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Speaker 1: Hi everybody, This is Chuck here. Happy Saturday.

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Speaker 2: I hope you're doing well. Do you want to know

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Speaker 2: how color works? There's a lot to it and you

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Speaker 2: can learn it all right now. This one is from

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Speaker 2: May twenty first, twenty fifteen.

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Speaker 1: I hope you enjoy it.

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Speaker 3: Welcome to Stuff You Should Know, a production of iHeartRadio.

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Speaker 4: Hey, welcome to the podcast. I'm Josh Clark with Charles W.

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Speaker 4: Chuck Bryant and Jerry and it's stuff you should know.

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Speaker 1: Color and technical color.

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Speaker 4: Yeah, which is really something.

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Speaker 1: It's tea technical.

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Speaker 4: Yeah.

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Speaker 1: Yeah, imagine what it was like back then. Oh man,

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Speaker 1: I'll debut.

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Speaker 4: Just melted people's eyes all bait probably did. You're like, wow,

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Speaker 4: how are you doing?

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Speaker 1: I'm great.

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Speaker 4: I'm glad to hear that.

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Speaker 1: Yeah, how are you?

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Speaker 4: I'm good. I'm tired, but I'm good.

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Speaker 1: Yeah.

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Speaker 4: I got to precurely to study.

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Speaker 2: Oh yeah, I had to get up early to make

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Speaker 2: the cheese.

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Speaker 1: What oh you know it's just saying.

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Speaker 4: Don't wait, wait, who's saying, yeah.

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Speaker 1: Make the cheese, make the sausage, make the doughnuts.

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Speaker 4: I've heard make the doughnuts.

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Speaker 1: You never heard make the sausage.

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Speaker 4: I've heard you don't want to see how the sausage

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Speaker 4: is made.

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Speaker 1: Yeah, just pick anything.

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Speaker 4: Make the cheese, I don't think so cut the cheese,

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Speaker 4: milk the cow. People get up early for that, so

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Speaker 4: I guess there's that association.

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Speaker 1: Have you ever milked a cow?

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Speaker 4: No? Have you? No?

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Speaker 2: I was talking to Emily about that the other day

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Speaker 2: because we went horse riding and I'd never ridden a

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Speaker 2: horse before.

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Speaker 4: Oh yeah, it's pretty neat.

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Speaker 1: Huh, it's my.

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Speaker 2: New favorite thing. Yeah, it was amazing how awesome it was.

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Speaker 4: Did you jump over anything on the horse?

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Speaker 1: No? But we like, you know, trotted up a hill.

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Speaker 4: Did you shoot a bow and arrow?

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Speaker 1: No? I almost fell off though.

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Speaker 2: And yeah when he trotted up the hill, I got

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Speaker 2: like kind of loose in the saddle, as they say.

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Speaker 4: I was like, whoa, okay, well that's exactly what you

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Speaker 4: should said, as woe.

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Speaker 2: Well, no, he was going uphill, so I had to

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Speaker 2: just keep on trucking. Really, yeah, I didn't want to

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Speaker 2: stop him. Good for you, man, he was carrying a load.

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Speaker 2: I felt bad for the horse.

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Speaker 4: I'm sure he was fine.

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Speaker 1: Yeah, he was all right.

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Speaker 4: Yeah what was his name?

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Speaker 1: Oh? Man?

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Speaker 2: Now I'm kicking myself like a horse because I called

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Speaker 2: this horse by his name the whole day, and now

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Speaker 2: I can't remember Calvin.

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Speaker 1: I thought we'd bonded. I guess I was just pretending.

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Speaker 4: That's cool. The horse probably can't remember your name either.

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Speaker 2: Yeah, and he took a big dump. They do that, right,

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Speaker 2: and then just stopped. And I was like, what are

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Speaker 2: you stopping for?

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Speaker 4: And I was like, oh, oh, you're lucky even stop

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Speaker 4: sometimes they just walk and do that.

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Speaker 1: Really, all of the ones on our little ride stopped.

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Speaker 4: To poop, which I thought was maybe I'm confusing them

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Speaker 4: with another animal humans just walking poop at the same time.

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Speaker 1: Anyway, it was my favorite new thing. I loved it.

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Speaker 4: That's cool, man, I felt very at home. What color

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Speaker 4: was the horse?

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Speaker 1: The spotted ones, which I love, man.

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Speaker 4: I was hoping you were gonna say, like blue or

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Speaker 4: red or something easy?

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Speaker 1: Did you smashed the table?

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Speaker 4: Let's go with blue? Okay, blue?

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Speaker 1: It was a blue horse.

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Speaker 4: So allow me to explain why your horse appeared blue. Okay,

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Speaker 4: As Newton figured out, that horse was not inherently blue.

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Speaker 4: There's nothing inherently blue about that horse. Yeah, it's all

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Speaker 4: in our perception.

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Speaker 1: Yeah, because color technically doesn't exist.

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Speaker 4: It exists in our minds.

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Speaker 2: Well, yeah, the perception of color does exactly, But like

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Speaker 2: an apple isn't just there's nothing in the apple that's red.

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Speaker 4: Exactly, chuck, And there's nothing in your horse that made

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Speaker 4: it blue. Now, what happens is that color is basically

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Speaker 4: our perception of a specific wavelength of visible light.

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Speaker 1: That's right.

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Speaker 4: And visible light is just part of the electromagnetic spectrum

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Speaker 4: that includes everything from microwaves to radio waves, to gamma rays.

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Speaker 1: To ocean waves.

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Speaker 4: Not quite, but visible light is part of that wavepools. No, no, no,

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Speaker 4: just those things that I said. Okay, So along that

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Speaker 4: spectrum is this very narrow little slice that's visible light.

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Speaker 4: And invisible light which we see is like white light, sunlight. Yeah,

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Speaker 4: it is the presence of the rainbow, which are called

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Speaker 4: the spectral colors.

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Speaker 1: It's right.

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Speaker 2: On one end, you have the short wavelength, which is blue.

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Speaker 2: On the other end, you have the long wavelengths, which is.

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Speaker 4: Red technically violet.

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Speaker 2: On the other side, well, red has a bunch of

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Speaker 2: different names. When you start reading in the color.

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Speaker 4: Well, no blue on the blue side, it's like starts

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Speaker 4: at violet. But we don't perceive it very well.

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Speaker 2: Oh well, I'm talking about what humans can see, right, Yeah,

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Speaker 2: and then everything else is in between.

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Speaker 4: Right, and what's really in the middle, Like yellow, Maybe

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Speaker 4: it seems like yellow is kind of in the middle.

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Speaker 1: Yeah. When you think, you tell me.

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Speaker 4: Well, on the other end, beyond violet, you've got ultraviolet,

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Speaker 4: and beyond red, you've got infrared.

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Speaker 1: Yeah, these are things we can't see.

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Speaker 4: No, we can't. Some animals can, remember they think monarch

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Speaker 4: butterflies are able to migrate all the way to Mexico

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Speaker 4: using ultraviolet detecting ultraviolet. I remember that.

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Speaker 1: Oh yeah, man, that was a good episode, pretty amazing.

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Speaker 4: So this band of light, this visible spectrum, contains the

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Speaker 4: spectral colors which we perceive, right, And for a very

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Speaker 4: long time, everybody just thought, well, that apple's red or

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Speaker 4: that horse is blue. That's just how it's born. There's

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Speaker 4: nothing that can be done about it.

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Speaker 1: Yeah.

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Speaker 4: And then like we said, along came Newton, and Newton said, no,

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Speaker 4: something weird's going on here. Like you said, color doesn't

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Speaker 4: really exist. It's in the eye of the beholder almost literally. Yeah, right,

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Speaker 4: And the reason why an apple seems red or your

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Speaker 4: horse seems blue are because of natural chemicals found in

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Speaker 4: say the skin of the apple or the hide to

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Speaker 4: the horse. That are called pigments. So in an apple, specifically,

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Speaker 4: it's anthrocyanins that make it red. In the case of

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Speaker 4: a carrot, it's carotenoids, in the case of grass, it's chlorophyll.

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Speaker 4: And these pigments have the capability of absorbing some wavelengths

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Speaker 4: of light and reflecting others back. And the wavelength that

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Speaker 4: it reflects back are the colors that we perceive.

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Speaker 1: That's right.

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Speaker 2: And that's if it's an object that is opaque.

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Speaker 4: Well, yeah, that's a big one right there. Yeah, apples

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Speaker 4: are pretty opaque.

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Speaker 1: Yeah, I would say, so that's your Superman maybe.

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Speaker 4: Yeah, heats invisible see through apples. Oh yeah he can.

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Speaker 4: Can I get your joke now? So yeah, with an

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Speaker 4: opaque object, where light doesn't pass all the way through,

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Speaker 4: some lights reflected back. So in the case of anthracyanins,

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Speaker 4: this pigment absorbs all the other wavelengths of light except red,

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Speaker 4: and it reflects red back, and so red is reflected back.

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Speaker 4: So what you see when you look at this apple

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Speaker 4: with all the red light reflecting back at you is

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Speaker 4: a red apple, that's right. That's how we perceive color

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Speaker 4: in the world around us. Naturally.

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Speaker 2: Yeah, and if it's transparent, it's not reflecting that light

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Speaker 2: but transmitting it. So it depends on the color of

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Speaker 2: light that's passing through it instead of reflecting back to you.

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Speaker 1: Yes, and again it's that chemical makeup.

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Speaker 2: It operates in sort of the same way, right, It's

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Speaker 2: just not like in an apple skin, let's say.

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Speaker 4: Yeah, exactly. But it all comes to do It comes

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Speaker 4: down to basically pigments or whatever natural chemical or mineral

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Speaker 4: that either absorbs or reflects certain wavelengths of light.

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Speaker 1: That's right.

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Speaker 4: So here's the thing though, Chuck, Like that can happen

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Speaker 4: all day long, and as long as there's not a

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Speaker 4: human or a monkey, or a dolphin or a dog,

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Speaker 4: because dogs are not colorblind, that's right. They see and

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Speaker 4: colors than we do, but they're not color blind.

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Speaker 1: I always wonder how they do this tests animals.

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Speaker 4: Yeah, it's a good question.

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Speaker 2: I mean, I'm sure it's pretty easy to find out,

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Speaker 2: but I just didn't have time to look into it.

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Speaker 4: I'm with you. Yeah, this is like in massive black

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Speaker 4: hole of information, Like you could just keep going and

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Speaker 4: going and going with colors such a huge expansive topic

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Speaker 4: that we could just do nothing, but color episodes for

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Speaker 4: the next several months. If we wanted to do you

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Speaker 4: want to kill me?

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Speaker 1: I may not make it through today's.

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Speaker 4: So you're doing great. This is fine, This is great, Chuck.

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Speaker 4: It is a very like big subject. Yes it is, man,

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Speaker 4: We're just we're providing a brief overview of it.

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Speaker 1: That's right.

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Speaker 4: So, like I was saying, things can reflect color all

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Speaker 4: the time, but as long as there's not something there

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Speaker 4: to perceive it, is there any Is there really any

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Speaker 4: color there? Well that's a philosophical question, but there's an

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Speaker 4: answer to it, and the answer is no.

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Speaker 1: If a tree falls in the woods and no one's

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Speaker 1: around to hear, it doesn't make a noise.

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Speaker 4: No. Actually, my opinion on that one is yes, okay.

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Speaker 4: But with color, yeah, it doesn't exist without being perceived.

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Speaker 4: I think. Yeah, sound to me is different than.

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Speaker 1: It's a bit of a brain melter. But I see

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Speaker 1: what you're saying.

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Speaker 4: Okay. So that leads you to the question of how

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Speaker 4: do we see color? And that wasn't figured out until

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Speaker 4: the eighteenth century, and it wasn't proven I think, until

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Speaker 4: the sixties. And there were a pair of guys who

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Speaker 4: were a dynamic duo. If I've ever heard of one before,

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Speaker 4: and what were their names?

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Speaker 1: Well, Thomas Young, he was I thought he was kind

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Speaker 1: of the main guy. I had never heard of.

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Speaker 4: The other guy, Hermann von Helmholtz.

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Speaker 2: Yeah, Thomas Young. What I read was that he was

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Speaker 2: the first to propose the trichromatic theory. Basically that we

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Speaker 2: see everything through red, green, and blue channels because that's

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Speaker 2: how our eyes pick up on color.

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Speaker 4: Yeah, because we have specialized cells in our eyes called cones, right, Yeah,

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Speaker 4: I think we have something like one hundred million or

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Speaker 4: some ridiculous amount of rods. And rods are the things

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Speaker 4: that we see in like fine detail, black and white typically, right. Yeah,

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Speaker 4: Cones are color perceiving cells, and each cell is specialized

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Speaker 4: to you either attuned to wavelengths that red, green, or blue.

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Speaker 2: Yeah, you have way more rods than cones, about one

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Speaker 2: hundred and twenty million rods in each eye and only

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Speaker 2: only about six million cones in each eye.

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Speaker 4: And those cones are concentrated mostly in the front of

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Speaker 4: your retina, Yeah, in the middle, right, which is why

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Speaker 4: you don't see color peripherally quite as well.

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Speaker 1: That's right.

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Speaker 4: So these cells are attuned to different wavelengths, right. The

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Speaker 4: long wavelengths are red, medium is green, and short is blue.

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Speaker 1: I thought you said medium was yellow.

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Speaker 4: No, that's in the middle.

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Speaker 1: Oh okay, right, so medium is not in the middle.

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Speaker 4: Well as far as our RGB goes, gotcha, okay. And

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Speaker 4: so with these cells, Chuck, if you're looking at your

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Speaker 4: blue horse, what was his name, Calvin the blue horse. Yeah,

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Speaker 4: so if you're looking at Calvin the blue horse, you're

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Speaker 4: getting a lot of information on from short wavelength light, yes,

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Speaker 4: not so much at the long or medium wavelengths, right,

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Speaker 4: And so there's probably a little bit it's not a

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Speaker 4: true blue horse, right, which would mean that it was

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Speaker 4: a totally saturated blue, which is only that blue wavelength,

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Speaker 4: true blue wavelength coming to your eyes, there's probably a

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Speaker 4: little bit of green, a little bit of red. And

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Speaker 4: so all the cones in your eyes are getting all

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Speaker 4: this information at once, and they're reporting to your brain

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Speaker 4: via electrical impulses about the quality of the wavelengths of

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Speaker 4: light that they're getting, and so your brain takes it

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Speaker 4: and basically it becomes a color mixer and creates the

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Speaker 4: color blue that you're seeing Calvin as Yeah, that's how

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Speaker 4: we detect color. And from the r and the G

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Speaker 4: and the B you can put together. Supposedly, the Commission

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Speaker 4: on Illumination, a European Commission on illumination back in nineteen

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Speaker 4: thirty one determine that humans can see something like two

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Speaker 4: point three eight million colors.

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Speaker 1: Oh, i'ds up to one hundred million, now.

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Speaker 4: Is it? Because I've seen all over the place in

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Speaker 4: this The nineteen thirty one CIE findings are the ones

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Speaker 4: that people say, this has the best science behind it.

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Speaker 2: Oh really, yeah? Yeah, so one hundred million, no, I'm sorry,

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Speaker 2: ten million.

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Speaker 4: Okay, okay. The other thing about the CIE is that

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Speaker 4: people say, well, this was only under certain types of illumination.

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Speaker 4: I think three different types of illumination, so it is

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Speaker 4: entirely possible if you change the intensity or whatever, you're

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Speaker 4: going to have brand new color. So ten millions reasonable, Okay.

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Speaker 4: That's a lot of colors that we can see, all

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Speaker 4: from the red, the green, and the blue cones coming

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Speaker 4: together and your brain adjusting them and seeing, oh, well

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Speaker 4: that's burnt sienna.

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Speaker 1: I know you're gonna say that, did you. Yeah, that's

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Speaker 1: sort of the go to joke color, right it is.

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Speaker 4: It's pretty joky color.

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Speaker 2: It's a good one. Yeah, it's pretty amazing. Ten million colors,

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Speaker 2: or let's say it's two million, if you're going by

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Speaker 2: the nineteen thirty one model.

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Speaker 4: Yeah, you know, the CIE naming convention.

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Speaker 1: Shall we talk about some of the characteristics of color.

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Speaker 4: Yeah, but let's take a break first. This is getting heavy,

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Speaker 4: all right, okay.

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Speaker 5: Saish all right.

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Speaker 2: So if you actually you can do this on your

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Speaker 2: modern television as well, But it seemed like most TV's

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Speaker 2: now kind of come fairly set up.

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Speaker 1: Yeah, but in the old days, when you had those.

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Speaker 2: Little wheels to try and get that color right, it

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Speaker 2: was you know, you might have noticed things that said

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Speaker 2: hue and intensity or value or tone and all that stuff.

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Speaker 2: Those are all color characteristics. Yeah, and Hugh specifically is

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Speaker 2: I mean, that's basically what the color is. It's not

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Speaker 2: the lightness or the darkness. It's you know, it's the

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Speaker 2: greenness or the redness or the blueness, right, that's the hue.

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Speaker 4: Yeah, it's it's what you can interchange that word with color.

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Speaker 2: Yeah, exactly. I like how they refer to it as

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Speaker 2: the identity of a color.

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Speaker 1: Yeah, that sounds kind of personal.

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Speaker 2: The intensity is how pure it is. So, like we said,

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Speaker 2: most colors are mixes. You know, they bleed one way

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Speaker 2: or the other on the wavelength, but in its purest

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Speaker 2: form a single wavelength, which is really rare, that would

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Speaker 2: be the purity or the intensity.

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Speaker 1: Of the color.

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Speaker 4: Right.

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Speaker 1: You're not gonna see that very.

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Speaker 4: Often though, No, And I was wondering, like, that's pretty cool.

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Speaker 4: There's some physics labs some where that can produce pure

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Speaker 4: saturated green like unadultterated green or unadultraated blue.

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Speaker 1: There is, or you're saying, I'm sure it's got to be.

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Speaker 4: There has to be. Yeah, probably that has got to

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Speaker 4: be really something to see. To know, you're looking at green,

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Speaker 4: like nothing but green. I would like to see that sometime.

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Speaker 2: Yeah, and I have I'm not color blind, but I

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Speaker 2: have a more difficult time picking out other hues in

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Speaker 2: a color, whereas Emily's really good, like when picking out

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Speaker 2: paint colors, like that gray has this and this and

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Speaker 2: this in it, and I'm like, really like I see gray.

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Speaker 4: Well, supposedly a lot of people have a color deficiency.

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Speaker 1: I might have a slight color deficiency.

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Speaker 4: And a lot of people don't realize it. Well, yeah,

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Speaker 4: a lot of people don't realize that. They think that

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Speaker 4: this just this color just looks like this and thinks

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Speaker 4: everybody sees it that way and that's not the case.

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Speaker 4: And then it comes from a conversation where they're like, well,

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Speaker 4: wait a minute, what do you mean you see a

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Speaker 4: distinction between those?

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Speaker 2: Well, but yeah, but in my case, it's hues. It's

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Speaker 2: not like I see a completely different color, right, or you.

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Speaker 4: Know, black, or everything's just looks gray.

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Speaker 1: Yeah.

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Speaker 4: I did a brain stuff on color blindness. That's pretty interesting.

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Speaker 5: Yeah.

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Speaker 2: I went to research that one time for a show

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Speaker 2: and it would just like bent my mind so much

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Speaker 2: I quietly filed it away.

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Speaker 1: So I'm sure you'll pick it next week.

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Speaker 4: Color blindness, Uh huh.

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Speaker 1: Yeah.

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Speaker 2: Value is the lightness or darkness of a color, and

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Speaker 2: that's basically has to do with light, the energy of

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Speaker 2: the light that makes it up.

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Speaker 4: Yeah, and the value is so hues. There's really just

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Speaker 4: kind of a finite, very finite number of colors of hues, right.

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Speaker 1: Yeah.

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Speaker 4: And you think of like primary colors, which we'll talk

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Speaker 4: about soon. But when you adjust something, when you adjust

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Speaker 4: the value of it, yeah, that just creates a whole

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Speaker 4: new range of colors. So if you add a little

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Speaker 4: black to a color, what you're doing is shading it.

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Speaker 1: Yeah.

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Speaker 4: If you add white, you are creating a tint.

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Speaker 1: Yeah.

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Speaker 4: And then if you add black and white a gray,

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Speaker 4: you're toning it.

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Speaker 2: Yeah, right, And I think people interchange those words without

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Speaker 2: understanding what they mean.

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Speaker 4: Yeah, but they are definite distinct things, and that we

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Speaker 4: should probably say. There's a lot of really neat sites

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Speaker 4: on the internet. Pantone is a really good one, yeah,

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Speaker 4: where you can go look at color wheels and things

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Speaker 4: like that and see the distinction between these things and

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Speaker 4: be like, oh, you mean pastels. That's another word for

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Speaker 4: a tone.

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Speaker 2: Yeah, And it's a lot of people really get into

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Speaker 2: it because it's the basis of printing and art and photography,

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Speaker 2: and like every every sort of art form, well not

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Speaker 2: every art form, but many art forms boil down the color.

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Speaker 2: So if you go to art school, you're going to

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Speaker 2: study color pretty deeply, yeah, you know.

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Speaker 4: Yeah, And one of the things you're going to study

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Speaker 4: is color theory. And color theory is based done the

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Speaker 4: idea that certain colors contrast one another, certain colors complement

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Speaker 4: one another, certain colors should never be used together. And

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Speaker 4: not that it's just you know, your instructor serge saying no,

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Speaker 4: these colors don't go together. It's not just Serge's opinion, right,

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Speaker 4: These are objective facts as far as color theory goes. Sure,

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Speaker 4: And it's all based on the idea that all colors

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Speaker 4: fall into one of two categories. You have additive colors

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Speaker 4: and subtractive colors.

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Speaker 2: Yeah, and there's a couple of I mean, there's two

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Speaker 2: distinct applications for both of these. If you're talking about

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Speaker 2: a computer screen or a television that's using light, so

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Speaker 2: it's additive. If you're talking about paint or photography that's subtractive.

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Speaker 4: Right, So you can think of it this way. With

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Speaker 4: additive colors, you're starting with black and you're adding light

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Speaker 4: to it, and ultimately, when you add all these additive

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Speaker 4: colors together, you're going to have white. With subtractive colors,

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Speaker 4: you start with white, and when you add all these

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Speaker 4: colors together, you're ultimately gonna have black. And they subtract

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Speaker 4: by absorbing one another's colors.

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Speaker 2: Another color mind bender two because with subtractive color, you're

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Speaker 2: still adding colors, but it's not additive, right, But they're

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Speaker 2: sort of have to wrap your head around that.

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Speaker 4: Yeah, but they're subtracting wavelengths by combining colors and absorbing.

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Speaker 1: Them, right, Yeah, it takes a hue out.

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Speaker 4: So a really good example of subtractive colors is if

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Speaker 4: you take cyan. Cyan absorbs orange, red, right right, So

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Speaker 4: if you take cyan and you mix it with yellow,

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Speaker 4: you produce green. And the reason that cyan and yellow

395
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Speaker 4: produce green is because the cyan absorbs the red light

396
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Speaker 4: and the yellow light. The yellow absorbs blue violet, and

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Speaker 4: so the only color that's not subtracted or absorbed is green.

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Speaker 4: So green is produced from these other pigments absorbing all

399
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Speaker 4: the other wavelengths. Yeah, and with it additive coloring, additive pigments.

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Speaker 4: It's it's quite the opposite. You have light combining to

401
00:20:15,640 --> 00:20:19,480
Speaker 4: form new colors. Rather than absorbing, you're adding to it.

402
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Speaker 2: Yeah, And like the apple is an example, like we

403
00:20:22,240 --> 00:20:27,119
Speaker 2: said earlier, of a subtractive color system. And again, like

404
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Speaker 2: a TV screen would be additive.

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Speaker 4: Yeah, I think we got that. Yeah, I mean it

406
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Speaker 4: is mine bending a little.

407
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Speaker 1: Bit some of the stuff, you know, I have to

408
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Speaker 1: read like ten times and then it sinks in.

409
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Speaker 4: But the reason that all colors can be turned into

410
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Speaker 4: either additive primaries or subtractive primaries is that these are

411
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Speaker 4: the six colors of these, they're the six spectral colors.

412
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Speaker 4: They're the rainbow colors. Right. So additive primaries are what red, green,

413
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Speaker 4: and blue.

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Speaker 1: RGB.

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00:21:01,080 --> 00:21:09,960
Speaker 4: Yeah, and then the subtractive colors are cyan, yellow and magenta.

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00:21:10,080 --> 00:21:11,360
Speaker 1: Yeah, I was gonna say magenta.

417
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Speaker 4: They're almost like bizarro colors. They're the bizarro world primary colors.

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Speaker 4: When you think of primary colors, you think of like

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Speaker 4: the the what red, yellow, and blue is what most

420
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Speaker 4: people think of.

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Speaker 2: Yeah, Red, yellow, and blue were the traditional primaries, and

422
00:21:27,640 --> 00:21:31,000
Speaker 2: they still are, but when it comes to like painting

423
00:21:31,160 --> 00:21:36,600
Speaker 2: and printing, they've been replaced with cyan, magenta, yellow, and black.

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Speaker 4: Right, cmyk.

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Speaker 2: Yeah, when you go to your clubhouse printer, Yeah, that's

426
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Speaker 2: what you're gonna be.

427
00:21:42,359 --> 00:21:46,600
Speaker 4: Seeing, cmyk. Or you can select RGB as well, red, green,

428
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Speaker 4: and blue.

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Speaker 2: So Crosby Stills Nash and Young, right, right, or Crosby

430
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Speaker 2: Stills in Nash.

431
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Speaker 4: Yeah.

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Speaker 1: Okay, that's the difference.

433
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Speaker 4: That's a good rule of thumb.

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Speaker 1: Man.

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00:21:57,000 --> 00:22:00,199
Speaker 2: All right, So we mentioned primary colors just a second go,

436
00:22:00,280 --> 00:22:04,480
Speaker 2: and then we have our secondary colors green, orange, and

437
00:22:04,480 --> 00:22:08,120
Speaker 2: purple hues, which you get from mixing the primary colors, right,

438
00:22:08,160 --> 00:22:11,240
Speaker 2: and then you have something called tertiary colors, which is

439
00:22:11,280 --> 00:22:15,399
Speaker 2: just furthering the color hues by mixing primary colors with

440
00:22:15,560 --> 00:22:16,560
Speaker 2: secondary colors.

441
00:22:16,640 --> 00:22:19,720
Speaker 4: Right, So the six tertiary colors and the two sets

442
00:22:19,720 --> 00:22:24,440
Speaker 4: of primary colors or the six secondary colors I think,

443
00:22:24,600 --> 00:22:27,240
Speaker 4: and the two sets of primary colors form the color

444
00:22:27,280 --> 00:22:29,920
Speaker 4: wheelers twelve colors in the color wheel.

445
00:22:30,160 --> 00:22:32,880
Speaker 2: Yeah, and tertiary colors are the ones that you'll hear

446
00:22:33,000 --> 00:22:37,280
Speaker 2: like blue green or red violet. Yeah, it's like literally

447
00:22:37,359 --> 00:22:39,400
Speaker 2: named the two colors.

448
00:22:39,640 --> 00:22:42,360
Speaker 4: And color naming is another rabbit hole that you can

449
00:22:42,400 --> 00:22:45,960
Speaker 4: go down. There's a sight. Man, I wish I'd written

450
00:22:45,960 --> 00:22:49,520
Speaker 4: it down, but it's if you type in like who

451
00:22:49,640 --> 00:22:52,320
Speaker 4: names colors or color naming or something like that in Google.

452
00:22:52,800 --> 00:22:57,760
Speaker 4: Like one of the first page entries is the site

453
00:22:57,800 --> 00:23:01,840
Speaker 4: that you go through and it shows you different colors

454
00:23:01,880 --> 00:23:05,440
Speaker 4: and you write what you would name that color? Oh, interesting,

455
00:23:05,880 --> 00:23:08,840
Speaker 4: butter yellow or something like that, right, and the whole

456
00:23:08,880 --> 00:23:11,240
Speaker 4: well that was as as far as I got. I'm like,

457
00:23:11,320 --> 00:23:13,080
Speaker 4: well I would call this butter yellow, and you got

458
00:23:13,119 --> 00:23:16,359
Speaker 4: hungary had other things to do. But you can go

459
00:23:16,400 --> 00:23:18,600
Speaker 4: through in this. I think it's like ten or twenty

460
00:23:18,640 --> 00:23:21,199
Speaker 4: different shades that they show you colors that they show you,

461
00:23:21,560 --> 00:23:26,240
Speaker 4: And the whole purpose of all this is to find

462
00:23:26,640 --> 00:23:32,399
Speaker 4: some sort of commonality to create universal, universal naming convention

463
00:23:32,480 --> 00:23:35,280
Speaker 4: for colors. Yeah, it makes sense because you know, there

464
00:23:35,359 --> 00:23:39,360
Speaker 4: is a lot of distinction among languages for naming colors.

465
00:23:39,720 --> 00:23:44,240
Speaker 4: But at least one study that I found decided that

466
00:23:44,960 --> 00:23:51,399
Speaker 4: all colors universally for societies that do recognize individual colors,

467
00:23:51,480 --> 00:23:53,360
Speaker 4: rather than these are just warm colors and these are

468
00:23:53,359 --> 00:23:58,320
Speaker 4: cool colors. Yeah, which is universal. The more primary the color,

469
00:23:58,560 --> 00:24:02,320
Speaker 4: the shorter and easier to remember the name of it is,

470
00:24:02,840 --> 00:24:05,840
Speaker 4: like across cultures. So not all cultures will call it blue,

471
00:24:06,400 --> 00:24:08,879
Speaker 4: But what a culture is going to have like another

472
00:24:09,000 --> 00:24:14,400
Speaker 4: like short monosyllabic name for that color, for the same

473
00:24:14,400 --> 00:24:15,520
Speaker 4: thing that we would call blue.

474
00:24:15,800 --> 00:24:18,760
Speaker 1: Oh that's pretty interesting, Yeah, just because it's easier to understand.

475
00:24:18,840 --> 00:24:23,960
Speaker 4: It's just it's basic, like colors appear to be basic universally.

476
00:24:25,359 --> 00:24:27,600
Speaker 2: All right, I think we should take another break and

477
00:24:27,680 --> 00:24:29,680
Speaker 2: maybe come back and talk a little bit about how

478
00:24:29,760 --> 00:24:33,240
Speaker 2: colors can compliment each other and live in harmony and

479
00:24:33,280 --> 00:24:34,280
Speaker 2: what that all means to us.

480
00:24:34,520 --> 00:24:50,240
Speaker 3: Okay, s.

481
00:24:54,520 --> 00:24:55,600
Speaker 1: All right, we're back.

482
00:24:56,000 --> 00:24:56,640
Speaker 4: We sure are.

483
00:24:57,440 --> 00:25:01,359
Speaker 2: So we talked about the different primary color, secondary, and tertiary.

484
00:25:01,960 --> 00:25:05,080
Speaker 2: And there's also something called complementary colors, which are basically

485
00:25:06,240 --> 00:25:10,040
Speaker 2: contrasting colors that make a neutral color when put together, right,

486
00:25:10,400 --> 00:25:14,320
Speaker 2: and they are really far apart in hue, as far

487
00:25:14,359 --> 00:25:16,160
Speaker 2: apart as they can be. And there if you look

488
00:25:16,200 --> 00:25:18,920
Speaker 2: at the color wheel, they're on the complete opposite side

489
00:25:18,960 --> 00:25:22,680
Speaker 2: from one another, right, And when you place them next

490
00:25:22,680 --> 00:25:25,720
Speaker 2: to each other, then their hue is like, I guess.

491
00:25:25,560 --> 00:25:29,639
Speaker 1: It's just more robust looking, yes, because they complement.

492
00:25:29,280 --> 00:25:33,920
Speaker 4: One another, right, Yeah, complimentary doesn't necessarily mean like, oh,

493
00:25:33,960 --> 00:25:40,360
Speaker 4: they look great together under all circumstances. So some complementary colors,

494
00:25:40,560 --> 00:25:44,159
Speaker 4: like red and green, if you play them next to

495
00:25:44,200 --> 00:25:47,479
Speaker 4: each other in the same intensity and the same size,

496
00:25:47,520 --> 00:25:50,280
Speaker 4: it's another one. Yeah, you are going to have what's

497
00:25:50,320 --> 00:25:54,000
Speaker 4: called an iceore. I have a shirt like that. It's

498
00:25:54,080 --> 00:25:56,960
Speaker 4: just too much equal amounts of bright red and bright green.

499
00:25:57,160 --> 00:25:58,280
Speaker 1: Trying to think of that shirt.

500
00:25:58,680 --> 00:25:59,960
Speaker 4: It's just a Christmas shirt?

501
00:26:00,200 --> 00:26:00,760
Speaker 1: Is it retired?

502
00:26:00,840 --> 00:26:01,040
Speaker 4: Yeah?

503
00:26:01,119 --> 00:26:02,000
Speaker 1: Well for the holiday.

504
00:26:02,080 --> 00:26:06,840
Speaker 4: Yeah, it's a holiday. Sure, Okay, But the whole point

505
00:26:06,880 --> 00:26:11,480
Speaker 4: of having colors and using colors together isn't just like, well,

506
00:26:11,600 --> 00:26:13,520
Speaker 4: these two are opposite the color wheels, So I'm going

507
00:26:13,560 --> 00:26:15,560
Speaker 4: to use them and equal amounts and equal intensity and

508
00:26:15,600 --> 00:26:18,200
Speaker 4: everything will be great. You have to achieve what's called

509
00:26:18,280 --> 00:26:21,920
Speaker 4: color harmony, and in doing that, you want to choose

510
00:26:21,960 --> 00:26:26,400
Speaker 4: different different shades or different tones or different tints, and

511
00:26:26,520 --> 00:26:29,320
Speaker 4: also different amounts at once. So like you're going to

512
00:26:29,400 --> 00:26:31,399
Speaker 4: use a bunch of red and a little bit of

513
00:26:31,440 --> 00:26:34,560
Speaker 4: green as an accent. That would be much more harmonious

514
00:26:34,600 --> 00:26:37,320
Speaker 4: than equal amounts of intense red and green next to

515
00:26:37,359 --> 00:26:37,760
Speaker 4: each other.

516
00:26:38,080 --> 00:26:41,040
Speaker 2: Yeah, and again this is when we say it's not

517
00:26:41,080 --> 00:26:44,399
Speaker 2: a matter of taste. That's like picking something out as

518
00:26:44,440 --> 00:26:47,359
Speaker 2: a matter of taste. But again, these are like scientific rules.

519
00:26:48,200 --> 00:26:50,399
Speaker 2: You can't just throw two colors together and say that

520
00:26:50,440 --> 00:26:52,680
Speaker 2: looks great or that they're harmonious.

521
00:26:53,680 --> 00:26:55,120
Speaker 1: I mean, I guess you could, but you'd be wrong.

522
00:26:55,600 --> 00:26:58,679
Speaker 4: You would surge would be like you're wrong. This is

523
00:26:58,720 --> 00:26:59,679
Speaker 4: objective stuff.

524
00:27:00,200 --> 00:27:01,560
Speaker 1: And then with complimentary colors.

525
00:27:01,560 --> 00:27:04,000
Speaker 2: Getting back to that, there's this really cool thing that

526
00:27:04,040 --> 00:27:07,199
Speaker 2: they bring up called retinal fatigue. So you can do

527
00:27:07,240 --> 00:27:10,000
Speaker 2: a little experiment at home that's kind of blows your mind,

528
00:27:10,520 --> 00:27:13,560
Speaker 2: but it really illustrates how color works pretty well. If

529
00:27:13,600 --> 00:27:17,080
Speaker 2: you look at a bright red spot for about a minute,

530
00:27:17,160 --> 00:27:19,000
Speaker 2: your retinas are going to soak in all that red,

531
00:27:19,000 --> 00:27:22,520
Speaker 2: all those cones are and then when you go immediately

532
00:27:22,520 --> 00:27:25,400
Speaker 2: and look at a white surface, you're going to see

533
00:27:25,440 --> 00:27:29,080
Speaker 2: green briefly, right, not forever, right.

534
00:27:29,200 --> 00:27:31,560
Speaker 4: And the reason why is because your red cells have

535
00:27:31,680 --> 00:27:35,040
Speaker 4: just been basically overstimulated and they're going to respond weakly

536
00:27:35,119 --> 00:27:38,600
Speaker 4: to the information that they're getting from that white right, Yeah,

537
00:27:38,640 --> 00:27:41,919
Speaker 4: And your blue and green cells are going to be

538
00:27:41,920 --> 00:27:44,679
Speaker 4: functioning just fine, so they're going to easily overwhelm your

539
00:27:44,680 --> 00:27:47,560
Speaker 4: red cells. And so what you'll see is this ghost

540
00:27:47,680 --> 00:27:51,680
Speaker 4: image of like a cyan square.

541
00:27:51,560 --> 00:27:54,040
Speaker 2: Yeah, which is why. And the reason why is because

542
00:27:54,119 --> 00:27:57,240
Speaker 2: red is the complement of green. It'll always be that opposite, right.

543
00:27:58,200 --> 00:28:00,440
Speaker 1: It doesn't just like randomly pick out a color.

544
00:28:00,280 --> 00:28:02,600
Speaker 4: I know. And if you start adding all this stuff

545
00:28:02,600 --> 00:28:07,720
Speaker 4: together that there are objectively complementary colors that you see

546
00:28:07,760 --> 00:28:11,439
Speaker 4: when you see too much of the opposite one, doesn't

547
00:28:11,440 --> 00:28:15,720
Speaker 4: it all seem to fit so cleanly together that you're

548
00:28:15,760 --> 00:28:17,400
Speaker 4: almost like what is going on here?

549
00:28:18,400 --> 00:28:18,520
Speaker 3: Like?

550
00:28:18,600 --> 00:28:20,919
Speaker 4: What is color? Why do we see color?

551
00:28:21,600 --> 00:28:21,800
Speaker 1: Yeah?

552
00:28:22,040 --> 00:28:25,080
Speaker 4: It's a really good question, and evolutionary biologists have not

553
00:28:25,119 --> 00:28:26,679
Speaker 4: been able to explain it fully.

554
00:28:28,080 --> 00:28:30,080
Speaker 2: Yeah, I guess I really never thought about that because

555
00:28:30,080 --> 00:28:35,479
Speaker 2: there's well, I mean there's probably some evolutionary benefit, right, sure,

556
00:28:35,520 --> 00:28:37,920
Speaker 2: Like green things are generally good to eat.

557
00:28:38,120 --> 00:28:42,680
Speaker 4: Yeah, but green is also the kind of a universal

558
00:28:42,840 --> 00:28:45,240
Speaker 4: color for disgust or sickness or illness.

559
00:28:45,520 --> 00:28:47,160
Speaker 1: Oh like you're green because you're.

560
00:28:47,040 --> 00:28:48,600
Speaker 4: Green around the gills or something like that.

561
00:28:48,680 --> 00:28:49,320
Speaker 1: Yeah, that's true.

562
00:28:49,360 --> 00:28:53,120
Speaker 4: Green is often like the color of rot grass. But

563
00:28:53,160 --> 00:28:56,880
Speaker 4: it's true. I mean, it's both. So how do we

564
00:28:56,960 --> 00:29:01,880
Speaker 4: evolve to understand the nuanced and I mean clearly if

565
00:29:02,200 --> 00:29:05,000
Speaker 4: we didn't evolve too sea in color so that we

566
00:29:05,000 --> 00:29:07,840
Speaker 4: could do this we have as a byproduct of it,

567
00:29:07,880 --> 00:29:10,440
Speaker 4: but we can very easily tick off whether something is

568
00:29:10,840 --> 00:29:16,160
Speaker 4: healthy for us dangerous. We get a lot of information

569
00:29:16,240 --> 00:29:21,280
Speaker 4: about an object in our environments quality and desirability based

570
00:29:21,320 --> 00:29:23,680
Speaker 4: on its color. It's almost like a shorthand that our

571
00:29:23,720 --> 00:29:24,520
Speaker 4: brains pick up.

572
00:29:24,640 --> 00:29:27,480
Speaker 2: Yeah, And part of that is because we're conditioned after

573
00:29:27,640 --> 00:29:32,600
Speaker 2: years of using green for go and green for safe passage,

574
00:29:33,080 --> 00:29:36,719
Speaker 2: and like red or orange for hazard signs and stop signs.

575
00:29:37,160 --> 00:29:39,360
Speaker 2: So part of that's conditioning. But as far as like

576
00:29:40,320 --> 00:29:43,000
Speaker 2: going back many many years before we made stop signs,

577
00:29:43,280 --> 00:29:44,040
Speaker 2: I have no idea.

578
00:29:44,200 --> 00:29:47,320
Speaker 4: Yeah, you know, it really makes you wonder and even

579
00:29:47,360 --> 00:29:49,520
Speaker 4: like the idea that pink is for girls in blue

580
00:29:49,600 --> 00:29:52,880
Speaker 4: is for boys, that's a fairly recent development. Prior to

581
00:29:53,000 --> 00:29:56,200
Speaker 4: I think the early twentieth century, it was the opposite.

582
00:29:56,480 --> 00:29:58,120
Speaker 2: Did we ever do that as a show or didn't

583
00:29:58,120 --> 00:29:59,680
Speaker 2: know it's too short? I think we did, like a

584
00:29:59,760 --> 00:30:02,400
Speaker 2: video one or something, didn't we Maybe I seem to remember.

585
00:30:02,120 --> 00:30:06,840
Speaker 4: That, But it was the opposite until like the nineteen

586
00:30:06,920 --> 00:30:11,120
Speaker 4: hundred's interesting, Yeah, yeah, that's interesting totally.

587
00:30:11,160 --> 00:30:13,000
Speaker 1: Is that's why you rock your pink shirts?

588
00:30:13,520 --> 00:30:16,000
Speaker 4: Well, yeah, right, that's exactly why.

589
00:30:15,840 --> 00:30:16,600
Speaker 1: That in fashion.

590
00:30:17,600 --> 00:30:21,480
Speaker 2: So getting back to harmonious colors if they are side

591
00:30:21,520 --> 00:30:23,400
Speaker 2: by I mean this is if you're like picking out

592
00:30:23,560 --> 00:30:25,440
Speaker 2: colors in your house or whatever, if you're not very

593
00:30:25,440 --> 00:30:27,600
Speaker 2: good at it, there are a few hard and fast

594
00:30:27,720 --> 00:30:31,000
Speaker 2: rules colors that are and get your little color wheel

595
00:30:31,000 --> 00:30:34,520
Speaker 2: out is really handy. If they're side by side, they're

596
00:30:34,520 --> 00:30:39,280
Speaker 2: going to harmonize well. And like we mentioned, colors directly

597
00:30:39,320 --> 00:30:43,040
Speaker 2: across from one another, complimentary ones also go well in

598
00:30:43,080 --> 00:30:45,760
Speaker 2: the right proportions because, like you said, the size of

599
00:30:45,760 --> 00:30:48,360
Speaker 2: it makes a big difference. They point out in the article.

600
00:30:48,360 --> 00:30:49,840
Speaker 2: I don't know if you've ever seen someone who's like

601
00:30:50,040 --> 00:30:53,320
Speaker 2: painted their room red, like in college. You know, some

602
00:30:53,400 --> 00:30:56,280
Speaker 2: stupid room mate would do that. It's an assault on

603
00:30:56,320 --> 00:30:59,920
Speaker 2: your senses because you're not used to seeing that much red, right,

604
00:31:00,200 --> 00:31:03,240
Speaker 2: But maybe an accent wall and a shade of red

605
00:31:04,120 --> 00:31:07,400
Speaker 2: matched with a complementary color. You wouldn't want to red

606
00:31:07,440 --> 00:31:11,200
Speaker 2: in green rim though, I guess green is complimentated or red.

607
00:31:11,640 --> 00:31:17,280
Speaker 4: No, but you could conceivably say, use the complementary color

608
00:31:17,320 --> 00:31:19,040
Speaker 4: for like the trim or something like that.

609
00:31:19,480 --> 00:31:23,520
Speaker 2: Yeah, exactly, And then tints and shades and tones of

610
00:31:23,600 --> 00:31:24,200
Speaker 2: the same.

611
00:31:24,000 --> 00:31:25,640
Speaker 1: Color are always okay together.

612
00:31:26,040 --> 00:31:29,880
Speaker 2: It's never gonna clash, but you're just gonna have to

613
00:31:29,880 --> 00:31:32,760
Speaker 2: mess around with like how much of one compared to

614
00:31:32,800 --> 00:31:34,520
Speaker 2: the other and what pleases your eye?

615
00:31:34,800 --> 00:31:37,840
Speaker 1: Right, Yes, so there is. You can't clash though.

616
00:31:37,800 --> 00:31:41,880
Speaker 4: No, And so again Surge is saying, like, no, there's

617
00:31:41,960 --> 00:31:45,960
Speaker 4: objective truth as to complementary colors and harmonious colors, but

618
00:31:46,560 --> 00:31:50,440
Speaker 4: there is also personal preference. Oh sure, And this is

619
00:31:50,560 --> 00:31:52,600
Speaker 4: kind of like the thorn in the side of the

620
00:31:52,640 --> 00:31:58,200
Speaker 4: whole idea of color psychology that people use colors to

621
00:31:58,280 --> 00:32:01,920
Speaker 4: manipulate other people into like buy a product or whatever.

622
00:32:03,440 --> 00:32:09,720
Speaker 4: Study after study keeps finding that color preferencing color symbolism, Yeah,

623
00:32:09,880 --> 00:32:13,720
Speaker 4: is extremely personal. It's based on past experience, on your upbringing,

624
00:32:14,000 --> 00:32:17,040
Speaker 4: on your culture. Like for example, here in the West,

625
00:32:17,520 --> 00:32:19,360
Speaker 4: we wear black for mourning.

626
00:32:19,560 --> 00:32:20,120
Speaker 1: Yeah.

627
00:32:20,200 --> 00:32:24,080
Speaker 4: Well in the East, white is the color for morning.

628
00:32:24,280 --> 00:32:24,480
Speaker 1: Right.

629
00:32:24,680 --> 00:32:27,920
Speaker 4: So there's a lot of culturally bound ideas about color too,

630
00:32:27,960 --> 00:32:31,400
Speaker 4: which keeps it from being like universally symbolic or whatever.

631
00:32:31,920 --> 00:32:35,680
Speaker 4: But that being said, there are some that just from

632
00:32:35,760 --> 00:32:37,760
Speaker 4: being exposed to it time and time again, like a

633
00:32:37,800 --> 00:32:42,840
Speaker 4: red stoplight that you come to identify symbolically with other stuff.

634
00:32:43,320 --> 00:32:47,000
Speaker 2: Yeah, And colors will also affect everyone differently mood wise,

635
00:32:47,080 --> 00:32:50,840
Speaker 2: but there are some generalities there too, Like blue is

636
00:32:50,840 --> 00:32:55,360
Speaker 2: generally a soothing color that will calm you down. Too

637
00:32:55,440 --> 00:32:58,800
Speaker 2: much though could actually have the opposite effect, like too

638
00:32:58,880 --> 00:32:59,760
Speaker 2: much blue.

639
00:32:59,560 --> 00:33:02,600
Speaker 4: On some or it can really depress you.

640
00:33:03,520 --> 00:33:06,840
Speaker 1: What blue can Yeah? I wonder if that's why they

641
00:33:06,840 --> 00:33:07,440
Speaker 1: say you're blue?

642
00:33:07,760 --> 00:33:11,000
Speaker 4: Yeah? Yeah, I mean think about we describe our world

643
00:33:11,040 --> 00:33:14,680
Speaker 4: like that green with envy. Blue means you're down in

644
00:33:14,720 --> 00:33:15,240
Speaker 4: the dumps.

645
00:33:15,600 --> 00:33:19,080
Speaker 2: Red means you're angry, yeah, red faced, yeah, or red

646
00:33:19,120 --> 00:33:19,720
Speaker 2: neck light.

647
00:33:19,800 --> 00:33:22,200
Speaker 4: That's different, it's a little different.

648
00:33:22,800 --> 00:33:26,600
Speaker 2: Warm colors, reds and yellows can also lift the spirits

649
00:33:27,320 --> 00:33:32,240
Speaker 2: if you're less excitable. And they say that most people

650
00:33:32,280 --> 00:33:34,560
Speaker 2: want to just strike a balance though, between the cool

651
00:33:34,560 --> 00:33:35,360
Speaker 2: and the warm.

652
00:33:35,280 --> 00:33:38,440
Speaker 4: Right, and that's when it comes to like personal preference. Yeah,

653
00:33:38,520 --> 00:33:40,480
Speaker 4: but the idea behind this is that a lot of

654
00:33:40,520 --> 00:33:42,880
Speaker 4: people don't realize this is going on, that they're being

655
00:33:42,960 --> 00:33:46,080
Speaker 4: affected by color, even though they are. That it's on

656
00:33:46,120 --> 00:33:47,560
Speaker 4: a very unconscious level.

657
00:33:48,040 --> 00:33:49,880
Speaker 2: Yeah, And it also depends a lot on light, like

658
00:33:49,920 --> 00:33:52,080
Speaker 2: how much light a room has coming into it, because

659
00:33:53,040 --> 00:33:56,560
Speaker 2: you're gonna because sunlight is different than artificial light, your

660
00:33:56,640 --> 00:33:58,560
Speaker 2: shirt's going to look a different color outside in the

661
00:33:58,600 --> 00:33:59,320
Speaker 2: sun as it might.

662
00:34:00,200 --> 00:34:01,920
Speaker 1: And I remember when we did the TV show there

663
00:34:01,920 --> 00:34:02,440
Speaker 1: was a lot of.

664
00:34:04,360 --> 00:34:06,479
Speaker 2: With colors and stuff, you know, things would look different

665
00:34:06,920 --> 00:34:08,920
Speaker 2: outside than they would under studio lights.

666
00:34:09,120 --> 00:34:09,279
Speaker 1: Right.

667
00:34:09,520 --> 00:34:12,360
Speaker 4: What's neat though, is we humans have developed this trick

668
00:34:12,800 --> 00:34:17,640
Speaker 4: called color constancy, where if you look at something, even

669
00:34:17,640 --> 00:34:20,239
Speaker 4: if it's in the shadow or in the sunlight, it

670
00:34:20,320 --> 00:34:24,279
Speaker 4: should conceivably look like different colored things because of the illumination.

671
00:34:24,840 --> 00:34:27,640
Speaker 4: But to us, we're still like, no, that's still green,

672
00:34:28,920 --> 00:34:31,520
Speaker 4: just because there's you know, shadow blocking it. Now, I

673
00:34:31,600 --> 00:34:34,080
Speaker 4: still see it as green. It doesn't make any sense,

674
00:34:34,200 --> 00:34:39,360
Speaker 4: and it's kind of perplexed I guess biologists for a

675
00:34:39,360 --> 00:34:42,280
Speaker 4: while trying to figure out what this is yor neurologists,

676
00:34:42,520 --> 00:34:44,840
Speaker 4: and they figured out that, yes, it is in the brain.

677
00:34:46,239 --> 00:34:49,200
Speaker 4: And there was this one guy who had some sort

678
00:34:49,239 --> 00:34:51,840
Speaker 4: of brain damage, I think from an electric shock, and

679
00:34:51,880 --> 00:34:55,520
Speaker 4: he also went for all intentsive purposes blind, but he

680
00:34:55,560 --> 00:34:59,040
Speaker 4: could still see color. What but he didn't have color constancy.

681
00:34:59,120 --> 00:35:01,680
Speaker 4: So they figured out that this guy was detecting wavelengths

682
00:35:01,680 --> 00:35:04,759
Speaker 4: of light color even though he couldn't see anything. He

683
00:35:04,760 --> 00:35:09,120
Speaker 4: could see colors still, but color constancy wasn't there. So

684
00:35:09,160 --> 00:35:11,439
Speaker 4: they figured out, well, that means that it's a trick

685
00:35:11,440 --> 00:35:14,120
Speaker 4: of the brain. Huh, very neat.

686
00:35:14,120 --> 00:35:15,440
Speaker 1: It's very cool.

687
00:35:15,719 --> 00:35:17,480
Speaker 2: They also bring up in the in the House off

688
00:35:17,480 --> 00:35:20,560
Speaker 2: Works article something I think is pretty interesting, how certain,

689
00:35:21,480 --> 00:35:24,600
Speaker 2: because of conditioning, certain colors can just appear to be wrong.

690
00:35:25,239 --> 00:35:26,560
Speaker 1: Like if you were to pull up and see a

691
00:35:26,600 --> 00:35:29,160
Speaker 1: green stop sign, it would freak you out.

692
00:35:29,320 --> 00:35:29,680
Speaker 4: Yeah.

693
00:35:29,800 --> 00:35:31,600
Speaker 2: Or the example they used to hear is if you

694
00:35:32,000 --> 00:35:33,959
Speaker 2: cracked an egg and there was a green egg yolk,

695
00:35:35,440 --> 00:35:37,400
Speaker 2: that would be really freaky too, because you're just so

696
00:35:37,560 --> 00:35:39,200
Speaker 2: used to that yellow, right, you know.

697
00:35:39,480 --> 00:35:41,440
Speaker 4: You'd think, well, this is diseased or something.

698
00:35:41,560 --> 00:35:47,000
Speaker 1: Yeah, or doctor seust right, you know what else you got?

699
00:35:47,000 --> 00:35:48,160
Speaker 1: Did you look at that thing on pigment?

700
00:35:49,040 --> 00:35:53,400
Speaker 4: I did. There's some wacky ways people have made pigments.

701
00:35:53,280 --> 00:35:57,080
Speaker 2: Yeah, I mean pigment as far as making paint in things.

702
00:35:58,360 --> 00:36:02,439
Speaker 2: Now they're synthetic, you know, like their synthesizing laboratories, which

703
00:36:02,480 --> 00:36:05,640
Speaker 2: makes sense. But throughout all of history, up until they

704
00:36:05,640 --> 00:36:10,359
Speaker 2: started doing that, they were actual real things in the

705
00:36:10,400 --> 00:36:13,000
Speaker 2: ground and on the earth that they would grind up

706
00:36:13,000 --> 00:36:17,600
Speaker 2: into powder. In the case of blue, there was a

707
00:36:17,640 --> 00:36:20,840
Speaker 2: semi precious stone called er there still is called Lapis

708
00:36:20,920 --> 00:36:24,719
Speaker 2: lazuli that was found all over the place in Afghanistan,

709
00:36:24,760 --> 00:36:25,720
Speaker 2: and that's how they made blue.

710
00:36:27,800 --> 00:36:30,280
Speaker 1: Or Azureite is a blue mineral of copper.

711
00:36:30,920 --> 00:36:33,879
Speaker 2: So all of them, most of them have a few

712
00:36:33,880 --> 00:36:37,440
Speaker 2: different ways they could make it red. I think we've

713
00:36:37,440 --> 00:36:40,560
Speaker 2: talked about cinnabar before. The mineral is where you get

714
00:36:40,680 --> 00:36:45,759
Speaker 2: vermilion red and carmine. Carmine is bright red and that

715
00:36:45,800 --> 00:36:50,520
Speaker 2: comes from aluminum salt of carminic acid. So it's just

716
00:36:50,520 --> 00:36:53,760
Speaker 2: crazy that they found all these things in the world

717
00:36:53,800 --> 00:36:55,799
Speaker 2: to make. And I know blue is the toughest one

718
00:36:55,800 --> 00:37:00,799
Speaker 2: because you don't see blue very much in nature. I

719
00:37:00,840 --> 00:37:02,880
Speaker 2: think blue is the one you will see least in

720
00:37:02,920 --> 00:37:06,120
Speaker 2: the primary colors as far as nature goes, like some insects,

721
00:37:06,120 --> 00:37:07,360
Speaker 2: but like there's no blue food.

722
00:37:08,920 --> 00:37:13,920
Speaker 4: Yeah, that's true. Blue horses, No, Well what about mine?

723
00:37:14,200 --> 00:37:18,040
Speaker 4: My favorite was India yellow, where they would feed cows

724
00:37:18,080 --> 00:37:21,640
Speaker 4: nothing but mango leaves and then collect their urine and

725
00:37:21,680 --> 00:37:26,359
Speaker 4: then boil it down, then filter out the concentrated muck

726
00:37:27,320 --> 00:37:30,120
Speaker 4: and then make balls out of it. And there was

727
00:37:30,200 --> 00:37:31,360
Speaker 4: the basis of your pigment.

728
00:37:31,760 --> 00:37:33,360
Speaker 1: Yeah, it's pretty cool stuff.

729
00:37:34,400 --> 00:37:36,120
Speaker 2: So those are just a few if you really get

730
00:37:36,160 --> 00:37:39,480
Speaker 2: into pigments, and you can like go crazy trying to

731
00:37:39,600 --> 00:37:40,959
Speaker 2: figure out where they all came from.

732
00:37:41,000 --> 00:37:44,560
Speaker 4: Definitely, And I mean again, this is like really just

733
00:37:44,680 --> 00:37:47,879
Speaker 4: the surface of color. There's so much to it, and

734
00:37:48,840 --> 00:37:51,440
Speaker 4: I strongly advise you to go out and learn more

735
00:37:51,440 --> 00:37:53,480
Speaker 4: about it. Color it's everywhere.

736
00:37:53,600 --> 00:37:55,520
Speaker 1: Oh, how about the one last factoid? Why is the

737
00:37:55,520 --> 00:37:56,160
Speaker 1: sky blue?

738
00:37:57,200 --> 00:37:57,960
Speaker 4: Oh it's a good one.

739
00:37:58,040 --> 00:37:58,919
Speaker 1: Sky's not really blue.

740
00:37:59,600 --> 00:38:02,640
Speaker 4: No, it shouldn't really have any color. Yeah, but the

741
00:38:02,680 --> 00:38:05,680
Speaker 4: angle of the sun coming down on the upper atmosphere

742
00:38:06,640 --> 00:38:10,000
Speaker 4: encounters things like water, vapor, and other tiny particles, and

743
00:38:10,040 --> 00:38:13,640
Speaker 4: they tend to scatter blue wavelength light more than the

744
00:38:13,680 --> 00:38:14,320
Speaker 4: other colors.

745
00:38:14,360 --> 00:38:15,200
Speaker 1: Right, that's it.

746
00:38:15,520 --> 00:38:18,520
Speaker 4: So that's just bouncing around at all points, which is

747
00:38:18,560 --> 00:38:21,600
Speaker 4: why the sky is blue. It's say, like noontime. But

748
00:38:22,080 --> 00:38:25,080
Speaker 4: while the sky's blue at noontime over here, it's say

749
00:38:25,239 --> 00:38:27,760
Speaker 4: sunrise or sunset to the east or the west.

750
00:38:27,880 --> 00:38:28,440
Speaker 1: Yeah.

751
00:38:28,520 --> 00:38:31,399
Speaker 4: And since all that blue light is getting scattered over

752
00:38:31,480 --> 00:38:35,400
Speaker 4: you where it's noontime in the east of the west,

753
00:38:35,800 --> 00:38:40,160
Speaker 4: those reds and yellows and pinks are making it all

754
00:38:40,200 --> 00:38:43,080
Speaker 4: the way there, and the blue is not, which is

755
00:38:43,120 --> 00:38:46,320
Speaker 4: why sunrise and sunset it tends to appear reddish, whereas

756
00:38:46,360 --> 00:38:47,680
Speaker 4: like midday appears blue.

757
00:38:47,880 --> 00:38:49,880
Speaker 2: Yeah, which is It makes total sense. And when your

758
00:38:49,920 --> 00:38:51,879
Speaker 2: kids ask you why is the sky blue, you can

759
00:38:51,880 --> 00:38:52,440
Speaker 2: tell them you.

760
00:38:52,400 --> 00:38:54,160
Speaker 1: Can tell them like the real reason you can.

761
00:38:54,080 --> 00:38:58,040
Speaker 4: Be like color does not actually exist. Yeah, it's all lie.

762
00:38:58,200 --> 00:39:01,279
Speaker 4: Good luck with that and go to sleep. If you

763
00:39:01,320 --> 00:39:03,279
Speaker 4: want to know more about color, just type that word

764
00:39:03,320 --> 00:39:06,360
Speaker 4: in your favorite search engine or how stuff works dot common.

765
00:39:06,360 --> 00:39:09,239
Speaker 4: It will take you on a wild ride. And since

766
00:39:09,280 --> 00:39:14,319
Speaker 4: I said wild ride, it's time for listener mail. Uh.

767
00:39:16,040 --> 00:39:18,040
Speaker 2: I'm going to call this something I've never heard of before,

768
00:39:18,120 --> 00:39:19,160
Speaker 2: precocious puberty.

769
00:39:20,080 --> 00:39:21,000
Speaker 1: Uh you ever heard of that?

770
00:39:21,239 --> 00:39:24,000
Speaker 4: Yes, we talked about it did it early puberty?

771
00:39:24,400 --> 00:39:26,319
Speaker 1: Okay, did we talk about that?

772
00:39:26,400 --> 00:39:27,160
Speaker 4: Yeah, we said it.

773
00:39:27,960 --> 00:39:30,239
Speaker 2: I guess this is in girls, so maybe that's why

774
00:39:30,239 --> 00:39:30,800
Speaker 2: it got you.

775
00:39:31,000 --> 00:39:31,560
Speaker 1: Surprise me.

776
00:39:32,160 --> 00:39:35,000
Speaker 2: I'm a long time listener, and thanks for helping me

777
00:39:35,040 --> 00:39:37,840
Speaker 2: in my commute every day. Really enjoyed and giggled my

778
00:39:37,880 --> 00:39:40,759
Speaker 2: way through the episode of male puberty. Thanks so much

779
00:39:40,840 --> 00:39:42,320
Speaker 2: for mentioning precocious puberty.

780
00:39:42,320 --> 00:39:42,960
Speaker 1: Well, there you have it.

781
00:39:43,960 --> 00:39:46,640
Speaker 2: I was diagnosed at age two after my mom came

782
00:39:46,680 --> 00:39:47,840
Speaker 2: to wake me before.

783
00:39:47,600 --> 00:39:49,680
Speaker 4: School one day before I had a full beard.

784
00:39:50,000 --> 00:39:53,440
Speaker 2: Now before preschool. This is a lady and she had

785
00:39:53,440 --> 00:39:56,799
Speaker 2: started her period at two years old. Wow, And as

786
00:39:56,880 --> 00:39:59,480
Speaker 2: you can imagine, my mom was terrified. It took a

787
00:39:59,480 --> 00:40:01,560
Speaker 2: long time to get a correct diagnosis since it is

788
00:40:01,600 --> 00:40:05,359
Speaker 2: pretty rare. My treatment started out as daily shots that

789
00:40:05,440 --> 00:40:09,360
Speaker 2: my mom gave me at home that then went to weekly, monthly,

790
00:40:09,440 --> 00:40:11,040
Speaker 2: and annually as a year's progress.

791
00:40:11,520 --> 00:40:14,600
Speaker 1: I also had intermittence days in the hospital for testing.

792
00:40:14,800 --> 00:40:15,799
Speaker 4: Ah, that poor kid.

793
00:40:15,920 --> 00:40:16,200
Speaker 1: I know.

794
00:40:16,320 --> 00:40:19,360
Speaker 2: Treatment was stopped when I reached twelve years old, essentially

795
00:40:19,400 --> 00:40:22,000
Speaker 2: pressing play and my puberty that had been on pause

796
00:40:22,040 --> 00:40:24,000
Speaker 2: for almost ten years.

797
00:40:24,160 --> 00:40:25,400
Speaker 4: See that's cool treatment.

798
00:40:25,560 --> 00:40:28,000
Speaker 2: Yeah, I mean, it's amazing that they figured out how

799
00:40:28,000 --> 00:40:29,080
Speaker 2: to stall puberty.

800
00:40:29,160 --> 00:40:32,240
Speaker 4: Yeah, they're like stay stay Okay.

801
00:40:32,280 --> 00:40:32,480
Speaker 1: God.

802
00:40:33,520 --> 00:40:35,600
Speaker 2: I have only hazy memories of this, of course, as

803
00:40:35,640 --> 00:40:37,400
Speaker 2: I was a child, but I do remember that missing

804
00:40:38,280 --> 00:40:40,160
Speaker 2: shots caused quite a bit of pain since my.

805
00:40:40,080 --> 00:40:41,480
Speaker 1: Body was growing out of control.

806
00:40:41,600 --> 00:40:44,160
Speaker 2: Essentially, I've never been able to find out what the

807
00:40:44,200 --> 00:40:47,040
Speaker 2: long term effects might be, but I've had a pretty

808
00:40:47,040 --> 00:40:49,520
Speaker 2: decent health into my adult life and I'm now thirty

809
00:40:49,520 --> 00:40:51,520
Speaker 2: one years old. Awesome, So thanks a lot.

810
00:40:51,960 --> 00:40:54,040
Speaker 1: And that is from Lauren in California.

811
00:40:54,120 --> 00:40:56,720
Speaker 4: Well, thanks a lot, Lauren. Appreciate that we love hearing

812
00:40:56,719 --> 00:40:59,560
Speaker 4: from people with real life experiences of stuff where you

813
00:40:59,640 --> 00:41:01,160
Speaker 4: just talk about that's right.

814
00:41:01,120 --> 00:41:01,360
Speaker 1: You know.

815
00:41:02,680 --> 00:41:04,960
Speaker 4: If you want to let us know about your real

816
00:41:05,000 --> 00:41:07,600
Speaker 4: life experience, we want to hear it. You can tweet

817
00:41:07,600 --> 00:41:09,799
Speaker 4: to us at s y SK podcast. You can join

818
00:41:09,880 --> 00:41:12,040
Speaker 4: us on Facebook dot com slash Stuff you Should Know.

819
00:41:12,480 --> 00:41:14,680
Speaker 4: You can send us an email to stuff Podcast at

820
00:41:14,680 --> 00:41:17,600
Speaker 4: HowStuffWorks dot com, and as always, joined us at our

821
00:41:17,640 --> 00:41:22,880
Speaker 4: home on the web, Stuff you Should Know dot Com.

822
00:41:23,040 --> 00:41:25,359
Speaker 4: Stuff you Should Know is a production of iHeartRadio.

823
00:41:25,840 --> 00:41:29,040
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824
00:41:29,239 --> 00:41:32,160
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows,