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 --> 00:00:10,879 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,200 --> 00:00:14,960 Speaker 1: Listener Mail. My name is Robert Lamb and I'm Joe McCormack. 4 00:00:15,040 --> 00:00:17,119 Speaker 1: In today we're bringing you some of the messages you 5 00:00:17,160 --> 00:00:19,920 Speaker 1: have sent us are loyal mail bot. Carney is right 6 00:00:19,960 --> 00:00:22,920 Speaker 1: here with us. It seems he has developed quite quite 7 00:00:22,920 --> 00:00:25,760 Speaker 1: a card shark habit over the last week or so. 8 00:00:25,840 --> 00:00:28,840 Speaker 1: He's wearing one of those green visors or wait, is 9 00:00:28,840 --> 00:00:31,680 Speaker 1: that what poker players wear? Or is that like accountants 10 00:00:32,000 --> 00:00:34,560 Speaker 1: may have gotten that next time. I think I've seen 11 00:00:34,600 --> 00:00:37,240 Speaker 1: some card sharks wearing those things. Yeah, well they're trying 12 00:00:37,240 --> 00:00:39,159 Speaker 1: to hide their expressions, right, so they wear like a 13 00:00:39,159 --> 00:00:42,000 Speaker 1: hat and sunglasses and who knows what else at the table? 14 00:00:42,040 --> 00:00:44,720 Speaker 1: Did any poker players just full on wear ski mask? 15 00:00:45,360 --> 00:00:48,160 Speaker 1: I think it's frowned upon. I think it's frowned upon. 16 00:00:48,560 --> 00:00:50,839 Speaker 1: But I'm sure that this, this new poker habit for 17 00:00:50,880 --> 00:00:53,680 Speaker 1: Carney has been inspired by the card playing robots of 18 00:00:53,760 --> 00:00:57,120 Speaker 1: Silent Running, one of our favorite films. Oh yeah, that's right, 19 00:00:57,160 --> 00:00:59,840 Speaker 1: there's some there's some great card card playing robots in 20 00:00:59,840 --> 00:01:03,240 Speaker 1: that one Hue we do and Louis Um those are 21 00:01:03,240 --> 00:01:05,640 Speaker 1: some wonderful scenes and in large part because they're like 22 00:01:05,680 --> 00:01:08,120 Speaker 1: a little bit they're a little bit clunky, you know, 23 00:01:08,200 --> 00:01:12,120 Speaker 1: they're not They're not smooth. Those robots are the way 24 00:01:12,160 --> 00:01:14,800 Speaker 1: that they interact with humans in their environment, but in 25 00:01:14,800 --> 00:01:19,399 Speaker 1: a way that felt very real, very endearing. I loved it. Well, 26 00:01:19,400 --> 00:01:27,000 Speaker 1: that'll come back up later on Robbert. You ready to 27 00:01:27,080 --> 00:01:29,760 Speaker 1: jump right in? Should I read this message from Cody? 28 00:01:30,160 --> 00:01:33,800 Speaker 1: Go for it? Okay, here is a sort of correction 29 00:01:33,880 --> 00:01:37,920 Speaker 1: slash clarification on the Jupiter episode. At least from Cody's perspective, 30 00:01:38,240 --> 00:01:41,800 Speaker 1: this starts high Joe plus Robert. I'm currently listening to 31 00:01:41,959 --> 00:01:45,440 Speaker 1: part one of the Jupiter episodes, and as a recovering astronomer, 32 00:01:45,480 --> 00:01:48,120 Speaker 1: I had to dash off this message when talking about 33 00:01:48,160 --> 00:01:52,240 Speaker 1: whether our solar system is unusual or abnormal is compared 34 00:01:52,280 --> 00:01:55,120 Speaker 1: to other planetary systems. It is crucial to keep in 35 00:01:55,160 --> 00:01:59,040 Speaker 1: mind that the detection techniques that astronomers used to find 36 00:01:59,120 --> 00:02:05,360 Speaker 1: extra solar planets preferentially biases their detections toward large planets 37 00:02:05,400 --> 00:02:08,520 Speaker 1: close to their parents star. In other words, planets that 38 00:02:08,600 --> 00:02:11,239 Speaker 1: tug a lot on their star or include its light 39 00:02:11,600 --> 00:02:15,000 Speaker 1: on short periods. And to expand on that a little bit. 40 00:02:15,200 --> 00:02:17,560 Speaker 1: So some of the main ways we've had in the 41 00:02:17,600 --> 00:02:22,400 Speaker 1: past of checking whether another star has an exoplanet orbiting 42 00:02:22,400 --> 00:02:25,919 Speaker 1: it is by things like the radial velocity test, which 43 00:02:26,080 --> 00:02:29,400 Speaker 1: checks to see if the host star is wobbling basically 44 00:02:29,560 --> 00:02:32,520 Speaker 1: by the gravitational pull of a large planet orbiting it, 45 00:02:33,040 --> 00:02:35,480 Speaker 1: or by the yeah, as Cody alludes to hear, the 46 00:02:35,520 --> 00:02:37,440 Speaker 1: occlusion of its light. So like, if there is a 47 00:02:37,480 --> 00:02:40,720 Speaker 1: transit where a planet passes in front of a star 48 00:02:40,880 --> 00:02:43,680 Speaker 1: from our perspective, we will proceed that as a brief 49 00:02:43,760 --> 00:02:46,440 Speaker 1: dimming of the star as the planet passes between the 50 00:02:46,480 --> 00:02:50,280 Speaker 1: star and our observation technology. Uh and and there's some 51 00:02:50,320 --> 00:02:52,480 Speaker 1: other methods as well, but those are some of the 52 00:02:52,520 --> 00:02:54,000 Speaker 1: main ones. And you can see why it would be 53 00:02:54,040 --> 00:02:58,080 Speaker 1: easier to detect planets that are larger and have certain 54 00:02:58,120 --> 00:03:02,119 Speaker 1: types of certain types of orbital orientations based on those 55 00:03:02,160 --> 00:03:06,079 Speaker 1: sorts of methods. But Cody continues, in fact, the upper 56 00:03:06,120 --> 00:03:09,200 Speaker 1: limit on the orbital periods for the current detection regime 57 00:03:09,280 --> 00:03:13,040 Speaker 1: is roughly half the period of a typical postdoctoral fellowship 58 00:03:13,440 --> 00:03:16,040 Speaker 1: go figure. So it just isn't accurate to say that 59 00:03:16,120 --> 00:03:19,239 Speaker 1: our Solar system is unusual, since we simply don't know. 60 00:03:19,680 --> 00:03:22,000 Speaker 1: It may in fact be the most common kind of 61 00:03:22,000 --> 00:03:25,600 Speaker 1: planetary system, but we are as yet completely incapable of 62 00:03:25,639 --> 00:03:29,760 Speaker 1: detecting another one like it, Cody. So thanks for that, Cody. 63 00:03:30,040 --> 00:03:32,160 Speaker 1: So I would say, unless it got left out by 64 00:03:32,200 --> 00:03:34,600 Speaker 1: accidents somehow, I'm pretty sure in the episode we did 65 00:03:34,639 --> 00:03:37,800 Speaker 1: talk about the idea that our current detection methods for 66 00:03:37,880 --> 00:03:41,720 Speaker 1: exoplanets could very well be biasing our surveys of what 67 00:03:41,800 --> 00:03:44,600 Speaker 1: types of planets are out there. Though I believe, if 68 00:03:44,640 --> 00:03:47,760 Speaker 1: I understand correctly, Cody is putting it more strongly here, 69 00:03:48,400 --> 00:03:50,640 Speaker 1: saying not just as we did that they could be 70 00:03:50,960 --> 00:03:54,200 Speaker 1: biasing our picture of how common different planetary structures are, 71 00:03:54,520 --> 00:03:58,080 Speaker 1: but that they almost certainly are biasing it. Fair enough, 72 00:04:03,520 --> 00:04:05,480 Speaker 1: all right, here's another one. This one comes to us 73 00:04:05,520 --> 00:04:10,120 Speaker 1: from Joshua Joshua rides Hi, Robert and Joe, longtime listener, 74 00:04:10,160 --> 00:04:13,120 Speaker 1: first time writing. Really love the show and the symbiosis 75 00:04:13,160 --> 00:04:17,120 Speaker 1: you create between all the best subjects. I was listening 76 00:04:17,120 --> 00:04:19,960 Speaker 1: to the Jupiter episodes and heard you both questioning how 77 00:04:19,960 --> 00:04:23,719 Speaker 1: big the stone Chronus uranus swallowed in place of the 78 00:04:23,760 --> 00:04:26,960 Speaker 1: baby Zeus. Well, I knew I heard about it before, 79 00:04:27,000 --> 00:04:30,360 Speaker 1: and sure enough, there is a historical sculpture held as 80 00:04:30,360 --> 00:04:35,400 Speaker 1: being the same stone see attached picture. Apparently apparently this 81 00:04:35,520 --> 00:04:38,800 Speaker 1: is it also known as the umphal of stone. It's 82 00:04:38,839 --> 00:04:42,800 Speaker 1: an example of a beatless or sacred stone. The mythological 83 00:04:42,839 --> 00:04:45,520 Speaker 1: record says the stone was also used by Zeus to 84 00:04:45,560 --> 00:04:48,839 Speaker 1: decide where the center of the world was no surprise, 85 00:04:49,080 --> 00:04:51,960 Speaker 1: he picked Delphi and that's where he placed this stone 86 00:04:52,160 --> 00:04:55,440 Speaker 1: to market and yeah, indeed you can look up images 87 00:04:55,480 --> 00:04:57,840 Speaker 1: of this. There's a Wikipedia article on this that has 88 00:04:57,920 --> 00:05:02,800 Speaker 1: some yeah, decent music, the photographs of them. Um Anyway, 89 00:05:02,960 --> 00:05:05,480 Speaker 1: they continue. It's certainly bigger than I ever imagined a 90 00:05:05,520 --> 00:05:07,960 Speaker 1: baby god would be. But I guess when you're dealing 91 00:05:07,960 --> 00:05:10,680 Speaker 1: with deities it's probably going to be a bit subjective. 92 00:05:10,920 --> 00:05:14,920 Speaker 1: Thanks guys, keep doing what do you do your friend, Josh? Oh, 93 00:05:14,960 --> 00:05:18,040 Speaker 1: thanks Josh. It looks kind of like a beautifully decorated 94 00:05:18,160 --> 00:05:21,880 Speaker 1: giant stone bullet. Here's the question. Was it decorated before 95 00:05:22,040 --> 00:05:25,320 Speaker 1: it was ingested by a god or did it? Was 96 00:05:25,360 --> 00:05:29,000 Speaker 1: it inscribed like this by virtue of being ingested by 97 00:05:29,000 --> 00:05:31,960 Speaker 1: a god? Also, you're saying not carved by a human 98 00:05:32,000 --> 00:05:34,960 Speaker 1: in recognition of having been vomited up by Chronus. But 99 00:05:35,040 --> 00:05:37,919 Speaker 1: it was actually carved by Cronus's guts, like when he 100 00:05:38,000 --> 00:05:41,880 Speaker 1: swallows a stone it starts making little lacy patterns on 101 00:05:42,160 --> 00:05:45,960 Speaker 1: the things inside. Yeah, why not? I mean the physiology 102 00:05:45,960 --> 00:05:49,400 Speaker 1: of the gods has to be something spectacular. Three cheers 103 00:05:49,400 --> 00:05:57,480 Speaker 1: for god guts. Yeah. Okay, you're ready for Dad Jokes, 104 00:05:58,600 --> 00:06:01,960 Speaker 1: as as ready as anyone ever is. Okay. This first 105 00:06:02,000 --> 00:06:05,839 Speaker 1: message comes from Eden. Eden says, Dear Robert and Joe, 106 00:06:06,120 --> 00:06:08,400 Speaker 1: in your recent Dad Jokes episode, you' all brought up 107 00:06:08,440 --> 00:06:11,680 Speaker 1: the lack of a signifier or punctuation mark in written 108 00:06:11,720 --> 00:06:15,200 Speaker 1: text that conveyed sarcasm. I wanted to shout through my 109 00:06:15,279 --> 00:06:18,680 Speaker 1: phone that there already is an existing signifier of sarcasm 110 00:06:18,680 --> 00:06:21,279 Speaker 1: in written text, and it does not ruin the joke 111 00:06:21,360 --> 00:06:24,960 Speaker 1: to use it. Rules for writing sarcasm have evolved naturally 112 00:06:25,000 --> 00:06:28,120 Speaker 1: on the Internet, and we see them every day. In fact, 113 00:06:28,279 --> 00:06:31,200 Speaker 1: often it is not punctuation so much as a lack 114 00:06:31,240 --> 00:06:34,760 Speaker 1: of punctuation. It's use as a form of rhetorical speech 115 00:06:34,920 --> 00:06:38,200 Speaker 1: is described here, and Eden includes a link to a 116 00:06:38,240 --> 00:06:42,599 Speaker 1: Tumbler post arguing in short that within Tumbler there has 117 00:06:42,680 --> 00:06:48,839 Speaker 1: evolved a linguistic convention that sentences presented without punctuation can 118 00:06:48,880 --> 00:06:52,840 Speaker 1: be understood in an ironic or rhetorical manner. So an 119 00:06:52,839 --> 00:06:55,159 Speaker 1: example kind of like what's used in this post would 120 00:06:55,200 --> 00:06:58,000 Speaker 1: be a sentence like why did Taco Bell give me 121 00:06:58,120 --> 00:07:01,920 Speaker 1: seventeen sauce packets for one taco? The sentence would feel 122 00:07:01,960 --> 00:07:04,839 Speaker 1: very different depending on whether or not you actually include 123 00:07:04,839 --> 00:07:06,960 Speaker 1: a question mark at the end of it. If there's 124 00:07:06,960 --> 00:07:08,960 Speaker 1: a question mark at the end of it, people might 125 00:07:09,000 --> 00:07:12,160 Speaker 1: be tempted to answer the question to say like, oh, 126 00:07:12,160 --> 00:07:14,320 Speaker 1: maybe it's because of this, or you know that they 127 00:07:14,320 --> 00:07:17,160 Speaker 1: could interpret it in different ways. If you don't punctuate 128 00:07:17,200 --> 00:07:20,160 Speaker 1: it at all, it's somehow kind of understood that this 129 00:07:20,240 --> 00:07:23,040 Speaker 1: is just like a joking or rhetorical question, and you're 130 00:07:23,080 --> 00:07:29,160 Speaker 1: probably exaggerating with the number. I'm I'm, I don't know. Yeah, 131 00:07:29,520 --> 00:07:33,480 Speaker 1: I'm just kind of a stickler for including your punctuation. 132 00:07:33,560 --> 00:07:36,200 Speaker 1: I don't know, I I'm. We take a lot of 133 00:07:36,240 --> 00:07:39,200 Speaker 1: convincing to to get me behind the idea of just 134 00:07:39,360 --> 00:07:42,400 Speaker 1: not using punctuation on a sentence, or to just in 135 00:07:42,520 --> 00:07:45,960 Speaker 1: order to use no capitalization, etcetera. You mean you're you're 136 00:07:46,000 --> 00:07:48,640 Speaker 1: not really familiar with this convention on the internet, or 137 00:07:48,680 --> 00:07:51,640 Speaker 1: just that you don't approve of it. Oh well, both mean. 138 00:07:51,720 --> 00:07:53,720 Speaker 1: I mean if I was more, if I was more 139 00:07:53,760 --> 00:07:55,920 Speaker 1: accustomed to it and their apps, I'd be more into it. 140 00:07:55,960 --> 00:07:58,040 Speaker 1: But like my gut reaction is, if we have to 141 00:07:58,120 --> 00:08:02,720 Speaker 1: choose between sarcasm and proper functuation, we choose punctuation, and 142 00:08:02,800 --> 00:08:08,320 Speaker 1: we we erase sarcasm from our our culture. Okay um. 143 00:08:08,480 --> 00:08:11,640 Speaker 1: Eden goes on a lack of punctuation or a period 144 00:08:11,640 --> 00:08:14,040 Speaker 1: where there should be a question mark, or even all 145 00:08:14,120 --> 00:08:18,320 Speaker 1: caps are an immediate signifier of sarcasm. Uh, this linguist 146 00:08:18,440 --> 00:08:20,880 Speaker 1: on the toast can explain it better than I can. 147 00:08:20,960 --> 00:08:23,680 Speaker 1: And then again Eden links to a to an article. 148 00:08:23,840 --> 00:08:26,680 Speaker 1: This is an article by a linguist named Gretchen McCulloch 149 00:08:27,120 --> 00:08:30,760 Speaker 1: who explains several ways that sarcasm or irony is often 150 00:08:30,800 --> 00:08:34,319 Speaker 1: conveyed in written language today on the Internet, often by 151 00:08:34,400 --> 00:08:39,920 Speaker 1: intentionally incorrect spelling, by lack of punctuation and capitalization. All 152 00:08:39,960 --> 00:08:43,559 Speaker 1: these things can sometimes be used to convey sarcasm or irony. 153 00:08:43,679 --> 00:08:46,880 Speaker 1: And yeah, I recognize these conventions. I've seen them on 154 00:08:46,920 --> 00:08:49,720 Speaker 1: Twitter in places where like a where a statement in 155 00:08:49,760 --> 00:08:53,800 Speaker 1: a post is denoted as ironic or sarcastic by being 156 00:08:53,840 --> 00:08:57,080 Speaker 1: presented say, like in all lower case with no punctuation. 157 00:08:59,120 --> 00:09:01,120 Speaker 1: I mean, I can some of these tools. I guess 158 00:09:01,160 --> 00:09:03,240 Speaker 1: I can get more behind the all caps thing. I 159 00:09:03,880 --> 00:09:06,480 Speaker 1: can understand that, and I guess I've probably used that before, 160 00:09:07,240 --> 00:09:12,520 Speaker 1: um and any. I guess even intentional misspellings have a place, 161 00:09:12,640 --> 00:09:17,440 Speaker 1: especially if you're trying to sort of present a a 162 00:09:17,520 --> 00:09:24,520 Speaker 1: specific dialect, you know, or impersonating specific individual um or 163 00:09:24,600 --> 00:09:26,920 Speaker 1: um you know, like say there's a particular celebrity you're 164 00:09:26,920 --> 00:09:30,920 Speaker 1: trying to uh to summon, you know, an image job 165 00:09:31,040 --> 00:09:33,800 Speaker 1: or to invoke in the writing. I think that would 166 00:09:33,840 --> 00:09:36,720 Speaker 1: make sense. I think I've realized one thing I do 167 00:09:36,880 --> 00:09:39,720 Speaker 1: is that often if I'm talking to somebody I work 168 00:09:39,800 --> 00:09:42,559 Speaker 1: with and I want to deny I don't think I 169 00:09:42,760 --> 00:09:45,079 Speaker 1: would ever put this together before, but I've realized I 170 00:09:45,520 --> 00:09:49,800 Speaker 1: often denote sarcasm or irony by including somewhere in the 171 00:09:49,920 --> 00:09:53,840 Speaker 1: sentence a business buzzword that I would never actually use 172 00:09:53,920 --> 00:09:57,120 Speaker 1: in a genuine manner. That that. Yeah, that that could 173 00:09:57,160 --> 00:10:00,000 Speaker 1: work for sure as a as a signify or something 174 00:10:00,120 --> 00:10:02,360 Speaker 1: like that. Yeah, But I guess part of it. I 175 00:10:02,440 --> 00:10:04,240 Speaker 1: guess a lot of this does come down to, you know, 176 00:10:04,280 --> 00:10:06,160 Speaker 1: what we talked about before, about how do we know 177 00:10:06,679 --> 00:10:10,439 Speaker 1: someone is being sarcastic? You know, there's there's tone, and 178 00:10:10,480 --> 00:10:15,319 Speaker 1: there's context. And if you're if if you're using the buzzwords, 179 00:10:15,360 --> 00:10:17,640 Speaker 1: are you perhaps leaning more into context a bit? I 180 00:10:17,679 --> 00:10:20,840 Speaker 1: don't know, Um yeah, I mean that would rely on 181 00:10:20,920 --> 00:10:23,360 Speaker 1: the person sort of knowing me well enough to know 182 00:10:23,440 --> 00:10:26,840 Speaker 1: that these are not terms that I genuinely use, So 183 00:10:27,000 --> 00:10:29,720 Speaker 1: that probably wouldn't work for like an audience that didn't 184 00:10:29,720 --> 00:10:32,439 Speaker 1: know who I was, But so, yeah, I guess that 185 00:10:32,440 --> 00:10:34,240 Speaker 1: that would be a context thing. I think the like 186 00:10:34,679 --> 00:10:38,360 Speaker 1: denoting sarcasm or irony or rhetorical speech by doing say, 187 00:10:38,440 --> 00:10:41,320 Speaker 1: all lowercase with no punctuation, that does seem to be 188 00:10:41,360 --> 00:10:44,880 Speaker 1: an attempt to use a written version of tone. It's 189 00:10:44,920 --> 00:10:46,840 Speaker 1: kind of like when you use the silly voice to 190 00:10:46,880 --> 00:10:50,040 Speaker 1: say something. Yeah, well, I mean I applied people out 191 00:10:50,280 --> 00:10:52,840 Speaker 1: out there in the field trying to to figure this out. 192 00:10:53,000 --> 00:10:56,120 Speaker 1: Even if even though there's some of these tools or 193 00:10:56,160 --> 00:10:59,480 Speaker 1: maybe not for me, uh you know, perhaps they work 194 00:10:59,520 --> 00:11:02,480 Speaker 1: and if they may communication better in these uh these formats, 195 00:11:02,480 --> 00:11:05,080 Speaker 1: then you know, I guess it's a win win anyway. 196 00:11:05,280 --> 00:11:07,760 Speaker 1: Eden concludes, My point is that we will never have 197 00:11:07,920 --> 00:11:11,880 Speaker 1: something as straightforward as a single mark to convey sarcasm, because, 198 00:11:11,960 --> 00:11:14,199 Speaker 1: as you pointed out in the episode, that such an 199 00:11:14,200 --> 00:11:17,640 Speaker 1: obvious pronouncement might spoil the joke. But we do have 200 00:11:17,840 --> 00:11:21,520 Speaker 1: unofficial linguistic rules about how we expressed sarcasm through text. 201 00:11:21,840 --> 00:11:24,920 Speaker 1: Love the show Eaten. Well, that's all good. Thanks for 202 00:11:25,040 --> 00:11:26,679 Speaker 1: writing in and sharing this. Yeah, this a little much 203 00:11:26,720 --> 00:11:34,640 Speaker 1: of this is a world I'm not familiar with. All right, 204 00:11:34,679 --> 00:11:37,760 Speaker 1: here's one from Carlos. Hey there. Just wanted to add 205 00:11:37,760 --> 00:11:40,640 Speaker 1: to your dad joke stories. My dad is from Argentina, 206 00:11:40,960 --> 00:11:43,000 Speaker 1: and often when I was a kid, he would try 207 00:11:43,040 --> 00:11:46,320 Speaker 1: to translate jokes from Spanish. Almost every time, my dad 208 00:11:46,320 --> 00:11:48,559 Speaker 1: would arrive at the punchline only to realize that the 209 00:11:48,640 --> 00:11:51,640 Speaker 1: joke didn't translate. Also, I don't know if this is 210 00:11:51,679 --> 00:11:54,080 Speaker 1: just me, but I have noticed that curse words and 211 00:11:54,120 --> 00:11:56,439 Speaker 1: other languages never have the same kick that they do 212 00:11:56,520 --> 00:12:00,680 Speaker 1: in one's native language. Slang from Argentina, bay In, how 213 00:12:00,720 --> 00:12:03,560 Speaker 1: my dad has explained it to me, can be pretty foul. 214 00:12:03,880 --> 00:12:06,400 Speaker 1: As such, my dad often told dirty jokes or jokes 215 00:12:06,400 --> 00:12:10,440 Speaker 1: that hinged on bad words, impolite company teachers, pastors, etcetera. 216 00:12:11,000 --> 00:12:14,120 Speaker 1: Uh So, not only did they usually fall flat, they 217 00:12:14,120 --> 00:12:17,720 Speaker 1: often were on the vulgar side, embarrassing back then hilarious. 218 00:12:17,720 --> 00:12:21,600 Speaker 1: Now thanks for everything, Carlos. Nothing better than telling dirty 219 00:12:21,679 --> 00:12:30,959 Speaker 1: jokes to the pastor alright. This next message comes to 220 00:12:31,040 --> 00:12:34,080 Speaker 1: us from Jim and New Jersey about part one of 221 00:12:34,120 --> 00:12:38,240 Speaker 1: our episodes on post biological intelligence. Jim says Robert and 222 00:12:38,320 --> 00:12:42,000 Speaker 1: Joe in your Machine Lords of Barnard six, Part one, 223 00:12:42,480 --> 00:12:46,520 Speaker 1: Joe was reading from Susan Schneider's AI comments comparing silicon 224 00:12:46,800 --> 00:12:52,040 Speaker 1: versus organic processing, and she mentioned seven manageable chunks being 225 00:12:52,080 --> 00:12:55,680 Speaker 1: the limitation of a human brain. You mentioned Miller, but 226 00:12:55,880 --> 00:12:58,080 Speaker 1: didn't seem to know the reference yet. She referred to 227 00:12:58,280 --> 00:13:00,840 Speaker 1: Miller as the citation for that seven chunk's claim, but 228 00:13:00,840 --> 00:13:02,920 Speaker 1: we talked about how we didn't follow up on that. Well, 229 00:13:03,040 --> 00:13:06,560 Speaker 1: Jim has the explanation here. Jim rights, she's referring to 230 00:13:06,640 --> 00:13:10,840 Speaker 1: George Miller's cognitive psychological paper the Magic number seven plus 231 00:13:10,960 --> 00:13:15,480 Speaker 1: or minus two. It's referring to short term memory. Humans 232 00:13:15,480 --> 00:13:18,560 Speaker 1: can manage about seven things in their short term memory, 233 00:13:18,840 --> 00:13:22,080 Speaker 1: but it varies per individual by plus or minus two. 234 00:13:22,520 --> 00:13:25,320 Speaker 1: The things we can manage are not just numbers, letters, 235 00:13:25,400 --> 00:13:28,960 Speaker 1: or words. Each slot can manage a single chunk, That 236 00:13:29,120 --> 00:13:31,920 Speaker 1: is it can be a composite idea with several parts, 237 00:13:31,920 --> 00:13:34,920 Speaker 1: but we still consider it a whole. I've heard that 238 00:13:35,000 --> 00:13:39,160 Speaker 1: one of the original tests involved showing chess peace configurations 239 00:13:39,160 --> 00:13:42,800 Speaker 1: to chess novices and masters. They had a fixed amount 240 00:13:42,800 --> 00:13:45,920 Speaker 1: of time, let's say sixty seconds to examine the board, 241 00:13:46,240 --> 00:13:49,800 Speaker 1: and they were tasked with reconstructing it. The chess masters 242 00:13:49,800 --> 00:13:53,000 Speaker 1: did much better than the novices, but then instead of 243 00:13:53,040 --> 00:13:56,800 Speaker 1: actual chess game configurations, both sets of volunteers were shown 244 00:13:56,960 --> 00:14:00,640 Speaker 1: random chess peace configurations, and the novice says and master 245 00:14:00,720 --> 00:14:03,600 Speaker 1: has got about the same number of pieces correct. In 246 00:14:03,640 --> 00:14:06,600 Speaker 1: the chess game portion of the test, a cluster of 247 00:14:06,640 --> 00:14:09,600 Speaker 1: pieces in the corner would appear as six or seven 248 00:14:09,640 --> 00:14:12,880 Speaker 1: pieces and require almost all of the short term memory 249 00:14:12,880 --> 00:14:16,760 Speaker 1: slots for the novice. However, the chess master would recognize 250 00:14:16,800 --> 00:14:20,760 Speaker 1: them as a castling position, and this castling chunk would 251 00:14:20,840 --> 00:14:25,240 Speaker 1: would only require one short term memory slot. Likewise, other 252 00:14:25,280 --> 00:14:28,720 Speaker 1: familiar chess piece configurations would chunk for the chess master. 253 00:14:29,280 --> 00:14:32,920 Speaker 1: The chess master doesn't have more memory. The chess master 254 00:14:33,080 --> 00:14:37,360 Speaker 1: has additional information about the game to chunk it more 255 00:14:37,360 --> 00:14:42,560 Speaker 1: efficiently than the novice. Random configurations contained no chunks, so 256 00:14:42,600 --> 00:14:45,560 Speaker 1: the master could only remember seven pieces, which was the 257 00:14:45,600 --> 00:14:48,480 Speaker 1: same as the novice. And this makes sense to me 258 00:14:48,560 --> 00:14:51,880 Speaker 1: because if you have something that's sort of already understood 259 00:14:51,920 --> 00:14:54,040 Speaker 1: as a whole and and stored in your memory in 260 00:14:54,040 --> 00:14:57,240 Speaker 1: a way, you could store it much more efficiently. Like 261 00:14:57,320 --> 00:15:02,200 Speaker 1: you could probably remember seven whole lines from movies that 262 00:15:02,240 --> 00:15:04,720 Speaker 1: you've watched a million times and you've got the lines 263 00:15:04,760 --> 00:15:08,680 Speaker 1: already memorized, but you couldn't remember as easily nearly as 264 00:15:08,760 --> 00:15:10,760 Speaker 1: much of the dialogue of a film that you were 265 00:15:10,840 --> 00:15:13,600 Speaker 1: unfamiliar with and being exposed to for the first time. 266 00:15:13,640 --> 00:15:16,520 Speaker 1: You could remember, Oh, it was this line from that film, 267 00:15:16,560 --> 00:15:20,520 Speaker 1: and that's one piece of information in your brain. Yeah. Anyway, 268 00:15:20,600 --> 00:15:23,880 Speaker 1: Jim goes on, chunking exists in most skills and hobbies. 269 00:15:23,920 --> 00:15:27,200 Speaker 1: If a concept has its own name, it's probably a chunk. 270 00:15:27,760 --> 00:15:31,160 Speaker 1: Referring back to Susan Schneider, a human short term memory 271 00:15:31,240 --> 00:15:34,720 Speaker 1: has seven slots. A computer does not have this limitation 272 00:15:35,200 --> 00:15:37,640 Speaker 1: Jim in New Jersey, Well, thanks Jim, that that fills 273 00:15:37,640 --> 00:15:40,160 Speaker 1: in something very relevant. Yeah, and it also kind of 274 00:15:40,200 --> 00:15:44,840 Speaker 1: makes spell slots in dungeons and dragons uh less um yeah, 275 00:15:45,160 --> 00:15:47,680 Speaker 1: less of an abstract concept, right, I mean, it's just like, yeah, 276 00:15:47,720 --> 00:15:49,440 Speaker 1: you only have so many slots. You can only have 277 00:15:49,480 --> 00:15:52,360 Speaker 1: so many spells prepared. But each spell is one chunk 278 00:15:52,400 --> 00:15:59,600 Speaker 1: if you know it well enough. Yeah, all right, And 279 00:15:59,640 --> 00:16:02,320 Speaker 1: then we one message about spoon. It's not very long. 280 00:16:02,360 --> 00:16:05,080 Speaker 1: It is just from a listener who signed their email quote. 281 00:16:05,240 --> 00:16:09,080 Speaker 1: Just a signature here, so I hope that works. Uh. 282 00:16:09,160 --> 00:16:12,240 Speaker 1: And the messages saw this and it reminded me of 283 00:16:12,240 --> 00:16:14,920 Speaker 1: your discussion about the sport. I think actually what you're 284 00:16:14,920 --> 00:16:18,560 Speaker 1: talking about is our our refusal to discuss the sport. 285 00:16:19,360 --> 00:16:23,000 Speaker 1: But this listener says you'll enjoy the foon and then 286 00:16:23,040 --> 00:16:25,600 Speaker 1: attaches a picture. One is a sport. So it's the 287 00:16:25,640 --> 00:16:27,960 Speaker 1: bowl of a spoon with some times at the end. 288 00:16:28,400 --> 00:16:30,840 Speaker 1: The foon is a fork in which each of the 289 00:16:30,880 --> 00:16:34,560 Speaker 1: times ends in a tiny spoon bowl. Yeah, it's it's 290 00:16:34,600 --> 00:16:36,920 Speaker 1: pretty weird looking. Even the spork looks weird because it 291 00:16:36,920 --> 00:16:40,000 Speaker 1: looks like it was Perhaps it's it's it's if it's 292 00:16:40,040 --> 00:16:44,480 Speaker 1: a like a fine silver spork, which I guess probably 293 00:16:44,880 --> 00:16:47,960 Speaker 1: it probably exists. But this looks like it was, you know, 294 00:16:48,080 --> 00:16:50,720 Speaker 1: perhaps created in photoshop. Rob. I can tell you're about 295 00:16:50,720 --> 00:16:52,520 Speaker 1: to lash out in anger. Let's let's move on to 296 00:16:52,600 --> 00:17:00,840 Speaker 1: something else. All right, just a uh comes to us 297 00:17:00,840 --> 00:17:03,880 Speaker 1: from brad Um and it's a response to our episode 298 00:17:04,040 --> 00:17:06,280 Speaker 1: Gold Medal of the Sun. Dear Robert and Joe, I 299 00:17:06,280 --> 00:17:08,440 Speaker 1: am writing about your episode on Gold. I don't believe 300 00:17:08,480 --> 00:17:11,680 Speaker 1: you mentioned one of Gold's most interesting properties. It's heat 301 00:17:11,720 --> 00:17:16,200 Speaker 1: shielding prowess. Approximately point eight ounces sixteen grams of gold 302 00:17:16,240 --> 00:17:19,800 Speaker 1: foil is used in the engine bay of each McLaren 303 00:17:19,960 --> 00:17:23,320 Speaker 1: F one because it protects the carbon fiber body and 304 00:17:23,960 --> 00:17:28,160 Speaker 1: the mono cue frame and chassis from heat, the heat 305 00:17:28,200 --> 00:17:30,000 Speaker 1: of the engine. Are we talking about a car here, 306 00:17:30,000 --> 00:17:32,840 Speaker 1: by the way, Yeah, I think this is like it's 307 00:17:32,840 --> 00:17:35,560 Speaker 1: like a racing car of some kind of very very fast, 308 00:17:35,600 --> 00:17:38,159 Speaker 1: high performance car. Yeah, because I was thinking of like 309 00:17:38,200 --> 00:17:40,080 Speaker 1: a like a like a fighter plane. It's like, I 310 00:17:40,080 --> 00:17:44,000 Speaker 1: don't don't recognize McLaren as as as a company that 311 00:17:44,040 --> 00:17:47,320 Speaker 1: makes fighter jets, so I don't. So I'm not familiar 312 00:17:47,359 --> 00:17:50,760 Speaker 1: with this word that mono cock or mono monoc quay, 313 00:17:52,359 --> 00:17:55,919 Speaker 1: whatever that is. Yeah, Anyway, they continue. This was a 314 00:17:56,000 --> 00:17:58,720 Speaker 1: choice by Gordon Murray, the chief engineer of the car. 315 00:17:59,160 --> 00:18:01,639 Speaker 1: The gold foy old lined engine bay is one of 316 00:18:01,880 --> 00:18:04,600 Speaker 1: two distinct design features of this car. The other big 317 00:18:04,640 --> 00:18:08,040 Speaker 1: design distinction is the three seats. Here's a link to 318 00:18:08,080 --> 00:18:11,800 Speaker 1: the Wikipedia article, which they include for us. Um. I've 319 00:18:11,840 --> 00:18:13,800 Speaker 1: been listening on and off for a couple of years, 320 00:18:13,840 --> 00:18:16,399 Speaker 1: but I have started listening frequently since I've been working 321 00:18:16,400 --> 00:18:18,480 Speaker 1: from home. Keep up the great work, especially with the 322 00:18:18,560 --> 00:18:22,560 Speaker 1: Weird House Cinema series. Regards Brad. Thanks Brad. All Right, 323 00:18:22,640 --> 00:18:25,359 Speaker 1: I am looking at the Yep, that's a pretty fancy 324 00:18:25,400 --> 00:18:33,159 Speaker 1: looking car. Um, let's see. Yes, okay, this is Bond 325 00:18:33,240 --> 00:18:36,560 Speaker 1: villain car. Yeah, maybe you have more perspective on this. 326 00:18:36,600 --> 00:18:38,679 Speaker 1: I've got a question here. Is there a point at 327 00:18:38,680 --> 00:18:42,240 Speaker 1: which a car starts looking so cool that it goes 328 00:18:42,359 --> 00:18:44,960 Speaker 1: over the line and it's not cool and instead it's 329 00:18:45,000 --> 00:18:49,439 Speaker 1: kind of dorky? Um? Maybe? I mean, I don't know 330 00:18:49,560 --> 00:18:52,600 Speaker 1: you Occasionally, you know, I guess I see a lot 331 00:18:52,640 --> 00:18:56,760 Speaker 1: of normal looking cars rolling around, uh, the neighborhood. You 332 00:18:56,760 --> 00:18:59,080 Speaker 1: know that you usually don't pay much attention to them, 333 00:18:59,080 --> 00:19:02,040 Speaker 1: and occasionally, like even things like, at least to my eyes, 334 00:19:02,359 --> 00:19:04,240 Speaker 1: even when there's like a tesla there, I have to 335 00:19:04,280 --> 00:19:07,560 Speaker 1: really look at it to realize it's a tesla. Um 336 00:19:07,560 --> 00:19:10,879 Speaker 1: where until I'm finally like, WHOA the student's dropping off 337 00:19:10,920 --> 00:19:13,840 Speaker 1: his kids at school? And a Tesla. What's that about? Um? 338 00:19:13,880 --> 00:19:17,760 Speaker 1: But I guess occasionally you do see a car that 339 00:19:17,880 --> 00:19:22,040 Speaker 1: is like so fancy or so antique that it is 340 00:19:22,119 --> 00:19:26,359 Speaker 1: just I I grabbing. UM. I don't know what extent 341 00:19:26,440 --> 00:19:30,760 Speaker 1: it becomes uncool. I'm I guess it just depends on 342 00:19:30,760 --> 00:19:35,320 Speaker 1: on how judgmental you are about how people, uh you know, um, 343 00:19:35,440 --> 00:19:37,800 Speaker 1: how people spend their money and you know, what they 344 00:19:37,880 --> 00:19:41,040 Speaker 1: choose to drive around in. UM. I guess it's possible, 345 00:19:41,040 --> 00:19:44,440 Speaker 1: but it would be very, very subjective. Except for the headlights. 346 00:19:44,480 --> 00:19:46,200 Speaker 1: I'm not sure I would be able to tell which 347 00:19:46,320 --> 00:19:49,480 Speaker 1: end of this car is the front. Yeah, I don't know. 348 00:19:49,520 --> 00:19:51,480 Speaker 1: It's kind of I imagine. I'm not a car person, 349 00:19:51,560 --> 00:19:53,800 Speaker 1: so I don't really get excited about cars and all. 350 00:19:53,840 --> 00:19:56,199 Speaker 1: But I think one area I might be able to 351 00:19:56,240 --> 00:19:59,320 Speaker 1: compare it to would be like my my interest in 352 00:19:59,400 --> 00:20:04,360 Speaker 1: things like inks and and military aircraft, which, on on 353 00:20:04,359 --> 00:20:06,399 Speaker 1: one level, I can definitely look at a bomber or 354 00:20:06,400 --> 00:20:08,080 Speaker 1: a tank and be like, Wow, that's a really cool 355 00:20:08,200 --> 00:20:10,640 Speaker 1: looking air plants a neat design, And on the other hand, 356 00:20:10,640 --> 00:20:13,159 Speaker 1: I'm like, that is okay, that's that's a weapon of 357 00:20:13,160 --> 00:20:17,159 Speaker 1: war that probably or in many cases definitely caused a 358 00:20:17,160 --> 00:20:21,480 Speaker 1: lot of death, destruction and misery and pain. Um, But 359 00:20:21,600 --> 00:20:23,600 Speaker 1: on some level you kind of separate the two when 360 00:20:23,600 --> 00:20:28,280 Speaker 1: you're considering just pieces of technology like that. Uh. And granted, 361 00:20:28,600 --> 00:20:30,840 Speaker 1: if you're talking about like a Lamborghini or something, it 362 00:20:30,920 --> 00:20:34,760 Speaker 1: probably didn't lead to uh, you know, the same level 363 00:20:34,760 --> 00:20:37,000 Speaker 1: of of death and misery that a uh you know, 364 00:20:37,080 --> 00:20:40,000 Speaker 1: like an M one tank did. But still you kind 365 00:20:40,000 --> 00:20:42,359 Speaker 1: of they're probably different ways that we engage in thinking 366 00:20:42,400 --> 00:20:43,720 Speaker 1: about it. So we might be able to look at 367 00:20:43,720 --> 00:20:45,280 Speaker 1: a car and be like, oh, that's a really cool 368 00:20:45,320 --> 00:20:49,119 Speaker 1: car without thinking is that a wise use of one's money? 369 00:20:49,160 --> 00:20:51,359 Speaker 1: Is that appropriate to drive on these streets? So what 370 00:20:51,400 --> 00:20:54,680 Speaker 1: does that say about inequality in our in our world 371 00:20:54,840 --> 00:20:57,560 Speaker 1: or our nation that sort of thing. Uh? So I 372 00:20:57,600 --> 00:20:59,560 Speaker 1: don't know not to lay all that on this one 373 00:20:59,600 --> 00:21:03,720 Speaker 1: particular their car. No, No, it's a it's it's a 374 00:21:03,720 --> 00:21:07,040 Speaker 1: cool looking car. I will admit if I saw it 375 00:21:07,119 --> 00:21:08,879 Speaker 1: driving down the street, I would say, Wow, that's a 376 00:21:08,920 --> 00:21:13,240 Speaker 1: cool car. I jump right in front of it. It 377 00:21:13,280 --> 00:21:16,080 Speaker 1: would be an honor could get run over by this car, 378 00:21:16,680 --> 00:21:19,159 Speaker 1: something I really get excited about. I live close to 379 00:21:19,240 --> 00:21:21,480 Speaker 1: railroad tracks, and I think one of my favorite things 380 00:21:21,480 --> 00:21:24,840 Speaker 1: in the world are maintenance vehicles on railroad tracks? Yeah, 381 00:21:25,240 --> 00:21:27,239 Speaker 1: I get really excited about those. I point them out 382 00:21:27,280 --> 00:21:31,760 Speaker 1: to my family and mostly they don't care. But but yeah, 383 00:21:31,840 --> 00:21:34,479 Speaker 1: if there's some sort of strange vehicle that's cleaning the 384 00:21:34,480 --> 00:21:37,880 Speaker 1: tracks or enabling the maintenance of the tracks, or even 385 00:21:37,920 --> 00:21:40,320 Speaker 1: just a truck on the tracks, you know, um that 386 00:21:40,440 --> 00:21:43,679 Speaker 1: I that that stuff. That's something I really get excited about. 387 00:21:43,720 --> 00:21:45,639 Speaker 1: So if I imagine there are people who get that 388 00:21:45,720 --> 00:21:48,520 Speaker 1: level of excited about sports cars and all, and I can, 389 00:21:48,640 --> 00:21:50,800 Speaker 1: I can acknowledge that I'm right here with you. I 390 00:21:50,840 --> 00:21:55,080 Speaker 1: think I have much more enthusiasm about reil based vehicles. Yeah, 391 00:21:55,359 --> 00:21:59,280 Speaker 1: oh yeah, yeah, I still occasionally, Unfortunately I don't have 392 00:21:59,320 --> 00:22:02,439 Speaker 1: them every night. I have semi recurring dreams about getting 393 00:22:02,440 --> 00:22:06,679 Speaker 1: to ride special train cars on like the subway or 394 00:22:06,680 --> 00:22:08,920 Speaker 1: our local rail system here in Atlanta, though it's usually 395 00:22:08,960 --> 00:22:12,480 Speaker 1: kind of like an unreal, uh subway system I'm engaging in, 396 00:22:12,480 --> 00:22:14,600 Speaker 1: but like a chance where oh I get to ride 397 00:22:14,960 --> 00:22:18,720 Speaker 1: this like open vehicle that's traveling through the subway tunnels 398 00:22:18,800 --> 00:22:21,960 Speaker 1: or some sort of bizarre say, and it it like 399 00:22:22,040 --> 00:22:26,359 Speaker 1: it occurs with some regular frequency, and my my dreams 400 00:22:26,359 --> 00:22:28,720 Speaker 1: I don't always remember it all that well, but yeah, 401 00:22:28,800 --> 00:22:31,800 Speaker 1: something about strange train cars. I'm I'm just really drawn to. 402 00:22:32,440 --> 00:22:34,160 Speaker 1: I thought you were going to say, like a fancy 403 00:22:34,800 --> 00:22:41,080 Speaker 1: you know, orient express style, uh dining car on Marta. Oh, 404 00:22:41,280 --> 00:22:43,399 Speaker 1: I would be up for that as well. Yeah, one 405 00:22:43,440 --> 00:22:45,760 Speaker 1: of my favorite museums. Uh. There are so many great 406 00:22:45,840 --> 00:22:48,800 Speaker 1: museums in New York, but the Public Transit Rail Museum 407 00:22:49,000 --> 00:22:52,360 Speaker 1: is so great because it's an actual subway station and 408 00:22:52,440 --> 00:22:55,600 Speaker 1: it's filled with just different historical train cars and you 409 00:22:55,640 --> 00:22:58,600 Speaker 1: can just walk through them and explore. It's it's wonderful. 410 00:22:58,720 --> 00:23:02,160 Speaker 1: Oh that sounds cool. Maybe one day huh yeah, yeah, 411 00:23:02,240 --> 00:23:12,440 Speaker 1: one day I'll get back up there. Alright. This next 412 00:23:12,440 --> 00:23:16,640 Speaker 1: message is about the Fatim Organa episode. This comes from Alexander. 413 00:23:16,720 --> 00:23:19,560 Speaker 1: Alexander says, Hello, Robert and Joe. Hope you guys are 414 00:23:19,600 --> 00:23:21,880 Speaker 1: safe and well. I've been a fan of the podcast 415 00:23:21,920 --> 00:23:24,359 Speaker 1: for some years now, and to someone who listens mostly 416 00:23:24,359 --> 00:23:27,720 Speaker 1: to comedy shows, your weekly discussions give me real food 417 00:23:27,720 --> 00:23:30,880 Speaker 1: for thought. I love the informal and really interesting tone 418 00:23:30,880 --> 00:23:33,320 Speaker 1: of the conversations and the themes of the episodes. So 419 00:23:33,359 --> 00:23:36,879 Speaker 1: when hearing the episode about the Fatim Morgana, I couldn't 420 00:23:36,960 --> 00:23:41,040 Speaker 1: help but think of a minor character of the anime Narudo. 421 00:23:41,840 --> 00:23:44,760 Speaker 1: And as you guys ask for representations of the shin 422 00:23:45,080 --> 00:23:48,159 Speaker 1: in media, here you go. Also, English is not my 423 00:23:48,200 --> 00:23:51,399 Speaker 1: first language, so bear with me. No worries at all, 424 00:23:51,440 --> 00:23:55,520 Speaker 1: Alexander rob what's a quick refresher on the shin Oh. 425 00:23:55,520 --> 00:23:58,360 Speaker 1: A giant clan that lives in the deep and belches 426 00:23:58,480 --> 00:24:03,600 Speaker 1: up a column of of ectoplasm that forms like fairy 427 00:24:03,720 --> 00:24:07,959 Speaker 1: castles and cities in the sky, on the horizon, in 428 00:24:08,040 --> 00:24:11,600 Speaker 1: the in the Sea of Japan. Yeah, amazing, like giant 429 00:24:11,600 --> 00:24:15,560 Speaker 1: clam monsters burping up bubbles that turn into visions. Yeah. 430 00:24:15,680 --> 00:24:17,399 Speaker 1: And if you and yeah, you don't want to go 431 00:24:17,480 --> 00:24:19,720 Speaker 1: following it because it's not really there. You can't really 432 00:24:19,760 --> 00:24:22,760 Speaker 1: live there, you can't really explore it. Um you know, 433 00:24:22,840 --> 00:24:24,640 Speaker 1: it's it's fairy fire that will lead you to your 434 00:24:24,640 --> 00:24:29,520 Speaker 1: down excellent summary. The message continues. So Naruto is a 435 00:24:29,560 --> 00:24:33,320 Speaker 1: pretty famous anime that tells the story of Naruto Uzumaki, 436 00:24:33,680 --> 00:24:37,040 Speaker 1: a young ninja who seeks recognition from his peers and 437 00:24:37,160 --> 00:24:41,359 Speaker 1: dreams of becoming the the hokag I think the leader 438 00:24:41,400 --> 00:24:45,040 Speaker 1: of his village, while dealing with the mythical spirit of 439 00:24:45,080 --> 00:24:48,840 Speaker 1: the Kyubi, a nine tailed fox sealed in his body. 440 00:24:49,040 --> 00:24:53,040 Speaker 1: The Shin appears during the fourth Shinobi World War Arc, 441 00:24:53,080 --> 00:24:55,760 Speaker 1: one of the final ones. The creature is a pretty 442 00:24:55,800 --> 00:24:59,480 Speaker 1: straightforward representation of the Chinese myth and also has the 443 00:24:59,520 --> 00:25:04,200 Speaker 1: ability to create mirages and delusions. The giant Clam appears 444 00:25:04,240 --> 00:25:09,040 Speaker 1: as a personal summon of the second Mizukag, the leader 445 00:25:09,119 --> 00:25:12,320 Speaker 1: of the hidden village of the Mist, resurrected to fight 446 00:25:12,400 --> 00:25:15,679 Speaker 1: in the Ninja World War. It's capable of producing a 447 00:25:15,760 --> 00:25:19,800 Speaker 1: mist that creates a deceptive mirage that renders observers unable 448 00:25:19,840 --> 00:25:23,600 Speaker 1: to locate the position of the summinar or the clam itself. 449 00:25:23,880 --> 00:25:26,720 Speaker 1: In my opinion, it was a very interesting use of 450 00:25:26,720 --> 00:25:29,639 Speaker 1: the Chinese myth of the Shin. I'm also attaching a 451 00:25:29,800 --> 00:25:33,040 Speaker 1: link of the clam scene with the English sub so 452 00:25:33,160 --> 00:25:35,479 Speaker 1: you guys can better understand the role of the creature 453 00:25:35,600 --> 00:25:38,879 Speaker 1: in the anime. Unfortunately, when I clicked on it, the 454 00:25:38,960 --> 00:25:44,000 Speaker 1: video is unavailable, so I think snatched by the piracy bots. 455 00:25:44,560 --> 00:25:48,560 Speaker 1: Those bots that someday they'll pay back. In Alexander's message 456 00:25:48,560 --> 00:25:50,919 Speaker 1: p S, I would also love to make a suggestion 457 00:25:50,960 --> 00:25:53,600 Speaker 1: for the future. It would be really cool to hear 458 00:25:53,640 --> 00:25:56,960 Speaker 1: an episode about the Amazon, Pink river dolphin. I'm from 459 00:25:56,960 --> 00:26:02,040 Speaker 1: Brazil and this aquatical mammal is and an extremely interesting 460 00:26:02,080 --> 00:26:05,119 Speaker 1: animal with a rich mythical background and repercussions on the 461 00:26:05,240 --> 00:26:09,400 Speaker 1: sociology or anthropology of indigenous groups. Thank you for your 462 00:26:09,400 --> 00:26:12,680 Speaker 1: great podcast. Keep up the good work. Smiley face emoji 463 00:26:13,440 --> 00:26:15,720 Speaker 1: which for some reason, when I copy and paste turns 464 00:26:15,760 --> 00:26:17,760 Speaker 1: into a capital J. I don't know what to do 465 00:26:17,880 --> 00:26:21,280 Speaker 1: about that. Let's see for starters. UM. I have not 466 00:26:21,480 --> 00:26:24,800 Speaker 1: seen this anime in question. Uh, And of course wasn't 467 00:26:24,800 --> 00:26:26,639 Speaker 1: able to get that link to work, but I am 468 00:26:26,760 --> 00:26:29,639 Speaker 1: vaguely aware that it exists, so I don't know. MAYBO 469 00:26:29,640 --> 00:26:31,040 Speaker 1: have to check it out of enjoying a lot of 470 00:26:31,080 --> 00:26:34,400 Speaker 1: high quality animation these days. Oh and then secondly pink 471 00:26:34,520 --> 00:26:36,040 Speaker 1: river dolphin. Yeah, I would love to do something on 472 00:26:36,080 --> 00:26:45,800 Speaker 1: pink river dolphins. Uh, dolphins in general, just a fascinating topic. UM. 473 00:26:45,840 --> 00:26:48,960 Speaker 1: In a recent listener mail, we listen we heard, We 474 00:26:49,160 --> 00:26:51,760 Speaker 1: asked everyone, it's like, hey, what's some relaxing music you dig? 475 00:26:51,800 --> 00:26:53,240 Speaker 1: We heard from a couple of people. I'm not going 476 00:26:53,280 --> 00:26:55,520 Speaker 1: to read their complete emails, but I would just want 477 00:26:55,520 --> 00:26:59,240 Speaker 1: to mention some of the the music that they recommended. 478 00:26:59,680 --> 00:27:02,720 Speaker 1: H William, responding on the discussion module, said that they 479 00:27:02,760 --> 00:27:06,320 Speaker 1: too are fans of Biosphere that we brought up, but 480 00:27:06,440 --> 00:27:11,280 Speaker 1: also mentioned another artist that I dig, Rook Schnouse, as 481 00:27:11,320 --> 00:27:14,840 Speaker 1: well as an artist by name of William Basinski, who 482 00:27:14,960 --> 00:27:16,639 Speaker 1: I think I've listened to a little bit before. I 483 00:27:16,640 --> 00:27:21,960 Speaker 1: think they're known for these like using degenerating tapes um 484 00:27:22,000 --> 00:27:25,600 Speaker 1: to create interesting soundscapes. Oh, that's interesting. One of my 485 00:27:25,680 --> 00:27:28,639 Speaker 1: favorite things actually that that the Internet is good for 486 00:27:28,800 --> 00:27:33,639 Speaker 1: is recordings of dying sound playing chips that are implanted 487 00:27:33,680 --> 00:27:37,159 Speaker 1: in greeting cards that play music. So there are a 488 00:27:37,200 --> 00:27:39,320 Speaker 1: lot of really good ones there. There's one that I 489 00:27:39,400 --> 00:27:41,080 Speaker 1: used to listen to all the time. It was the 490 00:27:41,080 --> 00:27:44,800 Speaker 1: Happy Birthday Song, but it was of course not able 491 00:27:44,840 --> 00:27:48,280 Speaker 1: to quite produce the clarity and crispness and power that 492 00:27:48,359 --> 00:27:50,960 Speaker 1: it once did when it was first purchased, so it 493 00:27:51,160 --> 00:27:55,160 Speaker 1: rendered this absolute dirge of death for your birthday. Another 494 00:27:55,200 --> 00:27:56,760 Speaker 1: one that I think I shared with you not too 495 00:27:56,760 --> 00:27:59,359 Speaker 1: long ago was playing the Baja Mens who Let the 496 00:27:59,400 --> 00:28:02,800 Speaker 1: Dogs Out? But as the machines spiraled down to its doom, 497 00:28:02,920 --> 00:28:08,520 Speaker 1: the who let the Dogs Out chorus became increasingly forlorn. Yeah, yeah, 498 00:28:08,600 --> 00:28:11,720 Speaker 1: that was a good one for sure. Um, let's see 499 00:28:11,760 --> 00:28:15,800 Speaker 1: they speaking of which is not really decayed um audio 500 00:28:15,880 --> 00:28:17,679 Speaker 1: loops or anything. But I'm also a big fan of 501 00:28:17,720 --> 00:28:20,720 Speaker 1: Steve Reich's music for eighteen musicians if anyone out there 502 00:28:21,000 --> 00:28:23,720 Speaker 1: is looking for something to try out. But what William 503 00:28:23,760 --> 00:28:27,960 Speaker 1: also mentions, uh Billow observatory that I'm not familiar with, 504 00:28:28,440 --> 00:28:32,480 Speaker 1: and also brings up, of course Brian Eno, especially Brian 505 00:28:32,560 --> 00:28:37,040 Speaker 1: ENO's work with Robert Fripp. Love Brian Eno. Yes, yeah, absolutely. 506 00:28:37,080 --> 00:28:39,320 Speaker 1: In fact, we heard from another listener by the name 507 00:28:39,320 --> 00:28:42,560 Speaker 1: of Jarry who wanted to write you in just about 508 00:28:42,640 --> 00:28:47,280 Speaker 1: you Know, um that they that they basically go on 509 00:28:47,400 --> 00:28:49,880 Speaker 1: at length here about how great you Know's work is 510 00:28:50,040 --> 00:28:54,080 Speaker 1: and lists list some stuff to check out. I'm not 511 00:28:54,080 --> 00:28:56,760 Speaker 1: going to go into all of it here, but they 512 00:28:56,800 --> 00:29:01,160 Speaker 1: do pinpoints some of the big ones, like music for airports, atmospheres, 513 00:29:01,160 --> 00:29:04,560 Speaker 1: and soundtracks. I'm a big fan personally of what music 514 00:29:04,680 --> 00:29:07,400 Speaker 1: music for films that has a or whatever it was called, 515 00:29:07,400 --> 00:29:10,920 Speaker 1: where it's like little bits of of soundtrack score for 516 00:29:11,000 --> 00:29:13,680 Speaker 1: non existent films that he put together. I'm pretty sure 517 00:29:13,720 --> 00:29:16,000 Speaker 1: we've talked on the show before about how we both 518 00:29:16,040 --> 00:29:19,280 Speaker 1: agreed that music for airports should actually be played in 519 00:29:19,360 --> 00:29:22,760 Speaker 1: airports instead of whatever god awful racket that they're pumping 520 00:29:22,800 --> 00:29:25,200 Speaker 1: out of, like the TVs they've got up in there too. 521 00:29:25,360 --> 00:29:29,280 Speaker 1: If you run an airport, please don't have TVs running 522 00:29:29,400 --> 00:29:32,920 Speaker 1: in the terminal areas. That is just a recipe for 523 00:29:33,080 --> 00:29:36,440 Speaker 1: incredible stress and misery. Yeah. I don't know why. I 524 00:29:36,480 --> 00:29:40,320 Speaker 1: don't know why music for airports was ignored by airports. Uh. 525 00:29:40,360 --> 00:29:43,520 Speaker 1: They also mentioned, you know, his work with Cluster we've 526 00:29:43,560 --> 00:29:45,080 Speaker 1: talked about. I know that you're you're a fan of 527 00:29:45,080 --> 00:29:48,600 Speaker 1: Cluster as well. Um, he's worked he worked on Ambient 528 00:29:48,680 --> 00:29:52,640 Speaker 1: to the Plateau of Mirror, worked on that with Harold Budd, 529 00:29:52,680 --> 00:29:56,880 Speaker 1: who's another big name in ambient sound. Um. Yeah, there's 530 00:29:56,880 --> 00:29:59,800 Speaker 1: just there's just so much, so much great stuff that 531 00:29:59,800 --> 00:30:01,360 Speaker 1: the you knows put out over the years, and still 532 00:30:01,400 --> 00:30:04,080 Speaker 1: it was putting out great ambient material. What I apologize 533 00:30:04,080 --> 00:30:06,640 Speaker 1: if I missed it? Did? Did you already mentioned Bowie's 534 00:30:06,720 --> 00:30:11,240 Speaker 1: Eno collaboration period? No? No, but that's that's amazing stuff 535 00:30:11,280 --> 00:30:15,400 Speaker 1: as well. Does that include the Bowie album Low? Oh, 536 00:30:15,480 --> 00:30:17,400 Speaker 1: I'm not I don't know that. To answer to that, Wait, 537 00:30:17,480 --> 00:30:19,880 Speaker 1: Seth has chimed in, Seth has chimed in. Yes, it 538 00:30:19,960 --> 00:30:22,600 Speaker 1: does Low is one of my favorite David Bowie albums. 539 00:30:22,640 --> 00:30:25,240 Speaker 1: It's not it's not as fun as some of his 540 00:30:25,280 --> 00:30:29,040 Speaker 1: other albums. It's very uh dark and it it has 541 00:30:29,120 --> 00:30:32,320 Speaker 1: the feeling of looking at the twentieth century from a 542 00:30:32,320 --> 00:30:35,920 Speaker 1: hermetically sealed chamber through a curved piece of glass. But 543 00:30:36,080 --> 00:30:39,080 Speaker 1: it is. It is a dark and beautiful album, and 544 00:30:39,120 --> 00:30:41,680 Speaker 1: a lot of the electronic and synthesizer work I think, 545 00:30:41,760 --> 00:30:45,280 Speaker 1: especially on the second half of the album, feels very 546 00:30:45,360 --> 00:30:48,560 Speaker 1: very like dark you know. Yeah. One of the things 547 00:30:48,560 --> 00:30:50,000 Speaker 1: about you know, of course, is when I think of 548 00:30:50,040 --> 00:30:51,719 Speaker 1: you know, I do think of his ambiat work. But 549 00:30:52,080 --> 00:30:53,960 Speaker 1: I did a lot of material. He put out a 550 00:30:54,000 --> 00:30:56,479 Speaker 1: lot of material if you want to if anyone out 551 00:30:56,520 --> 00:30:59,320 Speaker 1: there wants to hear like the funkier side of Eno. 552 00:31:00,320 --> 00:31:03,960 Speaker 1: DJ Food put out a wonderful mix eleven years ago 553 00:31:04,160 --> 00:31:08,280 Speaker 1: now who titled more Volts the Funky Eno. If you 554 00:31:08,320 --> 00:31:10,480 Speaker 1: look it up you can still find it. DJ Food 555 00:31:10,520 --> 00:31:14,160 Speaker 1: has it hosted on SoundCloud, and uh, I haven't listened 556 00:31:14,200 --> 00:31:15,400 Speaker 1: to it in a little bit, but I remember it 557 00:31:15,440 --> 00:31:17,480 Speaker 1: being a lot of fun, just a lot of of cool, 558 00:31:17,520 --> 00:31:21,520 Speaker 1: funky beats from Brian Eno working with various people like 559 00:31:21,880 --> 00:31:26,400 Speaker 1: David byrne Um uh and and so forth. Yeah, but 560 00:31:26,520 --> 00:31:29,680 Speaker 1: also very versatile, because yes, there there is that funky side. 561 00:31:29,720 --> 00:31:33,080 Speaker 1: But then music for airports is just the most calming 562 00:31:33,160 --> 00:31:35,840 Speaker 1: thing I have ever heard. I mean, is is there 563 00:31:35,880 --> 00:31:38,400 Speaker 1: any series of sounds that better puts the brain at 564 00:31:38,600 --> 00:31:41,600 Speaker 1: at peace? Yeah? Yeah? How mad can you be when 565 00:31:41,600 --> 00:31:44,959 Speaker 1: you're listening to music for airports? Yeah? It's like, Okay, 566 00:31:45,000 --> 00:31:48,400 Speaker 1: I missed my connection. You know it's gonna be all right. 567 00:31:53,680 --> 00:31:55,680 Speaker 1: All right, looks like we have some weird how cinema 568 00:31:56,240 --> 00:31:59,640 Speaker 1: email as well here Joe. That's right. So this first 569 00:31:59,760 --> 00:32:02,800 Speaker 1: message comes from Jim. Jim says, hey, Robert and Joe, 570 00:32:03,120 --> 00:32:05,360 Speaker 1: you mentioned on the listener mail that sometimes you should 571 00:32:05,360 --> 00:32:08,560 Speaker 1: do a Ken Russell film on weird House cinema. Uh. 572 00:32:08,600 --> 00:32:10,960 Speaker 1: There are many great ones from Ken Russell, but my 573 00:32:11,040 --> 00:32:15,640 Speaker 1: recommendation is Layer of the White Worm nineteen nine eight. 574 00:32:15,720 --> 00:32:18,280 Speaker 1: I don't think you're right about that year, Jim. I'm 575 00:32:18,360 --> 00:32:21,160 Speaker 1: I'm pretty sure that is wrong, but I will be 576 00:32:21,240 --> 00:32:23,200 Speaker 1: corrected if I'm wrong about that. Rob. Maybe you can 577 00:32:23,200 --> 00:32:25,479 Speaker 1: look it up while I'm reading this. It's adapted from 578 00:32:25,520 --> 00:32:28,640 Speaker 1: a novel by Bram Stoker and as several well known 579 00:32:28,680 --> 00:32:32,840 Speaker 1: stars Hugh Grant, Peter Capaldi, Katherine Oxenberg. It's about a 580 00:32:32,880 --> 00:32:37,840 Speaker 1: British vampuric snake cult. It's fun, funny, sexy, lightly scary. 581 00:32:38,000 --> 00:32:40,720 Speaker 1: I think it might be available on to be right 582 00:32:40,720 --> 00:32:43,360 Speaker 1: now if you have that app. Thanks for all your work, 583 00:32:43,720 --> 00:32:47,480 Speaker 1: Jim and Jim. Yes, you you know our strike zone. 584 00:32:47,600 --> 00:32:50,840 Speaker 1: I love this movie definitely one that I've been planning 585 00:32:50,840 --> 00:32:54,040 Speaker 1: to feature at some point. Uh. Layer of the White Worm. 586 00:32:54,400 --> 00:32:56,080 Speaker 1: In fact, I thought I had mentioned it on a 587 00:32:56,080 --> 00:32:59,800 Speaker 1: recent weird House cinema because we were talking about blasphemous 588 00:32:59,800 --> 00:33:03,080 Speaker 1: like crucifixion scenes and movies, and Lair of the White 589 00:33:03,080 --> 00:33:07,080 Speaker 1: Worm has a really good like uh snake demon, blasphemous 590 00:33:07,080 --> 00:33:09,640 Speaker 1: crucifixion vision. Yeah, and I looked it up. It's a 591 00:33:10,600 --> 00:33:13,360 Speaker 1: film so close one decade off. Yeah, it's been a 592 00:33:13,400 --> 00:33:14,840 Speaker 1: while since I've seen it, but I remember being a 593 00:33:14,880 --> 00:33:17,320 Speaker 1: lot of fun. It has a Yeah, it's a uh 594 00:33:17,400 --> 00:33:20,000 Speaker 1: sexy and weird and has a really cool worm puppet 595 00:33:20,040 --> 00:33:28,760 Speaker 1: in it. Yeah, just glorious, absolutely great. All right, here's 596 00:33:28,800 --> 00:33:30,920 Speaker 1: a bit of email comes to us from Emily. Hi, 597 00:33:31,080 --> 00:33:33,040 Speaker 1: Robert and Joe. Let me start off by saying, I've 598 00:33:33,040 --> 00:33:34,920 Speaker 1: been loving the steady stream of stuff toble your mind 599 00:33:34,920 --> 00:33:38,240 Speaker 1: content coming through my pod catcher, especially weird how Cinema. 600 00:33:38,320 --> 00:33:42,320 Speaker 1: Y'all killing the game? Please continue anyway, I'm writing with 601 00:33:42,320 --> 00:33:44,720 Speaker 1: the suggestion for weird House. I feel like you guys 602 00:33:44,720 --> 00:33:46,960 Speaker 1: have brought it up before, but I don't remember the context. 603 00:33:46,960 --> 00:33:49,680 Speaker 1: So maybe this is one of your two watch list. 604 00:33:49,760 --> 00:33:52,400 Speaker 1: This is on your two watch list already. Nine seventy 605 00:33:52,440 --> 00:33:56,120 Speaker 1: two is Silent Running, directed by Douglas Trumbull. Has been 606 00:33:56,280 --> 00:33:58,360 Speaker 1: on my personal to watch list since high school, and 607 00:33:58,360 --> 00:34:00,000 Speaker 1: my husband and I are just getting around to why 608 00:34:00,000 --> 00:34:02,120 Speaker 1: watching it recently. I'd love to get you guys this 609 00:34:02,240 --> 00:34:04,240 Speaker 1: take on it. My favorite thing about the experience of 610 00:34:04,240 --> 00:34:06,800 Speaker 1: watching fifty year old sci fi movies is sitting with 611 00:34:06,800 --> 00:34:11,680 Speaker 1: that feeling, uh, with your disbelief. Can't quite stay suspended 612 00:34:11,719 --> 00:34:14,560 Speaker 1: as a modern watcher, because the film depicts technology is 613 00:34:14,600 --> 00:34:19,480 Speaker 1: basically quote magic dressed in greebals and blinking lights um 614 00:34:19,600 --> 00:34:22,719 Speaker 1: hand waving away exactly how the machine does what it's 615 00:34:22,760 --> 00:34:26,280 Speaker 1: shown doing, like the robots being advanced enough to understand 616 00:34:26,360 --> 00:34:29,880 Speaker 1: natural speech while also running on basically punch card programs, 617 00:34:30,400 --> 00:34:33,840 Speaker 1: which are themselves sophisticated enough to enable said robots to 618 00:34:33,960 --> 00:34:37,600 Speaker 1: perform surgery and play poker. I don't know if general 619 00:34:37,640 --> 00:34:40,439 Speaker 1: audiences in the nineteen seventies would have felt that same 620 00:34:40,520 --> 00:34:44,040 Speaker 1: challenge to the suspension of disbelief, or if I just 621 00:34:44,200 --> 00:34:46,840 Speaker 1: learned too much ding dang science from the wealth of 622 00:34:46,880 --> 00:34:49,840 Speaker 1: accessible science content available in this day and age, including 623 00:34:49,880 --> 00:34:53,560 Speaker 1: in No Small Park this very podcast. Anyway, keep out 624 00:34:53,560 --> 00:34:55,480 Speaker 1: the great work and stay safe out there. Looking forward 625 00:34:55,520 --> 00:34:58,600 Speaker 1: to the next batch of podcasts. Regards Emily, I think 626 00:34:58,600 --> 00:35:01,959 Speaker 1: the main takeaway from Silent Running is just surgery. Isn't 627 00:35:02,000 --> 00:35:05,680 Speaker 1: that hard? Basically anybody could do it. Yeah, with the 628 00:35:05,760 --> 00:35:09,600 Speaker 1: right punch card. But no, Emily, You're in luck. We 629 00:35:09,640 --> 00:35:13,760 Speaker 1: did a whole episode about Silent Running sometime in nineteen 630 00:35:13,840 --> 00:35:18,080 Speaker 1: I believe, Yeah, June eight, nineteen, just simply titled Silent Running. 631 00:35:18,440 --> 00:35:20,280 Speaker 1: It's one of the episodes that we did a series 632 00:35:20,280 --> 00:35:22,000 Speaker 1: of episodes that we did with They were ultimately kind 633 00:35:22,000 --> 00:35:24,560 Speaker 1: of a precursor to Weird House Cinema, where we were like, 634 00:35:25,120 --> 00:35:26,839 Speaker 1: what do we need to do to get away with 635 00:35:26,880 --> 00:35:30,319 Speaker 1: talking about weird movies on this podcast, And you know, 636 00:35:30,360 --> 00:35:32,839 Speaker 1: we realized, well, certain types of movies lent themselves well 637 00:35:32,880 --> 00:35:35,279 Speaker 1: to that kind of discussion, because like two thousand and 638 00:35:35,320 --> 00:35:37,840 Speaker 1: one of Space Odyssey's Silent Running. These are films with 639 00:35:37,880 --> 00:35:41,279 Speaker 1: a lot of science in them to discuss, you know, 640 00:35:41,840 --> 00:35:44,480 Speaker 1: whether the science works ride or is presented in a 641 00:35:44,480 --> 00:35:46,279 Speaker 1: way that makes sense. It's said, that's all part of 642 00:35:46,280 --> 00:35:49,480 Speaker 1: the discussion. Yeah, but obviously things have evolved since then. 643 00:35:49,520 --> 00:35:51,320 Speaker 1: You know, if we're gonna be putting out five episodes 644 00:35:51,360 --> 00:35:52,879 Speaker 1: a week, at least one of them we're just gonna 645 00:35:52,880 --> 00:35:57,240 Speaker 1: talk about movies. Yeah. But indeed, Silent Running great film. 646 00:35:57,680 --> 00:36:01,520 Speaker 1: I love it. I'll always of it and I recommend 647 00:36:01,560 --> 00:36:04,680 Speaker 1: it to anybody out there who wants to, uh, you know, 648 00:36:04,719 --> 00:36:10,719 Speaker 1: seek out a weird, cool, well acted, um piece of 649 00:36:10,719 --> 00:36:13,560 Speaker 1: sci fi cinematic history. A great soundtrack too. I love 650 00:36:13,600 --> 00:36:16,759 Speaker 1: the Joe Bias tracks. All right, Well, it looks like 651 00:36:16,800 --> 00:36:19,440 Speaker 1: our mail bot is shutting down, so we need to 652 00:36:19,440 --> 00:36:21,759 Speaker 1: go ahead and shut down this episode as well. But 653 00:36:21,920 --> 00:36:23,920 Speaker 1: we thank everybody for writing in. We didn't get to 654 00:36:23,920 --> 00:36:26,080 Speaker 1: get to everything, but you know, we'll we'll try and 655 00:36:26,120 --> 00:36:29,000 Speaker 1: get to it next week. Um. Even if we don't 656 00:36:29,040 --> 00:36:32,400 Speaker 1: read your mail on Listener mail, we still read it 657 00:36:32,400 --> 00:36:35,080 Speaker 1: when it comes in. So keep it coming. Your your 658 00:36:35,239 --> 00:36:38,600 Speaker 1: your your comments, your thoughts, your corrections, your ideas for 659 00:36:38,640 --> 00:36:41,960 Speaker 1: the future, thoughts on Stuff Table your Mind episodes, thoughts 660 00:36:42,239 --> 00:36:46,879 Speaker 1: on Weird House Cinema episodes, thoughts on Artifact episodes, etcetera. Uh, 661 00:36:47,040 --> 00:36:49,920 Speaker 1: we just want to hear from y'all. Absolutely keep it coming, 662 00:36:50,160 --> 00:36:52,480 Speaker 1: you know. Actually, I thought when we switched to doing 663 00:36:52,520 --> 00:36:54,880 Speaker 1: episodes once a week that that would mean we we 664 00:36:55,000 --> 00:36:57,200 Speaker 1: ended up having time to read all listener mail. It 665 00:36:57,239 --> 00:36:58,799 Speaker 1: did not work out that way. I feel like we 666 00:36:58,840 --> 00:37:00,640 Speaker 1: still don't even get to have off of it. So 667 00:37:00,960 --> 00:37:03,520 Speaker 1: apologies if your message has not been read, please don't 668 00:37:03,560 --> 00:37:06,560 Speaker 1: take it personally. But we we love all the email 669 00:37:06,600 --> 00:37:09,040 Speaker 1: we get. We really do. That's right. In the meantime, 670 00:37:09,080 --> 00:37:11,400 Speaker 1: if you want to listen to other episodes of Stuff 671 00:37:11,440 --> 00:37:13,920 Speaker 1: to Blow Your Mind listener mail, it tends to publish 672 00:37:13,920 --> 00:37:16,560 Speaker 1: on Mondays. I think that's its standard date of publication. 673 00:37:17,120 --> 00:37:19,560 Speaker 1: Wednesdays will do an Artifact unless we need to preempt it. 674 00:37:20,160 --> 00:37:22,400 Speaker 1: Tuesdays and Thursdays are our core Stuff to Blow Your 675 00:37:22,400 --> 00:37:24,920 Speaker 1: Mind episodes, Friday is Weird How Cinema, and then we 676 00:37:24,960 --> 00:37:27,520 Speaker 1: have evolved episode over the weekend. That's right. Hook your 677 00:37:27,520 --> 00:37:30,640 Speaker 1: ears up, download it all, listen, do as we command you, 678 00:37:31,040 --> 00:37:34,200 Speaker 1: but anyway, huge thanks as always to our excellent audio 679 00:37:34,280 --> 00:37:37,279 Speaker 1: producer Seth Nicholas Johnson. If you would like to get 680 00:37:37,320 --> 00:37:39,719 Speaker 1: in touch with us to potentially have a piece of 681 00:37:40,120 --> 00:37:43,440 Speaker 1: email featured on a future Listener Mail episode, to provide 682 00:37:43,520 --> 00:37:46,799 Speaker 1: feedback to this episode or any other, to suggest a 683 00:37:46,840 --> 00:37:49,160 Speaker 1: topic for the future, or just to say hi, you 684 00:37:49,160 --> 00:37:52,080 Speaker 1: can always email us at contact at stuff to Blow 685 00:37:52,120 --> 00:38:01,680 Speaker 1: your Mind dot com. Stuff to Blow Your Mind is 686 00:38:01,680 --> 00:38:04,960 Speaker 1: a production of iHeartRadio. For more podcasts from my heart Radio, 687 00:38:05,200 --> 00:38:08,320 Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen 688 00:38:08,360 --> 00:38:09,280 Speaker 1: to your favorite shows.