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Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff

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Speaker 1: Works dot com. Hey, welcome to Stuff to Blow your Mind.

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Speaker 1: My name is Robert Lamb, and I'm Julie Douglass. Julie,

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Speaker 1: are you a fan of continuity in life? Oh? Sure?

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Speaker 1: I love in the most logical way, so that when

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Speaker 1: a string of words it is understood or put together.

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Speaker 1: I too makes sense when words prefer it in a

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Speaker 1: way that complete center, least informed string together, it's much

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Speaker 1: easier to understand. Yes, You're only a lot easier to understand. Well,

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Speaker 1: was there? Was there just some sort of asynchronicity going

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Speaker 1: on there? I don't know. It felt a little weird,

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Speaker 1: didn't it. Yeah, a little skipping about kind of felt

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Speaker 1: like David Lynch just edited us. Yes, noel or editor.

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Speaker 1: All right, well let's shake that off, alright, and uh

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Speaker 1: and and move forward, Because indeed, continuity is is an

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Speaker 1: important part of the way that we perceived the world

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Speaker 1: and and and how we make sense of the world.

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Speaker 1: But to what extent isn't an illusion? How much of

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Speaker 1: the perceived continuity uh in life is just a sort

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Speaker 1: of an accident of the brain. You know, I was

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Speaker 1: thinking about this lately because I'm watching the Olympics and

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Speaker 1: Winter Olympics and searching, and I don't have cable or

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Speaker 1: satellite TV, and um super lazy, and I didn't go

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Speaker 1: get some rabbity or antennas. Instead, I'm streaming it to

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Speaker 1: my Roku player through an app called us TV now.

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Speaker 1: Are us TV now And anyway, the point is is

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Speaker 1: that there are so many weird time lapses in the

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Speaker 1: streaming that it really does feel like David Lynch is

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Speaker 1: presenting the Olympics, and there's all sorts of odd conversation

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Speaker 1: loop back that happened three four times, and it starts

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Speaker 1: to feel like it's just even those little tweaks are

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Speaker 1: putting me into a different universe, into an alternate universe.

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Speaker 1: And I thought about that, just that that little tweak

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Speaker 1: can really be unsettling and fe centering. Yeah, I mean,

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Speaker 1: that's just the way that our our brain is seeing

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Speaker 1: and hearing things. We get these chunks that even though

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Speaker 1: they're they're out of sequence due to the realities of

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Speaker 1: our time system here on Earth, but we can't help

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Speaker 1: to try and piece them together and make sense of it,

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Speaker 1: because that's what our brains do all the time. Yeah,

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Speaker 1: and we really take for granted this idea of perceptual

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Speaker 1: constancy and how we see the world, because if you

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Speaker 1: see an image in front of you, think, oh, that's

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Speaker 1: that's just something that's that is exactly as it is

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Speaker 1: that I'm perceiving it, um, just as it is in reality,

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Speaker 1: and nothing could be further from the truth. It is

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Speaker 1: a constructed reality by your brain, by your visual system UM,

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Speaker 1: which analyzes let's slow down that moment and you're watching

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Speaker 1: the socio Olympics, right. It analyzes the interactions between visible

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Speaker 1: electromagnetic waves and the objects in our environment. So not

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Speaker 1: just the you know, when I'm watching on the TV screen,

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Speaker 1: but the light in the room, the dimensions of that room.

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Speaker 1: All of that is being penciled in by little artists

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Speaker 1: in my brain essentially trying to tell me what I'm seeing. Yeah,

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Speaker 1: we often experience reality with this idea that hey, it's

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Speaker 1: it's me experiencing reality, and ultimately that's the truth. You

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Speaker 1: are your body, so anything your body does, it's all

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Speaker 1: working together as a single unit. But when you start

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Speaker 1: breaking it down, you realize that you or your conscious mind,

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Speaker 1: and your conscious mind is just kind of the froth

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Speaker 1: on the beer that is the brain, and then it's

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Speaker 1: it's then that beer is just setting in a dark

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Speaker 1: room and it's only getting information um passed onto it

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Speaker 1: from these from these these eyes that are outside of

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Speaker 1: the room, uh, outside of the brain itself. So you're

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Speaker 1: getting this information passed to the brain and then to

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Speaker 1: the mind, and uh, it's not a accurate version of

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Speaker 1: what is actually going on outside the room. Yeah. We

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Speaker 1: talked about this a little bit with Liliputian hallucinations and

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Speaker 1: how that our brains have to create this perceptual constancy.

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Speaker 1: And if you think about it, it's doing this by

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Speaker 1: reconstructing a three dimensional dimensional world with two dimensional images

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Speaker 1: on your rentness, and so when you look at an object,

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Speaker 1: each of your eyes sees a slightly different picture. So

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Speaker 1: think about a fork and a plate on the table.

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Speaker 1: Now you're okay. So your brain has to move between

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Speaker 1: these two objects and create scale in shape, and there

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Speaker 1: has to be a perceptual constancy in there in place,

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Speaker 1: and it's doing that behind the scenes with a lot

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Speaker 1: of different processes. We're talking about minocular vision providing the

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Speaker 1: image perceived by each separately, and then you have binocular

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Speaker 1: vision that's getting in on on the play here. And

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Speaker 1: if you're looking at something in the distance, then you

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Speaker 1: have to keep in mind that there's something like atmospheric perspective,

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Speaker 1: which is created by the dust particles and water vapor

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Speaker 1: in the air, which then color the way that you

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Speaker 1: see an object. Something farther away from you is gonna

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Speaker 1: look a little hazy, a little blurry. Yeah. And we

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Speaker 1: know that damage to the brain can sometimes create gaps

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Speaker 1: in that visual data that comes into play. And we

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Speaker 1: also know that our brain and when it doesn't have

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Speaker 1: that data, will hallucinate an image for you. So again,

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Speaker 1: this hold on reality, this this illusion of continuity is

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Speaker 1: just a very tenuous thing here. Yeah, and it's and

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Speaker 1: again it's also worth remembering that your brain is not

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Speaker 1: passing on all the information to you. Uh, it's a

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Speaker 1: there's a lot of computation that's going on beneath the surface.

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Speaker 1: One example of this came from a study from the

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Speaker 1: University of Arizona from doctoral degree candidate Jay Sanganetti, publishing

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Speaker 1: the journal Psychological Science. And they took a various subjects

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Speaker 1: and they had them look at these images where you

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Speaker 1: had an abstract dark center of an image and then

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Speaker 1: white on the sides and on some of these that

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Speaker 1: there was just abstraction they did. There was no actual picture.

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Speaker 1: It's just white and dark. But in there's you had

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Speaker 1: these white seahorse shapes on the sides. So they flash

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Speaker 1: these at everyone's at everyone in the study, and some

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Speaker 1: people got the sea horse, some people got the abstract nonsense. Uh.

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Speaker 1: But they found that that that in the brain when

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Speaker 1: they looked at the brain activity, there was identification of

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Speaker 1: the sea horse going on even when people didn't consciously

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Speaker 1: see the sea horse. It's like the brain was identifying

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Speaker 1: it and saying sea horse. But then it doesn't pass

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Speaker 1: the information onto your your conscious understanding. It's it's happening

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Speaker 1: into some conscious level, so saying seahorse but not seahorse. Yeah,

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Speaker 1: so it's sometimes you were seeing things but you're not

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Speaker 1: consciously seeing them because it's not important to your to

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Speaker 1: your immediate understanding of the world around you. But you know,

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Speaker 1: how does that subconsciously color the things that do rise

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Speaker 1: to the top of that froth on the bier right right,

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Speaker 1: which is the whole other thing that we could get into.

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Speaker 1: But we're we're interested in looking at this illusion of

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Speaker 1: continuity and sing how it games us in certain ways

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Speaker 1: and certainly. One of the ways that we have mentioned

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Speaker 1: before is something that is exploited by magicians, and it's

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Speaker 1: called the retention vanish that very iconic trick in which

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Speaker 1: you see the coin go from one hand to the other.

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Speaker 1: And it happens when there's a lag in the brain's

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Speaker 1: perception of motion, and this is called persistence of vision,

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Speaker 1: and the audience will actually see the coin, say, transfer

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Speaker 1: from the right to the left palm for a split

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Speaker 1: second after the hands separate, and that is because visual

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Speaker 1: neurons don't stop firing once a given stimulus. Here the

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Speaker 1: coin is no longer present. So even though that coin

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Speaker 1: wasn't necessarily deposited into the left hand, the last image

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Speaker 1: that your brain saw looked like it, and it's not

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Speaker 1: going to stop that process and say, oh wait, hold on,

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Speaker 1: you know, split one of a second here we think

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Speaker 1: that it actually didn't get transferred. It's going to continue

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Speaker 1: to fire and you're gonna have this this false perception

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Speaker 1: of continuity into the other hand. Yeah, it's crazy. Again.

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Speaker 1: Your brain is filling in the gaps for you in

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Speaker 1: order to give you the complete picture. It's like a

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Speaker 1: reporter has been sent out into the city to get

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Speaker 1: a story finds out certain bits of information, and it's

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Speaker 1: just filling in, uh, the gaps in what happened, and

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Speaker 1: the way they fill in the gaps, it's it's the

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Speaker 1: way it likely happened, all right. Somebody was seeing a

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Speaker 1: point A and then they were seeing at point B.

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Speaker 1: It stands to reason they walk down the street from

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Speaker 1: point A to point B. But maybe not well, And

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Speaker 1: I was just thinking about this too. Aren't we even

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Speaker 1: getting to the point with metic keywords in the way

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Speaker 1: that we use the internet. Aren't we sort of filling

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Speaker 1: that in? Can't you look at a like a pool

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Speaker 1: of meta keywords for an article and immediately start to

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Speaker 1: fill in those gaps yourself. Yeah, So if you see

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Speaker 1: something like you know, illusion of continuity, visual visual perception,

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Speaker 1: persistence of vision, you begin to understand the story that's

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Speaker 1: developing there. Yeah. Or look at any movie trailer, especially

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Speaker 1: movie trailers for films that are not that inventive and

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Speaker 1: and that stick, uh, stick rather closely to the accepted tropes.

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Speaker 1: Oftentimes you'll look at at the extended trailer for the

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Speaker 1: film and you say, hey, well, I just saw the film.

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Speaker 1: There's absolutely no reason to see it because you were

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Speaker 1: given the little points, the little the little important moments

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Speaker 1: along the way, and then your brain just fills in

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Speaker 1: the rest, and based on previous knowledge, you know exactly

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Speaker 1: what's going to happen. Yeah, and movies are the ultimate

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Speaker 1: illusion of continuity. Yes, it turns out that twenty seven

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Speaker 1: point five hurts. This is a sequence of still photograph

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Speaker 1: slides that are displayed at or about this rate of

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Speaker 1: presentation gives us the illusion of motion. So, like the

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Speaker 1: basic flip book, like a horse running, you flip the

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Speaker 1: page is fast enough, and it looks like a little

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Speaker 1: horses is running around there, though obviously it is not. Yeah,

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Speaker 1: so motion pictures or those horses that you see are

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Speaker 1: really just a sequence of those still images at twenty

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Speaker 1: four prame, excuse me, twenty four frames per second, and

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Speaker 1: that exceeds something called the temporal resolving properties the human

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Speaker 1: visual system, so it's outside of the zone of detection.

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Speaker 1: So if you're looking at thirty five millimeter film projection,

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Speaker 1: each still is presented for one of a second, alternating

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Speaker 1: with a black frame for roughly the same duration, and

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Speaker 1: the eye perceives the images as just one fluid scene.

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Speaker 1: But old timey films, we we perceive that gap, right,

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Speaker 1: and then we kind of herky jerky motion that you

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Speaker 1: get this this sort of this unreal uh idea of movement,

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Speaker 1: the kind of unreal movement that is generally retained and

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Speaker 1: stop motion animation. Yeah, and that's because the frame rate

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Speaker 1: is clocking in at seventeen to eighteen frame rates per second.

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Speaker 1: It's too low. So the brain says, I see something here.

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Speaker 1: There is a discontinuity, and in this respect, this twenty

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Speaker 1: seven point five hurts. It also translates to sound and

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Speaker 1: how sound begins to form a sort of continuity. And

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Speaker 1: this is this is the idea that I'm going Dad.

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Speaker 1: Hear each individual beat, but if we were to speed

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Speaker 1: that up enough, it would just be one constant exactly,

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Speaker 1: because the molecules are vibrating at that speed and they're

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Speaker 1: creating that sort of booz that continuity. And Daniel J. Levitton,

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Speaker 1: who wrote the book This Is Your Brain on Music,

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Speaker 1: talks about that and he used this example of putting

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Speaker 1: a playing card in the spokes of a wheel. He

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Speaker 1: says that slow speeds, you hear the click click, click

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Speaker 1: click click of the car, but at higher speeds the

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Speaker 1: clicks were together and they cease to be perceived as

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Speaker 1: individual noises, but now as a continuous buzz and he

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Speaker 1: says a tone you can actually hum along to a pitch,

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Speaker 1: and that's sort of the magic of this continuity of

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Speaker 1: sound and motion. Alright, So on that note, let's take

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Speaker 1: a quick break and when we get back, we're going

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Speaker 1: to talk about why Spider Man, you know that gift,

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Speaker 1: why he is such a good groover. Alright, we're back

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Speaker 1: dancing Spider Man. Yes, uh, this is just one of

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Speaker 1: those gifts that's been around forever where the this this

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Speaker 1: little kind of pixelated the Spider Man. Uh, you know,

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Speaker 1: maybe it was a real person dancing in the original footage,

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Speaker 1: but it's just kind of it's kind of a little

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Speaker 1: artifact on the web that just won't go away. And

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Speaker 1: you see him sort of sashang, I guess is the

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Speaker 1: correct descriptive term, back and forth and kind of this

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Speaker 1: kind of is he snapping his fingers or am I

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Speaker 1: just I don't know. He seems to be doing the

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Speaker 1: Charleston sometimes and then he kind of goes into the

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Speaker 1: disco moves. Um. He's on a white background, and it's

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Speaker 1: just it's a very simple animated gift. But the great

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Speaker 1: thing about it is that you can play nearly any

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Speaker 1: piece of music to it, and Spider Man seems to

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Speaker 1: keep time. Yes, you can. You can throw classical music

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Speaker 1: on it, and he seems to be uh sash back

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Speaker 1: and forth to Mozart. You can throw there on some

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Speaker 1: dub step and he seems to be really jamming out

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Speaker 1: to that as well, and everything in between. No matter

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Speaker 1: what the genre, what the track, what the what the speed,

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Speaker 1: you know what? What? What are the beats permitted happen

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Speaker 1: to be? He still seems to be dancing to that

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Speaker 1: particular song. And it's a real insight into the human

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Speaker 1: proclivity for synchronicity, right, because there's nothing magic about the

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Speaker 1: Spider Man gift. It's just this gift of this dude

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Speaker 1: dancing and the Spider Man the costume. But when we

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Speaker 1: look at it, we can't help but find the ways

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Speaker 1: that it matches up. We can't help it but look

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Speaker 1: at it and say, hey, this fit's perfectly with the music. Yeah. Now,

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Speaker 1: before we get into how this actually happens, or this

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Speaker 1: illusion of synchronozy synchronicity happens, I wanted to mention that

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Speaker 1: when it comes to the visual cortex, it is mapping

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Speaker 1: a visual of how the pitch and tone in a

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Speaker 1: in a song are changing, and in turn, music moves

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Speaker 1: us because we envision movement in it. So we can't

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Speaker 1: help but look at something like this animated gift and

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Speaker 1: start to really synchronize our own um interpretations of the

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Speaker 1: music and the movements. Yea, with what we're seeing. Yeah,

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Speaker 1: we talked about before when we talked about the way

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Speaker 1: music and art moves this, Uh, that the music that

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Speaker 1: tends to really resonate the most with us, you know,

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Speaker 1: think about the songs that really give you chills or

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Speaker 1: or just you know, really you captures your imagination. Generally,

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Speaker 1: you're talking about places where whether there's definite movement going

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Speaker 1: on in the song, there's some sort of rising action,

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Speaker 1: or it's descending, or it's there's this sudden drop, you

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Speaker 1: name it, but there's there's something coming together or pulling apart,

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Speaker 1: and and that's what we lack onto. Yeah, and it's

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Speaker 1: no coincidence that music is really effective um and therapeutic

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Speaker 1: with Parkinson's patients and stroke patients and coordinating their movements

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Speaker 1: again because of the visual cortex in this idea that

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Speaker 1: we're trying to sync up to the thing that we're

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Speaker 1: listening to and we're seeing. So I wanted to mention

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Speaker 1: that Radio Labs Jody Avrigon has a great explanation of

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Speaker 1: why Spider Man is such a good dancer, and she

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Speaker 1: talked to someone by the name of Devin mcaulay who

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Speaker 1: works in the Timing, Attention and Perception Lab at Michigan

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Speaker 1: State University, and he says that humans are really flexible timekeepers.

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Speaker 1: He says, we have a tennessee to pay much more

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Speaker 1: attention to events that are synchronous than asynchronous, and so

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Speaker 1: this would bias our attention to time points that provide

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Speaker 1: evidence for Spider Man dancing synchronously with the music. We're

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Speaker 1: ignoring the times that he's out of time with music,

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Speaker 1: you know. And this this ties in really closely with

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Speaker 1: the episode we just did on Reincarnation. We talked about

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Speaker 1: families looking at like what a child is saying about

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Speaker 1: an imaginary friend or about some phobia that they seem

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Speaker 1: to have, and then how they end up matching that

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Speaker 1: up with someone who was recently deceased and their story.

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Speaker 1: You end up ignoring all the different places where it

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Speaker 1: doesn't come together, and you focus on the one or

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Speaker 1: two places, even then it does come together. Another example

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Speaker 1: of this that that instantly came to mind where you're

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Speaker 1: doing the research. I give you two rather distinct things

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Speaker 1: on one hand, the Wizard of Oz and then the

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Speaker 1: other hand, Pink Floyd's The Dark Side of the Moon. Yes,

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Speaker 1: because here we have a great example of these two

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Speaker 1: independent artistic works. Right. Yeah, Wizard of Oz did not

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Speaker 1: inspire Dark Side of the Moon. But as your college

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Speaker 1: roommate will will happily tell you, they sync up really

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Speaker 1: well with each other. You if you mute Wizard of

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Speaker 1: Oz and you play Dark Side of the Moon, they're

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Speaker 1: gonna be all these moments where the lyrics or the

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Speaker 1: or the rise and follow up the music, where all

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Speaker 1: it just comes together perfectly and it seems as if

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Speaker 1: it were meant to be. You also see this with

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Speaker 1: Blade Runner and Dark Side of the Moon. So again

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Speaker 1: to you, completely independent works, but the brain thinks that

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Speaker 1: there's a collaboration going on. Yeah. I was actually looking

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Speaker 1: at a website called sink movies dot com and they

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Speaker 1: have a number of examples, some of them some of

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Speaker 1: them kind of interesting, Like there's one uh that they

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Speaker 1: call city Kid, which is a kid a the radiohead

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Speaker 1: album the Fabulous Album over the movie Dark City, which

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Speaker 1: is a movie I love. And so those are two

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Speaker 1: things I can see mixing rather well with each other.

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Speaker 1: I'm less into the idea of, say, Toy Story in

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Speaker 1: the Attic, where they take Aerosmith's Toys in the Attic

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Speaker 1: and sync it with Pixar's Toy Story. But again, they

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Speaker 1: have something like twenty one different examples of an album

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Speaker 1: and a movie. When sync together, they seem to make

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Speaker 1: sense magically, all of a sudden, they are synchronous. Now.

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Speaker 1: In the case of Spider Man, Abergann says that there's

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Speaker 1: something called periodosities. These are movements of various different but

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Speaker 1: related rhythms nestled inside the rhythms of Spider Man's gyrations.

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Speaker 1: And there are also these nested rhythmic patterns within any

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Speaker 1: given song. So she says that when we are watching

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Speaker 1: Spider Man, we were listening to a song, our brains

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Speaker 1: pick out two items to match, one from the column

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Speaker 1: of Spider Man's rhythms and one from the column of

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Speaker 1: the song rhythms, and then matches those up together. Huh yeah,

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Speaker 1: Because definitely it is a very fluid movement that of

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Speaker 1: this dancing Spider Man. There are no um, you know,

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Speaker 1: sharp points. It's not just him like bonking his pelvis

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Speaker 1: back and forth. Like that's the kind of thing which

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Speaker 1: would match up with many songs, but not but certainly

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Speaker 1: not have this universal um uh connectedness to music. Yeah,

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Speaker 1: he doesn't do the sprinkler or anything, so there's no

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Speaker 1: jerky movements. Um. But yeah, they're smooth, they're continuous, and

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Speaker 1: their short and duration, which help our brains again to

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Speaker 1: sync up those two different columns. If they were a

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Speaker 1: little bit longer, if his movements went on for a while,

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Speaker 1: then we would have too many beats that might have

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Speaker 1: been skipped, and that would put some red flags up

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Speaker 1: there in our brains. Interesting, you know, I wonder if

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Speaker 1: anyone has really applied this thinking to the sinking of

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Speaker 1: movies and music, because certainly I'm thinking of Flapstick and

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Speaker 1: Wizard of Oz, you know, and just you know, the

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Speaker 1: Cowardly Lion and then all this, and there's not a

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Speaker 1: lot of this kind of fluid movement that would match

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Speaker 1: with any kind of music. So I wonder if anyone

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Speaker 1: out there has, like has has looked at something that

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Speaker 1: is very fluid, some sort of like performance piece with

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Speaker 1: a lot of dance in it um or or or

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Speaker 1: something kind of avant gare. Like, I'm thinking maybe of

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Speaker 1: the what's the the gentleman that you're yeah, Philip Glass,

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Speaker 1: but also on the film side of things, the gentleman

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Speaker 1: that your husband's rather fond of makes the really strange

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Speaker 1: art films Matthew Barney, Matthew Barney, and what is that

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Speaker 1: series call though it's Master Ye, Yeah, Like I wonder

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Speaker 1: if that's the sort of property that would that would

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Speaker 1: pair well with just about any kind of movement music,

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Speaker 1: because there's kind of a performance, uh, dance quality to

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Speaker 1: it well. And Philip Glass does have a lot of

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Speaker 1: um pieces that he has done with dance before, and

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Speaker 1: it's very interesting. But there's his Generally, his music does

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Speaker 1: not lend itself to sort of any sort of smooth,

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Speaker 1: continuous or short burst there. It's usually pretty long and

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Speaker 1: drawn out um and then you know the sort of

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Speaker 1: jarring changes in the pitch and the tempo. And next

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Speaker 1: one wonder about the sort of media they consume and

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Speaker 1: the pacing of it all and the ways that our

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Speaker 1: brain likes to say, ah, yes, I like this idea

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Speaker 1: of continuity. Please let me try to create it wherever

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Speaker 1: and whenever I can around me, and indeed we we

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Speaker 1: do look for it all around us. And we see

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Speaker 1: this time and time again in our attempts to understand

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Speaker 1: not only how the world works, but the meaning behind

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Speaker 1: why it works. Right when we start trying to to

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Speaker 1: answer those big questions in life, why is this happening

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Speaker 1: to me? Why did this happen to the world, and

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Speaker 1: we start looking for these different different patterns. Uh, in

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Speaker 1: the world around us. You could all you could even

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Speaker 1: say that it's a synchro destiny here. That's a word

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Speaker 1: that Depoxia Chopra has termed has coined. And uh, he's

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Speaker 1: suggesting that synchronicity can quote accelerate you towards your destiny. Oh,

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Speaker 1: I mean you're going to be excelled towards your destiny

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Speaker 1: no matter what. Yeah, that's that's generally gonna happen. You

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Speaker 1: can just sett in your your house doing nothing and uh,

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Speaker 1: it's like the old proverb by doing nothing, all all

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Speaker 1: problems are solved right there you go. Um, but but

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Speaker 1: that does not sell books, my friend. No. One final

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Speaker 1: thought on on a synchro destiny. I found this is

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Speaker 1: not a depox writings, but someone had written about it

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Speaker 1: on a blog and they said, Uh, when you live

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Speaker 1: your life with an appreciation of coincidences and their meaning,

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Speaker 1: coincidences and their meaning, that's that's kind of that that

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00:21:32,280 --> 00:21:34,080
Speaker 1: that has all the answers in it right there, because

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Speaker 1: a coincidence, by its very nature, it's just a coincidence.

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Speaker 1: There is no meaning behind the coincidence. If you're finding

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Speaker 1: meaning and your coincidences, then uh, then that's the problem,

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Speaker 1: potentially the problem. You might find some beauty in those

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Speaker 1: coincidences by aspiring reason to them, but if there's reason

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Speaker 1: behind the coincidence, it's not a coincidence, right Or am

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Speaker 1: I crazy? Um? Well, no, I mean I think that

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00:21:56,119 --> 00:21:58,640
Speaker 1: if you take that line of reasoning, you might find

401
00:21:58,640 --> 00:22:01,480
Speaker 1: yourself in front of the new paper trying to pick

402
00:22:01,520 --> 00:22:04,800
Speaker 1: out secret codes and articles and covering the walls around

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Speaker 1: you and as well as the tinfoiled windows. It can

404
00:22:08,160 --> 00:22:12,080
Speaker 1: be problematic, right if you take that logic too far. Yeah,

405
00:22:12,320 --> 00:22:15,000
Speaker 1: it's And that's ultimately the point. You know, use a

406
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Speaker 1: little balance in your pattern recognition. Don't let your software

407
00:22:18,040 --> 00:22:21,560
Speaker 1: get two out of whack, because finding finding beauty in

408
00:22:21,560 --> 00:22:24,720
Speaker 1: the world is one thing. Uh, covering your your walls

409
00:22:24,720 --> 00:22:27,760
Speaker 1: of your house with newspaper clippings is quite another. For example,

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Speaker 1: my daughter has the Frozen Castle set. The other day,

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Speaker 1: I was looking at it and the throne looked like

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Speaker 1: a lion's face to me. It was mean, it was

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Speaker 1: very cool. It's just pattern recognition, uh, And I did

414
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Speaker 1: not run from it. I just saw it for for

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Speaker 1: what it was a plastic chair, all right. So there

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Speaker 1: you have it a little insight into continuity and how

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Speaker 1: we observe it and to what extended it is an

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Speaker 1: illusion and uh, you know, there's a whole deep end

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Speaker 1: of the pool out there in terms of union, uh

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Speaker 1: synchronicity that either we'll come back and talk about later

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Speaker 1: or you can explore on your own time. But it's uh,

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00:23:06,680 --> 00:23:08,800
Speaker 1: it's one of those areas that gets really deep, really fast,

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Speaker 1: and it's just a little bit, uh, a little bit

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Speaker 1: more than we're looking to, uh to cover in this

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Speaker 1: particular episode. In the meantime, though, we'd love to hear

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Speaker 1: your take on this episode. What kind of music have

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Speaker 1: you tried to pair with Spider Man. We'll make sure

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Speaker 1: that we put that Spider Man up on the blogs

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Speaker 1: when this episode publishes, and we'll have a link in

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Speaker 1: the description for the podcast it so you can find it. Uh,

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00:23:28,960 --> 00:23:31,359
Speaker 1: let us know how your your pairings went there. Also,

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Speaker 1: is there a particular movie and album pairing that you

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Speaker 1: think is rather magical, that you think comes together perfectly?

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Speaker 1: I myself have in the past when when I did

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00:23:42,840 --> 00:23:46,359
Speaker 1: entertaining that was for somebody other than a toddler. I

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00:23:46,400 --> 00:23:50,000
Speaker 1: would love to take like really bad be movies and

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00:23:50,080 --> 00:23:52,520
Speaker 1: put him on mute and then play funk music over it.

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Speaker 1: And I found that there were often those magical points

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Speaker 1: where it's like the dude in the in the rubber

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00:23:56,359 --> 00:23:58,720
Speaker 1: monster suit looks like he's dancing to the funk music

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Speaker 1: and it's perfect, and it's it's like it was meant

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Speaker 1: to be. But I see now that that was just

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Speaker 1: an illusion of my brain. Yeah, but I mean artistic

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00:24:08,160 --> 00:24:12,040
Speaker 1: synchronicity is something entirely into itself. Yeah, So give us

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00:24:12,040 --> 00:24:14,879
Speaker 1: your examples of artistic synchronicity, and you can do so

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00:24:15,000 --> 00:24:17,480
Speaker 1: by findings that steppable your mind dot com. That's the

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00:24:17,520 --> 00:24:20,560
Speaker 1: mother ship. That's where all the podcasts live, that's where

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00:24:20,560 --> 00:24:22,840
Speaker 1: all the blog posts live, That's where the videos hang out.

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00:24:23,040 --> 00:24:27,520
Speaker 1: You can also find links to our various social media accounts. Facebook, Tumbler, Twitter,

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00:24:28,040 --> 00:24:31,920
Speaker 1: Google Plus, uh, SoundCloud, who knows what else? The links

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Speaker 1: are there? Find us, follow us at the at the

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Speaker 1: page of your choice. And hey, if you listen to

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Speaker 1: us on iTunes, Uh, if you haven't already, go in

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Speaker 1: and give us a really nice positive review. It helps

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Speaker 1: the algorithm out, that's right. And uh, if you would

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Speaker 1: like to send us an email, you may do so

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00:24:47,840 --> 00:24:54,840
Speaker 1: at below the mind at discovery dot com for more

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Speaker 1: on this and thousands of other topics. Does it how

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Speaker 1: stuff works? Dot com? You could? Could you gad you

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Speaker 1: plier