WEBVTT - Listener Mail: Tomorrow Never Knows

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you, welcome to Stuff to Blow your Mind. Listener mail.

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<v Speaker 3>This is Robert Lamb and this is Joe McCormick. And

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<v Speaker 3>it's Monday, the day of each week that we read

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<v Speaker 3>back messages sent into the Stuff to Blow Your Mind

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<v Speaker 3>email account. If you've never gotten in touch before and

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<v Speaker 3>you would like to give it a shot, you can

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<v Speaker 3>reach us at contact at stuff to Blow your Mind

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<v Speaker 3>dot com. Let's see rob I think I'm going to

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<v Speaker 3>kick things off today with a response to some of

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<v Speaker 3>our older episodes on numeracy the human number sense.

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<v Speaker 2>All right, let's have it.

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<v Speaker 3>This is from Charlotte. Charlotte says, Hi, thank you for

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<v Speaker 3>a great podcast. A while ago, I listened to your

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<v Speaker 3>episode on numerosity and the approximate number system where you

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<v Speaker 3>mentioned that we still don't know much about the ideology

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<v Speaker 3>of this phenomenon, where it comes from. Therefore, I would

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<v Speaker 3>just like to highlight that I published an article last

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<v Speaker 3>year on the heritability of the approximate number system in infancy.

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<v Speaker 3>This is the first study on the heritability of the

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<v Speaker 3>ans the approximate number system and the largest infant twin

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<v Speaker 3>study in the world. We found that the ANS was

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<v Speaker 3>partly heritable but also largely influenced by factors unique to

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<v Speaker 3>each twin. Not sure if this is interest of interest

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<v Speaker 3>to you, but here's the link anyway, Best regards, Charlotte.

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<v Speaker 3>So Oh man, I love getting email like this. Always

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<v Speaker 3>love to hear from a researcher who's done direct research

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<v Speaker 3>on a topic we touched on. So I looked into

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<v Speaker 3>this paper. This is by Charlotte Victorson at All published

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<v Speaker 3>in the journal Developmental Science just this year twenty twenty three,

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<v Speaker 3>called infant sense of approximate numerosity, heritability and link to

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<v Speaker 3>other concurrent traits. So, as Charlotte said, the paper is

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<v Speaker 3>looking at the approximate number system, which is a very

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<v Speaker 3>interesting ability that we have in our brains. Of course,

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<v Speaker 3>it's obvious that we can look at two groups of

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<v Speaker 3>objects and tell which group is bigger by counting the

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<v Speaker 3>objects in each group, but actually we can do it

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<v Speaker 3>without counting. So the approximate number system is the ability

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<v Speaker 3>to distinguish the numerical magnitude of different groups of objects

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<v Speaker 3>without relying on language or symbols. So, in fact, to

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<v Speaker 3>be able to look at like two groups of things

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<v Speaker 3>and know which one has more in it without counting,

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<v Speaker 3>And the supplies typically to groups of items greater than four.

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<v Speaker 3>There could be more than four numbers in it when

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<v Speaker 3>you're just comparing like two of something to three of something.

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<v Speaker 3>Apparently the brain uses a different system, but obviously this

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<v Speaker 3>is a paramount use in our lives. We use it

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<v Speaker 3>all the time, in fact, without even realizing we're doing it.

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<v Speaker 3>So like the approximate number system is how you can

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<v Speaker 3>look at two bushes that each have hundreds of berries

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<v Speaker 3>on them and just immediately see that one bush has

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<v Speaker 3>more berries than the other, even though you didn't count them,

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<v Speaker 3>and you didn't rely on any words or numbers to

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<v Speaker 3>form that judgment, And so I was doing a bit

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<v Speaker 3>of background. The accuracy of a person's approximate number system,

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<v Speaker 3>it seems, is usually measured by finding the smallest ratio

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<v Speaker 3>of difference that you can reliably tell apart without counting. So,

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<v Speaker 3>for example, if you show me two scattering you flash

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<v Speaker 3>at me two scatterings of red dots on a screen, quickly,

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<v Speaker 3>I might reliably be able to tell that a group

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<v Speaker 3>of one hundred and thirty dots is greater than a

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<v Speaker 3>group of just one hundred dots, but I cannot reliably

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<v Speaker 3>tell the difference between one hundred and five dots and

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<v Speaker 3>one hundred dots, And so from there you would keep

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<v Speaker 3>on sort of narrowing it down until you eventually determine

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<v Speaker 3>what the threshold is, like how big the difference needs

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<v Speaker 3>to be before you can usually tell them apart. And

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<v Speaker 3>that might be a difference of ten percent or twenty

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<v Speaker 3>percent or whatever. Before you reliably get it right with babies,

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<v Speaker 3>which are studied in this paper, obviously you need a

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<v Speaker 3>different kind of test. I think they used a gaze

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<v Speaker 3>tracking apparatus to see what the babies were looking at

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<v Speaker 3>to determine whether they were sensing novelty.

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<v Speaker 2>Just strap that right onto their heads, right.

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<v Speaker 3>So yeah, it turns out we do have a sense

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<v Speaker 3>for approximate numerosity even in infancy before we can count

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<v Speaker 3>at all. But it's not super well developed. It's certainly

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<v Speaker 3>not as well developed as it will be in adulthood.

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<v Speaker 3>And this paper and Developmental Science, where our listener here

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<v Speaker 3>was the lead author, it tested five hundred and fourteen

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<v Speaker 3>five month old twin subjects, and I was just thinking, wow,

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<v Speaker 3>that must have been the process for assembling that sample

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<v Speaker 3>group must have been interesting, and it tested them to

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<v Speaker 3>figure out what portion of the infant skill for approximate

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<v Speaker 3>numerosity is heritable. Of course, studies on identical identical twins

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<v Speaker 3>are very useful for figuring out two what extent things

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<v Speaker 3>are genetic or heritable? And the author's right quote. We

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<v Speaker 3>found a small to moderate but statistically significant effect of

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<v Speaker 3>genetic factors on approximate number system acuity, but only when

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<v Speaker 3>differences in numerosity were relatively large, such as in a

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<v Speaker 3>one to four ratio. So to the extent you know

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<v Speaker 3>that there was evidence for a genetic difference in how

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<v Speaker 3>babies can tell the difference in numbers of objects. That

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<v Speaker 3>difference in acuity only manifested for big differences in numbers

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<v Speaker 3>for babies. They also found that this acuity for finding

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<v Speaker 3>difference in approximate numbers was quote not positively associated with

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<v Speaker 3>concurrent attentional, cognitive or motor abilities. So in a way,

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<v Speaker 3>it seems to be sort of its own thing.

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<v Speaker 2>Fascinating.

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<v Speaker 3>So anyway, thank you so much Charlotte for getting in

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<v Speaker 3>touch for sharing relevant research with us. This is one

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<v Speaker 3>of my favorite kinds of email. So researchers out there,

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<v Speaker 3>if you're listening. If you've published a paper on the

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<v Speaker 3>topic we talked about, you want to share it with us,

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<v Speaker 3>and especially if you want to explain it and offer

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<v Speaker 3>some interpretive context, please always send it in contact at

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<v Speaker 3>stuff to Blow your Mind dot com. It is absolutely

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<v Speaker 3>of interest to us.

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<v Speaker 2>Yeah, absolutely, all right. We also heard from folks already

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<v Speaker 2>about our Future Shock series they were doing revisiting the

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<v Speaker 2>topic of Alvin and heid Toffler's Future Shock from nineteen seventy.

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<v Speaker 2>I'm going to start off with just a couple of

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<v Speaker 2>messages from our discord server. Now, if you're wondering, well,

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<v Speaker 2>WHOA there's a discord server for Stuff to Blow your Mind?

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<v Speaker 2>There is, indeed, and if you would like to access it,

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<v Speaker 2>just email us at that email address that we just

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<v Speaker 2>shared with you, and we'll share again at the end

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<v Speaker 2>of this program. Anyway, one user named Ymz says, quote

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<v Speaker 2>Rob's wife cracks me up. Future Shock is not real.

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<v Speaker 2>I feel the same way, but I'm still enjoying the discussion.

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<v Speaker 2>And then we had then one of our listeners, Steve

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<v Speaker 2>here I believe, chimes in and says, I feel it

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<v Speaker 2>is real. What Joe said about AI killing day jobs

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<v Speaker 2>for various artists trying to subsidize personal work not the

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<v Speaker 2>soul is stuff that AI scraped, homogenized plagiaristic generations so

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<v Speaker 2>often are is spot on. Radiologists, surgeons, and many other

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<v Speaker 2>professions are already being affected. This does not have to

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<v Speaker 2>be a bad thing, but it is already happening. Even

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<v Speaker 2>though many experts said just a handful of years ago

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<v Speaker 2>that these changes were at least a decade away. This

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<v Speaker 2>episode is pure stuff to blow your mind. Gold. I

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<v Speaker 2>would add that if the primary force motivating future artists

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<v Speaker 2>of any kind involves winning the favor of almighty algorithms

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<v Speaker 2>while maximizing likes over convictions and personal vision, a dark

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<v Speaker 2>age of empty digital kitch will add all the minds

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<v Speaker 2>of the masses.

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<v Speaker 3>My inclination is to agree with you there, Steve. I

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<v Speaker 3>think the metrics used to measure the quality of a

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<v Speaker 3>piece of media on social media sites and other platforms

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<v Speaker 3>are off and actually do not have a huge amount

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<v Speaker 3>of overlap with what actually brings value to our lives.

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<v Speaker 3>There may be things that you're very likely to click

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<v Speaker 3>like on or reshare that are really of quite shallow

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<v Speaker 3>interest to you, whereas you were less likely to use

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<v Speaker 3>the metric tract interactions on the platform itself that are

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<v Speaker 3>all the platform can really care about. There are things

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<v Speaker 3>where you're less likely to do that, but that actual

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<v Speaker 3>piece of content is much more valuable to you.

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<v Speaker 2>Yeah. I mean, there's plenty of stuff that's clickable and memeable,

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<v Speaker 2>but it doesn't mean it actually improves your life. I mean,

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<v Speaker 2>I think about I can have cheeseburger every day, but

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<v Speaker 2>it doesn't really really impact my life at all. It

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<v Speaker 2>just occasionally makes me chuckle or shake my head. And

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<v Speaker 2>that was a human creation, by the way, that was

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<v Speaker 2>not AI. I'd like to see AI try to top

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<v Speaker 2>I can have cheeseburger.

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<v Speaker 3>I feel like the kind of engagement and value that

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<v Speaker 3>is easily tracked on digital platforms will end up prioritizing

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<v Speaker 3>things that people like in a very shallow and non

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<v Speaker 3>committal way, and things that actually involve you more intellectually

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<v Speaker 3>or emotionally or whatever will will suffer for that.

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<v Speaker 2>Yeah, all right. We also heard from Fletch in Discord.

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<v Speaker 2>Fletch is a frequent contributor to discussions there chimes in

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<v Speaker 2>about Tharg's future Shocks in the British comic book series

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<v Speaker 2>two thousand and AD. I guess it's more than a series.

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<v Speaker 2>It's like a publication. Fletch says Tharg's Future Shocks in

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<v Speaker 2>two thousand and eight was kind of a Twilight Zone

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<v Speaker 2>series of one off weird tales, if memory serves, One

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<v Speaker 2>of them was the basis of the Richard Stanley movie Hardware.

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<v Speaker 2>Judge Dread also occasionally featured a class of adversary called

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<v Speaker 2>fut seats, citizens driven to psychotic outburst by the future

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<v Speaker 2>shock of living in mega city one.

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<v Speaker 3>Well, you know, in defense of the Tofflers, I don't

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<v Speaker 3>know if they were quite picturing the creation of like

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<v Speaker 3>mad zombies running amok due to future shock. I think

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<v Speaker 3>it was more like a state of mostly characterized by

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<v Speaker 3>anxiety and stress and all of the downstream effects of

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<v Speaker 3>anxiety and stress.

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<v Speaker 2>Well, I either don't remember or have not encountered. The

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<v Speaker 2>futzis myself in the Judge Dread comics that I've read.

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<v Speaker 2>But I think it is important to recognize that the tone,

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<v Speaker 2>at least for a lot of Judge Dread comics is

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<v Speaker 2>more absurdist and inhumorous, something that if you've just seen

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<v Speaker 2>the movies you might not get, especially if you've just

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<v Speaker 2>seen like the more recent film The Carl Urban One,

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<v Speaker 2>which was a lot of fun. I really enjoyed that

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<v Speaker 2>one and an action packed flick, but it does significantly

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<v Speaker 2>dial down the absurdest humor that is I think inherent

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<v Speaker 2>in the world.

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<v Speaker 3>But was he the law?

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<v Speaker 2>Yeah, he's the law, but he also has like like

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<v Speaker 2>he has a like a like a robot made with

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<v Speaker 2>an Italian accent. If I remember, you know, there's all

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<v Speaker 2>sorts of really odd things that occur in his life,

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<v Speaker 2>in the life of everyone living in Mega City one.

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<v Speaker 2>It's like, it's intentionally absurd.

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<v Speaker 3>When is it my turn to be the law?

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<v Speaker 2>Well, you have to go through the program like everybody else.

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<v Speaker 3>Okay, I guess somebody's got to be the law. Okay.

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<v Speaker 3>This next message is from email. This comes from two

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<v Speaker 3>two says Hi Joe and Robert, a longtime listener, first

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<v Speaker 3>time writer. I wanted to express my deep resonance with

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<v Speaker 3>your recent episode on future shock. As a professional technologist.

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<v Speaker 3>The discussion struck a chord I couldn't quite articulate before.

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<v Speaker 3>The concept of future shock, akin to culture shock, but

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<v Speaker 3>caused by the relentless march of time and evolving standards,

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<v Speaker 3>truly resonated with me. In my work. My team is

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<v Speaker 3>often seen as pioneers and innovation, yet we perceive our

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<v Speaker 3>efforts as merely keeping pace with competitors. This disparity in

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<v Speaker 3>perception between our groundbreaking work and how it's perceived creates

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<v Speaker 3>a significant gap between our team, the creators, and our

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<v Speaker 3>target audience, the users. I want to extend my heartfelt

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<v Speaker 3>thanks for shedding light on the insights from a fifty

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<v Speaker 3>year old novel. Well, it wasn't a novel, but we

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<v Speaker 3>can get into that that so accurately captures the daily

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<v Speaker 3>challenges my team and I face. Best two Well, first

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<v Speaker 3>of all, thank you for getting in touch and sharing

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<v Speaker 3>your perspective on that. I find it interesting that you

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<v Speaker 3>mistakenly thought, based on our discussion, that The Future Shock

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<v Speaker 3>is a novel. It is not a novel. But the

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<v Speaker 3>Tofflers do point out that a lot of the work

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<v Speaker 3>of futurology is similar to the work of fiction writing

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<v Speaker 3>and the work of writing science fiction. Obviously, if you

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<v Speaker 3>are a disciplined person who's trying to make accurate predictions

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<v Speaker 3>about reality, you're going to be more constrained, probably than

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<v Speaker 3>a fiction writer, because fiction writers have all kinds of

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<v Speaker 3>different relationships with reality. Some of them may be trying

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<v Speaker 3>to go for as hard and accurate a prediction of

0:13:16.720 --> 0:13:18.920
<v Speaker 3>what they think will happen in reality as possible, but

0:13:19.000 --> 0:13:21.880
<v Speaker 3>many writers are going for a kind of more exaggerated

0:13:21.920 --> 0:13:26.400
<v Speaker 3>satirical approach, or are including things they don't think are

0:13:26.440 --> 0:13:30.240
<v Speaker 3>actually likely to happen in order to create a world

0:13:30.360 --> 0:13:32.800
<v Speaker 3>where they can illustrate things about human life or something

0:13:32.840 --> 0:13:35.200
<v Speaker 3>like that. But they do highlight that there are big

0:13:35.240 --> 0:13:38.840
<v Speaker 3>similarities between writing science fiction and doing serious futurology, and

0:13:38.880 --> 0:13:42.480
<v Speaker 3>they point to the work of great science fiction authors

0:13:42.520 --> 0:13:47.160
<v Speaker 3>as being truly important in helping helping create what they

0:13:47.200 --> 0:13:51.520
<v Speaker 3>call the shock absorbers for coming changes in technology and culture.

0:13:51.920 --> 0:13:54.600
<v Speaker 2>Yeah, that's a great point, Yeah, because like on one hand,

0:13:54.640 --> 0:13:58.040
<v Speaker 2>something like Mega City one from two thousand and eight eight,

0:13:58.080 --> 0:14:03.520
<v Speaker 2>you know, it's not really so much prediction about what,

0:14:04.080 --> 0:14:06.920
<v Speaker 2>you know, supercities of the future might look like. It's

0:14:06.960 --> 0:14:10.360
<v Speaker 2>more a commentary and kind of a you know, a

0:14:10.440 --> 0:14:14.160
<v Speaker 2>change in commentary on where we are now. But you know,

0:14:14.200 --> 0:14:16.480
<v Speaker 2>I guess it's always the case with science with science fiction.

0:14:16.559 --> 0:14:20.640
<v Speaker 2>But then yeah, you have other works that that engage

0:14:20.640 --> 0:14:23.800
<v Speaker 2>in both activities, you know, a little bit predictive but

0:14:23.920 --> 0:14:29.240
<v Speaker 2>also as always speaking to contemporary anxieties, fears, and hopes.

0:14:30.040 --> 0:14:33.760
<v Speaker 3>Another thing I want to mention about this email. The

0:14:33.760 --> 0:14:36.960
<v Speaker 3>writer doesn't say exactly what products it is that they're

0:14:37.000 --> 0:14:41.200
<v Speaker 3>working on in the technology space, but still I think

0:14:41.200 --> 0:14:43.680
<v Speaker 3>it's interesting that it highlights a lot of us who

0:14:43.840 --> 0:14:46.800
<v Speaker 3>don't work in the tech space just kind of assume

0:14:46.880 --> 0:14:51.080
<v Speaker 3>that people who do are like the masters of future progress.

0:14:51.160 --> 0:14:53.560
<v Speaker 3>They're like the ones who are on top of it.

0:14:53.640 --> 0:14:56.680
<v Speaker 3>They figure out what's going to happen next, and they've

0:14:56.760 --> 0:15:00.800
<v Speaker 3>you know, they they understand what's going on. But I

0:15:00.840 --> 0:15:03.280
<v Speaker 3>think that that may often not be the case. In fact,

0:15:03.360 --> 0:15:04.840
<v Speaker 3>I think a lot of people who work in the

0:15:04.840 --> 0:15:10.359
<v Speaker 3>technology sector are just they're they're feeling also confused and overwhelmed,

0:15:10.360 --> 0:15:12.720
<v Speaker 3>and you know, they know the one thing, the project

0:15:12.800 --> 0:15:14.920
<v Speaker 3>that they're working on, and what they're trying to do

0:15:15.080 --> 0:15:18.600
<v Speaker 3>to achieve that, but may perceive the other, you know,

0:15:18.760 --> 0:15:21.640
<v Speaker 3>other changes in technology in the world around them as

0:15:21.640 --> 0:15:24.960
<v Speaker 3>being a thing that is hard to understand and outside

0:15:25.000 --> 0:15:28.240
<v Speaker 3>their control and and happening faster than they can keep

0:15:28.320 --> 0:15:28.560
<v Speaker 3>up with.

0:15:29.320 --> 0:15:39.480
<v Speaker 2>Yeah, all right, here's another one. This one comes to

0:15:39.520 --> 0:15:42.520
<v Speaker 2>us from Taylor. Taylor says, Hello, Robin, Joe, happy to

0:15:42.560 --> 0:15:46.080
<v Speaker 2>oblige your request for decision fatigue and future shock experiences

0:15:46.600 --> 0:15:48.400
<v Speaker 2>like the two of you. I'm not sure what to

0:15:48.440 --> 0:15:51.320
<v Speaker 2>make of the top fours predictions about decision fatigue regarding

0:15:51.360 --> 0:15:55.520
<v Speaker 2>personal style, but I've definitely experienced the phenomenon in another

0:15:55.600 --> 0:15:58.520
<v Speaker 2>aspect of my life. I've been an avid video game

0:15:58.520 --> 0:16:00.640
<v Speaker 2>player for as long as I can remember, but it

0:16:00.680 --> 0:16:03.480
<v Speaker 2>felt overwhelmed in recent years by the sheer quantity of

0:16:03.520 --> 0:16:06.520
<v Speaker 2>compelling video game releases. When I was growing up, it

0:16:06.560 --> 0:16:09.440
<v Speaker 2>was a reasonable desire to experience every video game that

0:16:09.480 --> 0:16:12.120
<v Speaker 2>piqued my interest, But as the medium has grown, that

0:16:12.200 --> 0:16:17.200
<v Speaker 2>expectation has fled away from me at an accelerating pace. Today,

0:16:17.240 --> 0:16:19.880
<v Speaker 2>a gamer of any persuasion could gluck themselves on their

0:16:19.920 --> 0:16:23.480
<v Speaker 2>favorite genre day in and day out and never complete

0:16:23.520 --> 0:16:27.280
<v Speaker 2>all the offerings available to them. I'm certain my assessment

0:16:27.360 --> 0:16:30.680
<v Speaker 2>is partially colored by the information bias of childhood, when

0:16:30.680 --> 0:16:33.440
<v Speaker 2>my ability to consume video games was defined by the

0:16:33.440 --> 0:16:37.640
<v Speaker 2>consoles I owned, my allowance, my parents, content restrictions, and

0:16:37.640 --> 0:16:40.520
<v Speaker 2>my greater free time. But the data backs me up here.

0:16:40.600 --> 0:16:45.200
<v Speaker 2>According to the market data company Statista, the number of

0:16:45.240 --> 0:16:48.440
<v Speaker 2>new video games published on the popular video game platform

0:16:48.600 --> 0:16:52.240
<v Speaker 2>Steam skyrocketed from four hundred and thirty four in twenty

0:16:52.280 --> 0:16:55.360
<v Speaker 2>twelve to teny nine hundred and sixty three in twenty

0:16:55.400 --> 0:16:58.880
<v Speaker 2>twenty two, and the rampant development increase isn't the only

0:16:58.920 --> 0:17:02.920
<v Speaker 2>bit of future shock effecting my favorite hobby. Playing a cooperative, competitive,

0:17:02.960 --> 0:17:05.840
<v Speaker 2>or narrative video game is definitely a form of quote

0:17:05.880 --> 0:17:09.200
<v Speaker 2>unquote serious leisure, akin to reading a book or watching

0:17:09.200 --> 0:17:12.040
<v Speaker 2>a movie, and is similarly threatened by the many things

0:17:12.080 --> 0:17:15.680
<v Speaker 2>competing for our attention moment to moment. In response, many

0:17:15.680 --> 0:17:19.520
<v Speaker 2>game developers compete for user attention by shifting their games

0:17:19.600 --> 0:17:23.840
<v Speaker 2>to quote unquote living game models, where content is drip

0:17:23.920 --> 0:17:27.159
<v Speaker 2>dead instead of being released as a single, discrete experience.

0:17:27.920 --> 0:17:32.000
<v Speaker 2>All of these changes have introduced sour frustration into a

0:17:32.080 --> 0:17:35.440
<v Speaker 2>hobby I've always enjoyed and left me with a constant

0:17:35.440 --> 0:17:38.000
<v Speaker 2>fear of missing out. If I choose to play X game,

0:17:38.240 --> 0:17:40.240
<v Speaker 2>what might I be missing from Y and Z game.

0:17:40.720 --> 0:17:43.879
<v Speaker 2>It's a similar experience to the phenomenon Rob described of

0:17:44.240 --> 0:17:47.159
<v Speaker 2>browsing a streaming platform until going to bed instead of

0:17:47.200 --> 0:17:50.399
<v Speaker 2>watching any movies at all. Ultimately, I have had to

0:17:50.440 --> 0:17:53.040
<v Speaker 2>reconcile myself to the reality that there are many exciting

0:17:53.040 --> 0:17:54.920
<v Speaker 2>things in the world I don't have time to experience.

0:17:54.960 --> 0:17:58.800
<v Speaker 2>Perhaps these abundant choices give us greater self determination than

0:17:58.840 --> 0:18:01.960
<v Speaker 2>ever before, but the fatigue of making these decisions takes

0:18:01.960 --> 0:18:05.040
<v Speaker 2>a toll, and I'm not certain whether I'm happier for it.

0:18:05.480 --> 0:18:07.399
<v Speaker 2>As ever, thank you for creating your wonderfully weird and

0:18:07.440 --> 0:18:09.760
<v Speaker 2>stimulating podcast. I look forward to the rest of your

0:18:09.840 --> 0:18:14.480
<v Speaker 2>future Shock series. Cheers Taylor. Ps. I also often find

0:18:14.480 --> 0:18:17.399
<v Speaker 2>myself racing through one game in the anticipation of another

0:18:17.440 --> 0:18:20.720
<v Speaker 2>game's pending release, which diminishes my enjoyment of both. I

0:18:20.720 --> 0:18:23.560
<v Speaker 2>imagine this kind of race to keep up with media

0:18:23.680 --> 0:18:25.240
<v Speaker 2>isn't unique to video games.

0:18:25.600 --> 0:18:27.800
<v Speaker 3>Well, thank you, Taylor. No, I don't think it is,

0:18:28.200 --> 0:18:30.760
<v Speaker 3>And yeah, I think this is. This is an excellent perspective,

0:18:30.800 --> 0:18:33.320
<v Speaker 3>and in one sense, there's a feeling that, like, well,

0:18:33.320 --> 0:18:35.920
<v Speaker 3>what what does one have to complain about with this

0:18:35.960 --> 0:18:38.919
<v Speaker 3>particular issue. You know that there are more great games

0:18:38.960 --> 0:18:41.840
<v Speaker 3>to enjoy than ever before, But there is this other

0:18:41.920 --> 0:18:46.680
<v Speaker 3>side to it, because we're we're not necessarily always made

0:18:46.920 --> 0:18:50.600
<v Speaker 3>happier by having more things to choose from, like there

0:18:51.840 --> 0:18:54.879
<v Speaker 3>is a there is a psychological cost that comes with

0:18:55.040 --> 0:18:58.560
<v Speaker 3>this greater diversity of content in the world, even if

0:18:58.640 --> 0:19:00.879
<v Speaker 3>in certain ways you could you could absolutely say it's

0:19:00.880 --> 0:19:01.440
<v Speaker 3>a good thing.

0:19:02.880 --> 0:19:05.439
<v Speaker 2>Yeah, I feel like just ten years ago, it was

0:19:05.480 --> 0:19:08.600
<v Speaker 2>more likely that my friends and I would be playing

0:19:08.600 --> 0:19:11.560
<v Speaker 2>the same games. Yeah, you know, And nowadays it's like

0:19:11.560 --> 0:19:13.480
<v Speaker 2>there's just so many choices. None of us are playing

0:19:13.520 --> 0:19:16.080
<v Speaker 2>the same games because I mean, and in a way,

0:19:16.200 --> 0:19:18.560
<v Speaker 2>you know that we have such great options. You can

0:19:18.640 --> 0:19:23.400
<v Speaker 2>just whatever if you're more into you know, simulation versus

0:19:23.720 --> 0:19:26.880
<v Speaker 2>you know, something real time, I don't know whatever. The distinction,

0:19:27.280 --> 0:19:29.760
<v Speaker 2>like you're just going to sort of go down that hallway,

0:19:29.800 --> 0:19:32.000
<v Speaker 2>go down that avenue, and your friends are going to

0:19:32.040 --> 0:19:34.000
<v Speaker 2>go down their own hallways and avenues, and then you

0:19:34.720 --> 0:19:36.720
<v Speaker 2>it seems like it's less often that I have something

0:19:36.720 --> 0:19:40.200
<v Speaker 2>to connect with with them in the video game realm.

0:19:40.480 --> 0:19:43.320
<v Speaker 3>I've had exactly the same experience years ago. It used

0:19:43.359 --> 0:19:45.040
<v Speaker 3>to be like if I was playing a game that

0:19:45.119 --> 0:19:47.520
<v Speaker 3>was probably also the same game that my friend was

0:19:47.560 --> 0:19:51.600
<v Speaker 3>currently playing, and now it's like, I don't know. Also,

0:19:51.640 --> 0:19:56.199
<v Speaker 3>I'm rarely playing something new. Yeah, I'm always like years

0:19:56.200 --> 0:19:58.000
<v Speaker 3>behind whatever the hot thing is.

0:19:58.760 --> 0:20:02.479
<v Speaker 2>Yeah. Yeah, sometimes that's easier because it's already out, it's cheaper,

0:20:03.160 --> 0:20:06.239
<v Speaker 2>and it's like Okay, I'm going to I'm going into this,

0:20:06.359 --> 0:20:08.399
<v Speaker 2>but it's not like a living system that I have

0:20:08.440 --> 0:20:09.520
<v Speaker 2>to live with as well.

0:20:10.040 --> 0:20:12.920
<v Speaker 3>Right, it's gotten all the patches and now it's ten

0:20:12.960 --> 0:20:15.000
<v Speaker 3>bucks instead of sixty. Right.

0:20:15.960 --> 0:20:17.359
<v Speaker 2>But yeah, and the other side, coming back to what

0:20:17.400 --> 0:20:19.520
<v Speaker 2>Taylor said, these games these days, some of these games

0:20:19.560 --> 0:20:23.280
<v Speaker 2>are so long, and you have so many other games

0:20:23.359 --> 0:20:25.040
<v Speaker 2>or other experiences in life you want to get to.

0:20:25.200 --> 0:20:29.040
<v Speaker 2>It's just you end up feeling this rush in the

0:20:29.440 --> 0:20:32.320
<v Speaker 2>latter portion of it if you actually complete the game

0:20:32.359 --> 0:20:35.600
<v Speaker 2>at all, which you know, makes it feel a little

0:20:35.640 --> 0:20:38.320
<v Speaker 2>more hollow, because it's like, I'm not even completely enjoying

0:20:38.960 --> 0:20:41.160
<v Speaker 2>the back half of this game because I'm thinking about

0:20:41.200 --> 0:20:42.960
<v Speaker 2>the next thing that I am going to try and

0:20:43.000 --> 0:20:46.200
<v Speaker 2>make time to play. And yeah, and I think part

0:20:46.240 --> 0:20:48.800
<v Speaker 2>of that's a product of just length and scope of

0:20:48.840 --> 0:20:51.800
<v Speaker 2>these games, the whole play to Extinction model on some

0:20:51.880 --> 0:20:54.919
<v Speaker 2>of them, for sure. As I've said before, I actually

0:20:55.000 --> 0:20:56.680
<v Speaker 2>kind of get excited when I see a review for

0:20:56.720 --> 0:20:58.399
<v Speaker 2>a game and people are like and it's so short.

0:20:58.480 --> 0:21:00.480
<v Speaker 2>I'm like, great, yeah, wonderful.

0:21:01.400 --> 0:21:05.480
<v Speaker 3>I totally agree. I really appreciate a well crafted, tight

0:21:05.800 --> 0:21:08.480
<v Speaker 3>video game. I like one that's tight. It's like the

0:21:08.520 --> 0:21:11.639
<v Speaker 3>whole experience is there. Maybe it could even be played

0:21:11.640 --> 0:21:15.359
<v Speaker 3>in one long sitting. And it's all good because like,

0:21:15.440 --> 0:21:18.000
<v Speaker 3>this whole thing is the main experience you were meaning

0:21:18.040 --> 0:21:20.399
<v Speaker 3>to get. It's not like an open world that you

0:21:20.520 --> 0:21:24.400
<v Speaker 3>explore for one hundred hours or something of variable quality.

0:21:25.040 --> 0:21:26.679
<v Speaker 2>Yeah, no, grind, none of that.

0:21:27.280 --> 0:21:29.920
<v Speaker 3>But anyway, Taylor, Yes, it does seem we were talking

0:21:29.960 --> 0:21:32.800
<v Speaker 3>mainly I guess about like like books and movies and

0:21:32.880 --> 0:21:35.760
<v Speaker 3>music in the episode, but I think video games follow

0:21:36.880 --> 0:21:40.520
<v Speaker 3>an absolutely similar pattern. Yeah, all right. Next message comes

0:21:40.520 --> 0:21:49.000
<v Speaker 3>from Matt. Matt says, Hey, Robin Joe, longtime listener and

0:21:49.000 --> 0:21:51.760
<v Speaker 3>big fan here, just wanted to share the perfect example

0:21:51.880 --> 0:21:56.879
<v Speaker 3>of future shock, gentlemen, I present you Squidward. And then

0:21:56.960 --> 0:21:59.080
<v Speaker 3>there was a link. Matt says. It's a link to

0:21:59.119 --> 0:22:03.479
<v Speaker 3>a thirty second clip from SpongeBob in which Squidward, SpongeBob's neighbor,

0:22:04.320 --> 0:22:06.720
<v Speaker 3>ends up in the future and has a short mental

0:22:06.760 --> 0:22:10.800
<v Speaker 3>breakdown over the changes. But then Matt says, I know

0:22:10.880 --> 0:22:13.000
<v Speaker 3>links from strangers on the Internet can be dicey. You

0:22:13.000 --> 0:22:16.439
<v Speaker 3>can also just search Squidward Future and find it easily.

0:22:16.520 --> 0:22:19.280
<v Speaker 3>Keep on doing what you'all do, Thanks Matt. Matt I

0:22:19.320 --> 0:22:23.000
<v Speaker 3>appreciate that. Note. Yes, I am very hesitant to click

0:22:23.040 --> 0:22:25.240
<v Speaker 3>links in listener emails, not because I don't trust you

0:22:25.320 --> 0:22:28.439
<v Speaker 3>all out there, but it's just, you know, it's smart

0:22:28.480 --> 0:22:32.840
<v Speaker 3>to be hesitant about clicking things, so appreciate the search terms.

0:22:32.880 --> 0:22:35.160
<v Speaker 3>Anybody else who wants us to click something that would

0:22:35.200 --> 0:22:37.639
<v Speaker 3>be helpful as well.

0:22:39.320 --> 0:22:44.760
<v Speaker 2>So this episode specifically, it's from the first season of SpongeBob.

0:22:45.000 --> 0:22:48.920
<v Speaker 2>It's episode fourteen A and its title is SB one

0:22:49.000 --> 0:22:54.240
<v Speaker 2>twenty nine. You can definitely find clips from this episode

0:22:54.280 --> 0:22:56.880
<v Speaker 2>all over the place, and certainly on YouTube. I would

0:22:56.920 --> 0:22:59.480
<v Speaker 2>advise folks to go for the slightly longer clip. I

0:22:59.480 --> 0:23:02.639
<v Speaker 2>had not seen this before before Matt brought it to

0:23:02.720 --> 0:23:07.080
<v Speaker 2>my attention here. I watched it last night with my wife,

0:23:07.119 --> 0:23:08.320
<v Speaker 2>and I think I'm gonna have to go back and

0:23:08.359 --> 0:23:11.960
<v Speaker 2>watch the full episode as well. I agree that this

0:23:12.359 --> 0:23:16.480
<v Speaker 2>absolutely nails the extreme essence of future shock, because, yes,

0:23:16.520 --> 0:23:19.199
<v Speaker 2>squid Word is in the future where everything is chrome,

0:23:20.080 --> 0:23:23.840
<v Speaker 2>there are multiple SpongeBob clones greeting him, there's high technology,

0:23:24.920 --> 0:23:27.679
<v Speaker 2>he's he's his eyes have been open to the to

0:23:27.760 --> 0:23:31.720
<v Speaker 2>the realities and paradoxes of time travel, and it causes

0:23:31.760 --> 0:23:34.240
<v Speaker 2>him to just lower himself to the floor, to the

0:23:34.320 --> 0:23:38.240
<v Speaker 2>chrome floor, curl up into sort of a what is

0:23:38.280 --> 0:23:40.920
<v Speaker 2>in yoga known as a boat pose, and just start

0:23:40.960 --> 0:23:47.359
<v Speaker 2>going future future. And Yeah, I feel like this is

0:23:47.680 --> 0:23:50.240
<v Speaker 2>I'm gonna have to make this my default behavior for

0:23:50.320 --> 0:23:53.120
<v Speaker 2>anytime I feel overwhelmed by technological change.

0:23:53.359 --> 0:23:56.119
<v Speaker 3>But squidward, once you're there, it's not the future anymore.

0:23:56.160 --> 0:23:56.840
<v Speaker 3>It's the present.

0:23:59.119 --> 0:24:00.800
<v Speaker 2>I think he does get back. He's like, I would

0:24:00.800 --> 0:24:03.200
<v Speaker 2>just want to go back. Okay, but like I said,

0:24:03.200 --> 0:24:05.240
<v Speaker 2>I need to watch the full episode to get the

0:24:05.440 --> 0:24:08.399
<v Speaker 2>whole story. But it looks marvelous. I haven't seen a

0:24:08.400 --> 0:24:11.520
<v Speaker 2>lot of SpongeBob, but what I have seen is super weird,

0:24:11.560 --> 0:24:13.439
<v Speaker 2>and every time I see something like this, I just

0:24:13.480 --> 0:24:15.760
<v Speaker 2>reminded of how weird it is and how I need

0:24:15.800 --> 0:24:17.800
<v Speaker 2>to make room for more SpongeBob in my life.

0:24:18.119 --> 0:24:20.760
<v Speaker 3>Yeah. I don't know any SpongeBob, but this was great.

0:24:20.800 --> 0:24:23.960
<v Speaker 3>Thank you, Matt. Okay, I think we need to close

0:24:24.000 --> 0:24:26.120
<v Speaker 3>it out there for today, but we've got some great

0:24:26.119 --> 0:24:28.160
<v Speaker 3>messages still in the bag that we'll have to say

0:24:28.200 --> 0:24:31.280
<v Speaker 3>for next time, including some responses to our episode, our

0:24:31.320 --> 0:24:35.200
<v Speaker 3>Weird House on Danger, Diabolic, and other things to come,

0:24:35.320 --> 0:24:38.240
<v Speaker 3>so tune in next week and keep sending the listener

0:24:38.280 --> 0:24:39.800
<v Speaker 3>mail our way, So.

0:24:39.880 --> 0:24:42.879
<v Speaker 2>Yeah, see you next Monday. But as always we'll have

0:24:42.920 --> 0:24:46.159
<v Speaker 2>core episodes on Tuesdays and Thursdays for you. We'll have

0:24:47.200 --> 0:24:49.879
<v Speaker 2>we usually have an artifact or a monster fact or

0:24:49.920 --> 0:24:52.520
<v Speaker 2>something of that nature on Wednesdays, and then on Fridays

0:24:52.520 --> 0:24:54.560
<v Speaker 2>we set aside most serious concerns to just talk about

0:24:54.560 --> 0:24:56.879
<v Speaker 2>a weird movie on Weird House Cinema.

0:24:57.080 --> 0:25:00.560
<v Speaker 3>Huge thanks to our excellent audio producer jj Pos. If

0:25:00.600 --> 0:25:02.399
<v Speaker 3>you would like to get in touch with us with

0:25:02.440 --> 0:25:05.119
<v Speaker 3>feedback on this episode or any other, to suggest a

0:25:05.200 --> 0:25:07.679
<v Speaker 3>topic for the future, or just to say hello, you

0:25:07.720 --> 0:25:18.560
<v Speaker 3>can email us at contact at stuffdo Blowyourmind dot com.

0:25:18.680 --> 0:25:21.639
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

0:25:21.720 --> 0:25:24.520
<v Speaker 1>more podcasts from my heart Radio, visit the iHeartRadio app,

0:25:24.640 --> 0:25:27.399
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