaker 1: so we talked about the blue, we will talk about 121 00:06:01,080 --> 00:06:04,040 Speaker 1: the boop. There's something called the up sweep. And this 122 00:06:04,240 --> 00:06:06,760 Speaker 1: is a sound that is seated somewhere deep in the 123 00:06:06,839 --> 00:06:09,680 Speaker 1: South Pacific near Antarctica. It's one of the few mystery 124 00:06:09,760 --> 00:06:13,000 Speaker 1: sounds that repeats itself in the spring in the fall. 125 00:06:13,680 --> 00:06:17,040 Speaker 1: And it's thought that it's due to an unusual acoustic 126 00:06:17,120 --> 00:06:20,760 Speaker 1: phenomenon linked to volcanic activity in this region, perhaps the 127 00:06:20,839 --> 00:06:24,240 Speaker 1: result of seawater and volcanic gas interacting and creating a 128 00:06:24,320 --> 00:06:27,040 Speaker 1: resonance pattern. Okay, So there's this idea that there's an 129 00:06:27,080 --> 00:06:29,320 Speaker 1: underlying cost for that. So let's listen to that actually 130 00:06:29,360 --> 00:06:43,960 Speaker 1: for a second, which is this is the up sweet Okay, 131 00:06:44,040 --> 00:06:47,480 Speaker 1: that's serious, right right now, There's something called the train 132 00:06:48,440 --> 00:06:52,200 Speaker 1: and again there's a theory behind this that says moving 133 00:06:52,320 --> 00:06:55,920 Speaker 1: fluids generate vibrations in the ocean, right, just like blowing 134 00:06:56,000 --> 00:06:58,880 Speaker 1: air through a clarinet. That's why we get this train sound. 135 00:06:59,360 --> 00:07:01,280 Speaker 1: So if you have moving ocean water in the right 136 00:07:01,360 --> 00:07:04,520 Speaker 1: conditions coming around a seamount or some other thing, that 137 00:07:04,680 --> 00:07:08,480 Speaker 1: could generate sound. Okay, So going to do some thinking. Clarinet, 138 00:07:08,800 --> 00:07:26,800 Speaker 1: train okay, Okay, And here's the third one. It's whistle 139 00:07:27,040 --> 00:07:29,400 Speaker 1: for obvious reasons, and it was picked up by a 140 00:07:29,440 --> 00:07:33,400 Speaker 1: single hydrophone located about miles west of Costa Rica. And 141 00:07:33,480 --> 00:07:36,400 Speaker 1: again no explanation here, and the full clip is something 142 00:07:36,440 --> 00:07:38,560 Speaker 1: like a minute long. But here's a nice little sample 143 00:07:38,640 --> 00:07:52,600 Speaker 1: for you. All right, Well that one was pretty mysterious 144 00:07:52,640 --> 00:07:54,960 Speaker 1: as well. Okay, so let's talk about this bloop. The 145 00:07:55,000 --> 00:07:57,640 Speaker 1: bloop is the best one of all because it's not 146 00:07:57,720 --> 00:08:00,760 Speaker 1: playing around trying to sound like a train or whistle 147 00:08:00,960 --> 00:08:04,520 Speaker 1: or clarinet or anything of that sort. It's just a deep, 148 00:08:04,760 --> 00:08:09,320 Speaker 1: resonating tone here that makes you think of dark and 149 00:08:09,440 --> 00:08:11,960 Speaker 1: secret things beneath the sea. I like that, and people 150 00:08:12,040 --> 00:08:14,320 Speaker 1: do think of dark and secret things. And I mean 151 00:08:14,360 --> 00:08:17,040 Speaker 1: bluop itself, I mean just the referring to it as 152 00:08:17,120 --> 00:08:19,640 Speaker 1: the blue. It sounds like something that would emanate from 153 00:08:19,720 --> 00:08:22,960 Speaker 1: some vast amorphous horror at the bottom of the sea. 154 00:08:25,560 --> 00:08:28,760 Speaker 1: Some people like to throws name around. Okay, well that's 155 00:08:28,800 --> 00:08:31,920 Speaker 1: because talk about for a second. Okay, Well, Cultul lose 156 00:08:32,000 --> 00:08:35,520 Speaker 1: one of the gods from HP Lovecraft's mythos. All these 157 00:08:35,640 --> 00:08:38,160 Speaker 1: various deities such as as is off and are left 158 00:08:38,200 --> 00:08:40,280 Speaker 1: the tap, both of which in my opinion, are much 159 00:08:40,320 --> 00:08:42,520 Speaker 1: better because I think Cotulo is a little played out 160 00:08:42,679 --> 00:08:45,199 Speaker 1: in the public spectrum. He's kind of the Tesla of 161 00:08:45,280 --> 00:08:51,560 Speaker 1: the love Crafty and Gods. But giant sea creature, slight 162 00:08:51,679 --> 00:08:54,320 Speaker 1: creature with wings. I mean he's awesome, don't get me wrong. 163 00:08:54,679 --> 00:08:57,920 Speaker 1: Prominently featured in the short story to call Qulu. There's 164 00:08:57,920 --> 00:09:00,400 Speaker 1: a cult that's really concerned with the fact that at 165 00:09:00,440 --> 00:09:02,319 Speaker 1: the beep, the bottom of the sea, you have this 166 00:09:02,520 --> 00:09:05,760 Speaker 1: elder creature, this vast power that's slumbering and will one 167 00:09:05,840 --> 00:09:08,240 Speaker 1: day wake and bring all this terror and horror to 168 00:09:08,320 --> 00:09:11,120 Speaker 1: the world. Interestingly enough, if you're a fan of the 169 00:09:11,240 --> 00:09:13,640 Speaker 1: Georgia R. Martin books or TV show Game of Thrones, 170 00:09:13,960 --> 00:09:16,199 Speaker 1: the Vikings in that, but the Viking light characters, the 171 00:09:16,240 --> 00:09:18,839 Speaker 1: Great Joys, their sickle is the crack, and there's a 172 00:09:18,880 --> 00:09:22,000 Speaker 1: lot of love Craft I and cthulhu s aspects of 173 00:09:22,200 --> 00:09:25,280 Speaker 1: their story. Okay, so now you know this is the 174 00:09:25,400 --> 00:09:28,800 Speaker 1: Smithis Ofthulu. If you want more, Jonathan Strickland wrote a 175 00:09:28,840 --> 00:09:30,679 Speaker 1: really cool article about it, and you can go to 176 00:09:30,720 --> 00:09:34,400 Speaker 1: house Stuff Works type Cathulu into the bar, or just 177 00:09:34,440 --> 00:09:37,240 Speaker 1: type Lovecraft into the search bar and you'll find that article. Yeah, 178 00:09:37,280 --> 00:09:40,000 Speaker 1: it really is a great article. So this bluep sound 179 00:09:40,080 --> 00:09:43,280 Speaker 1: it was recorded in originated from a point about fift 180 00:09:43,800 --> 00:09:46,760 Speaker 1: miles west of the southern Chilean coast, and it was 181 00:09:46,800 --> 00:09:49,280 Speaker 1: powerful enough to be picked up on sensors located up 182 00:09:49,320 --> 00:09:51,760 Speaker 1: to three thousand miles away, making it one of the 183 00:09:51,800 --> 00:09:55,640 Speaker 1: most powerful noises ever to be recorded underwater. And the 184 00:09:55,760 --> 00:09:59,320 Speaker 1: sound lasted for just over a minute, has never repeated itself, 185 00:09:59,640 --> 00:10:01,880 Speaker 1: and n O a A has checked with the Navy 186 00:10:01,960 --> 00:10:04,920 Speaker 1: and other groups to rule up human made sounds or sources, 187 00:10:05,040 --> 00:10:07,040 Speaker 1: I should say, and this and the rest of the 188 00:10:07,120 --> 00:10:09,160 Speaker 1: other cases to you that we talked about. So what 189 00:10:09,280 --> 00:10:11,280 Speaker 1: does this blue sound. Let's take a quick listen and 190 00:10:11,320 --> 00:10:13,560 Speaker 1: then we'll talk about what it could be or could 191 00:10:13,640 --> 00:10:25,360 Speaker 1: not be. Okay, so ice calving has been thrown around 192 00:10:25,360 --> 00:10:29,040 Speaker 1: as a possible explanation because it isn't a southerly location, 193 00:10:29,200 --> 00:10:31,280 Speaker 1: and then do just kind of make it decently possible. 194 00:10:31,720 --> 00:10:35,040 Speaker 1: But the profile of the sound is much closer to 195 00:10:35,240 --> 00:10:38,319 Speaker 1: that of an animal. And so that's what gets people's 196 00:10:38,400 --> 00:10:41,360 Speaker 1: minds really going. Because it was made by an animal, 197 00:10:41,400 --> 00:10:44,320 Speaker 1: that it must be larger than any other known organism 198 00:10:44,360 --> 00:10:47,000 Speaker 1: in the sea. Right, even the blue whale, whose record 199 00:10:47,040 --> 00:10:49,199 Speaker 1: length is about hundred and ten feet, would not be 200 00:10:49,320 --> 00:10:52,280 Speaker 1: nearly big enough to account for that sound that was 201 00:10:52,360 --> 00:10:54,960 Speaker 1: made by the bloop. But there's no evidence to support 202 00:10:54,960 --> 00:10:57,440 Speaker 1: the existence of what we call a super giant whale, right, 203 00:10:57,480 --> 00:10:59,320 Speaker 1: because if it were a whale, we'd have to come 204 00:10:59,360 --> 00:11:02,360 Speaker 1: to the surface eventually it would be spotted, right. It 205 00:11:02,360 --> 00:11:05,160 Speaker 1: would have to be something that resided underwater for long 206 00:11:05,240 --> 00:11:08,360 Speaker 1: periods of time. The other possibility is a massive squid. Again, 207 00:11:08,480 --> 00:11:11,599 Speaker 1: here comes this Cthulhu idea. But squids don't have the 208 00:11:11,720 --> 00:11:15,120 Speaker 1: organs necessary to create loud noises like whales do. That 209 00:11:15,280 --> 00:11:17,959 Speaker 1: kind of kicks that idea out of there. But ultimately 210 00:11:18,000 --> 00:11:21,400 Speaker 1: we just don't know what CAUSI sounds. But that's less 211 00:11:21,520 --> 00:11:24,679 Speaker 1: that it's like some sort of mysteriously creature which could be, 212 00:11:25,320 --> 00:11:28,600 Speaker 1: and more that we don't quite have the data right. 213 00:11:28,640 --> 00:11:31,400 Speaker 1: I Mean, the Pacific Ocean is vast, So what I'm 214 00:11:31,400 --> 00:11:34,079 Speaker 1: getting is that less likely that it's Cathulu or a 215 00:11:34,160 --> 00:11:37,240 Speaker 1: crack and more likely that it's got Zilla because remember 216 00:11:37,240 --> 00:11:40,440 Speaker 1: gott Zilla emerged from the deep. Yes, that was exactly 217 00:11:40,480 --> 00:11:43,280 Speaker 1: what I'm saying. You were picking up when I'm putting down. Yeah, 218 00:11:43,320 --> 00:11:45,120 Speaker 1: we're going to take a quick break and when we 219 00:11:45,200 --> 00:11:48,000 Speaker 1: get back, we're going to talk about an underwater performance 220 00:11:48,080 --> 00:11:56,440 Speaker 1: artists that makes Lady Gaga like milk toast. All right, 221 00:11:56,480 --> 00:11:59,440 Speaker 1: we're back. I recently was assigned an article for how 222 00:11:59,480 --> 00:12:03,079 Speaker 1: stuff Work dot com titled how Underwater Sound Systems. We 223 00:12:03,880 --> 00:12:05,760 Speaker 1: write a lot of articles here at how Stuff Works, 224 00:12:05,840 --> 00:12:07,760 Speaker 1: and you go into it knowing that not every article 225 00:12:07,880 --> 00:12:10,319 Speaker 1: is going to be your favorite, and sometimes you have 226 00:12:10,480 --> 00:12:13,760 Speaker 1: to find what's fascinating about a topic and bring it out. 227 00:12:13,840 --> 00:12:16,160 Speaker 1: Sometimes you have to sort of create something fascinating about 228 00:12:16,160 --> 00:12:19,199 Speaker 1: a topic and use that as the jam to go 229 00:12:19,320 --> 00:12:21,199 Speaker 1: with the medicine. You know, what you're saying is that 230 00:12:21,320 --> 00:12:23,599 Speaker 1: you use some magic here. No, no, no, Actually this 231 00:12:23,760 --> 00:12:25,439 Speaker 1: was a topic where I was expecting to have to 232 00:12:25,520 --> 00:12:28,120 Speaker 1: use some magic, but instead the more I looked into it, 233 00:12:28,240 --> 00:12:30,920 Speaker 1: the more fascinating the science was. Because I really had 234 00:12:30,960 --> 00:12:32,840 Speaker 1: to look at how to sound travel through the water 235 00:12:33,040 --> 00:12:36,200 Speaker 1: versus traveling through the air, how do we perceive sound 236 00:12:36,400 --> 00:12:38,760 Speaker 1: on the surface versus underwater, and getting into issues of 237 00:12:38,800 --> 00:12:41,839 Speaker 1: bone connectivity hearing, and then also got into the not 238 00:12:41,960 --> 00:12:44,640 Speaker 1: only the technology of it, the technology of creating a 239 00:12:44,720 --> 00:12:47,840 Speaker 1: speaker that works underwater, in a speaker system that works underwater, 240 00:12:48,320 --> 00:12:54,320 Speaker 1: but also the sort of subculture of listening to music underwater, 241 00:12:54,760 --> 00:12:56,840 Speaker 1: which I have not tried it myself yet, but I'm 242 00:12:56,880 --> 00:13:00,000 Speaker 1: convinced from what I've seen that listening to music underwater, 243 00:13:00,200 --> 00:13:06,040 Speaker 1: especially music that has been created for submarine listening purposes, 244 00:13:06,480 --> 00:13:08,400 Speaker 1: is kind of addictive. It's kind of like, once you've 245 00:13:08,480 --> 00:13:10,319 Speaker 1: used a really awesome pair of headphones, you can't go 246 00:13:10,360 --> 00:13:13,000 Speaker 1: back to the cheap ones. I think to some people 247 00:13:13,280 --> 00:13:16,559 Speaker 1: listening while completely submerged in a swimming pool, like that 248 00:13:16,920 --> 00:13:20,679 Speaker 1: is their killer headphone. That is the preferred method, the 249 00:13:20,800 --> 00:13:24,560 Speaker 1: ultimate method of listening to music. I can understand that, right, 250 00:13:24,679 --> 00:13:26,960 Speaker 1: because that would be a mind blowing way for your 251 00:13:27,040 --> 00:13:30,400 Speaker 1: brain to perceive something that it already delights in. Okay, 252 00:13:30,440 --> 00:13:33,360 Speaker 1: so before we start talking about underwater performance artists, let's 253 00:13:33,400 --> 00:13:36,680 Speaker 1: talk about underwater acoustic systems. Yes, there are a number 254 00:13:36,679 --> 00:13:39,240 Speaker 1: of things to take into account when you're talking about 255 00:13:39,240 --> 00:13:41,199 Speaker 1: an underwater sound system. I mean, the big one is 256 00:13:41,240 --> 00:13:44,080 Speaker 1: gonna be priced. You're gonna pay more sound system generally 257 00:13:44,200 --> 00:13:46,880 Speaker 1: for a typical system that you can actually go out 258 00:13:46,920 --> 00:13:49,040 Speaker 1: and buy and and have within the week. You're spending 259 00:13:49,080 --> 00:13:51,079 Speaker 1: between three and two thousand dollars on it. And this 260 00:13:51,200 --> 00:13:53,199 Speaker 1: is something you're gonna put in your pool, right, Yeah, Well, 261 00:13:53,240 --> 00:13:57,120 Speaker 1: they're they're basically two uses for an underwater sound system. 262 00:13:57,480 --> 00:13:59,760 Speaker 1: One is I want music in my pool, and you're 263 00:13:59,760 --> 00:14:01,839 Speaker 1: probably we're thinking, well, that's great. I guess music in 264 00:14:01,880 --> 00:14:03,599 Speaker 1: my pool would be great maybe if I'm swimming a 265 00:14:03,679 --> 00:14:05,560 Speaker 1: lot of laps or something, or I just have money 266 00:14:05,600 --> 00:14:07,640 Speaker 1: to burn. But actually one of the areas you see 267 00:14:07,640 --> 00:14:11,480 Speaker 1: this used a lot synchronize swimming. Because synchronize swimmers. It 268 00:14:11,600 --> 00:14:13,640 Speaker 1: sounds obvious now that we bring it out in the open. 269 00:14:13,960 --> 00:14:16,800 Speaker 1: They have to hear the music that they are performing too, 270 00:14:17,280 --> 00:14:18,520 Speaker 1: and so they need to be able to hear it 271 00:14:18,640 --> 00:14:20,640 Speaker 1: underwater as well as above the water, so they need 272 00:14:20,680 --> 00:14:24,400 Speaker 1: speakers that operate underwater. Also, sometimes with diving, you will 273 00:14:24,600 --> 00:14:26,280 Speaker 1: see this on the bottom of dive boats will have 274 00:14:26,320 --> 00:14:29,040 Speaker 1: a speaker system. If you need an alarm to sound 275 00:14:29,280 --> 00:14:31,080 Speaker 1: so everyone knows they need to get back to the surface, 276 00:14:31,600 --> 00:14:33,920 Speaker 1: you would have an acoustic system set up to send 277 00:14:33,960 --> 00:14:36,680 Speaker 1: out that signal. They're also cases where you'll have music 278 00:14:36,800 --> 00:14:40,440 Speaker 1: pipe down into underwater environments for people that are diving. 279 00:14:40,960 --> 00:14:43,320 Speaker 1: When it comes to designing such a speaker, on one hand, 280 00:14:43,360 --> 00:14:45,680 Speaker 1: you need a speaker that can actually go into the 281 00:14:45,720 --> 00:14:48,520 Speaker 1: water without dissolving. It doesn't have any cardboard parts, and 282 00:14:48,720 --> 00:14:51,400 Speaker 1: it's not going to short out speaker wires aren't raw 283 00:14:51,520 --> 00:14:53,760 Speaker 1: and naked in the water that kind of thing. But 284 00:14:53,840 --> 00:14:55,800 Speaker 1: then also they have to take into account the way 285 00:14:56,200 --> 00:14:59,600 Speaker 1: that sound actually moves around down there. One of the 286 00:14:59,640 --> 00:15:01,200 Speaker 1: things that was really fascinating this when you have a 287 00:15:01,280 --> 00:15:03,640 Speaker 1: speaker in a swimming pool, for instance, I mean, the 288 00:15:03,680 --> 00:15:06,240 Speaker 1: sound waves are bouncing off of everything. They're bouncing off 289 00:15:06,280 --> 00:15:08,920 Speaker 1: the surface of the water, they're bouncing off the bottom 290 00:15:08,920 --> 00:15:11,240 Speaker 1: of the pool, they're bouncing off the walls, and sound 291 00:15:11,320 --> 00:15:13,600 Speaker 1: is traveling so fast that you can't really tell like 292 00:15:13,760 --> 00:15:15,680 Speaker 1: where it's coming from. It ends up coming at you 293 00:15:15,800 --> 00:15:18,600 Speaker 1: from all directions, which is especially interesting when you consider 294 00:15:18,680 --> 00:15:23,520 Speaker 1: that stereophonic hearing stereo sound is not possible for humans underwater, 295 00:15:24,080 --> 00:15:26,560 Speaker 1: because not only is the sound traveling so fast, but 296 00:15:26,720 --> 00:15:28,840 Speaker 1: we're hearing with our skull bones. We're using that bone 297 00:15:28,840 --> 00:15:32,240 Speaker 1: connectivity hearing rather than our actual acoustic hearing. So we're 298 00:15:32,240 --> 00:15:34,080 Speaker 1: not getting like this year and this year, we're getting 299 00:15:34,160 --> 00:15:38,040 Speaker 1: full skull sound, which is an entirely different sensation and 300 00:15:38,120 --> 00:15:40,920 Speaker 1: way to perceive it. Right. Yes, in fact, I've heard 301 00:15:40,960 --> 00:15:44,840 Speaker 1: it described as omniphonic sound as opposed to stereophonic or 302 00:15:44,920 --> 00:15:48,520 Speaker 1: monophonic sound. So I don't think that's a technical terminology, 303 00:15:48,600 --> 00:15:51,520 Speaker 1: but that actually comes from Stanford University music researcher John 304 00:15:51,640 --> 00:15:54,880 Speaker 1: are the fourth. All Right, so let's say that you 305 00:15:54,960 --> 00:15:57,680 Speaker 1: are that person who has had the experience of listening 306 00:15:57,720 --> 00:16:01,400 Speaker 1: to music underwater, and you are for ever changed by 307 00:16:01,440 --> 00:16:05,720 Speaker 1: this experience. What do we expect here, Well, this is 308 00:16:05,760 --> 00:16:08,520 Speaker 1: the area that I found perhaps the most amazing for starters. 309 00:16:08,640 --> 00:16:11,480 Speaker 1: If you go down to Florida's Low Key Reef every 310 00:16:11,560 --> 00:16:14,240 Speaker 1: year they have something called the Underwater Music Festival, in 311 00:16:14,320 --> 00:16:18,120 Speaker 1: which they have boat mounted speakers systems cranking tunes for 312 00:16:18,360 --> 00:16:21,160 Speaker 1: hundreds of divers and snorkelers. They actually dubbed at an 313 00:16:21,240 --> 00:16:24,160 Speaker 1: underwater concert. I say, it's like an underwater rave kind 314 00:16:24,200 --> 00:16:26,320 Speaker 1: of except they're playing a lot of like Yellow Submarine 315 00:16:26,360 --> 00:16:27,880 Speaker 1: and get the impression that it's a lot of like 316 00:16:28,080 --> 00:16:32,040 Speaker 1: old classics rob So that's one level. But where it 317 00:16:32,120 --> 00:16:35,560 Speaker 1: really starts getting fascinating, that a probably too much research 318 00:16:35,600 --> 00:16:37,840 Speaker 1: on this dude. There's a French composer by the name 319 00:16:38,200 --> 00:16:42,080 Speaker 1: of Michael Ridolphi, and this guy is amazing his music, 320 00:16:42,280 --> 00:16:44,520 Speaker 1: not even looking at the underwater aspects of it, I 321 00:16:44,560 --> 00:16:46,360 Speaker 1: guess you would say he tends to focus on sort 322 00:16:46,360 --> 00:16:49,800 Speaker 1: of a new age ambient electronics sound, which in another 323 00:16:49,880 --> 00:16:52,600 Speaker 1: stuff I'm totally into that. But from early on, like 324 00:16:52,720 --> 00:16:56,520 Speaker 1: back beginning of his album Sonic Waters, he really got 325 00:16:56,600 --> 00:17:01,880 Speaker 1: into the use of not only recorded soundscorded with hydrophen phones. 326 00:17:02,080 --> 00:17:04,399 Speaker 1: So these are sounds in the ocean. Are we're in 327 00:17:04,440 --> 00:17:06,680 Speaker 1: a swing pool or yeah, He's he's interested in just 328 00:17:06,800 --> 00:17:08,600 Speaker 1: the sound of sort of the bubbly sound of an 329 00:17:08,640 --> 00:17:11,359 Speaker 1: underwater environment. He's interested in the sound of sea life, 330 00:17:11,520 --> 00:17:14,320 Speaker 1: the sound of an ocean environment, and so he's using 331 00:17:14,359 --> 00:17:18,080 Speaker 1: those in his music. But then he's also crafting music 332 00:17:18,359 --> 00:17:21,040 Speaker 1: that he intends for an audience to hear while their 333 00:17:21,080 --> 00:17:24,280 Speaker 1: head is submerged in water. He keeps coming back to this. 334 00:17:24,359 --> 00:17:26,120 Speaker 1: It wasn't like a one off thing where he's like, oh, yeah, 335 00:17:26,119 --> 00:17:28,680 Speaker 1: I did that Sonic Underwater album. No, it's like his 336 00:17:28,800 --> 00:17:31,479 Speaker 1: career has I mean, he's on some other stuff as well, 337 00:17:31,560 --> 00:17:34,560 Speaker 1: but but his career has been defined by his interest 338 00:17:34,640 --> 00:17:38,200 Speaker 1: in underwater sound. Not only these recordings that use a 339 00:17:38,320 --> 00:17:41,640 Speaker 1: mix of electronic and ocean noises, but he's also explored 340 00:17:41,680 --> 00:17:45,199 Speaker 1: the area of underwater opera. One production involved in casing 341 00:17:45,280 --> 00:17:48,600 Speaker 1: that the piece of soprano singer inside this giant plastic 342 00:17:48,680 --> 00:17:51,280 Speaker 1: bubble and having them float around in this pool. So 343 00:17:51,560 --> 00:17:54,600 Speaker 1: my question is, if you are a concert goer, are 344 00:17:54,640 --> 00:17:58,040 Speaker 1: you submerged in the water and listening underwater or are 345 00:17:58,160 --> 00:18:01,440 Speaker 1: you listening to the water that submerged and then pipe 346 00:18:01,480 --> 00:18:04,160 Speaker 1: out both? Really? I mean, because some of these recordings 347 00:18:04,200 --> 00:18:07,359 Speaker 1: that he's done, ideally you were underwater listening to a 348 00:18:07,400 --> 00:18:10,760 Speaker 1: piece of music that he is composed using recordings of 349 00:18:10,960 --> 00:18:15,479 Speaker 1: underwater sound for an underwater listener. Okay, let's let's take 350 00:18:15,520 --> 00:18:27,840 Speaker 1: a listen here. Okay, So that was gait of Mystery 351 00:18:28,200 --> 00:18:31,840 Speaker 1: from the micro Rodolphie album Underwater Music, and you can 352 00:18:31,880 --> 00:18:33,960 Speaker 1: find that on Amazon, by the way, and download the 353 00:18:34,119 --> 00:18:36,879 Speaker 1: entire thing in case you're interested to hear more. His 354 00:18:36,960 --> 00:18:39,960 Speaker 1: stuff ranges from tracks like that, which I actually really 355 00:18:40,040 --> 00:18:42,920 Speaker 1: dig that has a nice electronic ambient kind of sound 356 00:18:43,119 --> 00:18:44,760 Speaker 1: to it, and then some of his other stuff is 357 00:18:44,760 --> 00:18:47,159 Speaker 1: a little more operatic, and you'll find some of those 358 00:18:47,200 --> 00:18:49,359 Speaker 1: tracks on that album as well. My Heart's Sea Dwelling too. 359 00:18:49,760 --> 00:18:51,320 Speaker 1: That's a sample that you sent me and I really 360 00:18:51,400 --> 00:18:53,840 Speaker 1: enjoyed that. But I really want to talk about a 361 00:18:53,920 --> 00:18:58,680 Speaker 1: performance sources named Julianna Snapper because the clip that you 362 00:18:58,800 --> 00:19:03,040 Speaker 1: sent me on YouTube, I was visually absolutely blown away. 363 00:19:03,119 --> 00:19:05,800 Speaker 1: I have to say, because that this is the artist 364 00:19:05,840 --> 00:19:08,879 Speaker 1: who makes Lady Gaga look like she's just phoning it in. 365 00:19:10,200 --> 00:19:12,920 Speaker 1: How would you even describe the dress that she wore 366 00:19:13,000 --> 00:19:15,560 Speaker 1: to submerge herself in the pool. Kind Of like a 367 00:19:16,400 --> 00:19:21,000 Speaker 1: sea cloud, I guess, Okay, a netted sea cloud. Like okay, 368 00:19:21,160 --> 00:19:22,760 Speaker 1: if you were a Queen of the Mermaids and you 369 00:19:22,800 --> 00:19:26,439 Speaker 1: were about to be betrothed to Poseidon, perhaps I mean, 370 00:19:26,560 --> 00:19:30,920 Speaker 1: it's just a giant pieces of material floating out and 371 00:19:31,240 --> 00:19:33,080 Speaker 1: I'm not doing it justice. So you guys should definitely 372 00:19:33,119 --> 00:19:35,600 Speaker 1: look this up. Well. I will definitely include a clip 373 00:19:35,720 --> 00:19:39,040 Speaker 1: of this on the blog posted accompanying to this podcast. Yeah, 374 00:19:39,600 --> 00:19:43,359 Speaker 1: she uses a mouth to water technique when she sings 375 00:19:43,520 --> 00:19:46,160 Speaker 1: in the water. She spent a lot of hours submerged 376 00:19:46,359 --> 00:19:49,920 Speaker 1: in her bathtub and friends tubs and stuff and and 377 00:19:50,000 --> 00:19:52,359 Speaker 1: and also apparently did a lot of research into acoustics 378 00:19:52,400 --> 00:19:54,760 Speaker 1: of underwater sound. But yeah, I mean, this is again, 379 00:19:54,800 --> 00:19:57,439 Speaker 1: it's something that is we're discussing it. It sounds kind 380 00:19:57,480 --> 00:20:00,159 Speaker 1: of crazy, it sounds avant garde, and and it is 381 00:20:00,440 --> 00:20:02,600 Speaker 1: and it is. But I also have a feeling that 382 00:20:02,760 --> 00:20:04,640 Speaker 1: is really tied to this idea. And once you start 383 00:20:05,119 --> 00:20:08,399 Speaker 1: experiencing underwater sound and exploring it, you're hooked. And then 384 00:20:08,440 --> 00:20:11,440 Speaker 1: you start doing these things that and engaging in these 385 00:20:11,520 --> 00:20:15,280 Speaker 1: artistic endeavors that to an outsider might seem a little nutty. Yeah, 386 00:20:15,680 --> 00:20:18,280 Speaker 1: but you've got to stick your head underwater. But it's beautiful. 387 00:20:18,359 --> 00:20:20,320 Speaker 1: This is the thing, like you know, when you you 388 00:20:20,480 --> 00:20:23,080 Speaker 1: see we're talking about this in art right, Like how 389 00:20:23,400 --> 00:20:26,679 Speaker 1: something strikes you or takes your breath away, it's usually 390 00:20:26,800 --> 00:20:32,720 Speaker 1: because somehow you have taken these themes of life, love, 391 00:20:33,240 --> 00:20:35,560 Speaker 1: all these things that we experience, and you've made them 392 00:20:35,640 --> 00:20:39,280 Speaker 1: new again. You've recast it into some other language that 393 00:20:39,600 --> 00:20:43,600 Speaker 1: is recognizable but not quite recognizable. And that's really exciting. 394 00:20:43,640 --> 00:20:45,640 Speaker 1: And I think that's what's going on here. Some people 395 00:20:45,680 --> 00:20:47,920 Speaker 1: would describe it as sticking an opera in a swimming pool, 396 00:20:48,000 --> 00:20:51,800 Speaker 1: but I like your description better. Let's hear a quick 397 00:20:51,840 --> 00:20:53,879 Speaker 1: clip from this. This clip is from the two thousand 398 00:20:53,960 --> 00:20:56,800 Speaker 1: and nine opera You Who Will Emerge from the Flood. 399 00:20:57,000 --> 00:20:59,280 Speaker 1: The voice that you're hearing in this is actually the 400 00:20:59,480 --> 00:21:12,879 Speaker 1: underwater her mouth to water singing that we were discussing earlier. Okay, 401 00:21:13,000 --> 00:21:15,760 Speaker 1: So imagine her and her her giant about to be 402 00:21:15,840 --> 00:21:21,720 Speaker 1: betrothed to Poseidon dress, making these crazy bumblebee noises underwater. Yah, 403 00:21:22,080 --> 00:21:25,320 Speaker 1: while other people were getting about floating about it's really 404 00:21:25,400 --> 00:21:27,080 Speaker 1: a crazy scene. I mean it's it's great. I mean 405 00:21:27,160 --> 00:21:30,440 Speaker 1: that art should stir you and and get some sort 406 00:21:30,480 --> 00:21:32,560 Speaker 1: of a visual reaction out of you. And I'll tell 407 00:21:32,560 --> 00:21:34,800 Speaker 1: you what I got hooked phone. And that's the other 408 00:21:34,880 --> 00:21:37,680 Speaker 1: performance artists that you sent me, Claudia Hair. Oh yes, 409 00:21:37,760 --> 00:21:40,159 Speaker 1: this is the German production from just this last year 410 00:21:40,240 --> 00:21:42,919 Speaker 1: two eleven, I believe, yeah, and I believe the underwater 411 00:21:43,040 --> 00:21:48,399 Speaker 1: opera is called aqua Ada. Alright, So anyway, swater that 412 00:21:48,520 --> 00:21:51,280 Speaker 1: she is a German swimmer turned opera singer, which is 413 00:21:51,440 --> 00:21:54,840 Speaker 1: that's perfectly yeah, there you go, using all of her skills, 414 00:21:55,160 --> 00:21:58,600 Speaker 1: and it is a combination of opera, underwater musical performance 415 00:21:58,640 --> 00:22:11,200 Speaker 1: in synchronized swimming. What I love about this is that 416 00:22:11,359 --> 00:22:14,000 Speaker 1: it's it's much more simplistic in terms of this sort 417 00:22:14,040 --> 00:22:16,960 Speaker 1: of eye candy that's present. Yes, it's very German. The 418 00:22:17,040 --> 00:22:19,399 Speaker 1: pictures of it I've seen. Yeah, I mean she's in 419 00:22:19,480 --> 00:22:22,600 Speaker 1: a wet suit and she's singing outside of the pool 420 00:22:22,880 --> 00:22:25,920 Speaker 1: and below in the pool is someone who is playing 421 00:22:26,000 --> 00:22:29,080 Speaker 1: what looks to be like metal garbage can tops, some 422 00:22:29,200 --> 00:22:32,600 Speaker 1: sort of percussive interestments, so you can hear those instruments 423 00:22:32,640 --> 00:22:35,240 Speaker 1: being played underwater, and then she's just a beautiful meso 424 00:22:35,280 --> 00:22:40,320 Speaker 1: soprano voice. And then she's walking and submerging herself and 425 00:22:40,520 --> 00:22:42,639 Speaker 1: going underwater and still singing, and so all of a 426 00:22:42,680 --> 00:22:44,960 Speaker 1: sudden you can hear the quality of that beautiful voice 427 00:22:45,000 --> 00:22:47,920 Speaker 1: still coming through, but in this very eerie, muffled way. 428 00:22:48,760 --> 00:22:50,240 Speaker 1: That's what got me to be like, you know what, 429 00:22:50,480 --> 00:22:54,680 Speaker 1: I'm totally in on this underground underwater music scene, and 430 00:22:54,720 --> 00:22:57,480 Speaker 1: he's underwater percussion going on the whole time. Yeah. I 431 00:22:57,520 --> 00:22:59,600 Speaker 1: should also point out that are a friend Michael Rodolphie 432 00:22:59,800 --> 00:23:01,800 Speaker 1: then and early. Over the years, he's invented and co 433 00:23:02,000 --> 00:23:07,480 Speaker 1: created various instruments designed for underwater use, generally percussion instruments, 434 00:23:07,720 --> 00:23:11,760 Speaker 1: things that look kind of like xylophones that you play underwater. 435 00:23:12,000 --> 00:23:15,200 Speaker 1: And he's also engaged in the design of underwater electronic 436 00:23:15,359 --> 00:23:19,280 Speaker 1: equipment because if you're doing an underwater performance, that brings 437 00:23:19,280 --> 00:23:22,000 Speaker 1: a lot of design problems with it that you wouldn't 438 00:23:22,119 --> 00:23:24,720 Speaker 1: encounter on the surface. Well, I think it also shows 439 00:23:24,760 --> 00:23:27,280 Speaker 1: the level of obsession here too, right, that you're creating 440 00:23:27,359 --> 00:23:31,399 Speaker 1: new instruments. It's not just something that you're exploring one weekend, 441 00:23:31,440 --> 00:23:33,000 Speaker 1: Like I wonder what happened if I stuck an opera 442 00:23:33,040 --> 00:23:36,280 Speaker 1: in a pool, or or what happens if I'm not 443 00:23:36,359 --> 00:23:38,560 Speaker 1: really happy with this track? What have I played underwater? No, 444 00:23:38,680 --> 00:23:41,080 Speaker 1: it's not an offhand thing. They're really passionate about it, 445 00:23:41,080 --> 00:23:43,440 Speaker 1: and there's spending a lot of time with it. It's 446 00:23:43,520 --> 00:23:46,280 Speaker 1: very cool stuff, so they have it. This podcast, we hope, 447 00:23:46,359 --> 00:23:49,480 Speaker 1: was kind of an introduction and an exploration of not 448 00:23:49,640 --> 00:23:52,119 Speaker 1: only the natural sounds and the way it sounds naturally 449 00:23:52,160 --> 00:23:55,440 Speaker 1: travel underwater, both what we know about it in some 450 00:23:55,560 --> 00:23:59,040 Speaker 1: of the mysteries, but also how we have exploited the 451 00:23:59,080 --> 00:24:01,879 Speaker 1: way that sounds alvels underwater and at least we've begun 452 00:24:02,160 --> 00:24:05,080 Speaker 1: to appreciate it in a new and an artistic way. Yeah. 453 00:24:05,119 --> 00:24:07,959 Speaker 1: And I can't help but seeing the sort of technology 454 00:24:08,040 --> 00:24:10,880 Speaker 1: being used at like high end resorts one day, Well, 455 00:24:11,080 --> 00:24:13,840 Speaker 1: you do encounter underwater speaker systems that a lot of 456 00:24:14,080 --> 00:24:18,320 Speaker 1: really posh spa and swimming pool environments. Yeah, I'm just imagining, like, Okay, 457 00:24:18,400 --> 00:24:20,680 Speaker 1: here you are in the Caribbean coast. And you know, 458 00:24:20,720 --> 00:24:23,080 Speaker 1: I'm thinking neck Or Island from our friend Branson. Right, 459 00:24:23,440 --> 00:24:25,640 Speaker 1: maybe he's got the system. You take a little swim 460 00:24:25,720 --> 00:24:27,920 Speaker 1: out there and you have you know whatever sort of 461 00:24:28,320 --> 00:24:31,520 Speaker 1: ambient music playing for your pleasure. Well, I couldn't help 462 00:24:31,520 --> 00:24:35,920 Speaker 1: but think of our friend Lily the Dolphin. Yeah, because 463 00:24:35,960 --> 00:24:39,159 Speaker 1: he was really into well taking a lot of and 464 00:24:39,200 --> 00:24:42,480 Speaker 1: then getting in his isolation booth, which sometimes, or my 465 00:24:42,560 --> 00:24:45,680 Speaker 1: mistaken on that often includes water. I'm probably thinking of 466 00:24:45,760 --> 00:24:47,840 Speaker 1: altered states, but that was I think there was water 467 00:24:47,960 --> 00:24:51,040 Speaker 1: in that one. Yeah, they can to involve water. So 468 00:24:51,400 --> 00:24:52,920 Speaker 1: I'm gonna say I don't know on that one. Okay, 469 00:24:53,160 --> 00:24:55,800 Speaker 1: I'm pretty sure that you can get an isolation chamber. 470 00:24:56,359 --> 00:24:58,520 Speaker 1: It contains water, and so all the better to have 471 00:24:58,600 --> 00:25:00,760 Speaker 1: it wired for sound. Right, it's some the author has one, 472 00:25:00,840 --> 00:25:03,560 Speaker 1: let us know. Yeah, absolutely well, And I have to 473 00:25:03,600 --> 00:25:05,960 Speaker 1: say too, that's probably going to enhance his experience, or 474 00:25:05,960 --> 00:25:08,040 Speaker 1: would have it enhanced his experience. But but I like 475 00:25:08,200 --> 00:25:10,680 Speaker 1: the mention of Branson because I can easily imagine him 476 00:25:10,720 --> 00:25:15,119 Speaker 1: sliding naked into his his music tube like Luke Skywalker 477 00:25:15,200 --> 00:25:18,119 Speaker 1: in the Batha tank. Okay, so are you imagining some 478 00:25:18,240 --> 00:25:21,520 Speaker 1: sort of underwater tube that connects to his home that 479 00:25:21,640 --> 00:25:24,840 Speaker 1: he can just slide into out into the ocean. Well 480 00:25:25,119 --> 00:25:27,200 Speaker 1: that's good too. I was thinking like a like a 481 00:25:27,359 --> 00:25:30,959 Speaker 1: acrylic through it. He could swim with the sharks right 482 00:25:31,000 --> 00:25:33,360 Speaker 1: past them because he's got this vast network of tubes, 483 00:25:33,920 --> 00:25:39,359 Speaker 1: acrylic tubes, maybe like a big hamster ball full of water. 484 00:25:39,560 --> 00:25:42,960 Speaker 1: He's wearing a snorkel mask, nothing else, listening to music 485 00:25:42,960 --> 00:25:46,280 Speaker 1: because he rolls around totally. I totally see the totally cembm. Like, 486 00:25:46,359 --> 00:25:48,400 Speaker 1: you know what, I'm so stressed about not getting into 487 00:25:48,440 --> 00:25:50,440 Speaker 1: this asteroid mining thing. I'm going to go take a 488 00:25:50,600 --> 00:25:53,160 Speaker 1: swim out in my tube ocean. All right, Well, let's 489 00:25:53,200 --> 00:25:54,880 Speaker 1: look at some quick listener mail. What do you say, 490 00:25:55,000 --> 00:25:59,160 Speaker 1: Arnie Ring the mail please. This is from a listener 491 00:25:59,240 --> 00:26:01,719 Speaker 1: by name of Patrick Patrick Ridson and says, I recently 492 00:26:01,760 --> 00:26:04,800 Speaker 1: heard your podcast on Google Goggles and found your commentary 493 00:26:04,880 --> 00:26:07,960 Speaker 1: on featuristic contact lens is a little well too negative. 494 00:26:08,400 --> 00:26:11,280 Speaker 1: For instance, you say, and I'm paraphrasing here, that should 495 00:26:11,320 --> 00:26:14,480 Speaker 1: these contact micro computers indeed come to exist, we will 496 00:26:14,600 --> 00:26:17,440 Speaker 1: as a society become officially dumber. The point at first 497 00:26:17,480 --> 00:26:20,679 Speaker 1: seems valid, for if we had a computer with us. 498 00:26:20,800 --> 00:26:23,640 Speaker 1: We would not need to remember anything birthdays, important dates 499 00:26:23,680 --> 00:26:26,680 Speaker 1: for history classes, or even what the exact name of 500 00:26:26,880 --> 00:26:29,720 Speaker 1: that flesh itting bacteria currently consuming your arm is. And 501 00:26:29,800 --> 00:26:32,520 Speaker 1: this would seemingly be a problem. However, in my humble opinion, 502 00:26:32,880 --> 00:26:35,960 Speaker 1: remembering these things as somewhat arbitrary. What does it matter 503 00:26:35,960 --> 00:26:37,720 Speaker 1: if you can't remember how to spell a particular word. 504 00:26:37,960 --> 00:26:40,240 Speaker 1: If you can correctly correlate the word you're thinking of 505 00:26:40,440 --> 00:26:43,000 Speaker 1: to the idea it represents, then you should be okay. 506 00:26:43,280 --> 00:26:45,600 Speaker 1: I feel that if these micro computers do one day 507 00:26:45,680 --> 00:26:48,440 Speaker 1: come to fruition, that it will free the human mind 508 00:26:48,600 --> 00:26:51,720 Speaker 1: from the clasps of memorization and promote a far more 509 00:26:51,960 --> 00:26:56,359 Speaker 1: important cranial attribute, critical thinking, something that is seriously lacking 510 00:26:56,440 --> 00:26:59,600 Speaker 1: in much of the population, including college graduates. And with that, 511 00:26:59,800 --> 00:27:01,600 Speaker 1: I step off my stump. I love your show. It 512 00:27:01,720 --> 00:27:04,520 Speaker 1: keeps my brain from oozing out my ears while pulling weeds. 513 00:27:05,040 --> 00:27:07,719 Speaker 1: Oka's entreating. He raises the interesting point there. I mean, 514 00:27:08,040 --> 00:27:10,840 Speaker 1: perhaps by bringing us from the need to memorize all 515 00:27:10,880 --> 00:27:15,000 Speaker 1: these facts like there anniversary or our loved ones names 516 00:27:15,280 --> 00:27:18,560 Speaker 1: or faces, it don't come to that, you know, to 517 00:27:18,720 --> 00:27:21,240 Speaker 1: really critically. And I'm having some fun there, but but 518 00:27:21,680 --> 00:27:23,119 Speaker 1: but no, I think he has a valid point, the 519 00:27:23,200 --> 00:27:25,240 Speaker 1: counterpoint to some of the ideas that we were presenting. 520 00:27:25,600 --> 00:27:28,040 Speaker 1: Or does it just leave more room for useless facts 521 00:27:28,200 --> 00:27:30,960 Speaker 1: like you know, things that I know about Angelina Jolie 522 00:27:31,000 --> 00:27:32,600 Speaker 1: and Brad Pitt that I don't even know how I know, 523 00:27:32,720 --> 00:27:35,320 Speaker 1: but I know them. Yeah, right, in some sort of 524 00:27:35,400 --> 00:27:39,200 Speaker 1: passive way, that information has flowed through and remains in 525 00:27:39,240 --> 00:27:44,680 Speaker 1: the nets of my memory, whereas important things don't so much. Yeah, 526 00:27:44,840 --> 00:27:47,000 Speaker 1: you know, and that's what we're kind of afraid of. 527 00:27:47,400 --> 00:27:49,359 Speaker 1: But yeah, but who knows. And the idea is to 528 00:27:49,480 --> 00:27:52,000 Speaker 1: what extent we can actually manage it as we're bombarded 529 00:27:52,080 --> 00:27:54,040 Speaker 1: with this technology. So we'll see. Let me see if 530 00:27:54,080 --> 00:27:55,920 Speaker 1: I have another bit of listener mail here in the bundle. 531 00:27:56,000 --> 00:27:59,200 Speaker 1: Here's one from Donnie and Arizona. Donnie Ritson and says, Hey, guys, 532 00:27:59,280 --> 00:28:01,720 Speaker 1: just finished listening your Lucid Dreams episode and wanted to 533 00:28:01,800 --> 00:28:04,399 Speaker 1: add to it. I've been interested in lucid dreaming for 534 00:28:04,560 --> 00:28:07,800 Speaker 1: years now and have on numerous occasions lucid dream to myself. 535 00:28:08,440 --> 00:28:11,119 Speaker 1: You mentioned briefly various medicines that could affect dreams, but 536 00:28:11,160 --> 00:28:14,360 Speaker 1: failed to touch on one in particular. Kalia zach taquici. 537 00:28:14,560 --> 00:28:17,080 Speaker 1: Pardon is spelling is incorrect on that, and likewise, pardon 538 00:28:17,119 --> 00:28:20,159 Speaker 1: if my pronunciation is is a herbal cupplement used by 539 00:28:20,200 --> 00:28:24,680 Speaker 1: shaman's to introduce lucid and or prophetic dreams, commonly intended 540 00:28:24,760 --> 00:28:27,040 Speaker 1: to help find answers that may be plaguing in the 541 00:28:27,080 --> 00:28:30,160 Speaker 1: individual or their tribe. He's often smoked in a cigarette 542 00:28:30,359 --> 00:28:33,920 Speaker 1: with equal parts kalia and tobacco. In fact, lucy dreaming 543 00:28:33,920 --> 00:28:36,280 Speaker 1: in general seems to be very common in shamanistic ritual 544 00:28:36,320 --> 00:28:40,120 Speaker 1: practices around the world. Love the show Thanks Dying. Actually, 545 00:28:40,160 --> 00:28:43,360 Speaker 1: that's reminded me of a book called Rational Mysticism. It's 546 00:28:43,400 --> 00:28:46,520 Speaker 1: centered around trying to dwell deeper into the mind, and 547 00:28:46,880 --> 00:28:49,720 Speaker 1: the writer actually takes aya kusa. I know I have 548 00:28:49,760 --> 00:28:51,720 Speaker 1: to slaughtered that, but that's the same thing. It's it's 549 00:28:53,280 --> 00:28:56,200 Speaker 1: is that it search with a Yeah. I may have 550 00:28:56,280 --> 00:28:58,200 Speaker 1: heard it in mispronounced as well, but well, yeah, I'll 551 00:28:58,200 --> 00:29:00,440 Speaker 1: go with your because I always noticed it's kind of 552 00:29:00,440 --> 00:29:06,680 Speaker 1: like hiawappa Native American from the Children's story anyway. Alright, 553 00:29:06,800 --> 00:29:10,640 Speaker 1: so yes, anyway, it aids in the humanistic rituals. That 554 00:29:10,800 --> 00:29:12,160 Speaker 1: is very interesting. It's a good point that you make 555 00:29:12,160 --> 00:29:14,640 Speaker 1: about Lucid dreaming. The dream world is always played an 556 00:29:14,640 --> 00:29:18,120 Speaker 1: important role in her formation of spiritual ideas well. Hey, 557 00:29:18,200 --> 00:29:20,280 Speaker 1: if you have anything you would like to add, be 558 00:29:20,360 --> 00:29:23,680 Speaker 1: it about Lucy dreaming, the future of technology, or especially 559 00:29:23,680 --> 00:29:26,520 Speaker 1: about underwater sounds. What do you think the blue pits? 560 00:29:26,640 --> 00:29:28,480 Speaker 1: Let us know. We'd love to hear about it. Also, 561 00:29:28,600 --> 00:29:32,440 Speaker 1: underwater music. We highlighted a few possibilities there for listening underwater, 562 00:29:32,840 --> 00:29:35,440 Speaker 1: but I'm sure we missed something. So if you have 563 00:29:35,600 --> 00:29:37,880 Speaker 1: heard some music, or your familiar with some music that 564 00:29:38,000 --> 00:29:41,720 Speaker 1: either incorporates underwater sounds or is intended to be listened 565 00:29:41,720 --> 00:29:44,160 Speaker 1: to underwater, let us know about it. We'd love to 566 00:29:44,360 --> 00:29:45,480 Speaker 1: hear about it. We'd love to share it with the 567 00:29:45,520 --> 00:29:47,800 Speaker 1: rest of the listeners. And if you have solved the 568 00:29:47,920 --> 00:29:50,560 Speaker 1: riddle of the blue send us an email about it 569 00:29:50,720 --> 00:29:52,560 Speaker 1: and you can do so at blew the Mind at 570 00:29:52,600 --> 00:30:00,080 Speaker 1: Discovery dot com for more on this and thousand of 571 00:30:00,160 --> 00:30:04,440 Speaker 1: other topics. Is it how staff works dot com. M