1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:10,719 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your 3 00:00:10,760 --> 00:00:13,440 Speaker 1: Mind Listener Mail. My name is Robert Lamb and I'm 4 00:00:13,480 --> 00:00:16,000 Speaker 1: Joe McCormick, and today we're bringing you a mail bag 5 00:00:16,040 --> 00:00:18,600 Speaker 1: that is mostly about our two part episode about humans 6 00:00:18,600 --> 00:00:22,520 Speaker 1: spinning around in circles. That's right, Spin Kicks, Spin Kicks. 7 00:00:22,680 --> 00:00:25,800 Speaker 1: A surprising number of people had had really intense thoughts 8 00:00:25,800 --> 00:00:28,960 Speaker 1: and feelings about spinning. Yeah, yeah, I was really pleased 9 00:00:28,960 --> 00:00:31,200 Speaker 1: with the crop we were able to bring in off 10 00:00:31,280 --> 00:00:33,400 Speaker 1: this one, and Carney the mail bod has been pleased 11 00:00:33,400 --> 00:00:36,639 Speaker 1: as well. Carney has been spinning NonStop since these came in, 12 00:00:38,720 --> 00:00:41,920 Speaker 1: that's true, and I've been quite mesmerized by the undulations 13 00:00:41,960 --> 00:00:44,720 Speaker 1: of his skirt made out of wires and drive chains. 14 00:00:45,080 --> 00:00:47,879 Speaker 1: All right, well, he's spinning spinning our way here. Um, 15 00:00:53,040 --> 00:00:54,880 Speaker 1: I guess I'll go ahead and read this first listener 16 00:00:54,920 --> 00:00:56,680 Speaker 1: mail that he has for us. This comes to us 17 00:00:56,800 --> 00:01:00,200 Speaker 1: from Hannah, Hi, Robert, and Joe. I was so honor 18 00:01:00,280 --> 00:01:03,320 Speaker 1: that my previous email helped partially inspire such an interesting 19 00:01:03,320 --> 00:01:05,600 Speaker 1: pair of episodes, like a Circle in the Spiral Parts 20 00:01:05,600 --> 00:01:08,200 Speaker 1: one and two. It made my day so much brighter. 21 00:01:09,040 --> 00:01:11,960 Speaker 1: From the minute the episode started, I was waiting eagerly 22 00:01:12,000 --> 00:01:14,800 Speaker 1: for you to mention spotting. In my personal experience, it 23 00:01:14,800 --> 00:01:18,280 Speaker 1: makes a huge difference in preventing dizziness while turning, lessening 24 00:01:18,280 --> 00:01:20,800 Speaker 1: the recovery needed for a long sequence of turns to 25 00:01:20,920 --> 00:01:24,440 Speaker 1: maybe a few seconds at worst. However, maybe even more importantly, 26 00:01:24,480 --> 00:01:27,319 Speaker 1: it helps to maintain balance in pirouettes and other one 27 00:01:27,400 --> 00:01:30,560 Speaker 1: legged turns. Often the most challenging part of a long 28 00:01:30,600 --> 00:01:33,080 Speaker 1: turn sequence is trying to stay on balance to not 29 00:01:33,280 --> 00:01:35,920 Speaker 1: fall out of the movement. Focusing on a single point 30 00:01:35,959 --> 00:01:39,840 Speaker 1: not only keeps you from getting as busy from the spinning, 31 00:01:39,840 --> 00:01:42,240 Speaker 1: but but it's also a trick that can be used 32 00:01:42,280 --> 00:01:46,440 Speaker 1: in stationary balances to help stabilize. Um. You know this 33 00:01:46,520 --> 00:01:48,760 Speaker 1: is this is something that is a great point because 34 00:01:48,760 --> 00:01:50,800 Speaker 1: it does come up in in yoga, for instance, So 35 00:01:50,840 --> 00:01:54,080 Speaker 1: when you're doing balancing poses, it's often been pointed out 36 00:01:54,120 --> 00:01:56,440 Speaker 1: to me by yoga teachers that you know, you need 37 00:01:56,480 --> 00:01:59,280 Speaker 1: to focus on a point to help maintain your balance, 38 00:01:59,760 --> 00:02:01,240 Speaker 1: and and I was I did that for years, but 39 00:02:01,280 --> 00:02:03,280 Speaker 1: then another teacher was like, don't just focus on a 40 00:02:03,360 --> 00:02:05,920 Speaker 1: point while you're doing a uh, you know, a standing 41 00:02:05,960 --> 00:02:11,760 Speaker 1: balancing post. Focus on a vertical line, and I found 42 00:02:12,000 --> 00:02:14,200 Speaker 1: that that seemed to work. I I don't you know, 43 00:02:14,240 --> 00:02:16,400 Speaker 1: I have no empirical studies here on my part, but 44 00:02:16,560 --> 00:02:19,000 Speaker 1: that seemed to work even better than focusing on a point. 45 00:02:19,040 --> 00:02:22,480 Speaker 1: If I could find like a line in some tiles, 46 00:02:22,680 --> 00:02:25,760 Speaker 1: or a line on a door seal, something like that, 47 00:02:26,000 --> 00:02:28,440 Speaker 1: it helps me maintain my my balance a lot better, 48 00:02:28,720 --> 00:02:31,480 Speaker 1: you know, assuming my balance isn't out of whack due 49 00:02:31,480 --> 00:02:33,880 Speaker 1: to lack of sleep or something. I wonder if that 50 00:02:33,919 --> 00:02:37,680 Speaker 1: has anything to do with the one of the rationales 51 00:02:37,720 --> 00:02:39,639 Speaker 1: for dizziness that we talked about in the first part, 52 00:02:39,639 --> 00:02:43,000 Speaker 1: which is the nastagma's issue, dizziness caused by the rapid 53 00:02:43,040 --> 00:02:46,000 Speaker 1: adjustment back and forth of the eyes. Like maybe a 54 00:02:46,080 --> 00:02:51,840 Speaker 1: vertical line helps keep that forestalled better than a point would. Yeah, alright, 55 00:02:51,880 --> 00:02:55,200 Speaker 1: so Hannah continues, uh quote. I also had some thoughts 56 00:02:55,200 --> 00:02:58,760 Speaker 1: about children spinning and spotting. In my experience teaching dance 57 00:02:58,800 --> 00:03:01,120 Speaker 1: to children, I found that one of the techniques that 58 00:03:01,160 --> 00:03:03,519 Speaker 1: it takes the longest for young dancers to grasp is 59 00:03:03,639 --> 00:03:06,840 Speaker 1: learning to spot. For my youngest students, I would often 60 00:03:06,880 --> 00:03:08,800 Speaker 1: take something big and bright on the wall to give 61 00:03:08,840 --> 00:03:12,040 Speaker 1: them an easier place to focus, but mostly it's reminding 62 00:03:12,639 --> 00:03:15,120 Speaker 1: and encouraging them to slow down and focus on one 63 00:03:15,160 --> 00:03:17,840 Speaker 1: part at a time. I mostly chalk up this challenge 64 00:03:18,000 --> 00:03:20,680 Speaker 1: to a combination of still developing motor skills and coordination, 65 00:03:21,280 --> 00:03:23,160 Speaker 1: but I think it also has quite a bit to 66 00:03:23,160 --> 00:03:25,240 Speaker 1: do with the fact that spinning really fast and getting 67 00:03:25,280 --> 00:03:30,160 Speaker 1: really dizzy is fun, at least for children. Yes, I 68 00:03:30,200 --> 00:03:32,360 Speaker 1: wanted to end on two quick things. One is a 69 00:03:32,400 --> 00:03:35,360 Speaker 1: sort of folk tip for recovering from spinning related dizziness. 70 00:03:35,760 --> 00:03:38,840 Speaker 1: Make your hands into a blade shape and lay your 71 00:03:38,960 --> 00:03:42,720 Speaker 1: thumb along your nose in between your eyebrows, so your 72 00:03:42,720 --> 00:03:45,480 Speaker 1: hand becomes a barrier between your eyes. I don't know 73 00:03:45,520 --> 00:03:48,200 Speaker 1: exactly why it helps, but my guess is that it 74 00:03:48,360 --> 00:03:52,120 Speaker 1: maybe helps your eyes recover from the no stagmus. I 75 00:03:52,200 --> 00:03:54,880 Speaker 1: learned this way back when I was a young dancer 76 00:03:55,000 --> 00:03:58,520 Speaker 1: just learning to spot. Last, but not least, here's just 77 00:03:58,560 --> 00:04:01,040 Speaker 1: a YouTube video with a lot of well executed turns. 78 00:04:01,080 --> 00:04:04,840 Speaker 1: It's a video from Pacific Northwest Ballet of a rehearsal 79 00:04:04,920 --> 00:04:07,440 Speaker 1: for Swan Lake. As you may know from the movie 80 00:04:07,480 --> 00:04:11,640 Speaker 1: Black Swan, Swan Lake has an infamous thirty two foete 81 00:04:11,880 --> 00:04:15,760 Speaker 1: turn sequences, which is incredibly difficult even for the most 82 00:04:15,800 --> 00:04:19,080 Speaker 1: talented ballerinas. That that he also has a bonus of 83 00:04:19,160 --> 00:04:23,760 Speaker 1: some wicked fast p K and Shinna turns near the end, 84 00:04:23,880 --> 00:04:25,920 Speaker 1: and they include a link for us. But I imagine 85 00:04:25,960 --> 00:04:29,280 Speaker 1: people can maybe just do a search for Pacific Northwest 86 00:04:29,360 --> 00:04:32,280 Speaker 1: Ballet Swan Lake and you can get all the spinning 87 00:04:32,320 --> 00:04:35,400 Speaker 1: you could possibly want. I watched, I watched the video. 88 00:04:35,440 --> 00:04:38,520 Speaker 1: It is incredibly impressive, as with all the spinning stuff 89 00:04:38,560 --> 00:04:41,400 Speaker 1: we've been watching. I'm yeah, I couldn't do that. I 90 00:04:41,440 --> 00:04:45,279 Speaker 1: have no idea how people do. Hannah closes out by saying, 91 00:04:45,320 --> 00:04:47,480 Speaker 1: thanks so much for an awesome show. Always look forward 92 00:04:47,480 --> 00:04:49,760 Speaker 1: to its showing up in my feet. Well that's really interesting. 93 00:04:49,760 --> 00:04:57,320 Speaker 1: Thanks for getting in touch, Hannah. Okay, so this next 94 00:04:57,360 --> 00:05:03,320 Speaker 1: message comes from Cassidy. Are you ready? I'm ready, Cassidy says, Hey, guys, 95 00:05:03,680 --> 00:05:05,560 Speaker 1: I've never really had a reason to write into you 96 00:05:05,640 --> 00:05:08,080 Speaker 1: until now. I just listen to the first part of 97 00:05:08,120 --> 00:05:10,880 Speaker 1: the like a Circle in a Spiral episode and wanted 98 00:05:10,920 --> 00:05:14,120 Speaker 1: to share my experience. I work in a research lab 99 00:05:14,240 --> 00:05:19,480 Speaker 1: studying suspected hearing genes using zebra fish as a model organism. 100 00:05:19,520 --> 00:05:23,719 Speaker 1: This also includes genes affecting the vestibular system. Zebra Fish 101 00:05:23,760 --> 00:05:27,160 Speaker 1: inner ears are actually very similar to human inner ears. 102 00:05:27,600 --> 00:05:30,480 Speaker 1: They also have the utricle and the saccule, and I've 103 00:05:30,480 --> 00:05:34,080 Speaker 1: had to dissect these. We made a crisper mutant that 104 00:05:34,120 --> 00:05:39,359 Speaker 1: has progressive vestibular phenotype as juvenile slash adults. Because of 105 00:05:39,400 --> 00:05:42,119 Speaker 1: the mutations, they can't get their bearings in the water, 106 00:05:42,279 --> 00:05:46,400 Speaker 1: so they're constantly spinning. The vestibular slash hearing system and 107 00:05:46,440 --> 00:05:49,159 Speaker 1: fish is very important as it allows them to orient 108 00:05:49,279 --> 00:05:52,560 Speaker 1: themselves in the water and since vibrations or movements in 109 00:05:52,560 --> 00:05:54,800 Speaker 1: the water around them. If you'd like a video of 110 00:05:54,800 --> 00:05:57,440 Speaker 1: the vestibular phenotype and fish, I would be happy to 111 00:05:57,440 --> 00:05:59,960 Speaker 1: share it with you. I love your podcast. I frequent 112 00:06:00,160 --> 00:06:02,400 Speaker 1: listen while I'm working in the lab. It made me 113 00:06:02,480 --> 00:06:05,080 Speaker 1: so excited to hear something relevant to my work from you. 114 00:06:05,200 --> 00:06:09,280 Speaker 1: Huge thanks, Cassidy. Wow, that's really interesting. Yeah, Cassidy, yep. 115 00:06:09,520 --> 00:06:11,600 Speaker 1: Please send us more about your research. I'd I'd love 116 00:06:11,640 --> 00:06:18,640 Speaker 1: to know more about it, all right. This next one 117 00:06:19,000 --> 00:06:22,000 Speaker 1: comes to us from Jonathan Quote. As a person who 118 00:06:22,040 --> 00:06:24,919 Speaker 1: has studied the Sufis and their methodology for forty years, 119 00:06:24,960 --> 00:06:27,920 Speaker 1: I was impressed, as usual by your objective and open 120 00:06:27,960 --> 00:06:31,279 Speaker 1: minded take on the whirling dervishes. I think it's important 121 00:06:31,320 --> 00:06:36,120 Speaker 1: to understand, though, that the jalah udin Rumi, the punative 122 00:06:36,160 --> 00:06:39,200 Speaker 1: founder of the order, wrote that the practice of spinning 123 00:06:39,240 --> 00:06:43,040 Speaker 1: was something he prescribed especially for the people of Connie A, Turkey, 124 00:06:43,080 --> 00:06:46,480 Speaker 1: where he taught for that particular time in history. It's 125 00:06:46,480 --> 00:06:51,360 Speaker 1: not a perennial or integral part of Sufi methods of development. Interestingly, 126 00:06:51,480 --> 00:06:53,839 Speaker 1: Joe is spot on when he discussed the visual effect 127 00:06:53,920 --> 00:06:56,880 Speaker 1: of the spinning robes, since the Sufis assert that the 128 00:06:56,880 --> 00:06:59,840 Speaker 1: practice of whirling was as much, if not more, for 129 00:07:00,080 --> 00:07:04,080 Speaker 1: effect it had on the spectators. In thirteenth century Turkey, 130 00:07:04,200 --> 00:07:08,160 Speaker 1: there were limited methods of provoking alterations and people's consciousness 131 00:07:08,160 --> 00:07:11,680 Speaker 1: and viewing and concentrating on the whirling under the right 132 00:07:11,760 --> 00:07:16,680 Speaker 1: circumstances was one that was used. Throughout the centuries, the 133 00:07:16,720 --> 00:07:20,520 Speaker 1: Sufis have continually utilized the methods and terminology of their 134 00:07:20,560 --> 00:07:25,360 Speaker 1: contemporary environment to project their teachings. I'm confident that they 135 00:07:25,400 --> 00:07:28,280 Speaker 1: would easily adapt to the terminology that you too often 136 00:07:28,400 --> 00:07:31,560 Speaker 1: use and say that in one sense, the Sufis aim 137 00:07:31,680 --> 00:07:35,920 Speaker 1: to establish a voluntary, manual override over the default mode network. 138 00:07:36,400 --> 00:07:40,640 Speaker 1: That ability provides a person with an additional dimension of freedom, volition, 139 00:07:40,760 --> 00:07:44,360 Speaker 1: and understanding in a much wider sense. A good source 140 00:07:44,400 --> 00:07:46,840 Speaker 1: for anyone interested in the subject is the book The 141 00:07:46,880 --> 00:07:50,880 Speaker 1: Mind Field by the prominent psychologist Robert Ornstein. I know 142 00:07:50,960 --> 00:07:53,680 Speaker 1: it's a cliche, but keep up the great work, Jonathan 143 00:07:54,280 --> 00:07:57,960 Speaker 1: and cliche are not. Yeah, we we love to hear uh. 144 00:07:58,080 --> 00:08:00,400 Speaker 1: We would love to get that positive reinforcement from from 145 00:08:00,400 --> 00:08:02,800 Speaker 1: you guys that the listeners. Um, I'd say some of 146 00:08:02,840 --> 00:08:05,320 Speaker 1: the main place we get positive reinforcement regarding the show. 147 00:08:05,400 --> 00:08:08,960 Speaker 1: So so keep it going. It keeps us energized, you know. Uh. 148 00:08:09,360 --> 00:08:12,080 Speaker 1: But along the same lines, you know, at anytime there's 149 00:08:12,080 --> 00:08:15,160 Speaker 1: any criticism or correction, we also depend on that as well. 150 00:08:15,320 --> 00:08:17,800 Speaker 1: Totally alright, Joe, are you ready for some spin kicks 151 00:08:17,800 --> 00:08:25,720 Speaker 1: because I think Carney's coming in with intention now. Oh, 152 00:08:25,880 --> 00:08:29,400 Speaker 1: we got several messages about spin kicks, So this first 153 00:08:29,400 --> 00:08:34,319 Speaker 1: one comes from g G says, Hello, guys, I was 154 00:08:34,360 --> 00:08:37,679 Speaker 1: pleasantly surprised and excited when you guys touched on fighting 155 00:08:37,760 --> 00:08:40,880 Speaker 1: in your Like a Circle episode. Finally something I can 156 00:08:40,920 --> 00:08:43,800 Speaker 1: contribute to. I compete in M M A and my 157 00:08:44,000 --> 00:08:48,120 Speaker 1: one knockout just from a spinning sidekick, and he attaches 158 00:08:48,120 --> 00:08:50,920 Speaker 1: an Instagram link. I went and looked up the video 159 00:08:51,000 --> 00:08:54,680 Speaker 1: and yes, it it is pretty brutal. G knocked somebody 160 00:08:54,679 --> 00:08:58,160 Speaker 1: out by a move that includes spinning around once and then. 161 00:08:58,280 --> 00:09:01,760 Speaker 1: A sidekick is a a pushing motion with the leg 162 00:09:02,080 --> 00:09:04,960 Speaker 1: as opposed to like a swinging motion, if that makes 163 00:09:04,960 --> 00:09:07,080 Speaker 1: any sense. It's like a thrust, a thrust of the 164 00:09:07,080 --> 00:09:09,959 Speaker 1: foot as opposed to like a you know, a glancing 165 00:09:10,200 --> 00:09:13,160 Speaker 1: blow or you know, swipe of the foot. Right now, 166 00:09:13,640 --> 00:09:15,840 Speaker 1: she is responding in part two when we talked about 167 00:09:16,120 --> 00:09:19,120 Speaker 1: a kick by a fighter named Joaquin Buckley that is 168 00:09:19,160 --> 00:09:22,040 Speaker 1: a spin kick that was just absolutely brutal, like made 169 00:09:22,040 --> 00:09:25,760 Speaker 1: the head snap back and uh. He says that his 170 00:09:25,840 --> 00:09:28,079 Speaker 1: kick is not as cool as Buckley's, but still worth 171 00:09:28,080 --> 00:09:31,199 Speaker 1: a watch. Well, I have to say that Ji's kick 172 00:09:31,240 --> 00:09:35,760 Speaker 1: was still very impressive, and Buckley's kick, though certainly very impressive, 173 00:09:36,160 --> 00:09:40,440 Speaker 1: also had really nice um like video and audio effects 174 00:09:40,600 --> 00:09:43,280 Speaker 1: and also some version of a live crowd or at 175 00:09:43,360 --> 00:09:46,679 Speaker 1: least live crowd noise, so it was very accentuated by 176 00:09:46,679 --> 00:09:49,720 Speaker 1: the production values, I'd say, while also being still being 177 00:09:49,720 --> 00:09:53,240 Speaker 1: a just a ferocious kick. Yeah, okay. She goes on 178 00:09:53,800 --> 00:09:56,480 Speaker 1: reasons for spinning in combat because we were asking this 179 00:09:56,520 --> 00:09:58,760 Speaker 1: in the episode right, I was talking about how when 180 00:09:58,760 --> 00:10:02,440 Speaker 1: I was learning quote taekwondo whatever it is that they 181 00:10:02,440 --> 00:10:04,920 Speaker 1: were teaching me as a child in Tennessee and calling 182 00:10:04,960 --> 00:10:09,320 Speaker 1: taekwondo um, I remember thinking like with the spin kicks, 183 00:10:09,360 --> 00:10:11,480 Speaker 1: like a spinning sidekick, I was like, would this ever 184 00:10:11,480 --> 00:10:14,240 Speaker 1: actually be useful or is this just more like for 185 00:10:14,920 --> 00:10:18,079 Speaker 1: stylistic effect, is this more of a dance move? And 186 00:10:18,120 --> 00:10:20,440 Speaker 1: we didn't really know if there was a good answer 187 00:10:20,480 --> 00:10:23,240 Speaker 1: to that, but but she absolutely has some thoughts here. 188 00:10:23,600 --> 00:10:26,720 Speaker 1: So first of all, she says power space is needed 189 00:10:26,760 --> 00:10:30,680 Speaker 1: to generate power, and spinning helps to create artificial distance. 190 00:10:30,800 --> 00:10:34,240 Speaker 1: Spinning can help generate additional rotational power the same way 191 00:10:34,240 --> 00:10:37,600 Speaker 1: a shot put or would throw a shot uh second 192 00:10:37,760 --> 00:10:42,040 Speaker 1: speed and efficiency. A few spin kicks are actually misnomers. 193 00:10:42,080 --> 00:10:46,360 Speaker 1: They're technically turning kicks, such as the buckley ko. Certain 194 00:10:46,400 --> 00:10:50,240 Speaker 1: techniques like the sidekick think Bruce Lee's kick are easier 195 00:10:50,280 --> 00:10:53,320 Speaker 1: to throw from a spin or turn. Imagine you're standing 196 00:10:53,320 --> 00:10:57,080 Speaker 1: in a bladed slash split stance meaning left leg in 197 00:10:57,160 --> 00:11:00,560 Speaker 1: front torso turned slightly to the right, and want to 198 00:11:00,559 --> 00:11:03,880 Speaker 1: throw a sidekick with your rear meaning right leg facing 199 00:11:03,880 --> 00:11:06,800 Speaker 1: your opponent, you would need to bring your right leg 200 00:11:06,920 --> 00:11:10,240 Speaker 1: in front and to the left, chambering your leg before 201 00:11:10,280 --> 00:11:12,839 Speaker 1: extending it to kick. A better option would be to 202 00:11:12,960 --> 00:11:16,480 Speaker 1: turn to your right, temporarily exposing your back, but the 203 00:11:16,559 --> 00:11:19,160 Speaker 1: chamber and extension of your leg is faster and we'll 204 00:11:19,200 --> 00:11:22,520 Speaker 1: have additional momentum from the turn or spin. These are 205 00:11:22,559 --> 00:11:25,080 Speaker 1: the more general, easier to explain reasons you would spin 206 00:11:25,120 --> 00:11:28,360 Speaker 1: in combat, but there are many others, such as ring slash, 207 00:11:28,480 --> 00:11:33,400 Speaker 1: cage general ship. I don't know what that means, psychology, angles, 208 00:11:33,440 --> 00:11:37,080 Speaker 1: and impressing judges. Uh so, so that one last one 209 00:11:37,160 --> 00:11:39,600 Speaker 1: maybe does sound like it's like the stylistic dance move 210 00:11:39,640 --> 00:11:42,480 Speaker 1: thing too, which shouldn't be totally discounted from M M A. 211 00:11:42,600 --> 00:11:45,800 Speaker 1: I suppose I think ring cage general ship. I think 212 00:11:45,840 --> 00:11:47,920 Speaker 1: that refers to like being at what they called like 213 00:11:47,960 --> 00:11:51,040 Speaker 1: a ring general or a cage general like, which I 214 00:11:51,080 --> 00:11:54,880 Speaker 1: believe just means like just being totally in command and 215 00:11:55,520 --> 00:11:59,320 Speaker 1: having an air of of command over your space. Could 216 00:11:59,320 --> 00:12:00,560 Speaker 1: be wrong on that, but I think that's what they 217 00:12:00,559 --> 00:12:04,840 Speaker 1: mean the spinning cage boss. Spinning attacks can be higher risk, 218 00:12:05,080 --> 00:12:07,960 Speaker 1: but if you're in a fight, everything you do could 219 00:12:08,040 --> 00:12:10,800 Speaker 1: potentially be a bad idea. If you are aware of 220 00:12:10,840 --> 00:12:13,000 Speaker 1: how your opponent can counter your attacks, you can pick 221 00:12:13,040 --> 00:12:16,319 Speaker 1: appropriate moments to execute your techniques or even take advantage 222 00:12:16,320 --> 00:12:19,199 Speaker 1: of probable counters. Thanks for all your great work, Looking 223 00:12:19,200 --> 00:12:22,240 Speaker 1: forward to the next episode. G very cool. I I 224 00:12:22,280 --> 00:12:24,760 Speaker 1: suspected we had some some folks out there listening to 225 00:12:24,800 --> 00:12:26,760 Speaker 1: the show that had thrown some spin kicks, or at 226 00:12:26,800 --> 00:12:30,000 Speaker 1: least had washed enough spin kicks uh to to to 227 00:12:30,000 --> 00:12:31,800 Speaker 1: speak to it. So I was very impressed with this. 228 00:12:37,080 --> 00:12:40,920 Speaker 1: And here's another short one. This is from Charlie. Charlie says, recently, 229 00:12:40,960 --> 00:12:44,480 Speaker 1: you guys wondered if there were wrestlers turned dancers. Look 230 00:12:44,520 --> 00:12:48,200 Speaker 1: into Lady Beard. He was an Australian wrestler I think 231 00:12:48,200 --> 00:12:52,720 Speaker 1: Australian turned Japanese pop star. He definitely dances a lot now. 232 00:12:53,080 --> 00:12:55,360 Speaker 1: He has a more recent project than Lady Beard, but 233 00:12:55,400 --> 00:12:57,480 Speaker 1: I don't remember the name. Hope you guys have fun 234 00:12:57,520 --> 00:13:01,880 Speaker 1: with this, l O L. Charlie Well, I had to 235 00:13:01,880 --> 00:13:06,480 Speaker 1: look up Lady Beard, but it looks like they they 236 00:13:06,520 --> 00:13:09,520 Speaker 1: they do or or have wrestled for D D D 237 00:13:09,679 --> 00:13:12,520 Speaker 1: Pro Wrestling. That's what a Dramatic Dream Team, which is 238 00:13:12,559 --> 00:13:18,600 Speaker 1: a Japanese pro wrestling promotion that goes so basically, let 239 00:13:18,640 --> 00:13:20,520 Speaker 1: me just back up and say that with Japanese pro 240 00:13:20,559 --> 00:13:23,840 Speaker 1: wrestling you kind of have different extremes. On one hand, 241 00:13:23,880 --> 00:13:28,320 Speaker 1: there's stuff that's very technical and serious and athletic um minded, 242 00:13:28,400 --> 00:13:30,320 Speaker 1: and some stuff in the past has even been very 243 00:13:30,920 --> 00:13:33,520 Speaker 1: uh you know, semi shoot or shoot oriented, where it's 244 00:13:33,520 --> 00:13:37,440 Speaker 1: supposed to resemble authentic fighting as real as possible, and 245 00:13:37,480 --> 00:13:39,839 Speaker 1: you still see that like kind of energy there. D 246 00:13:39,960 --> 00:13:43,200 Speaker 1: DT goes in the entirely different direction and has this 247 00:13:43,440 --> 00:13:47,280 Speaker 1: very just ridiculous um at times have a very very 248 00:13:47,280 --> 00:13:49,800 Speaker 1: great matches nothing you know, not nothing bad about the 249 00:13:49,840 --> 00:13:52,160 Speaker 1: performers or anything. But they also have some just really 250 00:13:52,200 --> 00:13:56,920 Speaker 1: silly stuff like inanimate objects winning championships, um. Even to 251 00:13:57,480 --> 00:14:00,960 Speaker 1: where at one point an inanimate champions ship one itself, 252 00:14:01,000 --> 00:14:03,360 Speaker 1: I believe. So there's a lot of a lot of 253 00:14:03,360 --> 00:14:06,440 Speaker 1: crazy stuff going on there, perfectly the right promotion for 254 00:14:06,480 --> 00:14:13,600 Speaker 1: somebody with a name like Lady Beard. All right, here's 255 00:14:13,600 --> 00:14:16,079 Speaker 1: another one. This one comes to us from Brett. Hello, 256 00:14:16,200 --> 00:14:18,880 Speaker 1: Rob and Joe. I hope this note finds you both 257 00:14:18,920 --> 00:14:22,000 Speaker 1: doing well and staying healthy. Just a personal comment on 258 00:14:22,160 --> 00:14:25,080 Speaker 1: spinning Rob might be able to relate as a spell 259 00:14:25,120 --> 00:14:27,560 Speaker 1: of vertico occurred while I was practicing yoga a few 260 00:14:27,640 --> 00:14:30,560 Speaker 1: years ago. Everything goes going well until the instructor had 261 00:14:30,600 --> 00:14:34,040 Speaker 1: us go into a humble warrior position with eyes open. 262 00:14:34,520 --> 00:14:36,840 Speaker 1: I chose a spot on the ground and started to 263 00:14:36,920 --> 00:14:39,400 Speaker 1: move down towards it. But when I wanted to stop, 264 00:14:39,640 --> 00:14:41,840 Speaker 1: my head felt felt like I was still in motion. 265 00:14:42,120 --> 00:14:44,800 Speaker 1: Thus I tipped over, not sure what I was what 266 00:14:44,840 --> 00:14:47,320 Speaker 1: was going on, I decided to research what could be 267 00:14:47,360 --> 00:14:50,800 Speaker 1: a possible cause for this lack of balance. I determined 268 00:14:50,840 --> 00:14:53,440 Speaker 1: it was a case of b P p V, a 269 00:14:53,560 --> 00:14:57,200 Speaker 1: type of benign vertico where the calcium carbonate had moved 270 00:14:57,200 --> 00:14:59,520 Speaker 1: in the inner ear on the left side. There was 271 00:14:59,600 --> 00:15:01,920 Speaker 1: suggest tis that I had found and tried at home, 272 00:15:02,160 --> 00:15:05,960 Speaker 1: and the vertico type experience stopped. This experience taught me 273 00:15:06,120 --> 00:15:09,400 Speaker 1: how much we rely on small crystals to help determine 274 00:15:09,400 --> 00:15:12,960 Speaker 1: our position in space without and without them, I'm not 275 00:15:13,080 --> 00:15:15,640 Speaker 1: sure where we would be symptom free for years now. 276 00:15:15,680 --> 00:15:18,000 Speaker 1: It is amazing the things we can learn about our 277 00:15:18,040 --> 00:15:21,160 Speaker 1: body and how so many impulses can control our everyday 278 00:15:21,200 --> 00:15:25,040 Speaker 1: well being. Also, I am not advocating that everyone's self diagnosed. 279 00:15:25,880 --> 00:15:28,360 Speaker 1: Thank you all for what you do and now with 280 00:15:28,480 --> 00:15:31,720 Speaker 1: more content. Yeah, lots of content now. Happy holidays and 281 00:15:31,760 --> 00:15:33,400 Speaker 1: looking forward to hearing more from the both of you. 282 00:15:33,520 --> 00:15:37,320 Speaker 1: Cheers Brett in Colorado. Thanks Brett. Do you know anything 283 00:15:37,320 --> 00:15:42,400 Speaker 1: about this kind of experience, rob Um? I well, I 284 00:15:42,400 --> 00:15:46,720 Speaker 1: mean aside from I mean you anytime you practice yoga 285 00:15:46,720 --> 00:15:49,440 Speaker 1: and you're doing any any anything really on your feet, 286 00:15:49,480 --> 00:15:53,280 Speaker 1: I think it's it's always a chance to check in 287 00:15:53,320 --> 00:15:56,720 Speaker 1: with your body, seeing how you're you're doing in multiple ways. 288 00:15:56,760 --> 00:15:59,480 Speaker 1: You know, like you know, how how limber you're feeling, 289 00:15:59,600 --> 00:16:01,880 Speaker 1: how you're hustles are feeling, and also how your balance 290 00:16:01,960 --> 00:16:05,440 Speaker 1: is feeling um and so you you do get that 291 00:16:05,520 --> 00:16:07,680 Speaker 1: kind of regular check in vibe where you're like, well, 292 00:16:07,720 --> 00:16:10,160 Speaker 1: today my balance is definitely a little off because I 293 00:16:10,200 --> 00:16:12,560 Speaker 1: can't go as far into this pose as I normally can, 294 00:16:12,680 --> 00:16:15,280 Speaker 1: or I can't hold it as well. So I feel like, 295 00:16:15,800 --> 00:16:18,280 Speaker 1: you know, that's that's certainly very helpful. It's sort of 296 00:16:18,280 --> 00:16:20,120 Speaker 1: like a little check up, a little bit of self 297 00:16:20,160 --> 00:16:22,720 Speaker 1: diagnosis that you can do every time you hit the 298 00:16:22,800 --> 00:16:25,560 Speaker 1: yoga mat. You know, you're you're seeing where am I today, 299 00:16:25,680 --> 00:16:29,560 Speaker 1: what is my body feeling like? What am I doing? Um? 300 00:16:29,840 --> 00:16:33,160 Speaker 1: As opposed to you know, benign vertigo and all. I 301 00:16:33,720 --> 00:16:36,400 Speaker 1: haven't experienced any of that, but I think I have 302 00:16:36,480 --> 00:16:39,440 Speaker 1: in the past had some teachers speak to it, like 303 00:16:39,640 --> 00:16:41,760 Speaker 1: tell people you know what's to look out for, that 304 00:16:41,880 --> 00:16:52,720 Speaker 1: sort of thing. Okay, you ready for this message from Lee? 305 00:16:53,040 --> 00:16:56,520 Speaker 1: Bring it on, more spending, more spin kicking here, Lee 306 00:16:56,760 --> 00:17:00,240 Speaker 1: Lee says, Hi, guys, love the podcast. I was thing 307 00:17:00,240 --> 00:17:02,520 Speaker 1: to you discuss spinning in martial arts and wanted to 308 00:17:02,560 --> 00:17:06,000 Speaker 1: offer my own experience on the matter. I've practiced Chinese 309 00:17:06,119 --> 00:17:10,520 Speaker 1: Kenpo karate for fifteen years. It's primarily directed at self defense. 310 00:17:11,040 --> 00:17:14,360 Speaker 1: The consensus among people I trained with is no spinning 311 00:17:14,440 --> 00:17:17,280 Speaker 1: in a self defense scenario, as you never want your 312 00:17:17,320 --> 00:17:20,520 Speaker 1: back turned to your opponent. The biggest risk is a 313 00:17:20,600 --> 00:17:22,960 Speaker 1: strike to the back of the head, the second being 314 00:17:23,080 --> 00:17:27,680 Speaker 1: someone getting your back putting them in a strongly advantageous position. 315 00:17:28,160 --> 00:17:30,200 Speaker 1: I don't know if that means grabbing you from behind 316 00:17:30,480 --> 00:17:33,040 Speaker 1: or I'm not quite sure that that's what it sounds 317 00:17:33,080 --> 00:17:36,320 Speaker 1: like to me, because I mean, basically, yeah, there are 318 00:17:36,359 --> 00:17:39,159 Speaker 1: all sorts of grapples you could do from behind that 319 00:17:39,200 --> 00:17:42,760 Speaker 1: would give you an advantage I imagine, right, I mean, 320 00:17:42,800 --> 00:17:45,280 Speaker 1: I guess this makes me think about comparing the feedback 321 00:17:45,320 --> 00:17:47,680 Speaker 1: we got from g versus what Lee is saying here. 322 00:17:48,040 --> 00:17:50,760 Speaker 1: It makes me wonder if a major difference in whether 323 00:17:50,880 --> 00:17:52,879 Speaker 1: or not it makes sense to do spin kicks is 324 00:17:52,920 --> 00:17:56,840 Speaker 1: the question of are their rules in this fight? Yeah, yeah, 325 00:17:57,040 --> 00:18:01,040 Speaker 1: that's true, Whereas in in a there's plenty of room 326 00:18:01,119 --> 00:18:04,760 Speaker 1: for you, even brutal injury, but there are rules in place. 327 00:18:04,800 --> 00:18:08,520 Speaker 1: There is a referee if you're using it for self defense. Uh, 328 00:18:08,560 --> 00:18:11,040 Speaker 1: you know, just out in the world there's not a 329 00:18:11,040 --> 00:18:15,160 Speaker 1: referee usually. But anyway, back to Lee's message. While training, 330 00:18:15,200 --> 00:18:17,960 Speaker 1: we do practice spinning kicks and back fists. This is 331 00:18:18,000 --> 00:18:21,480 Speaker 1: primarily to build coordination and balance, but we also do 332 00:18:21,560 --> 00:18:24,960 Speaker 1: it because it's fun. We also spar in a kickboxing style. 333 00:18:25,280 --> 00:18:28,720 Speaker 1: There the consensus is that there are limited situations where 334 00:18:28,760 --> 00:18:31,720 Speaker 1: you might break out a spinning move. Sparring is about 335 00:18:31,720 --> 00:18:34,520 Speaker 1: trying to work out your opponent's patterns and not getting 336 00:18:34,560 --> 00:18:37,240 Speaker 1: stuck in any of your own. The time to break 337 00:18:37,240 --> 00:18:40,000 Speaker 1: out a spinning kick or backfist is when you think 338 00:18:40,040 --> 00:18:42,879 Speaker 1: you've lolled your opponent into thinking they see a pattern 339 00:18:42,960 --> 00:18:45,800 Speaker 1: in your movements, and it can be a deceptive way 340 00:18:45,840 --> 00:18:49,879 Speaker 1: to break the pattern. We also use roundhouse kicks quite heavily. 341 00:18:50,480 --> 00:18:52,679 Speaker 1: In the event that you miss a roundhouse kick that 342 00:18:52,760 --> 00:18:55,000 Speaker 1: you have thrown at full speed and power, it is 343 00:18:55,040 --> 00:18:58,040 Speaker 1: faster and easier for your body to continue their rotation 344 00:18:58,440 --> 00:19:02,440 Speaker 1: and spin through the kick, resetting to your stance after 345 00:19:02,480 --> 00:19:06,440 Speaker 1: turning fully around. Keep the great episodes coming, Lee, That's 346 00:19:06,520 --> 00:19:08,560 Speaker 1: great once again. Great to hear from someone who has 347 00:19:08,960 --> 00:19:11,080 Speaker 1: a lot of experience with what we're talking about and 348 00:19:11,119 --> 00:19:15,080 Speaker 1: can can speak to the the strategy of deploying a 349 00:19:15,119 --> 00:19:17,800 Speaker 1: spin chick spin kick and why you might want to 350 00:19:17,840 --> 00:19:20,760 Speaker 1: think twice about it and given the given certain scenarios. 351 00:19:21,000 --> 00:19:28,560 Speaker 1: Totally thanks Lee. Al Right, here's another one. This one 352 00:19:28,600 --> 00:19:31,280 Speaker 1: comes to us from Ryan. Dear Robert and Joe. First 353 00:19:31,280 --> 00:19:33,160 Speaker 1: of all, I love the show. I used to listen 354 00:19:33,280 --> 00:19:35,320 Speaker 1: very regularly a few years ago, but had to stop 355 00:19:35,359 --> 00:19:38,560 Speaker 1: after being consumed by grad school. Since I graduated and 356 00:19:38,600 --> 00:19:40,480 Speaker 1: because of the pandemic, I have had to practice the 357 00:19:40,560 --> 00:19:43,320 Speaker 1: chance to pick up on the show again. In your 358 00:19:43,359 --> 00:19:46,320 Speaker 1: recent second episode on spinning in Circles. I'm pretty sure 359 00:19:46,359 --> 00:19:49,760 Speaker 1: the movie Joe was thinking of is Interstellar, where Matthew 360 00:19:49,840 --> 00:19:52,800 Speaker 1: McConaughey is landing in a spaceship on a high gravity 361 00:19:52,840 --> 00:19:56,080 Speaker 1: planet near a black hole. Where they had to quote 362 00:19:56,119 --> 00:19:59,480 Speaker 1: come in hot to minimize the amount of gravity dilated 363 00:19:59,680 --> 00:20:03,840 Speaker 1: time they spent there. He asked their friendly rectangular robot 364 00:20:03,880 --> 00:20:06,560 Speaker 1: to assume control if when he blacks out from the 365 00:20:06,600 --> 00:20:10,040 Speaker 1: G forces. I have to note that describing that scene 366 00:20:10,040 --> 00:20:13,399 Speaker 1: out of context makes it sound truly ridiculous. That film 367 00:20:13,560 --> 00:20:15,720 Speaker 1: might have been a bit of a mess when looking 368 00:20:15,760 --> 00:20:18,399 Speaker 1: at all of its scientific and fantastic elements, but it 369 00:20:18,480 --> 00:20:21,280 Speaker 1: was certainly a beautiful mess. I think this is picking 370 00:20:21,359 --> 00:20:23,639 Speaker 1: up on There was a moment towards the very end 371 00:20:23,640 --> 00:20:26,000 Speaker 1: of that episode where I was trying to remember what 372 00:20:26,119 --> 00:20:28,360 Speaker 1: movie it was, where there's a scene where a pilot 373 00:20:28,920 --> 00:20:32,800 Speaker 1: uh knows that they are going to blackout from G forces, 374 00:20:32,800 --> 00:20:35,680 Speaker 1: and they're they're calculating in like their time to recover 375 00:20:35,840 --> 00:20:39,840 Speaker 1: before crashing. Yeah. I do have to mention I remember 376 00:20:39,920 --> 00:20:41,800 Speaker 1: when I was talking one of the times we got 377 00:20:41,800 --> 00:20:45,960 Speaker 1: to interview Brian Green, the physicist UH, he did mention 378 00:20:46,000 --> 00:20:48,080 Speaker 1: Interstellar as being a film in which he liked the 379 00:20:48,119 --> 00:20:51,639 Speaker 1: black holes. He liked the movie's treatment of black holes. 380 00:20:52,320 --> 00:20:54,159 Speaker 1: I mean they Yeah, they went to a lot of 381 00:20:54,200 --> 00:20:57,200 Speaker 1: links to get many things about the science right and 382 00:20:57,200 --> 00:21:00,399 Speaker 1: and stay stay pretty hard science plaus bowl with a 383 00:21:00,400 --> 00:21:04,560 Speaker 1: few exceptions. Yeah, all right, Ryan continues. This leads me 384 00:21:04,640 --> 00:21:07,679 Speaker 1: to a suggestion for an episode topic g forces in 385 00:21:07,720 --> 00:21:10,960 Speaker 1: space travel. You could explore the real life examples of 386 00:21:10,960 --> 00:21:13,080 Speaker 1: how humans have grappled with the crushing effects of G 387 00:21:13,280 --> 00:21:15,720 Speaker 1: forces on the human body, as well as sci fi 388 00:21:15,760 --> 00:21:18,399 Speaker 1: and fantasy treatments. It might be fun for you to 389 00:21:18,600 --> 00:21:21,439 Speaker 1: to discuss fictional works that have tackled G forces in 390 00:21:21,440 --> 00:21:24,320 Speaker 1: space travel to some extent, like the Expanse and some 391 00:21:24,400 --> 00:21:27,160 Speaker 1: other fiction that doesn't bother with it at all. Basically 392 00:21:27,240 --> 00:21:32,080 Speaker 1: any fiction with hyper drive or ridiculous acceleration deceleration Kim 393 00:21:32,119 --> 00:21:37,360 Speaker 1: Stanley Robinson's novel twelve comes to mind, where careful budgeting 394 00:21:37,359 --> 00:21:40,359 Speaker 1: of G forces comes into play with railgun like launch 395 00:21:40,400 --> 00:21:44,160 Speaker 1: pads and the gradual slowing before they reach their destinations 396 00:21:44,200 --> 00:21:47,159 Speaker 1: while traveling the Solar System. I'm certainly no expert on 397 00:21:47,200 --> 00:21:49,840 Speaker 1: the subject matter, just a big old nerd when it 398 00:21:49,880 --> 00:21:51,840 Speaker 1: comes to stuff like that, so I would love to 399 00:21:51,840 --> 00:21:55,000 Speaker 1: hear your patented fun education will take on that. Thanks 400 00:21:55,000 --> 00:21:57,159 Speaker 1: for all of the great content you offer, including the 401 00:21:57,160 --> 00:22:03,320 Speaker 1: inaugural short form artifact episode on the fake tooth best Ryan, Well, 402 00:22:04,200 --> 00:22:06,760 Speaker 1: you know, we did a couple episodes a while back, 403 00:22:06,760 --> 00:22:10,439 Speaker 1: didn't we Joe Um on artificial gravity and space and 404 00:22:10,480 --> 00:22:14,600 Speaker 1: the idea of using of generating gravity through spinning but 405 00:22:14,720 --> 00:22:19,640 Speaker 1: also through just acceleration. Yeah, yeah, we talked about that, 406 00:22:19,840 --> 00:22:22,920 Speaker 1: uh we. I mean that was mostly about the idea 407 00:22:22,960 --> 00:22:26,919 Speaker 1: of trying to create artificial gravity in occupied habitats in 408 00:22:27,000 --> 00:22:29,560 Speaker 1: space and not about like the extremes of G forces. 409 00:22:29,640 --> 00:22:32,200 Speaker 1: So I think we could absolutely come back and explore 410 00:22:32,240 --> 00:22:34,640 Speaker 1: the extremes of G forces. That might be really interesting, 411 00:22:35,160 --> 00:22:39,080 Speaker 1: like some of the physiological differences. Like I remember reading UM, 412 00:22:39,119 --> 00:22:42,520 Speaker 1: there's an interesting question about what causes some of the 413 00:22:42,600 --> 00:22:46,119 Speaker 1: direct experience that people have during different types of G force, 414 00:22:46,280 --> 00:22:49,439 Speaker 1: like the the red out phenomenon. What actually makes the 415 00:22:49,520 --> 00:22:52,360 Speaker 1: vision go red when you're reading out that? Apparently that's 416 00:22:52,400 --> 00:22:55,080 Speaker 1: an interesting question about the eyes and the brain and 417 00:22:55,119 --> 00:22:57,119 Speaker 1: blood pressure and all that. Yeah, we may have to 418 00:22:57,119 --> 00:22:59,840 Speaker 1: come back to G forces in the future. UM. And 419 00:23:00,000 --> 00:23:02,879 Speaker 1: as far as the expanse goes, I'm loving that series. 420 00:23:02,920 --> 00:23:05,880 Speaker 1: It's about to come back on Amazon Prime, so I'm 421 00:23:05,880 --> 00:23:08,320 Speaker 1: excited for that. But also the books are quite good. 422 00:23:08,359 --> 00:23:11,080 Speaker 1: I only read the first one, but but really enjoyed it. 423 00:23:11,080 --> 00:23:13,919 Speaker 1: I thought I had some great science in it um. 424 00:23:13,960 --> 00:23:16,199 Speaker 1: And then I think you've read Kim Stanley or Robinson, 425 00:23:16,280 --> 00:23:19,040 Speaker 1: haven't you, Joe, and I misremember love Kim Stanley Robinson. 426 00:23:19,119 --> 00:23:21,919 Speaker 1: I'm actually just starting a new Kim Stanley Kim Stanley 427 00:23:21,960 --> 00:23:25,040 Speaker 1: Robinson book right now called The Ministry for the Future. 428 00:23:25,359 --> 00:23:29,320 Speaker 1: I have not read twelve, but I want to. Oh. 429 00:23:29,359 --> 00:23:32,679 Speaker 1: And but I will say, uh, Ryan, I do not 430 00:23:32,920 --> 00:23:35,119 Speaker 1: think that is the scene I had in mind, because 431 00:23:35,240 --> 00:23:38,720 Speaker 1: actually I think I was partially misremembering the circumstances of 432 00:23:38,720 --> 00:23:41,840 Speaker 1: the scene, and I think this next listener nailed exactly 433 00:23:41,840 --> 00:23:49,159 Speaker 1: what it was that I was half remembering. So this 434 00:23:49,240 --> 00:23:53,399 Speaker 1: message comes from Bentley. Bentley says, when you mentioned a 435 00:23:53,440 --> 00:23:55,720 Speaker 1: fighter pilot knowing that they were going to black out 436 00:23:55,800 --> 00:23:58,520 Speaker 1: and having to recover before crashing. The first type of 437 00:23:58,560 --> 00:24:00,760 Speaker 1: situation that popped into my head is from the first 438 00:24:00,880 --> 00:24:04,160 Speaker 1: Iron Man movie with Robert Downey Jr. At the end 439 00:24:04,240 --> 00:24:08,480 Speaker 1: where Obadiah Stain, the Ironmonger, had an upgraded version of 440 00:24:08,520 --> 00:24:11,320 Speaker 1: the Mark one. So in the premise of the movie, 441 00:24:11,320 --> 00:24:14,480 Speaker 1: the villain also builds like his own Iron Man type suit, 442 00:24:14,560 --> 00:24:18,360 Speaker 1: but it's bigger and bulkier and different. Going on h 443 00:24:18,480 --> 00:24:21,879 Speaker 1: Robert Downey Jr. Takes him to the upper stratosphere to 444 00:24:22,000 --> 00:24:24,880 Speaker 1: make the Mark one ice up. Then as they fall 445 00:24:24,920 --> 00:24:27,000 Speaker 1: out of the sky because of the lack of oxygen 446 00:24:27,040 --> 00:24:30,719 Speaker 1: and cold, Robert Downey Jr. Has to recover. Not specifically 447 00:24:30,760 --> 00:24:33,480 Speaker 1: G force related, but I am sure there was there 448 00:24:33,480 --> 00:24:37,159 Speaker 1: was a G force element as well. Love the pod Bentley, Bentley, 449 00:24:37,200 --> 00:24:39,359 Speaker 1: I think you're exactly correct. I think this is the 450 00:24:39,400 --> 00:24:42,399 Speaker 1: scene I had in mind where he knows he's going 451 00:24:42,480 --> 00:24:45,080 Speaker 1: to black out and hopes he recovers in time to 452 00:24:45,560 --> 00:24:48,240 Speaker 1: you know, pilot himself before he hits the ground. Yeah. 453 00:24:48,280 --> 00:24:51,040 Speaker 1: Science aside though that that was a really fun sequence 454 00:24:51,440 --> 00:24:55,280 Speaker 1: in that film, and and clearly drew inspiration from both 455 00:24:55,480 --> 00:25:00,320 Speaker 1: RoboCop two and the film Robot Jocks, which, uh, I 456 00:25:00,320 --> 00:25:02,720 Speaker 1: think by the time this listener mail comes out, will 457 00:25:02,800 --> 00:25:05,200 Speaker 1: we will have already put out an episode of Weird 458 00:25:05,200 --> 00:25:09,000 Speaker 1: How Cinema on? Can we live? It's the question everybody's asking. Uh, 459 00:25:09,320 --> 00:25:13,439 Speaker 1: we'll address that in our Robot Jocks episode. Okay, do 460 00:25:13,480 --> 00:25:15,760 Speaker 1: you want to finish off with one or two more 461 00:25:15,800 --> 00:25:19,679 Speaker 1: messages here? Yeah, let's have some more spinning. Bring it on. 462 00:25:24,920 --> 00:25:27,880 Speaker 1: This one comes to us from Silas, Robert and Joe. 463 00:25:27,960 --> 00:25:30,560 Speaker 1: I enjoyed your look at dizziness and had an interesting 464 00:25:30,600 --> 00:25:33,040 Speaker 1: bit of synchronicity and dealing with a different kind of 465 00:25:33,040 --> 00:25:36,480 Speaker 1: motion sickness. I got my wife a VR headset for 466 00:25:36,520 --> 00:25:39,320 Speaker 1: the holidays to help with our feeling cooped up from 467 00:25:39,520 --> 00:25:42,639 Speaker 1: the pandemic, and having listened to these episodes helped me 468 00:25:42,680 --> 00:25:45,560 Speaker 1: to understand that we just need to keep training with 469 00:25:45,560 --> 00:25:48,560 Speaker 1: it to overcome the nausea from the apparent motion not 470 00:25:49,080 --> 00:25:52,760 Speaker 1: matching the input from our vestibular systems. I know it's 471 00:25:52,920 --> 00:25:55,679 Speaker 1: it is fairly different, but I but it was a 472 00:25:55,800 --> 00:25:58,720 Speaker 1: useful parallel for me that I felt I should share. 473 00:25:58,840 --> 00:26:01,280 Speaker 1: Love the podcast. Thanks for your hard work. You know 474 00:26:01,359 --> 00:26:03,199 Speaker 1: I didn't. I didn't even think of this. But this 475 00:26:03,280 --> 00:26:06,840 Speaker 1: is another issue of disneys because I have friends who 476 00:26:06,880 --> 00:26:11,240 Speaker 1: have tried or or use VR headsets and have mentioned 477 00:26:11,760 --> 00:26:14,800 Speaker 1: some issues with dizziness, and uh, yeah, it would be 478 00:26:14,800 --> 00:26:16,760 Speaker 1: interesting to know a little bit more about this. And 479 00:26:16,800 --> 00:26:18,440 Speaker 1: I know we have some other listeners out there who 480 00:26:18,440 --> 00:26:22,160 Speaker 1: are also experimenting with VR, I mean some really going 481 00:26:22,200 --> 00:26:24,840 Speaker 1: in there deep. So I would be interested to hear 482 00:26:25,480 --> 00:26:27,879 Speaker 1: what other listeners have to say about this. Oh, I 483 00:26:27,960 --> 00:26:30,920 Speaker 1: would love to hear from from longtime listener Peter about 484 00:26:31,040 --> 00:26:33,800 Speaker 1: vietic dizziness. Yeah, yeah, I was definitely thinking about Peter 485 00:26:33,880 --> 00:26:37,680 Speaker 1: with this. I'll have to ask him about it, uh 486 00:26:37,720 --> 00:26:39,280 Speaker 1: on the side, and maybe he can write in a 487 00:26:39,400 --> 00:26:44,119 Speaker 1: listener mail as well. All Right, it looks like Carnie's 488 00:26:44,160 --> 00:26:46,480 Speaker 1: spinning is beginning to come to a close here. But 489 00:26:46,600 --> 00:26:55,000 Speaker 1: there's one more listener mail for today's session. Alright. This 490 00:26:55,040 --> 00:26:58,880 Speaker 1: one is from Voda and it ties together spinning with 491 00:26:59,119 --> 00:27:02,640 Speaker 1: lucid dreaming. I was intrigued by the idea here, so 492 00:27:03,400 --> 00:27:06,959 Speaker 1: voter Rights Joe and Robert. I became interested in lucid 493 00:27:07,040 --> 00:27:09,879 Speaker 1: dreaming after watching the movie Inception, and spent a few 494 00:27:09,960 --> 00:27:13,920 Speaker 1: years during college actively training to increase their frequency and duration. 495 00:27:14,320 --> 00:27:18,680 Speaker 1: I guess of lucid dreams. To increase frequency requires writing 496 00:27:18,720 --> 00:27:21,760 Speaker 1: down one's dreams to improve recall, as well as a 497 00:27:21,760 --> 00:27:26,800 Speaker 1: practice called reality checking. These checks test whether certain areas 498 00:27:26,840 --> 00:27:29,359 Speaker 1: of the brain are offline during R E M sleep 499 00:27:29,680 --> 00:27:32,439 Speaker 1: and must be performed often enough to become habit in 500 00:27:32,520 --> 00:27:35,680 Speaker 1: waking life, at which point the habit will be performed 501 00:27:35,760 --> 00:27:41,600 Speaker 1: while dreaming and fail spectacularly confirming and beginning the lucid dream. 502 00:27:41,600 --> 00:27:44,680 Speaker 1: My favorite reality check is to simply count my fingers 503 00:27:44,720 --> 00:27:47,720 Speaker 1: on one hand, as it is discreet and always at 504 00:27:47,760 --> 00:27:51,400 Speaker 1: hand In dreams, I reliably have more or fewer than 505 00:27:51,440 --> 00:27:54,280 Speaker 1: five fingers per hand, and my brain will rush an 506 00:27:54,320 --> 00:27:58,119 Speaker 1: attempted explanation, like a foggy memory of some accident or 507 00:27:58,119 --> 00:28:02,720 Speaker 1: birth defect, that quickly dissipate into a consistently surreal realization 508 00:28:03,280 --> 00:28:07,119 Speaker 1: that I'm inside a dream. This realization that one is 509 00:28:07,200 --> 00:28:09,960 Speaker 1: dreaming is often quite startling and even scary, as it 510 00:28:10,040 --> 00:28:13,840 Speaker 1: literally destabilizes your conception of the world you find yourself in. 511 00:28:14,400 --> 00:28:16,840 Speaker 1: It's common for people to wake up within seconds of 512 00:28:16,880 --> 00:28:20,200 Speaker 1: realizing they're in a dream, or to attempt some fantastic 513 00:28:20,240 --> 00:28:24,119 Speaker 1: activity like flight and excite themselves awake. Thus, a few 514 00:28:24,160 --> 00:28:28,120 Speaker 1: methods of stabilizing lucid dreams have been developed. I write 515 00:28:28,160 --> 00:28:31,720 Speaker 1: mostly to provide you with this fascinating piece on dream stabilization, 516 00:28:31,720 --> 00:28:34,960 Speaker 1: written by the modern godfather of lucid dreaming, the Stanford 517 00:28:35,000 --> 00:28:38,320 Speaker 1: researcher Stephen Leberge, who cites sources that may be a 518 00:28:38,360 --> 00:28:42,040 Speaker 1: further interest, and so the quote from Laberge begins here. 519 00:28:43,040 --> 00:28:46,400 Speaker 1: The earliest method for stabilizing lucid dreams was described by 520 00:28:46,480 --> 00:28:51,120 Speaker 1: Harold Van Moore's mesmer in Night. He was the first 521 00:28:51,160 --> 00:28:53,600 Speaker 1: to propose the technique of looking at the ground in 522 00:28:53,720 --> 00:28:58,040 Speaker 1: order to stabilize the dream. He discusses Carlos Castaneda's famous 523 00:28:58,080 --> 00:29:01,120 Speaker 1: technique of looking at his hands while dreaming to induce 524 00:29:01,200 --> 00:29:05,000 Speaker 1: and stabilize lucid dreams, and argues that the dreamer's body 525 00:29:05,080 --> 00:29:08,120 Speaker 1: provides one of the most unchanging elements in the dream, 526 00:29:08,440 --> 00:29:11,960 Speaker 1: which can help to stabilize the dreamer's otherwise feeble identity 527 00:29:12,040 --> 00:29:15,560 Speaker 1: in the face of a rapidly changing dream. However, as 528 00:29:15,560 --> 00:29:18,800 Speaker 1: he points out, the body isn't the only relatively stable 529 00:29:18,840 --> 00:29:22,000 Speaker 1: reference point in the dream. Another is the ground beneath 530 00:29:22,000 --> 00:29:25,520 Speaker 1: the dreamer's feet. A problem with using vision to stabilize 531 00:29:25,520 --> 00:29:28,120 Speaker 1: a lucid dream is the fact that when a dream ends, 532 00:29:28,240 --> 00:29:32,600 Speaker 1: the visual sense fades first. Other senses may persist longer, 533 00:29:32,680 --> 00:29:35,920 Speaker 1: with touch being among the last to go. The first 534 00:29:36,080 --> 00:29:38,160 Speaker 1: sign that a lucid dream is about to end is 535 00:29:38,240 --> 00:29:42,000 Speaker 1: usually a loss of color and realism. In visual imagery, 536 00:29:42,040 --> 00:29:44,880 Speaker 1: the dream may lose visual detail and begin to take 537 00:29:44,960 --> 00:29:48,440 Speaker 1: on a cartoon like or washed out appearance. This may 538 00:29:48,480 --> 00:29:51,680 Speaker 1: all happen very fast. Within a few seconds, the dream 539 00:29:51,720 --> 00:29:54,760 Speaker 1: can fade to black leaving nothing visual to focus on. 540 00:29:55,320 --> 00:29:58,240 Speaker 1: For this reason, one might speculate that focus on sensory 541 00:29:58,280 --> 00:30:02,720 Speaker 1: modalities other than vision may be more useful to stabilize dreams. 542 00:30:03,160 --> 00:30:06,719 Speaker 1: Why should dream spinning decrease the likelihood of awakening. Several 543 00:30:06,760 --> 00:30:10,800 Speaker 1: factors are probably involved. One of these may be neurophysiological 544 00:30:11,400 --> 00:30:15,520 Speaker 1: Information about head and body movement monitored by the vestibular 545 00:30:15,560 --> 00:30:17,760 Speaker 1: system of the inner ear, which helps you to keep 546 00:30:17,800 --> 00:30:21,720 Speaker 1: your balance, is closely integrated with visual information by the 547 00:30:21,760 --> 00:30:25,120 Speaker 1: brain to produce an optimally stable picture of the world. 548 00:30:25,640 --> 00:30:29,080 Speaker 1: Because of this integration of information, the world doesn't appear 549 00:30:29,120 --> 00:30:31,880 Speaker 1: to move whenever you move your head, even though the 550 00:30:31,920 --> 00:30:35,120 Speaker 1: image of the world on your retina moves. Since the 551 00:30:35,200 --> 00:30:38,880 Speaker 1: sensations of movement during dream spinning are as vivid as 552 00:30:38,920 --> 00:30:42,280 Speaker 1: those during actual physical movements, it is likely that the 553 00:30:42,320 --> 00:30:45,479 Speaker 1: same brain systems are activated to a similar degree in 554 00:30:45,560 --> 00:30:50,040 Speaker 1: both cases. And intriguing possibility is that the spinning technique, 555 00:30:50,320 --> 00:30:53,560 Speaker 1: by stimulating the system of the brain that integrates vestibular 556 00:30:53,600 --> 00:30:57,640 Speaker 1: activity detected in the middle ear, facilitates the activity of 557 00:30:57,680 --> 00:31:01,880 Speaker 1: the nearby components of the rim sleeps system. Neuroscientists have 558 00:31:01,960 --> 00:31:05,400 Speaker 1: obtained evidence of the involvement of the vestibular system and 559 00:31:05,440 --> 00:31:08,960 Speaker 1: the production of the rapid eye movement bursts in rem sleep. 560 00:31:09,800 --> 00:31:13,560 Speaker 1: Another possible reason why spinning may help postpone awakening comes 561 00:31:13,600 --> 00:31:16,760 Speaker 1: from the fact that when you imagine perceiving something with 562 00:31:16,880 --> 00:31:22,920 Speaker 1: one sense, your sensitivity to external stimulation of that sense decreases. Moreover, 563 00:31:23,280 --> 00:31:26,000 Speaker 1: and this is probably the most important factor. If the 564 00:31:26,080 --> 00:31:30,560 Speaker 1: brain is fully engaged in producing the vivid internally generated 565 00:31:30,600 --> 00:31:34,240 Speaker 1: sensory experience of spinning, it will be more difficult for 566 00:31:34,280 --> 00:31:38,680 Speaker 1: it to construct a contradictory sensation i e. Lying motionless 567 00:31:38,720 --> 00:31:42,760 Speaker 1: in bed based on external sensory input. When presented with 568 00:31:42,800 --> 00:31:45,920 Speaker 1: two contradictory interpretations of the state of our body in 569 00:31:45,960 --> 00:31:49,120 Speaker 1: the world, our consciousness chooses one or the other, but 570 00:31:49,320 --> 00:31:52,520 Speaker 1: not both models. Uh And then Voter goes on to 571 00:31:52,600 --> 00:31:56,000 Speaker 1: say that Lebourge goes on to describe an experiment in 572 00:31:56,040 --> 00:31:59,480 Speaker 1: which a number of small, regular lucid dreamers were instructed 573 00:31:59,760 --> 00:32:02,960 Speaker 1: in the spinning technique as well as rubbing their hands together. 574 00:32:03,160 --> 00:32:06,640 Speaker 1: Both of these techniques were significantly more likely to prolong 575 00:32:06,760 --> 00:32:09,800 Speaker 1: the dream. Hope, the message wasn't too long winded, thank 576 00:32:09,840 --> 00:32:11,800 Speaker 1: you for the show, as it is a constant source 577 00:32:11,840 --> 00:32:14,720 Speaker 1: of insight and wonder looking forward to the next thousand 578 00:32:14,760 --> 00:32:19,320 Speaker 1: episodes photo. Yeah, the next thousand episodes, which I think 579 00:32:19,320 --> 00:32:21,160 Speaker 1: we already did the math in this they're they're all 580 00:32:21,160 --> 00:32:24,360 Speaker 1: coming out in the next month now, Rob, I think 581 00:32:24,400 --> 00:32:27,440 Speaker 1: you've actually done episodes on lucid dreaming before. I've never 582 00:32:27,600 --> 00:32:29,760 Speaker 1: gotten super deep into this topic, so I don't know, 583 00:32:29,800 --> 00:32:33,720 Speaker 1: do you have any thoughts on this, um? I mean, 584 00:32:33,720 --> 00:32:37,520 Speaker 1: it all sounds very interesting and and does match up 585 00:32:37,560 --> 00:32:40,200 Speaker 1: with with what we we talked about in those episodes. 586 00:32:40,200 --> 00:32:43,120 Speaker 1: I think I did those episodes of Christian back several 587 00:32:43,200 --> 00:32:47,120 Speaker 1: years ago. But yeah, I find that lucid dreaming is 588 00:32:47,160 --> 00:32:49,400 Speaker 1: one of those those topics that one of the big 589 00:32:49,400 --> 00:32:53,160 Speaker 1: stumbling blocks for me is that I've never really applied 590 00:32:53,200 --> 00:32:56,720 Speaker 1: myself towards it myself. And even though I'll have these 591 00:32:56,720 --> 00:33:02,400 Speaker 1: occasional just spots of lucidity and dreaming, I uh, you know, 592 00:33:02,440 --> 00:33:05,920 Speaker 1: I just feel completely helpless in my dreams. You know. 593 00:33:05,960 --> 00:33:08,400 Speaker 1: It's like I'll wake up for a second within the dream, 594 00:33:08,440 --> 00:33:11,520 Speaker 1: you know, I'm I'll realize I'm dreaming and then lose 595 00:33:11,560 --> 00:33:15,200 Speaker 1: control almost immediately. But then again, like I said, I've 596 00:33:15,200 --> 00:33:17,640 Speaker 1: never really applied myself and tried to do much with it. 597 00:33:18,040 --> 00:33:21,400 Speaker 1: I'd say that my current association with dreams kind of 598 00:33:21,400 --> 00:33:24,280 Speaker 1: lines up with what David Eagelman uh told me in 599 00:33:24,320 --> 00:33:27,480 Speaker 1: that interview we did earlier this year, that that he 600 00:33:27,520 --> 00:33:30,480 Speaker 1: considers it to be the night blender, where you just 601 00:33:30,480 --> 00:33:32,600 Speaker 1: stick your head in the night blender and then you 602 00:33:32,640 --> 00:33:34,280 Speaker 1: just end up with a bunch of nonsense, and then 603 00:33:34,280 --> 00:33:38,120 Speaker 1: the content of the dreams is not really important or insightful, 604 00:33:38,520 --> 00:33:42,040 Speaker 1: and that you know it, you know, probably has some 605 00:33:42,160 --> 00:33:46,000 Speaker 1: you know, very important reasons otherwise, but it's mostly just 606 00:33:46,040 --> 00:33:50,600 Speaker 1: an unpleasant distraction. Uh. This is probably too I don't know, 607 00:33:51,160 --> 00:33:54,240 Speaker 1: psychologically revealing in some unflattering way. And I may have 608 00:33:54,240 --> 00:33:56,520 Speaker 1: said this on the show before, but I find almost 609 00:33:56,560 --> 00:33:59,080 Speaker 1: every time in a dream where I start to inquire 610 00:33:59,240 --> 00:34:01,800 Speaker 1: within the dream am about whether I'm dreaming or not, 611 00:34:02,320 --> 00:34:05,760 Speaker 1: I end up concluding, no, this is real, uh, And 612 00:34:05,800 --> 00:34:08,520 Speaker 1: then I just further go on to explore some some 613 00:34:08,960 --> 00:34:13,560 Speaker 1: ways in which I failed. Yeah. So I don't know, Uh, 614 00:34:13,960 --> 00:34:15,600 Speaker 1: you know, maybe we just we both need to apply 615 00:34:15,640 --> 00:34:18,920 Speaker 1: ourselves more to lucid dreaming. But I don't know. On 616 00:34:18,920 --> 00:34:21,840 Speaker 1: the other hand, I wake up and then I usually 617 00:34:21,880 --> 00:34:24,120 Speaker 1: forget about my dreams rather quickly and move on to 618 00:34:24,120 --> 00:34:25,560 Speaker 1: all the things I need to do in the waking 619 00:34:25,560 --> 00:34:28,600 Speaker 1: world without getting into tasks that I'm assigning myself in 620 00:34:28,640 --> 00:34:32,040 Speaker 1: the dream world. All right, well, we're gonna go ahead 621 00:34:32,040 --> 00:34:34,239 Speaker 1: and call it there. This is gonna be it for 622 00:34:34,320 --> 00:34:37,640 Speaker 1: this edition of Stuff to Blow Your Mind listener Mail. 623 00:34:37,800 --> 00:34:40,120 Speaker 1: But we would love to hear from all of you. 624 00:34:40,200 --> 00:34:42,520 Speaker 1: We we have some other listener mail tidbits that we 625 00:34:42,520 --> 00:34:44,439 Speaker 1: weren't able to get to today. We'll get to those 626 00:34:44,480 --> 00:34:48,360 Speaker 1: in future installments. But yeah, continue to write in with 627 00:34:48,440 --> 00:34:52,880 Speaker 1: your feedback on recent episodes, older episodes that you've rediscovered, 628 00:34:53,239 --> 00:34:55,360 Speaker 1: episodes you would like to hear in the future, or 629 00:34:55,400 --> 00:34:58,600 Speaker 1: just kind of general general insight. You you know, you 630 00:34:58,600 --> 00:35:00,680 Speaker 1: think we might be interested it in. You know, we're 631 00:35:00,760 --> 00:35:02,640 Speaker 1: we're open to all of that. 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