WEBVTT - Listener Mail: Rejoice in the Sun

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>Listener Mail. My name is Robert Lamb and I'm Joe McCormack.

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<v Speaker 1>In today we're bringing you some of the messages you

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<v Speaker 1>have sent us are loyal mail bot. Carney is right

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<v Speaker 1>here with us. It seems he has developed quite quite

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<v Speaker 1>a card shark habit over the last week or so.

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<v Speaker 1>He's wearing one of those green visors or wait, is

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<v Speaker 1>that what poker players wear? Or is that like accountants

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<v Speaker 1>may have gotten that next time. I think I've seen

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<v Speaker 1>some card sharks wearing those things. Yeah, well they're trying

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<v Speaker 1>to hide their expressions, right, so they wear like a

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<v Speaker 1>hat and sunglasses and who knows what else at the table?

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<v Speaker 1>Did any poker players just full on wear ski mask?

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<v Speaker 1>I think it's frowned upon. I think it's frowned upon.

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<v Speaker 1>But I'm sure that this, this new poker habit for

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<v Speaker 1>Carney has been inspired by the card playing robots of

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<v Speaker 1>Silent Running, one of our favorite films. Oh yeah, that's right,

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<v Speaker 1>there's some there's some great card card playing robots in

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<v Speaker 1>that one Hue we do and Louis Um those are

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<v Speaker 1>some wonderful scenes and in large part because they're like

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<v Speaker 1>a little bit they're a little bit clunky, you know,

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<v Speaker 1>they're not They're not smooth. Those robots are the way

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<v Speaker 1>that they interact with humans in their environment, but in

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<v Speaker 1>a way that felt very real, very endearing. I loved it. Well,

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<v Speaker 1>that'll come back up later on Robbert. You ready to

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<v Speaker 1>jump right in? Should I read this message from Cody?

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<v Speaker 1>Go for it? Okay, here is a sort of correction

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<v Speaker 1>slash clarification on the Jupiter episode. At least from Cody's perspective,

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<v Speaker 1>this starts high Joe plus Robert. I'm currently listening to

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<v Speaker 1>part one of the Jupiter episodes, and as a recovering astronomer,

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<v Speaker 1>I had to dash off this message when talking about

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<v Speaker 1>whether our solar system is unusual or abnormal is compared

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<v Speaker 1>to other planetary systems. It is crucial to keep in

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<v Speaker 1>mind that the detection techniques that astronomers used to find

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<v Speaker 1>extra solar planets preferentially biases their detections toward large planets

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<v Speaker 1>close to their parents star. In other words, planets that

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<v Speaker 1>tug a lot on their star or include its light

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<v Speaker 1>on short periods. And to expand on that a little bit.

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<v Speaker 1>So some of the main ways we've had in the

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<v Speaker 1>past of checking whether another star has an exoplanet orbiting

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<v Speaker 1>it is by things like the radial velocity test, which

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<v Speaker 1>checks to see if the host star is wobbling basically

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<v Speaker 1>by the gravitational pull of a large planet orbiting it,

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<v Speaker 1>or by the yeah, as Cody alludes to hear, the

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<v Speaker 1>occlusion of its light. So like, if there is a

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<v Speaker 1>transit where a planet passes in front of a star

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<v Speaker 1>from our perspective, we will proceed that as a brief

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<v Speaker 1>dimming of the star as the planet passes between the

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<v Speaker 1>star and our observation technology. Uh and and there's some

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<v Speaker 1>other methods as well, but those are some of the

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<v Speaker 1>main ones. And you can see why it would be

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<v Speaker 1>easier to detect planets that are larger and have certain

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<v Speaker 1>types of certain types of orbital orientations based on those

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<v Speaker 1>sorts of methods. But Cody continues, in fact, the upper

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<v Speaker 1>limit on the orbital periods for the current detection regime

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<v Speaker 1>is roughly half the period of a typical postdoctoral fellowship

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<v Speaker 1>go figure. So it just isn't accurate to say that

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<v Speaker 1>our Solar system is unusual, since we simply don't know.

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<v Speaker 1>It may in fact be the most common kind of

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<v Speaker 1>planetary system, but we are as yet completely incapable of

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<v Speaker 1>detecting another one like it, Cody. So thanks for that, Cody.

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<v Speaker 1>So I would say, unless it got left out by

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<v Speaker 1>accidents somehow, I'm pretty sure in the episode we did

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<v Speaker 1>talk about the idea that our current detection methods for

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<v Speaker 1>exoplanets could very well be biasing our surveys of what

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<v Speaker 1>types of planets are out there. Though I believe, if

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<v Speaker 1>I understand correctly, Cody is putting it more strongly here,

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<v Speaker 1>saying not just as we did that they could be

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<v Speaker 1>biasing our picture of how common different planetary structures are,

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<v Speaker 1>but that they almost certainly are biasing it. Fair enough,

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<v Speaker 1>all right, here's another one. This one comes to us

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<v Speaker 1>from Joshua Joshua rides Hi, Robert and Joe, longtime listener,

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<v Speaker 1>first time writing. Really love the show and the symbiosis

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<v Speaker 1>you create between all the best subjects. I was listening

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<v Speaker 1>to the Jupiter episodes and heard you both questioning how

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<v Speaker 1>big the stone Chronus uranus swallowed in place of the

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<v Speaker 1>baby Zeus. Well, I knew I heard about it before,

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<v Speaker 1>and sure enough, there is a historical sculpture held as

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<v Speaker 1>being the same stone see attached picture. Apparently apparently this

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<v Speaker 1>is it also known as the umphal of stone. It's

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<v Speaker 1>an example of a beatless or sacred stone. The mythological

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<v Speaker 1>record says the stone was also used by Zeus to

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<v Speaker 1>decide where the center of the world was no surprise,

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<v Speaker 1>he picked Delphi and that's where he placed this stone

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<v Speaker 1>to market and yeah, indeed you can look up images

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<v Speaker 1>of this. There's a Wikipedia article on this that has

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<v Speaker 1>some yeah, decent music, the photographs of them. Um Anyway,

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<v Speaker 1>they continue. It's certainly bigger than I ever imagined a

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<v Speaker 1>baby god would be. But I guess when you're dealing

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<v Speaker 1>with deities it's probably going to be a bit subjective.

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<v Speaker 1>Thanks guys, keep doing what do you do your friend, Josh? Oh,

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<v Speaker 1>thanks Josh. It looks kind of like a beautifully decorated

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<v Speaker 1>giant stone bullet. Here's the question. Was it decorated before

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<v Speaker 1>it was ingested by a god or did it? Was

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<v Speaker 1>it inscribed like this by virtue of being ingested by

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<v Speaker 1>a god? Also, you're saying not carved by a human

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<v Speaker 1>in recognition of having been vomited up by Chronus. But

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<v Speaker 1>it was actually carved by Cronus's guts, like when he

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<v Speaker 1>swallows a stone it starts making little lacy patterns on

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<v Speaker 1>the things inside. Yeah, why not? I mean the physiology

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<v Speaker 1>of the gods has to be something spectacular. Three cheers

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<v Speaker 1>for god guts. Yeah. Okay, you're ready for Dad Jokes,

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<v Speaker 1>as as ready as anyone ever is. Okay. This first

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<v Speaker 1>message comes from Eden. Eden says, Dear Robert and Joe,

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<v Speaker 1>in your recent Dad Jokes episode, you' all brought up

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<v Speaker 1>the lack of a signifier or punctuation mark in written

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<v Speaker 1>text that conveyed sarcasm. I wanted to shout through my

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<v Speaker 1>phone that there already is an existing signifier of sarcasm

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<v Speaker 1>in written text, and it does not ruin the joke

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<v Speaker 1>to use it. Rules for writing sarcasm have evolved naturally

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<v Speaker 1>on the Internet, and we see them every day. In fact,

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<v Speaker 1>often it is not punctuation so much as a lack

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<v Speaker 1>of punctuation. It's use as a form of rhetorical speech

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<v Speaker 1>is described here, and Eden includes a link to a

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<v Speaker 1>Tumbler post arguing in short that within Tumbler there has

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<v Speaker 1>evolved a linguistic convention that sentences presented without punctuation can

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<v Speaker 1>be understood in an ironic or rhetorical manner. So an

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<v Speaker 1>example kind of like what's used in this post would

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<v Speaker 1>be a sentence like why did Taco Bell give me

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<v Speaker 1>seventeen sauce packets for one taco? The sentence would feel

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<v Speaker 1>very different depending on whether or not you actually include

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<v Speaker 1>a question mark at the end of it. If there's

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<v Speaker 1>a question mark at the end of it, people might

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<v Speaker 1>be tempted to answer the question to say like, oh,

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<v Speaker 1>maybe it's because of this, or you know that they

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<v Speaker 1>could interpret it in different ways. If you don't punctuate

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<v Speaker 1>it at all, it's somehow kind of understood that this

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<v Speaker 1>is just like a joking or rhetorical question, and you're

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<v Speaker 1>probably exaggerating with the number. I'm I'm, I don't know. Yeah,

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<v Speaker 1>I'm just kind of a stickler for including your punctuation.

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<v Speaker 1>I don't know, I I'm. We take a lot of

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<v Speaker 1>convincing to to get me behind the idea of just

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<v Speaker 1>not using punctuation on a sentence, or to just in

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<v Speaker 1>order to use no capitalization, etcetera. You mean you're you're

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<v Speaker 1>not really familiar with this convention on the internet, or

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<v Speaker 1>just that you don't approve of it. Oh well, both mean.

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<v Speaker 1>I mean if I was more, if I was more

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<v Speaker 1>accustomed to it and their apps, I'd be more into it.

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<v Speaker 1>But like my gut reaction is, if we have to

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<v Speaker 1>choose between sarcasm and proper functuation, we choose punctuation, and

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<v Speaker 1>we we erase sarcasm from our our culture. Okay um.

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<v Speaker 1>Eden goes on a lack of punctuation or a period

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<v Speaker 1>where there should be a question mark, or even all

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<v Speaker 1>caps are an immediate signifier of sarcasm. Uh, this linguist

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<v Speaker 1>on the toast can explain it better than I can.

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<v Speaker 1>And then again Eden links to a to an article.

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<v Speaker 1>This is an article by a linguist named Gretchen McCulloch

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<v Speaker 1>who explains several ways that sarcasm or irony is often

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<v Speaker 1>conveyed in written language today on the Internet, often by

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<v Speaker 1>intentionally incorrect spelling, by lack of punctuation and capitalization. All

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<v Speaker 1>these things can sometimes be used to convey sarcasm or irony.

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<v Speaker 1>And yeah, I recognize these conventions. I've seen them on

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<v Speaker 1>Twitter in places where like a where a statement in

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<v Speaker 1>a post is denoted as ironic or sarcastic by being

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<v Speaker 1>presented say, like in all lower case with no punctuation.

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<v Speaker 1>I mean, I can some of these tools. I guess

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<v Speaker 1>I can get more behind the all caps thing. I

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<v Speaker 1>can understand that, and I guess I've probably used that before,

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<v Speaker 1>um and any. I guess even intentional misspellings have a place,

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<v Speaker 1>especially if you're trying to sort of present a a

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<v Speaker 1>specific dialect, you know, or impersonating specific individual um or

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<v Speaker 1>um you know, like say there's a particular celebrity you're

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<v Speaker 1>trying to uh to summon, you know, an image job

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<v Speaker 1>or to invoke in the writing. I think that would

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<v Speaker 1>make sense. I think I've realized one thing I do

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<v Speaker 1>is that often if I'm talking to somebody I work

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<v Speaker 1>with and I want to deny I don't think I

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<v Speaker 1>would ever put this together before, but I've realized I

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<v Speaker 1>often denote sarcasm or irony by including somewhere in the

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<v Speaker 1>sentence a business buzzword that I would never actually use

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<v Speaker 1>in a genuine manner. That that. Yeah, that that could

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<v Speaker 1>work for sure as a as a signify or something

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<v Speaker 1>like that. Yeah, But I guess part of it. I

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<v Speaker 1>guess a lot of this does come down to, you know,

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<v Speaker 1>what we talked about before, about how do we know

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<v Speaker 1>someone is being sarcastic? You know, there's there's tone, and

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<v Speaker 1>there's context. And if you're if if you're using the buzzwords,

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<v Speaker 1>are you perhaps leaning more into context a bit? I

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<v Speaker 1>don't know, Um yeah, I mean that would rely on

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<v Speaker 1>the person sort of knowing me well enough to know

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<v Speaker 1>that these are not terms that I genuinely use, So

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<v Speaker 1>that probably wouldn't work for like an audience that didn't

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<v Speaker 1>know who I was, But so, yeah, I guess that

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<v Speaker 1>that would be a context thing. I think the like

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<v Speaker 1>denoting sarcasm or irony or rhetorical speech by doing say,

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<v Speaker 1>all lowercase with no punctuation, that does seem to be

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<v Speaker 1>an attempt to use a written version of tone. It's

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<v Speaker 1>kind of like when you use the silly voice to

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<v Speaker 1>say something. Yeah, well, I mean I applied people out

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<v Speaker 1>out there in the field trying to to figure this out.

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<v Speaker 1>Even if even though there's some of these tools or

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<v Speaker 1>maybe not for me, uh you know, perhaps they work

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<v Speaker 1>and if they may communication better in these uh these formats,

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<v Speaker 1>then you know, I guess it's a win win anyway.

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<v Speaker 1>Eden concludes, My point is that we will never have

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<v Speaker 1>something as straightforward as a single mark to convey sarcasm, because,

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<v Speaker 1>as you pointed out in the episode, that such an

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<v Speaker 1>obvious pronouncement might spoil the joke. But we do have

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<v Speaker 1>unofficial linguistic rules about how we expressed sarcasm through text.

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<v Speaker 1>Love the show Eaten. Well, that's all good. Thanks for

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<v Speaker 1>writing in and sharing this. Yeah, this a little much

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<v Speaker 1>of this is a world I'm not familiar with. All right,

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<v Speaker 1>here's one from Carlos. Hey there. Just wanted to add

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<v Speaker 1>to your dad joke stories. My dad is from Argentina,

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<v Speaker 1>and often when I was a kid, he would try

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<v Speaker 1>to translate jokes from Spanish. Almost every time, my dad

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<v Speaker 1>would arrive at the punchline only to realize that the

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<v Speaker 1>joke didn't translate. Also, I don't know if this is

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<v Speaker 1>just me, but I have noticed that curse words and

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<v Speaker 1>other languages never have the same kick that they do

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<v Speaker 1>in one's native language. Slang from Argentina, bay In, how

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<v Speaker 1>my dad has explained it to me, can be pretty foul.

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<v Speaker 1>As such, my dad often told dirty jokes or jokes

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<v Speaker 1>that hinged on bad words, impolite company teachers, pastors, etcetera.

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<v Speaker 1>Uh So, not only did they usually fall flat, they

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<v Speaker 1>often were on the vulgar side, embarrassing back then hilarious.

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<v Speaker 1>Now thanks for everything, Carlos. Nothing better than telling dirty

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<v Speaker 1>jokes to the pastor alright. This next message comes to

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<v Speaker 1>us from Jim and New Jersey about part one of

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<v Speaker 1>our episodes on post biological intelligence. Jim says Robert and

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<v Speaker 1>Joe in your Machine Lords of Barnard six, Part one,

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<v Speaker 1>Joe was reading from Susan Schneider's AI comments comparing silicon

0:12:46.800 --> 0:12:52.040
<v Speaker 1>versus organic processing, and she mentioned seven manageable chunks being

0:12:52.080 --> 0:12:55.680
<v Speaker 1>the limitation of a human brain. You mentioned Miller, but

0:12:55.880 --> 0:12:58.080
<v Speaker 1>didn't seem to know the reference yet. She referred to

0:12:58.280 --> 0:13:00.840
<v Speaker 1>Miller as the citation for that seven chunk's claim, but

0:13:00.840 --> 0:13:02.920
<v Speaker 1>we talked about how we didn't follow up on that. Well,

0:13:03.040 --> 0:13:06.560
<v Speaker 1>Jim has the explanation here. Jim rights, she's referring to

0:13:06.640 --> 0:13:10.840
<v Speaker 1>George Miller's cognitive psychological paper the Magic number seven plus

0:13:10.960 --> 0:13:15.480
<v Speaker 1>or minus two. It's referring to short term memory. Humans

0:13:15.480 --> 0:13:18.560
<v Speaker 1>can manage about seven things in their short term memory,

0:13:18.840 --> 0:13:22.080
<v Speaker 1>but it varies per individual by plus or minus two.

0:13:22.520 --> 0:13:25.320
<v Speaker 1>The things we can manage are not just numbers, letters,

0:13:25.400 --> 0:13:28.960
<v Speaker 1>or words. Each slot can manage a single chunk, That

0:13:29.120 --> 0:13:31.920
<v Speaker 1>is it can be a composite idea with several parts,

0:13:31.920 --> 0:13:34.920
<v Speaker 1>but we still consider it a whole. I've heard that

0:13:35.000 --> 0:13:39.160
<v Speaker 1>one of the original tests involved showing chess peace configurations

0:13:39.160 --> 0:13:42.800
<v Speaker 1>to chess novices and masters. They had a fixed amount

0:13:42.800 --> 0:13:45.920
<v Speaker 1>of time, let's say sixty seconds to examine the board,

0:13:46.240 --> 0:13:49.800
<v Speaker 1>and they were tasked with reconstructing it. The chess masters

0:13:49.800 --> 0:13:53.000
<v Speaker 1>did much better than the novices, but then instead of

0:13:53.040 --> 0:13:56.800
<v Speaker 1>actual chess game configurations, both sets of volunteers were shown

0:13:56.960 --> 0:14:00.640
<v Speaker 1>random chess peace configurations, and the novice says and master

0:14:00.720 --> 0:14:03.600
<v Speaker 1>has got about the same number of pieces correct. In

0:14:03.640 --> 0:14:06.600
<v Speaker 1>the chess game portion of the test, a cluster of

0:14:06.640 --> 0:14:09.600
<v Speaker 1>pieces in the corner would appear as six or seven

0:14:09.640 --> 0:14:12.880
<v Speaker 1>pieces and require almost all of the short term memory

0:14:12.880 --> 0:14:16.760
<v Speaker 1>slots for the novice. However, the chess master would recognize

0:14:16.800 --> 0:14:20.760
<v Speaker 1>them as a castling position, and this castling chunk would

0:14:20.840 --> 0:14:25.240
<v Speaker 1>would only require one short term memory slot. Likewise, other

0:14:25.280 --> 0:14:28.720
<v Speaker 1>familiar chess piece configurations would chunk for the chess master.

0:14:29.280 --> 0:14:32.920
<v Speaker 1>The chess master doesn't have more memory. The chess master

0:14:33.080 --> 0:14:37.360
<v Speaker 1>has additional information about the game to chunk it more

0:14:37.360 --> 0:14:42.560
<v Speaker 1>efficiently than the novice. Random configurations contained no chunks, so

0:14:42.600 --> 0:14:45.560
<v Speaker 1>the master could only remember seven pieces, which was the

0:14:45.600 --> 0:14:48.480
<v Speaker 1>same as the novice. And this makes sense to me

0:14:48.560 --> 0:14:51.880
<v Speaker 1>because if you have something that's sort of already understood

0:14:51.920 --> 0:14:54.040
<v Speaker 1>as a whole and and stored in your memory in

0:14:54.040 --> 0:14:57.240
<v Speaker 1>a way, you could store it much more efficiently. Like

0:14:57.320 --> 0:15:02.200
<v Speaker 1>you could probably remember seven whole lines from movies that

0:15:02.240 --> 0:15:04.720
<v Speaker 1>you've watched a million times and you've got the lines

0:15:04.760 --> 0:15:08.680
<v Speaker 1>already memorized, but you couldn't remember as easily nearly as

0:15:08.760 --> 0:15:10.760
<v Speaker 1>much of the dialogue of a film that you were

0:15:10.840 --> 0:15:13.600
<v Speaker 1>unfamiliar with and being exposed to for the first time.

0:15:13.640 --> 0:15:16.520
<v Speaker 1>You could remember, Oh, it was this line from that film,

0:15:16.560 --> 0:15:20.520
<v Speaker 1>and that's one piece of information in your brain. Yeah. Anyway,

0:15:20.600 --> 0:15:23.880
<v Speaker 1>Jim goes on, chunking exists in most skills and hobbies.

0:15:23.920 --> 0:15:27.200
<v Speaker 1>If a concept has its own name, it's probably a chunk.

0:15:27.760 --> 0:15:31.160
<v Speaker 1>Referring back to Susan Schneider, a human short term memory

0:15:31.240 --> 0:15:34.720
<v Speaker 1>has seven slots. A computer does not have this limitation

0:15:35.200 --> 0:15:37.640
<v Speaker 1>Jim in New Jersey, Well, thanks Jim, that that fills

0:15:37.640 --> 0:15:40.160
<v Speaker 1>in something very relevant. Yeah, and it also kind of

0:15:40.200 --> 0:15:44.840
<v Speaker 1>makes spell slots in dungeons and dragons uh less um yeah,

0:15:45.160 --> 0:15:47.680
<v Speaker 1>less of an abstract concept, right, I mean, it's just like, yeah,

0:15:47.720 --> 0:15:49.440
<v Speaker 1>you only have so many slots. You can only have

0:15:49.480 --> 0:15:52.360
<v Speaker 1>so many spells prepared. But each spell is one chunk

0:15:52.400 --> 0:15:59.600
<v Speaker 1>if you know it well enough. Yeah, all right, And

0:15:59.640 --> 0:16:02.320
<v Speaker 1>then we one message about spoon. It's not very long.

0:16:02.360 --> 0:16:05.080
<v Speaker 1>It is just from a listener who signed their email quote.

0:16:05.240 --> 0:16:09.080
<v Speaker 1>Just a signature here, so I hope that works. Uh.

0:16:09.160 --> 0:16:12.240
<v Speaker 1>And the messages saw this and it reminded me of

0:16:12.240 --> 0:16:14.920
<v Speaker 1>your discussion about the sport. I think actually what you're

0:16:14.920 --> 0:16:18.560
<v Speaker 1>talking about is our our refusal to discuss the sport.

0:16:19.360 --> 0:16:23.000
<v Speaker 1>But this listener says you'll enjoy the foon and then

0:16:23.040 --> 0:16:25.600
<v Speaker 1>attaches a picture. One is a sport. So it's the

0:16:25.640 --> 0:16:27.960
<v Speaker 1>bowl of a spoon with some times at the end.

0:16:28.400 --> 0:16:30.840
<v Speaker 1>The foon is a fork in which each of the

0:16:30.880 --> 0:16:34.560
<v Speaker 1>times ends in a tiny spoon bowl. Yeah, it's it's

0:16:34.600 --> 0:16:36.920
<v Speaker 1>pretty weird looking. Even the spork looks weird because it

0:16:36.920 --> 0:16:40.000
<v Speaker 1>looks like it was Perhaps it's it's it's if it's

0:16:40.040 --> 0:16:44.480
<v Speaker 1>a like a fine silver spork, which I guess probably

0:16:44.880 --> 0:16:47.960
<v Speaker 1>it probably exists. But this looks like it was, you know,

0:16:48.080 --> 0:16:50.720
<v Speaker 1>perhaps created in photoshop. Rob. I can tell you're about

0:16:50.720 --> 0:16:52.520
<v Speaker 1>to lash out in anger. Let's let's move on to

0:16:52.600 --> 0:17:00.840
<v Speaker 1>something else. All right, just a uh comes to us

0:17:00.840 --> 0:17:03.880
<v Speaker 1>from brad Um and it's a response to our episode

0:17:04.040 --> 0:17:06.280
<v Speaker 1>Gold Medal of the Sun. Dear Robert and Joe, I

0:17:06.280 --> 0:17:08.440
<v Speaker 1>am writing about your episode on Gold. I don't believe

0:17:08.480 --> 0:17:11.680
<v Speaker 1>you mentioned one of Gold's most interesting properties. It's heat

0:17:11.720 --> 0:17:16.200
<v Speaker 1>shielding prowess. Approximately point eight ounces sixteen grams of gold

0:17:16.240 --> 0:17:19.800
<v Speaker 1>foil is used in the engine bay of each McLaren

0:17:19.960 --> 0:17:23.320
<v Speaker 1>F one because it protects the carbon fiber body and

0:17:23.960 --> 0:17:28.160
<v Speaker 1>the mono cue frame and chassis from heat, the heat

0:17:28.200 --> 0:17:30.000
<v Speaker 1>of the engine. Are we talking about a car here,

0:17:30.000 --> 0:17:32.840
<v Speaker 1>by the way, Yeah, I think this is like it's

0:17:32.840 --> 0:17:35.560
<v Speaker 1>like a racing car of some kind of very very fast,

0:17:35.600 --> 0:17:38.159
<v Speaker 1>high performance car. Yeah, because I was thinking of like

0:17:38.200 --> 0:17:40.080
<v Speaker 1>a like a like a fighter plane. It's like, I

0:17:40.080 --> 0:17:44.000
<v Speaker 1>don't don't recognize McLaren as as as a company that

0:17:44.040 --> 0:17:47.320
<v Speaker 1>makes fighter jets, so I don't. So I'm not familiar

0:17:47.359 --> 0:17:50.760
<v Speaker 1>with this word that mono cock or mono monoc quay,

0:17:52.359 --> 0:17:55.919
<v Speaker 1>whatever that is. Yeah, Anyway, they continue. This was a

0:17:56.000 --> 0:17:58.720
<v Speaker 1>choice by Gordon Murray, the chief engineer of the car.

0:17:59.160 --> 0:18:01.639
<v Speaker 1>The gold foy old lined engine bay is one of

0:18:01.880 --> 0:18:04.600
<v Speaker 1>two distinct design features of this car. The other big

0:18:04.640 --> 0:18:08.040
<v Speaker 1>design distinction is the three seats. Here's a link to

0:18:08.080 --> 0:18:11.800
<v Speaker 1>the Wikipedia article, which they include for us. Um. I've

0:18:11.840 --> 0:18:13.800
<v Speaker 1>been listening on and off for a couple of years,

0:18:13.840 --> 0:18:16.399
<v Speaker 1>but I have started listening frequently since I've been working

0:18:16.400 --> 0:18:18.480
<v Speaker 1>from home. Keep up the great work, especially with the

0:18:18.560 --> 0:18:22.560
<v Speaker 1>Weird House Cinema series. Regards Brad. Thanks Brad. All Right,

0:18:22.640 --> 0:18:25.359
<v Speaker 1>I am looking at the Yep, that's a pretty fancy

0:18:25.400 --> 0:18:33.159
<v Speaker 1>looking car. Um, let's see. Yes, okay, this is Bond

0:18:33.240 --> 0:18:36.560
<v Speaker 1>villain car. Yeah, maybe you have more perspective on this.

0:18:36.600 --> 0:18:38.679
<v Speaker 1>I've got a question here. Is there a point at

0:18:38.680 --> 0:18:42.240
<v Speaker 1>which a car starts looking so cool that it goes

0:18:42.359 --> 0:18:44.960
<v Speaker 1>over the line and it's not cool and instead it's

0:18:45.000 --> 0:18:49.439
<v Speaker 1>kind of dorky? Um? Maybe? I mean, I don't know

0:18:49.560 --> 0:18:52.600
<v Speaker 1>you Occasionally, you know, I guess I see a lot

0:18:52.640 --> 0:18:56.760
<v Speaker 1>of normal looking cars rolling around, uh, the neighborhood. You

0:18:56.760 --> 0:18:59.080
<v Speaker 1>know that you usually don't pay much attention to them,

0:18:59.080 --> 0:19:02.040
<v Speaker 1>and occasionally, like even things like, at least to my eyes,

0:19:02.359 --> 0:19:04.240
<v Speaker 1>even when there's like a tesla there, I have to

0:19:04.280 --> 0:19:07.560
<v Speaker 1>really look at it to realize it's a tesla. Um

0:19:07.560 --> 0:19:10.879
<v Speaker 1>where until I'm finally like, WHOA the student's dropping off

0:19:10.920 --> 0:19:13.840
<v Speaker 1>his kids at school? And a Tesla. What's that about? Um?

0:19:13.880 --> 0:19:17.760
<v Speaker 1>But I guess occasionally you do see a car that

0:19:17.880 --> 0:19:22.040
<v Speaker 1>is like so fancy or so antique that it is

0:19:22.119 --> 0:19:26.359
<v Speaker 1>just I I grabbing. UM. I don't know what extent

0:19:26.440 --> 0:19:30.760
<v Speaker 1>it becomes uncool. I'm I guess it just depends on

0:19:30.760 --> 0:19:35.320
<v Speaker 1>on how judgmental you are about how people, uh you know, um,

0:19:35.440 --> 0:19:37.800
<v Speaker 1>how people spend their money and you know, what they

0:19:37.880 --> 0:19:41.040
<v Speaker 1>choose to drive around in. UM. I guess it's possible,

0:19:41.040 --> 0:19:44.440
<v Speaker 1>but it would be very, very subjective. Except for the headlights.

0:19:44.480 --> 0:19:46.200
<v Speaker 1>I'm not sure I would be able to tell which

0:19:46.320 --> 0:19:49.480
<v Speaker 1>end of this car is the front. Yeah, I don't know.

0:19:49.520 --> 0:19:51.480
<v Speaker 1>It's kind of I imagine. I'm not a car person,

0:19:51.560 --> 0:19:53.800
<v Speaker 1>so I don't really get excited about cars and all.

0:19:53.840 --> 0:19:56.199
<v Speaker 1>But I think one area I might be able to

0:19:56.240 --> 0:19:59.320
<v Speaker 1>compare it to would be like my my interest in

0:19:59.400 --> 0:20:04.360
<v Speaker 1>things like inks and and military aircraft, which, on on

0:20:04.359 --> 0:20:06.399
<v Speaker 1>one level, I can definitely look at a bomber or

0:20:06.400 --> 0:20:08.080
<v Speaker 1>a tank and be like, Wow, that's a really cool

0:20:08.200 --> 0:20:10.640
<v Speaker 1>looking air plants a neat design, And on the other hand,

0:20:10.640 --> 0:20:13.159
<v Speaker 1>I'm like, that is okay, that's that's a weapon of

0:20:13.160 --> 0:20:17.159
<v Speaker 1>war that probably or in many cases definitely caused a

0:20:17.160 --> 0:20:21.480
<v Speaker 1>lot of death, destruction and misery and pain. Um, But

0:20:21.600 --> 0:20:23.600
<v Speaker 1>on some level you kind of separate the two when

0:20:23.600 --> 0:20:28.280
<v Speaker 1>you're considering just pieces of technology like that. Uh. And granted,

0:20:28.600 --> 0:20:30.840
<v Speaker 1>if you're talking about like a Lamborghini or something, it

0:20:30.920 --> 0:20:34.760
<v Speaker 1>probably didn't lead to uh, you know, the same level

0:20:34.760 --> 0:20:37.000
<v Speaker 1>of of death and misery that a uh you know,

0:20:37.080 --> 0:20:40.000
<v Speaker 1>like an M one tank did. But still you kind

0:20:40.000 --> 0:20:42.359
<v Speaker 1>of they're probably different ways that we engage in thinking

0:20:42.400 --> 0:20:43.720
<v Speaker 1>about it. So we might be able to look at

0:20:43.720 --> 0:20:45.280
<v Speaker 1>a car and be like, oh, that's a really cool

0:20:45.320 --> 0:20:49.119
<v Speaker 1>car without thinking is that a wise use of one's money?

0:20:49.160 --> 0:20:51.359
<v Speaker 1>Is that appropriate to drive on these streets? So what

0:20:51.400 --> 0:20:54.680
<v Speaker 1>does that say about inequality in our in our world

0:20:54.840 --> 0:20:57.560
<v Speaker 1>or our nation that sort of thing. Uh? So I

0:20:57.600 --> 0:20:59.560
<v Speaker 1>don't know not to lay all that on this one

0:20:59.600 --> 0:21:03.720
<v Speaker 1>particular their car. No, No, it's a it's it's a

0:21:03.720 --> 0:21:07.040
<v Speaker 1>cool looking car. I will admit if I saw it

0:21:07.119 --> 0:21:08.879
<v Speaker 1>driving down the street, I would say, Wow, that's a

0:21:08.920 --> 0:21:13.240
<v Speaker 1>cool car. I jump right in front of it. It

0:21:13.280 --> 0:21:16.080
<v Speaker 1>would be an honor could get run over by this car,

0:21:16.680 --> 0:21:19.159
<v Speaker 1>something I really get excited about. I live close to

0:21:19.240 --> 0:21:21.480
<v Speaker 1>railroad tracks, and I think one of my favorite things

0:21:21.480 --> 0:21:24.840
<v Speaker 1>in the world are maintenance vehicles on railroad tracks? Yeah,

0:21:25.240 --> 0:21:27.239
<v Speaker 1>I get really excited about those. I point them out

0:21:27.280 --> 0:21:31.760
<v Speaker 1>to my family and mostly they don't care. But but yeah,

0:21:31.840 --> 0:21:34.479
<v Speaker 1>if there's some sort of strange vehicle that's cleaning the

0:21:34.480 --> 0:21:37.880
<v Speaker 1>tracks or enabling the maintenance of the tracks, or even

0:21:37.920 --> 0:21:40.320
<v Speaker 1>just a truck on the tracks, you know, um that

0:21:40.440 --> 0:21:43.679
<v Speaker 1>I that that stuff. That's something I really get excited about.

0:21:43.720 --> 0:21:45.639
<v Speaker 1>So if I imagine there are people who get that

0:21:45.720 --> 0:21:48.520
<v Speaker 1>level of excited about sports cars and all, and I can,

0:21:48.640 --> 0:21:50.800
<v Speaker 1>I can acknowledge that I'm right here with you. I

0:21:50.840 --> 0:21:55.080
<v Speaker 1>think I have much more enthusiasm about reil based vehicles. Yeah,

0:21:55.359 --> 0:21:59.280
<v Speaker 1>oh yeah, yeah, I still occasionally, Unfortunately I don't have

0:21:59.320 --> 0:22:02.439
<v Speaker 1>them every night. I have semi recurring dreams about getting

0:22:02.440 --> 0:22:06.679
<v Speaker 1>to ride special train cars on like the subway or

0:22:06.680 --> 0:22:08.920
<v Speaker 1>our local rail system here in Atlanta, though it's usually

0:22:08.960 --> 0:22:12.480
<v Speaker 1>kind of like an unreal, uh subway system I'm engaging in,

0:22:12.480 --> 0:22:14.600
<v Speaker 1>but like a chance where oh I get to ride

0:22:14.960 --> 0:22:18.720
<v Speaker 1>this like open vehicle that's traveling through the subway tunnels

0:22:18.800 --> 0:22:21.960
<v Speaker 1>or some sort of bizarre say, and it it like

0:22:22.040 --> 0:22:26.359
<v Speaker 1>it occurs with some regular frequency, and my my dreams

0:22:26.359 --> 0:22:28.720
<v Speaker 1>I don't always remember it all that well, but yeah,

0:22:28.800 --> 0:22:31.800
<v Speaker 1>something about strange train cars. I'm I'm just really drawn to.

0:22:32.440 --> 0:22:34.160
<v Speaker 1>I thought you were going to say, like a fancy

0:22:34.800 --> 0:22:41.080
<v Speaker 1>you know, orient express style, uh dining car on Marta. Oh,

0:22:41.280 --> 0:22:43.399
<v Speaker 1>I would be up for that as well. Yeah, one

0:22:43.440 --> 0:22:45.760
<v Speaker 1>of my favorite museums. Uh. There are so many great

0:22:45.840 --> 0:22:48.800
<v Speaker 1>museums in New York, but the Public Transit Rail Museum

0:22:49.000 --> 0:22:52.360
<v Speaker 1>is so great because it's an actual subway station and

0:22:52.440 --> 0:22:55.600
<v Speaker 1>it's filled with just different historical train cars and you

0:22:55.640 --> 0:22:58.600
<v Speaker 1>can just walk through them and explore. It's it's wonderful.

0:22:58.720 --> 0:23:02.160
<v Speaker 1>Oh that sounds cool. Maybe one day huh yeah, yeah,

0:23:02.240 --> 0:23:12.440
<v Speaker 1>one day I'll get back up there. Alright. This next

0:23:12.440 --> 0:23:16.640
<v Speaker 1>message is about the Fatim Organa episode. This comes from Alexander.

0:23:16.720 --> 0:23:19.560
<v Speaker 1>Alexander says, Hello, Robert and Joe. Hope you guys are

0:23:19.600 --> 0:23:21.880
<v Speaker 1>safe and well. I've been a fan of the podcast

0:23:21.920 --> 0:23:24.359
<v Speaker 1>for some years now, and to someone who listens mostly

0:23:24.359 --> 0:23:27.720
<v Speaker 1>to comedy shows, your weekly discussions give me real food

0:23:27.720 --> 0:23:30.880
<v Speaker 1>for thought. I love the informal and really interesting tone

0:23:30.880 --> 0:23:33.320
<v Speaker 1>of the conversations and the themes of the episodes. So

0:23:33.359 --> 0:23:36.879
<v Speaker 1>when hearing the episode about the Fatim Morgana, I couldn't

0:23:36.960 --> 0:23:41.040
<v Speaker 1>help but think of a minor character of the anime Narudo.

0:23:41.840 --> 0:23:44.760
<v Speaker 1>And as you guys ask for representations of the shin

0:23:45.080 --> 0:23:48.159
<v Speaker 1>in media, here you go. Also, English is not my

0:23:48.200 --> 0:23:51.399
<v Speaker 1>first language, so bear with me. No worries at all,

0:23:51.440 --> 0:23:55.520
<v Speaker 1>Alexander rob what's a quick refresher on the shin Oh.

0:23:55.520 --> 0:23:58.360
<v Speaker 1>A giant clan that lives in the deep and belches

0:23:58.480 --> 0:24:03.600
<v Speaker 1>up a column of of ectoplasm that forms like fairy

0:24:03.720 --> 0:24:07.959
<v Speaker 1>castles and cities in the sky, on the horizon, in

0:24:08.040 --> 0:24:11.600
<v Speaker 1>the in the Sea of Japan. Yeah, amazing, like giant

0:24:11.600 --> 0:24:15.560
<v Speaker 1>clam monsters burping up bubbles that turn into visions. Yeah.

0:24:15.680 --> 0:24:17.399
<v Speaker 1>And if you and yeah, you don't want to go

0:24:17.480 --> 0:24:19.720
<v Speaker 1>following it because it's not really there. You can't really

0:24:19.760 --> 0:24:22.760
<v Speaker 1>live there, you can't really explore it. Um you know,

0:24:22.840 --> 0:24:24.640
<v Speaker 1>it's it's fairy fire that will lead you to your

0:24:24.640 --> 0:24:29.520
<v Speaker 1>down excellent summary. The message continues. So Naruto is a

0:24:29.560 --> 0:24:33.320
<v Speaker 1>pretty famous anime that tells the story of Naruto Uzumaki,

0:24:33.680 --> 0:24:37.040
<v Speaker 1>a young ninja who seeks recognition from his peers and

0:24:37.160 --> 0:24:41.359
<v Speaker 1>dreams of becoming the the hokag I think the leader

0:24:41.400 --> 0:24:45.040
<v Speaker 1>of his village, while dealing with the mythical spirit of

0:24:45.080 --> 0:24:48.840
<v Speaker 1>the Kyubi, a nine tailed fox sealed in his body.

0:24:49.040 --> 0:24:53.040
<v Speaker 1>The Shin appears during the fourth Shinobi World War Arc,

0:24:53.080 --> 0:24:55.760
<v Speaker 1>one of the final ones. The creature is a pretty

0:24:55.800 --> 0:24:59.480
<v Speaker 1>straightforward representation of the Chinese myth and also has the

0:24:59.520 --> 0:25:04.200
<v Speaker 1>ability to create mirages and delusions. The giant Clam appears

0:25:04.240 --> 0:25:09.040
<v Speaker 1>as a personal summon of the second Mizukag, the leader

0:25:09.119 --> 0:25:12.320
<v Speaker 1>of the hidden village of the Mist, resurrected to fight

0:25:12.400 --> 0:25:15.679
<v Speaker 1>in the Ninja World War. It's capable of producing a

0:25:15.760 --> 0:25:19.800
<v Speaker 1>mist that creates a deceptive mirage that renders observers unable

0:25:19.840 --> 0:25:23.600
<v Speaker 1>to locate the position of the summinar or the clam itself.

0:25:23.880 --> 0:25:26.720
<v Speaker 1>In my opinion, it was a very interesting use of

0:25:26.720 --> 0:25:29.639
<v Speaker 1>the Chinese myth of the Shin. I'm also attaching a

0:25:29.800 --> 0:25:33.040
<v Speaker 1>link of the clam scene with the English sub so

0:25:33.160 --> 0:25:35.479
<v Speaker 1>you guys can better understand the role of the creature

0:25:35.600 --> 0:25:38.879
<v Speaker 1>in the anime. Unfortunately, when I clicked on it, the

0:25:38.960 --> 0:25:44.000
<v Speaker 1>video is unavailable, so I think snatched by the piracy bots.

0:25:44.560 --> 0:25:48.560
<v Speaker 1>Those bots that someday they'll pay back. In Alexander's message

0:25:48.560 --> 0:25:50.919
<v Speaker 1>p S, I would also love to make a suggestion

0:25:50.960 --> 0:25:53.600
<v Speaker 1>for the future. It would be really cool to hear

0:25:53.640 --> 0:25:56.960
<v Speaker 1>an episode about the Amazon, Pink river dolphin. I'm from

0:25:56.960 --> 0:26:02.040
<v Speaker 1>Brazil and this aquatical mammal is and an extremely interesting

0:26:02.080 --> 0:26:05.119
<v Speaker 1>animal with a rich mythical background and repercussions on the

0:26:05.240 --> 0:26:09.400
<v Speaker 1>sociology or anthropology of indigenous groups. Thank you for your

0:26:09.400 --> 0:26:12.680
<v Speaker 1>great podcast. Keep up the good work. Smiley face emoji

0:26:13.440 --> 0:26:15.720
<v Speaker 1>which for some reason, when I copy and paste turns

0:26:15.760 --> 0:26:17.760
<v Speaker 1>into a capital J. I don't know what to do

0:26:17.880 --> 0:26:21.280
<v Speaker 1>about that. Let's see for starters. UM. I have not

0:26:21.480 --> 0:26:24.800
<v Speaker 1>seen this anime in question. Uh, And of course wasn't

0:26:24.800 --> 0:26:26.639
<v Speaker 1>able to get that link to work, but I am

0:26:26.760 --> 0:26:29.639
<v Speaker 1>vaguely aware that it exists, so I don't know. MAYBO

0:26:29.640 --> 0:26:31.040
<v Speaker 1>have to check it out of enjoying a lot of

0:26:31.080 --> 0:26:34.400
<v Speaker 1>high quality animation these days. Oh and then secondly pink

0:26:34.520 --> 0:26:36.040
<v Speaker 1>river dolphin. Yeah, I would love to do something on

0:26:36.080 --> 0:26:45.800
<v Speaker 1>pink river dolphins. Uh, dolphins in general, just a fascinating topic. UM.

0:26:45.840 --> 0:26:48.960
<v Speaker 1>In a recent listener mail, we listen we heard, We

0:26:49.160 --> 0:26:51.760
<v Speaker 1>asked everyone, it's like, hey, what's some relaxing music you dig?

0:26:51.800 --> 0:26:53.240
<v Speaker 1>We heard from a couple of people. I'm not going

0:26:53.280 --> 0:26:55.520
<v Speaker 1>to read their complete emails, but I would just want

0:26:55.520 --> 0:26:59.240
<v Speaker 1>to mention some of the the music that they recommended.

0:26:59.680 --> 0:27:02.720
<v Speaker 1>H William, responding on the discussion module, said that they

0:27:02.760 --> 0:27:06.320
<v Speaker 1>too are fans of Biosphere that we brought up, but

0:27:06.440 --> 0:27:11.280
<v Speaker 1>also mentioned another artist that I dig, Rook Schnouse, as

0:27:11.320 --> 0:27:14.840
<v Speaker 1>well as an artist by name of William Basinski, who

0:27:14.960 --> 0:27:16.639
<v Speaker 1>I think I've listened to a little bit before. I

0:27:16.640 --> 0:27:21.960
<v Speaker 1>think they're known for these like using degenerating tapes um

0:27:22.000 --> 0:27:25.600
<v Speaker 1>to create interesting soundscapes. Oh, that's interesting. One of my

0:27:25.680 --> 0:27:28.639
<v Speaker 1>favorite things actually that that the Internet is good for

0:27:28.800 --> 0:27:33.639
<v Speaker 1>is recordings of dying sound playing chips that are implanted

0:27:33.680 --> 0:27:37.159
<v Speaker 1>in greeting cards that play music. So there are a

0:27:37.200 --> 0:27:39.320
<v Speaker 1>lot of really good ones there. There's one that I

0:27:39.400 --> 0:27:41.080
<v Speaker 1>used to listen to all the time. It was the

0:27:41.080 --> 0:27:44.800
<v Speaker 1>Happy Birthday Song, but it was of course not able

0:27:44.840 --> 0:27:48.280
<v Speaker 1>to quite produce the clarity and crispness and power that

0:27:48.359 --> 0:27:50.960
<v Speaker 1>it once did when it was first purchased, so it

0:27:51.160 --> 0:27:55.160
<v Speaker 1>rendered this absolute dirge of death for your birthday. Another

0:27:55.200 --> 0:27:56.760
<v Speaker 1>one that I think I shared with you not too

0:27:56.760 --> 0:27:59.359
<v Speaker 1>long ago was playing the Baja Mens who Let the

0:27:59.400 --> 0:28:02.800
<v Speaker 1>Dogs Out? But as the machines spiraled down to its doom,

0:28:02.920 --> 0:28:08.520
<v Speaker 1>the who let the Dogs Out chorus became increasingly forlorn. Yeah, yeah,

0:28:08.600 --> 0:28:11.720
<v Speaker 1>that was a good one for sure. Um, let's see

0:28:11.760 --> 0:28:15.800
<v Speaker 1>they speaking of which is not really decayed um audio

0:28:15.880 --> 0:28:17.679
<v Speaker 1>loops or anything. But I'm also a big fan of

0:28:17.720 --> 0:28:20.720
<v Speaker 1>Steve Reich's music for eighteen musicians if anyone out there

0:28:21.000 --> 0:28:23.720
<v Speaker 1>is looking for something to try out. But what William

0:28:23.760 --> 0:28:27.960
<v Speaker 1>also mentions, uh Billow observatory that I'm not familiar with,

0:28:28.440 --> 0:28:32.480
<v Speaker 1>and also brings up, of course Brian Eno, especially Brian

0:28:32.560 --> 0:28:37.040
<v Speaker 1>ENO's work with Robert Fripp. Love Brian Eno. Yes, yeah, absolutely.

0:28:37.080 --> 0:28:39.320
<v Speaker 1>In fact, we heard from another listener by the name

0:28:39.320 --> 0:28:42.560
<v Speaker 1>of Jarry who wanted to write you in just about

0:28:42.640 --> 0:28:47.280
<v Speaker 1>you Know, um that they that they basically go on

0:28:47.400 --> 0:28:49.880
<v Speaker 1>at length here about how great you Know's work is

0:28:50.040 --> 0:28:54.080
<v Speaker 1>and lists list some stuff to check out. I'm not

0:28:54.080 --> 0:28:56.760
<v Speaker 1>going to go into all of it here, but they

0:28:56.800 --> 0:29:01.160
<v Speaker 1>do pinpoints some of the big ones, like music for airports, atmospheres,

0:29:01.160 --> 0:29:04.560
<v Speaker 1>and soundtracks. I'm a big fan personally of what music

0:29:04.680 --> 0:29:07.400
<v Speaker 1>music for films that has a or whatever it was called,

0:29:07.400 --> 0:29:10.920
<v Speaker 1>where it's like little bits of of soundtrack score for

0:29:11.000 --> 0:29:13.680
<v Speaker 1>non existent films that he put together. I'm pretty sure

0:29:13.720 --> 0:29:16.000
<v Speaker 1>we've talked on the show before about how we both

0:29:16.040 --> 0:29:19.280
<v Speaker 1>agreed that music for airports should actually be played in

0:29:19.360 --> 0:29:22.760
<v Speaker 1>airports instead of whatever god awful racket that they're pumping

0:29:22.800 --> 0:29:25.200
<v Speaker 1>out of, like the TVs they've got up in there too.

0:29:25.360 --> 0:29:29.280
<v Speaker 1>If you run an airport, please don't have TVs running

0:29:29.400 --> 0:29:32.920
<v Speaker 1>in the terminal areas. That is just a recipe for

0:29:33.080 --> 0:29:36.440
<v Speaker 1>incredible stress and misery. Yeah. I don't know why. I

0:29:36.480 --> 0:29:40.320
<v Speaker 1>don't know why music for airports was ignored by airports. Uh.

0:29:40.360 --> 0:29:43.520
<v Speaker 1>They also mentioned, you know, his work with Cluster we've

0:29:43.560 --> 0:29:45.080
<v Speaker 1>talked about. I know that you're you're a fan of

0:29:45.080 --> 0:29:48.600
<v Speaker 1>Cluster as well. Um, he's worked he worked on Ambient

0:29:48.680 --> 0:29:52.640
<v Speaker 1>to the Plateau of Mirror, worked on that with Harold Budd,

0:29:52.680 --> 0:29:56.880
<v Speaker 1>who's another big name in ambient sound. Um. Yeah, there's

0:29:56.880 --> 0:29:59.800
<v Speaker 1>just there's just so much, so much great stuff that

0:29:59.800 --> 0:30:01.360
<v Speaker 1>the you knows put out over the years, and still

0:30:01.400 --> 0:30:04.080
<v Speaker 1>it was putting out great ambient material. What I apologize

0:30:04.080 --> 0:30:06.640
<v Speaker 1>if I missed it? Did? Did you already mentioned Bowie's

0:30:06.720 --> 0:30:11.240
<v Speaker 1>Eno collaboration period? No? No, but that's that's amazing stuff

0:30:11.280 --> 0:30:15.400
<v Speaker 1>as well. Does that include the Bowie album Low? Oh,

0:30:15.480 --> 0:30:17.400
<v Speaker 1>I'm not I don't know that. To answer to that, Wait,

0:30:17.480 --> 0:30:19.880
<v Speaker 1>Seth has chimed in, Seth has chimed in. Yes, it

0:30:19.960 --> 0:30:22.600
<v Speaker 1>does Low is one of my favorite David Bowie albums.

0:30:22.640 --> 0:30:25.240
<v Speaker 1>It's not it's not as fun as some of his

0:30:25.280 --> 0:30:29.040
<v Speaker 1>other albums. It's very uh dark and it it has

0:30:29.120 --> 0:30:32.320
<v Speaker 1>the feeling of looking at the twentieth century from a

0:30:32.320 --> 0:30:35.920
<v Speaker 1>hermetically sealed chamber through a curved piece of glass. But

0:30:36.080 --> 0:30:39.080
<v Speaker 1>it is. It is a dark and beautiful album, and

0:30:39.120 --> 0:30:41.680
<v Speaker 1>a lot of the electronic and synthesizer work I think,

0:30:41.760 --> 0:30:45.280
<v Speaker 1>especially on the second half of the album, feels very

0:30:45.360 --> 0:30:48.560
<v Speaker 1>very like dark you know. Yeah. One of the things

0:30:48.560 --> 0:30:50.000
<v Speaker 1>about you know, of course, is when I think of

0:30:50.040 --> 0:30:51.719
<v Speaker 1>you know, I do think of his ambiat work. But

0:30:52.080 --> 0:30:53.960
<v Speaker 1>I did a lot of material. He put out a

0:30:54.000 --> 0:30:56.479
<v Speaker 1>lot of material if you want to if anyone out

0:30:56.520 --> 0:30:59.320
<v Speaker 1>there wants to hear like the funkier side of Eno.

0:31:00.320 --> 0:31:03.960
<v Speaker 1>DJ Food put out a wonderful mix eleven years ago

0:31:04.160 --> 0:31:08.280
<v Speaker 1>now who titled more Volts the Funky Eno. If you

0:31:08.320 --> 0:31:10.480
<v Speaker 1>look it up you can still find it. DJ Food

0:31:10.520 --> 0:31:14.160
<v Speaker 1>has it hosted on SoundCloud, and uh, I haven't listened

0:31:14.200 --> 0:31:15.400
<v Speaker 1>to it in a little bit, but I remember it

0:31:15.440 --> 0:31:17.480
<v Speaker 1>being a lot of fun, just a lot of of cool,

0:31:17.520 --> 0:31:21.520
<v Speaker 1>funky beats from Brian Eno working with various people like

0:31:21.880 --> 0:31:26.400
<v Speaker 1>David byrne Um uh and and so forth. Yeah, but

0:31:26.520 --> 0:31:29.680
<v Speaker 1>also very versatile, because yes, there there is that funky side.

0:31:29.720 --> 0:31:33.080
<v Speaker 1>But then music for airports is just the most calming

0:31:33.160 --> 0:31:35.840
<v Speaker 1>thing I have ever heard. I mean, is is there

0:31:35.880 --> 0:31:38.400
<v Speaker 1>any series of sounds that better puts the brain at

0:31:38.600 --> 0:31:41.600
<v Speaker 1>at peace? Yeah? Yeah? How mad can you be when

0:31:41.600 --> 0:31:44.959
<v Speaker 1>you're listening to music for airports? Yeah? It's like, Okay,

0:31:45.000 --> 0:31:48.400
<v Speaker 1>I missed my connection. You know it's gonna be all right.

0:31:53.680 --> 0:31:55.680
<v Speaker 1>All right, looks like we have some weird how cinema

0:31:56.240 --> 0:31:59.640
<v Speaker 1>email as well here Joe. That's right. So this first

0:31:59.760 --> 0:32:02.800
<v Speaker 1>message comes from Jim. Jim says, hey, Robert and Joe,

0:32:03.120 --> 0:32:05.360
<v Speaker 1>you mentioned on the listener mail that sometimes you should

0:32:05.360 --> 0:32:08.560
<v Speaker 1>do a Ken Russell film on weird House cinema. Uh.

0:32:08.600 --> 0:32:10.960
<v Speaker 1>There are many great ones from Ken Russell, but my

0:32:11.040 --> 0:32:15.640
<v Speaker 1>recommendation is Layer of the White Worm nineteen nine eight.

0:32:15.720 --> 0:32:18.280
<v Speaker 1>I don't think you're right about that year, Jim. I'm

0:32:18.360 --> 0:32:21.160
<v Speaker 1>I'm pretty sure that is wrong, but I will be

0:32:21.240 --> 0:32:23.200
<v Speaker 1>corrected if I'm wrong about that. Rob. Maybe you can

0:32:23.200 --> 0:32:25.479
<v Speaker 1>look it up while I'm reading this. It's adapted from

0:32:25.520 --> 0:32:28.640
<v Speaker 1>a novel by Bram Stoker and as several well known

0:32:28.680 --> 0:32:32.840
<v Speaker 1>stars Hugh Grant, Peter Capaldi, Katherine Oxenberg. It's about a

0:32:32.880 --> 0:32:37.840
<v Speaker 1>British vampuric snake cult. It's fun, funny, sexy, lightly scary.

0:32:38.000 --> 0:32:40.720
<v Speaker 1>I think it might be available on to be right

0:32:40.720 --> 0:32:43.360
<v Speaker 1>now if you have that app. Thanks for all your work,

0:32:43.720 --> 0:32:47.480
<v Speaker 1>Jim and Jim. Yes, you you know our strike zone.

0:32:47.600 --> 0:32:50.840
<v Speaker 1>I love this movie definitely one that I've been planning

0:32:50.840 --> 0:32:54.040
<v Speaker 1>to feature at some point. Uh. Layer of the White Worm.

0:32:54.400 --> 0:32:56.080
<v Speaker 1>In fact, I thought I had mentioned it on a

0:32:56.080 --> 0:32:59.800
<v Speaker 1>recent weird House cinema because we were talking about blasphemous

0:32:59.800 --> 0:33:03.080
<v Speaker 1>like crucifixion scenes and movies, and Lair of the White

0:33:03.080 --> 0:33:07.080
<v Speaker 1>Worm has a really good like uh snake demon, blasphemous

0:33:07.080 --> 0:33:09.640
<v Speaker 1>crucifixion vision. Yeah, and I looked it up. It's a

0:33:10.600 --> 0:33:13.360
<v Speaker 1>film so close one decade off. Yeah, it's been a

0:33:13.400 --> 0:33:14.840
<v Speaker 1>while since I've seen it, but I remember being a

0:33:14.880 --> 0:33:17.320
<v Speaker 1>lot of fun. It has a Yeah, it's a uh

0:33:17.400 --> 0:33:20.000
<v Speaker 1>sexy and weird and has a really cool worm puppet

0:33:20.040 --> 0:33:28.760
<v Speaker 1>in it. Yeah, just glorious, absolutely great. All right, here's

0:33:28.800 --> 0:33:30.920
<v Speaker 1>a bit of email comes to us from Emily. Hi,

0:33:31.080 --> 0:33:33.040
<v Speaker 1>Robert and Joe. Let me start off by saying, I've

0:33:33.040 --> 0:33:34.920
<v Speaker 1>been loving the steady stream of stuff toble your mind

0:33:34.920 --> 0:33:38.240
<v Speaker 1>content coming through my pod catcher, especially weird how Cinema.

0:33:38.320 --> 0:33:42.320
<v Speaker 1>Y'all killing the game? Please continue anyway, I'm writing with

0:33:42.320 --> 0:33:44.720
<v Speaker 1>the suggestion for weird House. I feel like you guys

0:33:44.720 --> 0:33:46.960
<v Speaker 1>have brought it up before, but I don't remember the context.

0:33:46.960 --> 0:33:49.680
<v Speaker 1>So maybe this is one of your two watch list.

0:33:49.760 --> 0:33:52.400
<v Speaker 1>This is on your two watch list already. Nine seventy

0:33:52.440 --> 0:33:56.120
<v Speaker 1>two is Silent Running, directed by Douglas Trumbull. Has been

0:33:56.280 --> 0:33:58.360
<v Speaker 1>on my personal to watch list since high school, and

0:33:58.360 --> 0:34:00.000
<v Speaker 1>my husband and I are just getting around to why

0:34:00.000 --> 0:34:02.120
<v Speaker 1>watching it recently. I'd love to get you guys this

0:34:02.240 --> 0:34:04.240
<v Speaker 1>take on it. My favorite thing about the experience of

0:34:04.240 --> 0:34:06.800
<v Speaker 1>watching fifty year old sci fi movies is sitting with

0:34:06.800 --> 0:34:11.680
<v Speaker 1>that feeling, uh, with your disbelief. Can't quite stay suspended

0:34:11.719 --> 0:34:14.560
<v Speaker 1>as a modern watcher, because the film depicts technology is

0:34:14.600 --> 0:34:19.480
<v Speaker 1>basically quote magic dressed in greebals and blinking lights um

0:34:19.600 --> 0:34:22.719
<v Speaker 1>hand waving away exactly how the machine does what it's

0:34:22.760 --> 0:34:26.280
<v Speaker 1>shown doing, like the robots being advanced enough to understand

0:34:26.360 --> 0:34:29.880
<v Speaker 1>natural speech while also running on basically punch card programs,

0:34:30.400 --> 0:34:33.840
<v Speaker 1>which are themselves sophisticated enough to enable said robots to

0:34:33.960 --> 0:34:37.600
<v Speaker 1>perform surgery and play poker. I don't know if general

0:34:37.640 --> 0:34:40.439
<v Speaker 1>audiences in the nineteen seventies would have felt that same

0:34:40.520 --> 0:34:44.040
<v Speaker 1>challenge to the suspension of disbelief, or if I just

0:34:44.200 --> 0:34:46.840
<v Speaker 1>learned too much ding dang science from the wealth of

0:34:46.880 --> 0:34:49.840
<v Speaker 1>accessible science content available in this day and age, including

0:34:49.880 --> 0:34:53.560
<v Speaker 1>in No Small Park this very podcast. Anyway, keep out

0:34:53.560 --> 0:34:55.480
<v Speaker 1>the great work and stay safe out there. Looking forward

0:34:55.520 --> 0:34:58.600
<v Speaker 1>to the next batch of podcasts. Regards Emily, I think

0:34:58.600 --> 0:35:01.959
<v Speaker 1>the main takeaway from Silent Running is just surgery. Isn't

0:35:02.000 --> 0:35:05.680
<v Speaker 1>that hard? Basically anybody could do it. Yeah, with the

0:35:05.760 --> 0:35:09.600
<v Speaker 1>right punch card. But no, Emily, You're in luck. We

0:35:09.640 --> 0:35:13.760
<v Speaker 1>did a whole episode about Silent Running sometime in nineteen

0:35:13.840 --> 0:35:18.080
<v Speaker 1>I believe, Yeah, June eight, nineteen, just simply titled Silent Running.

0:35:18.440 --> 0:35:20.280
<v Speaker 1>It's one of the episodes that we did a series

0:35:20.280 --> 0:35:22.000
<v Speaker 1>of episodes that we did with They were ultimately kind

0:35:22.000 --> 0:35:24.560
<v Speaker 1>of a precursor to Weird House Cinema, where we were like,

0:35:25.120 --> 0:35:26.839
<v Speaker 1>what do we need to do to get away with

0:35:26.880 --> 0:35:30.319
<v Speaker 1>talking about weird movies on this podcast, And you know,

0:35:30.360 --> 0:35:32.839
<v Speaker 1>we realized, well, certain types of movies lent themselves well

0:35:32.880 --> 0:35:35.279
<v Speaker 1>to that kind of discussion, because like two thousand and

0:35:35.320 --> 0:35:37.840
<v Speaker 1>one of Space Odyssey's Silent Running. These are films with

0:35:37.880 --> 0:35:41.279
<v Speaker 1>a lot of science in them to discuss, you know,

0:35:41.840 --> 0:35:44.480
<v Speaker 1>whether the science works ride or is presented in a

0:35:44.480 --> 0:35:46.279
<v Speaker 1>way that makes sense. It's said, that's all part of

0:35:46.280 --> 0:35:49.480
<v Speaker 1>the discussion. Yeah, but obviously things have evolved since then.

0:35:49.520 --> 0:35:51.320
<v Speaker 1>You know, if we're gonna be putting out five episodes

0:35:51.360 --> 0:35:52.879
<v Speaker 1>a week, at least one of them we're just gonna

0:35:52.880 --> 0:35:57.240
<v Speaker 1>talk about movies. Yeah. But indeed, Silent Running great film.

0:35:57.680 --> 0:36:01.520
<v Speaker 1>I love it. I'll always of it and I recommend

0:36:01.560 --> 0:36:04.680
<v Speaker 1>it to anybody out there who wants to, uh, you know,

0:36:04.719 --> 0:36:10.719
<v Speaker 1>seek out a weird, cool, well acted, um piece of

0:36:10.719 --> 0:36:13.560
<v Speaker 1>sci fi cinematic history. A great soundtrack too. I love

0:36:13.600 --> 0:36:16.759
<v Speaker 1>the Joe Bias tracks. All right, Well, it looks like

0:36:16.800 --> 0:36:19.440
<v Speaker 1>our mail bot is shutting down, so we need to

0:36:19.440 --> 0:36:21.759
<v Speaker 1>go ahead and shut down this episode as well. But

0:36:21.920 --> 0:36:23.920
<v Speaker 1>we thank everybody for writing in. We didn't get to

0:36:23.920 --> 0:36:26.080
<v Speaker 1>get to everything, but you know, we'll we'll try and

0:36:26.120 --> 0:36:29.000
<v Speaker 1>get to it next week. Um. Even if we don't

0:36:29.040 --> 0:36:32.400
<v Speaker 1>read your mail on Listener mail, we still read it

0:36:32.400 --> 0:36:35.080
<v Speaker 1>when it comes in. So keep it coming. Your your

0:36:35.239 --> 0:36:38.600
<v Speaker 1>your your comments, your thoughts, your corrections, your ideas for

0:36:38.640 --> 0:36:41.960
<v Speaker 1>the future, thoughts on Stuff Table your Mind episodes, thoughts

0:36:42.239 --> 0:36:46.879
<v Speaker 1>on Weird House Cinema episodes, thoughts on Artifact episodes, etcetera. Uh,

0:36:47.040 --> 0:36:49.920
<v Speaker 1>we just want to hear from y'all. Absolutely keep it coming,

0:36:50.160 --> 0:36:52.480
<v Speaker 1>you know. Actually, I thought when we switched to doing

0:36:52.520 --> 0:36:54.880
<v Speaker 1>episodes once a week that that would mean we we

0:36:55.000 --> 0:36:57.200
<v Speaker 1>ended up having time to read all listener mail. It

0:36:57.239 --> 0:36:58.799
<v Speaker 1>did not work out that way. I feel like we

0:36:58.840 --> 0:37:00.640
<v Speaker 1>still don't even get to have off of it. So

0:37:00.960 --> 0:37:03.520
<v Speaker 1>apologies if your message has not been read, please don't

0:37:03.560 --> 0:37:06.560
<v Speaker 1>take it personally. But we we love all the email

0:37:06.600 --> 0:37:09.040
<v Speaker 1>we get. We really do. That's right. In the meantime,

0:37:09.080 --> 0:37:11.400
<v Speaker 1>if you want to listen to other episodes of Stuff

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<v Speaker 1>to Blow Your Mind listener mail, it tends to publish

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<v Speaker 1>on Mondays. I think that's its standard date of publication.

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<v Speaker 1>Wednesdays will do an Artifact unless we need to preempt it.

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<v Speaker 1>Tuesdays and Thursdays are our core Stuff to Blow Your

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<v Speaker 1>Mind episodes, Friday is Weird How Cinema, and then we

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<v Speaker 1>have evolved episode over the weekend. That's right. Hook your

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<v Speaker 1>ears up, download it all, listen, do as we command you,

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<v Speaker 1>but anyway, huge thanks as always to our excellent audio

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<v Speaker 1>producer Seth Nicholas Johnson. If you would like to get

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<v Speaker 1>can always email us at contact at stuff to Blow

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