1 00:00:00,960 --> 00:00:04,400 Speaker 1: Welcome to Stuff you Should Know from House Stuff Works 2 00:00:04,440 --> 00:00:12,959 Speaker 1: dot com. Hey, and welcome to the podcast. I'm Josh 3 00:00:13,000 --> 00:00:17,119 Speaker 1: Clark with Charles W. Chuck Bryant and Jerry and it's 4 00:00:17,120 --> 00:00:23,119 Speaker 1: Stuff you should Know color and technicolor. Yeah, which is 5 00:00:23,160 --> 00:00:26,320 Speaker 1: really something. It's tea technical or yeah. Yeah, imagine what 6 00:00:26,360 --> 00:00:29,800 Speaker 1: it was like back then. Oh, Man debut just melting 7 00:00:29,880 --> 00:00:34,159 Speaker 1: people's eyes out. Bad. Probably good, You're like, wow, how 8 00:00:34,159 --> 00:00:37,560 Speaker 1: are you doing? I'm great. I'm glad to hear that. Yeah, 9 00:00:37,600 --> 00:00:40,240 Speaker 1: how are you going? I'm good. I'm tired, but I'm good. 10 00:00:41,920 --> 00:00:46,760 Speaker 1: I gotta particularly to study. Oh yeah, you get up 11 00:00:46,760 --> 00:00:52,000 Speaker 1: early to make the cheese? What? Oh? You know, it's 12 00:00:52,040 --> 00:00:55,440 Speaker 1: just a saying kind of make Wait wait, who's saying, yeah, 13 00:00:55,520 --> 00:00:58,040 Speaker 1: make the cheese, make the sausage, make the doughnuts, of her, 14 00:00:58,160 --> 00:01:01,720 Speaker 1: make the donuts. You never make the sausage. You don't 15 00:01:01,720 --> 00:01:04,680 Speaker 1: want to see how the sausage just made. Just pick anything. 16 00:01:04,880 --> 00:01:08,959 Speaker 1: Make the cheese. I don't think so. The cheese milk 17 00:01:09,080 --> 00:01:11,399 Speaker 1: a cow. People get up early for that, so I 18 00:01:11,400 --> 00:01:14,000 Speaker 1: guess there's that association. Have you ever milk to cow? No? 19 00:01:14,280 --> 00:01:16,440 Speaker 1: Have you know? I was talking to Emily about that 20 00:01:16,480 --> 00:01:19,040 Speaker 1: the other day because uh. We went horse riding, and 21 00:01:19,080 --> 00:01:21,720 Speaker 1: I'd never ridden a horse before. Oh yeah, it's pretty neat. Huh, 22 00:01:21,800 --> 00:01:25,240 Speaker 1: it's my new favorite thing. Yeah, it was amazing, how 23 00:01:25,280 --> 00:01:28,640 Speaker 1: awesome it was. Did you jump over anything on the horse? No? 24 00:01:28,800 --> 00:01:32,280 Speaker 1: But we like, you know, trotted up a hill. Did 25 00:01:32,360 --> 00:01:34,840 Speaker 1: you shoot a bow and arrow? No? Almost fell off though. 26 00:01:34,880 --> 00:01:37,880 Speaker 1: And yeah when he trotted up the hill, I got 27 00:01:38,600 --> 00:01:42,840 Speaker 1: like kind of loosened saddle, as they say. I was like, whoa, Okay, 28 00:01:43,080 --> 00:01:45,000 Speaker 1: well that's exactly what you should have said, is whoa. 29 00:01:45,240 --> 00:01:47,200 Speaker 1: Well no, he was going uphill, so I had to 30 00:01:47,200 --> 00:01:49,320 Speaker 1: just keep on trucking. Really yeah, I didn't want to 31 00:01:49,320 --> 00:01:51,440 Speaker 1: stop him. Good for you, man, he was carrying a load. 32 00:01:51,480 --> 00:01:54,240 Speaker 1: I felt bad for the horse. I'm sure he was fine, 33 00:01:54,360 --> 00:01:59,559 Speaker 1: Yeah he was all right. Yeah. What was his name? Um? Oh? Man? 34 00:02:00,040 --> 00:02:03,040 Speaker 1: Now I'm kicking myself like a horse because I called 35 00:02:03,080 --> 00:02:06,400 Speaker 1: this horse by his name the whole day and now 36 00:02:06,440 --> 00:02:09,440 Speaker 1: I can't remember Calvin. I thought we'd bonded. I guess 37 00:02:09,480 --> 00:02:14,080 Speaker 1: I was just pretending. That's cool. The horse probably can't 38 00:02:14,080 --> 00:02:16,480 Speaker 1: remember your name either. And he took a big dump 39 00:02:17,160 --> 00:02:19,880 Speaker 1: they do that, right, and then just stopped and I 40 00:02:19,919 --> 00:02:23,239 Speaker 1: was like, what are you stopping for and I was like, oh, oh, 41 00:02:23,320 --> 00:02:26,680 Speaker 1: you're lucky even stop sometimes they just walk and do that. Really, 42 00:02:26,720 --> 00:02:29,400 Speaker 1: all of the ones on our little ride stopped to poop, 43 00:02:29,600 --> 00:02:32,440 Speaker 1: which I thought was maybe I'm confusing them with another 44 00:02:32,520 --> 00:02:37,880 Speaker 1: animal humans just walking poop at the same time. Anyway, 45 00:02:37,960 --> 00:02:40,440 Speaker 1: it was my favorite new thing. I loved it. That's cool, man, 46 00:02:40,600 --> 00:02:43,240 Speaker 1: I felt buried at home. What color was the horse? 47 00:02:44,040 --> 00:02:46,960 Speaker 1: One of the spotted ones, which I love, man. I 48 00:02:46,960 --> 00:02:48,800 Speaker 1: was hoping you're gonna say, like blue or red or 49 00:02:48,840 --> 00:02:53,280 Speaker 1: something easy. You smashed the table. Let's go with blue. Okay, blue, 50 00:02:53,680 --> 00:02:56,840 Speaker 1: It was a blue horse, So allow me to explain 51 00:02:56,960 --> 00:03:00,600 Speaker 1: why your horse appeared blue. Okay, As Newton figured out, 52 00:03:01,560 --> 00:03:05,239 Speaker 1: that horse is not inherently blue. There's nothing inherently blue 53 00:03:05,280 --> 00:03:09,919 Speaker 1: about that horse. It's all in our perception because color 54 00:03:10,280 --> 00:03:14,000 Speaker 1: technically doesn't exist. It exists in our minds. Well, yeah, 55 00:03:14,040 --> 00:03:17,040 Speaker 1: the perception of color does exactly. But like an apple 56 00:03:17,120 --> 00:03:21,680 Speaker 1: isn't just there's nothing in the apple that's red, exactly chucking. 57 00:03:21,720 --> 00:03:24,760 Speaker 1: There's nothing in your horse that made it blue. What 58 00:03:24,960 --> 00:03:30,120 Speaker 1: happens is that color is basically our perception of a 59 00:03:30,440 --> 00:03:34,720 Speaker 1: specific wavelength of visible light that's right invisible light is 60 00:03:34,760 --> 00:03:38,040 Speaker 1: just part of the electromagnetic spectrum that includes everything from 61 00:03:38,120 --> 00:03:44,200 Speaker 1: microwaves to radio waves to gamma raise to um ocean waves. 62 00:03:44,520 --> 00:03:51,080 Speaker 1: Not quite, but visible light is part of that wave pools. No, no, no, 63 00:03:51,240 --> 00:03:56,440 Speaker 1: just those things that I said, Ok, so um along 64 00:03:56,440 --> 00:04:01,000 Speaker 1: that spectrum is this very narrow little slice that's visible 65 00:04:01,080 --> 00:04:07,040 Speaker 1: light and invisible light, which we see as like white light, sunlight. Yeah, 66 00:04:07,200 --> 00:04:11,119 Speaker 1: it is the presence of the rainbow, which are called 67 00:04:11,160 --> 00:04:15,360 Speaker 1: the spectral colors. On one end, you have the short wavelength, 68 00:04:15,400 --> 00:04:17,960 Speaker 1: which is blue. On the other end, you have the 69 00:04:18,160 --> 00:04:22,960 Speaker 1: h long wavelengths, which is red technically violet. On the 70 00:04:22,960 --> 00:04:26,080 Speaker 1: the other side, well, red has a bunch of different names. 71 00:04:26,160 --> 00:04:28,800 Speaker 1: When you start reading in the color, well, no blue 72 00:04:28,800 --> 00:04:30,839 Speaker 1: on the blue side, it's like starts at violet. But 73 00:04:30,880 --> 00:04:33,120 Speaker 1: we don't perceive it very well. Oh well, I'm talking 74 00:04:33,160 --> 00:04:36,400 Speaker 1: about what humans can see. Yeah, and then everything else 75 00:04:36,440 --> 00:04:39,520 Speaker 1: is in between, right, and what's in what's really in 76 00:04:39,560 --> 00:04:42,920 Speaker 1: the middle, like yellow maybe it seems like yellows kind 77 00:04:42,920 --> 00:04:47,760 Speaker 1: of in the middle. Yeah, we just think you tell me, well, 78 00:04:47,800 --> 00:04:50,640 Speaker 1: on the other end, beyond violet, you've got ultra violet, 79 00:04:50,880 --> 00:04:53,440 Speaker 1: and beyond red you've got infrared. Yeah, these are things 80 00:04:53,440 --> 00:04:56,039 Speaker 1: we can't see. No, we can't. Some animals can, remember 81 00:04:56,400 --> 00:04:59,240 Speaker 1: they think monarch butterflies are able to migrate all the 82 00:04:59,240 --> 00:05:04,120 Speaker 1: way to Mexic co Um using ultra violet detecting ultra violet. 83 00:05:04,160 --> 00:05:06,960 Speaker 1: I remember that. Yeah, man, that was a good episode. Amazing. 84 00:05:07,640 --> 00:05:11,719 Speaker 1: So this, this band of light, this visible spectrum, contains 85 00:05:11,800 --> 00:05:15,320 Speaker 1: the spectral colors which we perceive, right. And for a 86 00:05:15,480 --> 00:05:18,760 Speaker 1: very long time, everybody just thought, well, that apple's red, 87 00:05:18,960 --> 00:05:21,119 Speaker 1: but that horse is blue. That's just how it's born. 88 00:05:21,360 --> 00:05:23,560 Speaker 1: There's nothing that can be done about it. And then, 89 00:05:23,640 --> 00:05:26,440 Speaker 1: like we said, along came Newton, and Newton said, no, 90 00:05:27,000 --> 00:05:30,120 Speaker 1: something weird is going on here. Like you said, color 91 00:05:30,200 --> 00:05:33,080 Speaker 1: doesn't really exist. It's in the eye of the beholder, 92 00:05:33,240 --> 00:05:38,240 Speaker 1: almost literally, right, um. And the reason why an apple 93 00:05:38,240 --> 00:05:40,800 Speaker 1: seems red or your horse seems blue are because of 94 00:05:40,920 --> 00:05:43,839 Speaker 1: natural chemicals found in say the skin of the apple 95 00:05:43,960 --> 00:05:47,800 Speaker 1: or the hide of the horse, that are called pigments. 96 00:05:47,800 --> 00:05:51,440 Speaker 1: So in an apple, specifically, it's anthro cyanins that make 97 00:05:51,480 --> 00:05:55,560 Speaker 1: it red. In in the case of a carrot, it's carotenoids. 98 00:05:55,560 --> 00:05:58,960 Speaker 1: In the case of grass, it's chlorophyll. And these pigments 99 00:05:59,279 --> 00:06:03,039 Speaker 1: had the cape ability of absorbing some wavelengths of light 100 00:06:03,880 --> 00:06:07,760 Speaker 1: and reflecting others back. And the wavelength that it reflects 101 00:06:07,760 --> 00:06:11,800 Speaker 1: back are the colors that we perceive. That's right, And 102 00:06:11,839 --> 00:06:16,360 Speaker 1: that's if it's an object that is opaque. Well, yeah, 103 00:06:16,360 --> 00:06:19,800 Speaker 1: that's a big one right there. Apples are pretty opaque. Yeah, 104 00:06:19,839 --> 00:06:24,440 Speaker 1: I would say, so that's your Superman maybe yeah, he 105 00:06:24,440 --> 00:06:28,120 Speaker 1: it's invisible see through apple. Oh yeah he can, Candy, 106 00:06:28,480 --> 00:06:31,159 Speaker 1: I get your joke now. So yeah, with an opaque 107 00:06:31,200 --> 00:06:34,760 Speaker 1: object where light um doesn't pass all the way through, 108 00:06:36,080 --> 00:06:39,280 Speaker 1: some lights reflected back. So in the case of anthra cyanons, 109 00:06:39,400 --> 00:06:45,039 Speaker 1: this pigment absorbs all the other wavelengths of light except red, 110 00:06:45,680 --> 00:06:49,600 Speaker 1: and it reflects red back, and so red is reflected back. 111 00:06:49,680 --> 00:06:51,440 Speaker 1: So what you see when you look at this apple 112 00:06:51,520 --> 00:06:54,359 Speaker 1: with all the red light reflecting back at you is 113 00:06:54,400 --> 00:06:58,039 Speaker 1: a red apple. That's how we perceive color in the 114 00:06:58,080 --> 00:07:02,280 Speaker 1: world around us naturally. And if it's transparent, uh, it's 115 00:07:02,279 --> 00:07:05,760 Speaker 1: not reflecting that light but transmitting it. So it depends 116 00:07:05,839 --> 00:07:08,719 Speaker 1: on the color of light that's passing through it instead 117 00:07:08,720 --> 00:07:12,840 Speaker 1: of reflecting back to you. And again it's that chemical makeup. 118 00:07:13,120 --> 00:07:16,160 Speaker 1: It's it operates in sort of the same way. Um. 119 00:07:16,200 --> 00:07:19,840 Speaker 1: It's just not like in an apple skin. Let's say, yeah, exactly. 120 00:07:20,000 --> 00:07:22,080 Speaker 1: But it all comes to do It comes down to 121 00:07:22,240 --> 00:07:28,600 Speaker 1: basically pigments or whatever natural chemical or mineral that either 122 00:07:28,720 --> 00:07:32,360 Speaker 1: absorbs or reflects certain wavelengths of light. That's right. So 123 00:07:32,800 --> 00:07:35,280 Speaker 1: here's the thing, though, Chuck, Like that can happen all 124 00:07:35,360 --> 00:07:37,920 Speaker 1: day long, and as long as there's not a human 125 00:07:38,200 --> 00:07:41,320 Speaker 1: or a monkey, or a dolphin or a dog, because 126 00:07:41,360 --> 00:07:44,400 Speaker 1: dogs are not color blind, that's right. They see different 127 00:07:44,400 --> 00:07:47,400 Speaker 1: colors than we do, but they're not color blind. I 128 00:07:47,400 --> 00:07:51,440 Speaker 1: always wonder how they do this tests ah, animals. Yeah, 129 00:07:51,480 --> 00:07:53,679 Speaker 1: that's a good question. I mean, I'm sure it's pretty 130 00:07:53,680 --> 00:07:55,240 Speaker 1: easy to find out, but I just didn't have time 131 00:07:55,280 --> 00:07:57,080 Speaker 1: to look into it. I'm with you. Yeah, this is 132 00:07:57,280 --> 00:08:02,880 Speaker 1: like in massive black hole of information. Like you could 133 00:08:02,920 --> 00:08:05,600 Speaker 1: just keep going and going and going with colors such 134 00:08:05,600 --> 00:08:11,240 Speaker 1: a huge expansive topic that we could just do nothing 135 00:08:11,320 --> 00:08:13,640 Speaker 1: but color episodes for the next several months if we 136 00:08:13,680 --> 00:08:17,720 Speaker 1: wanted to do do. You want to kill me, I may 137 00:08:17,760 --> 00:08:20,000 Speaker 1: not make it through today's. So you're doing great. This 138 00:08:20,120 --> 00:08:22,680 Speaker 1: is fine. This is great, Chuck. It is a very 139 00:08:22,760 --> 00:08:26,680 Speaker 1: like big subject, Yes it is, man, We're just we're 140 00:08:26,720 --> 00:08:30,520 Speaker 1: providing a brief overview of it. That's right. So um, 141 00:08:30,600 --> 00:08:33,439 Speaker 1: Like I was saying, things can reflect color all the time, 142 00:08:33,480 --> 00:08:36,200 Speaker 1: but as long as there's not something there to perceive it, 143 00:08:36,280 --> 00:08:39,600 Speaker 1: is there any Is there really any color there? Well 144 00:08:39,600 --> 00:08:42,480 Speaker 1: that's a philosophical question, but there's an answer to it, 145 00:08:42,520 --> 00:08:44,200 Speaker 1: and the answer is no. If the tree falls in 146 00:08:44,240 --> 00:08:45,760 Speaker 1: the woods and no one's around to here, it doesn't 147 00:08:45,760 --> 00:08:49,640 Speaker 1: make annoyance. No. Actually, my my opinion on that one 148 00:08:49,679 --> 00:08:55,560 Speaker 1: is yes, okay, but with color, Um, yeah, it doesn't 149 00:08:55,559 --> 00:08:58,520 Speaker 1: exist without being perceived. I think it sound to me 150 00:08:58,600 --> 00:09:00,760 Speaker 1: is different things. It's a bit of the brain melter. 151 00:09:00,920 --> 00:09:04,280 Speaker 1: But I see what you're saying. Okay. So um. That 152 00:09:04,360 --> 00:09:07,320 Speaker 1: leads you to the question of how do we see color? 153 00:09:08,040 --> 00:09:12,720 Speaker 1: And that wasn't figured out until the eighteenth century, and 154 00:09:12,760 --> 00:09:15,400 Speaker 1: it wasn't proven, I think, until the sixties. And there 155 00:09:15,400 --> 00:09:17,600 Speaker 1: were a pair of guys who were a dynamic duo 156 00:09:17,640 --> 00:09:20,440 Speaker 1: if I've ever heard of one before, And what were 157 00:09:20,480 --> 00:09:23,640 Speaker 1: their names? Well, Thomas Young he was I thought he 158 00:09:23,679 --> 00:09:25,280 Speaker 1: was kind of the main guy. Had never heard of 159 00:09:25,320 --> 00:09:30,160 Speaker 1: the other guy, Herman von Helmholtz. Yeah, Thomas Young. Um. 160 00:09:30,280 --> 00:09:31,959 Speaker 1: What I read was that he was the first to 161 00:09:32,160 --> 00:09:37,480 Speaker 1: propose the trichromatic theory basically that we see everything through red, green, 162 00:09:37,520 --> 00:09:41,320 Speaker 1: and blue channels because that's how our eyes pick up 163 00:09:41,360 --> 00:09:44,600 Speaker 1: on color. Yeah, because we have specialized cells in our 164 00:09:44,640 --> 00:09:49,520 Speaker 1: eyes called cones, right, and I think we have something like, um, 165 00:09:49,559 --> 00:09:52,920 Speaker 1: a hundred million or some ridiculous amount of rods. And 166 00:09:53,040 --> 00:09:55,840 Speaker 1: rods are the things that we see in like fine detail, 167 00:09:55,960 --> 00:09:59,880 Speaker 1: black and white typically, right, cones are color perceiving sy 168 00:10:00,600 --> 00:10:05,640 Speaker 1: and each cell is specialized. You either attuned to wavelengths 169 00:10:05,679 --> 00:10:08,480 Speaker 1: that red, green, or blue. Yeah, you have way more 170 00:10:08,600 --> 00:10:11,720 Speaker 1: rods than cones, about a hundred and twenty million rods 171 00:10:11,720 --> 00:10:15,320 Speaker 1: in each eye and only only about six million cones 172 00:10:15,360 --> 00:10:19,280 Speaker 1: in each eye. And those cones are concentrated mostly in 173 00:10:19,280 --> 00:10:22,080 Speaker 1: the front of your retina in the middle, right, which 174 00:10:22,080 --> 00:10:24,520 Speaker 1: is why you don't see color periphetally quite as well, 175 00:10:24,640 --> 00:10:29,960 Speaker 1: that's right. So, um, these cells are attuned to different wavelengths, right, 176 00:10:30,160 --> 00:10:33,800 Speaker 1: The long wavelengths are red, medium is green, and short 177 00:10:33,880 --> 00:10:37,760 Speaker 1: is blue. Like you said medium was yellow. No, that's 178 00:10:37,800 --> 00:10:40,559 Speaker 1: in the middle, okay, right, so medium is not in 179 00:10:40,600 --> 00:10:47,520 Speaker 1: the middle, well as far as our RGB goes, okay, Yeah, 180 00:10:47,720 --> 00:10:50,719 Speaker 1: And so with these cells, chuck, if you're looking at 181 00:10:50,720 --> 00:10:54,280 Speaker 1: your blue horse. What was his name, Calvin the Blue Horse. 182 00:10:56,160 --> 00:10:59,000 Speaker 1: So if you're looking at Calvin the Blue Horse, you're 183 00:10:59,000 --> 00:11:03,240 Speaker 1: getting a lot of information on from short wavelength light, 184 00:11:04,120 --> 00:11:08,080 Speaker 1: not so much at the longer medium wavelengths, right, And 185 00:11:08,120 --> 00:11:11,360 Speaker 1: so there's probably a little bit it's not a true 186 00:11:11,400 --> 00:11:14,800 Speaker 1: blue horse, right, which would mean that it was a 187 00:11:14,800 --> 00:11:20,480 Speaker 1: totally saturated blue, which is only that blue wavelength, true 188 00:11:20,480 --> 00:11:22,920 Speaker 1: blue wavelength. Coming to your eyes, there's probably a little 189 00:11:22,960 --> 00:11:25,240 Speaker 1: bit of green, a little bit of red. And so 190 00:11:25,280 --> 00:11:27,160 Speaker 1: all the cones in your eyes are getting all of 191 00:11:27,240 --> 00:11:31,319 Speaker 1: this information at once, and they're reporting to your brain 192 00:11:31,559 --> 00:11:37,040 Speaker 1: via electrical impulses about the quality of the wavelengths of 193 00:11:37,120 --> 00:11:40,080 Speaker 1: light that they're getting. And so your brain takes it 194 00:11:40,200 --> 00:11:44,000 Speaker 1: and basically becomes a color mixer and creates the color 195 00:11:44,080 --> 00:11:47,800 Speaker 1: blue that you're seeing. Calvin ass that's how we detect color. 196 00:11:48,240 --> 00:11:50,079 Speaker 1: And from the R and the G and the B 197 00:11:50,760 --> 00:11:58,640 Speaker 1: you can put together. Supposedly, the Commission on Illumination, a 198 00:11:58,720 --> 00:12:03,560 Speaker 1: European Commission on illumination back in one determined that humans 199 00:12:03,600 --> 00:12:07,320 Speaker 1: can see something like two point three eight million colors. Oh, 200 00:12:07,400 --> 00:12:10,040 Speaker 1: it's such a hundred million, now, is it? Because I've 201 00:12:10,080 --> 00:12:13,720 Speaker 1: seen all over the place in this findings are the 202 00:12:13,720 --> 00:12:18,680 Speaker 1: ones that people say, this has the best science behind it. Yeah, 203 00:12:19,520 --> 00:12:23,560 Speaker 1: now I'm sorry. Ten million Okay. The other thing about 204 00:12:23,600 --> 00:12:25,559 Speaker 1: the c I E Is that people say, well, this 205 00:12:25,640 --> 00:12:28,360 Speaker 1: was only under certain types of illumination. I think three 206 00:12:28,360 --> 00:12:31,800 Speaker 1: different types of illumination, so it is entirely possible if 207 00:12:31,800 --> 00:12:34,719 Speaker 1: you change the intensity or whatever, you're going to have 208 00:12:34,920 --> 00:12:38,880 Speaker 1: brand new colors. So ten millions reasonable. That's a lot 209 00:12:38,920 --> 00:12:41,320 Speaker 1: of colors that we can see all from the red, 210 00:12:41,520 --> 00:12:44,440 Speaker 1: the green, and the blue cones coming together and your 211 00:12:44,480 --> 00:12:50,040 Speaker 1: brain adjusting them and seeing, oh, well that's um burnt sienna. 212 00:12:50,440 --> 00:12:53,079 Speaker 1: Did you Yeah, this sort of the go to joke color, right, 213 00:12:53,280 --> 00:12:55,720 Speaker 1: it is a pretty jokey color. It's a good one. 214 00:12:56,320 --> 00:12:59,080 Speaker 1: Uh yeah, it's pretty amazing. Ten million colors, or let's 215 00:12:59,080 --> 00:13:04,320 Speaker 1: say it's two million, if you're going by you know, 216 00:13:05,480 --> 00:13:08,960 Speaker 1: naming convention. Shall we talk about some of the characteristics 217 00:13:08,960 --> 00:13:10,959 Speaker 1: of color. Yeah, but let's take a break first. It 218 00:13:11,040 --> 00:13:33,520 Speaker 1: is getting heavy, all right, so if you um actually 219 00:13:33,640 --> 00:13:35,640 Speaker 1: you can do this on your modern television as well. 220 00:13:35,679 --> 00:13:38,680 Speaker 1: But it seemed like most TVs now kind of come 221 00:13:38,840 --> 00:13:41,800 Speaker 1: fairly set up. But in the old days, when you 222 00:13:41,840 --> 00:13:44,520 Speaker 1: have those little wheels to try and get that color right. 223 00:13:45,040 --> 00:13:47,400 Speaker 1: It was. You know, you might have noticed things that 224 00:13:47,440 --> 00:13:52,040 Speaker 1: said hugh and intensity or value or tone and all 225 00:13:52,080 --> 00:13:57,280 Speaker 1: that stuff. Those are all color characteristics, and hugh specifically 226 00:13:57,440 --> 00:14:01,760 Speaker 1: is um. I mean, that's basically what the color is. 227 00:14:01,960 --> 00:14:04,480 Speaker 1: It's not the lightness of the darkness. It's you know, 228 00:14:04,640 --> 00:14:08,360 Speaker 1: it's the greenness or the redness or the blueness that's 229 00:14:08,360 --> 00:14:12,160 Speaker 1: the hue. Yeah, it's it's what you can interchange that 230 00:14:12,200 --> 00:14:15,880 Speaker 1: word with color. Yeah, exactly. UM. I like how they 231 00:14:15,960 --> 00:14:19,120 Speaker 1: refer to as the identity of a color sounds kind 232 00:14:19,120 --> 00:14:22,600 Speaker 1: of personal. Uh. The intensity is how pure it is 233 00:14:23,080 --> 00:14:26,840 Speaker 1: so um. Like we said, most colors are mixes, you know, 234 00:14:26,880 --> 00:14:28,880 Speaker 1: they bleed one way or the other on the wavelength. 235 00:14:28,960 --> 00:14:32,880 Speaker 1: But in its purest form a single wavelength um, which 236 00:14:32,920 --> 00:14:35,480 Speaker 1: is really rare, that would be the purity or the 237 00:14:35,520 --> 00:14:38,800 Speaker 1: intensity of the color. Um. You're not gonna see that 238 00:14:38,880 --> 00:14:41,280 Speaker 1: very often though. No, And I was wondering, like, that's 239 00:14:41,280 --> 00:14:46,080 Speaker 1: pretty cool. There's some physics labs somewhere that can produce 240 00:14:46,720 --> 00:14:52,480 Speaker 1: pure saturated green, like unadulterated green or unadulterated blue. There 241 00:14:51,640 --> 00:14:55,520 Speaker 1: is there has to be. Yeah, probably that is gotta 242 00:14:55,560 --> 00:14:58,960 Speaker 1: be really something to see to know you're looking at green, 243 00:14:59,600 --> 00:15:03,960 Speaker 1: like think but green, I would like to see that sometime. Yeah, 244 00:15:04,000 --> 00:15:06,440 Speaker 1: and I have, UM, I'm not color blind, but I 245 00:15:06,480 --> 00:15:10,280 Speaker 1: have a more difficult time picking out other cues in 246 00:15:10,360 --> 00:15:13,960 Speaker 1: a color, whereas Emily is really good, like when picking 247 00:15:13,960 --> 00:15:17,480 Speaker 1: out paint colors, like that gray has this and this 248 00:15:17,560 --> 00:15:19,920 Speaker 1: and this and it, and I'm like, really like I 249 00:15:19,960 --> 00:15:23,640 Speaker 1: see gray. Well, supposedly a lot of people have a 250 00:15:23,680 --> 00:15:26,640 Speaker 1: color deficiency. I might have a slight color deficiency, and 251 00:15:26,680 --> 00:15:30,000 Speaker 1: a lot of people don't realize that. Well, yeah, so 252 00:15:30,080 --> 00:15:32,000 Speaker 1: a lot of people don't realize that they think that 253 00:15:32,040 --> 00:15:34,120 Speaker 1: this is this color just looks like this and thinks 254 00:15:34,120 --> 00:15:35,960 Speaker 1: everybody sees it that way and this in the case, 255 00:15:36,000 --> 00:15:38,640 Speaker 1: and then it comes from a conversation where they're like, well, 256 00:15:38,640 --> 00:15:40,000 Speaker 1: wait a minute, what do you mean you see a 257 00:15:40,040 --> 00:15:42,960 Speaker 1: distinction between those? Well, but yeah, but in my case, 258 00:15:43,000 --> 00:15:46,280 Speaker 1: it's hues. It's not like I see a completely different 259 00:15:46,320 --> 00:15:50,680 Speaker 1: color or you know, black or everything just looks gray. 260 00:15:51,560 --> 00:15:54,400 Speaker 1: I did UM a brain stuff on color blindness. It 261 00:15:54,440 --> 00:15:57,360 Speaker 1: is pretty interesting. Yeah. I went to UM research that 262 00:15:57,400 --> 00:15:58,800 Speaker 1: one time for a show, and it would just like 263 00:15:58,880 --> 00:16:01,520 Speaker 1: bent in my mind so much. I'd quietly file it away, 264 00:16:02,320 --> 00:16:07,040 Speaker 1: so I'm sure you'll pick it next week. Color blindness, Yeah, Um. 265 00:16:07,360 --> 00:16:10,240 Speaker 1: Value is the lightness or darkness of a color, and 266 00:16:10,320 --> 00:16:13,560 Speaker 1: that's basically has to do with light. Um, the energy 267 00:16:13,560 --> 00:16:16,880 Speaker 1: of the light that makes it up. Yeah, and the 268 00:16:17,560 --> 00:16:21,440 Speaker 1: value is um, so he was. There's really just kind 269 00:16:21,440 --> 00:16:26,640 Speaker 1: of a finite, very finite number of colors of hues, right. Um. 270 00:16:26,680 --> 00:16:28,960 Speaker 1: And you think of like primary colors, which we'll talk 271 00:16:28,960 --> 00:16:33,360 Speaker 1: about soon. Um. But when you adjust something, when you 272 00:16:33,400 --> 00:16:37,480 Speaker 1: adjust them the value of it, that just creates a 273 00:16:37,480 --> 00:16:40,640 Speaker 1: whole new range of colors. So if you add a 274 00:16:40,640 --> 00:16:44,680 Speaker 1: little black to a color, what you're doing is shading it. Yeah. 275 00:16:44,800 --> 00:16:49,080 Speaker 1: If you add white, you are creating a tint. And 276 00:16:49,120 --> 00:16:53,600 Speaker 1: then if you add black and white gray, you're toning it. Yeah. Right, 277 00:16:54,080 --> 00:16:57,920 Speaker 1: And I think people interchange those words without understanding what 278 00:16:57,960 --> 00:17:01,760 Speaker 1: they mean. Yeah, but they are definite distinct things, and 279 00:17:01,880 --> 00:17:04,000 Speaker 1: um that we should probably say. There's a lot of 280 00:17:04,040 --> 00:17:07,200 Speaker 1: really neat sights on the internet. Pantone is a really 281 00:17:07,280 --> 00:17:10,879 Speaker 1: good one, um, where you can go look at color 282 00:17:10,920 --> 00:17:14,080 Speaker 1: wheels and things like that and see the distinction between 283 00:17:14,119 --> 00:17:17,280 Speaker 1: these things and be like, oh, you mean pastels. That's 284 00:17:17,320 --> 00:17:21,000 Speaker 1: another word for a tone. Yeah, And it's a lot 285 00:17:21,040 --> 00:17:23,399 Speaker 1: of people get really get into it because it's the 286 00:17:23,440 --> 00:17:29,680 Speaker 1: basis of printing and art and photography, and like every 287 00:17:29,720 --> 00:17:32,800 Speaker 1: every sort of art form, well not every art form, 288 00:17:32,880 --> 00:17:36,040 Speaker 1: but many art forms boil down to color. So if 289 00:17:36,080 --> 00:17:39,000 Speaker 1: you go to art school, you're gonna study color pretty deeply. Yeah, 290 00:17:39,080 --> 00:17:41,520 Speaker 1: you know, and one of the things you're gonna study 291 00:17:41,560 --> 00:17:44,399 Speaker 1: is color theory. And color theory is based on the 292 00:17:44,480 --> 00:17:50,560 Speaker 1: idea that certain colors can contrast one another, certain colors 293 00:17:50,840 --> 00:17:53,720 Speaker 1: complement one another, certain colors should never be used together. 294 00:17:53,960 --> 00:17:57,879 Speaker 1: And not that it's just you know, um, your instructor 295 00:17:58,000 --> 00:18:02,480 Speaker 1: says saying these colors don't go together. It's not just 296 00:18:02,520 --> 00:18:06,119 Speaker 1: search his opinion. These are objective facts as far as 297 00:18:06,160 --> 00:18:09,800 Speaker 1: color theory goes, and it's all based on um. These 298 00:18:09,880 --> 00:18:13,880 Speaker 1: the idea that all colors fall into one of two categories. 299 00:18:14,359 --> 00:18:18,560 Speaker 1: You have additive colors and subtractive colors. Yeah, and there's 300 00:18:18,600 --> 00:18:20,879 Speaker 1: a couple of I mean, there's two distinct applications for 301 00:18:20,960 --> 00:18:23,919 Speaker 1: both of these. If you're talking about a computer screen 302 00:18:24,040 --> 00:18:29,040 Speaker 1: or or a television, that's that's using light, so it's additive. Um. 303 00:18:29,119 --> 00:18:33,560 Speaker 1: If you're talking about paint or photography, that's subtractive, right, 304 00:18:33,600 --> 00:18:36,160 Speaker 1: So you can think of it this way. With additive colors, 305 00:18:36,440 --> 00:18:40,040 Speaker 1: you're starting with black and you're adding light to it, 306 00:18:40,240 --> 00:18:43,040 Speaker 1: and ultimately, when you add all these additive colors together, 307 00:18:43,440 --> 00:18:47,040 Speaker 1: you're going to have white. With subtractive colors, you start 308 00:18:47,080 --> 00:18:49,800 Speaker 1: with white, and when you add all these colors together, 309 00:18:49,960 --> 00:18:53,040 Speaker 1: you're ultimately going to have black. And they subtract by 310 00:18:53,160 --> 00:18:58,200 Speaker 1: absorbing one another's colors. Yeah, that's another color mind bender 311 00:18:58,240 --> 00:19:01,720 Speaker 1: two because with subtract active color, you're still adding colors, 312 00:19:02,200 --> 00:19:06,240 Speaker 1: but it's not additive, right to wrap your head around that. Yeah, 313 00:19:06,240 --> 00:19:12,160 Speaker 1: but there's there's subtracting wavelengths by combining colors and absorbing them, right, Yeah, 314 00:19:12,200 --> 00:19:14,800 Speaker 1: it takes a hue out. So a really good example 315 00:19:14,840 --> 00:19:20,639 Speaker 1: of subtractive colors is if you take um cyane. Cyan 316 00:19:20,720 --> 00:19:25,520 Speaker 1: absorbs orange red, right, So if you take cyane and 317 00:19:25,600 --> 00:19:28,320 Speaker 1: you mix it with yellow, you produce green. And the 318 00:19:28,359 --> 00:19:31,080 Speaker 1: reason that cyane and yellow produced green, it's because the 319 00:19:31,200 --> 00:19:36,600 Speaker 1: cyane absorbs the red light and the yellow light. The 320 00:19:36,760 --> 00:19:40,760 Speaker 1: yellow absorbs blue violet, and so the only color that's 321 00:19:40,800 --> 00:19:45,400 Speaker 1: not subtracted or absorbed is green. So green is produced 322 00:19:45,480 --> 00:19:51,840 Speaker 1: from these other pigments absorbing all the other wavelengths, and 323 00:19:52,000 --> 00:19:56,359 Speaker 1: with an additive coloring, additive pigments, it's it's quite the opposite. 324 00:19:56,720 --> 00:20:01,280 Speaker 1: You have um light combining to form new colors. Rather 325 00:20:01,320 --> 00:20:04,439 Speaker 1: than absorbing, you're adding to it. Yeah, and like the 326 00:20:04,440 --> 00:20:06,920 Speaker 1: apple is an example, like we said earlier, of a 327 00:20:06,960 --> 00:20:11,879 Speaker 1: subtractive color system um and again, like a TV screen 328 00:20:11,920 --> 00:20:16,800 Speaker 1: would be additive. I think we I think we got that. Yeah, 329 00:20:17,040 --> 00:20:20,280 Speaker 1: I mean it is mine bending a little bit. Some 330 00:20:20,320 --> 00:20:21,520 Speaker 1: of the stuff, you know, I have to read like 331 00:20:21,600 --> 00:20:24,280 Speaker 1: ten times and then it sinks in. But the the 332 00:20:24,680 --> 00:20:28,720 Speaker 1: reason that all colors can be turned into either additive 333 00:20:29,280 --> 00:20:33,640 Speaker 1: primaries or subtractive primaries is that these are the six colors. 334 00:20:33,720 --> 00:20:37,239 Speaker 1: Of these they're the six spectral colors. They're the rainbow colors, right, 335 00:20:38,560 --> 00:20:43,680 Speaker 1: So additive primaries are what red, green, and blue the 336 00:20:43,840 --> 00:20:49,840 Speaker 1: correct Yeah, and then the subtractive colors are cyan yellow 337 00:20:50,680 --> 00:20:55,680 Speaker 1: and um magenta ye I was gonna say magenta. They're 338 00:20:55,680 --> 00:21:00,879 Speaker 1: almost like bizarro colors. They're the bizarro world. Primary colors. 339 00:21:00,920 --> 00:21:02,680 Speaker 1: When you think of primary colors, you think of like 340 00:21:02,720 --> 00:21:09,200 Speaker 1: the the what red, yellow, and blue, because ye, red, yellow, 341 00:21:09,240 --> 00:21:12,200 Speaker 1: and blue were the traditional primaries and they still are. 342 00:21:12,320 --> 00:21:15,800 Speaker 1: But um when it comes to like painting and printing. 343 00:21:16,800 --> 00:21:21,879 Speaker 1: They've been replaced with cyan, magenta, yellow and black. K. Yeah, 344 00:21:21,960 --> 00:21:25,840 Speaker 1: when you go to your clubhouse printer, Yeah, that's what 345 00:21:25,840 --> 00:21:27,840 Speaker 1: you're gonna be seeing C M K. Or you can 346 00:21:27,880 --> 00:21:31,040 Speaker 1: select r G B as well, red, green and blue. 347 00:21:31,400 --> 00:21:36,399 Speaker 1: So Crosby stills Nash and Young, right or Crosby Stills 348 00:21:36,400 --> 00:21:39,960 Speaker 1: in Nash. Yeah. Okay, that's the difference. That's a good 349 00:21:40,040 --> 00:21:42,520 Speaker 1: rule of thumb. Man. All right, So we mentioned primary 350 00:21:42,520 --> 00:21:45,160 Speaker 1: colors just a second ago, and then we have our 351 00:21:45,560 --> 00:21:50,320 Speaker 1: secondary colors, green, orange, and purple hues would you get 352 00:21:50,320 --> 00:21:52,800 Speaker 1: from mixing the primary colors, and then you have something 353 00:21:52,880 --> 00:21:57,080 Speaker 1: called tertiary colors, which is this furthering the color hues 354 00:21:57,160 --> 00:22:01,159 Speaker 1: by mixing primary colors with secondary colors. Right, So the 355 00:22:01,320 --> 00:22:04,880 Speaker 1: six tertiary colors and the two sets of primary colors 356 00:22:04,960 --> 00:22:09,040 Speaker 1: or the six secondary colors, I think in the two 357 00:22:09,040 --> 00:22:13,000 Speaker 1: sets of primary colors form the color wheelers twelve colors 358 00:22:13,000 --> 00:22:15,840 Speaker 1: in the color wheel, and tertiary colors are the ones 359 00:22:15,960 --> 00:22:20,359 Speaker 1: that you'll hear like blue, green or red violet. Yeah, 360 00:22:20,400 --> 00:22:24,639 Speaker 1: it's like literally named the two colors, and color naming 361 00:22:24,720 --> 00:22:27,320 Speaker 1: is another rabbit hole that you can go down. There's 362 00:22:27,359 --> 00:22:30,320 Speaker 1: a site. Um man, I wish I'd written it down, 363 00:22:30,800 --> 00:22:34,400 Speaker 1: but it's if you type in like who names colors 364 00:22:34,480 --> 00:22:36,879 Speaker 1: or color naming or something like that in Google, like 365 00:22:36,960 --> 00:22:41,240 Speaker 1: one of the one of the first page entries is 366 00:22:41,240 --> 00:22:44,960 Speaker 1: the site that you go through and um, it shows 367 00:22:45,000 --> 00:22:47,680 Speaker 1: you different colors and you write what you would name 368 00:22:47,720 --> 00:22:51,960 Speaker 1: that color? Interesting, butter yellow or something like that, right, 369 00:22:52,359 --> 00:22:54,119 Speaker 1: and the whole well that was the as far as 370 00:22:54,119 --> 00:22:56,760 Speaker 1: I got. Mike Well, I would call it butter yellow. 371 00:22:57,119 --> 00:23:00,280 Speaker 1: Hungry had other things to do. But um, you can 372 00:23:00,280 --> 00:23:02,160 Speaker 1: go through and just I think it's like two enter 373 00:23:02,240 --> 00:23:04,879 Speaker 1: twenty different shades that they show you, colors that they 374 00:23:04,920 --> 00:23:09,240 Speaker 1: show you, and the the the whole purpose of all 375 00:23:09,320 --> 00:23:13,119 Speaker 1: this is to find some sort of commonality to create 376 00:23:13,280 --> 00:23:18,800 Speaker 1: universal A universal naming convention for colors makes um because 377 00:23:18,840 --> 00:23:21,879 Speaker 1: you know, there is a lot of distinction among languages 378 00:23:22,320 --> 00:23:25,960 Speaker 1: for naming colors. But at least one study that I 379 00:23:26,040 --> 00:23:33,399 Speaker 1: found decided that all colors universally for societies that do 380 00:23:33,800 --> 00:23:36,960 Speaker 1: recognize individual colors, rather than these are just warm colors 381 00:23:36,960 --> 00:23:40,439 Speaker 1: and these are cool colors, which is universal. Um. The 382 00:23:40,600 --> 00:23:45,200 Speaker 1: more primary the color, the shorter and easier to remember 383 00:23:45,440 --> 00:23:48,320 Speaker 1: the name of it. Is like across culture, so not 384 00:23:48,400 --> 00:23:51,800 Speaker 1: all cultures will call it blue. But what a culture 385 00:23:51,880 --> 00:23:56,240 Speaker 1: is going to have like another like short monosyllabic name 386 00:23:56,440 --> 00:23:58,960 Speaker 1: for that color, for the same thing that we would 387 00:23:59,000 --> 00:24:02,720 Speaker 1: call blue. That's pretty interesting just because it's easier to understand. 388 00:24:02,840 --> 00:24:07,960 Speaker 1: It's just it's basic, like colors appear to be basic universally. 389 00:24:09,400 --> 00:24:11,560 Speaker 1: All right, I think we should take another break and 390 00:24:11,640 --> 00:24:13,680 Speaker 1: maybe come back and talk a little bit about how 391 00:24:13,720 --> 00:24:17,200 Speaker 1: colors can complement each other and live in harmony and 392 00:24:17,280 --> 00:24:39,040 Speaker 1: what that all means to us. Okay, all right, we're 393 00:24:39,040 --> 00:24:43,080 Speaker 1: back were Uh So we talked about the different uh 394 00:24:43,119 --> 00:24:47,000 Speaker 1: primary color, secondary, and tertiary. And there's also something called 395 00:24:47,040 --> 00:24:51,480 Speaker 1: complementary colors, which are basically contrasting colors that make a 396 00:24:51,520 --> 00:24:56,120 Speaker 1: neutral color when put together, and they are really far 397 00:24:56,160 --> 00:24:58,840 Speaker 1: apart and hugh as far apart as they can be. 398 00:24:58,880 --> 00:25:01,240 Speaker 1: And there if you look at the color wheel there 399 00:25:01,320 --> 00:25:05,320 Speaker 1: on the complete opposite side from one another, right um. 400 00:25:05,359 --> 00:25:07,080 Speaker 1: And when you place them next to each other, then 401 00:25:07,119 --> 00:25:09,960 Speaker 1: their hue is like, uh, I guess it's just more 402 00:25:10,040 --> 00:25:15,560 Speaker 1: robust looking. Yeah, because they complement one another, right um. Yeah, 403 00:25:15,640 --> 00:25:18,600 Speaker 1: complimentary doesn't necessarily mean like, oh, they look great together. 404 00:25:18,680 --> 00:25:25,080 Speaker 1: Under all circumstances. So, um, some complementary colors like red 405 00:25:25,160 --> 00:25:28,320 Speaker 1: and green, if you play them next to each other 406 00:25:28,520 --> 00:25:32,320 Speaker 1: in the same intensity and the same size, it's another one. 407 00:25:32,640 --> 00:25:35,560 Speaker 1: You are going to have what's called an eyesore. I 408 00:25:35,600 --> 00:25:38,919 Speaker 1: have a shirt like that. It's just too much equal 409 00:25:38,960 --> 00:25:41,400 Speaker 1: amounts of bright red and bright green. Trying to think 410 00:25:41,440 --> 00:25:45,040 Speaker 1: of that shirt. It's just a Christmas shirt? Is it retired? Well, 411 00:25:45,040 --> 00:25:50,560 Speaker 1: it's it's a holiday shirt. Um. But the whole point 412 00:25:50,600 --> 00:25:55,200 Speaker 1: of having colors and using colors together isn't just like, well, 413 00:25:55,320 --> 00:25:57,400 Speaker 1: these two are opposite the color wheel, so I'm gonna 414 00:25:57,440 --> 00:25:59,560 Speaker 1: use them in equal amounts and equal intensity and everything 415 00:25:59,600 --> 00:26:03,720 Speaker 1: will be right. You have to achieve what's called color harmony. Um. 416 00:26:03,840 --> 00:26:06,800 Speaker 1: And in doing that, you want to choose different um, 417 00:26:06,920 --> 00:26:10,560 Speaker 1: different shades or different tones or different tints, and also 418 00:26:10,720 --> 00:26:13,280 Speaker 1: different amounts at once. So like you're going to use 419 00:26:13,320 --> 00:26:15,400 Speaker 1: a bunch of red and a little bit of green 420 00:26:15,480 --> 00:26:18,480 Speaker 1: as an accent. That would be much more harmonious than 421 00:26:18,560 --> 00:26:22,040 Speaker 1: equal amounts of intense red and green next to each other. Yeah, 422 00:26:22,080 --> 00:26:24,800 Speaker 1: and again this is um. When we say it's not 423 00:26:24,840 --> 00:26:28,159 Speaker 1: a matter of taste, that's like picking something out as 424 00:26:28,160 --> 00:26:31,080 Speaker 1: a matter of taste. But again, these are like scientific rules. 425 00:26:31,920 --> 00:26:34,159 Speaker 1: You can't just throw two colors together and say that 426 00:26:34,160 --> 00:26:37,639 Speaker 1: looks great or that they're harmonious. Um. I mean, I 427 00:26:37,640 --> 00:26:40,119 Speaker 1: guess you could, but you'd be wrong. You would surge 428 00:26:40,160 --> 00:26:44,000 Speaker 1: would be like, you're wrong. This is objective stuff. And 429 00:26:44,040 --> 00:26:46,240 Speaker 1: then with complimentary colors. Getting back to that, there's this 430 00:26:46,280 --> 00:26:49,560 Speaker 1: really cool thing that they bring up called retinal fatigue. 431 00:26:50,200 --> 00:26:52,440 Speaker 1: So you can do a little experiment at home that's 432 00:26:52,520 --> 00:26:55,639 Speaker 1: kind of blows your mind, but it really illustrates how 433 00:26:55,680 --> 00:26:58,040 Speaker 1: color works pretty well. If you look at a bright 434 00:26:58,119 --> 00:27:01,560 Speaker 1: red spot for about a minute, um, your retinas are 435 00:27:01,560 --> 00:27:03,439 Speaker 1: going to soak in all that red, all those cones 436 00:27:03,480 --> 00:27:06,560 Speaker 1: are And then when you go immediately and look at 437 00:27:06,600 --> 00:27:12,800 Speaker 1: a white surface, uh, you're gonna see green briefly, not forever, right, 438 00:27:12,920 --> 00:27:15,280 Speaker 1: And the reason why is because your red cells have 439 00:27:15,359 --> 00:27:18,919 Speaker 1: just been basically overstimulated and they're gonna respond weekly to 440 00:27:19,000 --> 00:27:22,680 Speaker 1: the information that they're getting from that white, right, and 441 00:27:22,800 --> 00:27:26,639 Speaker 1: your blue and green cells are gonna be functioning just fine, 442 00:27:26,680 --> 00:27:29,159 Speaker 1: so they're gonna easily overwhelm your red cells. And so 443 00:27:29,200 --> 00:27:33,040 Speaker 1: what you'll see is this ghost image of like a 444 00:27:33,600 --> 00:27:37,080 Speaker 1: cyan square. Yeah, which is why, uh, and the reason 445 00:27:37,080 --> 00:27:39,200 Speaker 1: why it is because red is the complement of green 446 00:27:39,240 --> 00:27:43,160 Speaker 1: will always be that opposite. It doesn't just like randomly 447 00:27:43,200 --> 00:27:45,080 Speaker 1: pick out a color. I know, And if you start 448 00:27:45,200 --> 00:27:49,480 Speaker 1: adding all this stuff together that there are objectively complementary 449 00:27:49,520 --> 00:27:52,679 Speaker 1: colors that you see when you see too much of 450 00:27:52,720 --> 00:27:57,840 Speaker 1: the opposite one, doesn't it all seem to fit so 451 00:27:58,000 --> 00:28:02,240 Speaker 1: cleanly together that you're almost like, what is going on here? Like? 452 00:28:02,359 --> 00:28:05,960 Speaker 1: What is color? Why do we see color? Yeah, it's 453 00:28:06,000 --> 00:28:09,000 Speaker 1: a really good question, and evolutionary biologists have not been 454 00:28:09,040 --> 00:28:12,600 Speaker 1: able to explain it fully. Yeah, I guess I really 455 00:28:12,600 --> 00:28:16,280 Speaker 1: never thought about that because there's well, I mean, there's 456 00:28:16,280 --> 00:28:20,479 Speaker 1: probably some evolutionary benefit, right, like green things are generally 457 00:28:20,480 --> 00:28:25,200 Speaker 1: good to eat. Yeah, but green is also the the 458 00:28:25,320 --> 00:28:29,040 Speaker 1: kind of a universal color for disgust or sickness or illness, 459 00:28:29,480 --> 00:28:31,840 Speaker 1: like you're green because you're green around the gills or 460 00:28:31,840 --> 00:28:35,000 Speaker 1: something like that. Green is often like the color of rot. 461 00:28:36,720 --> 00:28:40,320 Speaker 1: But it's true, I mean, it's both. So how how 462 00:28:40,360 --> 00:28:44,080 Speaker 1: do we evolve to understand the nuanced And I mean clearly, 463 00:28:45,120 --> 00:28:48,600 Speaker 1: if we didn't evolve to see in color so that 464 00:28:48,640 --> 00:28:51,479 Speaker 1: we could do this, we have as a byproduct of it. 465 00:28:51,600 --> 00:28:54,160 Speaker 1: But we can very easily tick off whether something is 466 00:28:54,560 --> 00:28:59,040 Speaker 1: healthy for us dangerous. Um. We we get a lot 467 00:28:59,160 --> 00:29:03,560 Speaker 1: of information about an object in our environments, quality and 468 00:29:03,640 --> 00:29:07,000 Speaker 1: desirability based on its color. It's almost like a shorthand 469 00:29:07,120 --> 00:29:09,239 Speaker 1: that our brains pick up. Yeah, And part of that 470 00:29:09,360 --> 00:29:13,080 Speaker 1: is because we're conditioned after years of using green for 471 00:29:13,640 --> 00:29:17,800 Speaker 1: go and green for safe passage, and like red or 472 00:29:17,840 --> 00:29:21,280 Speaker 1: orange for hazard signs and stop signs. So part of 473 00:29:21,320 --> 00:29:24,840 Speaker 1: that's conditioning. But as far as like going back many 474 00:29:24,880 --> 00:29:28,160 Speaker 1: many years before we made stop signs, I have no idea. Yeah, 475 00:29:28,680 --> 00:29:31,160 Speaker 1: you know, it really makes you wonder. And even like 476 00:29:31,240 --> 00:29:33,400 Speaker 1: the idea that pink is for girls and blue is 477 00:29:33,440 --> 00:29:36,800 Speaker 1: for boys, that's a fairly recent development. Prior to I 478 00:29:36,840 --> 00:29:40,320 Speaker 1: think the early twentieth century, it was the opposite. Did 479 00:29:40,360 --> 00:29:41,960 Speaker 1: we ever do that as a show or didn't? It 480 00:29:42,000 --> 00:29:43,800 Speaker 1: was too short? I think we did, like a video 481 00:29:43,800 --> 00:29:46,000 Speaker 1: one or something. Didn't we maybe I seem to remember that, 482 00:29:46,160 --> 00:29:53,200 Speaker 1: But it was the opposite until like the the interesting Yeah, yeah, 483 00:29:53,240 --> 00:29:58,400 Speaker 1: that's interesting totally. Is that's why you rock your pink shirts? Well, yeah, right, 484 00:29:58,600 --> 00:30:02,320 Speaker 1: that's exactly why that action. So getting back to harm 485 00:30:02,440 --> 00:30:05,840 Speaker 1: harmonious colors, uh, if they are side but and This 486 00:30:05,920 --> 00:30:08,040 Speaker 1: is if you're like picking out colors in your house 487 00:30:08,120 --> 00:30:10,200 Speaker 1: or whatever. If you're not very good at it, there 488 00:30:10,200 --> 00:30:13,520 Speaker 1: are a few hard and fast rules. Um, colors that 489 00:30:13,560 --> 00:30:15,560 Speaker 1: are and get your little color wheel out is really handy. 490 00:30:15,600 --> 00:30:21,080 Speaker 1: If they're side by side, Uh, they're gonna harmonize well. Um. 491 00:30:21,120 --> 00:30:23,920 Speaker 1: And like we mentioned, colors directly across from one another. 492 00:30:23,920 --> 00:30:28,520 Speaker 1: Complimentary ones also go well in the right proportions because, 493 00:30:28,560 --> 00:30:30,800 Speaker 1: like you said, the size of it makes a big difference. 494 00:30:31,160 --> 00:30:32,600 Speaker 1: They point out in the article. I don't if you've 495 00:30:32,600 --> 00:30:35,240 Speaker 1: ever seen someone who's like painted their room red, like 496 00:30:35,320 --> 00:30:38,360 Speaker 1: in college, you know, some stupid room hate would do that. 497 00:30:38,960 --> 00:30:42,120 Speaker 1: It's an assault on your senses because you're not used 498 00:30:42,120 --> 00:30:45,800 Speaker 1: to seeing that much red. But maybe an accent wall 499 00:30:45,840 --> 00:30:49,720 Speaker 1: in a shade of red matched with a complimentary color, 500 00:30:50,440 --> 00:30:53,040 Speaker 1: you would want it red and green room though it 501 00:30:53,120 --> 00:30:56,160 Speaker 1: gets green as complimented or red. No, but you could 502 00:30:56,160 --> 00:31:01,440 Speaker 1: conceivably say, um, use the complementary color for like the 503 00:31:01,520 --> 00:31:04,760 Speaker 1: trim or something like that. Yeah, exactly, Um. And then 504 00:31:04,800 --> 00:31:08,240 Speaker 1: tents and shades and tones of the same color are 505 00:31:08,280 --> 00:31:13,120 Speaker 1: always okay together. It's never gonna clash. But um, you're 506 00:31:13,120 --> 00:31:15,680 Speaker 1: just gonna have to mess around with like how much 507 00:31:15,680 --> 00:31:17,920 Speaker 1: of one compared to the other and what places your 508 00:31:17,920 --> 00:31:25,280 Speaker 1: eye Yes, no, and so again Surge is is saying like, no, 509 00:31:25,400 --> 00:31:29,600 Speaker 1: there's objective truth as to complementary colors and harmonious colors, 510 00:31:29,640 --> 00:31:34,480 Speaker 1: but there is also personal preference. And this is kind 511 00:31:34,520 --> 00:31:36,680 Speaker 1: of like the thorn in the side of the whole 512 00:31:36,720 --> 00:31:42,560 Speaker 1: idea of color psychology that people use colors to manipulate 513 00:31:42,600 --> 00:31:47,480 Speaker 1: other people into, like buying a product or whatever. Study 514 00:31:47,520 --> 00:31:53,720 Speaker 1: after study keeps finding that color preferencing color symbolism is 515 00:31:53,760 --> 00:31:57,480 Speaker 1: extremely personal. It's based on past experience, on your upbringing, 516 00:31:57,760 --> 00:32:00,760 Speaker 1: on your culture. Like for example, here in the West 517 00:32:01,240 --> 00:32:05,640 Speaker 1: we wear black from mourning. Yeah, well, in the East, 518 00:32:06,000 --> 00:32:09,120 Speaker 1: white is the color from mourning. So there's a lot 519 00:32:09,160 --> 00:32:12,320 Speaker 1: of culturally bound ideas about color too, which keeps it 520 00:32:12,360 --> 00:32:16,880 Speaker 1: from being like universally symbolic or whatever. But that being said, 521 00:32:17,320 --> 00:32:20,400 Speaker 1: there are some that just from being exposed to it 522 00:32:20,480 --> 00:32:22,960 Speaker 1: time and time again, like a red stoplight that you 523 00:32:23,120 --> 00:32:27,440 Speaker 1: come to um identify symbolically with other stuff. Yeah, and 524 00:32:27,480 --> 00:32:31,160 Speaker 1: colors will also affect everyone differently mood wise, but there 525 00:32:31,200 --> 00:32:34,959 Speaker 1: are some generalities there too. Um Like blue is generally 526 00:32:34,960 --> 00:32:39,080 Speaker 1: a soothing color that will calm you down. Um too 527 00:32:39,160 --> 00:32:42,560 Speaker 1: much though could actually have the opposite effect, like too 528 00:32:42,640 --> 00:32:46,400 Speaker 1: much blue on some people, or can really depress you. 529 00:32:47,280 --> 00:32:50,720 Speaker 1: What blue can I wonder if that's why they say 530 00:32:50,720 --> 00:32:54,240 Speaker 1: you're blue? Yeah? Yeah, I mean think about we describe 531 00:32:54,280 --> 00:32:58,080 Speaker 1: our world like that, green with envy. Blue means you're 532 00:32:58,120 --> 00:33:01,320 Speaker 1: down in the dumps. Red means are angry? Yeah, red 533 00:33:01,320 --> 00:33:05,920 Speaker 1: faced or red neck? Wait, that's different. It's a little different. 534 00:33:06,480 --> 00:33:09,760 Speaker 1: Warm colors, reds and yellows. Um can also lift the 535 00:33:09,840 --> 00:33:15,479 Speaker 1: spirits if you're less excitable. Um. And they say that 536 00:33:15,520 --> 00:33:17,800 Speaker 1: most people want to just strike a balance though, between 537 00:33:17,880 --> 00:33:20,000 Speaker 1: the cool and the warm, right, And that's when it 538 00:33:20,040 --> 00:33:23,320 Speaker 1: comes to like personal preference. Yeah, but the idea behind 539 00:33:23,360 --> 00:33:25,440 Speaker 1: this is that a lot of people don't realize this 540 00:33:25,480 --> 00:33:28,600 Speaker 1: is going on, that they're being affected by color, even 541 00:33:28,600 --> 00:33:31,960 Speaker 1: though they are. That it's on a very unconscious level. Yeah. 542 00:33:32,000 --> 00:33:33,800 Speaker 1: And it also depends a lot on light, like how 543 00:33:33,880 --> 00:33:36,920 Speaker 1: much light a room has coming into it, because you're 544 00:33:36,920 --> 00:33:40,680 Speaker 1: gonna because sunlight is different than artificial light, your shirt's 545 00:33:40,680 --> 00:33:42,719 Speaker 1: gonna look at different color outside in the sun as 546 00:33:42,760 --> 00:33:44,960 Speaker 1: it might. Uh. And I remember when we did the 547 00:33:45,000 --> 00:33:48,640 Speaker 1: TV show, there was a lot of um with colors 548 00:33:48,640 --> 00:33:51,200 Speaker 1: and stuff. You know, things would look different outside than 549 00:33:51,240 --> 00:33:54,080 Speaker 1: they would under studio lights. Right. Well, what's neat though, 550 00:33:54,080 --> 00:33:59,520 Speaker 1: is we humans have developed this trick called color constancy, where, um, 551 00:33:59,560 --> 00:34:01,920 Speaker 1: if you look at something, even if it's in the 552 00:34:01,960 --> 00:34:05,360 Speaker 1: shadow or in the sunlight, it should conceivably look like 553 00:34:05,440 --> 00:34:09,160 Speaker 1: different colored things because of the illumination. But to us, 554 00:34:09,239 --> 00:34:13,399 Speaker 1: we're still like, no, that's still green, just because there's 555 00:34:13,640 --> 00:34:15,880 Speaker 1: you know, shadow blocking it now, I still see it 556 00:34:15,920 --> 00:34:18,480 Speaker 1: as green. It doesn't make any sense, and it's kind 557 00:34:18,520 --> 00:34:23,400 Speaker 1: of perplexed. Um. I guess, uh biologists for a while 558 00:34:23,800 --> 00:34:26,359 Speaker 1: trying to figure out what this is, or neurologists, and 559 00:34:26,400 --> 00:34:29,920 Speaker 1: they figured out that yes, it is in the brain. Um. 560 00:34:29,960 --> 00:34:32,919 Speaker 1: And there was this one guy who had some sort 561 00:34:32,960 --> 00:34:35,560 Speaker 1: of brain damage, I think from an electric shock, and 562 00:34:35,600 --> 00:34:39,239 Speaker 1: he also went for all intensive purposes blind but he 563 00:34:39,280 --> 00:34:42,759 Speaker 1: could still see color, but he didn't have color constancy. 564 00:34:42,880 --> 00:34:45,400 Speaker 1: So they figured out that this guy was detecting wavelengths 565 00:34:45,400 --> 00:34:48,480 Speaker 1: of light color even though he couldn't see anything. He 566 00:34:48,520 --> 00:34:52,880 Speaker 1: could see colors still, but color constancy wasn't there. So 567 00:34:52,920 --> 00:34:55,160 Speaker 1: they figured out, well, that means that it's a trick 568 00:34:55,200 --> 00:34:59,560 Speaker 1: of the brain. Very neat, it's very cool um. They 569 00:34:59,600 --> 00:35:01,480 Speaker 1: also ing up in the in the House of Works 570 00:35:01,560 --> 00:35:05,480 Speaker 1: article something. I think it's pretty interesting how certain because 571 00:35:05,520 --> 00:35:08,360 Speaker 1: of conditioning, certain colors can just appear to be wrong. 572 00:35:08,960 --> 00:35:10,319 Speaker 1: Like if you were to pull up and see a 573 00:35:10,320 --> 00:35:13,719 Speaker 1: green stop sign, it would freak you out. Or the 574 00:35:13,760 --> 00:35:16,399 Speaker 1: example the Houston here is if you cracked an egg 575 00:35:16,440 --> 00:35:19,480 Speaker 1: and there was a green egg yolk um, that would 576 00:35:19,560 --> 00:35:21,560 Speaker 1: be really freaky too, because you're just so used to 577 00:35:21,560 --> 00:35:24,600 Speaker 1: that yellow. You know, you'd think, well, this is disease 578 00:35:24,719 --> 00:35:30,200 Speaker 1: or something, yeah, or dr seust you know, uh what 579 00:35:30,280 --> 00:35:31,480 Speaker 1: else you got? Did you look at that thing on 580 00:35:31,520 --> 00:35:37,280 Speaker 1: pigment I did. There's some wacky ways people have made pigments, yeah, 581 00:35:37,320 --> 00:35:42,279 Speaker 1: I mean pigment um. As far as making paint in things. Uh, Now, 582 00:35:42,320 --> 00:35:46,200 Speaker 1: they're synthetic, synthetic, you know, like they're synthesizing laboratories, which 583 00:35:46,239 --> 00:35:49,400 Speaker 1: makes sense. But throughout all of history, up until they 584 00:35:49,400 --> 00:35:53,680 Speaker 1: started doing that, they were actual, uh, real things in 585 00:35:53,920 --> 00:35:56,560 Speaker 1: the ground and on the earth that they would grind 586 00:35:56,600 --> 00:36:00,319 Speaker 1: up into powder. Um. In the case of blue, there 587 00:36:00,400 --> 00:36:03,760 Speaker 1: was a semi precious stone called, or there still is 588 00:36:03,800 --> 00:36:07,759 Speaker 1: called Lepis Lazuli that was found all over the place 589 00:36:07,760 --> 00:36:11,240 Speaker 1: in Afghanistan. And that's how they made blue. Um Azure 590 00:36:11,560 --> 00:36:14,879 Speaker 1: or azure right, is a blue mineral of copper. So 591 00:36:15,000 --> 00:36:17,640 Speaker 1: all of them, uh, most of them have a few 592 00:36:17,640 --> 00:36:21,000 Speaker 1: different ways they can make it. Um red. I think 593 00:36:21,000 --> 00:36:24,080 Speaker 1: we've talked about cinnabar before. The mineral is where you 594 00:36:24,120 --> 00:36:29,319 Speaker 1: get vermilion red and carmine. Carmine is bright red and 595 00:36:29,360 --> 00:36:34,120 Speaker 1: that comes from aluminum salt of carminic acid. So it's 596 00:36:34,160 --> 00:36:37,120 Speaker 1: just crazy that they found all these things in the 597 00:36:37,160 --> 00:36:39,360 Speaker 1: world to make. And I know blue is the toughest 598 00:36:39,360 --> 00:36:44,440 Speaker 1: one because you don't see blue very much in nature. Um. 599 00:36:44,480 --> 00:36:46,520 Speaker 1: I think blue is the one you will see least 600 00:36:46,560 --> 00:36:49,160 Speaker 1: in the primary colors as far as nature goes, like 601 00:36:49,200 --> 00:36:52,879 Speaker 1: some insects, but like there's no blue food. Um, yeah, 602 00:36:52,880 --> 00:36:58,080 Speaker 1: that's true. Blue horses, No, Well, what about mine? My 603 00:36:58,120 --> 00:37:02,120 Speaker 1: favorite was India Yellow, where they would feed cows nothing 604 00:37:02,160 --> 00:37:05,560 Speaker 1: but mango leaves and then collect their urine and then 605 00:37:05,600 --> 00:37:11,080 Speaker 1: boil it down, then filter out the concentrated muck and 606 00:37:11,120 --> 00:37:14,000 Speaker 1: then make balls out of it. And there was the 607 00:37:14,040 --> 00:37:18,440 Speaker 1: basis of your pigment. It's pretty cool stuff. So those 608 00:37:18,440 --> 00:37:20,560 Speaker 1: are just a few. If you really get into pigments, 609 00:37:20,560 --> 00:37:23,799 Speaker 1: and you can like go crazy trying to figure out 610 00:37:23,800 --> 00:37:26,960 Speaker 1: where they all came from. Definitely, And um, I mean again, 611 00:37:27,000 --> 00:37:30,120 Speaker 1: this is like really just the surface of color. There's 612 00:37:30,200 --> 00:37:33,920 Speaker 1: so much to it, and um, I strongly advise you 613 00:37:34,000 --> 00:37:37,239 Speaker 1: to go out and learn more about it. Color it's everywhere. 614 00:37:37,480 --> 00:37:41,080 Speaker 1: How about the one last factoid? Why is the sky blue? Oh, 615 00:37:41,080 --> 00:37:43,759 Speaker 1: it's a good one. Guy's not really blue. No, it 616 00:37:43,800 --> 00:37:47,000 Speaker 1: shouldn't really have any color. But the angle of the 617 00:37:47,080 --> 00:37:51,040 Speaker 1: sun coming down on the upper atmosphere um encounters things 618 00:37:51,080 --> 00:37:54,280 Speaker 1: like water, vapor, and other tiny particles, and they tend 619 00:37:54,320 --> 00:37:58,319 Speaker 1: to scatter blue wavelength light more than the other colors, right, 620 00:37:59,239 --> 00:38:02,160 Speaker 1: so that it's just bouncing around at all points, which 621 00:38:02,200 --> 00:38:04,440 Speaker 1: is why the sky is blue. It's say, like noontime. 622 00:38:05,239 --> 00:38:07,839 Speaker 1: But while the sky is blue at noontime over here, 623 00:38:08,320 --> 00:38:11,480 Speaker 1: it's say sunrise or sunset to the east or the west. 624 00:38:12,239 --> 00:38:15,120 Speaker 1: And since all that blue light is getting scattered over 625 00:38:15,200 --> 00:38:18,560 Speaker 1: you where it's noontime in the in the east of 626 00:38:18,640 --> 00:38:23,160 Speaker 1: the west, those reds and yellows and pinks are making 627 00:38:23,160 --> 00:38:26,200 Speaker 1: it all the way there and the blue is not, 628 00:38:26,480 --> 00:38:29,680 Speaker 1: which is why sunrise and sunset it tends to appear reddish, 629 00:38:29,680 --> 00:38:32,360 Speaker 1: whereas like mid day appears blue yeah, which is it 630 00:38:32,440 --> 00:38:34,480 Speaker 1: makes total sense. And when your kids ask you why 631 00:38:34,520 --> 00:38:36,239 Speaker 1: is the sky blue? You can tell him. You can 632 00:38:36,280 --> 00:38:38,080 Speaker 1: tell them like the real reason you can be like 633 00:38:38,200 --> 00:38:42,319 Speaker 1: color does not actually exist. It's all lie. Good luck 634 00:38:42,320 --> 00:38:45,360 Speaker 1: with that, go to sleep. If you want to know 635 00:38:45,400 --> 00:38:47,720 Speaker 1: more about color, just type that word in your favorite 636 00:38:47,719 --> 00:38:50,359 Speaker 1: search engine or how stuff works. That common and will 637 00:38:50,400 --> 00:38:53,400 Speaker 1: take you on a wild ride. And since I said 638 00:38:53,400 --> 00:39:00,120 Speaker 1: wild ride, it's time for listener mail. Uh. I'm to 639 00:39:00,200 --> 00:39:03,520 Speaker 1: call this something I've never heard of before. Precocious puberty. 640 00:39:03,880 --> 00:39:06,440 Speaker 1: Uh you ever heard of that? Yeah, we talked about it, 641 00:39:06,480 --> 00:39:10,040 Speaker 1: did we early puberty? Okay, did we talk about that? 642 00:39:11,680 --> 00:39:13,960 Speaker 1: I guess this is in girls, So maybe that's why 643 00:39:14,239 --> 00:39:17,200 Speaker 1: got you surprised me. I'm a long time listener, and 644 00:39:17,560 --> 00:39:20,399 Speaker 1: thanks for helping me in my commute every day. Really 645 00:39:20,480 --> 00:39:23,919 Speaker 1: enjoyed and giggled my way through the episode of male puberty. Um, 646 00:39:23,920 --> 00:39:26,440 Speaker 1: thanks so much for mentioning precocious puberty. Well, there you 647 00:39:26,480 --> 00:39:29,680 Speaker 1: have it. I was diagnosed at age two after my 648 00:39:29,760 --> 00:39:33,920 Speaker 1: mom came to wake me before school one day. Now 649 00:39:33,960 --> 00:39:37,160 Speaker 1: before preschool. This is a lady. Uh, And she had 650 00:39:37,200 --> 00:39:40,640 Speaker 1: started her period at two years old, and as you 651 00:39:40,680 --> 00:39:43,399 Speaker 1: can imagine, my mom was terrified. It took a long 652 00:39:43,440 --> 00:39:45,879 Speaker 1: time to get a correct diagnosis since it is pretty rare. 653 00:39:46,560 --> 00:39:49,480 Speaker 1: My treatment started out as daily shots that my mom 654 00:39:49,520 --> 00:39:53,120 Speaker 1: gave me at home UM that then went to weekly, monthly, 655 00:39:53,200 --> 00:39:56,920 Speaker 1: and annually as a year's progressed. I also had intermittent 656 00:39:56,960 --> 00:39:59,840 Speaker 1: stays in the hospital for testing. Poor kid. I know. 657 00:40:00,080 --> 00:40:03,080 Speaker 1: Treatment was stopped when I reached twelve years old, essentially 658 00:40:03,120 --> 00:40:05,720 Speaker 1: pressing play of my puberty that have been on pause 659 00:40:05,800 --> 00:40:09,480 Speaker 1: for almost in years. Let's let's see that's cool treatment. Yeah, 660 00:40:09,480 --> 00:40:11,799 Speaker 1: I mean it's amazing that they figured out how to 661 00:40:12,080 --> 00:40:17,480 Speaker 1: stall puberty. Yeah, they're like, stay stay, Okay. I have 662 00:40:17,600 --> 00:40:19,520 Speaker 1: only hazy memories of this, of course, as I was 663 00:40:19,560 --> 00:40:22,400 Speaker 1: a child, but I do remember that missing UM shots 664 00:40:22,480 --> 00:40:24,200 Speaker 1: caused quite a bit of pain since my body was 665 00:40:24,239 --> 00:40:27,399 Speaker 1: growing out of control. Essentially never been able to find 666 00:40:27,440 --> 00:40:30,239 Speaker 1: out what the long term effects might be. But I've 667 00:40:30,239 --> 00:40:32,640 Speaker 1: had a pretty decent health into my adult life and 668 00:40:32,640 --> 00:40:35,200 Speaker 1: I'm now thirty one years old. Awesome, So thanks a lot. 669 00:40:35,680 --> 00:40:38,840 Speaker 1: And that is from Lauren in California. Well, thanks a lot. Lauren. 670 00:40:38,880 --> 00:40:42,040 Speaker 1: Appreciate that we love hearing from people with real life 671 00:40:42,040 --> 00:40:46,359 Speaker 1: experiences and stuff we just talk about that's right, you know. Uh. 672 00:40:46,400 --> 00:40:48,680 Speaker 1: If you want to let us know about your real 673 00:40:48,719 --> 00:40:51,320 Speaker 1: life experience, we want to hear it. You can tweet 674 00:40:51,360 --> 00:40:53,279 Speaker 1: to us at s y s K podcast. You can 675 00:40:53,360 --> 00:40:55,759 Speaker 1: join us on Facebook dot com, slash stuff you Should Know. 676 00:40:56,239 --> 00:40:58,360 Speaker 1: You can send us an email to Stuff Podcast, to 677 00:40:58,440 --> 00:41:01,080 Speaker 1: how stuff Works dot com, and, as always, joined us 678 00:41:01,280 --> 00:41:09,279 Speaker 1: at home on the web. Stuff you Should Know dot com. 679 00:41:09,280 --> 00:41:11,719 Speaker 1: For more on this and thousands of other topics, is 680 00:41:11,760 --> 00:41:20,240 Speaker 1: it how Stuff Works dot com