1 00:00:03,840 --> 00:00:06,720 Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff 2 00:00:06,720 --> 00:00:13,440 Speaker 1: Works dot com. Hey, you're welcome to Stuff to Blow 3 00:00:13,480 --> 00:00:16,440 Speaker 1: your Mind. My name is Robert Lamb, and I'm Julie Douglas. Julie, 4 00:00:16,440 --> 00:00:18,880 Speaker 1: you wrote an elevator this morning. It's true, I did. 5 00:00:19,720 --> 00:00:23,560 Speaker 1: You wrote two elevators, two banks of elevators. Do explain 6 00:00:23,600 --> 00:00:26,280 Speaker 1: because I only road one. Well, see, you're coming in 7 00:00:26,440 --> 00:00:29,720 Speaker 1: off of Marta, and so you're coming in UM at 8 00:00:29,720 --> 00:00:31,680 Speaker 1: the ground level, so you only take one bank. But 9 00:00:31,720 --> 00:00:33,519 Speaker 1: if you drive into our office building, you have to 10 00:00:33,560 --> 00:00:37,200 Speaker 1: take two different sets of elevators. I had twice, twice 11 00:00:37,240 --> 00:00:39,919 Speaker 1: the fun twice. H See, I took an escalator up 12 00:00:40,320 --> 00:00:42,560 Speaker 1: from Marta and then the elevator up in our building. 13 00:00:42,560 --> 00:00:45,160 Speaker 1: I could have taken the Marta elevator, though I think 14 00:00:45,159 --> 00:00:48,159 Speaker 1: it doubles as a bathroom, so I tried to avoid it. 15 00:00:48,320 --> 00:00:49,960 Speaker 1: I was about to say, it's it's part of our 16 00:00:50,000 --> 00:00:53,440 Speaker 1: public transportation system, right Marta, and I will confirm that 17 00:00:53,479 --> 00:00:56,840 Speaker 1: it does smell like you're in the elevator banks. Now, 18 00:00:57,320 --> 00:00:59,920 Speaker 1: in this episode, of course, we're going to talk about elevators, 19 00:01:00,120 --> 00:01:02,040 Speaker 1: and it's not just gonna be uh, We're not just 20 00:01:02,080 --> 00:01:04,720 Speaker 1: gonna focus on the mechanics and all that. Though the 21 00:01:04,760 --> 00:01:07,320 Speaker 1: mechanics are pretty fascinating when you break them down. We're 22 00:01:07,319 --> 00:01:09,600 Speaker 1: going to get into the psychology of the culture of 23 00:01:09,640 --> 00:01:12,240 Speaker 1: the elevators of the past are possible elevators of the 24 00:01:12,240 --> 00:01:15,560 Speaker 1: future a little bit. But to kick things off here, 25 00:01:15,840 --> 00:01:17,479 Speaker 1: I want to ask you, and then I'm gonna ask 26 00:01:17,560 --> 00:01:21,560 Speaker 1: myself the same question. Name me a fictional elevator or 27 00:01:21,560 --> 00:01:26,560 Speaker 1: an elevator scene that particularly um excited you, and a 28 00:01:26,600 --> 00:01:31,160 Speaker 1: real life elevator that you loved and or feared. Mm okay, 29 00:01:31,200 --> 00:01:35,399 Speaker 1: all right. So I debated about this thing. Because I 30 00:01:35,440 --> 00:01:37,880 Speaker 1: was thinking about this, I thought, well, I think that 31 00:01:38,200 --> 00:01:40,240 Speaker 1: the one that made the most impact on me is 32 00:01:40,240 --> 00:01:43,840 Speaker 1: probably the elevators from the Shining because blood gushes out 33 00:01:43,880 --> 00:01:46,000 Speaker 1: of them. But you don't really spend much time in 34 00:01:46,040 --> 00:01:49,919 Speaker 1: the elevators, so but it's just the idea that blood 35 00:01:49,920 --> 00:01:52,640 Speaker 1: would come gushing them. And then that that thought me too. 36 00:01:52,920 --> 00:01:55,800 Speaker 1: That that got me to thinking about how in a 37 00:01:55,920 --> 00:01:59,680 Speaker 1: lot of UM movies, at least, elevators are are the 38 00:01:59,720 --> 00:02:03,160 Speaker 1: scene for awful things happening? Oh yeah, yeah, yeah, there's 39 00:02:03,240 --> 00:02:07,080 Speaker 1: usually some sort of I know, heist going on or 40 00:02:07,160 --> 00:02:11,560 Speaker 1: in sil lambs. Yeah yeah, there's that, Remember there's the 41 00:02:11,840 --> 00:02:14,440 Speaker 1: blood dripping down from the hatch. I totally forgot about 42 00:02:14,480 --> 00:02:19,079 Speaker 1: that elevator scene. But that is that is a great sequence, terrifying, awful, awful. 43 00:02:19,080 --> 00:02:21,320 Speaker 1: So I started to think about how that really feeds 44 00:02:21,320 --> 00:02:25,280 Speaker 1: into sometimes our phobia is about elevators, because really, mean, 45 00:02:25,440 --> 00:02:27,760 Speaker 1: what is it but a little metal canister that you 46 00:02:27,960 --> 00:02:32,400 Speaker 1: seal yourself into. Um, which leads to again fears because 47 00:02:32,400 --> 00:02:35,519 Speaker 1: I was thinking about a building called the West and 48 00:02:35,600 --> 00:02:38,560 Speaker 1: Peach Tree in Atlanta, and it's a very tall tone 49 00:02:38,680 --> 00:02:40,320 Speaker 1: guess the West And this is the one that looks 50 00:02:40,360 --> 00:02:44,520 Speaker 1: like a big paper towel rolly, a glass paper towel 51 00:02:44,600 --> 00:02:47,160 Speaker 1: roll has a revolving restaurant at the top, the Sun 52 00:02:47,200 --> 00:02:52,000 Speaker 1: Died restaurant Us Atlanteans take out of town. Guess yeah, 53 00:02:52,000 --> 00:02:53,920 Speaker 1: because like we look at us, we're moving around as 54 00:02:53,960 --> 00:02:57,119 Speaker 1: we eat um. But the terrifying thing is that their 55 00:02:57,200 --> 00:03:00,240 Speaker 1: elevator is glass, and it's you're going up on the 56 00:03:00,280 --> 00:03:03,600 Speaker 1: side and you see um. If you if you're from 57 00:03:04,160 --> 00:03:07,000 Speaker 1: like me who has a fear of heights, then obviously 58 00:03:07,080 --> 00:03:09,839 Speaker 1: you began to see the landscape unfold in front of you, 59 00:03:09,960 --> 00:03:13,520 Speaker 1: and you began to in chup more towards the door. Yea, 60 00:03:14,320 --> 00:03:17,720 Speaker 1: those are some some interesting elevators for sure. Um they're 61 00:03:17,720 --> 00:03:21,080 Speaker 1: the ones at the Weston. I tend to really enjoy 62 00:03:21,200 --> 00:03:24,320 Speaker 1: the ride, but my wife she uh, she just kind 63 00:03:24,320 --> 00:03:26,200 Speaker 1: of looks at the door and try because she and 64 00:03:26,520 --> 00:03:30,040 Speaker 1: she's not crazy about the glass, I think. And also 65 00:03:30,080 --> 00:03:33,400 Speaker 1: she's a little bit claustrophobic and an elevators sometimes so 66 00:03:33,600 --> 00:03:36,680 Speaker 1: um so. But we'll discuss the the psychology of of 67 00:03:36,720 --> 00:03:39,240 Speaker 1: elevators a little more as we continue. For my own part, 68 00:03:39,880 --> 00:03:43,560 Speaker 1: the real world elevator that I often think about, I 69 00:03:43,600 --> 00:03:46,280 Speaker 1: have to go back to my college days in Knoxville, Tennessee, 70 00:03:46,440 --> 00:03:49,960 Speaker 1: the University of Tennessee. There is a dorm there called 71 00:03:50,000 --> 00:03:52,240 Speaker 1: mel Rose Hall, and I think mel Rose Hall is 72 00:03:52,240 --> 00:03:54,480 Speaker 1: still there. I don't know if it's still a dorm 73 00:03:54,640 --> 00:03:56,320 Speaker 1: or if it's been incorporated into something else. But when 74 00:03:56,320 --> 00:03:58,440 Speaker 1: I went there, it was it was really cool because 75 00:03:58,440 --> 00:04:01,600 Speaker 1: it was the It was a door arm exclusively for 76 00:04:01,760 --> 00:04:07,520 Speaker 1: international students and socially introverted people like myself who you know, 77 00:04:07,600 --> 00:04:12,920 Speaker 1: upperclassmen who weren't leaving campus to find exciting apartment living, 78 00:04:12,960 --> 00:04:15,520 Speaker 1: but but did a room to themselves in a dorm. 79 00:04:16,040 --> 00:04:18,159 Speaker 1: When you got off the elevator banks. Did it say that? 80 00:04:18,560 --> 00:04:23,200 Speaker 1: Did it say Melrose Hall for the International students essentially introverted, 81 00:04:23,560 --> 00:04:26,040 Speaker 1: but it was they updated it in recent years because 82 00:04:26,040 --> 00:04:28,719 Speaker 1: when I went there, the beds were all really short, 83 00:04:28,760 --> 00:04:30,560 Speaker 1: like left over from World War two, so I had 84 00:04:30,560 --> 00:04:33,080 Speaker 1: to I had to like sleep with the mattress in 85 00:04:33,160 --> 00:04:35,960 Speaker 1: early weird position because it had a footboard and I'm 86 00:04:36,000 --> 00:04:39,360 Speaker 1: I'm fairly tall and uh and there was no air conditioning, 87 00:04:39,480 --> 00:04:41,599 Speaker 1: so during the summer you just had to sweat it 88 00:04:41,600 --> 00:04:44,440 Speaker 1: out or live exclusively at night, or go down and 89 00:04:44,520 --> 00:04:47,880 Speaker 1: sleep and like the one or two refrigerator and regreated 90 00:04:48,240 --> 00:04:53,239 Speaker 1: basically refrigerated um wreck rooms, and it had this ancient 91 00:04:53,279 --> 00:04:56,040 Speaker 1: elevator that this dorm was not that tall. I think 92 00:04:56,080 --> 00:05:00,240 Speaker 1: it was three two or three floors above ground. But 93 00:05:00,279 --> 00:05:01,680 Speaker 1: one of the things that made it awesome was that 94 00:05:01,720 --> 00:05:04,200 Speaker 1: there were two basements. There was a basement where there 95 00:05:04,240 --> 00:05:06,479 Speaker 1: was just a lot of their offices and dorms. Some 96 00:05:06,520 --> 00:05:08,680 Speaker 1: people actually lived in the basement, and then there was 97 00:05:08,720 --> 00:05:11,880 Speaker 1: a sub basement. And to this day I wish I 98 00:05:11,880 --> 00:05:14,280 Speaker 1: had found a way talk to somebody and found a 99 00:05:14,320 --> 00:05:16,359 Speaker 1: way to visit the sub basement, because I love the 100 00:05:16,400 --> 00:05:20,320 Speaker 1: idea the idea of of there being an extra subworld 101 00:05:20,360 --> 00:05:22,240 Speaker 1: down there, and like, what does it consist of? There 102 00:05:22,240 --> 00:05:25,080 Speaker 1: are no dorms down there or are there what kind 103 00:05:25,120 --> 00:05:28,599 Speaker 1: of strange creatures uh lived down there in the sub 104 00:05:28,640 --> 00:05:31,080 Speaker 1: basement of Melrose Hall. I don't know. Uh. And it 105 00:05:31,160 --> 00:05:33,520 Speaker 1: also had a little gate, the old school gate you 106 00:05:33,560 --> 00:05:37,560 Speaker 1: had to pull across, and the clunky buttons that they 107 00:05:37,600 --> 00:05:39,679 Speaker 1: look like they're they're part of a furnace or something. 108 00:05:40,279 --> 00:05:42,680 Speaker 1: So I I loved that elevator. I have no idea 109 00:05:42,680 --> 00:05:44,840 Speaker 1: if they still have it. Maybe they replaced it. Sure 110 00:05:44,880 --> 00:05:48,719 Speaker 1: they upgraded it probably took out the great it was. 111 00:05:48,800 --> 00:05:51,000 Speaker 1: It was indeed great. Though in the g R E 112 00:05:51,040 --> 00:05:54,520 Speaker 1: A t since fictional elevators, I always come back to 113 00:05:54,680 --> 00:05:56,800 Speaker 1: one of my favorite movies, John Carpenter's Big Trouble in 114 00:05:56,800 --> 00:06:00,640 Speaker 1: a Little China. In this particular movie, you keep encountering 115 00:06:00,760 --> 00:06:04,000 Speaker 1: elevators that only go down, and I'm all, I've always 116 00:06:04,000 --> 00:06:09,440 Speaker 1: been inspired and uh and fascinated by by sub worlds 117 00:06:09,520 --> 00:06:13,360 Speaker 1: and UH and underground spaces and in dis sense and 118 00:06:13,440 --> 00:06:16,600 Speaker 1: so uh, these elevators that that only go down are 119 00:06:16,640 --> 00:06:19,200 Speaker 1: always just really fascinating to me. UM and Big trom 120 00:06:19,240 --> 00:06:21,200 Speaker 1: a little China. There's a scene where they they're taking 121 00:06:21,200 --> 00:06:23,279 Speaker 1: it down, ends up, the elevator goes into water and 122 00:06:23,279 --> 00:06:25,200 Speaker 1: they have to escape and swim out through this kind 123 00:06:25,200 --> 00:06:28,719 Speaker 1: of watery dungeon hell environment. And then there's another elevator 124 00:06:28,760 --> 00:06:31,479 Speaker 1: they take straight down, which is plush and it looks 125 00:06:31,520 --> 00:06:34,039 Speaker 1: like a really fancy Chinese restaurant on the inside. And 126 00:06:34,080 --> 00:06:37,520 Speaker 1: there's a wonderful scene where all the heroes are packed 127 00:06:37,560 --> 00:06:39,279 Speaker 1: into this little elevator, and you have sort of a 128 00:06:39,279 --> 00:06:42,360 Speaker 1: cliche elevator scene where you know, people are just standing 129 00:06:42,400 --> 00:06:45,400 Speaker 1: there doing nothing, kind of awkwardly. But then there there's 130 00:06:45,400 --> 00:06:48,320 Speaker 1: this they're also having all this magic potion that they 131 00:06:48,360 --> 00:06:51,359 Speaker 1: just consumed. It's kicking in and so they're beginning to 132 00:06:51,360 --> 00:06:55,080 Speaker 1: feel kind of magical and invincible. It's it's a wonderful scene. 133 00:06:55,320 --> 00:06:58,720 Speaker 1: But it you mentioned all the scenes that take place 134 00:06:58,760 --> 00:07:02,880 Speaker 1: in movies involving elevators, and and when you do think 135 00:07:02,880 --> 00:07:06,479 Speaker 1: about them, the elevator becomes this interesting space from just 136 00:07:06,560 --> 00:07:09,840 Speaker 1: a storytelling because it is that it is a space 137 00:07:09,880 --> 00:07:14,720 Speaker 1: between is a space where you can encapsulate your characters 138 00:07:14,760 --> 00:07:16,720 Speaker 1: and force them to have a little small talk and 139 00:07:16,760 --> 00:07:20,120 Speaker 1: maybe you know, push the plot a little a little forward. Uh. 140 00:07:20,160 --> 00:07:24,440 Speaker 1: It's a great way to transition between one set and another. Uh. 141 00:07:24,480 --> 00:07:26,040 Speaker 1: And then you get into all the high jinks of 142 00:07:26,040 --> 00:07:28,840 Speaker 1: climbing out of elevators, climbing on top of them, becoming 143 00:07:28,840 --> 00:07:32,880 Speaker 1: stuck in an elevator. Classic, um, classic way to do 144 00:07:32,920 --> 00:07:35,880 Speaker 1: a very limited episode of a TV show. I wonder 145 00:07:35,880 --> 00:07:37,640 Speaker 1: how And it's always like a woman giving birth and 146 00:07:37,680 --> 00:07:39,720 Speaker 1: an elevator. That's a That's another big one that's always 147 00:07:39,760 --> 00:07:43,120 Speaker 1: happening on TV. So it is, Yeah, I miss that one. 148 00:07:43,160 --> 00:07:45,880 Speaker 1: I feel like there's a super cut online on YouTube 149 00:07:45,880 --> 00:07:49,600 Speaker 1: somewhere of just scenes of women who are pregnant in elevators, 150 00:07:49,800 --> 00:07:54,480 Speaker 1: So I'm not going to check that out. Um. You know, 151 00:07:54,520 --> 00:07:57,360 Speaker 1: as we're discussing this, this actually reminds me of the 152 00:07:57,400 --> 00:07:59,800 Speaker 1: movie Inception, which we bring up every once in a while. 153 00:08:00,040 --> 00:08:02,760 Speaker 1: It there is a great narrative technique now that I'm 154 00:08:02,760 --> 00:08:05,640 Speaker 1: thinking about it, of his psyche being in line with 155 00:08:05,960 --> 00:08:10,280 Speaker 1: an elevator. So when he plunges into his dream world 156 00:08:11,080 --> 00:08:15,880 Speaker 1: Leonardo DiCaprio's character, then he descends in the elevator, particularly 157 00:08:15,880 --> 00:08:18,960 Speaker 1: when when he has like a very tragic memories that 158 00:08:18,960 --> 00:08:22,280 Speaker 1: he's rebusiting. So yeah, I mean it turns out that 159 00:08:22,320 --> 00:08:25,800 Speaker 1: the elevator is is a great metaphor for as you say, 160 00:08:25,800 --> 00:08:29,440 Speaker 1: that in between spaces and life, and it's something that 161 00:08:29,440 --> 00:08:32,240 Speaker 1: we do take for granted, but it is so fascinating 162 00:08:32,240 --> 00:08:35,200 Speaker 1: to me because really you're talking about I don't know, 163 00:08:35,240 --> 00:08:37,880 Speaker 1: maybe a twenty to thirty second ride on an elevator, 164 00:08:37,960 --> 00:08:41,840 Speaker 1: and yet it can sometimes be the most awkward ride. 165 00:08:42,440 --> 00:08:44,720 Speaker 1: And it is one of these great things is it's 166 00:08:44,720 --> 00:08:50,360 Speaker 1: a microcosm for really how we act in social situations. Um, 167 00:08:50,400 --> 00:08:52,760 Speaker 1: there's so much going on and just that little span 168 00:08:52,840 --> 00:08:54,880 Speaker 1: of time and when you really think about it, I mean, 169 00:08:54,880 --> 00:08:57,520 Speaker 1: what is an elevator, But it's really a box suspended 170 00:08:57,520 --> 00:09:00,760 Speaker 1: by ropes and a counterweight. And remember that, you know, 171 00:09:00,840 --> 00:09:02,880 Speaker 1: for us it's not a big deal. But if you 172 00:09:02,920 --> 00:09:06,240 Speaker 1: were in the early twentieth century and you are an 173 00:09:06,240 --> 00:09:10,960 Speaker 1: office worker in one of the beautiful, beautiful, new sparkling skyscrapers, 174 00:09:11,000 --> 00:09:14,760 Speaker 1: this would be a really weird experience for you. And 175 00:09:15,440 --> 00:09:18,080 Speaker 1: you know you wouldn't you'd have to deal with getting 176 00:09:18,080 --> 00:09:20,679 Speaker 1: into this this metal box that's going to go up 177 00:09:20,679 --> 00:09:23,680 Speaker 1: this narrow little shaft and what that meant to you psychologically. 178 00:09:23,960 --> 00:09:26,240 Speaker 1: And I wanted to point out that This is about 179 00:09:26,240 --> 00:09:29,160 Speaker 1: the time, at least in the forties when skyscrapers really 180 00:09:29,160 --> 00:09:33,040 Speaker 1: became prevalent. Yet you began to see musaic or music 181 00:09:33,400 --> 00:09:36,960 Speaker 1: being piped into elevators because what they're trying to do 182 00:09:37,040 --> 00:09:40,480 Speaker 1: there is psychologically set you up for this feeling that 183 00:09:40,559 --> 00:09:42,840 Speaker 1: everything is okay, and they give you the most bland, 184 00:09:42,920 --> 00:09:46,760 Speaker 1: vanilla music to pipe in. Uh So, you know, again, 185 00:09:46,800 --> 00:09:48,720 Speaker 1: we take that stuff for granted, but if you are 186 00:09:48,800 --> 00:09:53,080 Speaker 1: someone in that time period forties, this would be kind 187 00:09:53,120 --> 00:09:54,760 Speaker 1: of a weird thing. And by the way, the music 188 00:09:54,800 --> 00:09:57,760 Speaker 1: playing in the background there it was was tracked two 189 00:09:57,760 --> 00:10:01,240 Speaker 1: from the nineteen seventy four music LP known to collectors 190 00:10:01,280 --> 00:10:05,200 Speaker 1: as the Blue Album. So, yeah, you don't see music anymore, 191 00:10:05,360 --> 00:10:07,400 Speaker 1: or at least I have an encountered music and forever 192 00:10:07,559 --> 00:10:10,360 Speaker 1: on on board and l elevator. Now they try different 193 00:10:10,360 --> 00:10:13,880 Speaker 1: tactics to try and make you, um think about something 194 00:10:13,920 --> 00:10:17,599 Speaker 1: other than the tiny suspended box and a shaft that 195 00:10:17,840 --> 00:10:20,440 Speaker 1: that is your environment. Yeah. I read somewhere that the 196 00:10:20,520 --> 00:10:23,280 Speaker 1: music became so associated with elevator rides that they go 197 00:10:23,280 --> 00:10:25,040 Speaker 1: out rid of it because it was just reminding people 198 00:10:25,080 --> 00:10:27,400 Speaker 1: that they were in an elevator. Yeah, I mean, you 199 00:10:27,440 --> 00:10:31,120 Speaker 1: still see it in movies. I think people still reference 200 00:10:31,200 --> 00:10:33,800 Speaker 1: that the idea that you know, it kind of drives 201 00:10:33,800 --> 00:10:36,160 Speaker 1: home the awkwardness of an environment where it's like you're 202 00:10:36,160 --> 00:10:39,680 Speaker 1: standing right next to a total stranger and there's funky 203 00:10:39,760 --> 00:10:42,800 Speaker 1: music playing like this but not but not real funky music, 204 00:10:42,840 --> 00:10:46,040 Speaker 1: but like music acts, which is kind of the uncanny 205 00:10:46,120 --> 00:10:49,360 Speaker 1: valley of music. Anyway, this driving home the awkwardness and 206 00:10:49,440 --> 00:10:52,440 Speaker 1: artificiality of your setting. I love that. And now I'm 207 00:10:52,480 --> 00:10:54,960 Speaker 1: thinking about a robot just staring back at me, vehicing 208 00:10:55,280 --> 00:10:57,400 Speaker 1: in in in the form of music, which really that 209 00:10:57,559 --> 00:11:01,080 Speaker 1: is what the old music was like. Um okay, So 210 00:11:01,160 --> 00:11:03,480 Speaker 1: before we go and give you guys a little bit 211 00:11:03,520 --> 00:11:06,360 Speaker 1: of history, um of elevators and get then go into 212 00:11:06,360 --> 00:11:09,640 Speaker 1: the psychology, we did want to cover something really important, 213 00:11:09,679 --> 00:11:12,679 Speaker 1: and that is the door closed button. Yes, the door 214 00:11:12,720 --> 00:11:15,960 Speaker 1: closed button, which I think we've all hit it at 215 00:11:16,040 --> 00:11:20,320 Speaker 1: least once, probably ten twenty times in a row. You 216 00:11:20,360 --> 00:11:22,839 Speaker 1: know that that feeling where you did I get when 217 00:11:22,880 --> 00:11:25,800 Speaker 1: I've I've I've arrived on the train, I hurry up 218 00:11:25,800 --> 00:11:27,800 Speaker 1: the escalator. I walked in through the front door of 219 00:11:27,800 --> 00:11:30,880 Speaker 1: the building and then there's an elevator already arrived on 220 00:11:30,920 --> 00:11:32,760 Speaker 1: the on the ground floor just waiting for me. So 221 00:11:32,800 --> 00:11:35,200 Speaker 1: I get inside and I'm the first person in there. 222 00:11:35,520 --> 00:11:37,520 Speaker 1: Now at this point, I want those doors to shut 223 00:11:37,640 --> 00:11:39,920 Speaker 1: because if they don't, like eight people are going to 224 00:11:40,000 --> 00:11:42,280 Speaker 1: show up and they're all going to like different floors, 225 00:11:42,280 --> 00:11:45,280 Speaker 1: and we're on the floor. We on the tenth uh 226 00:11:45,320 --> 00:11:47,199 Speaker 1: somewhere up there. Yeah, well, I don't know why I 227 00:11:47,240 --> 00:11:49,240 Speaker 1: can't remember that I pushed this button. Every day I've 228 00:11:49,240 --> 00:11:51,920 Speaker 1: been reminded that we were on the fifteenth floor, technically 229 00:11:51,920 --> 00:11:55,120 Speaker 1: the fourteenth because you know, they skipped, because that would 230 00:11:55,120 --> 00:11:58,600 Speaker 1: be unlucky. Yeah, So anyway, Um, you know, I rushed 231 00:11:58,600 --> 00:12:00,679 Speaker 1: onto the elevator and I start pushing that door closed 232 00:12:00,720 --> 00:12:04,080 Speaker 1: button and it seems to take forever, and I always 233 00:12:04,080 --> 00:12:05,520 Speaker 1: think it's in the past. I was just thought, well, 234 00:12:05,520 --> 00:12:07,760 Speaker 1: they don't. You don't want it to be a situation 235 00:12:07,800 --> 00:12:09,920 Speaker 1: where you just push that button and it slams shut 236 00:12:10,000 --> 00:12:13,080 Speaker 1: like a like guillotines, twin guillotines. You know, that would 237 00:12:13,120 --> 00:12:15,560 Speaker 1: be dangerous. You would need some sort of delay. But 238 00:12:15,960 --> 00:12:17,760 Speaker 1: it never really occurred to me that the button does 239 00:12:17,800 --> 00:12:20,280 Speaker 1: not work at all, or at least probably does not 240 00:12:20,320 --> 00:12:23,400 Speaker 1: work at all. Yeah, it probably doesn't because it turns 241 00:12:23,440 --> 00:12:27,440 Speaker 1: out that buildings that were built, particularly from the nineties 242 00:12:27,480 --> 00:12:31,600 Speaker 1: and onward, they are not usually keyed so that the 243 00:12:31,640 --> 00:12:35,200 Speaker 1: door button works. Usually there they are just in case 244 00:12:35,200 --> 00:12:38,440 Speaker 1: of an emergency. So the door closed button is really 245 00:12:38,440 --> 00:12:41,160 Speaker 1: only going to work if you have a key for 246 00:12:41,320 --> 00:12:44,400 Speaker 1: the elevator. So I just won't want everybody to know that, 247 00:12:44,480 --> 00:12:47,959 Speaker 1: because if you've ever been frustrated and said, why won't 248 00:12:47,960 --> 00:12:50,440 Speaker 1: the door close? And also it felt a little bit 249 00:12:50,480 --> 00:12:52,400 Speaker 1: of a fool and a jerk because you know, there 250 00:12:52,440 --> 00:12:54,559 Speaker 1: was a huge amount of people that were stampeding towards 251 00:12:54,559 --> 00:12:57,400 Speaker 1: you as you were pushing the door close, and it's 252 00:12:57,440 --> 00:13:00,280 Speaker 1: all for not yeah, And then sometimes I mean really, 253 00:13:00,400 --> 00:13:02,640 Speaker 1: but occasionally it will be someone I know out there. 254 00:13:02,920 --> 00:13:05,400 Speaker 1: And also I'll go to push the door open button 255 00:13:06,040 --> 00:13:07,880 Speaker 1: and it won't work or something, and then I feel 256 00:13:07,880 --> 00:13:09,920 Speaker 1: like a jerk because they're thinking I was frantically pushing 257 00:13:09,920 --> 00:13:12,760 Speaker 1: their clothes button to leave them on the bottom floor. 258 00:13:12,800 --> 00:13:14,640 Speaker 1: And people get kind of been out of shape about 259 00:13:14,640 --> 00:13:18,360 Speaker 1: their their elevator situation. Um has pointed out in some 260 00:13:18,400 --> 00:13:21,280 Speaker 1: of the resources we were looking at, including the fabulous 261 00:13:22,040 --> 00:13:24,560 Speaker 1: article Up and then Down the Lines of Elevators by 262 00:13:24,640 --> 00:13:27,120 Speaker 1: Nick Palm, Garden a two thousand and eight New Yorker article, 263 00:13:27,240 --> 00:13:30,079 Speaker 1: which is about a thousand pages long course since the 264 00:13:30,120 --> 00:13:32,199 Speaker 1: New Yorker article, but it's excellent. It's like a it's 265 00:13:32,200 --> 00:13:35,240 Speaker 1: like a mini novel about the history of the elevator, 266 00:13:35,280 --> 00:13:39,040 Speaker 1: the culture of the elevator, and one particularly harrowing example 267 00:13:39,080 --> 00:13:41,520 Speaker 1: of someone trapped in an elevator for I believe, forty 268 00:13:41,559 --> 00:13:44,680 Speaker 1: one hours. Yeah, well we'll we'll mention him in a moment. 269 00:13:44,679 --> 00:13:46,559 Speaker 1: But it's a you're right, it's set up really great 270 00:13:46,600 --> 00:13:48,440 Speaker 1: because they take this guy, Nick White, the guy that 271 00:13:48,520 --> 00:13:51,439 Speaker 1: was trapped, and they use that as a reference point. Right. 272 00:13:51,800 --> 00:13:54,600 Speaker 1: But one of the points that the Palm Garden keeps 273 00:13:54,640 --> 00:13:57,200 Speaker 1: coming back to is that in some of the people 274 00:13:57,240 --> 00:13:59,960 Speaker 1: interviews keep discussing, is that we hold elevator to this 275 00:14:00,080 --> 00:14:02,840 Speaker 1: different standard, uh than we do anything else. Like I 276 00:14:02,880 --> 00:14:04,320 Speaker 1: take the train to work, and if I have to 277 00:14:04,360 --> 00:14:07,520 Speaker 1: wait twenty minutes on a train, it's it's just kind 278 00:14:07,520 --> 00:14:10,679 Speaker 1: of part of it. It's smarta so I just you know, whatever, 279 00:14:11,080 --> 00:14:13,000 Speaker 1: it's just gonna be a slow ride. And then oh 280 00:14:13,080 --> 00:14:15,719 Speaker 1: I'm next to somebody that's that's either a stranger or 281 00:14:15,800 --> 00:14:18,760 Speaker 1: kind of awful. That's just public transportation, No big deal 282 00:14:19,040 --> 00:14:21,120 Speaker 1: if there's a delay, all right, this is part of 283 00:14:21,120 --> 00:14:24,120 Speaker 1: the experience on an elevator. I expect to wait no 284 00:14:24,200 --> 00:14:27,720 Speaker 1: more than thirty seconds. I expect to ascend and pretty 285 00:14:27,840 --> 00:14:31,440 Speaker 1: hopefully directly to my floor, which I'm told again is 286 00:14:31,480 --> 00:14:34,960 Speaker 1: the fifteenth floor. And and I don't technically, Yeah, and 287 00:14:34,960 --> 00:14:37,040 Speaker 1: if any of these things get messed up, I get 288 00:14:37,040 --> 00:14:39,680 Speaker 1: a little bit out of shape about it. Yeah, And 289 00:14:39,680 --> 00:14:42,360 Speaker 1: and that's what it's so interesting when you look at 290 00:14:42,720 --> 00:14:45,880 Speaker 1: trying to actually engineer a decent set of elevators. And 291 00:14:45,880 --> 00:14:48,880 Speaker 1: we'll get more into that, but let's talk about the 292 00:14:48,920 --> 00:14:52,000 Speaker 1: Otis Elevator Company, because this really is the gold standard 293 00:14:52,040 --> 00:14:55,640 Speaker 1: in the industry. Yeah, you've all been seeing the word 294 00:14:55,640 --> 00:14:58,360 Speaker 1: Otis inside your elevators all your live and uh. And 295 00:14:58,360 --> 00:15:00,960 Speaker 1: I never really thought about it beyond and just making 296 00:15:00,960 --> 00:15:04,840 Speaker 1: a quick reference in my mind to old Andy Griffith's episodes, 297 00:15:04,880 --> 00:15:06,280 Speaker 1: you know where you had to Ovis the Drunk, and 298 00:15:06,320 --> 00:15:08,120 Speaker 1: I imagine him on an elevator. And that's kind of 299 00:15:08,160 --> 00:15:11,120 Speaker 1: the end of it. But they are the elevator company 300 00:15:11,120 --> 00:15:15,080 Speaker 1: in the United States and one of the major players globally. Uh. 301 00:15:15,160 --> 00:15:17,000 Speaker 1: Most of their work these days isn't even in the 302 00:15:17,080 --> 00:15:19,400 Speaker 1: United States. They're they're going to uh to Asia and 303 00:15:19,440 --> 00:15:24,000 Speaker 1: the Middle East, and they're they're advising and installing elevator 304 00:15:24,040 --> 00:15:28,120 Speaker 1: systems in these magnificent high rises that that everyone you know, 305 00:15:28,160 --> 00:15:30,760 Speaker 1: freaks out about. On the internet, everyone's you know, always 306 00:15:30,800 --> 00:15:34,280 Speaker 1: sharing a picture of either the newest skyscraper under under 307 00:15:34,280 --> 00:15:37,400 Speaker 1: construction or the plans for this elaborate skyscraper that they're 308 00:15:37,400 --> 00:15:41,040 Speaker 1: gonna build in the desert somewhere. And uh, of course, 309 00:15:41,080 --> 00:15:43,920 Speaker 1: any time you're designing a building like that, anytime you're 310 00:15:43,960 --> 00:15:46,760 Speaker 1: looking to create to create something like that, elevators are 311 00:15:46,760 --> 00:15:50,200 Speaker 1: an essential part of it. I mean, without elevators, we 312 00:15:50,200 --> 00:15:53,160 Speaker 1: would not have skyscrapers because you need a way for 313 00:15:54,360 --> 00:15:58,520 Speaker 1: um able bodied people to reach any floor in pretty 314 00:15:58,640 --> 00:16:00,880 Speaker 1: uh you know, pretty been a pretty a short amount 315 00:16:00,920 --> 00:16:04,160 Speaker 1: of time. And then you also need um disabled individuals, 316 00:16:04,200 --> 00:16:07,640 Speaker 1: individuals who are not up to multiple So just for 317 00:16:07,680 --> 00:16:09,520 Speaker 1: it to make sense at all, you have to have 318 00:16:09,560 --> 00:16:13,680 Speaker 1: an elevator system. And it's a particularly an interesting vision 319 00:16:13,920 --> 00:16:17,480 Speaker 1: business now with the skyscrapers and the tallness of them, 320 00:16:17,520 --> 00:16:20,840 Speaker 1: because you know, basic physics will tell you that if 321 00:16:20,880 --> 00:16:23,840 Speaker 1: you reach beyond a thousand feet up in cabling for 322 00:16:23,960 --> 00:16:27,400 Speaker 1: an elevator system, that's about the top of what you 323 00:16:27,440 --> 00:16:30,120 Speaker 1: can get there, because otherwise your cables will snap. So 324 00:16:30,200 --> 00:16:31,800 Speaker 1: you've got a bunch of engineers working on the spots 325 00:16:31,840 --> 00:16:33,800 Speaker 1: because a lot of these buildings are much higher than that, 326 00:16:33,920 --> 00:16:36,560 Speaker 1: especially if you look at something like the Burge. So 327 00:16:36,720 --> 00:16:41,160 Speaker 1: there's some really good media problems to work on for 328 00:16:41,240 --> 00:16:45,800 Speaker 1: engineers and mathematicians. Um. But before we start looking more 329 00:16:45,800 --> 00:16:49,560 Speaker 1: at the modern systems, let's talk about Alicia Graves Otis. 330 00:16:49,600 --> 00:16:52,840 Speaker 1: He founded the company Otis Elevators in eighteen fifty three 331 00:16:53,240 --> 00:16:55,800 Speaker 1: when he figured out an operating system that could prevent 332 00:16:56,280 --> 00:16:59,640 Speaker 1: free falls and passenger elevators, which is always nice because 333 00:16:59,680 --> 00:17:02,440 Speaker 1: the bay it's the idea of an elevator is pretty ancient. 334 00:17:02,720 --> 00:17:06,040 Speaker 1: The basics of hauling a box up, I mean that 335 00:17:06,119 --> 00:17:09,280 Speaker 1: dates back to you know, to the ancient Greeks. Well, yeah, 336 00:17:09,359 --> 00:17:11,199 Speaker 1: it read something to you about the first century BC. 337 00:17:11,440 --> 00:17:15,000 Speaker 1: Romans would operate lifts using pulleys with humans, animal and 338 00:17:15,080 --> 00:17:19,160 Speaker 1: water power. So yeah, it is a very simple process 339 00:17:19,240 --> 00:17:20,760 Speaker 1: if you think about it. But yeah, it wasn't until 340 00:17:20,800 --> 00:17:23,399 Speaker 1: we really had the safety features in mind that we 341 00:17:23,440 --> 00:17:28,040 Speaker 1: could and also the the ability to build multiple skyscrapers 342 00:17:28,040 --> 00:17:30,119 Speaker 1: that it really became a thing. Yeah, and then in 343 00:17:31,800 --> 00:17:35,520 Speaker 1: Otis introduced the automatic elevator system, and that eliminated the 344 00:17:35,560 --> 00:17:38,320 Speaker 1: need for operators. So no longer did you get into 345 00:17:38,960 --> 00:17:41,520 Speaker 1: the elevator, at least in most office buildings, and was 346 00:17:41,560 --> 00:17:45,440 Speaker 1: there an attendant there. Now, that did introduce an element 347 00:17:45,680 --> 00:17:49,600 Speaker 1: of randomness, because before this you had someone in the 348 00:17:49,640 --> 00:17:52,920 Speaker 1: elevator who knew where you were going and knew sort 349 00:17:52,960 --> 00:17:56,000 Speaker 1: of the traffic patterns of people and would call that 350 00:17:56,080 --> 00:17:59,400 Speaker 1: out to the operators. So it was easy to anticipate traffic. 351 00:17:59,440 --> 00:18:01,760 Speaker 1: But when they moved to the automated system, it was 352 00:18:01,840 --> 00:18:06,439 Speaker 1: a little bit more of of um, okay, well nobody 353 00:18:06,480 --> 00:18:09,680 Speaker 1: knows really what the traffic patterns are anymore, and people 354 00:18:09,680 --> 00:18:11,560 Speaker 1: had to wait a little bit more. Yeah, it was 355 00:18:11,600 --> 00:18:14,080 Speaker 1: apparently in the nineties we obviously saw that shift from 356 00:18:14,080 --> 00:18:17,840 Speaker 1: elevator operators to operator less elevators, which instantly makes me 357 00:18:17,880 --> 00:18:20,639 Speaker 1: think of Madman. Um, yeah, I can't remember do you 358 00:18:20,640 --> 00:18:22,760 Speaker 1: watch mad Man? I've caught it before, I haven't seen 359 00:18:22,800 --> 00:18:24,239 Speaker 1: all the season's will they make a lot of use 360 00:18:24,280 --> 00:18:26,200 Speaker 1: of the elevators because they work in a high rise, 361 00:18:26,240 --> 00:18:29,160 Speaker 1: so there's a lot of room for scenes where individuals 362 00:18:29,240 --> 00:18:34,080 Speaker 1: encounter each other awkwardly or well generally awkwardly in the elevator, 363 00:18:34,280 --> 00:18:37,200 Speaker 1: but then also some excellent scenes. There's one in particular 364 00:18:37,240 --> 00:18:40,760 Speaker 1: where Draper goes to take the elevator down and the 365 00:18:40,800 --> 00:18:44,200 Speaker 1: doors open to just an empty shaft, and it has 366 00:18:44,240 --> 00:18:46,760 Speaker 1: a lot to do with I mean, it's a thematically 367 00:18:46,800 --> 00:18:48,480 Speaker 1: with what's going on in the show at that point. 368 00:18:49,080 --> 00:18:53,600 Speaker 1: But but but it's it's a fascinating scene. And likewise, 369 00:18:53,800 --> 00:18:57,040 Speaker 1: there's generally, i think, at least up until now, in 370 00:18:57,080 --> 00:18:59,600 Speaker 1: the show, there's always an elevator operator. So I'm kind 371 00:18:59,600 --> 00:19:02,880 Speaker 1: of looking forward to the point when the elevator operator 372 00:19:02,920 --> 00:19:04,600 Speaker 1: is no longer present because I guess it's kind of 373 00:19:04,600 --> 00:19:07,359 Speaker 1: an old fashioned building, uh that they're they're hanging onto 374 00:19:07,359 --> 00:19:10,600 Speaker 1: that tradition, and I kind of want to see Draper's 375 00:19:10,600 --> 00:19:12,879 Speaker 1: face when that goes away. That's kind of interesting to 376 00:19:12,920 --> 00:19:17,119 Speaker 1: you how that the tails with the changing social ways 377 00:19:17,160 --> 00:19:18,760 Speaker 1: at that time, because you can kind of think of 378 00:19:18,800 --> 00:19:23,480 Speaker 1: the attendant as the chaperone, and uh, you know that's 379 00:19:23,480 --> 00:19:28,400 Speaker 1: sort of because you could say, very um controlled relationship 380 00:19:28,640 --> 00:19:32,320 Speaker 1: is flying away during that time, right the sixties, and 381 00:19:32,320 --> 00:19:35,160 Speaker 1: people are beginning to be freer. So again, here here's 382 00:19:35,200 --> 00:19:38,159 Speaker 1: the elevators, a microcosm of society in which you know, 383 00:19:38,240 --> 00:19:40,359 Speaker 1: no longer as a chaperone there and anything can happen 384 00:19:40,359 --> 00:19:42,639 Speaker 1: in an elevator, right, and now, as we'll discuss a 385 00:19:42,680 --> 00:19:45,000 Speaker 1: little later, where in an age where we see that 386 00:19:45,080 --> 00:19:48,000 Speaker 1: amount of freedom vanishing more and more in the elevator, 387 00:19:48,359 --> 00:19:51,600 Speaker 1: we see technology taking over to the point to where 388 00:19:51,880 --> 00:19:54,199 Speaker 1: we feel just like, where at the whim of whatever 389 00:19:54,640 --> 00:19:58,320 Speaker 1: mysterious mechanical force is controlling this magic box? Yeah, and 390 00:19:58,359 --> 00:20:00,959 Speaker 1: so in there you go with the door closed button, right, 391 00:20:01,040 --> 00:20:04,040 Speaker 1: that's just an illusion of free will, right right. One 392 00:20:04,080 --> 00:20:06,080 Speaker 1: of my favorite things that I stumbled upon when we 393 00:20:06,080 --> 00:20:09,919 Speaker 1: were researching this is an old clip from a Candid 394 00:20:09,960 --> 00:20:13,360 Speaker 1: Camera show. You remember that show? Yeah, This is where 395 00:20:13,359 --> 00:20:16,760 Speaker 1: they would you know, kind of a forerunner of reality shows. Um, 396 00:20:17,000 --> 00:20:18,640 Speaker 1: kind of like what was the show Punked? I think 397 00:20:18,640 --> 00:20:21,719 Speaker 1: with the MTV things several years Yeah, yeah, where they 398 00:20:21,720 --> 00:20:23,400 Speaker 1: would prank people. You know, it's just a prank show 399 00:20:23,440 --> 00:20:25,919 Speaker 1: they do, and some of it bordered on what we 400 00:20:25,960 --> 00:20:30,760 Speaker 1: would now call almost performance art or theater everywhere kind 401 00:20:30,800 --> 00:20:35,040 Speaker 1: of shenanigans where you're creating something weird in a public space. 402 00:20:35,119 --> 00:20:37,800 Speaker 1: And then seeing how people react to it. Yeah. So 403 00:20:37,880 --> 00:20:40,000 Speaker 1: I mean, actually, and its purest format, it really is 404 00:20:40,040 --> 00:20:42,199 Speaker 1: kind of a social experiment because nobody was doing them 405 00:20:42,240 --> 00:20:45,359 Speaker 1: before that. And so you had this candid camera crew 406 00:20:45,800 --> 00:20:50,560 Speaker 1: set up basically basically confederates, and we've talked about confederates before. 407 00:20:50,560 --> 00:20:52,679 Speaker 1: These are people who are in on an experiment or 408 00:20:52,680 --> 00:20:56,160 Speaker 1: a joke. And what they did is they filmed an elevator, 409 00:20:56,240 --> 00:20:58,240 Speaker 1: a bank of elevators. They had I don't know, like 410 00:20:58,280 --> 00:21:01,240 Speaker 1: five different confederates go into an elevator and then a 411 00:21:01,280 --> 00:21:04,760 Speaker 1: person who's not in on it and go in and 412 00:21:04,840 --> 00:21:08,600 Speaker 1: observe what's going on. And quickly you could see that 413 00:21:08,640 --> 00:21:13,080 Speaker 1: people would react accordingly, like they would feel the pressure 414 00:21:13,680 --> 00:21:16,720 Speaker 1: of those around them to do the right thing socially. 415 00:21:16,760 --> 00:21:19,199 Speaker 1: So what I mean is that if five Confederates went 416 00:21:19,240 --> 00:21:21,440 Speaker 1: in and they all turned around and faced the wall, 417 00:21:21,480 --> 00:21:24,000 Speaker 1: which is an unusual thing to do in an elevator, 418 00:21:24,200 --> 00:21:27,120 Speaker 1: the person will look around and then join them, right 419 00:21:27,400 --> 00:21:28,920 Speaker 1: And some of these they would sort of hold out 420 00:21:28,960 --> 00:21:31,720 Speaker 1: at first, but then they would succumb to the group 421 00:21:31,800 --> 00:21:34,880 Speaker 1: think and look at the walls. And it's it's fascinating, yeah, 422 00:21:34,920 --> 00:21:37,680 Speaker 1: because there's this sense of you know, conformity and wanting 423 00:21:37,720 --> 00:21:39,600 Speaker 1: to to look like you know what's going on. Like 424 00:21:39,640 --> 00:21:42,000 Speaker 1: I've been in We've all probably been in elevators before. 425 00:21:42,080 --> 00:21:44,600 Speaker 1: We have a door on both sides. I particularly seem 426 00:21:44,640 --> 00:21:47,919 Speaker 1: to to encounter these in hospitals for some reason. I 427 00:21:47,960 --> 00:21:50,520 Speaker 1: just just because some of the weird floor layouts that 428 00:21:50,560 --> 00:21:53,480 Speaker 1: are involved, and there is this kind of confusion that 429 00:21:53,480 --> 00:21:56,040 Speaker 1: takes all which door is going to open. Not only 430 00:21:56,080 --> 00:21:57,800 Speaker 1: do I need to know which way I'm going, and 431 00:21:57,800 --> 00:22:01,240 Speaker 1: there's that sort of basic directional survival instinct in your mind, 432 00:22:01,520 --> 00:22:03,800 Speaker 1: but you also don't want to look like you don't 433 00:22:03,800 --> 00:22:06,520 Speaker 1: know which doors though you know you want to look 434 00:22:06,560 --> 00:22:09,080 Speaker 1: you want to appear in control. You want to feel 435 00:22:09,080 --> 00:22:11,800 Speaker 1: in control in this thing. You don't want to look 436 00:22:11,840 --> 00:22:14,320 Speaker 1: like a rube. And that's what's so funny about this 437 00:22:14,359 --> 00:22:17,440 Speaker 1: candid camera clip, because the Confederates continue to turn, will 438 00:22:17,520 --> 00:22:20,720 Speaker 1: turn to the right, and then the guy turns to 439 00:22:20,760 --> 00:22:23,160 Speaker 1: the right, and then they turn, you know, to the opposite, 440 00:22:23,280 --> 00:22:25,439 Speaker 1: to the left, and so on and so forth. Or 441 00:22:25,440 --> 00:22:27,840 Speaker 1: they they all are wearing hats and they take their 442 00:22:27,840 --> 00:22:30,399 Speaker 1: hats off and he takes his hat off. So again 443 00:22:30,520 --> 00:22:33,159 Speaker 1: microcosm of what's going on socially and the pressures that 444 00:22:33,200 --> 00:22:35,560 Speaker 1: we feel to conform. And it was just a really 445 00:22:35,600 --> 00:22:38,520 Speaker 1: elegant little social experiment that was conducted by candid camera 446 00:22:38,520 --> 00:22:41,119 Speaker 1: of all people. We're talking about the psychology of elevators 447 00:22:41,119 --> 00:22:44,240 Speaker 1: at this point. So there are a few different factors 448 00:22:44,240 --> 00:22:47,760 Speaker 1: that are mandatory and discussing our mindset inside of this 449 00:22:47,840 --> 00:22:49,720 Speaker 1: magic box. The first of which, of course, is we 450 00:22:49,880 --> 00:22:52,880 Speaker 1: left on earlier wait times. How long is this ride 451 00:22:52,920 --> 00:22:55,359 Speaker 1: going to take? Because even if you're in there alone, 452 00:22:55,400 --> 00:22:58,160 Speaker 1: you don't want to be there too long, and and 453 00:22:58,160 --> 00:23:00,280 Speaker 1: and and this is actually the sort of thing that 454 00:23:00,520 --> 00:23:04,960 Speaker 1: elevator strategists and elevator designers are are very key to understand, 455 00:23:05,160 --> 00:23:07,240 Speaker 1: and it varies from culture to culture. But in the 456 00:23:07,280 --> 00:23:10,240 Speaker 1: United States, thirty seconds, like that's as long as anyone 457 00:23:10,920 --> 00:23:14,760 Speaker 1: is tolerant being on an elevator, And this is really important. 458 00:23:14,760 --> 00:23:18,200 Speaker 1: It sounds kind of random, right, thirty seconds, so what's 459 00:23:18,240 --> 00:23:21,840 Speaker 1: the big deal? But it turns out that UM office 460 00:23:21,840 --> 00:23:26,080 Speaker 1: space is far more desirable if they can deliver people 461 00:23:26,280 --> 00:23:29,320 Speaker 1: in that thirty seconds or less timeframe. So you want 462 00:23:29,320 --> 00:23:32,800 Speaker 1: to have a good office space that that can deliver 463 00:23:32,960 --> 00:23:38,080 Speaker 1: this UM. And what's interesting about this is that when 464 00:23:38,160 --> 00:23:40,520 Speaker 1: you get out of an office situation and morans to say, 465 00:23:40,560 --> 00:23:44,359 Speaker 1: like an apartment building situation, people are much more forgiving, 466 00:23:44,680 --> 00:23:47,800 Speaker 1: so you can add another ten or fifteen seconds onto 467 00:23:47,800 --> 00:23:50,760 Speaker 1: that in an apartment building. In an apartment building, yeah, 468 00:23:50,800 --> 00:23:53,760 Speaker 1: because people they have their their their personal effects. There, 469 00:23:54,000 --> 00:23:55,920 Speaker 1: it's more about life going on and less this is 470 00:23:55,960 --> 00:23:57,600 Speaker 1: a job. I need to get where I'm going. I 471 00:23:57,600 --> 00:24:00,840 Speaker 1: don't have time for your job. It reminds me though. 472 00:24:01,240 --> 00:24:04,040 Speaker 1: Another another college elevator thing was another dorm and I 473 00:24:04,040 --> 00:24:07,119 Speaker 1: was in was one called North Carrick In in the 474 00:24:07,200 --> 00:24:09,800 Speaker 1: University of Tennessee, and this one was I think I 475 00:24:09,840 --> 00:24:14,040 Speaker 1: was on the tenth floor of this particular dorm and 476 00:24:14,080 --> 00:24:17,679 Speaker 1: it was awful because we had two elevators serving the 477 00:24:17,840 --> 00:24:21,760 Speaker 1: entire building. And the white times were just colossal unless 478 00:24:21,760 --> 00:24:23,200 Speaker 1: you were like you're gonna be you know, it was 479 00:24:23,280 --> 00:24:25,680 Speaker 1: the middle of the night or something or some weird time, 480 00:24:25,760 --> 00:24:29,959 Speaker 1: but the morning hours, afternoon hours, like key traffic times 481 00:24:29,960 --> 00:24:32,760 Speaker 1: of the day, it was just a colossal weight. The 482 00:24:32,840 --> 00:24:35,000 Speaker 1: door would open and it would already be packed, and 483 00:24:35,520 --> 00:24:38,720 Speaker 1: you end up just taking ten flights of stairs, uh, 484 00:24:38,760 --> 00:24:41,159 Speaker 1: you know, in the summer and just totally exhausting yourself 485 00:24:41,160 --> 00:24:43,440 Speaker 1: and sweating all over the place just because the elevators 486 00:24:43,440 --> 00:24:45,840 Speaker 1: were that bad, and like nobody wants to encounter that 487 00:24:45,960 --> 00:24:48,240 Speaker 1: like that just made this's just we have no tolerance 488 00:24:48,240 --> 00:24:49,600 Speaker 1: for it. Well, you know, and every once in a 489 00:24:49,600 --> 00:24:52,520 Speaker 1: while you will encounter an elevator bank like that, right, 490 00:24:52,640 --> 00:24:56,040 Speaker 1: And what it's doing is that it's it's a it's 491 00:24:56,040 --> 00:24:58,080 Speaker 1: not cross referencing any of the data that we'll talk 492 00:24:58,119 --> 00:25:01,320 Speaker 1: about later, it's not very sophistic caated. It's basically just 493 00:25:01,359 --> 00:25:04,080 Speaker 1: saying I'm going to stop at every stop that's going up, 494 00:25:04,280 --> 00:25:06,600 Speaker 1: load people up, and then I'm gonna go back down, 495 00:25:06,600 --> 00:25:09,720 Speaker 1: and I'm gonna stop at every single floor. So it's 496 00:25:09,760 --> 00:25:12,359 Speaker 1: just sort of a single function elevator. Yeah. In the 497 00:25:12,359 --> 00:25:14,920 Speaker 1: New Yorker article that we were looking at, he interviews 498 00:25:14,920 --> 00:25:18,960 Speaker 1: a man by the James Fortune, who's pretty much the 499 00:25:18,960 --> 00:25:23,920 Speaker 1: the top class elevator advisor strategist designer. Gets into all 500 00:25:23,960 --> 00:25:26,280 Speaker 1: of all of these questions of you know, how are 501 00:25:26,280 --> 00:25:30,160 Speaker 1: we gonna lay this out from maximum affecient efficiency and uh, 502 00:25:30,160 --> 00:25:32,040 Speaker 1: and some of the things they discussed where things that 503 00:25:32,080 --> 00:25:33,840 Speaker 1: I had never really thought of, like, for instance, you 504 00:25:33,880 --> 00:25:36,840 Speaker 1: want to cut down as much as possible on Florida 505 00:25:36,920 --> 00:25:43,240 Speaker 1: floor um travel, you know, because that the idea is 506 00:25:43,280 --> 00:25:45,480 Speaker 1: something like, even in our building, where I know that 507 00:25:45,560 --> 00:25:49,080 Speaker 1: you cannot travel between floors via the staircase because of 508 00:25:49,119 --> 00:25:51,119 Speaker 1: the lock system. It's set up so that if you 509 00:25:51,119 --> 00:25:53,639 Speaker 1: want to take the stairs, you better be going to 510 00:25:53,680 --> 00:25:55,800 Speaker 1: the ground floor. There's no using it to go in 511 00:25:55,840 --> 00:25:59,040 Speaker 1: between floors. It's just part of the safety system here. 512 00:25:59,520 --> 00:26:01,919 Speaker 1: So I'll see individuals who work for a business that 513 00:26:01,960 --> 00:26:04,080 Speaker 1: occupies two different floors in this building. I'll see them 514 00:26:04,080 --> 00:26:06,120 Speaker 1: go from one floor to the other, and even though 515 00:26:06,160 --> 00:26:08,320 Speaker 1: I rationally know that they have no choice but to 516 00:26:08,359 --> 00:26:11,040 Speaker 1: do that, I still have this really judgmental voice in 517 00:26:11,080 --> 00:26:13,040 Speaker 1: my head. It's like, come on, lazy, take the stairs. 518 00:26:13,040 --> 00:26:15,160 Speaker 1: That's the matter with you. I guess it's a holdout 519 00:26:15,200 --> 00:26:18,120 Speaker 1: from from my college days and that awful dorm. It's 520 00:26:18,119 --> 00:26:21,160 Speaker 1: funny in that New Yorker article, uh, I think that 521 00:26:21,240 --> 00:26:24,680 Speaker 1: the author talks about how that's really infuriating as well, 522 00:26:24,720 --> 00:26:27,600 Speaker 1: and I believe that his perspective is like, Okay, you're 523 00:26:27,600 --> 00:26:30,840 Speaker 1: gonna go get on the StairMaster for an hour after work, 524 00:26:30,880 --> 00:26:33,920 Speaker 1: but you won't take the stairs. Now. Of course, not everybody, 525 00:26:33,960 --> 00:26:38,080 Speaker 1: can you know, has that luxury for the next with 526 00:26:38,119 --> 00:26:40,800 Speaker 1: a bunch of files or some coffee right right, or 527 00:26:40,840 --> 00:26:42,920 Speaker 1: maybe you have something physically going on that prevents you 528 00:26:42,960 --> 00:26:46,000 Speaker 1: from doing that. But you're right, mathematicians cannot stand it. 529 00:26:46,119 --> 00:26:48,080 Speaker 1: They hate that because that is an X factor that 530 00:26:48,119 --> 00:26:52,359 Speaker 1: they can't account for because they have all these probability um, 531 00:26:52,520 --> 00:26:55,160 Speaker 1: you know, scales that they can rely on. But that's 532 00:26:55,160 --> 00:26:57,120 Speaker 1: the one thing that will throw them off, because how 533 00:26:57,119 --> 00:26:59,520 Speaker 1: can you can account how can you account for that? Yes, 534 00:26:59,560 --> 00:27:01,879 Speaker 1: some of the other real city he goes into. For instance, 535 00:27:01,920 --> 00:27:05,040 Speaker 1: if you have a hotel and you have a cafeteria, 536 00:27:05,160 --> 00:27:08,240 Speaker 1: or you have a check in on a second floor, 537 00:27:08,600 --> 00:27:12,840 Speaker 1: that floor better be accessible via an escalator or likewise, 538 00:27:12,880 --> 00:27:16,520 Speaker 1: for a high traffic um subfloor. For instance, when we 539 00:27:16,520 --> 00:27:20,159 Speaker 1: were in Minneapolis for the educational talk we gave, I 540 00:27:20,200 --> 00:27:23,439 Speaker 1: noticed that the like the bottom three floors were all 541 00:27:23,440 --> 00:27:26,560 Speaker 1: connected via escalators and uh, and I realized now that 542 00:27:26,680 --> 00:27:29,359 Speaker 1: is because they didn't want traffic, high traffic between those 543 00:27:29,400 --> 00:27:32,719 Speaker 1: three floors monopolizing the elevator banks, that's right. And they 544 00:27:32,720 --> 00:27:35,439 Speaker 1: only because they had a very small amount of elevator banks, right, 545 00:27:35,440 --> 00:27:37,480 Speaker 1: it was a pretty small amount for a tall building. 546 00:27:37,520 --> 00:27:40,040 Speaker 1: And that's another thing. Architects don't want to seed a 547 00:27:40,119 --> 00:27:42,960 Speaker 1: lot of square footage two elevators because that's going to 548 00:27:43,040 --> 00:27:44,920 Speaker 1: decrease the profits on the amount of office space for 549 00:27:45,040 --> 00:27:47,879 Speaker 1: hotail space that they can rent out. So they have 550 00:27:47,960 --> 00:27:50,680 Speaker 1: to make it as small of space and as efficient 551 00:27:50,760 --> 00:27:53,520 Speaker 1: as possible. And they also have to take into account 552 00:27:53,560 --> 00:27:56,879 Speaker 1: personal space, which is tied into culture. We'll talk a 553 00:27:56,920 --> 00:27:59,439 Speaker 1: little bit more about that. How close am I willing 554 00:27:59,480 --> 00:28:02,760 Speaker 1: to get the person in the elevator with? Yeah. Edward Hall, 555 00:28:02,880 --> 00:28:07,280 Speaker 1: who pioneered the study of proxymix, called the smallest range 556 00:28:07,359 --> 00:28:11,160 Speaker 1: less than eighteen inches between people intimate distance. Now, this 557 00:28:11,240 --> 00:28:13,920 Speaker 1: is then the point at which you can sense another 558 00:28:13,960 --> 00:28:18,520 Speaker 1: person's odor and temperature. And the thing is that Americans 559 00:28:18,560 --> 00:28:21,160 Speaker 1: typically like to be at least two point three feet 560 00:28:21,200 --> 00:28:23,920 Speaker 1: away from from one another, so they don't want to 561 00:28:23,920 --> 00:28:26,760 Speaker 1: get to the point where they can smell you or 562 00:28:26,800 --> 00:28:29,960 Speaker 1: feel your body temperature. Yeah. I mean, even in the 563 00:28:30,040 --> 00:28:32,560 Speaker 1: United States, you see a certain breakdown between say New 564 00:28:32,640 --> 00:28:35,879 Speaker 1: York City and everywhere else. You know, like if you're dining, 565 00:28:36,040 --> 00:28:38,280 Speaker 1: say in a in a New York restaurant versus elsewhere, 566 00:28:38,320 --> 00:28:39,920 Speaker 1: like like you're in Atlanta, you go to a restaurant 567 00:28:39,920 --> 00:28:41,920 Speaker 1: you expect to have a certain amount of space between 568 00:28:41,960 --> 00:28:44,400 Speaker 1: you and the other diners. You expect the table to 569 00:28:44,440 --> 00:28:47,440 Speaker 1: be at the fair, you know, the fair distance across. 570 00:28:47,480 --> 00:28:50,400 Speaker 1: But like you go into a lot of New York 571 00:28:50,400 --> 00:28:52,920 Speaker 1: eateries and you are going to be they're gonna be 572 00:28:52,920 --> 00:28:55,960 Speaker 1: elbows bumping, You're gonna be looking down the shirt of 573 00:28:55,960 --> 00:28:57,880 Speaker 1: the person the right way in front of you. It's 574 00:28:57,920 --> 00:29:01,120 Speaker 1: just there's just a different proxy many rule in New 575 00:29:01,200 --> 00:29:04,440 Speaker 1: York City. Uh, then there isn't in the rest of 576 00:29:03,760 --> 00:29:08,000 Speaker 1: the country. Yeah, And it turns out that in uh, 577 00:29:08,080 --> 00:29:11,880 Speaker 1: the United States, at least, you can sort of infringe 578 00:29:11,920 --> 00:29:14,160 Speaker 1: on the two point three feet. You can go about 579 00:29:14,160 --> 00:29:17,040 Speaker 1: two feet in with Americans and and still be okay 580 00:29:17,040 --> 00:29:18,760 Speaker 1: with it. You can jam that elevator and as long 581 00:29:18,800 --> 00:29:20,920 Speaker 1: as everybody has two feet, they're okay with it. But 582 00:29:21,000 --> 00:29:22,640 Speaker 1: as you say, like you know, there are different rules 583 00:29:22,680 --> 00:29:25,800 Speaker 1: in different places, and in Asia, you could double pack 584 00:29:26,400 --> 00:29:29,040 Speaker 1: that elevator and people would be fine because they don't 585 00:29:29,040 --> 00:29:32,200 Speaker 1: have that much of a need for distance. Right. And 586 00:29:32,240 --> 00:29:34,120 Speaker 1: you see that, you see that you know elsewhere like 587 00:29:34,160 --> 00:29:36,640 Speaker 1: public transportation, Um, you see that in the difference between 588 00:29:36,680 --> 00:29:40,240 Speaker 1: the Japanese subway system and then public transportation here in 589 00:29:40,240 --> 00:29:43,320 Speaker 1: the States. How comfortable are people willing to pack? Now, 590 00:29:43,360 --> 00:29:45,560 Speaker 1: I've certainly been on some Martyat trains before where it's 591 00:29:45,560 --> 00:29:49,120 Speaker 1: just like sardines in there, but everyone is is visibly 592 00:29:49,320 --> 00:29:53,520 Speaker 1: upset by the situation. Yeah, yeah, especially in the summertime 593 00:29:53,520 --> 00:29:57,360 Speaker 1: when the cars air conditioning isn't working. Um So again 594 00:29:57,560 --> 00:30:00,840 Speaker 1: this is pointing more toward cultural nor rooms, right, what 595 00:30:01,120 --> 00:30:04,600 Speaker 1: is what works out for each culture? And there's a 596 00:30:04,680 --> 00:30:08,680 Speaker 1: really great article in the Wall Street Journal and they 597 00:30:08,720 --> 00:30:14,320 Speaker 1: have profiled in Otis elevator mathematician Teresa Christie, and she 598 00:30:14,760 --> 00:30:17,560 Speaker 1: tries to account for all the different cultural aspects as 599 00:30:17,560 --> 00:30:20,480 Speaker 1: well as as everything else that's involved in getting an 600 00:30:20,520 --> 00:30:24,080 Speaker 1: elevator to run smoothly. And so she was saying that 601 00:30:24,440 --> 00:30:28,560 Speaker 1: in the hotel in say Mecca in Saudi Arabia, she 602 00:30:28,680 --> 00:30:32,800 Speaker 1: now has to account for the fact that people are 603 00:30:32,800 --> 00:30:36,720 Speaker 1: getting ready to pray at least five times a day, 604 00:30:37,120 --> 00:30:39,680 Speaker 1: so she has to make sure that those elevator banks 605 00:30:39,720 --> 00:30:42,800 Speaker 1: can respond to those high traffic times. Yeah, I mean 606 00:30:42,800 --> 00:30:45,040 Speaker 1: certain that's certainly a factor that is going to be 607 00:30:45,080 --> 00:30:48,480 Speaker 1: involved in any of these Middle Eastern high rises that 608 00:30:48,520 --> 00:30:51,360 Speaker 1: are always, you know, making the news. Neither in construction 609 00:30:51,480 --> 00:30:55,080 Speaker 1: or in planning, and then she was saying that in Japan, uh, 610 00:30:55,120 --> 00:30:59,760 Speaker 1: there's a psychological element to waiting, so, um, they want 611 00:30:59,760 --> 00:31:02,920 Speaker 1: to know when their elevator is coming. So in Japan, 612 00:31:03,000 --> 00:31:06,160 Speaker 1: the light over your perspective elevator lights up even if 613 00:31:06,200 --> 00:31:09,560 Speaker 1: it's not there yet. And the author of the Wall 614 00:31:09,560 --> 00:31:12,480 Speaker 1: Street Journal likened it to a nod of acknowledgment from 615 00:31:12,480 --> 00:31:15,080 Speaker 1: a busy bartender, which I thought was great because if 616 00:31:15,080 --> 00:31:17,160 Speaker 1: you've ever gone up to the bar and it's completely 617 00:31:17,200 --> 00:31:20,160 Speaker 1: slammed and you feel that frustration until you get noticed 618 00:31:20,360 --> 00:31:23,040 Speaker 1: I hear, am I do? I am? I not classy 619 00:31:23,160 --> 00:31:26,480 Speaker 1: enough looking and it's because of me, And yeah, you 620 00:31:26,520 --> 00:31:28,040 Speaker 1: can get a little stressed out about it. So I can. 621 00:31:28,120 --> 00:31:30,160 Speaker 1: I can imagine that you you get to the elevator banks, 622 00:31:30,160 --> 00:31:32,600 Speaker 1: you want to know an elevator is coming, and so 623 00:31:32,640 --> 00:31:35,320 Speaker 1: they're set up to deal with that. Yeah. So those 624 00:31:35,360 --> 00:31:38,280 Speaker 1: are just some of the cultural aspects of it. Um. No, 625 00:31:39,360 --> 00:31:43,480 Speaker 1: we probably should mention Nick White real quick. This is 626 00:31:43,520 --> 00:31:48,040 Speaker 1: the guy that was trapped in the elevator in hours, Yes, 627 00:31:48,080 --> 00:31:51,600 Speaker 1: and his his story is covered in various articles across 628 00:31:51,680 --> 00:31:54,840 Speaker 1: the net, uh, and it serves as kind of the 629 00:31:54,840 --> 00:31:58,880 Speaker 1: the narrative backbone of Palm Gardens two tho eight article, 630 00:31:59,320 --> 00:32:02,600 Speaker 1: which again either recommend everyone read because it's it's brilliant. 631 00:32:03,240 --> 00:32:05,719 Speaker 1: But yeah, he what he he worked at a business 632 00:32:05,720 --> 00:32:08,760 Speaker 1: week I think it was. Yeah, and uh and the 633 00:32:08,960 --> 00:32:12,200 Speaker 1: elevator system there was a little archaic. I think they 634 00:32:12,200 --> 00:32:15,800 Speaker 1: had four elevators, or at least they were there were 635 00:32:15,840 --> 00:32:20,920 Speaker 1: four on the video camera. Yeah, so he's he's at 636 00:32:20,920 --> 00:32:22,720 Speaker 1: work and he I think he goes down for smoke 637 00:32:23,320 --> 00:32:25,680 Speaker 1: and then he's coming back up. It's like a Friday evening, 638 00:32:25,920 --> 00:32:27,880 Speaker 1: let's say five o'clock or something a minutes later in 639 00:32:27,920 --> 00:32:29,680 Speaker 1: the evening. Yeah, so he's going down for the smoke, 640 00:32:29,720 --> 00:32:32,400 Speaker 1: and what happens, Well, you know, I think that he 641 00:32:32,480 --> 00:32:35,640 Speaker 1: was traveling up to the forty third floor and he 642 00:32:35,760 --> 00:32:37,840 Speaker 1: must have made it up to well, he definitely made 643 00:32:37,880 --> 00:32:39,320 Speaker 1: it up to the thirteen floor, because I believe that's 644 00:32:39,320 --> 00:32:43,360 Speaker 1: where it stopped. And so he doesn't freak out right away. 645 00:32:43,400 --> 00:32:47,200 Speaker 1: He starts calling the emergency button. Yeah, why why you 646 00:32:47,240 --> 00:32:50,200 Speaker 1: do again? There's a button there for the emergency, so 647 00:32:50,280 --> 00:32:54,240 Speaker 1: you push it. No one, no one, nothing zero. So 648 00:32:54,440 --> 00:32:57,880 Speaker 1: the video camera, sorry, the security system that you see 649 00:32:57,920 --> 00:33:00,680 Speaker 1: the video footage from this is pretty fascinating because they 650 00:33:00,680 --> 00:33:02,680 Speaker 1: speeded up over that forty one hours and you see 651 00:33:02,720 --> 00:33:05,520 Speaker 1: him pacing, you see him lying down, you see him 652 00:33:05,680 --> 00:33:07,880 Speaker 1: fiddling with his cigarettes because at first he wants to 653 00:33:07,880 --> 00:33:10,480 Speaker 1: be the model employee and not smoke in the elevator, 654 00:33:10,880 --> 00:33:13,520 Speaker 1: you know, even though he's definitely feeling pretty stressed out 655 00:33:13,520 --> 00:33:17,320 Speaker 1: at this point because hours are going by, and then 656 00:33:17,400 --> 00:33:22,680 Speaker 1: he begins to have aural hallucinations, right, because he's hearing things. 657 00:33:22,840 --> 00:33:25,320 Speaker 1: I mean, you're talking about we talked before of this 658 00:33:25,440 --> 00:33:28,680 Speaker 1: on the on on the podcast. You have a limited environment. 659 00:33:28,960 --> 00:33:31,760 Speaker 1: Our brains need more stimulation than that. So they start 660 00:33:31,840 --> 00:33:36,120 Speaker 1: over analyzing everything and eventually they start interpreting data that 661 00:33:36,200 --> 00:33:39,400 Speaker 1: isn't actually there, right, and you know, twenty hours past, 662 00:33:39,560 --> 00:33:42,440 Speaker 1: thirty hours past, you know, he's getting dehydrated, he hasn't 663 00:33:42,440 --> 00:33:46,320 Speaker 1: eaten um, and of course this hallucinations are coming on, 664 00:33:46,360 --> 00:33:47,920 Speaker 1: and he begins to think that this is a tomb, 665 00:33:48,200 --> 00:33:49,960 Speaker 1: that this is that he's going to die. This they're 666 00:33:49,960 --> 00:33:51,960 Speaker 1: going to open the doors, because yeah, he's he's tried 667 00:33:52,000 --> 00:33:54,800 Speaker 1: pushing the button, nothing's happened. He's pride open the doors 668 00:33:54,840 --> 00:33:56,480 Speaker 1: and it's just a solid wall. And I think he 669 00:33:56,560 --> 00:34:00,880 Speaker 1: sees thirteen scrawled there in, which is also pretty ominous. 670 00:34:01,160 --> 00:34:04,000 Speaker 1: That doesn't help. And uh, and of course he's seen 671 00:34:04,120 --> 00:34:06,120 Speaker 1: enough movies to know that he should try to open 672 00:34:06,160 --> 00:34:08,640 Speaker 1: that little hatch in the ceiling, but he can't because 673 00:34:08,680 --> 00:34:12,239 Speaker 1: in real life, surprise surprise, climbing on top of an 674 00:34:12,239 --> 00:34:15,880 Speaker 1: elevator is incredibly dangerous, so they do not want you 675 00:34:15,920 --> 00:34:18,759 Speaker 1: to do it. It's bolted from the outside. That's so 676 00:34:18,880 --> 00:34:20,839 Speaker 1: that if someone needs to get in and help you out, 677 00:34:20,880 --> 00:34:26,480 Speaker 1: they can, But it prohibits people from potentially killing themselves 678 00:34:26,480 --> 00:34:28,839 Speaker 1: by climbing on the roofe well, because apparently, and it's 679 00:34:28,920 --> 00:34:30,800 Speaker 1: not gonna surprising me, righty. At some point in history, 680 00:34:30,800 --> 00:34:33,799 Speaker 1: elevator elevator writing became a thing and people day like 681 00:34:33,840 --> 00:34:36,759 Speaker 1: elevator surfing. Yeah, yeah, elevator surfing. And you've got those 682 00:34:36,760 --> 00:34:39,680 Speaker 1: counterweights going by, which can decapitate you. So has for 683 00:34:39,760 --> 00:34:43,480 Speaker 1: good reason the lock those It is only for emergency situations, 684 00:34:43,600 --> 00:34:46,759 Speaker 1: and he's in an emergency situation. He still can't do 685 00:34:46,800 --> 00:34:50,680 Speaker 1: anything about it. But yeah, I feel just bad for 686 00:34:50,680 --> 00:34:53,760 Speaker 1: this guy because the elevator kind of broke him. Yeah, 687 00:34:54,040 --> 00:34:58,000 Speaker 1: forty one hours passes, he gets out. He asked for 688 00:34:58,080 --> 00:35:00,960 Speaker 1: a beer he's disoriented. Yeah, he didn't know what day 689 00:35:00,960 --> 00:35:02,520 Speaker 1: it is. He doesn't really know how long he's been 690 00:35:02,520 --> 00:35:05,840 Speaker 1: in there totally, and and it it kind of ruins 691 00:35:05,880 --> 00:35:09,200 Speaker 1: his life. Yeah. Yeah, there's this job of fifteen years 692 00:35:09,239 --> 00:35:13,200 Speaker 1: that he held he's let go from. He's obsessed and 693 00:35:13,360 --> 00:35:15,879 Speaker 1: angry about it. He doesn't know why people didn't come 694 00:35:15,920 --> 00:35:18,480 Speaker 1: and find him. Why because here's someone who's he just 695 00:35:18,480 --> 00:35:21,080 Speaker 1: went out for a cigarette break and he went just 696 00:35:21,120 --> 00:35:24,239 Speaker 1: there like somebody was setting there walking by and just 697 00:35:24,320 --> 00:35:27,799 Speaker 1: did not notice that there was only ever one individual 698 00:35:27,920 --> 00:35:30,560 Speaker 1: inside of that car. And it's sometimes they were laying 699 00:35:30,600 --> 00:35:34,920 Speaker 1: down for hours at a time. So, yeah, you totally 700 00:35:34,920 --> 00:35:38,880 Speaker 1: sympathized with this man's breakdown because it was really dealt 701 00:35:38,960 --> 00:35:40,960 Speaker 1: a foul card on this one. Yeah, and it's a 702 00:35:41,120 --> 00:35:42,799 Speaker 1: it's funny. I believe it's in the that up and 703 00:35:42,840 --> 00:35:45,840 Speaker 1: down article, um or one of the articles that we 704 00:35:45,920 --> 00:35:49,560 Speaker 1: read at least um it may be another one, but 705 00:35:50,120 --> 00:35:52,399 Speaker 1: in one of those articles they talked to him about 706 00:35:52,520 --> 00:35:55,359 Speaker 1: He's like, well, of course I still have to use elevators, 707 00:35:55,400 --> 00:35:57,719 Speaker 1: and yes, I just still tried to distract myself. But 708 00:35:57,760 --> 00:36:00,399 Speaker 1: I thought about that, you know, when I go into 709 00:36:00,440 --> 00:36:03,200 Speaker 1: my own elevator bank. You know, you've got the Captivate 710 00:36:03,360 --> 00:36:05,240 Speaker 1: At least in our office, we've got the Captivate screen 711 00:36:05,320 --> 00:36:06,920 Speaker 1: that is trying to distract you from the fact that 712 00:36:06,920 --> 00:36:09,520 Speaker 1: you're an elevator, which is brilliant because you, yeah, you 713 00:36:09,560 --> 00:36:11,319 Speaker 1: get in there and there's no music, but there's this 714 00:36:11,360 --> 00:36:14,319 Speaker 1: little TV screen that gives your quick tidbits about the weather, 715 00:36:14,520 --> 00:36:17,440 Speaker 1: quick headlines, that sort of thing, and it can be 716 00:36:17,480 --> 00:36:19,600 Speaker 1: a lifesaver if you're stuck on there, not with a 717 00:36:19,600 --> 00:36:23,000 Speaker 1: complete stranger, but sort of a pseudo work stranger, like 718 00:36:23,080 --> 00:36:26,240 Speaker 1: something you really don't know that well, but you feel 719 00:36:26,280 --> 00:36:28,640 Speaker 1: obligated to speak to them. And then all you have 720 00:36:28,680 --> 00:36:30,319 Speaker 1: to do is look at at Captivate and then it'll 721 00:36:30,360 --> 00:36:31,680 Speaker 1: give you the weather and you'd be like, whoa, look 722 00:36:31,680 --> 00:36:34,120 Speaker 1: it's raining Saturday. How about that? Or look at that 723 00:36:34,320 --> 00:36:36,759 Speaker 1: Olympic headline. You know, install you have some sort of 724 00:36:36,840 --> 00:36:41,520 Speaker 1: nugget that you can probably discuss awkwardly for thirty seconds 725 00:36:41,600 --> 00:36:44,440 Speaker 1: or last. Yeah, because I mean that that again, is 726 00:36:44,480 --> 00:36:48,400 Speaker 1: the thing about the elevator is psychologically you're going to 727 00:36:48,520 --> 00:36:52,160 Speaker 1: want to have the again, the most vanilla conversation because 728 00:36:52,280 --> 00:36:55,000 Speaker 1: on a very primal level, what's happening is that you're 729 00:36:55,040 --> 00:36:58,200 Speaker 1: all stuffed into this elevator. You have no control, and 730 00:36:58,280 --> 00:37:00,719 Speaker 1: so what the human thing to do here is to 731 00:37:00,840 --> 00:37:03,560 Speaker 1: try to go to the spot where you feel non threatened. 732 00:37:04,040 --> 00:37:06,160 Speaker 1: And really that's what we're talking about here, is I mean, 733 00:37:06,360 --> 00:37:08,200 Speaker 1: in the day, we're all a bunch of animals anyway, 734 00:37:08,440 --> 00:37:10,640 Speaker 1: so we're all stuck in this elevator trying to make 735 00:37:10,680 --> 00:37:13,439 Speaker 1: sure that in that twenty seconds nothing bad is going 736 00:37:13,480 --> 00:37:16,640 Speaker 1: to happen. Therefore, the weather is fine. You can talk 737 00:37:16,680 --> 00:37:19,799 Speaker 1: about that if you must talk. And then we go 738 00:37:19,880 --> 00:37:22,319 Speaker 1: home in the evening and watch movies and TV shows 739 00:37:22,360 --> 00:37:25,760 Speaker 1: about bad things happening in elevators because we can't help it. Upset. 740 00:37:25,800 --> 00:37:28,480 Speaker 1: We have to find that release in our fiction where 741 00:37:28,520 --> 00:37:30,680 Speaker 1: somebody's having to have a baby in an elevator, somebody's 742 00:37:30,680 --> 00:37:32,320 Speaker 1: having to crawl on the roof of an elevator, or 743 00:37:32,360 --> 00:37:35,520 Speaker 1: your elevator is descending into the Chinese hell where people 744 00:37:35,520 --> 00:37:39,560 Speaker 1: are drowned alive. So you know, on that note, we 745 00:37:39,600 --> 00:37:42,360 Speaker 1: should probably take a break. Yes, we are going to 746 00:37:42,400 --> 00:37:45,440 Speaker 1: take a quick break I guess for like thirty seconds, 747 00:37:45,480 --> 00:37:47,759 Speaker 1: and then when we when we come back, we will 748 00:37:47,800 --> 00:37:51,480 Speaker 1: continue with elevators and to the planning that goes into them, 749 00:37:51,800 --> 00:37:54,960 Speaker 1: the uh and and and also the future of the elevator. 750 00:37:55,040 --> 00:38:05,040 Speaker 1: What what might that look like? All right, we're back. Uh. 751 00:38:05,080 --> 00:38:07,520 Speaker 1: The elevator doors have opened and we have arrived on 752 00:38:07,640 --> 00:38:10,759 Speaker 1: the floor for our second to second half of this 753 00:38:10,800 --> 00:38:14,600 Speaker 1: episode on elevators. That's right. And in order for us 754 00:38:14,600 --> 00:38:18,200 Speaker 1: to start talking more about the mathematical puzzle in earnest, 755 00:38:18,239 --> 00:38:19,880 Speaker 1: we have to talk a little bit more about how 756 00:38:19,880 --> 00:38:23,200 Speaker 1: our modern elevator system works. So one of the first 757 00:38:23,200 --> 00:38:26,719 Speaker 1: things to know is that when you get into an elevator, 758 00:38:26,760 --> 00:38:30,600 Speaker 1: it is automatically outfitted with loads sensors in the floor 759 00:38:30,960 --> 00:38:33,600 Speaker 1: and that manages the amount of weight that's in the car. 760 00:38:33,760 --> 00:38:36,799 Speaker 1: So if you've ever been in an overcrowded elevator and 761 00:38:36,840 --> 00:38:38,720 Speaker 1: you hear the door is danging, it's because the sensor 762 00:38:38,800 --> 00:38:41,640 Speaker 1: is saying, hey man, someone's got to get off. Yeah, 763 00:38:41,680 --> 00:38:46,160 Speaker 1: And that's why elevator sensors and also hotel personnel can 764 00:38:46,200 --> 00:38:49,080 Speaker 1: and will get visibly upset if people are jumping up 765 00:38:49,120 --> 00:38:54,360 Speaker 1: and down an elevator. Now, most elevator systems have a 766 00:38:54,400 --> 00:38:56,799 Speaker 1: computer that logs a bunch of things, a bunch of 767 00:38:57,120 --> 00:38:59,799 Speaker 1: I will say a request, Um, these things that they 768 00:38:59,840 --> 00:39:02,799 Speaker 1: lost is where a person wants to go, where each 769 00:39:02,840 --> 00:39:05,120 Speaker 1: floor is, and where the elevator car is in that 770 00:39:05,160 --> 00:39:07,400 Speaker 1: time and space. So if you press a button for 771 00:39:07,440 --> 00:39:09,480 Speaker 1: the floor you want to go to, the computer logs 772 00:39:09,560 --> 00:39:11,680 Speaker 1: the request, and then the computer notes where a car 773 00:39:11,800 --> 00:39:15,000 Speaker 1: is by either a magnetic sensor or a light sensor, 774 00:39:15,040 --> 00:39:17,920 Speaker 1: and it's feeding all that information to itself an algorithm. 775 00:39:18,640 --> 00:39:23,680 Speaker 1: More advanced programs will take passenger traffic patterns into account. Uh, 776 00:39:23,719 --> 00:39:26,600 Speaker 1: they know which floors have the highest demand and at 777 00:39:26,640 --> 00:39:29,080 Speaker 1: what time of the day, and they direct the elevator 778 00:39:29,160 --> 00:39:31,600 Speaker 1: cars accordingly. If you're lucky, if you're in the office 779 00:39:31,600 --> 00:39:34,839 Speaker 1: building right north Carrick Hall, a U t K did 780 00:39:34,840 --> 00:39:38,640 Speaker 1: not have advances. It did not. In a multiple car system, 781 00:39:38,680 --> 00:39:42,200 Speaker 1: the elevator will direct individual cars based on the location 782 00:39:42,280 --> 00:39:44,359 Speaker 1: of other cars. So all of that is going on 783 00:39:44,480 --> 00:39:47,320 Speaker 1: in the background as soon as you press a button. 784 00:39:47,440 --> 00:39:50,439 Speaker 1: So it all leads to this big mathematical puzzle. It's, 785 00:39:50,600 --> 00:39:53,200 Speaker 1: you know, how do you get from point A to 786 00:39:53,280 --> 00:39:55,800 Speaker 1: point B? How do you get the cargo, the human cargo, 787 00:39:55,840 --> 00:39:58,600 Speaker 1: from point A to point B with the least amount 788 00:39:58,600 --> 00:40:03,000 Speaker 1: of issue without just totally clogging up the whole system. 789 00:40:03,280 --> 00:40:05,839 Speaker 1: Without angering the people that are working there, but then 790 00:40:06,040 --> 00:40:10,960 Speaker 1: but also getting by with really maybe not the minimum, 791 00:40:11,080 --> 00:40:14,719 Speaker 1: but a minimum amount of elevators, because elevators take up 792 00:40:14,760 --> 00:40:18,040 Speaker 1: a lot of space. You need the shafts, you need 793 00:40:18,480 --> 00:40:21,680 Speaker 1: the the equipment rooms for them. And granted, uh, certain 794 00:40:21,719 --> 00:40:24,680 Speaker 1: technological advancements have cut down on the amount of equipment 795 00:40:24,719 --> 00:40:27,040 Speaker 1: needed to run it, but for the most part, you're 796 00:40:27,040 --> 00:40:29,560 Speaker 1: talking about a lot of space in a building, and 797 00:40:29,920 --> 00:40:33,759 Speaker 1: space is is valuable. Space is pricy. Remember that's why 798 00:40:33,800 --> 00:40:36,960 Speaker 1: we're building skyscrapers to begin with, because we want to 799 00:40:37,040 --> 00:40:39,160 Speaker 1: maximize the amount of office that we can fit on 800 00:40:39,200 --> 00:40:41,920 Speaker 1: a single piece of land. And if we end up 801 00:40:41,960 --> 00:40:44,520 Speaker 1: filling up most of that with elevators, that kind of 802 00:40:44,520 --> 00:40:46,719 Speaker 1: defeats the purpose. And it also kind of depends on 803 00:40:46,719 --> 00:40:48,480 Speaker 1: the function of that building. That's something that a lot 804 00:40:48,520 --> 00:40:51,520 Speaker 1: of engineers and mathematicians have to take into account. So 805 00:40:51,640 --> 00:40:54,960 Speaker 1: if you look at something like the Bronx Family Court system, 806 00:40:55,280 --> 00:40:58,080 Speaker 1: the building that that's housed in, and you look and 807 00:40:58,719 --> 00:41:01,440 Speaker 1: back in two thousand and seven, and you'll see that 808 00:41:01,440 --> 00:41:05,239 Speaker 1: that whole court system was completely messed up. It was 809 00:41:05,280 --> 00:41:08,719 Speaker 1: an absolute disarray because the elevators at its courthouse kept 810 00:41:08,760 --> 00:41:12,719 Speaker 1: breaking down and they couldn't use the stairs. It's not 811 00:41:12,760 --> 00:41:14,920 Speaker 1: and it wasn't like in our situation where the stairs 812 00:41:14,920 --> 00:41:17,480 Speaker 1: are only for fire exits. So it's it's just not 813 00:41:17,840 --> 00:41:21,520 Speaker 1: they're not accessible. They shut off the stairs because they 814 00:41:21,520 --> 00:41:24,160 Speaker 1: were a safety risk. They were just like an escape 815 00:41:24,200 --> 00:41:26,480 Speaker 1: from New York hell hole if you try to take 816 00:41:26,520 --> 00:41:29,279 Speaker 1: the stairs down to the Bronx. Yeah, so if you 817 00:41:29,280 --> 00:41:32,040 Speaker 1: had to go to the court, uh the courthouse in 818 00:41:32,080 --> 00:41:33,800 Speaker 1: the Bronx in two thousand and seven, you were screwed 819 00:41:33,880 --> 00:41:37,840 Speaker 1: because this led to our long waits, which led to 820 00:41:37,880 --> 00:41:41,040 Speaker 1: miss court dates, which led to needless arrest warrants, and 821 00:41:41,080 --> 00:41:46,120 Speaker 1: of course just the general messing up of people's lives. Now, 822 00:41:46,520 --> 00:41:49,759 Speaker 1: this is something that mathematicians and engineers really want to 823 00:41:49,760 --> 00:41:52,680 Speaker 1: try to avoid if they can. So they start to 824 00:41:52,719 --> 00:41:58,960 Speaker 1: look at various probabilities. Right, They've got um probability tables 825 00:41:59,040 --> 00:42:00,759 Speaker 1: that they rely on when they start to try to 826 00:42:00,760 --> 00:42:04,920 Speaker 1: figure out this puzzle of elevator systems. So, for instance, 827 00:42:04,960 --> 00:42:07,440 Speaker 1: if there are ten people in an elevator that serves 828 00:42:07,480 --> 00:42:10,640 Speaker 1: ten floors, it will likely make six point five stops. 829 00:42:10,920 --> 00:42:13,520 Speaker 1: You've got ten people, thirty floors, then you've got nine 830 00:42:13,560 --> 00:42:16,239 Speaker 1: point five stops. This is somewhere they can start, just 831 00:42:16,280 --> 00:42:20,800 Speaker 1: the odds of traffic. Now, there are two basic elevator metrics. 832 00:42:20,960 --> 00:42:25,759 Speaker 1: One is handling capacity, so that's carrying a certain percentage 833 00:42:25,760 --> 00:42:29,880 Speaker 1: of the building's population in five minutes, and by the way, 834 00:42:29,920 --> 00:42:32,480 Speaker 1: is ideal. So if you have I don't know, five 835 00:42:32,520 --> 00:42:35,879 Speaker 1: thousand people in a building, then percent of those five 836 00:42:35,920 --> 00:42:39,640 Speaker 1: thousand people should be serviced by your elevator system. The 837 00:42:39,719 --> 00:42:43,680 Speaker 1: other metric is the interval or the frequency of service. 838 00:42:43,760 --> 00:42:47,480 Speaker 1: So the average round trip time of one elevator divided 839 00:42:47,480 --> 00:42:51,960 Speaker 1: by the number of elevators. Okay, so now think of 840 00:42:52,360 --> 00:42:55,120 Speaker 1: all the other factors like door open and closed time, 841 00:42:56,400 --> 00:42:59,120 Speaker 1: loading and unloading time. You guys out there who are 842 00:42:59,239 --> 00:43:02,160 Speaker 1: looking at your smartphones or your blackberries when you should 843 00:43:02,160 --> 00:43:06,120 Speaker 1: be disembarking. You know who the last second you were 844 00:43:06,120 --> 00:43:07,879 Speaker 1: supposed to get off, So then you make a dark 845 00:43:09,000 --> 00:43:11,680 Speaker 1: everything else, that's right, you're increasing the unlearning time. Or 846 00:43:11,760 --> 00:43:14,319 Speaker 1: you know the situation where the thing is packed and 847 00:43:14,320 --> 00:43:16,879 Speaker 1: and who needs to get off the elevator. The little 848 00:43:16,880 --> 00:43:19,040 Speaker 1: old lady in the back of the car, you know, 849 00:43:19,080 --> 00:43:21,239 Speaker 1: so everyone has to sort of disembark and they're a 850 00:43:21,239 --> 00:43:23,719 Speaker 1: little they're a little wigged out because they're having to 851 00:43:23,760 --> 00:43:25,520 Speaker 1: do this, and oh what if they get stranded on 852 00:43:25,600 --> 00:43:28,279 Speaker 1: the on the elevator, because that's that's kind of a 853 00:43:28,280 --> 00:43:30,840 Speaker 1: mild fear. If you get off on the wrong floor, 854 00:43:31,080 --> 00:43:34,280 Speaker 1: you're gonna have to take the elevator again to maybe 855 00:43:34,360 --> 00:43:36,960 Speaker 1: to the bottom, depending on the system, and it's going 856 00:43:37,040 --> 00:43:39,879 Speaker 1: to be a whole headache. And you also have acceleration 857 00:43:40,000 --> 00:43:42,920 Speaker 1: rate and deceleration rate, so when the elevator is stopping, 858 00:43:43,400 --> 00:43:47,800 Speaker 1: and of course what we talked about before, inter floor traffic, 859 00:43:48,560 --> 00:43:51,520 Speaker 1: which is the thing that's sort of the wrench that 860 00:43:51,520 --> 00:43:53,759 Speaker 1: that you throw in that just kind of messes everything up. 861 00:43:54,080 --> 00:43:57,799 Speaker 1: And then to say nothing of phantom button pushers, that 862 00:43:57,920 --> 00:44:00,480 Speaker 1: is always the worst. When it opens and the nobody 863 00:44:00,480 --> 00:44:03,759 Speaker 1: there where did they go? I guess in reality there 864 00:44:03,800 --> 00:44:06,040 Speaker 1: might have been another elevator coming up and someone got 865 00:44:06,080 --> 00:44:08,320 Speaker 1: off on that floor and then they just hitched a 866 00:44:08,360 --> 00:44:10,359 Speaker 1: ride on that one since it was there. But then 867 00:44:10,920 --> 00:44:12,960 Speaker 1: my elevator arrives and it opens, and you're just like, 868 00:44:13,000 --> 00:44:14,800 Speaker 1: I guess it's the little girl from the Shining again 869 00:44:15,600 --> 00:44:19,360 Speaker 1: or the phantom farter the phantom is that an that 870 00:44:19,400 --> 00:44:21,560 Speaker 1: is a thing. I think the phantom farter push the 871 00:44:21,560 --> 00:44:26,680 Speaker 1: phantom floor m because that is another unfortunate reality of 872 00:44:26,680 --> 00:44:30,480 Speaker 1: of elevators. Two people in an elevator, nobody is allowed 873 00:44:30,520 --> 00:44:33,560 Speaker 1: to pass gas because it will be known who did it. 874 00:44:33,640 --> 00:44:35,920 Speaker 1: But three or more people just feel like they have 875 00:44:36,160 --> 00:44:40,719 Speaker 1: just an open license to just let it rip. And 876 00:44:40,800 --> 00:44:42,719 Speaker 1: it's just an enclosed environment. So well, and there's some 877 00:44:42,719 --> 00:44:45,839 Speaker 1: people who do it on purpose, people like I know 878 00:44:45,960 --> 00:44:49,040 Speaker 1: someone in my family, and I'm not going to mention 879 00:44:49,440 --> 00:44:52,839 Speaker 1: I told you I have a very scatological family who 880 00:44:53,000 --> 00:44:56,320 Speaker 1: they do this on purpose. Um, it's good to know. Anyway, 881 00:44:56,440 --> 00:45:00,640 Speaker 1: that is not fortunately a factor that mathematicians have to 882 00:45:00,719 --> 00:45:04,960 Speaker 1: figure out the actual parting capacity. But I did want 883 00:45:04,960 --> 00:45:08,560 Speaker 1: to mention again. The otis elevator mathematician Theresa Christie because 884 00:45:08,560 --> 00:45:13,640 Speaker 1: she developed algorithms using a computer simulation program and that 885 00:45:13,719 --> 00:45:16,560 Speaker 1: replays elevator decision making, so she gets to see it 886 00:45:16,600 --> 00:45:20,000 Speaker 1: in real time. And in that Wall Street Journal article 887 00:45:20,120 --> 00:45:23,160 Speaker 1: called the Ups and Downs of Making Elevators Go, she says, 888 00:45:23,200 --> 00:45:25,320 Speaker 1: I feel like I get paid to play video games. 889 00:45:25,360 --> 00:45:27,640 Speaker 1: I watched the simulation and I see what happens, and 890 00:45:27,640 --> 00:45:30,120 Speaker 1: I try to improve the score I'm getting, which is 891 00:45:30,200 --> 00:45:33,040 Speaker 1: so cool. I love that that that's part of her process. 892 00:45:33,239 --> 00:45:36,400 Speaker 1: She's thinking about it that way, and she recently worked 893 00:45:36,480 --> 00:45:39,320 Speaker 1: on the Empire State Building and was able to decrease 894 00:45:39,360 --> 00:45:42,719 Speaker 1: the amount of time, but I think ten seconds um 895 00:45:43,040 --> 00:45:45,600 Speaker 1: the time that they're actually in the elevator. The history 896 00:45:45,719 --> 00:45:47,839 Speaker 1: you could, based on some of the material we're looking at, 897 00:45:47,840 --> 00:45:50,320 Speaker 1: you could basically write a book just about the history 898 00:45:50,480 --> 00:45:54,360 Speaker 1: of elevators in the Empire State Building, because you have 899 00:45:54,520 --> 00:45:56,759 Speaker 1: you haven't, they've been around for so long. You have 900 00:45:56,960 --> 00:46:00,600 Speaker 1: some really catastrophic things happening from in the fens which 901 00:46:00,680 --> 00:46:03,439 Speaker 1: when the uh the aircraft crashed into the Empire State 902 00:46:03,480 --> 00:46:08,919 Speaker 1: Building and it and the impact severed the cables in one, 903 00:46:09,000 --> 00:46:12,239 Speaker 1: perhaps two of the elevators, and at this time you 904 00:46:12,280 --> 00:46:15,920 Speaker 1: still had elevator operators. So they plummeted with those elevator 905 00:46:15,960 --> 00:46:18,719 Speaker 1: operators on board, and I believe no, no, I believe 906 00:46:18,800 --> 00:46:21,239 Speaker 1: one operator was on board and one was not. And 907 00:46:21,280 --> 00:46:23,640 Speaker 1: the one woman aboard the elevator ended up living, as 908 00:46:23,680 --> 00:46:27,040 Speaker 1: I recall, because the cables were coiling up at the 909 00:46:27,040 --> 00:46:29,400 Speaker 1: bottom of the elevator shaft as a plummeted, because they 910 00:46:29,400 --> 00:46:31,759 Speaker 1: had to fall quite quite a distance, and by the 911 00:46:31,800 --> 00:46:33,439 Speaker 1: time that it hit the bottom and had a sort 912 00:46:33,480 --> 00:46:37,480 Speaker 1: of cushion going, so she was really she was badly injured, 913 00:46:37,840 --> 00:46:39,840 Speaker 1: but she did survive, and she was crouched in the 914 00:46:39,840 --> 00:46:42,640 Speaker 1: corner right so that when the impact came at the 915 00:46:42,640 --> 00:46:44,920 Speaker 1: bottom of the elevator too and kind of crumpled the middle, 916 00:46:44,960 --> 00:46:48,960 Speaker 1: she wasn't affected by that part. Um So of course 917 00:46:49,000 --> 00:46:51,680 Speaker 1: we should say that elevators are really really safe. I mean, 918 00:46:51,719 --> 00:46:54,799 Speaker 1: the statistics on how safe they are we will make 919 00:46:54,800 --> 00:46:57,759 Speaker 1: you feel much better. OTIS will typically show you statistics 920 00:46:57,880 --> 00:47:00,400 Speaker 1: that argue that they are safer that safer than esk lators, 921 00:47:00,440 --> 00:47:04,279 Speaker 1: because you know, they are more elevators than escalators. The 922 00:47:04,280 --> 00:47:08,120 Speaker 1: percentage of accidents is apparently higher with escalators. Um Likewise, 923 00:47:08,400 --> 00:47:11,760 Speaker 1: most of the individuals who are injured or killed aboard 924 00:47:11,840 --> 00:47:15,840 Speaker 1: elevators are people who are working on them, so they're 925 00:47:15,880 --> 00:47:18,359 Speaker 1: in a heightened state of danger because they're on top 926 00:47:18,400 --> 00:47:22,760 Speaker 1: of them, or they're repairing broken elevators, etcetera. Now, again, 927 00:47:22,800 --> 00:47:25,400 Speaker 1: this is something that someone like Teresa Christie has to 928 00:47:25,440 --> 00:47:29,200 Speaker 1: keep in mind when she's developing algorithms UM and when 929 00:47:29,280 --> 00:47:32,600 Speaker 1: she programs an elevator system. She also uses different weights 930 00:47:32,600 --> 00:47:35,400 Speaker 1: for the average person by region. So for instance, the 931 00:47:35,440 --> 00:47:38,040 Speaker 1: average American is twenty two pounds heavier than the average 932 00:47:38,120 --> 00:47:41,480 Speaker 1: Chinese um, and she has to account for the way 933 00:47:41,520 --> 00:47:44,680 Speaker 1: that people arrange themselves in an elevator, which turns out 934 00:47:44,800 --> 00:47:49,320 Speaker 1: is across cultures. It turns out that people will arrange 935 00:47:49,360 --> 00:47:53,440 Speaker 1: themselves into various geometric patterns each time a new passenger 936 00:47:53,480 --> 00:47:57,040 Speaker 1: gets on an elevator. So it's pretty it seems very instinctive. 937 00:47:57,120 --> 00:47:59,960 Speaker 1: So if you have two strangers on an elevator, they 938 00:48:00,000 --> 00:48:03,440 Speaker 1: will gravitate to the back corners. A third person will 939 00:48:03,480 --> 00:48:07,440 Speaker 1: stand by the door, creating Isoceles triangle until fourth person 940 00:48:07,480 --> 00:48:11,640 Speaker 1: comes in, and then they'll spread out through all four corners, 941 00:48:12,040 --> 00:48:14,959 Speaker 1: and then so on and so forth as people board. Yeah, 942 00:48:14,960 --> 00:48:17,239 Speaker 1: I believe that the article we're looking at they had 943 00:48:17,320 --> 00:48:20,560 Speaker 1: they used a dice as an example. The position of 944 00:48:20,560 --> 00:48:23,279 Speaker 1: the dots on any given side of a dice more 945 00:48:23,400 --> 00:48:28,239 Speaker 1: or less illustrates how people a position themselves on a 946 00:48:28,360 --> 00:48:32,080 Speaker 1: crowded or less crowded elevator. And it's, you know, similar 947 00:48:32,120 --> 00:48:34,759 Speaker 1: to a lot of the rules that govern the bank 948 00:48:34,800 --> 00:48:37,919 Speaker 1: of urinals. In a men's room, Where are where where 949 00:48:37,960 --> 00:48:39,759 Speaker 1: is a man going to stand? If there's if there's 950 00:48:39,840 --> 00:48:42,360 Speaker 1: no one at the urinals, Where will the second person 951 00:48:42,360 --> 00:48:45,120 Speaker 1: to arrive stand, where will the third, etcetera. Because no 952 00:48:45,120 --> 00:48:47,680 Speaker 1: one wants to be too close to the you know, 953 00:48:47,760 --> 00:48:50,640 Speaker 1: awkwardly close to the other individual who's taking a week. 954 00:48:50,840 --> 00:48:53,200 Speaker 1: Ye always wondered about that. For you guys, that's gonna 955 00:48:53,239 --> 00:48:56,480 Speaker 1: be very bizarre when just like if you're in there 956 00:48:56,480 --> 00:48:59,160 Speaker 1: by yourself, as someone just cruises up right next to you. Yeah, 957 00:48:59,280 --> 00:49:01,439 Speaker 1: if it's a long bank, like if it's a bank 958 00:49:01,480 --> 00:49:03,640 Speaker 1: of like a rest stop bank of like six urinals, 959 00:49:03,920 --> 00:49:05,640 Speaker 1: it's a little weird of somebody stands right next to you. 960 00:49:05,719 --> 00:49:08,399 Speaker 1: Now Here at work, we just have two urinals, So 961 00:49:09,200 --> 00:49:11,600 Speaker 1: it's you know, you're gonna stand next to somebody and 962 00:49:11,680 --> 00:49:13,520 Speaker 1: hopefully they won't talk to you. I was gonna say, 963 00:49:13,600 --> 00:49:16,480 Speaker 1: is there a chit chat? Um? Depends on the individual. 964 00:49:16,680 --> 00:49:18,840 Speaker 1: Some people seem like they get a little nervous and 965 00:49:18,880 --> 00:49:21,640 Speaker 1: they have to start talking and it's weird. But most 966 00:49:21,640 --> 00:49:23,879 Speaker 1: people seem to be governed by the no talking while 967 00:49:23,880 --> 00:49:26,520 Speaker 1: you're inating. I think that should be like the same 968 00:49:26,520 --> 00:49:28,560 Speaker 1: set of rules for the elevator, right, don't stand too 969 00:49:28,600 --> 00:49:35,240 Speaker 1: close and and and don't chit chat? Really all right? Um? 970 00:49:35,520 --> 00:49:39,520 Speaker 1: Teresa Christie, the she is one of the premier engineers 971 00:49:39,560 --> 00:49:44,240 Speaker 1: for for otis and mathematicians. She has created about fourteen patents, 972 00:49:44,480 --> 00:49:47,279 Speaker 1: and one of the patents I really loved called the 973 00:49:47,320 --> 00:49:51,320 Speaker 1: surfboard feature. Yes, and I want the codes. This is 974 00:49:51,360 --> 00:49:53,319 Speaker 1: something I wish that I was a great hacker, because 975 00:49:53,320 --> 00:49:54,719 Speaker 1: I would I would hack in just to get the 976 00:49:54,800 --> 00:49:58,880 Speaker 1: codes to elevators, because this feature allows you to essentially 977 00:49:58,920 --> 00:50:02,880 Speaker 1: turn any elevator into an express elevator. Because the situation 978 00:50:02,920 --> 00:50:06,279 Speaker 1: here is that, know, Waii, you have individuals who are 979 00:50:06,280 --> 00:50:09,239 Speaker 1: taking the elevator, but they have a surfboard with them, 980 00:50:09,320 --> 00:50:11,600 Speaker 1: So if they're on board with a surfboard, there's not 981 00:50:11,680 --> 00:50:13,839 Speaker 1: room for anyone else really to get on board but them. 982 00:50:13,960 --> 00:50:17,839 Speaker 1: They so they really need a direct line from from 983 00:50:17,920 --> 00:50:22,440 Speaker 1: their floor to the ground floor. And you know, this 984 00:50:22,480 --> 00:50:24,839 Speaker 1: has a lot in common with there are express elevators 985 00:50:24,840 --> 00:50:28,040 Speaker 1: out there, for instance, really tall buildings. We we mentioned 986 00:50:28,040 --> 00:50:30,839 Speaker 1: the limits of elevators earlier. They can only you can 987 00:50:30,880 --> 00:50:33,239 Speaker 1: only build an elevator shaft so high, and then the 988 00:50:33,239 --> 00:50:36,160 Speaker 1: physics get involved and they prohibit anything else. So you'll 989 00:50:36,160 --> 00:50:39,120 Speaker 1: have what you'll have is you'll have a landing platform 990 00:50:39,440 --> 00:50:42,440 Speaker 1: halfway up the skyscraper and you take an express elevator 991 00:50:42,480 --> 00:50:44,680 Speaker 1: to that and then you wait on an elevator to 992 00:50:44,760 --> 00:50:48,279 Speaker 1: serve elevators to service the higher floors. So the idea 993 00:50:48,280 --> 00:50:50,759 Speaker 1: of an express elevator isn't new, but what this is 994 00:50:50,800 --> 00:50:56,120 Speaker 1: doing is creating a custom express elevator for privileged UM, 995 00:50:56,360 --> 00:50:59,399 Speaker 1: good guest for surfers. Yeah, and you know what, this 996 00:50:59,440 --> 00:51:02,359 Speaker 1: is one little odd tidbit that I wanted to throw 997 00:51:02,400 --> 00:51:05,799 Speaker 1: out there, uh, that we did not talk about. And 998 00:51:05,840 --> 00:51:09,320 Speaker 1: it's a type of elevator system called the destination dispatch, 999 00:51:09,520 --> 00:51:12,080 Speaker 1: in which you key your floor number into a pad 1000 00:51:12,120 --> 00:51:15,080 Speaker 1: in the lobby and the computer then tracks where the 1001 00:51:15,120 --> 00:51:17,960 Speaker 1: cars are and assigned you an elevator bank number, so 1002 00:51:18,080 --> 00:51:19,319 Speaker 1: at least are the ones you go in. Then there 1003 00:51:19,320 --> 00:51:23,239 Speaker 1: are no buttons, no buttons whatsoever. So the illusion is 1004 00:51:23,280 --> 00:51:26,360 Speaker 1: just shattered. You have no control. You're in an elevator 1005 00:51:26,400 --> 00:51:29,560 Speaker 1: that you cannot manipulate in any way. I believe Palm 1006 00:51:29,600 --> 00:51:32,880 Speaker 1: Garden was the one who who compared those elevators to 1007 00:51:33,320 --> 00:51:36,759 Speaker 1: um like an elevator in a Bond villain's mansion or something. 1008 00:51:36,800 --> 00:51:38,400 Speaker 1: You know, you're on board, You're like, who's in charge? 1009 00:51:38,400 --> 00:51:41,399 Speaker 1: This is going to open up? You know, on the 1010 00:51:41,440 --> 00:51:43,799 Speaker 1: into the like the into a pit of sharks or something. 1011 00:51:43,840 --> 00:51:46,560 Speaker 1: I don't know. I'm totally out of control. And and 1012 00:51:46,600 --> 00:51:48,880 Speaker 1: again it comes back to the idea that our technology, 1013 00:51:49,520 --> 00:51:55,000 Speaker 1: the technology narrative of the elevators, is giving us power 1014 00:51:55,160 --> 00:51:57,200 Speaker 1: and then sort and then steadily taking it away. It's 1015 00:51:57,239 --> 00:52:00,760 Speaker 1: it's interesting to behold how it deve tells with whatever 1016 00:52:00,800 --> 00:52:03,799 Speaker 1: else is going on in the world of technology. UM. 1017 00:52:03,840 --> 00:52:08,560 Speaker 1: I wanted to point out that that jumping just before impact, 1018 00:52:08,600 --> 00:52:10,080 Speaker 1: this is something that you hear about sometimes, like, oh, 1019 00:52:10,120 --> 00:52:12,400 Speaker 1: if an elevator crashes, you can jump just before impact 1020 00:52:12,880 --> 00:52:15,560 Speaker 1: and you'll be fine. That's a myth. That's a myth. 1021 00:52:15,800 --> 00:52:17,760 Speaker 1: I want to close it out with that, because there's 1022 00:52:17,840 --> 00:52:20,239 Speaker 1: never any reason to jump on an never right as 1023 00:52:20,239 --> 00:52:23,040 Speaker 1: you say, that will mess up the weight sensors. And 1024 00:52:23,080 --> 00:52:25,399 Speaker 1: there's two problems with that scenario. You can't jump fast 1025 00:52:25,480 --> 00:52:28,319 Speaker 1: enough to counteract the speed of falling, that's the first problem, 1026 00:52:28,440 --> 00:52:32,400 Speaker 1: and you wouldn't really know when to jump, right. Yeah, exactly. 1027 00:52:32,680 --> 00:52:35,600 Speaker 1: I believe James Fortune when asked about this in the 1028 00:52:35,600 --> 00:52:37,719 Speaker 1: Palm Garden's article, he just said, well, dead is dad. 1029 00:52:39,360 --> 00:52:41,920 Speaker 1: He's he's kind of a grim individual. He've been in 1030 00:52:41,920 --> 00:52:44,879 Speaker 1: the elevator uses a long time, had a very very 1031 00:52:44,920 --> 00:52:47,920 Speaker 1: straightforward outlook on He's been in so many elevators he 1032 00:52:48,160 --> 00:52:50,680 Speaker 1: have been thinking about being entombed for a while. I suppose. 1033 00:52:50,840 --> 00:52:53,640 Speaker 1: So the future of elevators, UM, this is a course 1034 00:52:53,640 --> 00:52:55,400 Speaker 1: of fascet We we have to end up getting here, 1035 00:52:55,400 --> 00:52:57,080 Speaker 1: and we end up getting here. In most of our podcast, 1036 00:52:57,200 --> 00:52:58,799 Speaker 1: what does this mean for the future? How will this 1037 00:52:58,880 --> 00:53:01,600 Speaker 1: change in the future, And a number of these technologs 1038 00:53:01,600 --> 00:53:04,160 Speaker 1: we've talked about. I mean that is the future, the 1039 00:53:04,200 --> 00:53:06,360 Speaker 1: idea that we're going to see more and more elevators 1040 00:53:06,560 --> 00:53:08,640 Speaker 1: where we have less and less control. It's all in 1041 00:53:08,680 --> 00:53:11,080 Speaker 1: the computers. There are no buttons. Maybe they have some buttons, 1042 00:53:11,080 --> 00:53:14,840 Speaker 1: but it's just about giving us a false sense of power. Um. Also, 1043 00:53:15,200 --> 00:53:20,160 Speaker 1: smaller engines, better cables, sort of a technological increases in 1044 00:53:20,280 --> 00:53:24,279 Speaker 1: small areas that improve and sort of whittle down and 1045 00:53:24,280 --> 00:53:29,760 Speaker 1: and perfect the existing product. But as far as rapid changes, 1046 00:53:29,840 --> 00:53:35,319 Speaker 1: as far as like really game changing changes, it's less 1047 00:53:35,320 --> 00:53:38,319 Speaker 1: certain in that area because instantly, when you think of 1048 00:53:38,400 --> 00:53:42,120 Speaker 1: high tech, crazy fantastic elevators, you probably think of two things. 1049 00:53:42,440 --> 00:53:45,160 Speaker 1: You probably think of the elevators and the starships and 1050 00:53:45,200 --> 00:53:47,239 Speaker 1: the and star Trek which show which can move just 1051 00:53:47,280 --> 00:53:51,680 Speaker 1: about anywhere inside the ship horizontal vertically. Um likewise, I 1052 00:53:51,680 --> 00:53:53,759 Speaker 1: think you see those in the recent Total Recall movie. 1053 00:53:53,800 --> 00:53:56,440 Speaker 1: Their elevator boxes that move up and down and sideways, 1054 00:53:56,680 --> 00:54:00,080 Speaker 1: and of course the wont evator that can go sideways 1055 00:54:00,160 --> 00:54:02,799 Speaker 1: in diagonal ways and just can and can fly and 1056 00:54:02,840 --> 00:54:07,879 Speaker 1: it's glass and it's the most marvelous thing ever now there. 1057 00:54:08,239 --> 00:54:11,960 Speaker 1: Otis did have a design uh and UH they were 1058 00:54:11,960 --> 00:54:13,840 Speaker 1: working on in the late nineties, and it was called 1059 00:54:14,120 --> 00:54:18,200 Speaker 1: the Odyssey and this and they had a prototype for 1060 00:54:18,280 --> 00:54:20,759 Speaker 1: this as well, and this is essentially an elevator that 1061 00:54:20,800 --> 00:54:24,680 Speaker 1: can travel horizontally in vertically. So instead of instead of 1062 00:54:24,719 --> 00:54:27,480 Speaker 1: having to take that express elevator up and then and 1063 00:54:27,520 --> 00:54:30,440 Speaker 1: then get off and then board some more elevators, you 1064 00:54:30,480 --> 00:54:33,800 Speaker 1: would have an elevator that could climb halfway up the building, 1065 00:54:34,120 --> 00:54:38,000 Speaker 1: then move horizontally into another elevator shaft and then climb 1066 00:54:38,120 --> 00:54:41,560 Speaker 1: that one. So it was a really I mean everyone 1067 00:54:41,560 --> 00:54:43,360 Speaker 1: there was really excited about it, and then it was 1068 00:54:43,360 --> 00:54:47,440 Speaker 1: gonna be huge, But in Asian financial crisis hit, uh 1069 00:54:47,480 --> 00:54:50,880 Speaker 1: there was a rising cost of electricity and it basically 1070 00:54:51,040 --> 00:54:52,680 Speaker 1: the idea was scrapped or at least put on the 1071 00:54:52,680 --> 00:54:55,440 Speaker 1: backshelf to maybe be picked up later on. But his 1072 00:54:55,520 --> 00:54:57,440 Speaker 1: Palm Garden points out in his article one of the 1073 00:54:57,440 --> 00:55:01,000 Speaker 1: things is that the elevator, essentially in most people's mind, 1074 00:55:01,080 --> 00:55:03,879 Speaker 1: is already perfect. I mean, it's it's not perfect there, 1075 00:55:03,920 --> 00:55:06,400 Speaker 1: you know. We we want things this, we want the 1076 00:55:06,400 --> 00:55:09,240 Speaker 1: thirty seconds or less, and the faster it gets obviously 1077 00:55:09,280 --> 00:55:12,080 Speaker 1: the better. But for the most part, nobody is demanding 1078 00:55:12,360 --> 00:55:16,440 Speaker 1: these crazy changes. Well yeah, necessity being the mother of inventions. 1079 00:55:16,440 --> 00:55:19,960 Speaker 1: So until buildings really start to get more I guess 1080 00:55:20,040 --> 00:55:25,080 Speaker 1: uh horizontal and vertically oriented, we probably won't see elevators 1081 00:55:25,160 --> 00:55:27,920 Speaker 1: change that much now I would. I do want to add, though, 1082 00:55:27,960 --> 00:55:30,920 Speaker 1: that there are pressurized elevators now in UH and at 1083 00:55:31,000 --> 00:55:33,640 Speaker 1: least one of the high rises in um in Dubai, 1084 00:55:33,719 --> 00:55:36,719 Speaker 1: I believe. So you are seeing that technological change take place, 1085 00:55:36,760 --> 00:55:38,680 Speaker 1: and that's kind of futuristic, the idea that the elevator 1086 00:55:38,719 --> 00:55:42,719 Speaker 1: is pressurized like a spaceship. But but for the most part, 1087 00:55:43,400 --> 00:55:46,560 Speaker 1: don't expect the walcovator to be available in your area 1088 00:55:46,880 --> 00:55:50,239 Speaker 1: just yet. That's right now. UM. If you are a 1089 00:55:50,239 --> 00:55:52,360 Speaker 1: gear head and you wanna have a bit of a 1090 00:55:52,400 --> 00:55:56,520 Speaker 1: deeper dive into more elevator specifics, including hydraulic systems versus 1091 00:55:56,600 --> 00:56:00,560 Speaker 1: a roped systems. Check out How Elevators Work by Tom Harris. 1092 00:56:00,600 --> 00:56:03,640 Speaker 1: That's on how Stuffworks dot com. It's a great article 1093 00:56:03,719 --> 00:56:08,320 Speaker 1: that will take you through every different aspect mechanically of elevators. 1094 00:56:08,840 --> 00:56:10,600 Speaker 1: And I have a little quote to take us out. 1095 00:56:12,520 --> 00:56:16,000 Speaker 1: All right, and if the elevator tries to bring you down, 1096 00:56:16,600 --> 00:56:22,000 Speaker 1: go crazy, punch a higher floor, ding ding ding ding, 1097 00:56:23,600 --> 00:56:26,840 Speaker 1: Prince Rogers Nelson. Oh, I don't know that song song. 1098 00:56:27,239 --> 00:56:29,520 Speaker 1: And then if the elevator tries to bring it down 1099 00:56:30,760 --> 00:56:36,840 Speaker 1: crazy all right, I'm sure many listeners will know what 1100 00:56:36,920 --> 00:56:38,879 Speaker 1: you're talking about. So that's good. I like the quote, 1101 00:56:38,880 --> 00:56:42,480 Speaker 1: I like the idea. Yeah, so hey, we're gonna skip 1102 00:56:42,960 --> 00:56:44,680 Speaker 1: our listener mail since we're went a bit long on 1103 00:56:44,719 --> 00:56:47,479 Speaker 1: this one. And and goodness, we could have probably kept 1104 00:56:47,480 --> 00:56:49,480 Speaker 1: going there because we ended up getting so many cool 1105 00:56:49,520 --> 00:56:51,600 Speaker 1: facts about elevators. We didn't even get into some of 1106 00:56:51,640 --> 00:56:54,560 Speaker 1: the crazy things people do on elevators. The the ice 1107 00:56:54,600 --> 00:56:58,040 Speaker 1: cream story that I think you've shared before. Oh, yeah, 1108 00:56:58,080 --> 00:57:00,000 Speaker 1: your father was on an elevator with an ice cream 1109 00:57:00,040 --> 00:57:01,799 Speaker 1: com Yeah, it was in his office building and the 1110 00:57:01,840 --> 00:57:04,120 Speaker 1: woman next him and said that that looks really good, 1111 00:57:04,200 --> 00:57:07,120 Speaker 1: and he said it is, and she leaned over and 1112 00:57:07,120 --> 00:57:09,520 Speaker 1: took a big bite out of it, and then the 1113 00:57:09,560 --> 00:57:12,000 Speaker 1: doors opened as she got off. And then you said 1114 00:57:12,040 --> 00:57:17,400 Speaker 1: that you yourself have at times danced on elevators, Dan, 1115 00:57:17,840 --> 00:57:20,800 Speaker 1: I've done, I've I've done a lot of singing. Let's 1116 00:57:20,880 --> 00:57:24,840 Speaker 1: we probably shouldn't talk about that. Well, we would love 1117 00:57:24,880 --> 00:57:27,520 Speaker 1: to hear our listeners talk about that. So if if 1118 00:57:27,560 --> 00:57:31,760 Speaker 1: you have some insight into elevators, elevator culture, elevator design, 1119 00:57:32,440 --> 00:57:34,560 Speaker 1: we would love to hear about it. Particularly, what's the 1120 00:57:34,560 --> 00:57:37,040 Speaker 1: craziest elevator you've ever been on? Be it super high 1121 00:57:37,080 --> 00:57:41,680 Speaker 1: tech or crazy archaic? Um? What's your favorite scene with 1122 00:57:41,720 --> 00:57:44,440 Speaker 1: an elevator from a movie or TV show? Um? Be 1123 00:57:44,480 --> 00:57:47,920 Speaker 1: it something realistic or just completely unrealistic? And uh, and 1124 00:57:48,000 --> 00:57:50,160 Speaker 1: what do you think about your interactions on an elevator? 1125 00:57:50,480 --> 00:57:52,520 Speaker 1: Has someone ever taken a bite of your ice cream? 1126 00:57:52,760 --> 00:57:55,360 Speaker 1: Do you dance or seen? How do you interact with 1127 00:57:55,440 --> 00:57:59,760 Speaker 1: strangers or pseudo work strangers on when you're a board 1128 00:57:59,760 --> 00:58:02,120 Speaker 1: and now vat we'd love to hear from everyone about this. Uh, 1129 00:58:02,360 --> 00:58:05,160 Speaker 1: these about these questions so you can find us on Facebook. 1130 00:58:05,160 --> 00:58:06,680 Speaker 1: You can find us on tumbler. We are Stuff to 1131 00:58:06,720 --> 00:58:08,720 Speaker 1: Blow your Mind on both of those, and we're also 1132 00:58:08,760 --> 00:58:11,400 Speaker 1: on Twitter where our handle is blow the Mind. And 1133 00:58:11,480 --> 00:58:13,400 Speaker 1: if you are the ice Cream Bandit and you want 1134 00:58:13,400 --> 00:58:15,680 Speaker 1: to confess, you can write us at below the Mind 1135 00:58:15,720 --> 00:58:24,840 Speaker 1: at Discovery dot com. For more on this and thousands 1136 00:58:24,880 --> 00:58:31,880 Speaker 1: of other topics, visit how stuff Works dot com