WEBVTT - Special Episode: Ed Yong & An Immense World

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<v Speaker 1>Hi, I'm Aaron Welsh and this is this podcast will

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<v Speaker 1>Kill You. Welcome everyone to the final episode in the

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<v Speaker 1>tp w k Y Book Club miniseries. Over the past months,

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<v Speaker 1>we have read some wonderfully fashining and impactful books and

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<v Speaker 1>covered a whole lot of ground when it comes to

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<v Speaker 1>public health and medicine and biology and history. So much ground,

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<v Speaker 1>in fact, that I'm going to skip the usual shpiel

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<v Speaker 1>I give where I attempt to list or describe all

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<v Speaker 1>the books we've read. Whether this is your first time

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<v Speaker 1>tuning in to one of these episodes, or whether you've

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<v Speaker 1>been here from the beginning. Thank you so very much

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<v Speaker 1>for joining me, and to all the authors who have

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<v Speaker 1>been so amazing to come onto the podcast and answer

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<v Speaker 1>my many questions, a tremendous thank you. I'd love to

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<v Speaker 1>bring this miniseriies back next season, so please reach out

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<v Speaker 1>with your book recommendations for future episodes and your thoughts

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<v Speaker 1>on past episodes. While I'm sad that this marks the

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<v Speaker 1>end of the book Club for now, I am so

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<v Speaker 1>incredibly excited for this episode because I got to chat

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<v Speaker 1>with another of my heroes of science communication, Ed Young,

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<v Speaker 1>about his latest book, An Immense World. How animal senses

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<v Speaker 1>reveal the hidden realms around us. Yong, who was awarded

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<v Speaker 1>a Pulitzer Prize in twenty twenty one for his reporting

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<v Speaker 1>on the COVID pandemic and whose previous book on Microbiomes,

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<v Speaker 1>I Contain Multitudes was a New York Times bestseller, transforms

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<v Speaker 1>and expands reader's perception of the world around us with

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<v Speaker 1>his latest work, to describe an immense world as simply

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<v Speaker 1>a tour of the senses, though accurate, would, I think,

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<v Speaker 1>fail to capture the wonder and magic found on every page.

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<v Speaker 1>Through Yong's immersive and poetic writing, each chapter focuses on

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<v Speaker 1>a different sense and the many ways that animals experience

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<v Speaker 1>that sense, though, as Yong points out early on, the

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<v Speaker 1>borders among senses are often fluid. Starting out with the

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<v Speaker 1>senses that most humans are familiar with, things like taste

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<v Speaker 1>and touch and smell and sound, Yong reveals that while

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<v Speaker 1>we may be able to imagine what it's like for

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<v Speaker 1>us humans to taste a bar of chocolate, or smell

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<v Speaker 1>freshly brewed coffee, or feel a soft piece of velvet,

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<v Speaker 1>we can only begin to try to conceive the vast

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<v Speaker 1>array of smells our dog can detect. When he sniffs

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<v Speaker 1>the telephone pole that all the neighborhood dogs like to

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<v Speaker 1>pee on, or what a catfish experiences through the taste

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<v Speaker 1>buds all over its skin, or how the world feels

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<v Speaker 1>through the tentacled nose of a star nosed mole. And

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<v Speaker 1>those are the senses for which we at least have

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<v Speaker 1>somewhat of a reference point. Our imagination skills get put

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<v Speaker 1>to the true test in later chapters, detailing senses such

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<v Speaker 1>as electro reception and magneto reception Throughout. Yong is an

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<v Speaker 1>incredible guide, writing with such skill and delight, accomplishing the

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<v Speaker 1>tremendous feet of bringing to life the world around us,

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<v Speaker 1>not as it is experienced by human senses, but by

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<v Speaker 1>a myriad of animal species. He encourages readers to resist

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<v Speaker 1>the temptation to rank species or make lists of the

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<v Speaker 1>top ten best smellers or those with the best color vision,

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<v Speaker 1>and instead appreciate the unique sensory world of each species,

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<v Speaker 1>how these senses evolved, and why they are important to

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<v Speaker 1>each animal. Just as fascinating as these sensory worlds that

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<v Speaker 1>Yong beautifully describes is the research done to try to

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<v Speaker 1>understand them. How do you measure the range of colors

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<v Speaker 1>a peacock, mantis shrimp seas, or the pain or lack thereof,

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<v Speaker 1>experienced by the thirteen lined ground squirrel as it hibernates

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<v Speaker 1>through winters with temperatures that we'd find unbearable, Or the

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<v Speaker 1>way a European robin or loggerhead turtle uses the Earth's

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<v Speaker 1>magnetic field to navigate incredibly long distances. Yong's interviews with

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<v Speaker 1>a frankly mind boggling number of research demonstrate the constantly

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<v Speaker 1>evolving and innovative field of sensory ecology and reveal some

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<v Speaker 1>of the most pressing challenges, including the current and future

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<v Speaker 1>impact of sensory pollution, a topic which she explores in

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<v Speaker 1>the book's riveting final chapter. It's not often that a

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<v Speaker 1>book like An Immense World comes along, one that truly

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<v Speaker 1>changes the way you perceive the world and leaves you

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<v Speaker 1>with a profound sense of wonder and appreciation. If you

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<v Speaker 1>can't already tell, I absolutely loved this book, and not

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<v Speaker 1>just because I devoured the Anamorph's book series as a kid,

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<v Speaker 1>which has a ton of fun animal sense thought experiments,

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<v Speaker 1>but because of the endless revelations hidden within and the

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<v Speaker 1>deep sense of curiosity that shines through each page. I

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<v Speaker 1>am so delighted to get to chat with Ed Young

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<v Speaker 1>about an immense world. So let's just take a quick

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<v Speaker 1>break here and get right to it. Ed, thank you

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<v Speaker 1>so very much for being here today. I am such

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<v Speaker 1>a huge fan of your work, and I especially loved

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<v Speaker 1>your most recent book, and Immense World. It really has

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<v Speaker 1>stuck with me and changed the way that I think

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<v Speaker 1>about how we perceive the world. I'm constantly thinking like, Okay,

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<v Speaker 1>what am I seeing or smelling or hearing? That is

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<v Speaker 1>you know what am I missing? Especially And I will

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<v Speaker 1>also say that my dog is a huge fan of

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<v Speaker 1>your book also, because now on our walks I'm much

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<v Speaker 1>more patient and I'm like, you know what you smell?

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<v Speaker 1>That dog poop as long long as you want. There

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<v Speaker 1>must be more there that I can't tear you away.

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<v Speaker 2>So I love this for them.

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<v Speaker 1>Yeah, he's very appreciative. So tell me how did this

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<v Speaker 1>book come to be?

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<v Speaker 2>Like?

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<v Speaker 1>Where did you get the idea to tackle such an

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<v Speaker 1>enormous topic?

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<v Speaker 2>You know? The short answer is from my wife. The

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<v Speaker 2>longer answer is that I've been writing about interesting animal

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<v Speaker 2>behavior for as long as I've been writing about science,

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<v Speaker 2>and this topic about how animals sense the world around

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<v Speaker 2>them has always been one of the things that I've

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<v Speaker 2>one of the threads that I've picked at over those years.

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<v Speaker 2>It's also thread that my wife picked at in her

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<v Speaker 2>graduate work she did. She started a PhD studies on

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<v Speaker 2>the vision of coral reef fish, like how they see color.

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<v Speaker 2>She has this very strong aesthetic sense, so she's always

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<v Speaker 2>been interested in the senses in color, in vision in

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<v Speaker 2>the marine world. And we were talking in late twenty

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<v Speaker 2>eighteen about what I would do as a second book.

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<v Speaker 2>And I say talking, I really mean that I was

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<v Speaker 2>sort of complaining and self flagellating, and she very patiently

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<v Speaker 2>listened to me and then suggested that this was a

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<v Speaker 2>topic that was worthy of like book length exploration. And

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<v Speaker 2>she was completely right, because, you know, I hope this

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<v Speaker 2>comes across in the book. I think it's not just

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<v Speaker 2>rich in terms of science. It's not just a series

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<v Speaker 2>of fascinating discoveries, although it certainly offers that. I think

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<v Speaker 2>it's also very, very philosophically rich. You know, it just

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<v Speaker 2>provides so much food for thought, and I really wanted

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<v Speaker 2>to bring that to the page and to literally every page,

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<v Speaker 2>you know, I really wanted to give readers a pause

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<v Speaker 2>almost every page for them to really sit back and

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<v Speaker 2>think about the experiences of other creatures around them.

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<v Speaker 1>One of the kind of both philosophical I suppose and

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<v Speaker 1>biologically useful terms that you revisit throughout the book and

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<v Speaker 1>introduce early on is umveldt, which I hope I'm saying right.

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<v Speaker 2>So who guess is as good as mine? Okay, excellent

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<v Speaker 2>apologies to German listeners, Yeah, boy, I will.

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<v Speaker 1>Probably Can you explain what umveldt means and where this

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<v Speaker 1>term originated?

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<v Speaker 2>Yeah, So the term is quite simple in that it

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<v Speaker 2>is just German for environment, but in this context, in

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<v Speaker 2>the context of which we're speaking. It was popularized by

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<v Speaker 2>a German zoologist named Jakovan Uskel in the early twentieth century,

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<v Speaker 2>and he used it in a very particular way, not

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<v Speaker 2>to refer to the physical environment around us, but to

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<v Speaker 2>the sensory environment. And that's the kinds of information the sights,

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<v Speaker 2>the sounds, the textures, the smells that each creature or

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<v Speaker 2>even each individual can perceive. In Nux school's key idea

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<v Speaker 2>was that the umvelt is unique to every animal, and

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<v Speaker 2>that every animal has a different way of experiencing the world.

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<v Speaker 2>So one example that gave was it was a tick,

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<v Speaker 2>a bloodsucking arachnid whose unveldt is very limited. It might

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<v Speaker 2>consist of the feel of body hair of the mammal

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<v Speaker 2>hosts that it sucks blood from. It includes the body

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<v Speaker 2>heat of those hosts, It includes the smell of their skin,

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<v Speaker 2>but it doesn't include like most of the things that

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<v Speaker 2>we can see, it doesn't include color, it doesn't include

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<v Speaker 2>a lot of things we can hear. It's a very

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<v Speaker 2>thin sliver of our unveldt. But Uxkill's key realization was

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<v Speaker 2>that our unveldt, what humans can perceive, is also limited.

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<v Speaker 2>There's so much about the world around us that we

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<v Speaker 2>are not privy to and that many other animals, sometimes

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<v Speaker 2>most other animals can sense. And that includes things like

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<v Speaker 2>the magnetic field of the earth itself, which sea turtles

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<v Speaker 2>and songbirds can detect, the electric fields of other living things,

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<v Speaker 2>which sharks and platypuses can sent, the ultra violet light

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<v Speaker 2>that's all around us that actually most other living things

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<v Speaker 2>that can see can detect. There is so much around us,

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<v Speaker 2>even in the senses that we have enough familiar with,

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<v Speaker 2>that is inaccessible to us except through tools or through technology,

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<v Speaker 2>and even then not really. So this was I think

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<v Speaker 2>this is a I'm really glad that this concept exists

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<v Speaker 2>because it really does anchor the entire book. It tells

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<v Speaker 2>us that even though our experience of the world feels complete,

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<v Speaker 2>that is an illusion, and it is one that all

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<v Speaker 2>animals share. We are each only perceiving just a thin

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<v Speaker 2>slice of the allness of reality.

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<v Speaker 1>The term is so useful, and I really want to

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<v Speaker 1>kind of get into like, Okay, how are these senses

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<v Speaker 1>being integrated together? But maybe I should take a step

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<v Speaker 1>back and start at the beginning by saying what is

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<v Speaker 1>a sense? Like what constitutes a sense? And how flexible

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<v Speaker 1>is that definition? How rigid are the barriers around what

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<v Speaker 1>we perceive to be a sense?

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<v Speaker 2>Yeah, so the senses really are just about taking information

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<v Speaker 2>that exists in the world around us and drawing meaning

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<v Speaker 2>from them. And that's how I see it, right, And

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<v Speaker 2>that information can take different forms. It could be electromagnetic

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<v Speaker 2>radiation like light, that's how we see. It could be

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<v Speaker 2>waves of pressure moving through the air that sound it's

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<v Speaker 2>what we hear. It could be the textures that we feel.

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<v Speaker 2>It could be electric and magnetic fields like I've talked

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<v Speaker 2>about it could be molecules drifting through the air. That's

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<v Speaker 2>what we smell. So the senses are ways of taking

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<v Speaker 2>these actually quite abstract things and from them deriving knowledge

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<v Speaker 2>about the world around us. You know. So light is

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<v Speaker 2>not worth detecting just for its own sake. We detect light,

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<v Speaker 2>we see because light gives us information about shelter, about

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<v Speaker 2>the seasons, about where we are in the world, how

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<v Speaker 2>deep we are in water, were the presence of predators

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<v Speaker 2>and prey, and mates and rivals. You know, if you

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<v Speaker 2>really think hard about it, like it's kind of miraculous

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<v Speaker 2>that we can detect the stuff at all. You know,

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<v Speaker 2>this is light really is just well it's either particles

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<v Speaker 2>or ways, depending on which physicists you asked or but

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<v Speaker 2>you know, it's kind of abstract stuff out in the world.

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<v Speaker 2>Like the ability to actually turn that into an electrical

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<v Speaker 2>signal that our brains can make sense of is sort

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<v Speaker 2>of wondrous, just a base of it. You know. I

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<v Speaker 2>say that in the book that in a way, the

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<v Speaker 2>sensers are ways of biology, taming at taming physics, and

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<v Speaker 2>that is very much how I how I see them.

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<v Speaker 2>And you know, to your question of how how you

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<v Speaker 2>define them and how porous the definition is. I would

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<v Speaker 2>argue that they are very porous. You know, there's always

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<v Speaker 2>there's this long standing thing in signs about whether you're

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<v Speaker 2>a lump whether people are lumpers or splitters, like whether

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<v Speaker 2>you're prone to put things together in categories or you know,

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<v Speaker 2>actually focus on the differences between them. And you could

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<v Speaker 2>take two those different approaches with the sensors, like how

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<v Speaker 2>many sensors are there? Most people would say five. We

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<v Speaker 2>say five because that's what Aristotle said and everyone has

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<v Speaker 2>sort of accepted that sense. But even with humans there

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<v Speaker 2>are more than that. There are things like propriception, which

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<v Speaker 2>is the sense of where what my body is doing,

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<v Speaker 2>Like if I'm sitting here and I know that where

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<v Speaker 2>my arm is, even if I close my eyes, I

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<v Speaker 2>know that because of appropriateception. And then when you go

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<v Speaker 2>into other animals the number increases even more. But then

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<v Speaker 2>you could start to combine the sensors together. You know,

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<v Speaker 2>in many ways, hearing and touch are actually kind of

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<v Speaker 2>the same. They have a shared evolutionary history. They're really

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<v Speaker 2>about detecting mechanical disturbances in the world, whether that's you know,

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<v Speaker 2>something pressing against your skin, or a sound wave deflecting

0:15:30.560 --> 0:15:34.400
<v Speaker 2>your structures inside your ear. So you know, in the book,

0:15:34.440 --> 0:15:38.040
<v Speaker 2>I noted that if you really wanted to be lumpy

0:15:38.080 --> 0:15:40.520
<v Speaker 2>about this, you could argue that there are two sensors

0:15:40.680 --> 0:15:43.280
<v Speaker 2>there's like chemical and mechanical, and then if you wanted

0:15:43.360 --> 0:15:47.160
<v Speaker 2>to be super splitter about it, you could do maybe dozens.

0:15:48.280 --> 0:15:50.960
<v Speaker 2>And I think that sort of speaks to what the

0:15:51.040 --> 0:15:55.440
<v Speaker 2>sensors are doing, right, They are weaving something interesting out

0:15:55.480 --> 0:15:58.240
<v Speaker 2>of things that are actually quite abstract. And how they

0:15:58.320 --> 0:16:00.880
<v Speaker 2>do that you could kind of categorize in lots of

0:16:00.880 --> 0:16:01.560
<v Speaker 2>different ways.

0:16:02.720 --> 0:16:07.080
<v Speaker 1>If we talk about a sense in the traditional definition

0:16:07.240 --> 0:16:08.800
<v Speaker 1>or in the traditional way that we think of it,

0:16:09.360 --> 0:16:12.920
<v Speaker 1>there are tradeoffs in some of these senses, Like in vision,

0:16:13.000 --> 0:16:16.200
<v Speaker 1>you discuss some of these trade offs, and so this

0:16:16.280 --> 0:16:19.400
<v Speaker 1>is kind of a two parter. Number one, what are

0:16:19.480 --> 0:16:23.120
<v Speaker 1>these trade offs within some of these senses? And the

0:16:23.120 --> 0:16:26.640
<v Speaker 1>second question is are there also trade offs between different

0:16:26.680 --> 0:16:27.640
<v Speaker 1>types of senses?

0:16:28.680 --> 0:16:33.800
<v Speaker 2>Yeah, that's a great question. So yes, and this is crucial.

0:16:34.080 --> 0:16:36.480
<v Speaker 2>I think this question is crucial because it actually gets

0:16:36.520 --> 0:16:40.240
<v Speaker 2>at a really fundamental question, which is why do umbeldts

0:16:40.320 --> 0:16:43.440
<v Speaker 2>exist in the first place. Why is it that each

0:16:43.480 --> 0:16:46.400
<v Speaker 2>animal only perceives a small sliver of reality, like why

0:16:46.480 --> 0:16:49.560
<v Speaker 2>don't we just perceive it all? And partly the answer

0:16:49.600 --> 0:16:52.200
<v Speaker 2>is that we don't need to. So the senses have

0:16:52.280 --> 0:16:54.760
<v Speaker 2>been tuned by evolution to give us what we need

0:16:54.800 --> 0:16:58.120
<v Speaker 2>about the world around us. And no animal needs to

0:16:58.200 --> 0:17:02.480
<v Speaker 2>sense everything. A staff has no need for eyes as

0:17:02.480 --> 0:17:04.800
<v Speaker 2>sharp as an eagle, because the starfish isn't trying to

0:17:04.800 --> 0:17:09.440
<v Speaker 2>spot prey from miles away. But there's also the fact

0:17:09.480 --> 0:17:13.639
<v Speaker 2>that all of this stuff, all of the messy biology

0:17:13.640 --> 0:17:18.199
<v Speaker 2>that allows us to detect things in the world, cost energy.

0:17:18.640 --> 0:17:24.960
<v Speaker 2>Vision costs energy, Smell costs energy, and they don't cost

0:17:25.119 --> 0:17:29.040
<v Speaker 2>energy just in the act of sensing. Like even if

0:17:29.080 --> 0:17:30.920
<v Speaker 2>I close my eyes and my eyes don't seem to

0:17:30.960 --> 0:17:34.560
<v Speaker 2>be doing anything, they are soaking up a large amount

0:17:34.680 --> 0:17:39.160
<v Speaker 2>of my daily calorie budget just in the act of existing.

0:17:39.640 --> 0:17:43.320
<v Speaker 2>And that's because the neurons in my eyes that allow

0:17:43.400 --> 0:17:49.040
<v Speaker 2>me to see need to constantly maintain electrical gradients across

0:17:49.080 --> 0:17:52.600
<v Speaker 2>themselves in order to be ready to fire when I

0:17:52.720 --> 0:17:56.080
<v Speaker 2>actually use them. So the analogy I put in the

0:17:56.160 --> 0:17:58.240
<v Speaker 2>given the book is that it's a bit like having

0:17:58.280 --> 0:18:02.119
<v Speaker 2>to draw a bow and keep the string really taught,

0:18:02.359 --> 0:18:04.840
<v Speaker 2>so that when the moment comes to fire, you can

0:18:04.880 --> 0:18:08.040
<v Speaker 2>loose the arrow, but if you do that all the time,

0:18:08.119 --> 0:18:10.360
<v Speaker 2>your arm is going to get really tired and it's

0:18:10.359 --> 0:18:11.919
<v Speaker 2>going to take a lot of effort to keep that

0:18:11.960 --> 0:18:15.399
<v Speaker 2>string Taught that, it's what it's like to own any

0:18:15.520 --> 0:18:19.440
<v Speaker 2>kind of sense organ and it means that animals often

0:18:19.520 --> 0:18:22.959
<v Speaker 2>hit a ceiling of like what kinds of senses they

0:18:22.960 --> 0:18:25.720
<v Speaker 2>can invest in? Not all of them? How can they

0:18:25.720 --> 0:18:29.200
<v Speaker 2>invest in those senses? They don't have infinite energy supplies

0:18:29.240 --> 0:18:33.359
<v Speaker 2>to put to the task, and that means that the

0:18:33.400 --> 0:18:36.879
<v Speaker 2>senses have limits. But they also the sensors also do

0:18:37.040 --> 0:18:41.280
<v Speaker 2>have trade offs that go beyond the energy thing. So

0:18:41.480 --> 0:18:45.080
<v Speaker 2>with vision, for example, you can either have an eye

0:18:45.400 --> 0:18:49.840
<v Speaker 2>that has extremely high resolution so imagine lots of pixels

0:18:49.840 --> 0:18:53.720
<v Speaker 2>in the image, really sharp eyesight, or you can have

0:18:53.760 --> 0:18:57.639
<v Speaker 2>an eye that works that is incredibly sensitive and that

0:18:57.760 --> 0:19:02.400
<v Speaker 2>works really well in the dark. And you absolutely cannot

0:19:02.400 --> 0:19:05.880
<v Speaker 2>have both because the kinds of eye that are really

0:19:05.880 --> 0:19:09.959
<v Speaker 2>good for resolution suck its sensitivity and vice versa. So

0:19:10.000 --> 0:19:13.840
<v Speaker 2>there's just an inevitable trade off there that always happens,

0:19:13.880 --> 0:19:18.359
<v Speaker 2>and it means that for example, an animal like us

0:19:18.840 --> 0:19:21.320
<v Speaker 2>humans have some of the most acute eyes in the

0:19:21.320 --> 0:19:25.920
<v Speaker 2>animal kingdom, but the minute the lights go off, we're helpless.

0:19:26.359 --> 0:19:28.919
<v Speaker 2>We can't see very well at all, whereas something like

0:19:29.160 --> 0:19:32.560
<v Speaker 2>a lion can see really well in the dark, but

0:19:32.960 --> 0:19:36.720
<v Speaker 2>its eyesight isn't actually very sharp, and that's why to

0:19:36.800 --> 0:19:39.639
<v Speaker 2>a hunting lion in the dark that line will be

0:19:39.680 --> 0:19:41.640
<v Speaker 2>able to see a zebra, but will not be able

0:19:41.680 --> 0:19:43.480
<v Speaker 2>to make out the zebra stripes.

0:19:44.640 --> 0:19:47.000
<v Speaker 1>As you talk about also in the book, most of

0:19:47.040 --> 0:19:51.840
<v Speaker 1>these senses aren't being used independently or in isolation ever,

0:19:52.240 --> 0:19:56.600
<v Speaker 1>It's all part of this massive information gathering process. So

0:19:56.760 --> 0:20:00.160
<v Speaker 1>how do different senses interact? Which is a very big,

0:20:00.200 --> 0:20:04.560
<v Speaker 1>open ended question, but I guess maybe more specifically, are

0:20:04.600 --> 0:20:08.359
<v Speaker 1>there certain pairs of senses that are more likely to

0:20:08.400 --> 0:20:10.960
<v Speaker 1>be found in combination than others?

0:20:11.800 --> 0:20:16.639
<v Speaker 2>Oh, that's a really interesting question. So to begin with, Yes,

0:20:16.960 --> 0:20:20.880
<v Speaker 2>you're right that the senses always interact, and I think

0:20:21.400 --> 0:20:24.800
<v Speaker 2>there's no animal that only uses one sense, and pretty

0:20:24.800 --> 0:20:28.800
<v Speaker 2>confident in saying that like every animal is multisensory. They're

0:20:28.840 --> 0:20:31.600
<v Speaker 2>trying to get as much information from the world as possible,

0:20:32.119 --> 0:20:36.240
<v Speaker 2>and when you see how they do that, you get

0:20:36.240 --> 0:20:39.560
<v Speaker 2>the sense. You get sense for the strengths and weaknesses

0:20:39.560 --> 0:20:43.200
<v Speaker 2>of the different senses. Distance is a really important thing.

0:20:43.280 --> 0:20:46.640
<v Speaker 2>So think about a shark that's hunting. As it's trying

0:20:46.680 --> 0:20:49.639
<v Speaker 2>to track its prey. The first clues that it gets

0:20:49.720 --> 0:20:54.360
<v Speaker 2>come from smell, which travel over very very long distances.

0:20:54.880 --> 0:20:58.640
<v Speaker 2>Once the shark gets closer to its prey, vision becomes

0:20:58.720 --> 0:21:03.200
<v Speaker 2>more important, and when it gets even closer still, then

0:21:03.240 --> 0:21:06.360
<v Speaker 2>it's electric sense kicks in. That's the sense that allows

0:21:06.440 --> 0:21:09.520
<v Speaker 2>it to detect the electric fields that all living things

0:21:09.880 --> 0:21:13.959
<v Speaker 2>can't help but produce, especially in water. Now, the electric

0:21:14.080 --> 0:21:17.960
<v Speaker 2>sense is amazing. It allows a shark to detect even

0:21:18.080 --> 0:21:21.760
<v Speaker 2>buried prey, prey that it can't see, let alone smel.

0:21:23.560 --> 0:21:26.840
<v Speaker 2>But the electric sense is very very short range, so

0:21:26.880 --> 0:21:29.960
<v Speaker 2>it can't work over the kinds of distances over which

0:21:30.320 --> 0:21:34.199
<v Speaker 2>things like light and scent can travel. So you know,

0:21:34.240 --> 0:21:38.800
<v Speaker 2>different sensors work at different ranges. They might vary depending

0:21:38.800 --> 0:21:43.280
<v Speaker 2>on how whether they are obscured by barriers, whether they

0:21:43.440 --> 0:21:46.560
<v Speaker 2>can travel round, whether they work around corners, whether they

0:21:46.560 --> 0:21:50.400
<v Speaker 2>work in the dark. And because each sense has its

0:21:50.400 --> 0:21:52.840
<v Speaker 2>own strengths and weaknesses, that's why one of the reasons

0:21:52.880 --> 0:21:57.520
<v Speaker 2>why animals rely on lots of them. You asked about

0:21:57.560 --> 0:22:01.800
<v Speaker 2>censers in combination and some humans have this right, like

0:22:01.840 --> 0:22:06.240
<v Speaker 2>a lot of people have synesthesia, where their perceptions from

0:22:06.240 --> 0:22:12.000
<v Speaker 2>different senses are fused together. So certain concepts or textures

0:22:12.119 --> 0:22:14.960
<v Speaker 2>might have a smell associated with them. You know, a

0:22:14.960 --> 0:22:18.720
<v Speaker 2>smell might have a color associated with it. Those kinds

0:22:19.000 --> 0:22:23.480
<v Speaker 2>of examples where the lines between the senses blur even more,

0:22:23.800 --> 0:22:25.960
<v Speaker 2>I think are actually quite common in the animal world.

0:22:26.480 --> 0:22:30.600
<v Speaker 2>So you know, an ant with its antennae is both

0:22:30.760 --> 0:22:35.240
<v Speaker 2>smelling and touching at the same time, and I'm not

0:22:35.400 --> 0:22:38.920
<v Speaker 2>sure that those things will feel very different to the ant.

0:22:39.119 --> 0:22:42.240
<v Speaker 2>I think that it has a kind of chemical mechanical

0:22:42.280 --> 0:22:45.159
<v Speaker 2>sense that fuses together. The same is likely true for

0:22:45.200 --> 0:22:49.960
<v Speaker 2>an octopus. The octopus's suckers has receptors that taste and

0:22:50.080 --> 0:22:53.000
<v Speaker 2>receptors that touch, and just because of the way those

0:22:53.000 --> 0:22:57.280
<v Speaker 2>are wired together, I think it's likely that the octopus

0:22:57.359 --> 0:23:01.160
<v Speaker 2>has a sense of taste touch. You know, perhaps when

0:23:01.840 --> 0:23:06.199
<v Speaker 2>the arm makes contact with the surface, the octopus is

0:23:06.840 --> 0:23:10.840
<v Speaker 2>tasting a shape or getting a feel of a flavor.

0:23:11.840 --> 0:23:15.840
<v Speaker 2>And you know, again, those are just two examples, but

0:23:15.920 --> 0:23:18.159
<v Speaker 2>I think that sort of thing is actually probably quite

0:23:18.240 --> 0:23:20.280
<v Speaker 2>common in the animal kingdom.

0:23:21.000 --> 0:23:24.639
<v Speaker 1>It's so interesting to talk about these, you know, just

0:23:24.880 --> 0:23:28.000
<v Speaker 1>in the example that you gave there about taste, touch,

0:23:28.280 --> 0:23:30.760
<v Speaker 1>and I think it kind of reveals in a way

0:23:30.960 --> 0:23:36.240
<v Speaker 1>our limited vocabulary as humans for talking about other types

0:23:36.280 --> 0:23:40.200
<v Speaker 1>of senses. And we also, I feel like, in general

0:23:40.280 --> 0:23:43.600
<v Speaker 1>as humans use so many visual words or metaphors, and

0:23:43.680 --> 0:23:46.080
<v Speaker 1>you talk about this in your book it's plain to

0:23:46.119 --> 0:23:50.120
<v Speaker 1>see or from my point of view, and I mean,

0:23:50.160 --> 0:23:52.760
<v Speaker 1>and that reveals in part how reliant we are as

0:23:52.800 --> 0:23:57.560
<v Speaker 1>a species on vision. After writing this book, have you

0:23:57.600 --> 0:24:00.800
<v Speaker 1>found yourself thinking more or being more aware of the

0:24:00.920 --> 0:24:04.760
<v Speaker 1>vocabulary that you use and how it relates to certain senses.

0:24:05.560 --> 0:24:09.359
<v Speaker 2>Yeah, I you know, I mean this is this was

0:24:09.400 --> 0:24:12.679
<v Speaker 2>one of the biggest struggles with writing this book, that

0:24:13.359 --> 0:24:17.840
<v Speaker 2>so much of our vocabulary for perception at all is

0:24:18.040 --> 0:24:21.919
<v Speaker 2>visual in nature, and you know to the extent that

0:24:21.960 --> 0:24:24.879
<v Speaker 2>it's not. There are only a few words that really

0:24:24.960 --> 0:24:28.800
<v Speaker 2>capture what we're trying to do. Like feel is obviously

0:24:28.960 --> 0:24:30.960
<v Speaker 2>touch based, but we use it in a kind of

0:24:30.960 --> 0:24:33.840
<v Speaker 2>a nebulous way to you know, people talking about talk

0:24:33.960 --> 0:24:37.280
<v Speaker 2>but also about feeling love or feeling hunger, which is

0:24:37.280 --> 0:24:40.080
<v Speaker 2>actually quite different to the kind of sensing I'm describing

0:24:40.119 --> 0:24:43.520
<v Speaker 2>in the book. So there's there are definitely sensors with

0:24:44.640 --> 0:24:49.840
<v Speaker 2>much more limited vocabularies, including some of the more familiar

0:24:49.840 --> 0:24:53.720
<v Speaker 2>ones to us, like smell. Smell greatly suffers from a

0:24:53.800 --> 0:24:56.800
<v Speaker 2>lack of very specific words. Now you might be something

0:24:56.880 --> 0:24:59.280
<v Speaker 2>there thinking like, oh, plenty of words to describe things

0:24:59.359 --> 0:25:02.960
<v Speaker 2>I smell. Actually think about those words. Most of those

0:25:03.040 --> 0:25:07.160
<v Speaker 2>are loan words from other senses, or they are like nouns,

0:25:07.200 --> 0:25:10.960
<v Speaker 2>so like lemons, smell of lemon, right, Like, that's very

0:25:11.000 --> 0:25:14.920
<v Speaker 2>different to the rich vocabulary we have to describe visual things.

0:25:15.640 --> 0:25:18.600
<v Speaker 2>And then it gets even harder when you talk about

0:25:18.600 --> 0:25:22.840
<v Speaker 2>things like electric fields or magnetic fields, where we really

0:25:22.880 --> 0:25:26.600
<v Speaker 2>don't have any good vocabulary, where the vocabulary we do

0:25:26.680 --> 0:25:32.400
<v Speaker 2>have fails opaque and jargony. And you know when when

0:25:32.560 --> 0:25:35.159
<v Speaker 2>in the chapter in electric fields, I'm writing about concepts

0:25:35.240 --> 0:25:39.560
<v Speaker 2>like voltage and capacitance, you know, there's nothing that that

0:25:39.880 --> 0:25:44.399
<v Speaker 2>captures the the the very vivid sensations that words like

0:25:45.080 --> 0:25:50.520
<v Speaker 2>bright or loud or rough can convey. So that was

0:25:50.560 --> 0:25:53.440
<v Speaker 2>a challenge with the book. And you know, since since

0:25:53.560 --> 0:25:57.159
<v Speaker 2>writing it, I have thought about this a lot, and

0:25:57.359 --> 0:26:02.359
<v Speaker 2>if anything, it just it makes the the lack of

0:26:02.359 --> 0:26:05.080
<v Speaker 2>the relevant vocabery just that much harder. You know, I'm

0:26:05.280 --> 0:26:07.760
<v Speaker 2>I'm a writer. My job is to find words, and

0:26:08.560 --> 0:26:11.520
<v Speaker 2>it really it kind of sucks. It gnaws on my

0:26:11.600 --> 0:26:13.720
<v Speaker 2>soul when I when I can't do that. I'll give

0:26:13.720 --> 0:26:16.320
<v Speaker 2>you an example, right, Like, we'll probably talk about dogs

0:26:16.320 --> 0:26:18.359
<v Speaker 2>at some point. I have a dog. His name is Typo.

0:26:19.080 --> 0:26:23.560
<v Speaker 2>He's He's wonderful, And as I'm trying to appreciate him

0:26:23.560 --> 0:26:26.080
<v Speaker 2>sniffing the world around him, I also like I also

0:26:26.119 --> 0:26:28.560
<v Speaker 2>sniff him, Like I know what my dog smells like,

0:26:29.040 --> 0:26:33.239
<v Speaker 2>and he actually smells great. I like, I you know,

0:26:33.320 --> 0:26:35.879
<v Speaker 2>we we cuddle a lot. Like I'll just like, you know,

0:26:36.080 --> 0:26:38.440
<v Speaker 2>just snuffle along his like the top of his head.

0:26:38.480 --> 0:26:43.159
<v Speaker 2>And I'm really interesting in the fact that different parts

0:26:43.200 --> 0:26:46.280
<v Speaker 2>of his body smell differently, Like his back smells different

0:26:46.280 --> 0:26:48.040
<v Speaker 2>to the top of his head, which smells different to

0:26:48.119 --> 0:26:51.080
<v Speaker 2>like his feet, which smells different to like the backs

0:26:51.119 --> 0:26:53.960
<v Speaker 2>of his ears. Like he has very distinct smells in

0:26:54.040 --> 0:26:56.240
<v Speaker 2>different parts of his body, and I find that fascinating.

0:26:56.640 --> 0:26:58.439
<v Speaker 2>Can I describe to you what those smells are? Like,

0:26:58.920 --> 0:27:04.160
<v Speaker 2>I really cannot, I've really tried. I think this top

0:27:04.200 --> 0:27:06.480
<v Speaker 2>of his head smells a little bit like cookies, Like

0:27:06.600 --> 0:27:09.040
<v Speaker 2>it smells really nice, like a kind of you know,

0:27:09.119 --> 0:27:13.679
<v Speaker 2>a sweet like bakingy flavor smell. But again, right like,

0:27:13.720 --> 0:27:18.480
<v Speaker 2>I'm borrowing words from other things because I don't have

0:27:18.600 --> 0:27:20.800
<v Speaker 2>the book Calbuary to describe the top the smell of

0:27:20.840 --> 0:27:22.760
<v Speaker 2>the top of my dog's head, and that is kind

0:27:22.760 --> 0:27:24.119
<v Speaker 2>of endlessly frustrating to me.

0:27:25.600 --> 0:27:28.400
<v Speaker 1>I love, I'm so glad that you think that your

0:27:28.440 --> 0:27:30.679
<v Speaker 1>dog smells so great, because I'm thinking my dog is

0:27:30.800 --> 0:27:34.480
<v Speaker 1>just a stinky mess, like one day after a bath.

0:27:34.560 --> 0:27:37.720
<v Speaker 1>He's a scruffy little scruffball. And his feet always smell

0:27:37.760 --> 0:27:40.600
<v Speaker 1>like Frido's, which is a very my dog.

0:27:40.720 --> 0:27:43.520
<v Speaker 2>Also, yeah, his feet also well you know, but I

0:27:43.520 --> 0:27:46.520
<v Speaker 2>think it's weirdly. I think specifically one of his feet

0:27:46.600 --> 0:27:50.760
<v Speaker 2>smells really strongly of Dorito's and the others kind of don't.

0:27:50.840 --> 0:27:53.240
<v Speaker 1>That's amazing, Okay, now I need to I'm gonna have

0:27:53.280 --> 0:27:55.000
<v Speaker 1>to smell each one of his feet and see you

0:27:56.760 --> 0:28:01.240
<v Speaker 1>that's hilarious. And yeah, you know that that discussion in

0:28:01.280 --> 0:28:03.520
<v Speaker 1>your book and also just sort of like right now

0:28:03.560 --> 0:28:05.560
<v Speaker 1>when you were when you were talking about sort of

0:28:05.640 --> 0:28:10.040
<v Speaker 1>language and vocabulary, was making me think or wonder if

0:28:10.160 --> 0:28:13.480
<v Speaker 1>other animals could talk, what kind of metaphors or what

0:28:13.560 --> 0:28:15.720
<v Speaker 1>kind of language they would use to relate to the

0:28:15.760 --> 0:28:18.840
<v Speaker 1>world around them, and would it be like which sense

0:28:18.880 --> 0:28:22.320
<v Speaker 1>would predominate? Would dogs talk in terms of smells? Would

0:28:22.320 --> 0:28:25.600
<v Speaker 1>a bat talk about I can't, I don't have the vocabulary,

0:28:25.640 --> 0:28:29.240
<v Speaker 1>but like the shape or feel of something in their mind? Like,

0:28:29.560 --> 0:28:32.240
<v Speaker 1>it's just is interesting to think about what would be

0:28:32.280 --> 0:28:36.920
<v Speaker 1>the leading dry their leading sense underneath these metaphors or

0:28:37.080 --> 0:28:38.040
<v Speaker 1>vocabulary words.

0:28:38.680 --> 0:28:42.680
<v Speaker 2>Yeah, I think so too. You know what, what would

0:28:43.120 --> 0:28:46.760
<v Speaker 2>what would our descriptions of the world feel be like

0:28:47.160 --> 0:28:51.200
<v Speaker 2>if they were rooted in the concepts of another sense?

0:28:51.520 --> 0:28:54.840
<v Speaker 2>I think that's really fascinating to think about. And you know,

0:28:54.920 --> 0:28:58.840
<v Speaker 2>you you I'm glad you mentioned bat. It's like the

0:28:59.040 --> 0:29:02.000
<v Speaker 2>like The philosopher Thomas Snakeel is very famous for writing

0:29:02.000 --> 0:29:03.720
<v Speaker 2>this essay called what is It Like to Be About,

0:29:03.840 --> 0:29:08.240
<v Speaker 2>where he argued that it is very, very hard, it

0:29:08.440 --> 0:29:13.440
<v Speaker 2>almost impossible, probably impossible, to really understand the subjective experience

0:29:13.440 --> 0:29:16.960
<v Speaker 2>of another animal. You know, you could. You can understand

0:29:17.040 --> 0:29:19.840
<v Speaker 2>how a bat echo locates, how it navigates through sound,

0:29:20.600 --> 0:29:23.200
<v Speaker 2>but you'll never fully understand what it is like to

0:29:23.280 --> 0:29:27.440
<v Speaker 2>experience the world in that way. And I think he's right.

0:29:28.240 --> 0:29:32.960
<v Speaker 2>But this thought experiment, I think really shows the odd

0:29:33.120 --> 0:29:36.120
<v Speaker 2>nature of some of these senses. So bat's echo, A

0:29:36.160 --> 0:29:38.560
<v Speaker 2>lot of most bats echo okate. They produce these high

0:29:38.560 --> 0:29:41.680
<v Speaker 2>pitched sounds, and they're listening out for the echoes that

0:29:41.760 --> 0:29:44.760
<v Speaker 2>come back, and they're using the timing between the call

0:29:44.840 --> 0:29:48.760
<v Speaker 2>and the echo to gauge distance between themselves and things

0:29:48.800 --> 0:29:51.360
<v Speaker 2>in the world around them. That's how they can avoid

0:29:51.360 --> 0:29:54.520
<v Speaker 2>obstacles in the dark, how they can hunt insects in

0:29:54.560 --> 0:29:59.520
<v Speaker 2>the air. Technically, that's hearing, right, It's it's just sound

0:30:00.080 --> 0:30:03.760
<v Speaker 2>listening for sound, and they're extracting information from that. But

0:30:04.560 --> 0:30:08.040
<v Speaker 2>it works in a way that it's very different from

0:30:08.080 --> 0:30:10.960
<v Speaker 2>the way we hear, which is a very passive thing.

0:30:11.480 --> 0:30:16.960
<v Speaker 2>The that is producing energy, It is actively adding things

0:30:17.040 --> 0:30:20.920
<v Speaker 2>to its environment and using that to sense the world,

0:30:21.160 --> 0:30:26.600
<v Speaker 2>and it is doing that in a kind of exploratory way.

0:30:26.720 --> 0:30:32.160
<v Speaker 2>And in many ways, echolocation is actually more similar to

0:30:32.200 --> 0:30:36.840
<v Speaker 2>something like touch than it is to hearing. I think

0:30:37.640 --> 0:30:41.920
<v Speaker 2>because of that exploratory aspect, that sort of thing becomes

0:30:42.000 --> 0:30:45.440
<v Speaker 2>I think clearer when you think about something like a dolphin,

0:30:45.760 --> 0:30:49.920
<v Speaker 2>which also echolocates in the water. So dolphin lokolocation, I

0:30:49.920 --> 0:30:51.600
<v Speaker 2>think is incredible for lots of reasons. So One of

0:30:51.600 --> 0:30:55.719
<v Speaker 2>them is that if a dolphin echo locates on an

0:30:55.840 --> 0:31:00.360
<v Speaker 2>object in the water that it cannot see, it can

0:31:00.400 --> 0:31:03.800
<v Speaker 2>then recognize that object if presented an image of it,

0:31:03.880 --> 0:31:07.920
<v Speaker 2>even on a screen. Right, So it is creating some

0:31:08.040 --> 0:31:11.840
<v Speaker 2>kind of mental representation in its mind of the object

0:31:11.880 --> 0:31:15.719
<v Speaker 2>that it is analyzing through the use of sound, and

0:31:15.920 --> 0:31:19.080
<v Speaker 2>using that to kind of feed one of its other sensors, vision.

0:31:19.840 --> 0:31:22.640
<v Speaker 2>And I think it's really hard to think about that

0:31:23.080 --> 0:31:25.720
<v Speaker 2>in terms of hearing, right, Like I could listen to

0:31:25.720 --> 0:31:29.040
<v Speaker 2>the sound of my voice, can you reconstruct what my

0:31:29.240 --> 0:31:33.080
<v Speaker 2>body looks like? No? Right, listen to a piano, a

0:31:33.160 --> 0:31:35.680
<v Speaker 2>piece of piano music. You can't imagine if you'd never

0:31:35.680 --> 0:31:37.760
<v Speaker 2>seen a piano before, you would never work out what

0:31:37.800 --> 0:31:40.760
<v Speaker 2>a piano looks like. But a dolphin is using sound

0:31:40.760 --> 0:31:43.760
<v Speaker 2>to reconstruct the shape of an object in a way

0:31:43.800 --> 0:31:46.360
<v Speaker 2>that allows its eyes to actually recognize it too. And

0:31:46.400 --> 0:31:49.120
<v Speaker 2>that feels more like touch to me. You know. That's

0:31:49.160 --> 0:31:52.719
<v Speaker 2>like I'm closing my eyes now and I'm touching like

0:31:52.880 --> 0:31:57.080
<v Speaker 2>a what am I touching? An adaptor on my desk

0:31:57.560 --> 0:31:59.160
<v Speaker 2>And I can feel the shape of it. I can

0:31:59.200 --> 0:32:01.840
<v Speaker 2>feel the prong, you know, I can draw you what

0:32:01.920 --> 0:32:05.320
<v Speaker 2>this thing looks like and that's sort of how echolocation

0:32:05.520 --> 0:32:10.280
<v Speaker 2>is operating. It is exploratory, and it feels quite like

0:32:10.440 --> 0:32:10.960
<v Speaker 2>touch to be.

0:32:12.160 --> 0:32:14.560
<v Speaker 1>We are going to take a quick break here, but

0:32:14.720 --> 0:32:17.560
<v Speaker 1>when we get back, there is so much more of

0:32:17.600 --> 0:32:45.000
<v Speaker 1>the animal world of senses to explore. Welcome back, everyone,

0:32:45.560 --> 0:32:49.960
<v Speaker 1>let's get back into it. It's so interesting this discussion

0:32:50.000 --> 0:32:54.880
<v Speaker 1>between active and passive sensing and how certain senses are

0:32:55.400 --> 0:32:59.160
<v Speaker 1>active or passive or and I think you also bring

0:32:59.160 --> 0:33:02.360
<v Speaker 1>this up in the context of taste and smell. I

0:33:02.400 --> 0:33:04.480
<v Speaker 1>was kind of thinking, you know, you gave one example

0:33:05.240 --> 0:33:09.440
<v Speaker 1>with the way that bats versus humans here essentially or

0:33:09.440 --> 0:33:13.520
<v Speaker 1>you sound. Are there other senses like this that process

0:33:13.600 --> 0:33:19.120
<v Speaker 1>information differently or passively versus actively, And what can those

0:33:19.120 --> 0:33:23.080
<v Speaker 1>differences tell us about either how that information is used

0:33:23.120 --> 0:33:26.960
<v Speaker 1>by that species or how important that senses to that

0:33:27.000 --> 0:33:30.080
<v Speaker 1>species or yeah.

0:33:29.440 --> 0:33:33.960
<v Speaker 2>Yeah, this is a great distinction. So you know, most

0:33:33.960 --> 0:33:36.400
<v Speaker 2>of the senses can be active in some way. Right,

0:33:36.440 --> 0:33:39.240
<v Speaker 2>So I am sitting here and I am seeing things

0:33:39.280 --> 0:33:41.520
<v Speaker 2>in front of me, but I can also look around,

0:33:41.640 --> 0:33:45.360
<v Speaker 2>and I do, and that act of gazing around a

0:33:45.480 --> 0:33:50.160
<v Speaker 2>scene is active. Similarly, like you can sniff with your nose,

0:33:50.800 --> 0:33:55.360
<v Speaker 2>you can press and explore with your hands how to

0:33:55.360 --> 0:33:57.160
<v Speaker 2>do with your ears on't it? You could like cut

0:33:57.240 --> 0:33:59.320
<v Speaker 2>your hand around your ears to focus on something. But

0:34:00.080 --> 0:34:04.280
<v Speaker 2>you can turn a lot of sensers into active acts

0:34:04.320 --> 0:34:08.160
<v Speaker 2>of exploration. The crucial difference between those kinds of sensors

0:34:08.160 --> 0:34:11.960
<v Speaker 2>and things like echolocation is that the latter are always active.

0:34:12.560 --> 0:34:16.320
<v Speaker 2>Echolocation has no passive mode to it. It doesn't work

0:34:16.400 --> 0:34:19.520
<v Speaker 2>at all if there is there is no echo, if

0:34:19.560 --> 0:34:22.560
<v Speaker 2>there isn't a call in the first place, so it's

0:34:22.840 --> 0:34:25.799
<v Speaker 2>always active. And the other sense that is like this

0:34:26.040 --> 0:34:31.080
<v Speaker 2>is what's called electro reception, and that is a speciality

0:34:31.200 --> 0:34:34.920
<v Speaker 2>of but a few hundred or so species of fish

0:34:35.040 --> 0:34:39.440
<v Speaker 2>that live in Africa and South America and that produce

0:34:39.520 --> 0:34:44.760
<v Speaker 2>their own electric fields. The famous electric eel is the

0:34:44.800 --> 0:34:47.000
<v Speaker 2>most well known of these, but there are lots of

0:34:47.040 --> 0:34:50.560
<v Speaker 2>others that are less dangerous. They produce their own electric fields,

0:34:51.040 --> 0:34:54.359
<v Speaker 2>and they can sense how those fields are distorted by

0:34:54.440 --> 0:34:58.160
<v Speaker 2>the objects around them, whether it's something insulating like a rock,

0:34:58.680 --> 0:35:02.640
<v Speaker 2>or something that's conducting like another fish or a plant.

0:35:03.320 --> 0:35:06.480
<v Speaker 2>So it produces the field, it senses how that field

0:35:06.560 --> 0:35:09.280
<v Speaker 2>is distorted by those objects, and through that it censors

0:35:09.320 --> 0:35:12.880
<v Speaker 2>the world around it. Again, it's quite like touch. It

0:35:12.880 --> 0:35:15.560
<v Speaker 2>has been described as touch as a distance. It only

0:35:15.600 --> 0:35:18.719
<v Speaker 2>works about a few inches or so away from the

0:35:18.760 --> 0:35:21.640
<v Speaker 2>fish's skin, but it gives this the fish this kind

0:35:21.680 --> 0:35:26.319
<v Speaker 2>of omnidirectional understanding of what's around it. Is there a

0:35:26.480 --> 0:35:29.640
<v Speaker 2>morsel of food, Is there a rock? Is there a

0:35:29.680 --> 0:35:35.120
<v Speaker 2>predator approaching imminently? It gets all of that In water

0:35:35.480 --> 0:35:38.200
<v Speaker 2>that can be too hard to see, it can be

0:35:38.200 --> 0:35:40.319
<v Speaker 2>too murky to see in it gets all of that

0:35:40.360 --> 0:35:43.000
<v Speaker 2>in all directions. So electric fish are typically very, very

0:35:43.040 --> 0:35:46.759
<v Speaker 2>good at doing things like swimming backwards, you know, or

0:35:46.800 --> 0:35:49.879
<v Speaker 2>swimming upside down. It doesn't really matter. If you have

0:35:50.000 --> 0:35:55.480
<v Speaker 2>this totally immersive three hundred and sixty degree understanding of

0:35:55.520 --> 0:35:58.880
<v Speaker 2>your world through the sense, you're not limited to just

0:35:58.920 --> 0:36:01.759
<v Speaker 2>the forward direction. The whole world is full of possibility

0:36:01.800 --> 0:36:04.319
<v Speaker 2>to you. So this is another sense I think that

0:36:04.480 --> 0:36:08.440
<v Speaker 2>is always active with. If the fish doesn't produce the

0:36:08.480 --> 0:36:11.479
<v Speaker 2>electric field, it can't send the world around it. Now

0:36:11.719 --> 0:36:16.480
<v Speaker 2>it can passively send electric fields as well, and a

0:36:16.520 --> 0:36:19.279
<v Speaker 2>lot of living things give off electric fields, especially in

0:36:19.280 --> 0:36:24.920
<v Speaker 2>the water. It's kind of different. That's more limited in applications.

0:36:24.960 --> 0:36:28.560
<v Speaker 2>That's good for doing things like sensing other living things

0:36:29.680 --> 0:36:34.280
<v Speaker 2>and at short distances, and then all of these things

0:36:34.600 --> 0:36:37.520
<v Speaker 2>work together as a way of communication. So these electric

0:36:37.560 --> 0:36:40.440
<v Speaker 2>fish can produce electric fields and use that as signals

0:36:40.680 --> 0:36:44.400
<v Speaker 2>that other electric fish can detect, and they can send messages.

0:36:45.040 --> 0:36:50.080
<v Speaker 2>They caught each other using electric communications. They fight and

0:36:50.239 --> 0:36:54.879
<v Speaker 2>threaten each other using electric messages. There's a whole chorus

0:36:55.000 --> 0:36:58.440
<v Speaker 2>of electric talk in a lot of the rivers of

0:36:58.480 --> 0:37:01.880
<v Speaker 2>the world that we are not. And I think the

0:37:01.960 --> 0:37:06.839
<v Speaker 2>thing that really really blows my mind about this is

0:37:09.000 --> 0:37:14.440
<v Speaker 2>because this kind of sensing is always active, and so

0:37:14.560 --> 0:37:17.360
<v Speaker 2>the fish needs to produce its electric field in order

0:37:17.400 --> 0:37:20.320
<v Speaker 2>to understand the world around it. That's its primary sense,

0:37:21.040 --> 0:37:26.040
<v Speaker 2>and because it uses those exact same fields to communicate

0:37:26.080 --> 0:37:30.480
<v Speaker 2>with other fish. Now, the lines between perception and communication

0:37:31.080 --> 0:37:36.080
<v Speaker 2>are really really blurry. So if I am trying to

0:37:36.239 --> 0:37:40.839
<v Speaker 2>like wave someone down, that doesn't affect my vision. Right,

0:37:40.880 --> 0:37:44.799
<v Speaker 2>those two things are separate to me. But that's not

0:37:44.840 --> 0:37:48.240
<v Speaker 2>so for electric fish. Like when some electric fish fight,

0:37:48.680 --> 0:37:51.319
<v Speaker 2>if one of them loses, it will often produce a

0:37:51.400 --> 0:37:55.200
<v Speaker 2>submission signal, which means that it stopped producing its electric field.

0:37:55.800 --> 0:37:58.400
<v Speaker 2>It shuts that down as a way of saying, I

0:37:58.480 --> 0:38:02.760
<v Speaker 2>give in, but When it does that, it now loses

0:38:02.760 --> 0:38:05.959
<v Speaker 2>the ability to sense the world around it. So it's

0:38:06.040 --> 0:38:08.680
<v Speaker 2>like it's as if I wave a white flag and

0:38:08.719 --> 0:38:11.160
<v Speaker 2>as part of that I have to close my eyes.

0:38:12.360 --> 0:38:17.080
<v Speaker 2>You know, the communication and perception cannot be separated in

0:38:17.160 --> 0:38:21.560
<v Speaker 2>these animals, and how that works, I think is really

0:38:21.600 --> 0:38:24.239
<v Speaker 2>really interesting, both on an individual basis, and then just

0:38:24.280 --> 0:38:26.440
<v Speaker 2>like if you think about the evolution of that, it

0:38:26.560 --> 0:38:27.840
<v Speaker 2>starts getting really crazy.

0:38:28.920 --> 0:38:32.640
<v Speaker 1>How much of this is predictable? You know, if we

0:38:32.760 --> 0:38:36.960
<v Speaker 1>are provided a prompt that says, here's your environment, like

0:38:37.040 --> 0:38:40.239
<v Speaker 1>the Arctic ocean or a North American temperate forest or

0:38:40.360 --> 0:38:43.320
<v Speaker 1>the Sahara desert, and if you were given the size

0:38:43.360 --> 0:38:46.239
<v Speaker 1>of an animal, the type of an animal, like is

0:38:46.239 --> 0:38:48.040
<v Speaker 1>it a rodent? Is it a mastella? Is it a

0:38:48.040 --> 0:38:51.480
<v Speaker 1>water bird? And then like they're feeding guild? How much

0:38:51.520 --> 0:38:56.080
<v Speaker 1>can we guess about an organism sense, composition, or maybe

0:38:56.120 --> 0:38:58.600
<v Speaker 1>which sense it primarily relies on.

0:38:59.400 --> 0:39:02.960
<v Speaker 2>Oh, that's a really good question that I've not been

0:39:03.000 --> 0:39:09.399
<v Speaker 2>asked before. I love that. I think you could make

0:39:10.880 --> 0:39:17.160
<v Speaker 2>quite broad generic predictions that would probably hold up, but

0:39:17.280 --> 0:39:22.000
<v Speaker 2>I think the details would always always surprise you because

0:39:22.000 --> 0:39:26.600
<v Speaker 2>there's just so much flexibility in a lot of the senses,

0:39:27.239 --> 0:39:29.680
<v Speaker 2>and I think there's just there's just tons of room

0:39:29.680 --> 0:39:31.680
<v Speaker 2>for surprise. So let me give you an example, right, Like,

0:39:32.280 --> 0:39:35.279
<v Speaker 2>caves are a good example of this because caves are

0:39:35.360 --> 0:39:41.399
<v Speaker 2>environments that are notably dark. So one thing that is

0:39:41.640 --> 0:39:44.640
<v Speaker 2>very common among cave animals is that they lose their eyes.

0:39:45.600 --> 0:39:50.000
<v Speaker 2>You know, there are blind cavefish and blind cave salamanders

0:39:50.080 --> 0:39:55.160
<v Speaker 2>and blind cave insects. Vision ain't much good if there

0:39:55.200 --> 0:39:57.920
<v Speaker 2>is no light around, and that's a pretty obvious thing

0:39:58.000 --> 0:40:03.720
<v Speaker 2>to to predict. But now what do you do instead

0:40:03.800 --> 0:40:08.040
<v Speaker 2>of that? So a lot of blind cave fish have

0:40:09.080 --> 0:40:12.520
<v Speaker 2>heavily invested in a sense organ called the lateral line

0:40:12.520 --> 0:40:15.440
<v Speaker 2>that all fish have, and that allows them to sense

0:40:15.480 --> 0:40:19.920
<v Speaker 2>the flow of water around their bodies. You could just

0:40:20.040 --> 0:40:23.279
<v Speaker 2>take the basic lateral line and just soup it up,

0:40:23.360 --> 0:40:28.120
<v Speaker 2>which seems to be pretty common among cavefish. Or you

0:40:28.120 --> 0:40:32.120
<v Speaker 2>could do what one catfish in South America has done,

0:40:32.400 --> 0:40:35.280
<v Speaker 2>which is sort of dispense with the lateral line almost

0:40:35.480 --> 0:40:40.799
<v Speaker 2>entirely and instead create these little like joystick like things

0:40:40.920 --> 0:40:43.760
<v Speaker 2>all over its body that turn out to be teeth.

0:40:44.640 --> 0:40:48.600
<v Speaker 2>And I don't mean they're like teeth like tooth like things.

0:40:48.960 --> 0:40:52.240
<v Speaker 2>I mean they're like actual teeth. They have like enamel,

0:40:52.600 --> 0:40:57.560
<v Speaker 2>you know, they are their teeth and they this fish

0:40:57.560 --> 0:41:02.759
<v Speaker 2>has turned has created this like body wide set of

0:41:03.560 --> 0:41:07.120
<v Speaker 2>teeth that do the job of a lateral line in

0:41:07.320 --> 0:41:11.400
<v Speaker 2>most other fish. I could not predicted that the scientists

0:41:11.400 --> 0:41:15.040
<v Speaker 2>to discover this. Daphne Suarez absolutely did not predict that.

0:41:15.239 --> 0:41:19.440
<v Speaker 2>You know, nothing of that has is obvious or predictable.

0:41:20.000 --> 0:41:22.680
<v Speaker 2>So you know, sure that the fishes the fish is blind.

0:41:23.160 --> 0:41:27.560
<v Speaker 2>Okayfish are blind, but what it has done instead is

0:41:27.880 --> 0:41:32.200
<v Speaker 2>just that's that's ludicrous and wonderful and and I think

0:41:32.280 --> 0:41:33.160
<v Speaker 2>very unpredictable.

0:41:33.960 --> 0:41:37.399
<v Speaker 1>In your book, you bring up some incredible evolutionary arms

0:41:37.480 --> 0:41:42.000
<v Speaker 1>races between species in terms of senses, like bats and moths,

0:41:42.040 --> 0:41:45.960
<v Speaker 1>for instance. Did you come across one that you were like, Wow,

0:41:46.000 --> 0:41:49.480
<v Speaker 1>this is my favorite sensory evolutionary arms race.

0:41:51.719 --> 0:41:57.239
<v Speaker 2>Oh, honestly, I think you've hit on the best one.

0:41:58.000 --> 0:42:03.160
<v Speaker 2>Bats and moths are are pretty classic, and I think

0:42:03.200 --> 0:42:07.680
<v Speaker 2>they are incredible in the kinds of adaptations that they

0:42:07.760 --> 0:42:11.560
<v Speaker 2>have produced in each other and in the fact that

0:42:11.560 --> 0:42:15.080
<v Speaker 2>that story just keeps on changing. Right, So there's this

0:42:15.320 --> 0:42:22.600
<v Speaker 2>idea that that echolocation evolved to allow them to hunt

0:42:22.760 --> 0:42:27.560
<v Speaker 2>moths at night. But actually the timing of that doesn't

0:42:27.680 --> 0:42:31.239
<v Speaker 2>really work, and that story that that has been sort

0:42:31.239 --> 0:42:34.600
<v Speaker 2>of repeated in textbooks like actually probably isn't true. And

0:42:34.880 --> 0:42:37.080
<v Speaker 2>so what the actual truth is I don't know, but

0:42:37.680 --> 0:42:41.920
<v Speaker 2>it's it's it's a great tale. I think of an

0:42:41.960 --> 0:42:44.640
<v Speaker 2>evolutionary arms race that is so textbook that you know,

0:42:44.719 --> 0:42:47.640
<v Speaker 2>it's literally textbook it's and all the textbooks and most

0:42:47.680 --> 0:42:51.280
<v Speaker 2>of those textbooks are kind of wrong about it. But

0:42:51.440 --> 0:42:53.960
<v Speaker 2>then you know, regardless of how it originally started, like,

0:42:54.000 --> 0:42:57.080
<v Speaker 2>bats and moths are unquestionably locked in this this tight

0:42:57.200 --> 0:43:00.279
<v Speaker 2>arms race. Bats want to eat moths, moths don't want

0:43:00.280 --> 0:43:03.720
<v Speaker 2>to be eaten, and as a result of that, both

0:43:03.760 --> 0:43:08.279
<v Speaker 2>have incredible adaptations. So some moths can produce jamming clicks

0:43:08.360 --> 0:43:14.520
<v Speaker 2>that corrupt that interfere with the sonar of bats. Moths famously,

0:43:14.560 --> 0:43:17.400
<v Speaker 2>of all these scales and their bodies and their wings

0:43:17.840 --> 0:43:22.040
<v Speaker 2>that acts as acoustic armor. It kind of deadens some

0:43:22.080 --> 0:43:26.200
<v Speaker 2>of the sounds that come out from bats. Some moths

0:43:26.239 --> 0:43:31.000
<v Speaker 2>have these very beautiful, elaborate tails at the end of

0:43:31.000 --> 0:43:35.040
<v Speaker 2>their wings. If you've ever seen a lunar moth in

0:43:35.040 --> 0:43:39.120
<v Speaker 2>North America, it's just a beautiful insect with these long streamers,

0:43:39.160 --> 0:43:41.360
<v Speaker 2>and from its coming out of the hind wings, it

0:43:41.400 --> 0:43:45.520
<v Speaker 2>looks like those are acoustic defenses too. They sort of

0:43:45.560 --> 0:43:49.120
<v Speaker 2>flap and rotate as the moth flies, and they seem

0:43:49.120 --> 0:43:53.719
<v Speaker 2>to mess with the bat's echo location. Maybe it's not

0:43:53.880 --> 0:43:57.920
<v Speaker 2>entirely clear how. Maybe it just distorts the bat's perception

0:43:58.120 --> 0:44:01.920
<v Speaker 2>of where the moth is. But whatever the case is,

0:44:02.400 --> 0:44:06.400
<v Speaker 2>bats that attack lunar moths with intact tails tend to miss,

0:44:06.760 --> 0:44:10.360
<v Speaker 2>and that's very rarely miss when they attack moths that

0:44:10.480 --> 0:44:13.759
<v Speaker 2>don't have such defenses. And then you know, bats have

0:44:13.920 --> 0:44:18.759
<v Speaker 2>evolved not just echolocation in its basic form, which is

0:44:18.800 --> 0:44:22.800
<v Speaker 2>already incredible enough, but I think in very very specific,

0:44:23.000 --> 0:44:26.160
<v Speaker 2>very tailored forms of colocation to sort of counter some

0:44:26.239 --> 0:44:29.520
<v Speaker 2>of what moths can do. I think it's fascinating because

0:44:29.560 --> 0:44:33.200
<v Speaker 2>these are not animals that people tend to love, right

0:44:33.239 --> 0:44:38.440
<v Speaker 2>Like bats have often a bad reputation, moths are like,

0:44:38.800 --> 0:44:40.279
<v Speaker 2>you know, I think a lot of people think of

0:44:40.360 --> 0:44:45.440
<v Speaker 2>moths as like boring butterflies. One of the scientists I

0:44:45.480 --> 0:44:47.520
<v Speaker 2>took to basically think some things of them in the

0:44:47.560 --> 0:44:50.319
<v Speaker 2>other way around. They basically think of butterflies as like,

0:44:50.800 --> 0:44:53.200
<v Speaker 2>you know, lame day flying moths.

0:44:54.120 --> 0:44:58.600
<v Speaker 1>I love that. That's amazing. Yeah. So one of the

0:44:58.640 --> 0:45:03.440
<v Speaker 1>ways that I think our human bias has perpetuated certain

0:45:03.520 --> 0:45:06.640
<v Speaker 1>evolutionary narratives that we have told is the example that

0:45:06.680 --> 0:45:10.120
<v Speaker 1>you just provided about bats and moths. But it struck

0:45:10.120 --> 0:45:12.479
<v Speaker 1>me that there were so many other ones. I guess

0:45:12.480 --> 0:45:15.480
<v Speaker 1>I shouldn't be surprised by this. Humans are biased in

0:45:16.880 --> 0:45:19.719
<v Speaker 1>so many ways, but there were so many that you

0:45:19.840 --> 0:45:22.080
<v Speaker 1>brought up in your book, And one that I thought

0:45:22.120 --> 0:45:25.040
<v Speaker 1>was really interesting was sort of this story, this long

0:45:25.120 --> 0:45:28.040
<v Speaker 1>time story that we've told about how zebras got their

0:45:28.080 --> 0:45:32.200
<v Speaker 1>stripes and what these stripes do. So can you tell

0:45:32.239 --> 0:45:35.759
<v Speaker 1>me a little bit about how research has changed what

0:45:35.800 --> 0:45:38.280
<v Speaker 1>that story used to be and what we know today.

0:45:39.320 --> 0:45:43.239
<v Speaker 2>Yeah, that's a great question. So one of the there

0:45:43.280 --> 0:45:46.840
<v Speaker 2>have been a bunch of different hypotheses about why zebras

0:45:46.920 --> 0:45:50.359
<v Speaker 2>are striped, and one of the most common ones is

0:45:50.360 --> 0:45:55.280
<v Speaker 2>that it's for camouflage, so it makes the zebras harder

0:45:55.320 --> 0:45:58.839
<v Speaker 2>to hunt. And you know, again there's variance of that. Right,

0:45:58.960 --> 0:46:04.120
<v Speaker 2>Is it that the stripes cause confusion when the zebras run?

0:46:04.719 --> 0:46:07.520
<v Speaker 2>Do they break up? The zebras outlined? They make it

0:46:07.680 --> 0:46:11.239
<v Speaker 2>look a little bit like they allowed to blend into

0:46:11.760 --> 0:46:17.359
<v Speaker 2>a mid vertical tree trunks. Whatever those sub ideas you

0:46:17.440 --> 0:46:20.520
<v Speaker 2>want to pick, they are roll. They have to be wrong,

0:46:20.560 --> 0:46:24.320
<v Speaker 2>and they have to be wrong because, as a Mandamelin showed,

0:46:24.960 --> 0:46:29.480
<v Speaker 2>zebra predators can't make out zebra stripes. They just don't

0:46:29.480 --> 0:46:33.920
<v Speaker 2>have eyes with high enough resolution. So a lion or

0:46:33.920 --> 0:46:38.600
<v Speaker 2>a hyena at a kind of stalking distance cannot make out,

0:46:38.800 --> 0:46:41.080
<v Speaker 2>cannot distinguish between the black and the white stripes. A

0:46:41.160 --> 0:46:45.400
<v Speaker 2>zebra to its predators just looks like a gray donkey,

0:46:45.840 --> 0:46:48.920
<v Speaker 2>and that, you know, stops being true at close distances.

0:46:48.920 --> 0:46:51.480
<v Speaker 2>But at that distance, you know, the line can smell

0:46:51.560 --> 0:46:55.680
<v Speaker 2>the zebra are the senses kicking? It cannot be for camouflage.

0:46:56.040 --> 0:46:59.640
<v Speaker 2>And this was I think shown within the last decade

0:46:59.719 --> 0:47:02.759
<v Speaker 2>or so. This is pretty recent stuff, and I think

0:47:02.760 --> 0:47:08.160
<v Speaker 2>it shows that these very long standing ideas about the

0:47:08.680 --> 0:47:13.839
<v Speaker 2>adaptive nature of specific animal traits can often be completely

0:47:13.920 --> 0:47:18.840
<v Speaker 2>wrong if we're not actually considering how the audiences for

0:47:18.920 --> 0:47:22.799
<v Speaker 2>those traits perceive the world. In case you're wondering, the

0:47:22.960 --> 0:47:27.279
<v Speaker 2>current lead hypothesis for why zebras are striped is that

0:47:27.480 --> 0:47:34.320
<v Speaker 2>they are anti fly adaptations. So there's something about those

0:47:34.360 --> 0:47:39.680
<v Speaker 2>stripes that really confuse biting flies like horse flies. And

0:47:40.040 --> 0:47:43.560
<v Speaker 2>this has been shown in some really wonderful experiments where

0:47:43.840 --> 0:47:47.960
<v Speaker 2>scientists have taken like normal horses and put like zebra

0:47:48.080 --> 0:47:52.000
<v Speaker 2>coats on them, or like painted horses with like zebra

0:47:52.080 --> 0:47:56.239
<v Speaker 2>stripes and just watched flies trying to bite them, and

0:47:56.280 --> 0:47:59.799
<v Speaker 2>the flies just flob the landing all the time. They

0:48:00.280 --> 0:48:04.520
<v Speaker 2>can't seem there's something about the stripes that really really

0:48:04.560 --> 0:48:08.919
<v Speaker 2>baffles them. And then you might ask like, well, then,

0:48:09.200 --> 0:48:14.560
<v Speaker 2>why zebras and why isn't everything striped? Why am I

0:48:14.680 --> 0:48:16.799
<v Speaker 2>not striped? I live in DC I would be very

0:48:16.880 --> 0:48:21.480
<v Speaker 2>happy if nothing bit me, And I think and the

0:48:21.520 --> 0:48:24.759
<v Speaker 2>answer to that it might be that there's something about zebra.

0:48:24.840 --> 0:48:30.719
<v Speaker 2>Zebras have remarkably thick, thin skin compared to a lot

0:48:30.760 --> 0:48:33.319
<v Speaker 2>of other horses, and they live in parts of the

0:48:33.360 --> 0:48:37.040
<v Speaker 2>world where biting flies aren't just a nuisance but actually

0:48:37.080 --> 0:48:41.759
<v Speaker 2>carry some pretty nasty diseases that horses can get. So

0:48:41.880 --> 0:48:45.120
<v Speaker 2>there's something about these horses in this part of the world,

0:48:45.160 --> 0:48:48.279
<v Speaker 2>with these insects carrying these diseases that mean that they

0:48:48.480 --> 0:48:51.480
<v Speaker 2>have really really gone all in in some weird adaptation

0:48:51.920 --> 0:48:54.160
<v Speaker 2>to stop themselves getting bitten by flies.

0:48:55.000 --> 0:48:56.799
<v Speaker 1>It's an amazing story, and I love it. I love

0:48:56.840 --> 0:49:00.239
<v Speaker 1>that it comes down to diseases. That's my that's my right.

0:49:00.320 --> 0:49:07.800
<v Speaker 1>There another another place where I feel like human bias

0:49:07.880 --> 0:49:13.160
<v Speaker 1>really shines is this growing problem of sensory pollution. I

0:49:13.200 --> 0:49:15.880
<v Speaker 1>wanted to ask you to describe a few of the

0:49:15.880 --> 0:49:20.480
<v Speaker 1>different types of sensory pollution and who, so far is

0:49:20.560 --> 0:49:21.600
<v Speaker 1>the most impacted.

0:49:22.680 --> 0:49:26.560
<v Speaker 2>Oh yeah, So the ones that we know the most

0:49:26.600 --> 0:49:32.359
<v Speaker 2>about are light pollution and noise pollution. So that's when

0:49:32.360 --> 0:49:35.560
<v Speaker 2>we talk about sensory pollution, we're talking about stimuli that

0:49:35.840 --> 0:49:38.640
<v Speaker 2>are in places where they don't belong at times when

0:49:38.680 --> 0:49:42.359
<v Speaker 2>they don't belong. So lighting at night is actually a

0:49:42.480 --> 0:49:47.360
<v Speaker 2>huge problem. It means that we have broken these twenty

0:49:47.360 --> 0:49:49.719
<v Speaker 2>four hour cycles of light and dark that have been

0:49:50.560 --> 0:49:54.640
<v Speaker 2>held in violate for billions of years and to which

0:49:54.960 --> 0:49:58.839
<v Speaker 2>a lot of animals have adapted. When we shine light

0:49:59.200 --> 0:50:03.560
<v Speaker 2>in spaces, we often push out a lot of animals

0:50:03.600 --> 0:50:06.399
<v Speaker 2>that don't like it. We make things harder for things

0:50:06.400 --> 0:50:10.759
<v Speaker 2>like pollinating insects. We lure a lot of insects to

0:50:12.440 --> 0:50:16.399
<v Speaker 2>things like lampposts, often with fatal results. Light at night

0:50:16.719 --> 0:50:20.919
<v Speaker 2>near the ocean can attract hatchling sea turtles or way

0:50:21.000 --> 0:50:23.640
<v Speaker 2>from the ocean where they need to be again, often

0:50:23.680 --> 0:50:29.120
<v Speaker 2>with fatal results. Light at night can waylay migrating birds

0:50:29.320 --> 0:50:34.600
<v Speaker 2>that use celestial lights in the night sky to navigate again.

0:50:34.640 --> 0:50:37.719
<v Speaker 2>This can be devastating for creatures that are already going

0:50:37.760 --> 0:50:42.360
<v Speaker 2>on arduous treks and cannot afford to lose energy on

0:50:43.600 --> 0:50:47.799
<v Speaker 2>being set of course. And then noise pollution is kind

0:50:47.800 --> 0:50:50.720
<v Speaker 2>of similar. In a lot of the world is very quiet,

0:50:50.800 --> 0:50:55.920
<v Speaker 2>or used to be, and because of planes and cars

0:50:56.000 --> 0:51:00.560
<v Speaker 2>and the sounds of industry and the sounds of urban life,

0:51:01.440 --> 0:51:04.640
<v Speaker 2>we have filled the world with noise in a way

0:51:04.680 --> 0:51:07.319
<v Speaker 2>that's really harmful to a lot of animals that might

0:51:07.360 --> 0:51:12.120
<v Speaker 2>it might drown out alarm calls or courtship calls. It

0:51:12.239 --> 0:51:15.320
<v Speaker 2>might make it harder for parents and offspring to interact.

0:51:16.920 --> 0:51:20.680
<v Speaker 2>One great experiment by Jesse Barber and his colleagues really

0:51:20.680 --> 0:51:24.879
<v Speaker 2>spoke to this. They took they created a phantom road,

0:51:25.080 --> 0:51:29.480
<v Speaker 2>you know, in some area of wilderness, by recording the

0:51:29.520 --> 0:51:32.399
<v Speaker 2>sound of a busy highway and playing that sound from

0:51:32.480 --> 0:51:36.359
<v Speaker 2>speakers attached to trees in an area where no cars were.

0:51:36.640 --> 0:51:38.439
<v Speaker 2>So now you're taking away a lot of the bad

0:51:38.480 --> 0:51:40.279
<v Speaker 2>things that come with roads. There's no risk of being

0:51:40.360 --> 0:51:43.239
<v Speaker 2>hit by car because there aren't cars there. There's no exhausts,

0:51:43.280 --> 0:51:47.279
<v Speaker 2>so there's no chemical problem. It's just the noise. And

0:51:47.400 --> 0:51:51.120
<v Speaker 2>the noise alone was enough to reduce the number of

0:51:51.160 --> 0:51:55.239
<v Speaker 2>birds in that area that's used by migrating birds by

0:51:55.280 --> 0:51:57.560
<v Speaker 2>I think a third and a lot of the birds

0:51:57.560 --> 0:52:00.319
<v Speaker 2>that remained were in worse condition because they spend a

0:52:00.320 --> 0:52:04.480
<v Speaker 2>lot of time being alert, being watchful, and less time

0:52:04.520 --> 0:52:06.759
<v Speaker 2>on doing things that they need to do, like foraging.

0:52:07.680 --> 0:52:10.480
<v Speaker 2>These are just a few examples, but I think that

0:52:10.560 --> 0:52:14.600
<v Speaker 2>the effects of light and noise pollution are pervasive, and

0:52:14.680 --> 0:52:18.680
<v Speaker 2>I think they have costs for us too as humans.

0:52:19.440 --> 0:52:23.040
<v Speaker 2>I think they disconnect us from our appreciation of nature,

0:52:23.480 --> 0:52:27.760
<v Speaker 2>and they make nature seem remote and far away. Most

0:52:27.840 --> 0:52:33.279
<v Speaker 2>people in the US, and really in North American and

0:52:33.320 --> 0:52:38.080
<v Speaker 2>Europe have never seen true darkness. Most people have never

0:52:38.120 --> 0:52:41.000
<v Speaker 2>seen the milky Way, a thing that I think is

0:52:41.120 --> 0:52:46.200
<v Speaker 2>breathtakingly beautiful but really is only visible in the darkest

0:52:46.280 --> 0:52:50.799
<v Speaker 2>of places. And then noise pollution also drowns out the

0:52:50.840 --> 0:52:55.479
<v Speaker 2>sounds of animals around us. There are good reasons why

0:52:55.520 --> 0:52:57.600
<v Speaker 2>at the start of the pandemic a lot of people

0:52:58.040 --> 0:53:01.200
<v Speaker 2>only talked about hearing bird birds around them for the

0:53:01.200 --> 0:53:03.920
<v Speaker 2>first time. It wasn't that nature was healing and that

0:53:04.000 --> 0:53:07.560
<v Speaker 2>birds were suddenly flocking to those areas. It was that

0:53:08.080 --> 0:53:11.160
<v Speaker 2>the typical levels of noise that we produce in city

0:53:11.239 --> 0:53:15.640
<v Speaker 2>life makes it impossible to hear birds around us and

0:53:16.320 --> 0:53:20.200
<v Speaker 2>greatly shrinks the range over which we can hear natural noises.

0:53:21.239 --> 0:53:24.640
<v Speaker 2>So I've described in the book sensory pollution as the

0:53:24.640 --> 0:53:30.480
<v Speaker 2>pollution of disconnection. It severs the relationships between animals and

0:53:30.560 --> 0:53:33.360
<v Speaker 2>each other, and it severs our relationship from the animals

0:53:33.400 --> 0:53:36.520
<v Speaker 2>around us. It makes nature feel like something not a

0:53:36.560 --> 0:53:39.799
<v Speaker 2>part of our lives, and actually it's all around us,

0:53:39.880 --> 0:53:42.239
<v Speaker 2>you know. Part of what I hope to convey in

0:53:42.280 --> 0:53:46.840
<v Speaker 2>this book is that there is wonder and wilderness to

0:53:46.920 --> 0:53:52.120
<v Speaker 2>be found even in the most familiar creatures, in the

0:53:52.160 --> 0:53:56.080
<v Speaker 2>most mundane settings. You know, I can wax lyrical about

0:53:57.200 --> 0:54:00.680
<v Speaker 2>what the sparrows in the tree outside my house, see

0:54:00.760 --> 0:54:04.319
<v Speaker 2>what my dog experiences when he walks down the streets.

0:54:05.040 --> 0:54:09.480
<v Speaker 2>These are magical and kind of miraculous things. And I

0:54:09.520 --> 0:54:14.400
<v Speaker 2>think if we think about the experiences of other animals,

0:54:14.600 --> 0:54:16.600
<v Speaker 2>and if we do our best to try and create

0:54:16.640 --> 0:54:19.480
<v Speaker 2>a world in which they can a world that is

0:54:19.560 --> 0:54:22.560
<v Speaker 2>catered to their unveult as well as to ours, then

0:54:22.800 --> 0:54:27.360
<v Speaker 2>you know we can appreciate those those incredible aspects of

0:54:27.400 --> 0:54:28.800
<v Speaker 2>the world around us a bit better.

0:54:45.120 --> 0:54:49.520
<v Speaker 1>What an amazing way to close out this Susan's book Club. Ed,

0:54:49.800 --> 0:54:52.399
<v Speaker 1>thank you so much for taking the time to chat

0:54:52.400 --> 0:54:56.480
<v Speaker 1>with me today and for being just an incredible science communicator.

0:54:57.040 --> 0:54:59.440
<v Speaker 1>If you all enjoyed this interview and would like to

0:54:59.520 --> 0:55:02.640
<v Speaker 1>learn more about the sensory world of animals, check out

0:55:02.680 --> 0:55:05.440
<v Speaker 1>our website this podcast will kill You dot com. We're

0:55:05.480 --> 0:55:07.399
<v Speaker 1>I'll post a link to where you can find an

0:55:07.400 --> 0:55:11.759
<v Speaker 1>immense world how animal senses reveal the hidden realms around us,

0:55:12.200 --> 0:55:15.400
<v Speaker 1>as well as links to Ed's other works, and don't

0:55:15.400 --> 0:55:18.320
<v Speaker 1>forget you can check out our website for all sorts

0:55:18.360 --> 0:55:22.200
<v Speaker 1>of other cool things, including but not limited to, transcripts,

0:55:22.360 --> 0:55:26.319
<v Speaker 1>quarantining and Plaicitybrita recipes, show notes and references for all

0:55:26.360 --> 0:55:29.279
<v Speaker 1>of our episodes, links to merch our bookshop dot Org,

0:55:29.280 --> 0:55:32.719
<v Speaker 1>affiliate account, our Goodreads list, a first hand account form,

0:55:32.880 --> 0:55:36.360
<v Speaker 1>and music by Bloodmobile. Speaking of which, thank you to

0:55:36.400 --> 0:55:39.879
<v Speaker 1>Bloodmobile for providing the music for this episode and all

0:55:39.920 --> 0:55:43.440
<v Speaker 1>of our episodes. Thank you to Leana Squalacci for our

0:55:43.480 --> 0:55:47.640
<v Speaker 1>audio mixing, and thanks to you listeners for reading with me.

0:55:48.360 --> 0:55:52.280
<v Speaker 1>I have absolutely loved putting the Tpwkoay book Club together

0:55:52.560 --> 0:55:54.759
<v Speaker 1>and I could not have done it without you all.

0:55:55.560 --> 0:56:00.000
<v Speaker 1>A special thank you as always to our fantastic, generous patrens,

0:56:00.120 --> 0:56:05.840
<v Speaker 1>and we appreciate your support so very much. Okay, until

0:56:05.920 --> 0:56:08.520
<v Speaker 1>next time, keep washing those hands,