1 00:00:03,800 --> 00:00:06,680 Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff 2 00:00:06,680 --> 00:00:14,280 Speaker 1: Works dot com. Hey, welcome to Stuff to Blow your Mind. 3 00:00:14,320 --> 00:00:18,120 Speaker 1: My name is Robert Lamb and I'm Julie Douglas. Tell me, Julie, 4 00:00:18,480 --> 00:00:20,800 Speaker 1: where do how do you stir up your creativity? You've 5 00:00:20,800 --> 00:00:23,680 Speaker 1: got a lot of creativity and that that millionators. How 6 00:00:23,680 --> 00:00:26,200 Speaker 1: do you how do you get it going? Wow? Um? 7 00:00:26,280 --> 00:00:28,560 Speaker 1: Do you know what? I usually look at certain books 8 00:00:28,600 --> 00:00:32,400 Speaker 1: that I think you are intriguing or um, sometimes I 9 00:00:32,479 --> 00:00:34,960 Speaker 1: just sit down and write and just try to empty 10 00:00:34,960 --> 00:00:37,960 Speaker 1: out all the goo. Yeah, yeah, what about yourself? Um? 11 00:00:38,000 --> 00:00:39,760 Speaker 1: You know, it depends on the task, I guess, but 12 00:00:40,560 --> 00:00:43,080 Speaker 1: I find music tends to help put on some sort 13 00:00:43,120 --> 00:00:45,599 Speaker 1: of music that seems fitting to you know, if I'm 14 00:00:45,640 --> 00:00:48,680 Speaker 1: if it's a particular writing assignment or project, you know, 15 00:00:48,720 --> 00:00:51,000 Speaker 1: like what kind of music would stir me and get 16 00:00:51,000 --> 00:00:53,960 Speaker 1: me into this? Yeah? Um, A little coffee doesn't help, 17 00:00:54,000 --> 00:00:57,280 Speaker 1: I mean doesn't hurt. I mean a lot of coffee doesn't. 18 00:00:57,280 --> 00:01:00,640 Speaker 1: Coffee doesn't help. A small amount of coffee certainly helps. 19 00:01:01,240 --> 00:01:04,319 Speaker 1: But but yeah, it's sort of set in the mood. 20 00:01:04,360 --> 00:01:06,640 Speaker 1: And then of course inspiration from other things. If there's 21 00:01:06,760 --> 00:01:09,000 Speaker 1: you know, look at looking at you think looking at 22 00:01:09,080 --> 00:01:11,759 Speaker 1: at writing that I really like, looking at at art 23 00:01:11,800 --> 00:01:14,200 Speaker 1: that I really like, and just you know, becoming inspired 24 00:01:14,240 --> 00:01:17,800 Speaker 1: and sort of mishmashing ideas together. Yeah, I will say that. 25 00:01:17,920 --> 00:01:22,240 Speaker 1: Um sometimes I'll dance around too, which is a horrible admission, 26 00:01:22,440 --> 00:01:25,200 Speaker 1: but I will. Um, I'll do like kind of eighties 27 00:01:25,240 --> 00:01:30,440 Speaker 1: moves around the furniture and like high kicks and um, 28 00:01:30,560 --> 00:01:32,880 Speaker 1: like do you think I'm kidding, I'm just imagining doing 29 00:01:32,920 --> 00:01:34,600 Speaker 1: like kung fu in your in your living room or 30 00:01:34,600 --> 00:01:38,080 Speaker 1: something to get up. Yeah, yeah, I don't know. There's 31 00:01:38,120 --> 00:01:41,600 Speaker 1: something about movement that's really freeing. And um, I think 32 00:01:41,600 --> 00:01:43,600 Speaker 1: that kind of goes back to that whole thing about 33 00:01:43,720 --> 00:01:46,400 Speaker 1: music and and they're inherently being that part of your 34 00:01:46,440 --> 00:01:50,320 Speaker 1: brain that wants to move get things going anyway. Yeah, 35 00:01:50,320 --> 00:01:52,640 Speaker 1: these are the ways that that, um, you know, we 36 00:01:53,000 --> 00:01:56,720 Speaker 1: kind of throw out the marbles of creativity and have fun. Yeah, 37 00:01:56,760 --> 00:01:59,640 Speaker 1: And the creativity is one of those things everybody wants 38 00:01:59,640 --> 00:02:01,800 Speaker 1: to slide to this pie. If you've got a slice 39 00:02:01,800 --> 00:02:03,800 Speaker 1: of this pie, you want a bigger slice. Like nobody 40 00:02:03,800 --> 00:02:06,800 Speaker 1: I've never heard anybody say, man, I'm just too creative. 41 00:02:06,840 --> 00:02:08,639 Speaker 1: I wish I was just a little less creative. And 42 00:02:08,720 --> 00:02:10,680 Speaker 1: maybe you know, everybody's like, oh, man, I wish I 43 00:02:10,720 --> 00:02:13,720 Speaker 1: could you know, you know, you know, even if you 44 00:02:13,720 --> 00:02:15,600 Speaker 1: you're not have you're not you don't have writer's block 45 00:02:15,720 --> 00:02:17,520 Speaker 1: or you're you're not, you know, having trouble coming within 46 00:02:17,520 --> 00:02:19,400 Speaker 1: the ideas, everybody could use a little a little bit more. 47 00:02:19,440 --> 00:02:22,840 Speaker 1: And and also everybody's been trying to understand it. Um, 48 00:02:22,880 --> 00:02:25,160 Speaker 1: you know, besides the fact that you could potentially market 49 00:02:25,240 --> 00:02:28,280 Speaker 1: something to improve creativity, uh, you know, it's just one 50 00:02:28,320 --> 00:02:30,560 Speaker 1: of the big questions about you know, who we are. 51 00:02:31,000 --> 00:02:34,679 Speaker 1: We're a creative species. So what's at the bottom of that? Right? Yeah, 52 00:02:34,760 --> 00:02:37,120 Speaker 1: so what's what is the science behind creativity? If you 53 00:02:37,120 --> 00:02:39,320 Speaker 1: can even look at it that way, which thanks to 54 00:02:39,520 --> 00:02:41,919 Speaker 1: fm r I, once again we have a way that 55 00:02:41,960 --> 00:02:44,160 Speaker 1: we can start to measure these things. So it's not 56 00:02:44,280 --> 00:02:47,520 Speaker 1: just um, you know, certain disciplines that are able to 57 00:02:48,720 --> 00:02:51,359 Speaker 1: you know, expand on the greatness of creativity and how 58 00:02:51,360 --> 00:02:53,359 Speaker 1: we can go after it. We can we can look 59 00:02:53,360 --> 00:02:54,880 Speaker 1: at the muse if we want, but then we can 60 00:02:54,919 --> 00:02:57,040 Speaker 1: also look at fm R I and say, okay, what 61 00:02:57,040 --> 00:03:00,200 Speaker 1: what's actually driving us in this process. There are a 62 00:03:00,240 --> 00:03:02,800 Speaker 1: number of different views on it that have come out 63 00:03:02,840 --> 00:03:05,920 Speaker 1: over the years that don't involve moras that that I 64 00:03:05,960 --> 00:03:08,359 Speaker 1: find interesting. Some of these I think we can sort 65 00:03:08,360 --> 00:03:10,080 Speaker 1: of well, we'll just sort of judge these as we 66 00:03:10,120 --> 00:03:13,840 Speaker 1: go through, all right, I will turn on my judging mind. 67 00:03:14,320 --> 00:03:16,919 Speaker 1: Don't turn on the judging mind. We'll discuss it more later. 68 00:03:17,360 --> 00:03:21,079 Speaker 1: But first there's the cognitive view, and uh, this is 69 00:03:21,160 --> 00:03:23,360 Speaker 1: kind of like the basic idea here is that like 70 00:03:23,400 --> 00:03:26,320 Speaker 1: even a computer, if properly programed, could get really creative 71 00:03:26,639 --> 00:03:29,200 Speaker 1: and it's just a matter of you know, data A 72 00:03:29,320 --> 00:03:33,280 Speaker 1: plus data be I will combine into novel or mash 73 00:03:33,360 --> 00:03:35,160 Speaker 1: up track you know that kind of just want to 74 00:03:35,160 --> 00:03:37,240 Speaker 1: know that you're doing robot hands right now, just just 75 00:03:37,280 --> 00:03:39,120 Speaker 1: so people can get the full effect. Well, we did 76 00:03:39,160 --> 00:03:41,840 Speaker 1: him in yoga last night, So I got all into 77 00:03:41,880 --> 00:03:45,400 Speaker 1: your robot hands. Wo robot yoga. Yeah, the one where 78 00:03:45,400 --> 00:03:47,120 Speaker 1: you lay down on the floor and you make robot hands. 79 00:03:47,200 --> 00:03:50,400 Speaker 1: Now maybe you guys don't do that now, sorry. Mine 80 00:03:50,400 --> 00:03:54,800 Speaker 1: are less robotic, yeah, more touchy feely. Um okay, So 81 00:03:54,840 --> 00:03:57,920 Speaker 1: that's one of them. Then there's the psychoanalytic Freudian view, 82 00:03:58,000 --> 00:04:01,080 Speaker 1: and this one, um, I don't know like because this 83 00:04:01,120 --> 00:04:03,880 Speaker 1: one says that creativity is an occurrence of the subconscious. 84 00:04:03,880 --> 00:04:06,240 Speaker 1: All right, well, that's fine, but it also gets into 85 00:04:06,280 --> 00:04:08,840 Speaker 1: the idea of humans attempt to avoid pain through the 86 00:04:08,880 --> 00:04:12,520 Speaker 1: creation of daydreams and dreams and fantasies. And if you 87 00:04:12,560 --> 00:04:15,360 Speaker 1: follow this theories, like every like cool creative thing that 88 00:04:15,400 --> 00:04:19,000 Speaker 1: has ever been is us trying to avoid pain? Um, 89 00:04:19,080 --> 00:04:23,120 Speaker 1: which is a is a reaction to like a depressive circumstance. Yeah, 90 00:04:23,160 --> 00:04:24,919 Speaker 1: and just just sort of like I gotta get my 91 00:04:24,960 --> 00:04:27,080 Speaker 1: mind out of this world in this life. I'm gonna 92 00:04:27,120 --> 00:04:29,640 Speaker 1: you know, it's just which which holds up with I 93 00:04:29,920 --> 00:04:31,320 Speaker 1: think the thing is some of the a lot of 94 00:04:31,320 --> 00:04:33,719 Speaker 1: these examples like they can hold up under certain types 95 00:04:33,760 --> 00:04:36,360 Speaker 1: of creativity. And you could say, all right, well there, 96 00:04:36,400 --> 00:04:38,440 Speaker 1: you know, this is an example somebody trying to escape 97 00:04:38,520 --> 00:04:40,960 Speaker 1: some hard circumstances and maybe they're doing a little bit 98 00:04:40,960 --> 00:04:43,400 Speaker 1: of dreaming to get out of this world. But then, like, 99 00:04:43,440 --> 00:04:46,120 Speaker 1: how do you explain somebody like Bobby McFerrin. Bobby McFerrin 100 00:04:46,160 --> 00:04:49,599 Speaker 1: is happy, Bobby mcparents creative. Bobby mcferhin couldn't exist under 101 00:04:49,640 --> 00:04:52,840 Speaker 1: this view. He doesn't need to escape his reality. He 102 00:04:52,920 --> 00:04:57,680 Speaker 1: creates his reality exactly. Yeah, he's a happy Um. You know, 103 00:04:57,760 --> 00:05:00,680 Speaker 1: so I think I have problems no, I see that 104 00:05:00,720 --> 00:05:04,680 Speaker 1: because it's limiting. Yeah. Then there's the behaviorals few and 105 00:05:05,040 --> 00:05:07,280 Speaker 1: uh this is uh this one states the creativity is 106 00:05:07,320 --> 00:05:10,840 Speaker 1: a combination of previously know knowledge joined together spot in 107 00:05:11,160 --> 00:05:16,120 Speaker 1: with with a lot of spontaneity. Um and uh. And 108 00:05:16,120 --> 00:05:20,080 Speaker 1: it's also you know, it's about conditioned response to two situations. Now, 109 00:05:20,120 --> 00:05:21,760 Speaker 1: this one I kind of like it's it is kind 110 00:05:21,760 --> 00:05:23,680 Speaker 1: of like strikes me, kind of the mash up approach, 111 00:05:24,080 --> 00:05:25,640 Speaker 1: you know, where it's like I'm looking at this, I'm 112 00:05:25,680 --> 00:05:28,480 Speaker 1: looking at this. They come together new combinations or new 113 00:05:28,520 --> 00:05:32,360 Speaker 1: ideas and you know, kind of falling into stuff we've 114 00:05:32,360 --> 00:05:34,640 Speaker 1: talked about in the in the Dream Inspiration the Dream 115 00:05:34,680 --> 00:05:37,360 Speaker 1: Inception podcast, we're talking about the brain kind of does 116 00:05:37,440 --> 00:05:41,280 Speaker 1: this where it sort of throws things together, different combinations, 117 00:05:41,560 --> 00:05:44,599 Speaker 1: and uh, an insight can sort of emerge from this. Okay, 118 00:05:44,640 --> 00:05:47,239 Speaker 1: because when you say behavioralists, I always think about PF. 119 00:05:47,279 --> 00:05:51,359 Speaker 1: Skinner And then I started thinking about Pavlov's dog and 120 00:05:51,400 --> 00:05:55,960 Speaker 1: could Pavlov's dog have been creative? I guess you. Yeah, 121 00:05:56,040 --> 00:05:57,720 Speaker 1: that's the that's the downside to it, because it does 122 00:05:57,760 --> 00:06:00,960 Speaker 1: We'll make it a situation where this is conditioned response 123 00:06:01,000 --> 00:06:04,760 Speaker 1: to a situation. So Um. So yeah, bs Skinners kind 124 00:06:04,760 --> 00:06:06,880 Speaker 1: of a kill joy to everything drag him into. And 125 00:06:07,080 --> 00:06:09,760 Speaker 1: I mean, I'm not I'm sure the dog was creative, 126 00:06:09,960 --> 00:06:12,640 Speaker 1: probably did get creative time after time after time that 127 00:06:12,720 --> 00:06:17,000 Speaker 1: the bell was rung and it started salivating. Um. Then 128 00:06:17,040 --> 00:06:20,200 Speaker 1: there's the Another one is the intrinsic motivational view, and 129 00:06:20,240 --> 00:06:23,560 Speaker 1: this is the the idea that people reach their creative 130 00:06:23,560 --> 00:06:26,440 Speaker 1: potential through the desire for pleasure and the activities that 131 00:06:26,440 --> 00:06:30,560 Speaker 1: they engage in. Um. And of course, the major criticism 132 00:06:30,560 --> 00:06:33,440 Speaker 1: on this is that not all creativity or you know, 133 00:06:33,520 --> 00:06:36,680 Speaker 1: an inventive enterprise comes out of an enjoyment of an activity. 134 00:06:36,800 --> 00:06:39,720 Speaker 1: Now I would I would argue that it helps if 135 00:06:39,800 --> 00:06:43,080 Speaker 1: you enjoy it. I mean, I'm I'm having a hard 136 00:06:43,080 --> 00:06:45,280 Speaker 1: time thinking of an example where somebody did something really 137 00:06:45,279 --> 00:06:48,360 Speaker 1: creative and awesome and hated every minute of it. No. 138 00:06:48,560 --> 00:06:50,320 Speaker 1: And i know I've said this like probably a million 139 00:06:50,320 --> 00:06:52,919 Speaker 1: times in the previous podcast, but you know, it's that 140 00:06:53,000 --> 00:06:56,040 Speaker 1: whole obsessive quality to it that the mind plays with 141 00:06:56,080 --> 00:06:59,760 Speaker 1: what it loves essentially, right, So that's perhaps why we 142 00:07:00,040 --> 00:07:02,320 Speaker 1: perhaps why we dream about certain things, or we just 143 00:07:02,440 --> 00:07:05,239 Speaker 1: keep sort of rotating a certain problem around in our mind. 144 00:07:05,680 --> 00:07:07,720 Speaker 1: Because we want to find this solution you have to 145 00:07:07,760 --> 00:07:11,400 Speaker 1: take a totally non scientific slant on It's kind of 146 00:07:11,440 --> 00:07:14,600 Speaker 1: like the whole you can taste the love thing about food, 147 00:07:14,680 --> 00:07:17,640 Speaker 1: you know, like this this meal is prepared by somebody 148 00:07:17,680 --> 00:07:19,800 Speaker 1: who's really into and you can taste the love and 149 00:07:19,840 --> 00:07:22,200 Speaker 1: this meal was made in a factory, and there's you know, 150 00:07:22,400 --> 00:07:26,080 Speaker 1: love is not on the list of crazy um, long 151 00:07:26,080 --> 00:07:31,320 Speaker 1: winded ingredients hydrogen hydrogenated peanut oil, love, high pre dost 152 00:07:31,320 --> 00:07:33,280 Speaker 1: corn syrup. So but but I think there's a you know, 153 00:07:33,320 --> 00:07:34,600 Speaker 1: there's a sense of that and a lot of things. 154 00:07:34,640 --> 00:07:36,360 Speaker 1: It's like if if someone doesn't care about it, if 155 00:07:36,360 --> 00:07:39,040 Speaker 1: they're not passionate about they're not obsessed at least on 156 00:07:39,080 --> 00:07:40,640 Speaker 1: some level with it. If the brain is not, like 157 00:07:40,640 --> 00:07:43,680 Speaker 1: you say, playing with what it loves, then you can 158 00:07:43,840 --> 00:07:46,320 Speaker 1: you can generally tell because it's kind of it's gonna 159 00:07:46,360 --> 00:07:51,040 Speaker 1: be crap. Yeah. Yeah, I'm also thinking to you about coffee, 160 00:07:51,040 --> 00:07:54,360 Speaker 1: since you've already mentioned it and that great ted talk 161 00:07:54,480 --> 00:07:57,400 Speaker 1: that you sent me. Oh yes, yes, about where just 162 00:07:57,480 --> 00:08:01,320 Speaker 1: creativity come from? Yeah, coffee, Yeah, because the argument there 163 00:08:01,360 --> 00:08:05,920 Speaker 1: was that before coffee really integrated European society, people were 164 00:08:06,040 --> 00:08:08,640 Speaker 1: drinking water, because this stuff will make you sick. So 165 00:08:08,680 --> 00:08:12,400 Speaker 1: what do you drink all day alcohol exactly all day long, 166 00:08:12,760 --> 00:08:17,440 Speaker 1: morning tonight, just a complete stupor for centuries. Yeah. And 167 00:08:17,440 --> 00:08:20,280 Speaker 1: this is Steven Johnson, right, he's a writer and a 168 00:08:20,280 --> 00:08:24,120 Speaker 1: founder of Feed magazine. And uh, he was talking about that. 169 00:08:24,160 --> 00:08:26,080 Speaker 1: He was saying like, look here here, you have a 170 00:08:26,120 --> 00:08:30,280 Speaker 1: depressant alcohol for all of this time, you know, up 171 00:08:30,320 --> 00:08:33,920 Speaker 1: until like the sixteen hundreds and then boom coffee houses. Yeah, 172 00:08:34,600 --> 00:08:36,680 Speaker 1: you not only have the stimulant, but you also have 173 00:08:36,760 --> 00:08:40,839 Speaker 1: the culture in the interaction, the interaction, the flow of ideas, 174 00:08:41,240 --> 00:08:43,000 Speaker 1: and all of a sudden, the Age of Enlightenment is 175 00:08:43,000 --> 00:08:48,480 Speaker 1: starting to percolate in the UK, which is really interesting. Yeah, 176 00:08:48,640 --> 00:08:52,760 Speaker 1: elsewhere it's still fer minute right, yes, too far. I 177 00:08:52,800 --> 00:08:56,400 Speaker 1: don't know I like that. Um well, let's get into 178 00:08:56,480 --> 00:08:58,600 Speaker 1: one more view take on this before we get into 179 00:08:58,840 --> 00:09:02,160 Speaker 1: the more scientific stuff, and that is the developmental view 180 00:09:02,559 --> 00:09:04,920 Speaker 1: and that this one is another one I really don't like. 181 00:09:05,000 --> 00:09:07,320 Speaker 1: This is this one sounds like you know, the the 182 00:09:07,360 --> 00:09:10,880 Speaker 1: hard uh you know, this hard faced father that doesn't 183 00:09:10,920 --> 00:09:13,160 Speaker 1: want his child to uh, you know, to to write 184 00:09:13,200 --> 00:09:15,200 Speaker 1: poetry but wants him to play for the football team. 185 00:09:15,360 --> 00:09:21,079 Speaker 1: Kind of a thing because it's uh in general, right, well, 186 00:09:21,120 --> 00:09:23,760 Speaker 1: at least she's you know, making them play the piano 187 00:09:23,920 --> 00:09:33,520 Speaker 1: or very creative instrument. This presentation is brought to you 188 00:09:33,559 --> 00:09:42,199 Speaker 1: by Intel Sponsors of Tomorrow. So this one maintains that 189 00:09:42,240 --> 00:09:46,120 Speaker 1: the majority of creative behavior exists in younger life and 190 00:09:46,240 --> 00:09:49,920 Speaker 1: uh and and it's these these younger developmental years that 191 00:09:49,920 --> 00:09:52,840 Speaker 1: that stirs to become creative. And then as as we 192 00:09:52,880 --> 00:09:55,520 Speaker 1: grow out of that, we grow out of such foolish 193 00:09:55,559 --> 00:09:59,600 Speaker 1: ideas as creating things that are beautiful. Yeah, we get 194 00:09:59,600 --> 00:10:02,920 Speaker 1: down to the hard science of the let's see, that's 195 00:10:02,920 --> 00:10:05,960 Speaker 1: the other thing. So something inside his dies, something inside 196 00:10:06,000 --> 00:10:08,280 Speaker 1: of dies. We get older, and you know, I think 197 00:10:08,320 --> 00:10:09,960 Speaker 1: this is one of those that you can sort of 198 00:10:10,360 --> 00:10:12,360 Speaker 1: I don't agree with it, but if you hold it up, 199 00:10:12,360 --> 00:10:14,520 Speaker 1: you can say, oh, well look at this this artist. 200 00:10:14,880 --> 00:10:16,600 Speaker 1: They sure did run out of good ideas as they 201 00:10:16,640 --> 00:10:19,839 Speaker 1: got older. But but then you see so many people 202 00:10:19,840 --> 00:10:21,880 Speaker 1: who are just contrary to the rule. Like one of 203 00:10:21,880 --> 00:10:24,640 Speaker 1: my one of my favorite authors is this guy, Brian McNaughton. 204 00:10:25,040 --> 00:10:26,560 Speaker 1: And it wasn't ntil the end of his life that 205 00:10:26,559 --> 00:10:29,400 Speaker 1: he wrote like it's this really awesome collection of short 206 00:10:29,440 --> 00:10:31,280 Speaker 1: stories called Thrown of Bones and it was like the 207 00:10:31,360 --> 00:10:33,120 Speaker 1: last thing he really wrote, and then he kind of 208 00:10:33,240 --> 00:10:34,760 Speaker 1: and then he kind of trickled off and died, but 209 00:10:34,760 --> 00:10:37,000 Speaker 1: he broke that like blow into his uh like into 210 00:10:37,040 --> 00:10:39,839 Speaker 1: his fifties. I think. So. I was actually looking at 211 00:10:39,880 --> 00:10:43,800 Speaker 1: some research on peak ears depending on different disciplines, and 212 00:10:44,160 --> 00:10:49,600 Speaker 1: it turns out that writers actually peak after their forties generally, 213 00:10:50,200 --> 00:10:54,840 Speaker 1: and that poets like twenties and then it's over. I 214 00:10:54,920 --> 00:10:57,679 Speaker 1: know it's very odd, but I wonder if it kind 215 00:10:57,679 --> 00:10:59,960 Speaker 1: of goes back to that idea that there's there's something 216 00:11:00,440 --> 00:11:04,160 Speaker 1: um intrinsic to the way that you are looking at 217 00:11:04,160 --> 00:11:07,120 Speaker 1: the world when everything is fresh and new. Yeah, or 218 00:11:07,160 --> 00:11:10,280 Speaker 1: maybe the writers somehow avoid getting a real job into 219 00:11:10,360 --> 00:11:13,760 Speaker 1: the mid forties and the poets able to find the 220 00:11:13,920 --> 00:11:16,560 Speaker 1: gain game for employee. Yeah, yeah, that's right. They didn't 221 00:11:16,600 --> 00:11:19,160 Speaker 1: really widen the circumstances of the studies they were looking 222 00:11:19,160 --> 00:11:22,240 Speaker 1: at to include that information. So it's very possible. Um. 223 00:11:22,280 --> 00:11:24,079 Speaker 1: But you know, when I think about creativity, I always 224 00:11:24,080 --> 00:11:26,480 Speaker 1: think about the right brain. You have to say, I 225 00:11:26,679 --> 00:11:28,720 Speaker 1: was one of those people who thought, okay, this is 226 00:11:29,040 --> 00:11:30,439 Speaker 1: you know, I'm a right brain person or I'm a 227 00:11:30,520 --> 00:11:33,360 Speaker 1: left brain person, and that seems to be something that 228 00:11:33,480 --> 00:11:36,280 Speaker 1: is completely inaccurate that came out of some sort of 229 00:11:36,320 --> 00:11:39,280 Speaker 1: seventies notion of personality tests. Yeah, but people loved it 230 00:11:39,320 --> 00:11:42,200 Speaker 1: because it has this sort of star bellied sneeches kind 231 00:11:42,240 --> 00:11:44,120 Speaker 1: of a thing to it, where it's and it's like 232 00:11:44,120 --> 00:11:46,120 Speaker 1: it's a it's a war between the creatives and the 233 00:11:46,120 --> 00:11:48,679 Speaker 1: non creatives. It's the left brain versus the right bright 234 00:11:48,840 --> 00:11:51,440 Speaker 1: and this idea of an internal struggle too. Yeah. But 235 00:11:51,559 --> 00:11:54,319 Speaker 1: and in fact it's actually a lot more nuanced than that. 236 00:11:54,480 --> 00:11:58,000 Speaker 1: In the the conclusion from one study by surgeon and 237 00:11:58,080 --> 00:12:01,600 Speaker 1: jazz musician Charles Limb, who will now refer to as 238 00:12:01,600 --> 00:12:05,280 Speaker 1: the Jazz Doctor Jazz doctor, and and that is that 239 00:12:05,320 --> 00:12:07,880 Speaker 1: there is no single creative area of the brain. So 240 00:12:07,920 --> 00:12:10,680 Speaker 1: there's no focal activation of a single area, which is 241 00:12:10,720 --> 00:12:13,280 Speaker 1: really important. Yeah, You've got a whole lot of stuff 242 00:12:13,320 --> 00:12:15,720 Speaker 1: going on there. And it's it's not like you can say, look, 243 00:12:15,760 --> 00:12:18,960 Speaker 1: there's the creativity right there. It's you look at these 244 00:12:19,160 --> 00:12:21,240 Speaker 1: f m r I s that people of engaging in 245 00:12:21,280 --> 00:12:25,280 Speaker 1: creative activities, and it's you know, it's throughout the brain. 246 00:12:25,360 --> 00:12:28,559 Speaker 1: It's not like, you know, just one little portion lighting up. Yeah. 247 00:12:28,640 --> 00:12:30,600 Speaker 1: And when they were looking at some of these activities 248 00:12:30,640 --> 00:12:32,480 Speaker 1: to a lot of them were music based ones. And 249 00:12:32,520 --> 00:12:35,600 Speaker 1: we saw this when we were doing research for music 250 00:12:35,679 --> 00:12:39,120 Speaker 1: and the brain. Same thing, like the entire head is 251 00:12:39,679 --> 00:12:42,240 Speaker 1: or the entire brain is lighting up like a pinball machine. 252 00:12:43,000 --> 00:12:45,360 Speaker 1: So that's that's the interesting part about this. You know, 253 00:12:45,360 --> 00:12:47,920 Speaker 1: you've got language, you've got the seat of judgments, so 254 00:12:47,960 --> 00:12:50,640 Speaker 1: on and so forth. Yeah. I was really impressed with 255 00:12:50,640 --> 00:12:53,040 Speaker 1: this one and that they had like a special keyboard 256 00:12:53,880 --> 00:12:56,839 Speaker 1: uh created that could basically go inside the f m 257 00:12:56,920 --> 00:12:59,560 Speaker 1: R I, which again the fm R. I've ever seen 258 00:13:00,160 --> 00:13:03,280 Speaker 1: people going into a giant, you know, big big square 259 00:13:03,280 --> 00:13:04,679 Speaker 1: device with a little hole in it, and you know 260 00:13:04,720 --> 00:13:05,840 Speaker 1: they put them in. They have you have to be 261 00:13:05,880 --> 00:13:08,000 Speaker 1: real real still like that's the f m R I. 262 00:13:08,559 --> 00:13:11,720 Speaker 1: And and so they had to create this little keyboard 263 00:13:11,960 --> 00:13:14,839 Speaker 1: that they could the jazz musicians could could do a 264 00:13:14,840 --> 00:13:17,240 Speaker 1: little improv piano playing on while they were in it. 265 00:13:17,400 --> 00:13:18,920 Speaker 1: So and they had to create it so they had 266 00:13:18,920 --> 00:13:21,200 Speaker 1: like you know, minimal interference with the fMRI I and 267 00:13:21,240 --> 00:13:23,760 Speaker 1: it sent like a MIDI signal to a computer and 268 00:13:23,760 --> 00:13:27,040 Speaker 1: then and then that was so they could hear it back. Yeah, um, 269 00:13:27,080 --> 00:13:29,400 Speaker 1: which is yeah, so incredible thing of course the jazz 270 00:13:29,440 --> 00:13:32,319 Speaker 1: doctor would do that, right, And again that's Charles Limb. 271 00:13:32,360 --> 00:13:35,080 Speaker 1: He's looking at these m R scans of jazz musicians 272 00:13:35,120 --> 00:13:39,000 Speaker 1: and rappers, Yeah, freestyle rappers. This part was really amazing too, 273 00:13:39,000 --> 00:13:41,480 Speaker 1: where he's getting like he's looking like with the number 274 00:13:41,480 --> 00:13:44,440 Speaker 1: of Baltimore area hip hop artists and like getting them 275 00:13:44,440 --> 00:13:46,040 Speaker 1: in put throwing him in the f m R I 276 00:13:46,240 --> 00:13:48,920 Speaker 1: and and just getting them the freestyle and yeah, and 277 00:13:48,960 --> 00:13:50,600 Speaker 1: this is the cool thing. This is this is how 278 00:13:50,640 --> 00:13:54,200 Speaker 1: he created the study is with the jazz musicians, he 279 00:13:54,320 --> 00:13:56,480 Speaker 1: had them learn a piece of music that he wrote 280 00:13:56,559 --> 00:13:59,680 Speaker 1: that was only familiar to him, and then he asked 281 00:13:59,720 --> 00:14:02,480 Speaker 1: them to play it back and they scanned their brains 282 00:14:02,679 --> 00:14:05,079 Speaker 1: and then he asked them, Okay, can you improvise on this? 283 00:14:05,640 --> 00:14:08,640 Speaker 1: They looked at the improvisation in the brain scanning. At 284 00:14:08,640 --> 00:14:11,400 Speaker 1: the same time, same thing with the rappers. They had 285 00:14:11,400 --> 00:14:15,559 Speaker 1: the rappers rap something that the jazz doctor wrote. Just 286 00:14:15,559 --> 00:14:17,760 Speaker 1: pretty fun. It's actually pretty good for like a non rapper, 287 00:14:18,280 --> 00:14:23,520 Speaker 1: Um says me, who has no experience in the rap world. 288 00:14:23,680 --> 00:14:26,920 Speaker 1: It's it's adorable, but I don't know that it is. Okay, 289 00:14:26,920 --> 00:14:30,000 Speaker 1: you're right, it's a it's adorable rapping. And then there 290 00:14:30,000 --> 00:14:34,040 Speaker 1: are certain words that are highlighted in this um, in 291 00:14:34,120 --> 00:14:39,400 Speaker 1: this prepared jazz ex excusing on jazz rap that Dr 292 00:14:39,560 --> 00:14:43,000 Speaker 1: Jazz says, Okay, now, rapper, can you take those at 293 00:14:43,000 --> 00:14:46,160 Speaker 1: certain cues, take those words, and now you start to freestyle, 294 00:14:46,360 --> 00:14:49,080 Speaker 1: you start to im improvise on this. And what's really 295 00:14:49,080 --> 00:14:51,600 Speaker 1: interesting is they found that there are a couple parts 296 00:14:51,640 --> 00:14:55,480 Speaker 1: of the brain that that went really quiet during the improvisation. 297 00:14:56,240 --> 00:15:01,640 Speaker 1: And this is the brains dorsal lateral prefrontal and lateral 298 00:15:01,680 --> 00:15:05,720 Speaker 1: overtald regions. Okay, just for the just for the record, 299 00:15:05,760 --> 00:15:08,080 Speaker 1: I'm touching that part of my head, okay, yeah, and 300 00:15:08,080 --> 00:15:10,640 Speaker 1: that's the seat of judgment. So what that was telling 301 00:15:10,720 --> 00:15:14,480 Speaker 1: us is that in order to improvise to reach what 302 00:15:14,600 --> 00:15:16,600 Speaker 1: I think is sort of like an apex of creativity, right, 303 00:15:16,600 --> 00:15:19,680 Speaker 1: because if you're just free forming anything, then you're really 304 00:15:19,680 --> 00:15:23,920 Speaker 1: relying on um not just your own past experiences, but 305 00:15:23,960 --> 00:15:27,320 Speaker 1: you're really playing with form. And so that part that's 306 00:15:27,360 --> 00:15:30,400 Speaker 1: like oh they're no good, Oh stop doing that, which 307 00:15:30,400 --> 00:15:33,880 Speaker 1: is called the observer effect actually in writing, Yeah, that 308 00:15:33,920 --> 00:15:37,160 Speaker 1: part goes quiet. So we know that in order to 309 00:15:37,240 --> 00:15:39,320 Speaker 1: reach that sort of state, you have to be able 310 00:15:39,360 --> 00:15:41,560 Speaker 1: to get in some sort of flow. Okay, so this 311 00:15:41,600 --> 00:15:43,120 Speaker 1: is yeah, this is the flow moment. And this is 312 00:15:43,120 --> 00:15:45,160 Speaker 1: like when you're writing and somewhat you don't even realize 313 00:15:45,160 --> 00:15:47,720 Speaker 1: that the music has stopped playing and you're just going yeah, yeah. 314 00:15:47,760 --> 00:15:50,400 Speaker 1: And then what they saw is that the medial prefrontal 315 00:15:50,400 --> 00:15:55,440 Speaker 1: cortex was going nuts. Um. And they also the and 316 00:15:55,440 --> 00:15:58,640 Speaker 1: then allows self expression by the way, so you know, 317 00:15:58,680 --> 00:16:02,200 Speaker 1: there's there's an actual hard data here, as much as 318 00:16:02,280 --> 00:16:04,640 Speaker 1: it can be with fm R I that points to 319 00:16:05,160 --> 00:16:06,880 Speaker 1: at least this one part of it. We know that 320 00:16:06,920 --> 00:16:09,640 Speaker 1: we have to be in this sort of frame of mind. 321 00:16:10,360 --> 00:16:12,560 Speaker 1: And it actually falls in line with any if anybody 322 00:16:12,560 --> 00:16:15,280 Speaker 1: out there has ever taken an improv class. Um, you 323 00:16:15,320 --> 00:16:18,360 Speaker 1: know that is I recall from like acting classes back 324 00:16:18,360 --> 00:16:21,000 Speaker 1: in college. Um, you know, they're always like, you know, 325 00:16:21,080 --> 00:16:23,120 Speaker 1: don't don't think of don't you know, don't bring your 326 00:16:23,160 --> 00:16:25,680 Speaker 1: judgment into it. Just go with it. Just you know, 327 00:16:25,760 --> 00:16:29,400 Speaker 1: don't don't worry about looking like a fool because because 328 00:16:29,400 --> 00:16:30,920 Speaker 1: that's gonna that's gonna get in the way of doing 329 00:16:30,920 --> 00:16:34,560 Speaker 1: something which like for nine percent of the population, is 330 00:16:34,640 --> 00:16:36,920 Speaker 1: really hard to do. Yeah, I mean, I think it's 331 00:16:36,920 --> 00:16:38,960 Speaker 1: the same and anytime you create something and you're going 332 00:16:38,960 --> 00:16:41,440 Speaker 1: out on all them and you've got to You've gotta 333 00:16:41,480 --> 00:16:44,160 Speaker 1: be on one level, you've gotta be confident in what 334 00:16:44,200 --> 00:16:46,080 Speaker 1: you're doing, but also just kind of like, yeah, some 335 00:16:46,120 --> 00:16:49,040 Speaker 1: people may not dig it, and we're gonna roll with that. 336 00:16:49,160 --> 00:16:51,760 Speaker 1: I do that every time I get behind this microphone. 337 00:16:51,760 --> 00:16:54,520 Speaker 1: I guess, yeah, me too. Um, but yeah, I mean 338 00:16:54,520 --> 00:16:55,960 Speaker 1: you have to have a passion for it too, right, 339 00:16:56,080 --> 00:16:58,480 Speaker 1: So there that that's where that comes into play. You 340 00:16:58,560 --> 00:17:01,280 Speaker 1: want to be able to have fun with it and 341 00:17:01,560 --> 00:17:05,000 Speaker 1: um and hang out with whatever format you are using, 342 00:17:05,040 --> 00:17:07,720 Speaker 1: whether or not it's podcasting or um, whether or not 343 00:17:07,800 --> 00:17:11,600 Speaker 1: it's scientific research or astrophysicists, all of that creativity comes 344 00:17:11,600 --> 00:17:13,800 Speaker 1: into play. Well, that's something that, Yeah, that also is 345 00:17:13,800 --> 00:17:15,600 Speaker 1: important to stress about, Like the whole idea of what 346 00:17:15,720 --> 00:17:17,960 Speaker 1: word is creativity come from. There's also this kind of 347 00:17:18,000 --> 00:17:24,120 Speaker 1: false dichonomy between like artistic creativity and scientific creativity. Yeah, 348 00:17:24,160 --> 00:17:26,480 Speaker 1: it's kind of that's sort of been like gangs, you know, 349 00:17:26,560 --> 00:17:28,840 Speaker 1: like East Side West Side in the past because they 350 00:17:28,880 --> 00:17:31,320 Speaker 1: never thought that the two would meet. But since we're 351 00:17:31,359 --> 00:17:33,879 Speaker 1: learning so much more about how creat creativity works, we 352 00:17:33,920 --> 00:17:37,200 Speaker 1: realize that it's across the board. Um. And in fact, 353 00:17:37,280 --> 00:17:39,880 Speaker 1: and that actually makes me think about that Stephen Johnson 354 00:17:40,280 --> 00:17:45,000 Speaker 1: ted video because he talks about that sort of improv 355 00:17:45,160 --> 00:17:48,240 Speaker 1: that happens um. And he used the example of when 356 00:17:48,480 --> 00:17:52,959 Speaker 1: spot nick was launched and how there were some astrophysicists 357 00:17:53,000 --> 00:17:55,400 Speaker 1: hanging around and someone was like, hey, can you guys 358 00:17:55,440 --> 00:17:58,480 Speaker 1: figure out the trajectory of that? Can you do those 359 00:17:58,520 --> 00:18:01,960 Speaker 1: front words and backwards? And just as a you know, okay, 360 00:18:02,040 --> 00:18:03,680 Speaker 1: well we'll just sit down and do this for eight 361 00:18:03,680 --> 00:18:07,600 Speaker 1: hours sort of thing. We're playing with that data, which 362 00:18:07,760 --> 00:18:11,800 Speaker 1: led to what we now know is GPS. Right, it's 363 00:18:11,840 --> 00:18:14,920 Speaker 1: just so cool. It's not even something they set out 364 00:18:14,920 --> 00:18:16,800 Speaker 1: to do. It's just sort of a game for them. 365 00:18:17,080 --> 00:18:18,960 Speaker 1: Another thing that I wanted to talk about too, in 366 00:18:19,080 --> 00:18:22,639 Speaker 1: terms of myths is that there's this lone creative genius idea. 367 00:18:22,840 --> 00:18:26,040 Speaker 1: So again talking about these astrophysicists who got together on 368 00:18:26,080 --> 00:18:29,280 Speaker 1: this problem. Um, you know that that flies in the 369 00:18:29,280 --> 00:18:31,359 Speaker 1: face of what we always think of as this person, 370 00:18:31,600 --> 00:18:34,840 Speaker 1: you know, toiling away at whatever they're doing and having 371 00:18:34,880 --> 00:18:37,679 Speaker 1: that Eureka moment, when in fact we know that it 372 00:18:37,720 --> 00:18:40,639 Speaker 1: really takes a village, so to speak. UM. And that 373 00:18:40,760 --> 00:18:43,400 Speaker 1: usually and of course it can be a solitary endeavor, 374 00:18:43,560 --> 00:18:45,520 Speaker 1: but it's not usually something that just happens out of 375 00:18:45,520 --> 00:18:48,360 Speaker 1: the blue. It's usually um something that someone's been working 376 00:18:48,400 --> 00:18:51,359 Speaker 1: on for a really long time. And it's almost like 377 00:18:51,680 --> 00:18:54,919 Speaker 1: um in terms of groups, sort of like emergency we 378 00:18:54,920 --> 00:18:58,080 Speaker 1: talked about in that podcast, where everybody is pooling their 379 00:18:58,119 --> 00:19:03,680 Speaker 1: intelligence and that's creating all of this um really interesting 380 00:19:03,720 --> 00:19:06,400 Speaker 1: innovative ways to look at a problem and to tackle it. 381 00:19:06,880 --> 00:19:08,880 Speaker 1: And I was even thinking about someone like the artist 382 00:19:08,960 --> 00:19:11,879 Speaker 1: Damian Hurst, who has done like the huge puppy dog sculpture. 383 00:19:13,000 --> 00:19:15,160 Speaker 1: I don't think I've seen that. Yeah, it's it's amazing. 384 00:19:15,200 --> 00:19:16,480 Speaker 1: I don't even I want to say. It's like a 385 00:19:16,560 --> 00:19:19,840 Speaker 1: hundred feet high, and um, he's none different versions of them, 386 00:19:19,880 --> 00:19:23,399 Speaker 1: and you know it's it's a highly polished veneer. It 387 00:19:23,400 --> 00:19:26,359 Speaker 1: looks like metal and it reflects back the person looking 388 00:19:26,400 --> 00:19:28,800 Speaker 1: at it, and for some reason it's really mesmer I 389 00:19:28,840 --> 00:19:31,159 Speaker 1: think it's very cool. Anyway, He's done a lot of 390 00:19:31,200 --> 00:19:33,760 Speaker 1: this sort of um pop art, as suppose you could 391 00:19:33,800 --> 00:19:35,639 Speaker 1: call it. But the fact of the matter is that 392 00:19:35,680 --> 00:19:38,800 Speaker 1: this guy has a huge team of artists working under him, 393 00:19:38,800 --> 00:19:43,280 Speaker 1: who feed him ideas, who come up with color samples 394 00:19:43,400 --> 00:19:45,800 Speaker 1: and so it's not like just Damian Hirst sitting there 395 00:19:45,840 --> 00:19:48,080 Speaker 1: being a genius. So it's kind of like the Mr 396 00:19:48,080 --> 00:19:52,280 Speaker 1: Brainwash Yeah yeah, yeah, yeah, from the documentary exit through 397 00:19:52,320 --> 00:19:55,600 Speaker 1: the Yes yeah, so yeah. I mean he's relying on 398 00:19:56,119 --> 00:19:58,400 Speaker 1: a lot of different people to get together on these ideas, 399 00:19:58,400 --> 00:19:59,960 Speaker 1: and of course he's you know, I guess you could 400 00:20:00,040 --> 00:20:03,679 Speaker 1: say that he's the person who's directing the project, but 401 00:20:04,359 --> 00:20:06,600 Speaker 1: without all of those people under and there's no way 402 00:20:06,640 --> 00:20:08,119 Speaker 1: that he could pull off the sort of art that 403 00:20:08,160 --> 00:20:10,280 Speaker 1: he does. It's like the George Lucas factor. You know. 404 00:20:10,320 --> 00:20:11,840 Speaker 1: It's like when when you look at the creation of 405 00:20:11,880 --> 00:20:15,520 Speaker 1: the original Star Wars movies, it's like, yeah, Lucas had 406 00:20:15,560 --> 00:20:17,720 Speaker 1: like decided, but then he's like, all right, guys, design 407 00:20:17,760 --> 00:20:20,480 Speaker 1: me this, design me that. And you know so I 408 00:20:21,240 --> 00:20:23,600 Speaker 1: kind of think of like Mr Brainwash and George Lucas 409 00:20:23,600 --> 00:20:27,080 Speaker 1: and the same the same area. Yeah no, And it's 410 00:20:27,080 --> 00:20:29,120 Speaker 1: but you know, it may have been him who looked 411 00:20:29,119 --> 00:20:30,919 Speaker 1: at a bridge and then said, oh, the way that 412 00:20:30,920 --> 00:20:33,199 Speaker 1: that bridge is constructed, how how can I fit that 413 00:20:33,240 --> 00:20:36,880 Speaker 1: into this worldview that I'm creating, which is really interesting, 414 00:20:36,880 --> 00:20:40,359 Speaker 1: But you're right, it takes a fleet of people to 415 00:20:40,720 --> 00:20:44,280 Speaker 1: pull that off Star No starl at Star Treks. Oh Man, 416 00:20:44,480 --> 00:20:48,240 Speaker 1: that was almost a huge nerd photo. Um. Yeah, and 417 00:20:48,240 --> 00:20:50,959 Speaker 1: it's it gets in the idea of the of of 418 00:20:51,000 --> 00:20:54,400 Speaker 1: collective intelligence. You know that that it's you know, it's 419 00:20:54,400 --> 00:20:59,000 Speaker 1: about interaction between individuals and uh. And I actually ran 420 00:20:59,040 --> 00:21:03,120 Speaker 1: across this great quote from the Wall Street Journals Matt Ridley, Um, 421 00:21:03,200 --> 00:21:05,640 Speaker 1: and he was his whole thing was like, there's hope 422 00:21:05,640 --> 00:21:08,320 Speaker 1: for the future because quote ideas are having sex with 423 00:21:08,359 --> 00:21:12,560 Speaker 1: each other as never before, you know, And because it's 424 00:21:12,600 --> 00:21:15,000 Speaker 1: because of the idea is that like modern innovation doesn't 425 00:21:15,000 --> 00:21:18,040 Speaker 1: depend on a single human brain to contain it because 426 00:21:18,080 --> 00:21:20,400 Speaker 1: you have you have all these people working working on things, 427 00:21:20,480 --> 00:21:23,040 Speaker 1: and then it's it's like everybody is like has the 428 00:21:23,440 --> 00:21:25,160 Speaker 1: like I sometimes when I think of creativity, I think 429 00:21:25,160 --> 00:21:28,080 Speaker 1: that like the maple syrup spiggott pep in the tree 430 00:21:28,240 --> 00:21:30,200 Speaker 1: and it's stuck in the the side of your head. 431 00:21:30,720 --> 00:21:33,159 Speaker 1: Like everybody can squeeze out a cup each day, but 432 00:21:33,400 --> 00:21:37,719 Speaker 1: through like modern science and modern culture, everybody is taking 433 00:21:37,760 --> 00:21:40,440 Speaker 1: that little cup of syrup and they're pouring it into 434 00:21:40,440 --> 00:21:44,440 Speaker 1: the collective ocean of syrup that we continue to pull from. 435 00:21:44,640 --> 00:21:46,679 Speaker 1: Then it's a search job to wade through the syrup 436 00:21:46,840 --> 00:21:50,359 Speaker 1: and figure out what it is that we need syrups. Yeah, yeah, 437 00:21:50,400 --> 00:21:52,560 Speaker 1: which I mean presents its sound problem. Right. Yeah. We 438 00:21:52,600 --> 00:21:54,560 Speaker 1: get into the whole idea of you know web three 439 00:21:54,560 --> 00:21:57,520 Speaker 1: point oh and the semantic web, where the the web 440 00:21:57,720 --> 00:22:01,919 Speaker 1: that the syrup ocean will wade through itself. Um, at 441 00:22:01,920 --> 00:22:06,800 Speaker 1: our slightest command gets it's pretty sticky. I don't know 442 00:22:06,840 --> 00:22:08,239 Speaker 1: what's going on here. There's a lot of fun thing 443 00:22:08,280 --> 00:22:11,840 Speaker 1: going on. Um. Well, that makes me think of dopamine, 444 00:22:11,880 --> 00:22:16,280 Speaker 1: of course. Yes, this is the the the good stuff, 445 00:22:16,400 --> 00:22:20,320 Speaker 1: if you will. Yeah, yeah, the surupy stuff. Um, there's 446 00:22:20,560 --> 00:22:24,480 Speaker 1: a sort of dopamine factor, if you will. And researchers 447 00:22:24,480 --> 00:22:26,760 Speaker 1: were studying receptors in the brain and they found at 448 00:22:26,760 --> 00:22:31,240 Speaker 1: the Karlinska instill it um uh that there's a dopamine 449 00:22:31,280 --> 00:22:36,560 Speaker 1: system in healthy, highly creative people that's similar to some 450 00:22:36,680 --> 00:22:41,240 Speaker 1: people with schizophrenia. So it's almost like this dopamine gene. 451 00:22:41,680 --> 00:22:44,840 Speaker 1: Actually it's not almost, it is um. They've found they 452 00:22:44,840 --> 00:22:47,520 Speaker 1: have found actually that the dopamine receptors are linked to 453 00:22:47,560 --> 00:22:51,639 Speaker 1: the ability for divergent thought, which is really necessary and 454 00:22:51,680 --> 00:22:55,439 Speaker 1: creative thinking or innovative thinking. Um. The study measured the 455 00:22:55,440 --> 00:22:59,720 Speaker 1: creativity of the healthy individuals using psychological test and then 456 00:22:59,760 --> 00:23:01,840 Speaker 1: the ask was to find as many solutions to a 457 00:23:01,840 --> 00:23:06,040 Speaker 1: problem as possible, and so they found that highly creative 458 00:23:06,240 --> 00:23:09,440 Speaker 1: people they're calling them healthy people because they don't have schizophrenia, 459 00:23:09,520 --> 00:23:13,200 Speaker 1: and schizophrenic people have a low density of dopamine receptors. 460 00:23:13,200 --> 00:23:16,320 Speaker 1: And what this means is that the dopamine receptors and 461 00:23:16,359 --> 00:23:19,560 Speaker 1: the thalamus, which is linked to the sensory information that 462 00:23:19,680 --> 00:23:22,800 Speaker 1: gets passed onto the frugal cortex, um means that there's 463 00:23:22,800 --> 00:23:26,080 Speaker 1: a lower degree of signal filtering and so there's a 464 00:23:26,160 --> 00:23:29,560 Speaker 1: higher flow of information from the thalamus, which really means 465 00:23:29,600 --> 00:23:31,879 Speaker 1: that like what might get sort of plugged up before, 466 00:23:32,520 --> 00:23:36,159 Speaker 1: all these ideas are actually coming through at an incredible rate. 467 00:23:36,160 --> 00:23:38,080 Speaker 1: It's what I'm thinking is that you're just getting bombarded 468 00:23:38,119 --> 00:23:40,680 Speaker 1: by all these different ideas, which I thought it was 469 00:23:40,680 --> 00:23:44,320 Speaker 1: pretty fascinating. So that sort of accounts for some of 470 00:23:44,359 --> 00:23:47,639 Speaker 1: the more bizarre symptoms that you see in schizophrenia, but 471 00:23:47,680 --> 00:23:50,840 Speaker 1: in a healthy person, that accounts for their ability to 472 00:23:50,880 --> 00:23:56,480 Speaker 1: make creative associations pretty easily. Yeah. I mean, I don't 473 00:23:56,520 --> 00:23:58,400 Speaker 1: know if this guy hit schizophrenia, but there's this guy 474 00:23:58,440 --> 00:24:01,119 Speaker 1: on the train a couple of week ago. Already you 475 00:24:01,160 --> 00:24:04,159 Speaker 1: say the train. It was just amazing stuff. I mean, 476 00:24:04,200 --> 00:24:07,520 Speaker 1: he seemed I can enjoy it because he seemed very happy. 477 00:24:07,600 --> 00:24:09,040 Speaker 1: He was not a like you know, he did not 478 00:24:09,080 --> 00:24:11,080 Speaker 1: seem to be in misery, but he was like sort 479 00:24:11,119 --> 00:24:13,320 Speaker 1: of giving this. He was preaching this kind of apro 480 00:24:13,440 --> 00:24:16,359 Speaker 1: futurist message. Um. And it had to do with like 481 00:24:16,400 --> 00:24:20,240 Speaker 1: the face on Mars and the Kennedy assassination and like, okay, 482 00:24:20,280 --> 00:24:23,919 Speaker 1: there's already red flag Kennedy assassination. Okay, go on. Oh no, 483 00:24:24,000 --> 00:24:25,880 Speaker 1: Elvis showed up in it, and there was a whole 484 00:24:25,920 --> 00:24:27,879 Speaker 1: time Are you kidding? No, I'm not kidding. I actually 485 00:24:27,960 --> 00:24:31,080 Speaker 1: recorded it, and I haven't kicking around here somewhere, but God, 486 00:24:31,119 --> 00:24:33,440 Speaker 1: you've gotta please, we've got to put that on Facebook 487 00:24:33,440 --> 00:24:35,359 Speaker 1: and somebody if I don't know if we can do audiophiles, 488 00:24:35,359 --> 00:24:37,840 Speaker 1: Oh well we we can. I just I guess off 489 00:24:37,840 --> 00:24:39,280 Speaker 1: to check and see if this one's kosher, because it 490 00:24:39,359 --> 00:24:41,000 Speaker 1: also gets into like the idea that the sun is 491 00:24:41,080 --> 00:24:43,840 Speaker 1: racist and has a brain, So it could be it 492 00:24:43,840 --> 00:24:46,240 Speaker 1: could be. I don't know, I don't know, but man 493 00:24:46,359 --> 00:24:48,120 Speaker 1: was asking questions. There was a lot of interesting data, 494 00:24:48,160 --> 00:24:50,440 Speaker 1: but it was like it was so like crazy creative 495 00:24:50,480 --> 00:24:52,920 Speaker 1: that it was like that's why I recorded it, you know, 496 00:24:52,960 --> 00:24:55,479 Speaker 1: because like this is amazing. I love this well. And 497 00:24:55,520 --> 00:24:57,680 Speaker 1: obviously this is someone whose judgment part of the brain 498 00:24:57,760 --> 00:25:00,159 Speaker 1: was completely shut off. Yeah, because he's most of is. 499 00:25:00,240 --> 00:25:02,080 Speaker 1: Even if we had these thoughts, we wouldn't just spout 500 00:25:02,119 --> 00:25:04,520 Speaker 1: them to the entire train full of people. No, No, 501 00:25:05,600 --> 00:25:08,639 Speaker 1: I don't normally at least um, but at that point 502 00:25:08,680 --> 00:25:11,760 Speaker 1: to that whole madness aspect too, right, Yeah, you have 503 00:25:11,840 --> 00:25:14,480 Speaker 1: to be crazy? Do you have to be deeply troubled 504 00:25:14,520 --> 00:25:17,520 Speaker 1: to be created? Right? Which is the again another stereotype 505 00:25:17,560 --> 00:25:19,680 Speaker 1: that we have about creativity. Um. But I thought it 506 00:25:19,760 --> 00:25:23,359 Speaker 1: was interesting I found this um van Go Um, A 507 00:25:23,359 --> 00:25:27,800 Speaker 1: couple other folks, Uh, Edgar Allan Poe, Lewis Carroll. According 508 00:25:27,840 --> 00:25:30,560 Speaker 1: to eve La Plant, who has a book called Seized 509 00:25:30,680 --> 00:25:35,120 Speaker 1: of these were people who suffered from temporal lobe seizures, 510 00:25:35,160 --> 00:25:37,360 Speaker 1: and so it could very well be that a lot 511 00:25:37,359 --> 00:25:40,760 Speaker 1: of the art that they produced, or the or the 512 00:25:40,840 --> 00:25:43,880 Speaker 1: or the books and so on and so forth, were 513 00:25:43,920 --> 00:25:48,040 Speaker 1: a result of that sort of hallucinatory period um in 514 00:25:48,080 --> 00:25:50,600 Speaker 1: which they were seeing things afresh. And if you look 515 00:25:50,640 --> 00:25:52,720 Speaker 1: at van Go's work. You can really see that, right, 516 00:25:52,760 --> 00:25:55,520 Speaker 1: because it's sort of like it's sort of like he 517 00:25:55,520 --> 00:25:58,199 Speaker 1: here's the starry night when right, which is the archetypical 518 00:25:58,840 --> 00:26:02,520 Speaker 1: uh van Go painting, and you recognize it. But it 519 00:26:02,520 --> 00:26:05,399 Speaker 1: looks like the world has tilted about thirty degrees and 520 00:26:05,440 --> 00:26:08,720 Speaker 1: everything is so much brighter and fresher, looking like these 521 00:26:08,760 --> 00:26:12,800 Speaker 1: incredible you know, colors popping out. And that's what's so 522 00:26:12,840 --> 00:26:15,480 Speaker 1: intriguing about it is because it captures something that's familiar 523 00:26:15,520 --> 00:26:19,719 Speaker 1: but at the same time completely alien. So there you go. 524 00:26:19,800 --> 00:26:23,000 Speaker 1: I mean, there's there is m that's something that we 525 00:26:23,119 --> 00:26:27,080 Speaker 1: have intrinsically thought mad about, you know Van Go and 526 00:26:27,119 --> 00:26:30,040 Speaker 1: his paintings. But again, this is very likely just a 527 00:26:30,160 --> 00:26:33,399 Speaker 1: side effect of his own temporal lobe seizures. Now, of 528 00:26:33,440 --> 00:26:35,840 Speaker 1: course it's you know, important to point out that not 529 00:26:35,960 --> 00:26:40,480 Speaker 1: everybody who is intensely creative is crazy or problem but 530 00:26:40,480 --> 00:26:43,240 Speaker 1: but but but we often fall back on that, I find. 531 00:26:43,280 --> 00:26:44,840 Speaker 1: But that's what I was sort of saying, is that, 532 00:26:44,880 --> 00:26:47,120 Speaker 1: you know, people sort of point to that and say, oh, well, 533 00:26:47,160 --> 00:26:49,560 Speaker 1: they're just mad that we know so much more now 534 00:26:49,720 --> 00:26:53,760 Speaker 1: medically scientifically about conditions that we can say, well, you know, 535 00:26:53,800 --> 00:26:56,520 Speaker 1: this unique perspective was brought on by that. But you know, 536 00:26:56,560 --> 00:26:58,640 Speaker 1: some people say that you could get that same perspective 537 00:26:58,680 --> 00:27:04,880 Speaker 1: from trans transcend all meditation. Oh yeah, the director David Lynch, Yeah, 538 00:27:05,160 --> 00:27:08,880 Speaker 1: thirty six years strong, doing that every morning, every night. 539 00:27:09,080 --> 00:27:13,880 Speaker 1: And he's completely normal. I mean, he's totally normal. Um, 540 00:27:13,920 --> 00:27:18,800 Speaker 1: and his films make perfect sense, they do well makes 541 00:27:18,960 --> 00:27:24,520 Speaker 1: pretty yeah. Actually, Um. There's an essay by David Foster 542 00:27:24,560 --> 00:27:28,920 Speaker 1: Wallace about donating to read that you do it basically 543 00:27:28,960 --> 00:27:31,040 Speaker 1: says like that's the reason why David Lynch can do 544 00:27:31,080 --> 00:27:32,640 Speaker 1: with what he can is because he took this one 545 00:27:32,680 --> 00:27:35,600 Speaker 1: mainstream job. Um. But what I thought was interesting is 546 00:27:35,680 --> 00:27:39,200 Speaker 1: David Lynch was talking about his meditating experience and he says, 547 00:27:39,600 --> 00:27:42,760 Speaker 1: it's so beautiful how the enjoyment of beauty blossoms when 548 00:27:42,800 --> 00:27:48,440 Speaker 1: the suffocating rubber clown suit of negativity begins to to dissolve. Well, 549 00:27:48,640 --> 00:27:51,280 Speaker 1: which is so lynch in. Yeah. But I mean I 550 00:27:51,280 --> 00:27:53,439 Speaker 1: I kind of like just last night when I was 551 00:27:53,440 --> 00:27:56,160 Speaker 1: having to like like, I got off work, I went 552 00:27:56,200 --> 00:27:58,040 Speaker 1: to yoga, and then after yoga, I came home and 553 00:27:58,080 --> 00:28:00,880 Speaker 1: had dinner and then worked on this podcast a little more. 554 00:28:01,280 --> 00:28:03,280 Speaker 1: And and there's a like a you know, there's a 555 00:28:03,280 --> 00:28:05,840 Speaker 1: meditative aspect to yoga and it kind of detached you 556 00:28:06,000 --> 00:28:09,720 Speaker 1: and and I can totally get that. I I wish 557 00:28:09,760 --> 00:28:13,160 Speaker 1: I had the patients for more like hardcore meditation. Maybe 558 00:28:13,160 --> 00:28:16,640 Speaker 1: I'll get there. Did your rubber clown suit dissolve? Yes, well, 559 00:28:16,640 --> 00:28:19,840 Speaker 1: I'm I'm a yeah, I'm I'm a proponent of rubber 560 00:28:19,840 --> 00:28:22,400 Speaker 1: clown suit yoga, which is one of the newer schools 561 00:28:22,440 --> 00:28:25,760 Speaker 1: of yoga. That this is made different from the robot 562 00:28:25,800 --> 00:28:28,000 Speaker 1: yoga but the same place, right, Well, yeah, well we 563 00:28:28,040 --> 00:28:31,159 Speaker 1: get robot Yoga on Tuesdays and then rubber clown Yoga 564 00:28:31,240 --> 00:28:35,800 Speaker 1: is on Fridays. Okay, yeah, well but I think that 565 00:28:36,320 --> 00:28:41,440 Speaker 1: again there's this idea of being eccentric um and when 566 00:28:41,480 --> 00:28:44,800 Speaker 1: we talk about temporal lobe activity like we were with 567 00:28:44,880 --> 00:28:47,240 Speaker 1: van Go, it makes me think about the alien abduction 568 00:28:47,280 --> 00:28:50,760 Speaker 1: stories that we looked into. And again here's this case 569 00:28:50,880 --> 00:28:55,800 Speaker 1: where Susan Blackmore, who is a psychologist and has really 570 00:28:55,840 --> 00:28:58,640 Speaker 1: looked into this from a skeptics point of view. I 571 00:28:58,800 --> 00:29:01,520 Speaker 1: visited someone named Chael Personer. I know you guys probably 572 00:29:01,520 --> 00:29:03,200 Speaker 1: heard me talk about this before, but he's the guy 573 00:29:03,200 --> 00:29:05,640 Speaker 1: who has the God Machine, which has magnets which can 574 00:29:05,680 --> 00:29:09,040 Speaker 1: manipulate the frontal lobes so on and so forth. And 575 00:29:09,080 --> 00:29:12,400 Speaker 1: what they found is that people have in that area 576 00:29:12,520 --> 00:29:15,120 Speaker 1: a high ability or a low ability. And what that 577 00:29:15,160 --> 00:29:17,920 Speaker 1: means is that some people have more electro magnets or 578 00:29:17,920 --> 00:29:21,960 Speaker 1: excuse me, electro activity going on in the temporal lobes 579 00:29:22,000 --> 00:29:24,600 Speaker 1: and other people and those are people that have high abilities. 580 00:29:24,640 --> 00:29:27,920 Speaker 1: And those people actually they did some studies on them, 581 00:29:27,960 --> 00:29:29,720 Speaker 1: and what they found is that they tend to be 582 00:29:29,840 --> 00:29:33,520 Speaker 1: a little bit more creative um and also a little 583 00:29:33,560 --> 00:29:37,080 Speaker 1: bit more paranoid to which is interesting. And these are 584 00:29:37,080 --> 00:29:40,120 Speaker 1: the people that tend to have these experiences of feeling 585 00:29:40,160 --> 00:29:44,680 Speaker 1: like they've been objected before. Interesting. Yeah, so you know, 586 00:29:44,680 --> 00:29:46,600 Speaker 1: you've got the explosions in the mind, I think, is 587 00:29:46,600 --> 00:29:49,280 Speaker 1: what it's boiling down to. Yeah. Well, I remember the 588 00:29:49,320 --> 00:29:52,040 Speaker 1: whole deal with William Blake, Like supposedly he was you know, 589 00:29:53,520 --> 00:29:55,720 Speaker 1: as a child, and he had a lot of sort 590 00:29:55,720 --> 00:30:00,280 Speaker 1: of craziness going on. I mean, from what i've little 591 00:30:00,280 --> 00:30:02,200 Speaker 1: life read about him, he seemed to be a happy guy, 592 00:30:02,640 --> 00:30:05,880 Speaker 1: but that he did have some pretty fantastic stuff going 593 00:30:05,920 --> 00:30:08,280 Speaker 1: on in his life. Okay, So if I don't want 594 00:30:08,280 --> 00:30:10,440 Speaker 1: to use drugs or I don't want to go mad, 595 00:30:10,480 --> 00:30:11,800 Speaker 1: but I want to be creative. How do I do 596 00:30:11,840 --> 00:30:15,920 Speaker 1: it best? Well, Um, you know, I think some of 597 00:30:15,960 --> 00:30:19,840 Speaker 1: the the tips are are kind of out there already, 598 00:30:19,920 --> 00:30:22,560 Speaker 1: like the ones the ones that I like, um are 599 00:30:22,640 --> 00:30:25,280 Speaker 1: like experiencing new things and you know, to termly because 600 00:30:25,520 --> 00:30:27,880 Speaker 1: because the you know, there's a whole argument that time 601 00:30:28,480 --> 00:30:31,040 Speaker 1: seems to like we experienced time differently when we're on 602 00:30:31,120 --> 00:30:33,440 Speaker 1: vacation because we're seeing everything new for the first time, 603 00:30:33,760 --> 00:30:37,200 Speaker 1: and then we experience that time seems to um speed 604 00:30:37,280 --> 00:30:39,240 Speaker 1: up as we get older because we're seeing less new 605 00:30:39,320 --> 00:30:41,400 Speaker 1: things when we're younger, Like, there's so much that's new, 606 00:30:41,400 --> 00:30:43,840 Speaker 1: there's so much that's bright. Wasn't Einstein who said something 607 00:30:43,840 --> 00:30:46,720 Speaker 1: about time slowing down when he's talking to a pretty girl? Yeah? Yeah, 608 00:30:46,720 --> 00:30:51,200 Speaker 1: he used the whole beautiful woman u um um analogy 609 00:30:51,280 --> 00:30:55,280 Speaker 1: to explain relativity. Yeah, such a rogue. Yeah. And he 610 00:30:55,320 --> 00:30:58,000 Speaker 1: designed a spaceship that was they would load the whole 611 00:30:58,040 --> 00:31:02,160 Speaker 1: of it with five thousand beautiful women and one male 612 00:31:02,280 --> 00:31:04,880 Speaker 1: pilot and he would look at a different beautiful woman 613 00:31:04,920 --> 00:31:09,080 Speaker 1: each day. And the power the retail the special engines, 614 00:31:09,720 --> 00:31:14,520 Speaker 1: but little known NASA project that didn't get off the ground. Yeah, 615 00:31:14,520 --> 00:31:16,200 Speaker 1: but so that's one. You know. I think it's like 616 00:31:16,360 --> 00:31:20,040 Speaker 1: new new experiences. Uh. And then absorbing like creativity, you know, 617 00:31:20,120 --> 00:31:22,640 Speaker 1: reading things, looking at the things that are creative. You know, 618 00:31:22,720 --> 00:31:24,360 Speaker 1: you are what you eat kind of a kind of 619 00:31:24,360 --> 00:31:28,120 Speaker 1: a situation, um, you know. And uh and also like 620 00:31:28,160 --> 00:31:30,800 Speaker 1: as they turn off that judgment center, not being afraid 621 00:31:30,800 --> 00:31:35,720 Speaker 1: to ask troubling questions about yourself. Um. Yeah, and thought experiments. 622 00:31:35,800 --> 00:31:38,760 Speaker 1: You I thought this was interesting, trying to create a 623 00:31:38,800 --> 00:31:42,040 Speaker 1: solution to a problem that you could never really like 624 00:31:42,720 --> 00:31:45,520 Speaker 1: something like how do I say it? Like, um, it 625 00:31:45,560 --> 00:31:48,680 Speaker 1: would be an experiment that just had no solution. So 626 00:31:48,720 --> 00:31:52,080 Speaker 1: how do I get my cat to make something for 627 00:31:52,160 --> 00:31:54,640 Speaker 1: me for dinner that I would like to eat? Okay? 628 00:31:54,800 --> 00:31:56,800 Speaker 1: You see you asked this one yesterday, and so now 629 00:31:56,840 --> 00:31:58,960 Speaker 1: you quantified a little more because that's so I know, 630 00:31:59,040 --> 00:32:00,840 Speaker 1: because you started to answ shirt and I was like, no, 631 00:32:00,840 --> 00:32:02,800 Speaker 1: no, no no, not a dead bird. I don't want a 632 00:32:02,800 --> 00:32:06,440 Speaker 1: dead bird, and I want them to serve it to me. Um. 633 00:32:06,480 --> 00:32:09,400 Speaker 1: And I wanted to be seasoned with rosemary. But yeah, 634 00:32:09,440 --> 00:32:11,320 Speaker 1: I mean, so the mind starts to play with like, well, 635 00:32:11,320 --> 00:32:13,640 Speaker 1: so okay, maybe I can put some treats around I mean, 636 00:32:13,720 --> 00:32:16,080 Speaker 1: and again this is engaging your brain in all these 637 00:32:16,120 --> 00:32:18,440 Speaker 1: different ways, different ways of thinking. Yeah, or you know, 638 00:32:18,480 --> 00:32:20,600 Speaker 1: it's like you mash up two ideas and then you're like, 639 00:32:20,880 --> 00:32:22,800 Speaker 1: all right, how does that work? You know as a 640 00:32:22,800 --> 00:32:24,920 Speaker 1: as a story or as a or as a piece 641 00:32:24,920 --> 00:32:28,480 Speaker 1: of art, or is as music. Um, you know, it's 642 00:32:28,520 --> 00:32:30,440 Speaker 1: like a random combination, and then you have to make 643 00:32:30,480 --> 00:32:34,040 Speaker 1: sense of it. I really like that view of things. 644 00:32:34,640 --> 00:32:38,640 Speaker 1: And and then there's collaboration too. Oh yeah, yeah, as 645 00:32:38,640 --> 00:32:41,440 Speaker 1: long as there's not competition, because competition actually makes people 646 00:32:41,480 --> 00:32:46,840 Speaker 1: squirrel away their best information and doesn't actually ever create 647 00:32:46,880 --> 00:32:50,200 Speaker 1: some sort of group, collective great thing. So you have 648 00:32:50,280 --> 00:32:54,880 Speaker 1: to not be a squirrel or aware no, no squirreling. Yeah. 649 00:32:55,040 --> 00:32:57,600 Speaker 1: And sleep and dreaming of course, we know. Yeah, sleep, 650 00:32:57,680 --> 00:33:00,600 Speaker 1: sleep is big. Actually sleep so your brain can confunction 651 00:33:01,200 --> 00:33:03,320 Speaker 1: and can they can do things other than just try 652 00:33:03,360 --> 00:33:05,960 Speaker 1: and keep you from tipping over from lack of balance. 653 00:33:06,520 --> 00:33:08,560 Speaker 1: And uh and yeah, like we've like we've shown that 654 00:33:09,160 --> 00:33:12,880 Speaker 1: our dreams are it's like the mind's defragment or so 655 00:33:13,200 --> 00:33:15,120 Speaker 1: you know, let it run every now and then otherwise 656 00:33:15,200 --> 00:33:19,560 Speaker 1: that that hard drive is gonna crash. It's going to hard. Um. 657 00:33:20,320 --> 00:33:23,360 Speaker 1: Speaking of defragging, we're gonna do you have any defragging 658 00:33:23,400 --> 00:33:26,160 Speaker 1: on email here? We do. We have some listener mail 659 00:33:26,200 --> 00:33:29,720 Speaker 1: that I'm gonna read here for us. Jane writes in, 660 00:33:29,760 --> 00:33:31,719 Speaker 1: and she says, hey, guys, I just wanted to let 661 00:33:31,760 --> 00:33:35,520 Speaker 1: you know that in Japanese uh kauai u k a 662 00:33:35,720 --> 00:33:38,680 Speaker 1: w aii. Well that's the you know, the English version 663 00:33:38,680 --> 00:33:42,840 Speaker 1: of the can't you cute is pronounced co like the 664 00:33:43,200 --> 00:33:47,960 Speaker 1: cawing of a crow. So cow because I see I 665 00:33:48,000 --> 00:33:50,320 Speaker 1: can't do it? Um okay no wait here it cough 666 00:33:50,600 --> 00:33:52,920 Speaker 1: like the cawing of a crow. Wa is in water 667 00:33:53,440 --> 00:33:56,760 Speaker 1: and I i uh as in the letter e, so 668 00:33:58,400 --> 00:34:02,960 Speaker 1: like hawaii exactly how cute. The way you were pronouncing 669 00:34:03,000 --> 00:34:07,320 Speaker 1: it made it sound like kowai, which in Japanese means scary. 670 00:34:07,640 --> 00:34:10,080 Speaker 1: It's just the opposite of cute, which is the well. 671 00:34:10,120 --> 00:34:12,440 Speaker 1: But then again, like I said, there's that whole kawa 672 00:34:12,640 --> 00:34:17,759 Speaker 1: e noir thing which combines. But anyway, just then, just 673 00:34:17,800 --> 00:34:20,680 Speaker 1: an f y I, James says, love the podcast, So yes, 674 00:34:20,760 --> 00:34:22,800 Speaker 1: thanks for the clarification on that. We actually received a 675 00:34:23,160 --> 00:34:26,160 Speaker 1: couple of comments on that from the more uh from 676 00:34:26,239 --> 00:34:28,720 Speaker 1: our listeners that are more in tune with the Japanese 677 00:34:28,800 --> 00:34:33,759 Speaker 1: language and or Japanese culture. And we also heard from Adam. 678 00:34:34,080 --> 00:34:37,160 Speaker 1: Adam wrote in and says, while listening to podcast, I 679 00:34:37,160 --> 00:34:40,120 Speaker 1: couldn't help but reflect um and he's talking about the podcasts. 680 00:34:40,120 --> 00:34:42,640 Speaker 1: Are you smarter than an ant swarm? He says, I 681 00:34:42,640 --> 00:34:44,920 Speaker 1: couldn't help it reflect on on the Middle East and 682 00:34:44,960 --> 00:34:47,800 Speaker 1: the protests going on right now. Is social media creating 683 00:34:47,800 --> 00:34:50,759 Speaker 1: an emergence intelligence that is shaping our world today? I 684 00:34:50,800 --> 00:34:53,759 Speaker 1: hear hear stories of people using Twitter to avoid snipers 685 00:34:53,880 --> 00:34:56,560 Speaker 1: and Facebook to organize marches in real time, and it 686 00:34:56,600 --> 00:35:00,239 Speaker 1: all seems like something greater than our current understanding. Uh so, yeah, 687 00:35:00,280 --> 00:35:03,440 Speaker 1: there's some interesting thought. Yeah. I was looking at um 688 00:35:03,440 --> 00:35:06,160 Speaker 1: an rsspeed the other day and actually saw something that 689 00:35:06,239 --> 00:35:07,919 Speaker 1: was ranking pretty high, but I didn't have a whole 690 00:35:07,920 --> 00:35:09,800 Speaker 1: lot of time to look. But it was something about 691 00:35:09,920 --> 00:35:14,279 Speaker 1: Facebook Country asking people um to help them with the 692 00:35:14,360 --> 00:35:18,560 Speaker 1: chemical properties of tear gas and how to ameliorate that, 693 00:35:18,719 --> 00:35:21,319 Speaker 1: which is kind of interesting. Yeah, they're doing all sorts 694 00:35:21,320 --> 00:35:25,200 Speaker 1: of interesting things. Actually, I wrote an article called her 695 00:35:25,239 --> 00:35:27,640 Speaker 1: Smartphone is Worth It, and it goes into a little 696 00:35:27,680 --> 00:35:30,680 Speaker 1: to the idea of like smartphones being annoying in you know, 697 00:35:30,800 --> 00:35:34,719 Speaker 1: modern Western culture, but also goes into how it's and 698 00:35:34,760 --> 00:35:36,520 Speaker 1: this was before the protest broke out, how it was 699 00:35:36,680 --> 00:35:41,479 Speaker 1: helping to achieve social change in uh in Sub Saharan Africa. Yeah, 700 00:35:41,400 --> 00:35:43,160 Speaker 1: which was pretty cool. And indeed, just the other day, 701 00:35:43,160 --> 00:35:46,960 Speaker 1: this Nigerian guy contacted me on Facebook and I'm sending 702 00:35:47,040 --> 00:35:50,400 Speaker 1: him money to help help out the situation. There is 703 00:35:50,520 --> 00:35:53,520 Speaker 1: a deposed king, yes he is. Did you read about 704 00:35:53,560 --> 00:35:56,080 Speaker 1: this on a Is there a story on AP or something? 705 00:35:56,200 --> 00:35:59,480 Speaker 1: You know? I was contacted as well. Yeah, well let's 706 00:36:00,040 --> 00:36:02,480 Speaker 1: kick in. Let's talk about this later, because there's some 707 00:36:02,680 --> 00:36:06,719 Speaker 1: really big things happening that you know, I don't want 708 00:36:06,719 --> 00:36:09,200 Speaker 1: to share with everybody, but if you want to share 709 00:36:09,239 --> 00:36:11,560 Speaker 1: something with us, check us out on Twitter and Facebook. 710 00:36:11,600 --> 00:36:13,839 Speaker 1: We are blow the mind on both of those and 711 00:36:14,040 --> 00:36:16,480 Speaker 1: we try to keep those updated pretty regularly with all 712 00:36:16,480 --> 00:36:19,280 Speaker 1: sorts of cool happenings on how stuff works and elsewhere 713 00:36:19,280 --> 00:36:21,440 Speaker 1: on the web. And hey, I was just sitting here thinking, 714 00:36:21,520 --> 00:36:24,000 Speaker 1: it is not Damien Hirst, who's the artist who did 715 00:36:24,000 --> 00:36:26,840 Speaker 1: the Big Puppy Dog. It is actually Jeff Coon's. Damian 716 00:36:26,920 --> 00:36:30,239 Speaker 1: Hirst is the guy that likes to play with animal carcasses, 717 00:36:30,760 --> 00:36:34,399 Speaker 1: um entirely different. So there you go. Jeff Coons who 718 00:36:34,400 --> 00:36:38,359 Speaker 1: has the team of people helping them. So to that end, 719 00:36:38,719 --> 00:36:40,560 Speaker 1: do you, guys, have a team of people helping you? 720 00:36:40,680 --> 00:36:44,000 Speaker 1: What sort of things get your creative juices blowing? Let 721 00:36:44,120 --> 00:36:46,160 Speaker 1: us know at blow the Mind at how stuff works 722 00:36:46,160 --> 00:36:53,280 Speaker 1: dot com for more on this and thousands of other topics. 723 00:36:53,480 --> 00:36:55,560 Speaker 1: Is it how stuff works dot com. To learn more 724 00:36:55,600 --> 00:36:58,400 Speaker 1: about the podcast, click on the podcast icon in the 725 00:36:58,440 --> 00:37:01,880 Speaker 1: upper right corner of our homepage. The houstof Works iPhone 726 00:37:01,920 --> 00:37:04,840 Speaker 1: app has a RYE. Download it today on iTunes.