WEBVTT - The Illusion of Continuity 0:00:03.080 --> 0:00:06.000 Welcome to Stuff to Blow your Mind from how Stuff 0:00:06.000 --> 0:00:14.320 Works dot com. Hey, welcome to Stuff to Blow your Mind. 0:00:14.400 --> 0:00:17.240 My name is Robert Lamb, and I'm Julie Douglass. Julie, 0:00:17.239 --> 0:00:19.720 are you a fan of continuity in life? Oh? Sure? 0:00:19.840 --> 0:00:22.759 I love in the most logical way, so that when 0:00:22.800 --> 0:00:26.200 a string of words it is understood or put together. 0:00:26.800 --> 0:00:29.560 I too makes sense when words prefer it in a 0:00:29.560 --> 0:00:32.720 way that complete center, least informed string together, it's much 0:00:32.720 --> 0:00:36.360 easier to understand. Yes, You're only a lot easier to understand. Well, 0:00:36.479 --> 0:00:39.040 was there? Was there just some sort of asynchronicity going 0:00:39.040 --> 0:00:40.800 on there? I don't know. It felt a little weird, 0:00:40.880 --> 0:00:43.720 didn't it. Yeah, a little skipping about kind of felt 0:00:43.720 --> 0:00:47.400 like David Lynch just edited us. Yes, noel or editor. 0:00:47.960 --> 0:00:51.040 All right, well let's shake that off, alright, and uh 0:00:51.080 --> 0:00:54.720 and and move forward, Because indeed, continuity is is an 0:00:54.720 --> 0:00:57.640 important part of the way that we perceived the world 0:00:58.120 --> 0:01:00.360 and and and how we make sense of the world. 0:01:00.480 --> 0:01:03.640 But to what extent isn't an illusion? How much of 0:01:03.640 --> 0:01:08.119 the perceived continuity uh in life is just a sort 0:01:08.120 --> 0:01:10.520 of an accident of the brain. You know, I was 0:01:10.560 --> 0:01:14.440 thinking about this lately because I'm watching the Olympics and 0:01:15.600 --> 0:01:20.280 Winter Olympics and searching, and I don't have cable or 0:01:20.360 --> 0:01:23.280 satellite TV, and um super lazy, and I didn't go 0:01:23.360 --> 0:01:26.240 get some rabbity or antennas. Instead, I'm streaming it to 0:01:26.280 --> 0:01:30.280 my Roku player through an app called us TV now. 0:01:30.319 --> 0:01:33.080 Are us TV now And anyway, the point is is 0:01:33.120 --> 0:01:35.520 that there are so many weird time lapses in the 0:01:35.640 --> 0:01:38.440 streaming that it really does feel like David Lynch is 0:01:38.520 --> 0:01:43.080 presenting the Olympics, and there's all sorts of odd conversation 0:01:44.120 --> 0:01:48.120 loop back that happened three four times, and it starts 0:01:48.160 --> 0:01:51.920 to feel like it's just even those little tweaks are 0:01:52.320 --> 0:01:56.480 putting me into a different universe, into an alternate universe. 0:01:56.920 --> 0:01:59.520 And I thought about that, just that that little tweak 0:02:00.120 --> 0:02:03.520 can really be unsettling and fe centering. Yeah, I mean, 0:02:03.520 --> 0:02:06.040 that's just the way that our our brain is seeing 0:02:06.080 --> 0:02:08.880 and hearing things. We get these chunks that even though 0:02:08.880 --> 0:02:12.840 they're they're out of sequence due to the realities of 0:02:13.000 --> 0:02:15.280 our time system here on Earth, but we can't help 0:02:15.280 --> 0:02:17.200 to try and piece them together and make sense of it, 0:02:17.200 --> 0:02:19.119 because that's what our brains do all the time. Yeah, 0:02:19.120 --> 0:02:22.200 and we really take for granted this idea of perceptual 0:02:22.320 --> 0:02:24.680 constancy and how we see the world, because if you 0:02:24.760 --> 0:02:26.760 see an image in front of you, think, oh, that's 0:02:26.880 --> 0:02:30.200 that's just something that's that is exactly as it is 0:02:30.840 --> 0:02:35.120 that I'm perceiving it, um, just as it is in reality, 0:02:35.240 --> 0:02:37.480 and nothing could be further from the truth. It is 0:02:37.520 --> 0:02:41.400 a constructed reality by your brain, by your visual system UM, 0:02:41.400 --> 0:02:44.760 which analyzes let's slow down that moment and you're watching 0:02:44.760 --> 0:02:48.680 the socio Olympics, right. It analyzes the interactions between visible 0:02:48.760 --> 0:02:51.960 electromagnetic waves and the objects in our environment. So not 0:02:52.040 --> 0:02:54.760 just the you know, when I'm watching on the TV screen, 0:02:54.960 --> 0:02:58.520 but the light in the room, the dimensions of that room. 0:02:58.639 --> 0:03:01.560 All of that is being penciled in by little artists 0:03:01.560 --> 0:03:05.560 in my brain essentially trying to tell me what I'm seeing. Yeah, 0:03:05.560 --> 0:03:09.280 we often experience reality with this idea that hey, it's 0:03:09.360 --> 0:03:12.560 it's me experiencing reality, and ultimately that's the truth. You 0:03:12.600 --> 0:03:14.760 are your body, so anything your body does, it's all 0:03:14.840 --> 0:03:18.520 working together as a single unit. But when you start 0:03:18.520 --> 0:03:22.920 breaking it down, you realize that you or your conscious mind, 0:03:23.040 --> 0:03:25.240 and your conscious mind is just kind of the froth 0:03:25.480 --> 0:03:29.519 on the beer that is the brain, and then it's 0:03:29.560 --> 0:03:31.919 it's then that beer is just setting in a dark 0:03:32.040 --> 0:03:36.280 room and it's only getting information um passed onto it 0:03:36.800 --> 0:03:40.080 from these from these these eyes that are outside of 0:03:40.080 --> 0:03:45.040 the room, uh, outside of the brain itself. So you're 0:03:45.040 --> 0:03:47.600 getting this information passed to the brain and then to 0:03:47.680 --> 0:03:52.120 the mind, and uh, it's not a accurate version of 0:03:52.200 --> 0:03:55.280 what is actually going on outside the room. Yeah. We 0:03:55.320 --> 0:03:59.120 talked about this a little bit with Liliputian hallucinations and 0:03:59.160 --> 0:04:02.600 how that our brains have to create this perceptual constancy. 0:04:02.640 --> 0:04:05.000 And if you think about it, it's doing this by 0:04:05.120 --> 0:04:10.960 reconstructing a three dimensional dimensional world with two dimensional images 0:04:11.120 --> 0:04:14.720 on your rentness, and so when you look at an object, 0:04:15.160 --> 0:04:18.120 each of your eyes sees a slightly different picture. So 0:04:18.480 --> 0:04:22.000 think about a fork and a plate on the table. 0:04:22.440 --> 0:04:25.200 Now you're okay. So your brain has to move between 0:04:25.200 --> 0:04:28.520 these two objects and create scale in shape, and there 0:04:28.560 --> 0:04:31.600 has to be a perceptual constancy in there in place, 0:04:31.880 --> 0:04:34.280 and it's doing that behind the scenes with a lot 0:04:34.320 --> 0:04:39.000 of different processes. We're talking about minocular vision providing the 0:04:39.040 --> 0:04:42.160 image perceived by each separately, and then you have binocular 0:04:42.320 --> 0:04:45.520 vision that's getting in on on the play here. And 0:04:45.560 --> 0:04:47.359 if you're looking at something in the distance, then you 0:04:47.440 --> 0:04:51.680 have to keep in mind that there's something like atmospheric perspective, 0:04:51.880 --> 0:04:55.040 which is created by the dust particles and water vapor 0:04:55.080 --> 0:04:57.719 in the air, which then color the way that you 0:04:57.800 --> 0:05:00.360 see an object. Something farther away from you is gonna 0:05:00.360 --> 0:05:02.599 look a little hazy, a little blurry. Yeah. And we 0:05:02.720 --> 0:05:06.239 know that damage to the brain can sometimes create gaps 0:05:06.440 --> 0:05:09.960 in that visual data that comes into play. And we 0:05:10.040 --> 0:05:12.120 also know that our brain and when it doesn't have 0:05:12.279 --> 0:05:15.960 that data, will hallucinate an image for you. So again, 0:05:16.120 --> 0:05:20.680 this hold on reality, this this illusion of continuity is 0:05:20.720 --> 0:05:23.680 just a very tenuous thing here. Yeah, and it's and 0:05:23.720 --> 0:05:27.320 again it's also worth remembering that your brain is not 0:05:27.520 --> 0:05:30.880 passing on all the information to you. Uh, it's a 0:05:31.160 --> 0:05:34.839 there's a lot of computation that's going on beneath the surface. 0:05:35.120 --> 0:05:38.000 One example of this came from a study from the 0:05:38.040 --> 0:05:43.039 University of Arizona from doctoral degree candidate Jay Sanganetti, publishing 0:05:43.080 --> 0:05:47.800 the journal Psychological Science. And they took a various subjects 0:05:47.800 --> 0:05:49.760 and they had them look at these images where you 0:05:49.760 --> 0:05:52.520 had an abstract dark center of an image and then 0:05:52.640 --> 0:05:55.160 white on the sides and on some of these that 0:05:55.200 --> 0:05:58.040 there was just abstraction they did. There was no actual picture. 0:05:58.040 --> 0:06:00.839 It's just white and dark. But in there's you had 0:06:00.880 --> 0:06:05.080 these white seahorse shapes on the sides. So they flash 0:06:05.160 --> 0:06:07.880 these at everyone's at everyone in the study, and some 0:06:07.920 --> 0:06:11.320 people got the sea horse, some people got the abstract nonsense. Uh. 0:06:11.360 --> 0:06:14.840 But they found that that that in the brain when 0:06:14.839 --> 0:06:18.080 they looked at the brain activity, there was identification of 0:06:18.080 --> 0:06:21.240 the sea horse going on even when people didn't consciously 0:06:21.320 --> 0:06:23.720 see the sea horse. It's like the brain was identifying 0:06:23.760 --> 0:06:26.240 it and saying sea horse. But then it doesn't pass 0:06:26.240 --> 0:06:30.040 the information onto your your conscious understanding. It's it's happening 0:06:30.040 --> 0:06:34.320 into some conscious level, so saying seahorse but not seahorse. Yeah, 0:06:34.360 --> 0:06:38.040 so it's sometimes you were seeing things but you're not 0:06:38.080 --> 0:06:41.800 consciously seeing them because it's not important to your to 0:06:41.880 --> 0:06:46.440 your immediate understanding of the world around you. But you know, 0:06:46.440 --> 0:06:49.360 how does that subconsciously color the things that do rise 0:06:49.360 --> 0:06:51.520 to the top of that froth on the bier right right, 0:06:52.000 --> 0:06:55.159 which is the whole other thing that we could get into. 0:06:55.240 --> 0:06:58.320 But we're we're interested in looking at this illusion of 0:06:58.360 --> 0:07:02.080 continuity and sing how it games us in certain ways 0:07:02.600 --> 0:07:04.880 and certainly. One of the ways that we have mentioned 0:07:04.880 --> 0:07:09.159 before is something that is exploited by magicians, and it's 0:07:09.160 --> 0:07:12.960 called the retention vanish that very iconic trick in which 0:07:12.960 --> 0:07:15.480 you see the coin go from one hand to the other. 0:07:15.960 --> 0:07:18.600 And it happens when there's a lag in the brain's 0:07:18.600 --> 0:07:21.840 perception of motion, and this is called persistence of vision, 0:07:22.160 --> 0:07:25.040 and the audience will actually see the coin, say, transfer 0:07:25.080 --> 0:07:27.320 from the right to the left palm for a split 0:07:27.520 --> 0:07:32.280 second after the hands separate, and that is because visual 0:07:32.360 --> 0:07:35.880 neurons don't stop firing once a given stimulus. Here the 0:07:35.920 --> 0:07:39.320 coin is no longer present. So even though that coin 0:07:39.440 --> 0:07:44.520 wasn't necessarily deposited into the left hand, the last image 0:07:44.560 --> 0:07:46.920 that your brain saw looked like it, and it's not 0:07:47.000 --> 0:07:49.840 going to stop that process and say, oh wait, hold on, 0:07:50.920 --> 0:07:54.080 you know, split one of a second here we think 0:07:54.120 --> 0:07:56.920 that it actually didn't get transferred. It's going to continue 0:07:57.000 --> 0:07:59.840 to fire and you're gonna have this this false perception 0:07:59.880 --> 0:08:03.280 of continuity into the other hand. Yeah, it's crazy. Again. 0:08:03.320 --> 0:08:05.640 Your brain is filling in the gaps for you in 0:08:05.760 --> 0:08:07.840 order to give you the complete picture. It's like a 0:08:07.840 --> 0:08:10.680 reporter has been sent out into the city to get 0:08:10.680 --> 0:08:13.320 a story finds out certain bits of information, and it's 0:08:13.360 --> 0:08:17.040 just filling in, uh, the gaps in what happened, and 0:08:17.600 --> 0:08:19.280 the way they fill in the gaps, it's it's the 0:08:19.280 --> 0:08:22.640 way it likely happened, all right. Somebody was seeing a 0:08:22.720 --> 0:08:24.600 point A and then they were seeing at point B. 0:08:24.720 --> 0:08:26.520 It stands to reason they walk down the street from 0:08:26.560 --> 0:08:29.280 point A to point B. But maybe not well, And 0:08:29.280 --> 0:08:31.200 I was just thinking about this too. Aren't we even 0:08:31.240 --> 0:08:34.280 getting to the point with metic keywords in the way 0:08:34.320 --> 0:08:37.480 that we use the internet. Aren't we sort of filling 0:08:37.520 --> 0:08:39.600 that in? Can't you look at a like a pool 0:08:39.640 --> 0:08:43.160 of meta keywords for an article and immediately start to 0:08:43.160 --> 0:08:46.000 fill in those gaps yourself. Yeah, So if you see 0:08:46.040 --> 0:08:50.520 something like you know, illusion of continuity, visual visual perception, 0:08:50.600 --> 0:08:53.320 persistence of vision, you begin to understand the story that's 0:08:53.360 --> 0:08:56.120 developing there. Yeah. Or look at any movie trailer, especially 0:08:56.240 --> 0:08:59.400 movie trailers for films that are not that inventive and 0:08:59.400 --> 0:09:03.800 and that stick, uh, stick rather closely to the accepted tropes. 0:09:04.360 --> 0:09:07.040 Oftentimes you'll look at at the extended trailer for the 0:09:07.040 --> 0:09:09.400 film and you say, hey, well, I just saw the film. 0:09:09.480 --> 0:09:11.920 There's absolutely no reason to see it because you were 0:09:11.960 --> 0:09:15.439 given the little points, the little the little important moments 0:09:15.520 --> 0:09:17.240 along the way, and then your brain just fills in 0:09:17.280 --> 0:09:19.920 the rest, and based on previous knowledge, you know exactly 0:09:20.000 --> 0:09:22.760 what's going to happen. Yeah, and movies are the ultimate 0:09:23.000 --> 0:09:28.160 illusion of continuity. Yes, it turns out that twenty seven 0:09:28.200 --> 0:09:32.000 point five hurts. This is a sequence of still photograph 0:09:32.080 --> 0:09:35.400 slides that are displayed at or about this rate of 0:09:35.440 --> 0:09:39.320 presentation gives us the illusion of motion. So, like the 0:09:39.360 --> 0:09:42.439 basic flip book, like a horse running, you flip the 0:09:42.440 --> 0:09:44.280 page is fast enough, and it looks like a little 0:09:44.320 --> 0:09:47.560 horses is running around there, though obviously it is not. Yeah, 0:09:47.600 --> 0:09:51.160 so motion pictures or those horses that you see are 0:09:51.160 --> 0:09:53.199 really just a sequence of those still images at twenty 0:09:53.240 --> 0:09:56.120 four prame, excuse me, twenty four frames per second, and 0:09:56.240 --> 0:10:00.600 that exceeds something called the temporal resolving properties the human 0:10:00.880 --> 0:10:04.080 visual system, so it's outside of the zone of detection. 0:10:04.800 --> 0:10:07.640 So if you're looking at thirty five millimeter film projection, 0:10:07.720 --> 0:10:12.200 each still is presented for one of a second, alternating 0:10:12.240 --> 0:10:14.800 with a black frame for roughly the same duration, and 0:10:14.840 --> 0:10:17.320 the eye perceives the images as just one fluid scene. 0:10:18.000 --> 0:10:23.360 But old timey films, we we perceive that gap, right, 0:10:23.920 --> 0:10:26.240 and then we kind of herky jerky motion that you 0:10:26.320 --> 0:10:29.800 get this this sort of this unreal uh idea of movement, 0:10:30.040 --> 0:10:32.680 the kind of unreal movement that is generally retained and 0:10:32.720 --> 0:10:35.440 stop motion animation. Yeah, and that's because the frame rate 0:10:35.480 --> 0:10:39.120 is clocking in at seventeen to eighteen frame rates per second. 0:10:39.160 --> 0:10:42.840 It's too low. So the brain says, I see something here. 0:10:43.200 --> 0:10:47.440 There is a discontinuity, and in this respect, this twenty 0:10:47.480 --> 0:10:52.120 seven point five hurts. It also translates to sound and 0:10:52.160 --> 0:10:56.560 how sound begins to form a sort of continuity. And 0:10:56.559 --> 0:10:59.600 this is this is the idea that I'm going Dad. 0:11:00.120 --> 0:11:02.600 Hear each individual beat, but if we were to speed 0:11:02.640 --> 0:11:06.680 that up enough, it would just be one constant exactly, 0:11:06.679 --> 0:11:09.240 because the molecules are vibrating at that speed and they're 0:11:09.280 --> 0:11:14.640 creating that sort of booz that continuity. And Daniel J. Levitton, 0:11:14.840 --> 0:11:17.600 who wrote the book This Is Your Brain on Music, 0:11:17.720 --> 0:11:20.079 talks about that and he used this example of putting 0:11:20.080 --> 0:11:22.320 a playing card in the spokes of a wheel. He 0:11:22.360 --> 0:11:24.680 says that slow speeds, you hear the click click, click 0:11:24.720 --> 0:11:26.640 click click of the car, but at higher speeds the 0:11:26.640 --> 0:11:30.439 clicks were together and they cease to be perceived as 0:11:30.520 --> 0:11:33.480 individual noises, but now as a continuous buzz and he 0:11:33.480 --> 0:11:36.160 says a tone you can actually hum along to a pitch, 0:11:36.920 --> 0:11:39.280 and that's sort of the magic of this continuity of 0:11:39.400 --> 0:11:43.160 sound and motion. Alright, So on that note, let's take 0:11:43.200 --> 0:11:45.120 a quick break and when we get back, we're going 0:11:45.160 --> 0:11:47.880 to talk about why Spider Man, you know that gift, 0:11:48.360 --> 0:11:59.880 why he is such a good groover. Alright, we're back 0:12:00.240 --> 0:12:03.200 dancing Spider Man. Yes, uh, this is just one of 0:12:03.200 --> 0:12:06.040 those gifts that's been around forever where the this this 0:12:06.160 --> 0:12:09.520 little kind of pixelated the Spider Man. Uh, you know, 0:12:09.559 --> 0:12:12.040 maybe it was a real person dancing in the original footage, 0:12:12.040 --> 0:12:14.360 but it's just kind of it's kind of a little 0:12:14.480 --> 0:12:17.400 artifact on the web that just won't go away. And 0:12:17.440 --> 0:12:19.760 you see him sort of sashang, I guess is the 0:12:20.080 --> 0:12:23.559 correct descriptive term, back and forth and kind of this 0:12:23.720 --> 0:12:25.720 kind of is he snapping his fingers or am I 0:12:25.760 --> 0:12:27.160 just I don't know. He seems to be doing the 0:12:27.240 --> 0:12:29.319 Charleston sometimes and then he kind of goes into the 0:12:29.440 --> 0:12:33.160 disco moves. Um. He's on a white background, and it's 0:12:33.160 --> 0:12:37.120 just it's a very simple animated gift. But the great 0:12:37.200 --> 0:12:39.800 thing about it is that you can play nearly any 0:12:39.800 --> 0:12:42.280 piece of music to it, and Spider Man seems to 0:12:42.360 --> 0:12:46.839 keep time. Yes, you can. You can throw classical music 0:12:46.880 --> 0:12:49.839 on it, and he seems to be uh sash back 0:12:49.880 --> 0:12:52.680 and forth to Mozart. You can throw there on some 0:12:52.760 --> 0:12:56.000 dub step and he seems to be really jamming out 0:12:56.000 --> 0:12:58.400 to that as well, and everything in between. No matter 0:12:58.440 --> 0:13:01.640 what the genre, what the track, what the what the speed, 0:13:02.200 --> 0:13:04.440 you know what? What? What are the beats permitted happen 0:13:04.520 --> 0:13:07.480 to be? He still seems to be dancing to that 0:13:07.559 --> 0:13:11.080 particular song. And it's a real insight into the human 0:13:11.080 --> 0:13:15.559 proclivity for synchronicity, right, because there's nothing magic about the 0:13:15.600 --> 0:13:18.280 Spider Man gift. It's just this gift of this dude 0:13:18.360 --> 0:13:21.440 dancing and the Spider Man the costume. But when we 0:13:21.480 --> 0:13:23.640 look at it, we can't help but find the ways 0:13:23.720 --> 0:13:25.959 that it matches up. We can't help it but look 0:13:26.040 --> 0:13:29.760 at it and say, hey, this fit's perfectly with the music. Yeah. Now, 0:13:29.840 --> 0:13:33.080 before we get into how this actually happens, or this 0:13:33.160 --> 0:13:38.240 illusion of synchronozy synchronicity happens, I wanted to mention that 0:13:38.440 --> 0:13:41.200 when it comes to the visual cortex, it is mapping 0:13:41.360 --> 0:13:44.480 a visual of how the pitch and tone in a 0:13:44.600 --> 0:13:48.040 in a song are changing, and in turn, music moves 0:13:48.120 --> 0:13:51.800 us because we envision movement in it. So we can't 0:13:51.840 --> 0:13:55.600 help but look at something like this animated gift and 0:13:56.040 --> 0:14:01.160 start to really synchronize our own um interpretations of the 0:14:01.240 --> 0:14:03.840 music and the movements. Yea, with what we're seeing. Yeah, 0:14:03.840 --> 0:14:05.679 we talked about before when we talked about the way 0:14:05.760 --> 0:14:09.360 music and art moves this, Uh, that the music that 0:14:09.520 --> 0:14:12.120 tends to really resonate the most with us, you know, 0:14:12.360 --> 0:14:15.160 think about the songs that really give you chills or 0:14:15.280 --> 0:14:18.640 or just you know, really you captures your imagination. Generally, 0:14:18.679 --> 0:14:21.840 you're talking about places where whether there's definite movement going 0:14:21.880 --> 0:14:24.320 on in the song, there's some sort of rising action, 0:14:24.480 --> 0:14:28.240 or it's descending, or it's there's this sudden drop, you 0:14:28.360 --> 0:14:31.360 name it, but there's there's something coming together or pulling apart, 0:14:31.800 --> 0:14:34.200 and and that's what we lack onto. Yeah, and it's 0:14:34.240 --> 0:14:38.720 no coincidence that music is really effective um and therapeutic 0:14:38.840 --> 0:14:43.280 with Parkinson's patients and stroke patients and coordinating their movements 0:14:43.360 --> 0:14:46.680 again because of the visual cortex in this idea that 0:14:46.680 --> 0:14:49.000 we're trying to sync up to the thing that we're 0:14:49.040 --> 0:14:52.280 listening to and we're seeing. So I wanted to mention 0:14:52.400 --> 0:14:57.240 that Radio Labs Jody Avrigon has a great explanation of 0:14:57.240 --> 0:15:00.760 why Spider Man is such a good dancer, and she 0:15:01.040 --> 0:15:03.600 talked to someone by the name of Devin mcaulay who 0:15:03.640 --> 0:15:06.640 works in the Timing, Attention and Perception Lab at Michigan 0:15:06.680 --> 0:15:11.640 State University, and he says that humans are really flexible timekeepers. 0:15:11.640 --> 0:15:13.720 He says, we have a tennessee to pay much more 0:15:13.720 --> 0:15:17.920 attention to events that are synchronous than asynchronous, and so 0:15:18.040 --> 0:15:21.560 this would bias our attention to time points that provide 0:15:21.600 --> 0:15:26.600 evidence for Spider Man dancing synchronously with the music. We're 0:15:26.640 --> 0:15:29.240 ignoring the times that he's out of time with music, 0:15:29.680 --> 0:15:32.360 you know. And this this ties in really closely with 0:15:32.440 --> 0:15:35.520 the episode we just did on Reincarnation. We talked about 0:15:36.320 --> 0:15:40.000 families looking at like what a child is saying about 0:15:40.000 --> 0:15:43.120 an imaginary friend or about some phobia that they seem 0:15:43.200 --> 0:15:45.520 to have, and then how they end up matching that 0:15:45.720 --> 0:15:49.080 up with someone who was recently deceased and their story. 0:15:49.680 --> 0:15:51.880 You end up ignoring all the different places where it 0:15:51.920 --> 0:15:55.040 doesn't come together, and you focus on the one or 0:15:55.080 --> 0:15:59.400 two places, even then it does come together. Another example 0:15:59.440 --> 0:16:01.800 of this that that instantly came to mind where you're 0:16:01.800 --> 0:16:05.920 doing the research. I give you two rather distinct things 0:16:06.160 --> 0:16:08.480 on one hand, the Wizard of Oz and then the 0:16:08.520 --> 0:16:12.000 other hand, Pink Floyd's The Dark Side of the Moon. Yes, 0:16:12.400 --> 0:16:15.960 because here we have a great example of these two 0:16:16.040 --> 0:16:19.200 independent artistic works. Right. Yeah, Wizard of Oz did not 0:16:19.320 --> 0:16:22.360 inspire Dark Side of the Moon. But as your college 0:16:22.400 --> 0:16:25.960 roommate will will happily tell you, they sync up really 0:16:25.960 --> 0:16:28.160 well with each other. You if you mute Wizard of 0:16:28.160 --> 0:16:30.120 Oz and you play Dark Side of the Moon, they're 0:16:30.160 --> 0:16:32.880 gonna be all these moments where the lyrics or the 0:16:32.960 --> 0:16:35.160 or the rise and follow up the music, where all 0:16:35.240 --> 0:16:38.320 it just comes together perfectly and it seems as if 0:16:38.360 --> 0:16:40.960 it were meant to be. You also see this with 0:16:41.120 --> 0:16:43.360 Blade Runner and Dark Side of the Moon. So again 0:16:43.480 --> 0:16:46.080 to you, completely independent works, but the brain thinks that 0:16:46.120 --> 0:16:48.920 there's a collaboration going on. Yeah. I was actually looking 0:16:48.960 --> 0:16:51.120 at a website called sink movies dot com and they 0:16:51.160 --> 0:16:53.480 have a number of examples, some of them some of 0:16:53.480 --> 0:16:56.760 them kind of interesting, Like there's one uh that they 0:16:56.800 --> 0:17:00.800 call city Kid, which is a kid a the radiohead 0:17:00.800 --> 0:17:05.280 album the Fabulous Album over the movie Dark City, which 0:17:05.640 --> 0:17:07.160 is a movie I love. And so those are two 0:17:07.200 --> 0:17:09.720 things I can see mixing rather well with each other. 0:17:09.880 --> 0:17:14.840 I'm less into the idea of, say, Toy Story in 0:17:14.880 --> 0:17:17.520 the Attic, where they take Aerosmith's Toys in the Attic 0:17:17.880 --> 0:17:21.560 and sync it with Pixar's Toy Story. But again, they 0:17:21.600 --> 0:17:25.200 have something like twenty one different examples of an album 0:17:25.240 --> 0:17:27.800 and a movie. When sync together, they seem to make 0:17:27.880 --> 0:17:31.840 sense magically, all of a sudden, they are synchronous. Now. 0:17:31.880 --> 0:17:34.200 In the case of Spider Man, Abergann says that there's 0:17:34.200 --> 0:17:37.840 something called periodosities. These are movements of various different but 0:17:37.920 --> 0:17:42.439 related rhythms nestled inside the rhythms of Spider Man's gyrations. 0:17:42.520 --> 0:17:46.160 And there are also these nested rhythmic patterns within any 0:17:46.280 --> 0:17:50.200 given song. So she says that when we are watching 0:17:50.200 --> 0:17:52.560 Spider Man, we were listening to a song, our brains 0:17:52.600 --> 0:17:55.440 pick out two items to match, one from the column 0:17:55.480 --> 0:17:58.320 of Spider Man's rhythms and one from the column of 0:17:58.320 --> 0:18:03.520 the song rhythms, and then matches those up together. Huh yeah, 0:18:03.520 --> 0:18:07.000 Because definitely it is a very fluid movement that of 0:18:07.080 --> 0:18:09.919 this dancing Spider Man. There are no um, you know, 0:18:10.160 --> 0:18:13.320 sharp points. It's not just him like bonking his pelvis 0:18:13.359 --> 0:18:15.359 back and forth. Like that's the kind of thing which 0:18:15.400 --> 0:18:18.879 would match up with many songs, but not but certainly 0:18:18.920 --> 0:18:23.760 not have this universal um uh connectedness to music. Yeah, 0:18:23.800 --> 0:18:25.800 he doesn't do the sprinkler or anything, so there's no 0:18:25.920 --> 0:18:29.200 jerky movements. Um. But yeah, they're smooth, they're continuous, and 0:18:29.200 --> 0:18:31.919 their short and duration, which help our brains again to 0:18:32.040 --> 0:18:34.280 sync up those two different columns. If they were a 0:18:34.320 --> 0:18:36.720 little bit longer, if his movements went on for a while, 0:18:37.200 --> 0:18:39.800 then we would have too many beats that might have 0:18:39.880 --> 0:18:42.520 been skipped, and that would put some red flags up 0:18:42.560 --> 0:18:45.119 there in our brains. Interesting, you know, I wonder if 0:18:45.160 --> 0:18:48.399 anyone has really applied this thinking to the sinking of 0:18:48.520 --> 0:18:52.000 movies and music, because certainly I'm thinking of Flapstick and 0:18:52.400 --> 0:18:54.320 Wizard of Oz, you know, and just you know, the 0:18:54.359 --> 0:18:56.800 Cowardly Lion and then all this, and there's not a 0:18:56.840 --> 0:18:58.480 lot of this kind of fluid movement that would match 0:18:58.520 --> 0:19:00.399 with any kind of music. So I wonder if anyone 0:19:00.400 --> 0:19:02.840 out there has, like has has looked at something that 0:19:03.000 --> 0:19:05.280 is very fluid, some sort of like performance piece with 0:19:05.320 --> 0:19:08.480 a lot of dance in it um or or or 0:19:08.560 --> 0:19:10.639 something kind of avant gare. Like, I'm thinking maybe of 0:19:10.680 --> 0:19:15.200 the what's the the gentleman that you're yeah, Philip Glass, 0:19:15.200 --> 0:19:17.359 but also on the film side of things, the gentleman 0:19:17.400 --> 0:19:21.240 that your husband's rather fond of makes the really strange 0:19:21.440 --> 0:19:24.399 art films Matthew Barney, Matthew Barney, and what is that 0:19:24.600 --> 0:19:28.160 series call though it's Master Ye, Yeah, Like I wonder 0:19:28.160 --> 0:19:30.920 if that's the sort of property that would that would 0:19:30.960 --> 0:19:33.280 pair well with just about any kind of movement music, 0:19:33.280 --> 0:19:36.960 because there's kind of a performance, uh, dance quality to 0:19:37.040 --> 0:19:39.359 it well. And Philip Glass does have a lot of 0:19:39.560 --> 0:19:42.480 um pieces that he has done with dance before, and 0:19:42.520 --> 0:19:47.560 it's very interesting. But there's his Generally, his music does 0:19:47.600 --> 0:19:49.919 not lend itself to sort of any sort of smooth, 0:19:49.960 --> 0:19:53.119 continuous or short burst there. It's usually pretty long and 0:19:53.200 --> 0:19:55.840 drawn out um and then you know the sort of 0:19:55.960 --> 0:20:00.679 jarring changes in the pitch and the tempo. And next 0:20:00.680 --> 0:20:04.040 one wonder about the sort of media they consume and 0:20:04.160 --> 0:20:06.160 the pacing of it all and the ways that our 0:20:06.240 --> 0:20:10.280 brain likes to say, ah, yes, I like this idea 0:20:10.280 --> 0:20:13.399 of continuity. Please let me try to create it wherever 0:20:13.840 --> 0:20:17.560 and whenever I can around me, and indeed we we 0:20:17.760 --> 0:20:19.920 do look for it all around us. And we see 0:20:19.960 --> 0:20:23.520 this time and time again in our attempts to understand 0:20:23.680 --> 0:20:26.439 not only how the world works, but the meaning behind 0:20:26.480 --> 0:20:28.720 why it works. Right when we start trying to to 0:20:28.800 --> 0:20:31.879 answer those big questions in life, why is this happening 0:20:31.920 --> 0:20:34.080 to me? Why did this happen to the world, and 0:20:34.119 --> 0:20:38.080 we start looking for these different different patterns. Uh, in 0:20:38.119 --> 0:20:39.680 the world around us. You could all you could even 0:20:39.720 --> 0:20:43.960 say that it's a synchro destiny here. That's a word 0:20:44.160 --> 0:20:49.040 that Depoxia Chopra has termed has coined. And uh, he's 0:20:49.040 --> 0:20:55.760 suggesting that synchronicity can quote accelerate you towards your destiny. Oh, 0:20:56.640 --> 0:20:59.280 I mean you're going to be excelled towards your destiny 0:20:59.400 --> 0:21:02.040 no matter what. Yeah, that's that's generally gonna happen. You 0:21:02.040 --> 0:21:04.720 can just sett in your your house doing nothing and uh, 0:21:05.000 --> 0:21:07.760 it's like the old proverb by doing nothing, all all 0:21:07.800 --> 0:21:11.320 problems are solved right there you go. Um, but but 0:21:11.320 --> 0:21:14.960 that does not sell books, my friend. No. One final 0:21:15.040 --> 0:21:17.760 thought on on a synchro destiny. I found this is 0:21:17.840 --> 0:21:21.840 not a depox writings, but someone had written about it 0:21:21.880 --> 0:21:24.080 on a blog and they said, Uh, when you live 0:21:24.080 --> 0:21:27.679 your life with an appreciation of coincidences and their meaning, 0:21:28.920 --> 0:21:32.280 coincidences and their meaning, that's that's kind of that that 0:21:32.280 --> 0:21:34.080 that has all the answers in it right there, because 0:21:34.080 --> 0:21:36.480 a coincidence, by its very nature, it's just a coincidence. 0:21:36.920 --> 0:21:39.800 There is no meaning behind the coincidence. If you're finding 0:21:39.920 --> 0:21:44.200 meaning and your coincidences, then uh, then that's the problem, 0:21:44.560 --> 0:21:46.920 potentially the problem. You might find some beauty in those 0:21:46.960 --> 0:21:51.240 coincidences by aspiring reason to them, but if there's reason 0:21:51.240 --> 0:21:53.239 behind the coincidence, it's not a coincidence, right Or am 0:21:53.240 --> 0:21:56.000 I crazy? Um? Well, no, I mean I think that 0:21:56.119 --> 0:21:58.640 if you take that line of reasoning, you might find 0:21:58.640 --> 0:22:01.480