WEBVTT - From the Vault: Like a Circle in a Spiral, Part 2

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<v Speaker 1>Hey, welcome to Stuff to Blow Your Mind. This is

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<v Speaker 1>Robert Lamb and I'm Joe McCormick, and it's Saturday time

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<v Speaker 1>for the Vault. Today's episode originally published December tenth. It's

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<v Speaker 1>like a circle in a spiral. Part two. That's right.

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<v Speaker 1>This is this is a fun one. So let's let's

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<v Speaker 1>go ahead and uh and spin around. Welcome to Stuff

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<v Speaker 1>to Blow your Mind, the production of My Heart Radio.

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<v Speaker 1>Hey you, welcome to Stuff to Blow your Mind. My

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<v Speaker 1>name is Robert Lamb and I'm Joe McCormick, and we're

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<v Speaker 1>back with part two of our series about people spinning

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<v Speaker 1>around in circles. That's right. Part one was was essentially

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<v Speaker 1>a breakdown of of why we've why we feel dizzy

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<v Speaker 1>when we spin around in circles, and then we we

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<v Speaker 1>also went in just a little bit into the art

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<v Speaker 1>of spinning around in circles, particularly as it relates to

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<v Speaker 1>figure skaters and ballet dancers. Now, while figure skaters and

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<v Speaker 1>ballet dancers, I would say regularly practice feats that that

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<v Speaker 1>I am in awe of in terms of, you know,

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<v Speaker 1>their athleticism and their ability to spin around and stuff

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<v Speaker 1>and and still execute precise movements afterwards, I gotta say

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<v Speaker 1>there's one thing that that maybe makes them not that impressive,

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<v Speaker 1>which is, you know, they only spend for a few

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<v Speaker 1>seconds at a time. What if you were to spin

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<v Speaker 1>around in a dance performance that lasted for minutes and

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<v Speaker 1>minutes on end, maybe hours, who knows. Yeah, And in

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<v Speaker 1>this we're getting into the realm of of the whirling

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<v Speaker 1>dervishes of of Sufi mysticism, the Sufi whirlers, uh that

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<v Speaker 1>you find mostly isolated in in modern day Turkey, but

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<v Speaker 1>in some other regions as well. And if you haven't

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<v Speaker 1>seen footage of this and and certainly heard the corresponding music,

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<v Speaker 1>I really encourage you to to check it out because

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<v Speaker 1>it is. It is phenomenal. It is just to watch it.

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<v Speaker 1>It's a very meditative experience I find. I've always found

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<v Speaker 1>this very intriguing. I think, you know, I've seen some

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<v Speaker 1>clips on TV at some point, and then back in

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<v Speaker 1>the nineties, at one point, because I was getting increasingly

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<v Speaker 1>into world music and into Dead Can dance and stuff,

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<v Speaker 1>I picked up an album off Hemisphere Records titled Mevlana

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<v Speaker 1>Music of the Whirling Dervishes, and and really I was

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<v Speaker 1>blown away by it, uh I I looked it up again,

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<v Speaker 1>and I don't think this particular album is available anymore,

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<v Speaker 1>but you can find the The particular musician is a

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<v Speaker 1>Nesa Usual. That's an easy I h u z e

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<v Speaker 1>L and uh A couple of their albums are available

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<v Speaker 1>to stream. Uh, it's it's it's really interesting stuff. Now.

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<v Speaker 1>I'm not all that well versed in Middle Eastern music,

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<v Speaker 1>but it does seem to have this very rhythmic quality

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<v Speaker 1>that inspires a certain kind of circular movement even in

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<v Speaker 1>the mind. Oh I, I really enjoyed the music too

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<v Speaker 1>when you shared it with me. Uh, I don't know

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<v Speaker 1>if I found myself thinking in circular ways. Did you

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<v Speaker 1>find yourself ruminating while listening to it? Yeah? I played

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<v Speaker 1>some of I played Useels music for several hours while

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<v Speaker 1>working on notes for for these episodes the other day,

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<v Speaker 1>and yeah, I found it. I mean, granted, you know,

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<v Speaker 1>part of it is I am thinking about people spinning

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<v Speaker 1>around in circles and then I'm listening to this music

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<v Speaker 1>that is, of course uh innately tied to that practice.

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<v Speaker 1>But but yeah, I found it. Found it give me

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<v Speaker 1>this kind of like calming, circular feeling. And really I

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<v Speaker 1>think it it contributed to yesterday being a pretty good day. Nice. Yeah,

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<v Speaker 1>watching Sufi whirling dances is um, it's kind of hard

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<v Speaker 1>to describe exactly the feeling of what's so beautiful about it.

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<v Speaker 1>It is not like a lot of other dances that

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<v Speaker 1>um that operate by sort of like surprise, where you

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<v Speaker 1>know you don't know what moves someone's going to do next.

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<v Speaker 1>The Sufi whirling dances are extremely monotonous. I mean, they're

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<v Speaker 1>basically just There might be versions that offers something else,

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<v Speaker 1>but the versions I've seen mainly just feature this repetitive

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<v Speaker 1>turning in place. And yet it is extremely beautiful as

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<v Speaker 1>a form of dance. Uh, And I think it has

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<v Speaker 1>something to do with the thing I want to come

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<v Speaker 1>back to later in this episode, which is the particular

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<v Speaker 1>movement of the dancers skirts as they twirl. There's a

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<v Speaker 1>kind of like beautiful geometry to that. And uh, there

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<v Speaker 1>was actually a paper I came across the addressed how

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<v Speaker 1>that happens. But um, but yeah, it's strange that that's

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<v Speaker 1>such a in a way conceptually straightforward type of dance

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<v Speaker 1>would be so interesting to watch for so long. Yeah,

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<v Speaker 1>there's a real fluidity to it, and and you know,

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<v Speaker 1>we were talking about watching it because of course that's

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<v Speaker 1>that's that's my experience with it, uh, seeing it done,

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<v Speaker 1>listening to the music, and it's my understanding that if

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<v Speaker 1>you you know, if you're if you're to travel to

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<v Speaker 1>say Turkey, you can certainly as a tourist see some

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<v Speaker 1>of it today, observe it as a tourist, But of

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<v Speaker 1>course it's really based more in the experience of the dance,

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<v Speaker 1>of being the dancer. And I guess you can say

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<v Speaker 1>that's kind of the case with a lot of dance,

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<v Speaker 1>like it's there's dance to watch, but the dance is

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<v Speaker 1>also the experience, and to be the dancer is to

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<v Speaker 1>be within the system of movement. Yeah, so let's let's

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<v Speaker 1>unpack things a little bit. Yes, Sufi Islam. Sufi Ism

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<v Speaker 1>is the mystical branch of Islam in which the practitioner

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<v Speaker 1>seeks divine love and knowledge through the direct experience of God. Uh.

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<v Speaker 1>It entails different mystical paths towards this goal, but the

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<v Speaker 1>one we're gonna be talking about here is, of course,

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<v Speaker 1>this form of dance. The words sufi itself derives from

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<v Speaker 1>the Arabic for wool, as early Islamic aesthetics individuals who

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<v Speaker 1>practice the denial of physical or psychological desires dressed in

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<v Speaker 1>woolen garments and Islamic mysticism is also known is uh

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<v Speaker 1>tassa wolf, which literally means to dress in wool. The

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<v Speaker 1>movement originally stirred up between six sixty one and seven

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<v Speaker 1>forty nine c e. Apparently in response to perceptions of

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<v Speaker 1>worldliness in Islamic practice at the time. I find it

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<v Speaker 1>interesting that the mystical tradition can sort of arise as

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<v Speaker 1>a form of almost any religion, like that, you can

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<v Speaker 1>take almost any religion and then there will there can

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<v Speaker 1>be a mysticism interpretation of it, which again is often

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<v Speaker 1>focused on um individual experience and people having practices such

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<v Speaker 1>as meditation or other practices to alter the state of

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<v Speaker 1>consciousness to make themselves have what they believe to be

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<v Speaker 1>a direct experience of the divine in some way. And

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<v Speaker 1>that there there's Christian mysticism, and there's Islamic mysticism, and

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<v Speaker 1>there's a mystical face of almost any religion you can imagine. Yeah, absolutely,

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<v Speaker 1>and and and of course in pretty much any religion

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<v Speaker 1>you can look at to it. It's a divide that

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<v Speaker 1>can create problems that can can create conflict as well. Um.

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<v Speaker 1>So again out of the US, out of Sufi Islam,

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<v Speaker 1>we we see the Sufi whirling emerge. And I imagine

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<v Speaker 1>a lot of you out there have heard of a

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<v Speaker 1>key individual in this, and that is the Persian poet Roomi,

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<v Speaker 1>who lived twelve h seven through twelve seventy three, and

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<v Speaker 1>he himself was a Sufi mystic. Again, he dies in

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<v Speaker 1>twelve seventy three see and afterwards his followers and his

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<v Speaker 1>son Sultan Wallad create the MeV Levy Order, an organization

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<v Speaker 1>of whirling dervishes who sought to experience God through elaborate

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<v Speaker 1>rituals of dance and music. And this was formed in

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<v Speaker 1>thirteen twelve in the Turkish city of Kanya. Now, many

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<v Speaker 1>of you may have seen, you know, images and videos

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<v Speaker 1>of of Sufi whirling and uh. And you know the

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<v Speaker 1>dervishes where these tall camel hair hats that are said

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<v Speaker 1>to represent the tombstone of the ego, which I really like, uh.

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<v Speaker 1>And then they have these wide white skirts that twirl around.

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<v Speaker 1>And of course these are very visually impressive and certainly

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<v Speaker 1>play on that concept of whirling and turning, but these

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<v Speaker 1>are said to represent the egos shroud. Oh I love that.

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<v Speaker 1>And it's funny because that might be a little bit

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<v Speaker 1>more literal than people would think. Well, I mean, I

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<v Speaker 1>guess you can be. You can't have something that's too

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<v Speaker 1>literal if you're talking about the ego, which is an

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<v Speaker 1>intangible concept. But um, the way in which it is

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<v Speaker 1>somewhat literal is that it's not just you are wearing

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<v Speaker 1>a symbolic piece of dress, but that when you watch

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<v Speaker 1>somebody practicing a sufi whirling dance, you will, I think

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<v Speaker 1>very often find yourself not looking at the person and

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<v Speaker 1>not looking at their face, but looking at the twirling skirt.

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<v Speaker 1>The twirling skirt almost becomes the persons. So it's a

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<v Speaker 1>kind of second order vanishing of the identity or the ego. Yeah. Yeah,

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<v Speaker 1>So the big ceremony here is the semi ceremony, and

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<v Speaker 1>in the in this ceremony, the Dervish dancers rotate anti

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<v Speaker 1>clockwise around the vertical access of their bodies while also

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<v Speaker 1>rotate aating around the other dancers. It's all set to

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<v Speaker 1>this this wonderful music, and it's intended to be a

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<v Speaker 1>meditative experience, a highly meditative experience by which for the

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<v Speaker 1>dancers their material self falls away and a state of

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<v Speaker 1>oneness is experienced. Yes, and so you can obviously look

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<v Speaker 1>at the religious, the symbolic, the psychological importance and significance

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<v Speaker 1>of this dance. But another way to think about this

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<v Speaker 1>dance is just as a physical act. And it comes

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<v Speaker 1>back to questions that I, you know that we brought

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<v Speaker 1>up in our earlier episode and in the first part

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<v Speaker 1>of this series, which is I watch it and I think,

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<v Speaker 1>just on a physiological level, how do you do that

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<v Speaker 1>without becoming so dizzy that you have to stop? Yeah,

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<v Speaker 1>because we're talking about a lot of spinning. You may

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<v Speaker 1>have just seen clips of this, but the dancers will

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<v Speaker 1>spend continuously for a solid hour with something like thirty

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<v Speaker 1>spins per minute the performance. And this they performed this

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<v Speaker 1>without experience saying vertico, without you know, feeling dizzy, following

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<v Speaker 1>a reported thousand days of training within them. Havev Levie

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<v Speaker 1>houses uh to to give another number to you. According

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<v Speaker 1>to the Guinness Book of World Records, the most Sufi

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<v Speaker 1>whirling revolutions in one hour for a male uh the

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<v Speaker 1>record went to um Shafik Ibrahim on January five, two

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<v Speaker 1>thousand twelve, for two thousand, nine hundred and five spins

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<v Speaker 1>in a single hour. Wow. Yeah, I have no words.

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<v Speaker 1>That's that's so many spins. Yeah, it's just it's it's

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<v Speaker 1>a tremendous amount of spinning. Um. And and not only

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<v Speaker 1>is the individual not like physically ill from it, not

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<v Speaker 1>only are they they you know, retaining this uh, this

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<v Speaker 1>fluid movement and this elegance, and they're not crashing into

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<v Speaker 1>each other the walls. Uh, they're keeping it beautiful. But

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<v Speaker 1>they're also uh, you know that they're said to have

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<v Speaker 1>this this this meditative experience throughout it all. So it's

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<v Speaker 1>not you know, dizzy us it is in many ways

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<v Speaker 1>feels like the opposite of of a meditative experience. I mean,

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<v Speaker 1>into a certain extent, you could, I guess you compare

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<v Speaker 1>some things about it. But but yeah, what whatever, whatever

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<v Speaker 1>is going on in the mind of the of the

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<v Speaker 1>Sufi whirler, of the of the whirling dervish, it is

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<v Speaker 1>not a state of dizzy chaos. Uh. So it's it's fascinating. Yeah,

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<v Speaker 1>I mean, I would also think of dizziness as sort

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<v Speaker 1>of the opposite of a meditative state. Dizziness makes you

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<v Speaker 1>hyper aware of your body and makes it really difficult

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<v Speaker 1>to focus your mind, right I guess then the main

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<v Speaker 1>comparison would be, well, you're you're living in the now now,

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<v Speaker 1>if you're if you're you're clutching your head on the ground,

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<v Speaker 1>but not in the way that you want to feel

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<v Speaker 1>in the moment. So I looked into this and I

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<v Speaker 1>found an interesting paper titled a Possible role of prolonged

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<v Speaker 1>whirling episodes on structural plasticity of the cortical networks and

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<v Speaker 1>altered vertigo perception the cortex of Sufi Whirling Dervishes by

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<v Speaker 1>colmac at All, and this was this was combining researchers

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<v Speaker 1>from New Zealand, the Netherlands and Turkey particularly. Their study

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<v Speaker 1>looked at quote potential structural cortical plasticity unquote in Sufi

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<v Speaker 1>Whirling Dervishes. These s w d s as the the abbreviation,

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<v Speaker 1>because again we're talking about a level of sustained spinning

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<v Speaker 1>that most healthy adults are not going to be able

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<v Speaker 1>to handle without experiencing vertigo. As they put it, quote,

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<v Speaker 1>this unique whirling based meditation style of Sufi Whirling Dervishes

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<v Speaker 1>achieves extraordinary physiological outcomes that overcome vertico and balance impairment,

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<v Speaker 1>which would be expected after prolonged times of whirling. So

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<v Speaker 1>they looked at quote potential relationship of the motion body

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<v Speaker 1>perception related cortical networks and the prolonged term of whirling

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<v Speaker 1>ability without vertigo or dizziness. So a note here again

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<v Speaker 1>is the vestibular system, which of course we went into

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<v Speaker 1>and defined in the UH in the first episode, you know,

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<v Speaker 1>related to the inner ear, in our the inner ear,

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<v Speaker 1>in our sense of balance. They point out that vestibular

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<v Speaker 1>processing is involved not only in space perception and locomotion,

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<v Speaker 1>but also in cognitive perceptions of self. And so there

0:13:11.200 --> 0:13:15.000
<v Speaker 1>is this connection, they say, between the vestibular system and

0:13:15.240 --> 0:13:18.920
<v Speaker 1>the default mode network as well, something we've also discussed

0:13:18.920 --> 0:13:21.839
<v Speaker 1>on the show quite a bit, tied to self awareness,

0:13:21.880 --> 0:13:26.559
<v Speaker 1>to consciousness, to embodiment, but also in many cases unhappiness.

0:13:26.920 --> 0:13:31.000
<v Speaker 1>You know, this this dwelling on what has happened in

0:13:31.040 --> 0:13:33.800
<v Speaker 1>the past, what has happened to me, what is happening

0:13:33.880 --> 0:13:37.760
<v Speaker 1>in the footle, happening in UH, to me in the future, etcetera.

0:13:37.960 --> 0:13:40.320
<v Speaker 1>And and you know, getting away from that now, nous

0:13:40.400 --> 0:13:44.120
<v Speaker 1>that we often associate with a meditative calm UH. The

0:13:44.160 --> 0:13:47.480
<v Speaker 1>default mode network, I think, is highly associated with cognitive

0:13:47.480 --> 0:13:51.320
<v Speaker 1>patterns that are focused on the self, thinking about self

0:13:51.400 --> 0:13:54.840
<v Speaker 1>and making judgments about the self, And I mean, what's

0:13:54.840 --> 0:13:58.040
<v Speaker 1>more miserable than that. Yeah. I think it's interesting too

0:13:58.040 --> 0:14:01.840
<v Speaker 1>that we're talking about wheeling and spinning, because there's you know,

0:14:02.600 --> 0:14:06.400
<v Speaker 1>the sort of thinking associated with the default mode network

0:14:07.120 --> 0:14:10.200
<v Speaker 1>sometimes takes the form of a wheel, and other belief systems,

0:14:10.240 --> 0:14:13.640
<v Speaker 1>you know, like some some treatments or interpretations of the

0:14:14.120 --> 0:14:17.440
<v Speaker 1>like the wheel of being in Buddhism kind of relate

0:14:17.480 --> 0:14:19.280
<v Speaker 1>to this, you know, or just sort of the feeling

0:14:19.320 --> 0:14:22.080
<v Speaker 1>of like, oh, I'm on the I'm on the hamster

0:14:22.120 --> 0:14:24.480
<v Speaker 1>wheel of my own default mode network right now, I've

0:14:24.520 --> 0:14:27.800
<v Speaker 1>got to eject myself from that wheel, uh and do

0:14:28.000 --> 0:14:31.760
<v Speaker 1>something with my time. So the question is does prolonged

0:14:31.800 --> 0:14:35.480
<v Speaker 1>whirling contribute to structural changes in the networks of the

0:14:35.520 --> 0:14:39.120
<v Speaker 1>default mode network and self perception in addition to motion

0:14:39.200 --> 0:14:43.120
<v Speaker 1>perception related networks. So the authors point out that previous

0:14:43.200 --> 0:14:47.200
<v Speaker 1>studies have observed, first of all, the decreased cortical thickness

0:14:47.240 --> 0:14:52.240
<v Speaker 1>and meditator's brains relate to the posterior singulate cortex or

0:14:52.280 --> 0:14:56.160
<v Speaker 1>PCC and the default mode network also decreased activity in

0:14:56.160 --> 0:14:59.760
<v Speaker 1>the default mode network as well as long and also

0:14:59.800 --> 0:15:03.520
<v Speaker 1>they when out long term meditation practices associated with altered

0:15:03.560 --> 0:15:08.080
<v Speaker 1>resting brain activity, so long lasting activity changes that persist

0:15:08.280 --> 0:15:11.120
<v Speaker 1>in the brain. In a way, you could think about

0:15:11.360 --> 0:15:16.480
<v Speaker 1>meditation as a way of practicing control over what the

0:15:16.520 --> 0:15:20.920
<v Speaker 1>brain does win at rest, right. Yeah, And you know

0:15:20.960 --> 0:15:23.360
<v Speaker 1>it's it's you know, we we've talked about meditation on

0:15:23.360 --> 0:15:25.040
<v Speaker 1>the show in the past. I'm sure we'll continue too,

0:15:25.120 --> 0:15:29.240
<v Speaker 1>because it is. It can it can feel very elusive

0:15:29.240 --> 0:15:30.960
<v Speaker 1>at times, and I think part of it comes down

0:15:31.000 --> 0:15:33.720
<v Speaker 1>to this connection between the mind and body. You know

0:15:33.840 --> 0:15:36.720
<v Speaker 1>that that um. I mean that's why I think a

0:15:36.720 --> 0:15:40.200
<v Speaker 1>lot of us find meditation in meditative states or even

0:15:40.280 --> 0:15:44.960
<v Speaker 1>the flow state in activities that are physical, you know,

0:15:45.440 --> 0:15:49.120
<v Speaker 1>like in h in yoga for instance, um or or

0:15:49.240 --> 0:15:52.440
<v Speaker 1>um you know, even you know, other type forms of exercise,

0:15:52.760 --> 0:15:55.920
<v Speaker 1>swimming laps, running laps, going for a jog, that sort

0:15:55.920 --> 0:15:58.880
<v Speaker 1>of thing. Yes, though I feel like I would identify

0:15:59.040 --> 0:16:01.400
<v Speaker 1>more of that meta hate of type flow state in

0:16:01.480 --> 0:16:08.160
<v Speaker 1>physical tasks that also require some degree of constant uh

0:16:08.280 --> 0:16:11.920
<v Speaker 1>sort of mental engagement, more so than say, jogging does

0:16:12.800 --> 0:16:15.480
<v Speaker 1>uh you know, Like I I've heard some people complain

0:16:15.560 --> 0:16:19.680
<v Speaker 1>that maybe they can enjoy sports, but they find quote

0:16:19.680 --> 0:16:22.640
<v Speaker 1>exercise boring, And I think what they're thinking of is

0:16:22.680 --> 0:16:26.920
<v Speaker 1>like running on a treadmill, in which like in which case, um,

0:16:27.000 --> 0:16:29.640
<v Speaker 1>you are engaging your body, but you are not. You

0:16:29.680 --> 0:16:32.680
<v Speaker 1>are not being faced with tasks. You know, there's not

0:16:32.760 --> 0:16:35.920
<v Speaker 1>like any problems for your brain to solve the way

0:16:35.960 --> 0:16:38.400
<v Speaker 1>there is when you're say playing a sport or something

0:16:38.560 --> 0:16:42.960
<v Speaker 1>or doing something with um, doing something with like variable

0:16:43.000 --> 0:16:46.600
<v Speaker 1>activities throughout, such as like a yoga practice or a

0:16:47.160 --> 0:16:50.400
<v Speaker 1>or a you know, a dance routine or something. Yeah. Well,

0:16:50.440 --> 0:16:52.040
<v Speaker 1>but I guess if you're like say jogging around the

0:16:52.040 --> 0:16:55.240
<v Speaker 1>neighborhood and you're having to solve various problems, right like, Okay,

0:16:55.280 --> 0:16:58.800
<v Speaker 1>I'm gonna not run onto that sidewalk that's all crooked,

0:16:58.800 --> 0:17:01.480
<v Speaker 1>I'm gonna jump over that dog, and I'm not going

0:17:01.520 --> 0:17:04.480
<v Speaker 1>to step in that that or that. Right though. It's

0:17:04.480 --> 0:17:10.280
<v Speaker 1>funny because I feel like that just manifests as extreme annoyance. Yeah,

0:17:10.320 --> 0:17:12.760
<v Speaker 1>I guess, yeah, it can like there's a thin line

0:17:12.840 --> 0:17:17.680
<v Speaker 1>sometimes between uh, tasks that are fulfilling and tasks that

0:17:17.720 --> 0:17:21.960
<v Speaker 1>are just a chore. I mean, we've talked before about how, um,

0:17:22.000 --> 0:17:24.760
<v Speaker 1>sometimes when you're driving in a car, it can make

0:17:24.840 --> 0:17:28.160
<v Speaker 1>other people just appear as obstacles to you, and there's

0:17:28.240 --> 0:17:31.800
<v Speaker 1>this kind of horrible desensitization that goes on. And we

0:17:31.840 --> 0:17:35.280
<v Speaker 1>talked about one reason for that being that um that

0:17:35.760 --> 0:17:39.479
<v Speaker 1>perhaps the you know, updating the body schema to include

0:17:39.520 --> 0:17:42.440
<v Speaker 1>the car makes you feel bigger looking at people through

0:17:42.480 --> 0:17:46.159
<v Speaker 1>the glass of the windshield, operating on you know, the

0:17:46.200 --> 0:17:50.600
<v Speaker 1>different rules of the control traffic versus control foot movements,

0:17:50.920 --> 0:17:53.119
<v Speaker 1>those things could be separating you. But I think another

0:17:53.160 --> 0:17:55.240
<v Speaker 1>one that maybe we didn't consider enough when we've talked

0:17:55.240 --> 0:17:58.000
<v Speaker 1>about this in the past is just speed, because when

0:17:58.000 --> 0:18:00.879
<v Speaker 1>you're out running on the side walk, it seems like

0:18:00.880 --> 0:18:03.400
<v Speaker 1>you have a very different relationship to other people than

0:18:03.440 --> 0:18:06.800
<v Speaker 1>if you're out walking. When you're out running, you start

0:18:06.840 --> 0:18:09.720
<v Speaker 1>to view other people as like obstacles in the same

0:18:09.800 --> 0:18:11.400
<v Speaker 1>kind of way you do you're when you're in a car.

0:18:11.600 --> 0:18:14.600
<v Speaker 1>You're like persons in my way. They're not even really

0:18:14.600 --> 0:18:16.600
<v Speaker 1>a person. This is just like a sack of meat

0:18:16.680 --> 0:18:20.680
<v Speaker 1>that I need to get around. Yeah, you know, I'm

0:18:20.720 --> 0:18:24.159
<v Speaker 1>not myself a runner, but I do I get I

0:18:24.400 --> 0:18:33.280
<v Speaker 1>get hints of that from other runners sometimes. Thank so

0:18:33.520 --> 0:18:35.800
<v Speaker 1>for for this particular study, the authors are going to

0:18:35.880 --> 0:18:39.640
<v Speaker 1>look at um at a Sufi whirlers now. One thing

0:18:39.680 --> 0:18:43.120
<v Speaker 1>they note though, is that the practice of Mevlevi ceremonies

0:18:43.720 --> 0:18:45.800
<v Speaker 1>they're not as robust as they were prior to the

0:18:45.840 --> 0:18:49.600
<v Speaker 1>twentieth century due to a secular policies that were enforced.

0:18:49.920 --> 0:18:52.600
<v Speaker 1>So a lot of what remains today apparently isn't as

0:18:52.680 --> 0:18:56.320
<v Speaker 1>rigorous and is often aimed at at tourist audiences, so

0:18:56.359 --> 0:19:00.560
<v Speaker 1>it's difficult to study quote the traditional physical and spiritual

0:19:00.600 --> 0:19:03.439
<v Speaker 1>method involved here. As a result, you know, that's not

0:19:03.520 --> 0:19:06.880
<v Speaker 1>a huge sample size they're working with. So they looked

0:19:06.920 --> 0:19:12.400
<v Speaker 1>at eight males and two females adults right handed traditional

0:19:12.640 --> 0:19:16.440
<v Speaker 1>Sufi whirling dervishes with more than eight years of whirling

0:19:16.520 --> 0:19:19.479
<v Speaker 1>meditation experience, so the average was something like ten and

0:19:19.480 --> 0:19:22.640
<v Speaker 1>a half years of whirling uh, which I think broke

0:19:22.680 --> 0:19:25.600
<v Speaker 1>down to about like two whirling sessions per week to

0:19:25.680 --> 0:19:28.160
<v Speaker 1>keep the practice up. They also had a ten person

0:19:28.200 --> 0:19:31.320
<v Speaker 1>control group that was otherwise matched up with the attributes

0:19:31.440 --> 0:19:36.200
<v Speaker 1>of of the individuals that were themselves whirlers. They performed

0:19:36.359 --> 0:19:38.879
<v Speaker 1>m r I scans and found an average difference in

0:19:38.920 --> 0:19:42.840
<v Speaker 1>cortical thickness of point ten millimeters for the left hemisphere

0:19:42.880 --> 0:19:45.920
<v Speaker 1>of the brain and point fifteen millimeters for the right

0:19:45.960 --> 0:19:48.600
<v Speaker 1>hemisphere of the brain. So they present this as proof

0:19:48.640 --> 0:19:54.440
<v Speaker 1>of structural plasticity induced by the whirling meditations of Sufi

0:19:54.480 --> 0:19:58.720
<v Speaker 1>whirling dervishes. Now, one of the take comes in from

0:19:58.720 --> 0:20:01.640
<v Speaker 1>the study is that this sort of information could lead

0:20:01.640 --> 0:20:05.040
<v Speaker 1>to some improvements in vertigo therapy. Uh and I also

0:20:05.080 --> 0:20:06.560
<v Speaker 1>imagine it goes back to what we mentioned in the

0:20:06.600 --> 0:20:09.000
<v Speaker 1>last episode about the more we understand this sort of thing,

0:20:09.320 --> 0:20:12.040
<v Speaker 1>the more we can understand just to how the brain functions,

0:20:12.040 --> 0:20:14.240
<v Speaker 1>how the brain can heal itself, that sort of thing.

0:20:14.880 --> 0:20:16.720
<v Speaker 1>But they also stress that there's a lot of possibility

0:20:16.760 --> 0:20:20.760
<v Speaker 1>in the the potential mood enhancing effect of the defined

0:20:21.080 --> 0:20:25.720
<v Speaker 1>structurally plastinated cortical areas UM and and and how that

0:20:25.880 --> 0:20:29.160
<v Speaker 1>is worth consideration. So they point out that the default

0:20:29.160 --> 0:20:32.920
<v Speaker 1>mode network is active except when it is suppressed by

0:20:32.920 --> 0:20:37.480
<v Speaker 1>other networks or stimulated by other states, and that its activity,

0:20:37.480 --> 0:20:42.720
<v Speaker 1>of course, is generally correlated with unhappiness in the human experience. Quote. Therefore,

0:20:42.760 --> 0:20:46.200
<v Speaker 1>it is theorized that prolonged periods of gold erected cognitive

0:20:46.240 --> 0:20:50.720
<v Speaker 1>processes may decrease the mind wandering activity in the s

0:20:50.920 --> 0:20:54.840
<v Speaker 1>w d's brain because the precunious activity has been decreased.

0:20:55.240 --> 0:20:59.240
<v Speaker 1>They also theorized that the suppression of cortical areas related

0:20:59.560 --> 0:21:06.120
<v Speaker 1>with the discriminational perception here leads to less selfish egocentric

0:21:06.200 --> 0:21:09.399
<v Speaker 1>behavior and increased levels of happiness. And they think that

0:21:09.480 --> 0:21:14.640
<v Speaker 1>the decreased activity in the dorso lateral prefrontal cortex may

0:21:14.680 --> 0:21:19.520
<v Speaker 1>contribute to the behavioral attribute of honesty. And additionally, there

0:21:19.520 --> 0:21:22.439
<v Speaker 1>could be a neuro protection advantage here as well, you know,

0:21:22.480 --> 0:21:26.719
<v Speaker 1>against the likes of say Alzheimer's and other conditions. Well,

0:21:26.720 --> 0:21:29.480
<v Speaker 1>I guess, like a lot of neuroimaging and neurological studies

0:21:29.520 --> 0:21:32.159
<v Speaker 1>it it opens up a lot of possibilities that you

0:21:32.160 --> 0:21:35.840
<v Speaker 1>should we should be careful to remember aren't necessarily proven yet,

0:21:35.880 --> 0:21:40.040
<v Speaker 1>but are really interesting and worth looking into with other experiments. Yeah, Like,

0:21:40.040 --> 0:21:42.400
<v Speaker 1>there are a lot of questions about the default mode network,

0:21:42.440 --> 0:21:44.920
<v Speaker 1>for example, and and just about anything else you could

0:21:45.040 --> 0:21:47.640
<v Speaker 1>point out in the human brain. Yeah, we've even talked

0:21:47.640 --> 0:21:49.479
<v Speaker 1>about how there are some people, I think, who question

0:21:49.560 --> 0:21:52.360
<v Speaker 1>the validity of the default mode network as a coherent

0:21:52.440 --> 0:21:55.640
<v Speaker 1>concept and like is this really a thing? But um,

0:21:56.560 --> 0:21:58.679
<v Speaker 1>but but there are others who advocate for it. So

0:21:59.000 --> 0:22:01.440
<v Speaker 1>I don't know how to sort that question out. Yeah,

0:22:01.520 --> 0:22:03.560
<v Speaker 1>I would say that some of the key takeaways from

0:22:03.560 --> 0:22:05.520
<v Speaker 1>the study though, or that that, first of all, this

0:22:05.600 --> 0:22:09.840
<v Speaker 1>incredible act of spinning by by the Sufi whirlers, it

0:22:09.960 --> 0:22:12.720
<v Speaker 1>is it is producing like physical changes in the brain,

0:22:12.840 --> 0:22:17.160
<v Speaker 1>like there is there is neural plasticity involved here, and

0:22:17.520 --> 0:22:20.280
<v Speaker 1>you know it is. It is also a meditative state

0:22:20.359 --> 0:22:22.879
<v Speaker 1>they enter into and you don't have to it's not

0:22:22.960 --> 0:22:25.879
<v Speaker 1>really a stretch to say that. Yes, the meditative states,

0:22:26.600 --> 0:22:30.400
<v Speaker 1>repetitive medi meditative states, meditative meditative states that are engaged

0:22:30.440 --> 0:22:32.840
<v Speaker 1>in with with a fair amount of frequency that has

0:22:32.920 --> 0:22:37.960
<v Speaker 1>an effect on your resting um neural level. Uh So

0:22:38.240 --> 0:22:40.679
<v Speaker 1>all of that is, you know, really fascinating, makes me,

0:22:41.160 --> 0:22:44.520
<v Speaker 1>you know, respect this tradition even more and I have

0:22:44.640 --> 0:22:47.479
<v Speaker 1>to say, it makes me want to spend more in

0:22:47.600 --> 0:22:51.480
<v Speaker 1>my life. Um well, wait, I mean it seems difficult

0:22:51.480 --> 0:22:53.080
<v Speaker 1>that like, is it a thing where you'd have to

0:22:53.119 --> 0:22:55.480
<v Speaker 1>do it a lot to get used to it enough

0:22:55.520 --> 0:22:57.600
<v Speaker 1>to get the benefits from it? Is that the case?

0:22:58.200 --> 0:23:00.800
<v Speaker 1>I guess? I mean, yes, that see it certainly too

0:23:01.040 --> 0:23:03.600
<v Speaker 1>well to spin at their level, it requires I mean

0:23:03.760 --> 0:23:06.720
<v Speaker 1>they they prescribe what what I say, a thousand days

0:23:06.800 --> 0:23:09.280
<v Speaker 1>of of practice to get to the point where you

0:23:09.280 --> 0:23:13.600
<v Speaker 1>could actually partake of this ceremony. Um. But I mean

0:23:13.680 --> 0:23:16.040
<v Speaker 1>just in terms of, like, on on on one level,

0:23:16.040 --> 0:23:18.320
<v Speaker 1>it may I want to do it just because I

0:23:18.320 --> 0:23:20.840
<v Speaker 1>I fail at it so much. Now, Like the idea

0:23:21.320 --> 0:23:24.200
<v Speaker 1>that I can change my brain, that I can change

0:23:24.560 --> 0:23:28.280
<v Speaker 1>myself to spend better, like to do not feel like

0:23:28.400 --> 0:23:30.359
<v Speaker 1>my soul has been ripped out of my body when

0:23:30.400 --> 0:23:33.360
<v Speaker 1>I spin around five times on a yoga mat. Uh.

0:23:33.600 --> 0:23:36.320
<v Speaker 1>Like that that alone is attractive, you know, the the

0:23:36.400 --> 0:23:39.120
<v Speaker 1>idea that like, yeah, I'm I can I can change

0:23:39.160 --> 0:23:42.359
<v Speaker 1>and become this slightly different version of myself. And you know,

0:23:42.400 --> 0:23:44.800
<v Speaker 1>it's also worth noting that. Um. You know, while this

0:23:44.880 --> 0:23:49.400
<v Speaker 1>is the most um intriguing and probably the most extreme

0:23:49.440 --> 0:23:52.360
<v Speaker 1>example of spinning dance, there are a lot of spinning

0:23:52.400 --> 0:23:55.480
<v Speaker 1>in circular dance traditions and other regions of the world.

0:23:55.800 --> 0:23:58.679
<v Speaker 1>You know, maybe not as intense, but certainly the circular

0:23:58.720 --> 0:24:02.600
<v Speaker 1>form pops up in traditions around the world. So I

0:24:02.640 --> 0:24:05.800
<v Speaker 1>wonder if if just even those cases, you have a

0:24:05.840 --> 0:24:09.639
<v Speaker 1>certain level of a flow state and meditative calm that

0:24:09.720 --> 0:24:11.520
<v Speaker 1>overcomes you when you're a part of it. I don't

0:24:11.560 --> 0:24:14.800
<v Speaker 1>have a lot of direct experience with that aside from

0:24:14.800 --> 0:24:17.160
<v Speaker 1>what square dancing and p class when I was a kid,

0:24:17.200 --> 0:24:19.679
<v Speaker 1>which is not at all the same thing. God, I

0:24:19.720 --> 0:24:22.119
<v Speaker 1>also had to do square dancing and pe and that

0:24:22.280 --> 0:24:27.680
<v Speaker 1>was bizarre, absolutely bizarre. It's a terrible time for it, um,

0:24:27.920 --> 0:24:30.359
<v Speaker 1>I feel. But at the same time, after looking at

0:24:30.359 --> 0:24:32.760
<v Speaker 1>all this, I'm like, yes, they were right to make

0:24:32.840 --> 0:24:35.200
<v Speaker 1>us dance around in circles and move our bodies and spin.

0:24:35.560 --> 0:24:38.200
<v Speaker 1>Kids need to spend, like we discussed in the previous episode,

0:24:38.600 --> 0:24:41.800
<v Speaker 1>and uh, yeah, why not make them square dance, I guess.

0:24:41.800 --> 0:24:45.159
<v Speaker 1>So there's another aspect of Sufi whirling that I wanted

0:24:45.200 --> 0:24:47.600
<v Speaker 1>to talk about because I found a strange paper. I

0:24:47.640 --> 0:24:51.639
<v Speaker 1>alluded to this earlier. Uh, but just to reintroduce the

0:24:51.640 --> 0:24:55.320
<v Speaker 1>concept again. So you watch one of these sufi whirling ceremonies,

0:24:55.720 --> 0:24:59.479
<v Speaker 1>and there's the music, and there's just the human factor,

0:24:59.600 --> 0:25:02.679
<v Speaker 1>you know, being interested in in other people's religious practices

0:25:02.760 --> 0:25:06.280
<v Speaker 1>and all that. But there's this other aspect that makes

0:25:06.320 --> 0:25:10.880
<v Speaker 1>the dance especially beautiful and interesting, and it's the movement

0:25:11.040 --> 0:25:14.640
<v Speaker 1>of the dancers skirts. Now, you mentioned earlier that there's

0:25:14.680 --> 0:25:17.399
<v Speaker 1>this symbolic role of the skirts representing, you know, the

0:25:17.440 --> 0:25:21.320
<v Speaker 1>shroud of the ego, and I think that is there's

0:25:21.359 --> 0:25:23.600
<v Speaker 1>something very much to that even as it comes through

0:25:23.640 --> 0:25:27.040
<v Speaker 1>in the way the dancers look from the outside. But

0:25:27.080 --> 0:25:30.040
<v Speaker 1>there's also something about the skirts that's undeniably a part

0:25:30.040 --> 0:25:33.399
<v Speaker 1>of the raw of visual appeal of the dance to

0:25:33.720 --> 0:25:39.080
<v Speaker 1>outside observers. As the dancer twirls, the skirt is sort

0:25:39.119 --> 0:25:42.399
<v Speaker 1>of lifted into the air by the centripetal force of

0:25:42.400 --> 0:25:45.280
<v Speaker 1>the rotation, but it is not lifted up in a

0:25:45.320 --> 0:25:49.720
<v Speaker 1>perfect uniform circle. Instead, what you get are these odd,

0:25:50.040 --> 0:25:55.520
<v Speaker 1>gorgeous hypnotic patterns of ripples with peaks and troughs, as

0:25:55.560 --> 0:25:59.280
<v Speaker 1>if there were waves in a fluid moving through the fabric.

0:26:00.000 --> 0:26:02.959
<v Speaker 1>And while watching it, it is very easy to just

0:26:03.160 --> 0:26:07.320
<v Speaker 1>space out. It's like it's a visual stimulus that creates

0:26:07.320 --> 0:26:09.919
<v Speaker 1>a feeling that's, at least to me, it's very similar

0:26:09.960 --> 0:26:14.560
<v Speaker 1>to watching the undulations of a jellyfish. Yeah, I agree.

0:26:14.680 --> 0:26:17.560
<v Speaker 1>And so the question is what causes these sort of

0:26:17.600 --> 0:26:22.919
<v Speaker 1>mesmerizing patterns of movement in the surface of these turning skirts.

0:26:23.040 --> 0:26:25.200
<v Speaker 1>And believe it or not, there is a physics paper

0:26:25.240 --> 0:26:29.480
<v Speaker 1>about this. Uh so. This is called Whirling Skirts and

0:26:29.600 --> 0:26:34.480
<v Speaker 1>Rotating Cones in the New Journal of Physics published by

0:26:34.680 --> 0:26:40.880
<v Speaker 1>Jamal Gouvin, j Hannah and Martin Michael Muller, and they

0:26:40.880 --> 0:26:45.040
<v Speaker 1>put a very technical description to these hypnotic movements that

0:26:45.080 --> 0:26:47.360
<v Speaker 1>I was just talking about. They call it, They say,

0:26:47.440 --> 0:26:53.200
<v Speaker 1>quote steady dihedral e symmetric patterns with sharp peaks may

0:26:53.240 --> 0:26:57.240
<v Speaker 1>be observed on a spinning skirt lagging behind the material

0:26:57.359 --> 0:27:00.960
<v Speaker 1>flow of the fabric. And so this is quoted in

0:27:01.040 --> 0:27:04.119
<v Speaker 1>a in a phys dot Or article by co author

0:27:04.200 --> 0:27:07.920
<v Speaker 1>James Hannah. Quote, The dancers don't do much but spin

0:27:08.000 --> 0:27:10.880
<v Speaker 1>around at a fixed speed, but their skirts show these

0:27:11.119 --> 0:27:16.000
<v Speaker 1>very striking, long lived patterns with sharp cusp like features,

0:27:16.280 --> 0:27:20.280
<v Speaker 1>which seem rather counterintuitive. And I think it's partially that

0:27:20.359 --> 0:27:23.720
<v Speaker 1>counterintuitive aspect that makes the skirts so interesting to watch.

0:27:23.800 --> 0:27:26.639
<v Speaker 1>There there's a there's a soothing rhythm to how the

0:27:26.680 --> 0:27:30.240
<v Speaker 1>skirts move, but they also seem to sort of defy physics.

0:27:30.240 --> 0:27:32.960
<v Speaker 1>They don't look like they're moving in the way that

0:27:33.000 --> 0:27:37.480
<v Speaker 1>they should. Are you watching an example, I'm picturing it

0:27:37.520 --> 0:27:39.840
<v Speaker 1>in my head. Yeah, as as I said here staring

0:27:39.880 --> 0:27:43.440
<v Speaker 1>into the zoom camera, I'm I'm imagining that the hypnotic

0:27:43.520 --> 0:27:47.080
<v Speaker 1>circular movements of the dancers. Yeah, yeah, Like sometimes the

0:27:47.119 --> 0:27:50.040
<v Speaker 1>skirts kind of resemble the way that if you watch

0:27:50.160 --> 0:27:54.719
<v Speaker 1>a helicopter blade spinning on film, uh, if the shutter

0:27:54.760 --> 0:27:57.240
<v Speaker 1>speed of the camera lines up in the right way

0:27:57.320 --> 0:28:00.560
<v Speaker 1>with the rotation uh with you know, with the rotations

0:28:00.600 --> 0:28:03.159
<v Speaker 1>per minute of the helicopter blade, it will look like

0:28:03.200 --> 0:28:06.919
<v Speaker 1>the blade is spinning backwards. Yeah, there's a similar kind

0:28:06.920 --> 0:28:09.240
<v Speaker 1>of thing that sometimes goes on with the apparent peaks

0:28:09.240 --> 0:28:13.959
<v Speaker 1>and waves in the skirt. So anyway, what what explains this? Well,

0:28:14.480 --> 0:28:16.240
<v Speaker 1>I thought the answer that came up with here was

0:28:16.280 --> 0:28:19.399
<v Speaker 1>pretty interesting. They found that the patterns of movement in

0:28:19.440 --> 0:28:23.840
<v Speaker 1>a free flowing, nearly symmetrical cone shaped structure like the

0:28:23.840 --> 0:28:27.199
<v Speaker 1>fabric of a dancers skirt, are largely influenced by the

0:28:27.240 --> 0:28:32.560
<v Speaker 1>Coriolis force. Quote. A perturbative analysis of nearly access symmetric

0:28:32.640 --> 0:28:36.959
<v Speaker 1>cones shows that Coriolis forces are essential and establishing skirt

0:28:37.080 --> 0:28:43.720
<v Speaker 1>like solutions. Skirt like solutions. And I love it when,

0:28:43.800 --> 0:28:46.280
<v Speaker 1>you know, physicists come up with like a physics way

0:28:46.320 --> 0:28:50.400
<v Speaker 1>of describing something that you would never normally hear put

0:28:50.400 --> 0:28:55.160
<v Speaker 1>into those terms. But so Coriolis forces are are themselves

0:28:55.240 --> 0:28:59.600
<v Speaker 1>very interesting. They are responsible for, for example, determining the

0:28:59.720 --> 0:29:02.680
<v Speaker 1>rotation ation of weather patterns in the atmosphere, of Earth.

0:29:03.680 --> 0:29:08.040
<v Speaker 1>The Coriolis effect is a name for the deflection of

0:29:08.120 --> 0:29:12.160
<v Speaker 1>the motion of free flowing materials on a rotating surface.

0:29:12.560 --> 0:29:14.200
<v Speaker 1>And this is one of those things that can be

0:29:14.280 --> 0:29:17.040
<v Speaker 1>kind of hard to understand intuitively, but I'll do my

0:29:17.080 --> 0:29:20.520
<v Speaker 1>best with an analogy. Imagine you're trying to play catch

0:29:20.560 --> 0:29:22.720
<v Speaker 1>with someone. So you're throwing a baseball back and forth.

0:29:23.400 --> 0:29:27.160
<v Speaker 1>But you're throwing a baseball back and forth on a

0:29:27.240 --> 0:29:31.480
<v Speaker 1>merry go round. Suddenly you can't just throw in a

0:29:31.520 --> 0:29:33.720
<v Speaker 1>straight line, right, You know. If I'm trying to throw

0:29:33.760 --> 0:29:35.280
<v Speaker 1>to you on the other side of the merry go

0:29:35.400 --> 0:29:38.760
<v Speaker 1>round and I throw straight at you, suddenly the ball

0:29:39.040 --> 0:29:42.120
<v Speaker 1>from our point of view will appear to curve off

0:29:42.240 --> 0:29:47.320
<v Speaker 1>target in some bizarre way, right, And it's because you're moving. Right,

0:29:47.400 --> 0:29:49.360
<v Speaker 1>I throw the ball in a straight line, it does

0:29:49.440 --> 0:29:52.280
<v Speaker 1>go in a straight line, but you move and so

0:29:52.400 --> 0:29:54.160
<v Speaker 1>it looks like the ball just flew off to the

0:29:54.200 --> 0:29:57.600
<v Speaker 1>side in the middle of its uh traveling. And it's

0:29:57.600 --> 0:30:01.240
<v Speaker 1>because we're in a rotating reference frame. A similar thing

0:30:01.320 --> 0:30:04.600
<v Speaker 1>takes place on larger rotating reference frames, such as the

0:30:04.640 --> 0:30:08.840
<v Speaker 1>Earth itself. When you have free flowing patterns of fluid,

0:30:09.000 --> 0:30:11.680
<v Speaker 1>you know, such as weather, you know, it's fluids moving

0:30:11.680 --> 0:30:16.200
<v Speaker 1>through fluids, it's it's clouds or or winds moving through air.

0:30:16.800 --> 0:30:19.560
<v Speaker 1>These are affected by the rotation of the Earth, causing

0:30:19.640 --> 0:30:23.800
<v Speaker 1>winds to typically form clockwise patterns in the northern hemisphere

0:30:24.120 --> 0:30:28.480
<v Speaker 1>and counterclockwise patterns in the southern hemisphere. And apparently when

0:30:28.480 --> 0:30:32.360
<v Speaker 1>a Sufi dancer twirls, the rotation of the skirt also

0:30:32.440 --> 0:30:35.960
<v Speaker 1>gives rise to Coreoli's forces in the patterns of the fabric.

0:30:36.720 --> 0:30:39.000
<v Speaker 1>To quote James hannagg In and that that physic or

0:30:39.200 --> 0:30:42.280
<v Speaker 1>article quote, the flow of a sheet of material is

0:30:42.360 --> 0:30:45.440
<v Speaker 1>much more restrictive than the flow of the atmosphere, but

0:30:45.560 --> 0:30:49.320
<v Speaker 1>nonetheless it results in Coriolis forces. What we found was

0:30:49.360 --> 0:30:53.360
<v Speaker 1>that this flow and the associated Coriolis forces plays a

0:30:53.400 --> 0:30:57.360
<v Speaker 1>crucial role in forming the dervish like patterns. And the

0:30:57.400 --> 0:31:00.640
<v Speaker 1>authors actually came up with equations to dis scribe these

0:31:00.640 --> 0:31:04.240
<v Speaker 1>effects in free flowing conical materials like the fabric of

0:31:04.240 --> 0:31:06.480
<v Speaker 1>a skirt. And so now you have an equation that

0:31:06.520 --> 0:31:09.880
<v Speaker 1>can show you the skirt like solutions. Yeah, we will

0:31:09.920 --> 0:31:11.440
<v Speaker 1>not read it out to you have to look it

0:31:11.520 --> 0:31:14.960
<v Speaker 1>up for yourself. Because I found a similar situation in

0:31:15.120 --> 0:31:17.440
<v Speaker 1>first episode where we talked about spinning kicks, and I

0:31:17.480 --> 0:31:19.960
<v Speaker 1>found a post about the physics of a spin kick.

0:31:21.120 --> 0:31:23.120
<v Speaker 1>But it was just it was there was just no

0:31:23.200 --> 0:31:24.920
<v Speaker 1>sense in getting into it because I would just be

0:31:25.000 --> 0:31:28.080
<v Speaker 1>me reading out an equation. But anyway, I don't For

0:31:28.120 --> 0:31:31.600
<v Speaker 1>some reason, I found something oddly beautiful about this study. Yeah,

0:31:31.640 --> 0:31:33.720
<v Speaker 1>I mean, and it's it also seems kind of fitting, right,

0:31:33.800 --> 0:31:37.480
<v Speaker 1>given the mystical nature of it, you know, and and

0:31:37.480 --> 0:31:42.120
<v Speaker 1>and the idea of there being this mathematical pattern underlying

0:31:43.120 --> 0:31:47.800
<v Speaker 1>what we see when we uh witness this particular tradition,

0:31:47.880 --> 0:31:58.720
<v Speaker 1>you know. Than now, speaking of cultural traditions about spinning

0:31:58.720 --> 0:32:01.120
<v Speaker 1>around in circles, another one came to mind while we

0:32:01.120 --> 0:32:04.320
<v Speaker 1>were getting ready for this episode, and it is something

0:32:04.360 --> 0:32:07.200
<v Speaker 1>you may have seen at a baseball game. It is

0:32:07.240 --> 0:32:12.000
<v Speaker 1>the dizzy bat race. You know. I had completely forgotten

0:32:12.040 --> 0:32:14.560
<v Speaker 1>about this until you shared a clip of people doing it.

0:32:14.720 --> 0:32:17.760
<v Speaker 1>So this is when the first step is you take

0:32:17.760 --> 0:32:21.400
<v Speaker 1>a baseball bat and you put the I don't know,

0:32:21.480 --> 0:32:24.960
<v Speaker 1>the club end on the on the ground does the

0:32:25.080 --> 0:32:27.800
<v Speaker 1>end and I don't know, yeah, And and then well

0:32:28.160 --> 0:32:30.080
<v Speaker 1>I guess it. I don't know if it matters. Maybe

0:32:30.080 --> 0:32:32.960
<v Speaker 1>maybe it doesn't. But then one end of the bat

0:32:32.960 --> 0:32:34.400
<v Speaker 1>is on the ground and the other end of the

0:32:34.400 --> 0:32:37.560
<v Speaker 1>bat is on your forehead, so you're bending and then yeah,

0:32:37.560 --> 0:32:40.479
<v Speaker 1>and you're bending over and then you start spinning around

0:32:40.480 --> 0:32:43.960
<v Speaker 1>three Stooges style around it right, yep, yep, it spin

0:32:44.000 --> 0:32:46.360
<v Speaker 1>around in circles, and then you gotta do something. You

0:32:46.400 --> 0:32:49.400
<v Speaker 1>gotta run somewhere. I don't think it really matters after that.

0:32:49.440 --> 0:32:51.120
<v Speaker 1>You just the goal is you get a couple of

0:32:51.120 --> 0:32:53.240
<v Speaker 1>people out of the audience who maybe been having a

0:32:53.280 --> 0:32:57.160
<v Speaker 1>few stadium beers. I mean, that's probably watered down beer,

0:32:57.240 --> 0:33:00.960
<v Speaker 1>but it's still beer. They've got some alcohol in their system. Alcohol.

0:33:01.080 --> 0:33:04.080
<v Speaker 1>It does affect the vestibular system, as we know. Uh.

0:33:04.120 --> 0:33:05.920
<v Speaker 1>And then and then you make it even worse by

0:33:05.920 --> 0:33:07.920
<v Speaker 1>having them spin around a bunch of times and then

0:33:08.000 --> 0:33:10.120
<v Speaker 1>say like, hey, run and try to catch this hot

0:33:10.200 --> 0:33:14.040
<v Speaker 1>dog or something, and they'll typically stumble all over the place.

0:33:14.040 --> 0:33:15.680
<v Speaker 1>In one example we were looking at, one of the

0:33:15.680 --> 0:33:19.200
<v Speaker 1>guys runs straight into the stands and falls over the wall.

0:33:20.080 --> 0:33:22.440
<v Speaker 1>Oh yeah, it's quite a wipeout. But then he's right

0:33:22.480 --> 0:33:25.600
<v Speaker 1>back in his feet. Yeah, let you see that. Bra

0:33:28.200 --> 0:33:31.440
<v Speaker 1>So generally, as you said this, this sport is presented

0:33:31.480 --> 0:33:35.840
<v Speaker 1>as a impromptu competition that one has not trained for.

0:33:36.160 --> 0:33:39.719
<v Speaker 1>But based on everything we've discussed here, um, you know

0:33:40.000 --> 0:33:42.560
<v Speaker 1>training would be able to help you. Uh. You know,

0:33:42.600 --> 0:33:45.000
<v Speaker 1>the untrained performance seems to be key to the dizzy

0:33:45.120 --> 0:33:48.440
<v Speaker 1>bat race. But if you were to train for it,

0:33:48.600 --> 0:33:51.560
<v Speaker 1>you could potentially be in a better position to excel

0:33:51.600 --> 0:33:54.280
<v Speaker 1>at it. Oh yeah, like training like a Sufi dancer

0:33:54.480 --> 0:33:58.400
<v Speaker 1>or like a or like a ballerina or a figure skater.

0:33:58.720 --> 0:34:02.080
<v Speaker 1>You just dizzy bat yourself for hours a day every

0:34:02.160 --> 0:34:06.040
<v Speaker 1>day until you can become the ultimate dizzy bat hustler.

0:34:06.280 --> 0:34:09.279
<v Speaker 1>And like nobody knows when you go in that I'm

0:34:09.280 --> 0:34:11.320
<v Speaker 1>going to be better at catching the hot dog or

0:34:11.360 --> 0:34:13.120
<v Speaker 1>whatever it is. I don't know why I said hot dog.

0:34:13.680 --> 0:34:16.360
<v Speaker 1>I guess that's another thing that's at baseball stadiums. You know,

0:34:16.480 --> 0:34:18.160
<v Speaker 1>they may do a hot dog version. I guess one

0:34:18.160 --> 0:34:19.480
<v Speaker 1>of the versions I was looking at is like you

0:34:19.520 --> 0:34:22.640
<v Speaker 1>do the dizzy bat thing. You you spin around and

0:34:22.640 --> 0:34:25.279
<v Speaker 1>then you have to run to like first base and

0:34:25.480 --> 0:34:27.040
<v Speaker 1>to see if you can run in a straight line,

0:34:27.360 --> 0:34:29.680
<v Speaker 1>and then you're it's your time, right, It's like they

0:34:29.719 --> 0:34:33.120
<v Speaker 1>time you on it. So, UM, I have a potential

0:34:33.160 --> 0:34:35.680
<v Speaker 1>answer to this. It's not a scientific answer, but I

0:34:35.800 --> 0:34:39.920
<v Speaker 1>come to it via another physical activity that involves spinning,

0:34:39.960 --> 0:34:43.920
<v Speaker 1>and that's the world of professional wrestling. Um, so I

0:34:44.000 --> 0:34:46.759
<v Speaker 1>knew we'd end up back here. I didn't expect to

0:34:46.760 --> 0:34:51.080
<v Speaker 1>talk about about pro wrestling in this at all. Um beside, well,

0:34:51.080 --> 0:34:53.399
<v Speaker 1>I guess I already did. I did bring it up briefly. Um,

0:34:53.480 --> 0:34:57.160
<v Speaker 1>what was the elbow or something from from Japanese wrestling? Yeah,

0:34:57.280 --> 0:34:59.120
<v Speaker 1>like a roaring elbow where you get you spin around

0:34:59.160 --> 0:35:01.760
<v Speaker 1>and do an elbow. It's uh, you know, it's flashy looking.

0:35:02.360 --> 0:35:04.480
<v Speaker 1>But but there are a couple of other more famous

0:35:04.520 --> 0:35:07.640
<v Speaker 1>spinning maneuvers. So one of them, and tell me if

0:35:07.640 --> 0:35:10.360
<v Speaker 1>you've seen this before, Joe. One is the airplane spin.

0:35:10.520 --> 0:35:13.760
<v Speaker 1>This is when one wrestler puts another in a fireman's carry,

0:35:14.080 --> 0:35:16.520
<v Speaker 1>you know, up on their shoulders, and then they spin

0:35:16.600 --> 0:35:20.760
<v Speaker 1>around more or less like a whirling dervish before dumping

0:35:20.800 --> 0:35:24.640
<v Speaker 1>them over and then the ideas you're both dizzy. Okay.

0:35:25.600 --> 0:35:29.000
<v Speaker 1>The other version is the giant swing. And in this one,

0:35:29.400 --> 0:35:32.920
<v Speaker 1>one wrestler grabs the legs of the other, you know,

0:35:33.000 --> 0:35:36.719
<v Speaker 1>like a wheelbarrow hold, and then spins them around like

0:35:36.760 --> 0:35:40.000
<v Speaker 1>a centrifuge and then eventually releases them. And there are

0:35:40.000 --> 0:35:41.879
<v Speaker 1>a couple of other variants, but these are the main

0:35:42.040 --> 0:35:44.759
<v Speaker 1>spinning moves. So I guess the idea and that the

0:35:44.800 --> 0:35:48.719
<v Speaker 1>giant swing is that you are attempting to spin around

0:35:48.840 --> 0:35:51.680
<v Speaker 1>until the intracranial pressure of the blood flowing up to

0:35:51.719 --> 0:35:53.640
<v Speaker 1>the top of their head kills them. Right. Is that

0:35:54.040 --> 0:35:58.960
<v Speaker 1>an execution move? It's a finishing move, and generally, yeah,

0:35:58.960 --> 0:36:01.080
<v Speaker 1>I guess in Mortal Kombat would it would make the

0:36:01.120 --> 0:36:03.160
<v Speaker 1>top of your head fly off and your brains splat

0:36:03.239 --> 0:36:06.800
<v Speaker 1>again against the camera or something. But in pro pro wrestling,

0:36:06.840 --> 0:36:09.440
<v Speaker 1>both of these moves generally play out this way, like

0:36:09.800 --> 0:36:13.440
<v Speaker 1>you spin your opponent around until they're dizzy. You're dizzy

0:36:13.480 --> 0:36:16.080
<v Speaker 1>as well, but then you take advantage and you either

0:36:16.120 --> 0:36:19.759
<v Speaker 1>pin the person or or it gives you a chance

0:36:19.800 --> 0:36:22.439
<v Speaker 1>to do another maneuver on them and then potentially win.

0:36:23.239 --> 0:36:24.920
<v Speaker 1>A lot of times it's kind of played up for

0:36:25.000 --> 0:36:27.360
<v Speaker 1>comedy though, like oh, you did the airplane spin, and

0:36:27.400 --> 0:36:30.120
<v Speaker 1>now both people are dizzy and they can't punch each other,

0:36:30.160 --> 0:36:31.719
<v Speaker 1>and they're kind of doing a you know, kind of

0:36:31.760 --> 0:36:35.239
<v Speaker 1>a dizzy bat humor spot where like, oh, now we

0:36:35.280 --> 0:36:36.759
<v Speaker 1>can't connect it. It's a way to kind of like

0:36:36.800 --> 0:36:39.360
<v Speaker 1>break down the action for a little bit. It seems

0:36:39.400 --> 0:36:41.879
<v Speaker 1>like a move that the bush Whackers would have done,

0:36:41.960 --> 0:36:47.400
<v Speaker 1>remember them. Yeah, But you know, I've often dismissed the

0:36:47.400 --> 0:36:49.600
<v Speaker 1>move because I think, oh, well, that just makes you

0:36:49.600 --> 0:36:51.719
<v Speaker 1>both dizzy. It's not very realistic. What's the point of

0:36:51.760 --> 0:36:55.240
<v Speaker 1>making your opponent really dizzy if you yourself are equally dizzy.

0:36:56.040 --> 0:37:00.480
<v Speaker 1>But given everything we've talked about here, it absolutely makes

0:37:00.520 --> 0:37:03.799
<v Speaker 1>sense that a wrestler who regular uses a spinny move

0:37:04.640 --> 0:37:08.279
<v Speaker 1>or just trains and spinning would be less affected by

0:37:08.280 --> 0:37:11.440
<v Speaker 1>the maneuver and could then, you know, better utilize it

0:37:11.600 --> 0:37:14.520
<v Speaker 1>in a match. Of course, the reverse would be true

0:37:14.520 --> 0:37:17.560
<v Speaker 1>as well, right if you in in cafe, within the

0:37:17.640 --> 0:37:19.560
<v Speaker 1>within the fiction of pro wrestling, If you knew you

0:37:19.560 --> 0:37:21.640
<v Speaker 1>were going to go up against someone who uses a

0:37:21.680 --> 0:37:26.840
<v Speaker 1>move like this, say Hiroshi Hayes or Cesarrow or Daniel Bryant,

0:37:27.080 --> 0:37:30.040
<v Speaker 1>you could train and prepare for it so that they

0:37:30.080 --> 0:37:32.960
<v Speaker 1>wouldn't be able to, you know, to to to to

0:37:33.080 --> 0:37:35.600
<v Speaker 1>use it effectively against you. I don't think I don't

0:37:35.680 --> 0:37:39.000
<v Speaker 1>think that's ever been used from a wrestling psychology standpoint,

0:37:39.040 --> 0:37:40.960
<v Speaker 1>but it seems like it could be a good angle.

0:37:43.040 --> 0:37:46.239
<v Speaker 1>I'm imagining the Ric Flair monologue now, you can't use

0:37:46.280 --> 0:37:50.360
<v Speaker 1>that role on me. It's Rolex time. You could have

0:37:50.400 --> 0:37:53.520
<v Speaker 1>a training montage of somebody spinning around in circles preparing

0:37:53.560 --> 0:37:56.000
<v Speaker 1>for their match, and then you know, making themselves less

0:37:56.040 --> 0:37:59.840
<v Speaker 1>susceptible to the move. But but outside of the fictional

0:38:00.120 --> 0:38:03.760
<v Speaker 1>world of the you know, the match itself. The other question,

0:38:03.800 --> 0:38:06.120
<v Speaker 1>of course, is do wrestlers like the ones I just

0:38:06.160 --> 0:38:08.960
<v Speaker 1>mentioned do they adapt to using the maneuver? You know,

0:38:09.080 --> 0:38:12.040
<v Speaker 1>if you're using an airplane spin or a giant swing

0:38:12.719 --> 0:38:14.640
<v Speaker 1>in you know, a couple of times a week or

0:38:14.719 --> 0:38:18.480
<v Speaker 1>just regularly, you know, in your matches, do you become

0:38:18.600 --> 0:38:22.600
<v Speaker 1>less susceptible to dizziness? And I couldn't find a real

0:38:22.640 --> 0:38:24.359
<v Speaker 1>answer on this. I looked around a little bit for

0:38:24.440 --> 0:38:28.000
<v Speaker 1>you know, interviews and all, but I did find footage

0:38:28.000 --> 0:38:33.080
<v Speaker 1>of a dizzy bat competition featuring w w E wrestlers,

0:38:33.120 --> 0:38:36.080
<v Speaker 1>and one of the wrestlers was this guy Cesaro who

0:38:36.480 --> 0:38:39.719
<v Speaker 1>who uses this um this giant swing a lot in

0:38:39.760 --> 0:38:42.719
<v Speaker 1>his matches and has also i think on one in

0:38:42.760 --> 0:38:45.800
<v Speaker 1>one case he used a hundred revolutions in a single match,

0:38:46.640 --> 0:38:48.960
<v Speaker 1>so so yeah, he'll really get spinning. And he has

0:38:49.000 --> 0:38:51.879
<v Speaker 1>another spinning move called a UFO which is basically an

0:38:51.880 --> 0:38:55.759
<v Speaker 1>inverted airplane spin. It's also very impressive, uh, just to

0:38:55.840 --> 0:38:59.919
<v Speaker 1>be performed. So it raises like it's it is the question,

0:39:00.000 --> 0:39:01.760
<v Speaker 1>how's he going to do in this? In this dizzy

0:39:01.800 --> 0:39:06.319
<v Speaker 1>bat competition? And you know, this is very unscientific. He

0:39:06.360 --> 0:39:09.239
<v Speaker 1>only was competing against I think two other people, but

0:39:09.440 --> 0:39:13.000
<v Speaker 1>he did win. He had better time doing the dizzy

0:39:13.000 --> 0:39:15.080
<v Speaker 1>bat thing and then running out the first base. He

0:39:15.080 --> 0:39:19.480
<v Speaker 1>he had better time than either competitor. That's so that's interesting. Yeah,

0:39:19.680 --> 0:39:23.719
<v Speaker 1>so there you go. Maybe maybe it does. Uh, maybe

0:39:23.719 --> 0:39:25.600
<v Speaker 1>there is a way to prepare for the dizzy bat

0:39:26.080 --> 0:39:29.960
<v Speaker 1>competition and maybe spinning around a lot in pro wrestling

0:39:30.040 --> 0:39:33.759
<v Speaker 1>does produce these results. I mean, it makes complete sense

0:39:33.800 --> 0:39:36.040
<v Speaker 1>based on everything we've looked at. I think what it

0:39:36.080 --> 0:39:38.920
<v Speaker 1>means is that Cesarro has a future in ice skating

0:39:39.000 --> 0:39:44.520
<v Speaker 1>or ballet probably, so. I mean, professional dance and professional

0:39:44.600 --> 0:39:46.879
<v Speaker 1>wrestling have a lot in common. And uh, I mean

0:39:47.200 --> 0:39:49.239
<v Speaker 1>he's a hoss. He could do it well. What that

0:39:49.280 --> 0:39:51.520
<v Speaker 1>makes me wonder is are there any well known pro

0:39:51.560 --> 0:39:54.840
<v Speaker 1>wrestlers who were also professional dancers in something that is

0:39:54.880 --> 0:39:58.160
<v Speaker 1>acknowledged as dance. Um, I don't know, I'm not sure

0:39:58.160 --> 0:40:00.120
<v Speaker 1>on that offhand, it seems like they're they're m be.

0:40:00.200 --> 0:40:03.040
<v Speaker 1>I mean, you have wrestlers coming in with all sorts

0:40:03.040 --> 0:40:07.000
<v Speaker 1>of backgrounds, Um, you know, certainly gymnastics backgrounds in some cases.

0:40:07.040 --> 0:40:10.200
<v Speaker 1>So uh, I'm sure there's there's one out there that

0:40:10.239 --> 0:40:12.680
<v Speaker 1>has some sort of a dance background. Hulkster was he

0:40:12.719 --> 0:40:16.200
<v Speaker 1>also a square dancing champion. I don't know if the

0:40:16.239 --> 0:40:20.880
<v Speaker 1>Hulkster was a square great dancing champion now, um, But Mike,

0:40:20.960 --> 0:40:22.560
<v Speaker 1>I'm trying to remember if he ever did the giant

0:40:22.560 --> 0:40:25.239
<v Speaker 1>swing he might have I can't recall. While on the

0:40:25.280 --> 0:40:29.160
<v Speaker 1>subject of of airplane spins as a as an offensive move,

0:40:29.200 --> 0:40:31.920
<v Speaker 1>I guess we've come full circle to like in Bison territory.

0:40:32.400 --> 0:40:34.120
<v Speaker 1>There was another thing I was thinking about when we

0:40:34.120 --> 0:40:36.440
<v Speaker 1>were doing this episode that was, um, it was a

0:40:36.520 --> 0:40:40.520
<v Speaker 1>Simpsons episode with a certain type of spinning torture as hazing.

0:40:40.600 --> 0:40:43.840
<v Speaker 1>It's the episode where Barton Lisa get enrolled in a

0:40:43.880 --> 0:40:47.800
<v Speaker 1>military academy and there's a scene where they're being hazed

0:40:47.920 --> 0:40:51.680
<v Speaker 1>and they're apparently strapped to airplane propellers and then the

0:40:51.680 --> 0:40:54.760
<v Speaker 1>the airplane runs, so they like spin around with the propeller.

0:40:55.480 --> 0:40:57.799
<v Speaker 1>That's a different kind of spinning than we're usually talking about,

0:40:57.800 --> 0:41:01.640
<v Speaker 1>because we're talking about spinning along a different axis of

0:41:01.680 --> 0:41:04.439
<v Speaker 1>the body. This would be again more like the giant swing.

0:41:04.480 --> 0:41:08.279
<v Speaker 1>This would be like centrifuging you. Uh. And while it's

0:41:08.280 --> 0:41:10.799
<v Speaker 1>funny in the show, I think I would have to

0:41:10.800 --> 0:41:15.680
<v Speaker 1>say my suspicion is that this would be absolutely one fatal.

0:41:15.760 --> 0:41:18.480
<v Speaker 1>In reality, it was just like, you know, shove all

0:41:18.520 --> 0:41:20.160
<v Speaker 1>the blood in your body up to the top of

0:41:20.200 --> 0:41:22.160
<v Speaker 1>your head and kill you. Yeah, I mean it's it

0:41:22.239 --> 0:41:25.719
<v Speaker 1>basically comes back to the Moonraker example that we talked

0:41:25.760 --> 0:41:28.040
<v Speaker 1>about earlier, you know, where there's a scene and Moonraker

0:41:28.040 --> 0:41:32.080
<v Speaker 1>where James Bond is put in a centrifuge as torture, right, Yeah,

0:41:33.320 --> 0:41:36.839
<v Speaker 1>the G Forces simulator for astronauts. Yeah, except I think

0:41:36.960 --> 0:41:39.600
<v Speaker 1>that's different because the way his body is oriented, the

0:41:39.600 --> 0:41:41.160
<v Speaker 1>way I thought it was supposed to be, was that

0:41:41.200 --> 0:41:43.759
<v Speaker 1>the g forces would be operating. The other way would

0:41:43.760 --> 0:41:45.960
<v Speaker 1>be like taking the blood out of his head, you know,

0:41:46.000 --> 0:41:49.760
<v Speaker 1>and pulling it towards his feet like would normally Hugh,

0:41:49.760 --> 0:41:52.799
<v Speaker 1>I don't know. Well, actually I don't know, because if

0:41:52.840 --> 0:41:56.759
<v Speaker 1>the astronauts are the astronauts are usually exeeded, what with

0:41:56.840 --> 0:42:02.080
<v Speaker 1>the back of their bodies face saying the facing the

0:42:02.440 --> 0:42:05.400
<v Speaker 1>the exhaust, right, So maybe that would just mean that

0:42:05.440 --> 0:42:08.400
<v Speaker 1>the blood is pulled not up or down your body,

0:42:08.440 --> 0:42:10.799
<v Speaker 1>but towards the back of your body, towards the back

0:42:10.840 --> 0:42:13.239
<v Speaker 1>of your skull. Yeah, I guess, And it would also

0:42:13.280 --> 0:42:16.080
<v Speaker 1>depend on the maneuver you're taking in the airplane. But

0:42:16.080 --> 0:42:19.319
<v Speaker 1>but certainly when you're talking about the effects of of

0:42:19.360 --> 0:42:22.960
<v Speaker 1>G force on the blood flow and the body, particularly

0:42:23.000 --> 0:42:25.160
<v Speaker 1>blood flow to the brain, that's where you can get

0:42:25.160 --> 0:42:28.400
<v Speaker 1>into hypoxia territory where not enough blood and oxygen is

0:42:28.440 --> 0:42:32.160
<v Speaker 1>reaching the brain, and you can certainly lose consciousness that way, um,

0:42:32.200 --> 0:42:34.440
<v Speaker 1>which is of course extra dangerous if you are also

0:42:34.520 --> 0:42:38.960
<v Speaker 1>piloting an aircraft. Um, especially if you're piloting an aircraft

0:42:39.000 --> 0:42:42.120
<v Speaker 1>that is to say, in a spin or something like that.

0:42:42.719 --> 0:42:46.040
<v Speaker 1>So um, yeah, the idea of this being a potentially

0:42:46.120 --> 0:42:51.200
<v Speaker 1>lethal way to torment parton Lisa, absolutely. What is there's

0:42:51.239 --> 0:42:53.960
<v Speaker 1>some movie where that's there's like a scene where a

0:42:54.040 --> 0:42:56.480
<v Speaker 1>character has to execute a move in an airplane or

0:42:56.480 --> 0:42:59.000
<v Speaker 1>a spaceship or something that they know is going to

0:42:59.040 --> 0:43:01.840
<v Speaker 1>cause them to lose asciousness student forces and they have

0:43:01.920 --> 0:43:04.560
<v Speaker 1>to like recover in time. Do you does that ringing

0:43:04.560 --> 0:43:07.560
<v Speaker 1>a bell for you? Oh? It vaguely does. I mean

0:43:07.719 --> 0:43:10.440
<v Speaker 1>this kind of thing comes up a fair amount in

0:43:10.440 --> 0:43:14.759
<v Speaker 1>in films about about to say, fighter crafts and all,

0:43:14.840 --> 0:43:16.880
<v Speaker 1>so it could have been some of the usual suspects.

0:43:16.920 --> 0:43:19.279
<v Speaker 1>They're like the like top Gun or that one where

0:43:19.320 --> 0:43:23.080
<v Speaker 1>Clint Eastwood flies s R seventy one or some version

0:43:23.120 --> 0:43:25.959
<v Speaker 1>of it. I don't know that one. Yeah, I forget

0:43:26.000 --> 0:43:27.440
<v Speaker 1>it was. I always wanted to watch it as a

0:43:27.480 --> 0:43:30.160
<v Speaker 1>kid because I remember really loving the SR seventy one

0:43:30.200 --> 0:43:32.920
<v Speaker 1>and the the SR seventy one Blackbird, which was right,

0:43:32.960 --> 0:43:35.120
<v Speaker 1>you know, it was a reconnaissance aircraft that could fly

0:43:35.239 --> 0:43:39.960
<v Speaker 1>super fast, super high altitude that um, I think you

0:43:39.960 --> 0:43:41.799
<v Speaker 1>got it a pretty high altitude as well. Not to

0:43:41.800 --> 0:43:43.719
<v Speaker 1>be confused with the YouTube which just does you know,

0:43:43.800 --> 0:43:48.360
<v Speaker 1>really long wings and his high altitude reconnaissance. But the

0:43:48.480 --> 0:43:51.840
<v Speaker 1>SR seventy one was beautiful and the he's supposed to

0:43:51.840 --> 0:43:54.440
<v Speaker 1>be flying a fighter plane in this in this film

0:43:54.480 --> 0:43:56.440
<v Speaker 1>that's based on the SR seventy one, or maybe they

0:43:56.520 --> 0:43:58.560
<v Speaker 1>use an SR seventy one stand in. And I used

0:43:58.560 --> 0:44:00.799
<v Speaker 1>to see the VHS copy think oh that that looks

0:44:00.800 --> 0:44:03.040
<v Speaker 1>like such a great movie, and I think later I

0:44:03.080 --> 0:44:06.319
<v Speaker 1>did see it, and it's it's not great, but it

0:44:06.360 --> 0:44:08.080
<v Speaker 1>has a cool plane in it. So what can you

0:44:08.120 --> 0:44:10.480
<v Speaker 1>do but to come back to video games. Certainly, anyone

0:44:10.520 --> 0:44:13.160
<v Speaker 1>who's ever played a flight simulator you know that, uh,

0:44:13.200 --> 0:44:15.840
<v Speaker 1>if you you take on too many G forces, the

0:44:15.880 --> 0:44:17.919
<v Speaker 1>screen is gonna go black or the screen is gonna

0:44:17.920 --> 0:44:20.080
<v Speaker 1>go red. You know you're gonna potitionally black out or

0:44:20.080 --> 0:44:22.920
<v Speaker 1>red out based on the G forces. Oh and by

0:44:22.960 --> 0:44:26.840
<v Speaker 1>the way, that Clint Eatwood movie was two Firefox. I

0:44:26.880 --> 0:44:29.120
<v Speaker 1>had to look it up to make sure that I was, uh,

0:44:29.200 --> 0:44:34.760
<v Speaker 1>you know, giving everybody the uh, the the full recommend there.

0:44:34.800 --> 0:44:39.200
<v Speaker 1>Directed by Clint Eastwood, starring Clint Eastwood. Um, I would

0:44:39.239 --> 0:44:42.520
<v Speaker 1>have had Ronald Lacy in it, uh of Raiders of

0:44:42.560 --> 0:44:45.080
<v Speaker 1>the Lost Ark fame, who played U, you know, the

0:44:45.280 --> 0:44:50.520
<v Speaker 1>villainous taught uh the s S officer. Wait what, oh,

0:44:50.800 --> 0:44:53.279
<v Speaker 1>I see you. I'm confusing this the name of the

0:44:53.280 --> 0:44:55.240
<v Speaker 1>movie you're talking about with the movie that I watched

0:44:55.239 --> 0:44:59.200
<v Speaker 1>as a child called fire Birds, not Firefox. This was

0:44:59.239 --> 0:45:04.480
<v Speaker 1>a helicopter action movie starring Nicolas Cage and yeah, Nicolas

0:45:04.480 --> 0:45:08.040
<v Speaker 1>Cage and Tommy Lee Jones and Sean Young and I

0:45:08.040 --> 0:45:11.560
<v Speaker 1>think some other recognizable character actors. And I remember there's

0:45:11.560 --> 0:45:14.600
<v Speaker 1>a scene where Nicolas Cage has to like drive a

0:45:14.640 --> 0:45:17.399
<v Speaker 1>car with one of his eyes covered up looking through

0:45:17.400 --> 0:45:22.040
<v Speaker 1>a periscope in order to train his brain. Oh nice, Well,

0:45:22.040 --> 0:45:24.279
<v Speaker 1>that's a perfect place to close out here, because so

0:45:24.360 --> 0:45:26.000
<v Speaker 1>much of what we've talked about it comes down to

0:45:26.080 --> 0:45:29.440
<v Speaker 1>training the brain um of the brain, becoming used to

0:45:29.719 --> 0:45:33.400
<v Speaker 1>what the body is is going through and and altering

0:45:33.400 --> 0:45:35.800
<v Speaker 1>the way that it understands the signals that are delivered

0:45:35.840 --> 0:45:38.400
<v Speaker 1>to it. All right, we're gonna go ahead and close

0:45:38.560 --> 0:45:41.520
<v Speaker 1>out these episodes here then. Um, obviously we'd love to

0:45:41.520 --> 0:45:44.640
<v Speaker 1>hear from everybody out there about these episodes. You know,

0:45:44.680 --> 0:45:48.840
<v Speaker 1>what are your experiences with spinning around in circles related

0:45:48.840 --> 0:45:51.840
<v Speaker 1>to say, dance? Uh? Do we have skaters and dancers

0:45:51.840 --> 0:45:54.800
<v Speaker 1>and I know we have at least one uh individual

0:45:54.880 --> 0:45:56.799
<v Speaker 1>listens to show with the ballet background. We'd love to

0:45:56.800 --> 0:45:58.960
<v Speaker 1>hear from them on this. Um. Also, do we have

0:45:59.000 --> 0:46:01.880
<v Speaker 1>any Sufi listeners who would like to chime in on

0:46:01.920 --> 0:46:05.840
<v Speaker 1>either the experience of the Sufi whirling or just the

0:46:06.200 --> 0:46:11.040
<v Speaker 1>place that it has within the religion. Uh, you know, basically,

0:46:11.040 --> 0:46:12.880
<v Speaker 1>any any anything you have to add or if you

0:46:12.920 --> 0:46:16.160
<v Speaker 1>just have stuff about video games and movies. Will also

0:46:16.719 --> 0:46:18.759
<v Speaker 1>be happy to listen to you on on that front

0:46:18.760 --> 0:46:21.520
<v Speaker 1>as well. In the meantime, if you like to check

0:46:21.560 --> 0:46:23.480
<v Speaker 1>out other episodes of Stuff to Blow your Mind, you

0:46:23.520 --> 0:46:25.320
<v Speaker 1>know where to find it. You can find it anywhere

0:46:25.400 --> 0:46:27.200
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0:46:27.320 --> 0:46:30.279
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0:46:37.600 --> 0:46:40.120
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0:46:40.280 --> 0:46:42.279
<v Speaker 1>I know some of you are probably intrigued by the

0:46:42.680 --> 0:46:46.120
<v Speaker 1>mention of the of the Whirling Dervishes, the video and

0:46:46.160 --> 0:46:48.640
<v Speaker 1>the and of course the music. I'm gonna put a

0:46:48.680 --> 0:46:52.440
<v Speaker 1>post up about that at my my website, Samooda music

0:46:52.480 --> 0:46:56.279
<v Speaker 1>dot com. Uh that's just a little impersonal blog that

0:46:56.320 --> 0:46:59.319
<v Speaker 1>I do, uh you know, the low key blogging I

0:46:59.360 --> 0:47:02.480
<v Speaker 1>call it. But I'll do a post there about about

0:47:02.560 --> 0:47:04.200
<v Speaker 1>the music that I'll have a few links for you

0:47:04.200 --> 0:47:06.239
<v Speaker 1>in some bedded video that you can check out if

0:47:06.280 --> 0:47:09.640
<v Speaker 1>you so desire. Huge thanks as always to our excellent

0:47:09.680 --> 0:47:13.160
<v Speaker 1>audio producer Seth Nicholas Johnson. If you'd like to get

0:47:13.200 --> 0:47:15.480
<v Speaker 1>in touch with us with feedback on this episode or

0:47:15.520 --> 0:47:18.520
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0:47:18.600 --> 0:47:21.960
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0:47:22.080 --> 0:47:32.520
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0:47:32.520 --> 0:47:35.080
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