WEBVTT - Horror Vacui, Part 4

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. Hey are you welcome to Stuff to Blow

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<v Speaker 1>your Mind? My name is Robert Lamb and on Joe McCormick,

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<v Speaker 1>and we're back with part four of our series on horror.

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<v Speaker 1>Vacui or fear of the void or fear of the vacuum,

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<v Speaker 1>a concept that has relevance in art and design, where

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<v Speaker 1>it describes an impulse to fill in blank or uniform

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<v Speaker 1>spaces with detail, as well as relevance in philosophy and

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<v Speaker 1>in physics, where it's been used to describe the longstanding belief,

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<v Speaker 1>often derived from Aristotle, that a vacuum or a void

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<v Speaker 1>could not exist in nature, and that empty space was

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<v Speaker 1>in fact an incoherent concept. So in the previous episode

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<v Speaker 1>of this one, we talked about how this view in

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<v Speaker 1>physics persisted through the Middle Ages and part of the

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<v Speaker 1>early Modern period in Europe, and important experiments by figures

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<v Speaker 1>like Evangelista Torcelli, the man with the batman symbol for

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<v Speaker 1>a mustache, or rob I think, as you pointed out

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<v Speaker 1>at the sort of the crucifix goatee h as sort

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<v Speaker 1>of the crucifix Van Dyke, Yeah, yeah, him and uh

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<v Speaker 1>and Blaze. Pascal, of course, established that an approximate vacuum

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<v Speaker 1>could actually be created inside a glass tube, and that

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<v Speaker 1>the force truly responsible for preventing a void from forming

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<v Speaker 1>in most cases, such as in the case of like

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<v Speaker 1>a pump or a siphon, was not nature's mysterious hatred

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<v Speaker 1>for vacuums, but in fact the weight of the air

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<v Speaker 1>we breathe, known today as atmospheric pressure. But something we

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<v Speaker 1>alluded to in the previous episode is also the fact

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<v Speaker 1>that while the laws of nature don't exactly rule out

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<v Speaker 1>a vacuum in the way that Aristotle and the Scholastics thought,

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<v Speaker 1>there is also some nuance to the issue, because you

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<v Speaker 1>can create an approximate vacuum, but it's really hard or

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<v Speaker 1>perhaps impossible to create a perfect vacuum, depending on how

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<v Speaker 1>you define your goals. When we talk about a vacuum

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<v Speaker 1>in like real world examples, instead of you know, ideal

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<v Speaker 1>thought experiments, we are never talking about completely empty spaces

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<v Speaker 1>with no particles whatsoever. Instead, we're usually talking about an

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<v Speaker 1>area where the density of gas particles is very low,

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<v Speaker 1>or the inside of a container where the density of

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<v Speaker 1>gas particles is much lower than the density of particles

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<v Speaker 1>on the outside, and the latter type of vacuum, where

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<v Speaker 1>a container that has a lower density of gas particles

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<v Speaker 1>than the world outside is is common throughout the world

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<v Speaker 1>of technology and electrical appliances and scientific equipment, especially of

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<v Speaker 1>years past, but still somewhat today. A couple of classic

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<v Speaker 1>examples incandescent light bulbs. They make light by running current

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<v Speaker 1>through a filament. It gets so hot that it starts

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<v Speaker 1>to emit photons starts to glow. But these bulbs are

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<v Speaker 1>not full of air at regular atmospheric pressure, and if

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<v Speaker 1>they were, that would be a problem. The filament would

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<v Speaker 1>tend to fail very quickly. That's not good for incandescent bulbs,

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<v Speaker 1>so instead they are typically either filled with an inert

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<v Speaker 1>gas like argon or nitrogen, or they are pumped out

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<v Speaker 1>to contain a vacuum. The earliest light bulbs were vacuum

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<v Speaker 1>based rather than inert gas based. Another component used in electronics,

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<v Speaker 1>one that will be very familiar to electric guitar players,

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<v Speaker 1>as vacuum tubes, which were once commonly used to manipulate

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<v Speaker 1>current to amplify and rectify electrical signals. They've been replaced

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<v Speaker 1>with silicon transistors in most modern devices, but they still

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<v Speaker 1>have their uses. And by the way, if you want

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<v Speaker 1>to see something really weird and awesome, look up pictures

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<v Speaker 1>of vacuum tube based computers. Before transistors took over to

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<v Speaker 1>become the logic circuitry inside computers. I guess that happened

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<v Speaker 1>roughly around the sixties or so. But before that, the

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<v Speaker 1>information processing in computers was done on large arrays of

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<v Speaker 1>vacuum tubes. And I'm very tempted to say like that,

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<v Speaker 1>I wish to see a certain kind of computer snobbery

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<v Speaker 1>arise where they're like gamers who are like, oh, you

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<v Speaker 1>play on transistors, I've got a vacuum tube rig. Yeah.

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<v Speaker 1>Some of the images that come up from me they

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<v Speaker 1>look very uh, there's a mad science quality to these.

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<v Speaker 1>They look like there's some sort of strange experiment containing uh,

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<v Speaker 1>you know, contained gases or something. Yeah, it does look

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<v Speaker 1>like that because they look like almost like kind of

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<v Speaker 1>like pills in a blister pack, you know, the little

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<v Speaker 1>blisters popping out. But they're they're not containing special gases.

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<v Speaker 1>They are containing lower density of gases. What that what

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<v Speaker 1>those tubes contain is relatively nothing compared to the atmosphere. Uh. Now,

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<v Speaker 1>one place tubes are still popular in electrical devices today

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<v Speaker 1>is in guitar amplifiers, where a lot of players prefer

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<v Speaker 1>the feeling of playing with tubes as opposed to solid

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<v Speaker 1>state amps. Rob, I don't know if you've ever come

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<v Speaker 1>across this debate, you know, sometimes I think people look

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<v Speaker 1>on the tube preference as a kind of snobbery. Personally,

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<v Speaker 1>I can see both sides, Like, I think solid state

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<v Speaker 1>amps sound great, but tubes are. They're cool? Yeah, I

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<v Speaker 1>not being a guitar player myself, I rarely get any

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<v Speaker 1>of these conversations, and I rarely hear any of this.

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<v Speaker 1>So is this something where I know a lot of

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<v Speaker 1>a lot of conversations for regarding like retro technology and

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<v Speaker 1>music and recording and production. It actually does come through

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<v Speaker 1>to the final product. It actually is something that affects

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<v Speaker 1>the final sound of the music. Is that the case here?

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<v Speaker 1>People argue about this, I mean the people argue about

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<v Speaker 1>to what extent you can hear the difference in something

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<v Speaker 1>that comes out of a tube amp versus a a

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<v Speaker 1>good modern attempt to approximate that with transistors. I'm not

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<v Speaker 1>going to try to weigh in on one side of

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<v Speaker 1>the bait here. Uh. Basically, my experience is that. Uh.

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<v Speaker 1>Solid state amps sound fine, they sound great, but there's

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<v Speaker 1>also just something kind of cool about tubes. They might

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<v Speaker 1>kind of feel differently when you're playing a guitar through one,

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<v Speaker 1>especially if you're in the room with it, as opposed

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<v Speaker 1>to listening to a recording. I'm not sure. Yeah, listeners,

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<v Speaker 1>let us know. Do you think tubes are tubular or

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<v Speaker 1>do you think solid state is solid? I don't know.

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<v Speaker 1>I will weigh in and say I think it's a

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<v Speaker 1>stupid thing to like get mad at people or criticize

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<v Speaker 1>people about one way or another. Calm down, guys, fair enough,

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<v Speaker 1>But coming back to the bigger point. In cases like

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<v Speaker 1>the vacuum lightbulb or the vacuum tube for current amplification, Uh,

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<v Speaker 1>the area inside the glass and these devices is again

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<v Speaker 1>not a perfect vacuum. There are particles of atmosphere in there,

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<v Speaker 1>they're just way fewer of them than in an equivalent

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<v Speaker 1>area outside. And there are actually designations for the different

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<v Speaker 1>levels of vacuum that are achieved through technological means. You know,

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<v Speaker 1>you can have like a medium vacuum, a high vacuum,

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<v Speaker 1>and ultra high vacuum uh and uh and and so

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<v Speaker 1>so that's what's possible on Earth. But then you might

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<v Speaker 1>be wondering in response to that, Wait a minute, though,

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<v Speaker 1>isn't outer space at least a vacuum? Isn't isn't the

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<v Speaker 1>space between the planets or the space between the stars

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<v Speaker 1>at least a vacuum. Again, the answer here is yes

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<v Speaker 1>and no. It depends on what you mean. Space is

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<v Speaker 1>a vacuum when compared to Earth's atmosphere, and it is

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<v Speaker 1>even lower density than most partial vacuums created by humans.

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<v Speaker 1>I was trying to find a good estimate for the

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<v Speaker 1>density of outer space, and I came across a couple

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<v Speaker 1>of things in that book I was talking about. In

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<v Speaker 1>the last episode called the Void by the by the

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<v Speaker 1>physicist Frank close Uh, he writes about well, he's writing

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<v Speaker 1>about the reasoning that led people to assume that outer

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<v Speaker 1>space was a vacuum. When scientists such as place Pascal

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<v Speaker 1>started to know, notice that the atmospheric pressure was different

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<v Speaker 1>at different altitude. So you go up on a mountain,

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<v Speaker 1>the atmospheric pressure is lower. That does tend to suggest

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<v Speaker 1>that if you go higher and higher, the density of

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<v Speaker 1>particles just keeps getting lower and lower, and you would

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<v Speaker 1>eventually reach an altitude at which there was effectively no

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<v Speaker 1>nowhere to breathe anymore, There was no atmosphere anymore, which

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<v Speaker 1>some people found maybe kind of like threatening in principle

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<v Speaker 1>or maybe threatening to their theological ideas of how the

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<v Speaker 1>universe was put together. Nevertheless, you could show it was true.

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<v Speaker 1>As you go higher and higher, the density gets lower,

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<v Speaker 1>so close rights quote, at a height of a hundred kilometers,

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<v Speaker 1>the pressure is less than a billion of that on

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<v Speaker 1>the ground, at four hundred kilometers a million million, and

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<v Speaker 1>en route to the Moon in space it is down

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<v Speaker 1>by ten to the nineteen, an amount that is less

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<v Speaker 1>than the size of a proton compared to a kilometer.

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<v Speaker 1>We can thus say that essentially all of the atmosphere

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<v Speaker 1>is a thin shell whose thickness is less than one

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<v Speaker 1>thousand of the Earth's radius. Wow. I I don't doubt

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<v Speaker 1>that's true. But that's the kind of thing that I

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<v Speaker 1>don't even I don't usually picture it that way. I

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<v Speaker 1>you know, I picture the atmosphere is extending much higher

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<v Speaker 1>up off the surface of the Earth. Yeah. And you know,

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<v Speaker 1>for for for me, this like the reality of of

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<v Speaker 1>the thinning of the air. Uh. At the higher altitude

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<v Speaker 1>you get to. This was always kind of spelled out

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<v Speaker 1>for me by looking at something like the Lockheed you

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<v Speaker 1>to the spy aircraft that have these just a super

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<v Speaker 1>long um super a wide wingspan than enabled it one

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<v Speaker 1>of several design functions, but the most obvious one that

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<v Speaker 1>enabled it to uh to to to to fly at

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<v Speaker 1>such high altitudes where there is just there's just less air. Yes,

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<v Speaker 1>the air is thinner, it's harder and harder to generate lift,

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<v Speaker 1>but okay, that's how much thinner the atmosphere gets as

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<v Speaker 1>you extend up off of the surface of the Earth.

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<v Speaker 1>What out when you go even beyond that? Well, I

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<v Speaker 1>came across some sort of quick and dirty estimates by

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<v Speaker 1>a radio astronomer named Alistair Gunn doing a short Q

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<v Speaker 1>and A for the BBC, And note that the following

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<v Speaker 1>are approximate. But what gun says is that roughly within

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<v Speaker 1>the Solar system uh space between the planets contains an

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<v Speaker 1>average of about five atoms per cubic centimeter. So that's

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<v Speaker 1>very low density, but there still is gas out there,

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<v Speaker 1>it's just extremely dispersed in interstellar space, the space between

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<v Speaker 1>Solar systems in our galaxy, so like where you know

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<v Speaker 1>where the voyager probes are eventually headed to or where

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<v Speaker 1>Mumua came from. That interstellar space has about one atom

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<v Speaker 1>per cubic centimeter according to gun here, and then in

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<v Speaker 1>intergalactic space, the space between galaxies, uh, the density is

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<v Speaker 1>about a hundred times less than that. It gets pretty

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<v Speaker 1>lonely out there, right, But still there are not no particles.

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<v Speaker 1>They just get farther and farther apart on average. So

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<v Speaker 1>the reason space is so empty is of course gravity.

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<v Speaker 1>Objects with mass attract one another, so mass tends to

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<v Speaker 1>clump together over time, creating this varied terrain of cosmic density,

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<v Speaker 1>with very high density say in the middle of a star,

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<v Speaker 1>and still still lower density around that star and around

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<v Speaker 1>the planets around that star, and then lower density in

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<v Speaker 1>between the stars, and then lower density in between the

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<v Speaker 1>galaxies and so forth. But it wasn't always this way.

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<v Speaker 1>In the early history of the universe, matter was dispersed

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<v Speaker 1>far more evenly, and you could think of the early

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<v Speaker 1>universe in a way as a kind of well in

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<v Speaker 1>a in a strange way, almost kind of like an ocean.

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<v Speaker 1>I guess it wasn't liquid, but like an ocean or

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<v Speaker 1>a cloud or something where uh, there were there were

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<v Speaker 1>more uniform distributions. But then as space expanded that more

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<v Speaker 1>varied terrain that we know today influenced by gravity emerged. Yea,

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<v Speaker 1>So we had the accretion of these various cosmic bodies

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<v Speaker 1>of different sizes, and then the resulting sort of shrinkage

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<v Speaker 1>between these accretions. So in a weird way, you could

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<v Speaker 1>argue that Aristotle is kind of technically vindicated in that

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<v Speaker 1>there probably are no large scale, long term areas of

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<v Speaker 1>perfectly empty space in the universe. But I think that

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<v Speaker 1>in the normal way of understanding Aristotle, he was wrong.

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<v Speaker 1>You can create a volume of functional vacuum, but it's

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<v Speaker 1>not a perfect vacuum. Yeah, and it sounds like you

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<v Speaker 1>can also do a fair amount of arguing over the

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<v Speaker 1>size of said vacuum. Yeah. This was making me wonder, like,

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<v Speaker 1>what what is the average density of the universe overall? Um?

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<v Speaker 1>And so I was looking around at that I did

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<v Speaker 1>find a NASA page on this. This is according to

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<v Speaker 1>research I think carried out by the by w MAP,

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<v Speaker 1>by the Wilkinson Microwave and Isotropy probe that was looking

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<v Speaker 1>at fluctuation in the cosmic microwave background. And in uh

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<v Speaker 1>in a write up on that research by NASA that

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<v Speaker 1>they say, quote w Map determined that the universe is flat,

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<v Speaker 1>from which he follows that the mean energy density in

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<v Speaker 1>the universe is equal to the critical density within a

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<v Speaker 1>zero point five percent margin of error. This is equivalent

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<v Speaker 1>to a mass density of because as an aside, ultimately

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<v Speaker 1>mass and energy can be exchanged for one another. They

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<v Speaker 1>are with you know, mass is just a huge amount

0:13:27.880 --> 0:13:31.040
<v Speaker 1>of energy um. Coming back to the quote, this is

0:13:31.080 --> 0:13:33.880
<v Speaker 1>equivalent to a mass density of nine point nine times

0:13:33.920 --> 0:13:37.280
<v Speaker 1>tend to the negative thirty grams per cubic centimeter. But

0:13:37.840 --> 0:13:40.480
<v Speaker 1>the density of normal matter is not even that high

0:13:40.559 --> 0:13:43.600
<v Speaker 1>because most of the energy density in the universe is

0:13:43.640 --> 0:13:47.240
<v Speaker 1>not normal matter. It's dark matter or dark energy. So

0:13:47.600 --> 0:13:49.440
<v Speaker 1>maybe normal it is not even the right word, because

0:13:49.440 --> 0:13:51.439
<v Speaker 1>the kind of matter we're talking about that we're familiar

0:13:51.480 --> 0:13:55.160
<v Speaker 1>with is the minority of stuff. Less than five percent

0:13:55.200 --> 0:13:58.560
<v Speaker 1>of the stuff in the universe is actually made of atoms.

0:13:58.640 --> 0:14:03.079
<v Speaker 1>So the the the quote actual energy density of atoms

0:14:03.400 --> 0:14:08.040
<v Speaker 1>is equivalent to roughly one proton per four cubic meters.

0:14:08.920 --> 0:14:11.559
<v Speaker 1>So you can imagine kind of a like a large

0:14:11.600 --> 0:14:15.160
<v Speaker 1>palette box and that's like one proton in there, and

0:14:15.200 --> 0:14:18.440
<v Speaker 1>that's the the average density of the universe. Yes, so

0:14:18.480 --> 0:14:20.960
<v Speaker 1>if we were to like redistribute it, that's how it

0:14:20.960 --> 0:14:25.200
<v Speaker 1>would play out. I think we should redistribute it get

0:14:25.240 --> 0:14:29.080
<v Speaker 1>a fresh start on this thing. Now. These numbers are admittedly, um,

0:14:29.120 --> 0:14:31.720
<v Speaker 1>maybe maybe a little bit challenging to sort of picture

0:14:31.760 --> 0:14:33.760
<v Speaker 1>in your head all the time. But I do like

0:14:33.840 --> 0:14:37.360
<v Speaker 1>that we're dealing with with with hard numbers. Here, we're

0:14:37.360 --> 0:14:43.960
<v Speaker 1>doing with dealing with objective numbers related to the vacuum

0:14:43.960 --> 0:14:47.440
<v Speaker 1>and the void. Uh, something we don't always have in

0:14:47.520 --> 0:14:52.160
<v Speaker 1>this particular journey. Uh. Sometimes we're dealing with very very

0:14:52.160 --> 0:14:57.400
<v Speaker 1>subjective qualities. Oh, you mean, like Aristotle's argument that you

0:14:57.400 --> 0:14:59.880
<v Speaker 1>couldn't have empty space because if it not be by

0:15:00.080 --> 0:15:03.560
<v Speaker 1>d it could not exist. Yeah, or certainly getting into

0:15:03.600 --> 0:15:07.320
<v Speaker 1>some of the philosophical uh ends of the spectrum where

0:15:07.160 --> 0:15:11.920
<v Speaker 1>we're dealing with what's the difference between uh, emptiness and nothingness,

0:15:12.440 --> 0:15:16.640
<v Speaker 1>what's the difference between eternity and nothing? Um, it can

0:15:16.680 --> 0:15:19.720
<v Speaker 1>it can get a little lucy goosey, well, the difference

0:15:19.760 --> 0:15:24.120
<v Speaker 1>between I'm gonna defend exploring the difference between emptiness and nothingness.

0:15:24.200 --> 0:15:27.240
<v Speaker 1>I think that is an interesting distinction, but one that

0:15:27.280 --> 0:15:31.680
<v Speaker 1>I'm not sure science has has all the answers on. Yeah,

0:15:31.720 --> 0:15:33.200
<v Speaker 1>I mean a lot of it does come down to

0:15:33.480 --> 0:15:37.240
<v Speaker 1>the subjective experience. I was talking with my wife before

0:15:37.240 --> 0:15:39.520
<v Speaker 1>I came in here, and she brought up the example

0:15:39.640 --> 0:15:43.160
<v Speaker 1>of isolation tanks. Isolation tanks being a situation where on

0:15:43.160 --> 0:15:46.560
<v Speaker 1>one level, you have certainly limited your space. You are

0:15:46.600 --> 0:15:50.600
<v Speaker 1>isolated or within a tank. You're floating within a tank, uh,

0:15:50.640 --> 0:15:54.560
<v Speaker 1>and therefore you're cutting off how much of like the

0:15:54.560 --> 0:15:57.920
<v Speaker 1>the outside world you are in. But then there's also

0:15:58.040 --> 0:16:02.040
<v Speaker 1>something to the experience UH that is boundary breaking. You know,

0:16:02.080 --> 0:16:05.240
<v Speaker 1>floating in this salt um bath that is the same

0:16:05.280 --> 0:16:08.480
<v Speaker 1>temperature as your body uh serves to sort of break

0:16:08.520 --> 0:16:11.520
<v Speaker 1>down the division between where you stop and the rest

0:16:11.520 --> 0:16:15.160
<v Speaker 1>of the world begins. So, yeah, there are plenty of

0:16:15.160 --> 0:16:17.280
<v Speaker 1>cases like you don't have to have an isolation tank

0:16:17.360 --> 0:16:22.880
<v Speaker 1>to engage in that kind of uh boundary dispute. You know.

0:16:22.960 --> 0:16:27.280
<v Speaker 1>I think it's interesting that people often seek uh, maybe

0:16:27.320 --> 0:16:31.440
<v Speaker 1>not isolation tanks exactly, but isolation from stimuli specifically in

0:16:31.560 --> 0:16:34.320
<v Speaker 1>order to be creative. Is and that kind of strange

0:16:34.360 --> 0:16:37.720
<v Speaker 1>that almost implies that they think a principle of psychological

0:16:37.720 --> 0:16:40.960
<v Speaker 1>horror vakay is going to come into effect, right that

0:16:41.000 --> 0:16:44.680
<v Speaker 1>if you rob yourself of the normal overwhelming stimuli of

0:16:44.680 --> 0:16:48.160
<v Speaker 1>everyday existence, you will get your like you will team

0:16:48.160 --> 0:16:51.600
<v Speaker 1>with ideas. Yeah, but it is one of these things

0:16:51.680 --> 0:16:53.720
<v Speaker 1>too where it's like a lot of times you're just

0:16:54.440 --> 0:17:01.240
<v Speaker 1>you're just changing out one high stimuli environment for another. Uh.

0:17:01.280 --> 0:17:02.960
<v Speaker 1>And maybe it's just a new one, a novel. And

0:17:03.040 --> 0:17:04.400
<v Speaker 1>like when you go to the beach and you walk

0:17:04.440 --> 0:17:07.600
<v Speaker 1>on the beach, Yeah, it's a different experience than being

0:17:07.840 --> 0:17:09.800
<v Speaker 1>you know, stuck in a city or in a library

0:17:09.920 --> 0:17:12.120
<v Speaker 1>or in your own house. But I mean that there's

0:17:12.119 --> 0:17:13.960
<v Speaker 1>a lot going on at the beach. You know, there's

0:17:14.320 --> 0:17:18.200
<v Speaker 1>crashing waves and expanses of sand and birds and all

0:17:18.240 --> 0:17:20.920
<v Speaker 1>sorts of little shells to look at. Likewise, of course,

0:17:20.920 --> 0:17:23.640
<v Speaker 1>so I'll walk through the woods. Is just I mean,

0:17:23.800 --> 0:17:26.119
<v Speaker 1>we've we've talked about this before on the podcast, Like

0:17:26.200 --> 0:17:29.600
<v Speaker 1>your your senses are are able to fully engage in

0:17:29.600 --> 0:17:33.320
<v Speaker 1>the environment for which they have evolved, uh, taking in

0:17:33.400 --> 0:17:36.840
<v Speaker 1>all these details and in changing details in the world

0:17:36.880 --> 0:17:39.600
<v Speaker 1>around you. Oh yeah, that does relate to these theories

0:17:39.600 --> 0:17:43.520
<v Speaker 1>about how nature tends to engage our attention in a

0:17:43.640 --> 0:17:48.119
<v Speaker 1>different way than than built environments do. And that essentially

0:17:48.160 --> 0:17:51.160
<v Speaker 1>that it uh, I've forgotten all the details of exactly

0:17:51.200 --> 0:17:54.439
<v Speaker 1>what that theory is, but that it UH that nature

0:17:54.480 --> 0:17:58.159
<v Speaker 1>can basically be absorbing to the attention but essentially not

0:17:58.280 --> 0:18:01.240
<v Speaker 1>stress inducing. I think, yeah. And of course this is

0:18:01.280 --> 0:18:05.919
<v Speaker 1>not even getting into social isolation cutting yourself off from

0:18:06.040 --> 0:18:11.040
<v Speaker 1>UM wanted and unwanted UH social connections. UH. Certainly there's

0:18:11.040 --> 0:18:12.800
<v Speaker 1>a lot to be said for cutting yourself off from

0:18:12.800 --> 0:18:16.720
<v Speaker 1>the UH connection to one smart device and the internet

0:18:16.760 --> 0:18:28.040
<v Speaker 1>and so forth. Thank thank Finally, before we move on

0:18:28.080 --> 0:18:30.399
<v Speaker 1>from this, I was wondering, like, what are the superlatives

0:18:30.400 --> 0:18:33.959
<v Speaker 1>in terms of vacuums created by humans in the laboratory

0:18:34.200 --> 0:18:37.840
<v Speaker 1>or or with the aid of technology. What's the lowest

0:18:37.920 --> 0:18:41.159
<v Speaker 1>pressure humans can achieve. I'm not sure what the answer

0:18:41.200 --> 0:18:45.000
<v Speaker 1>is in terms of the lowest pressure overall, but I

0:18:45.119 --> 0:18:47.520
<v Speaker 1>definitely came across the contender and it is certainly one

0:18:47.560 --> 0:18:51.200
<v Speaker 1>of the most impressive artificial vacuum systems ever created by humans,

0:18:51.480 --> 0:18:54.400
<v Speaker 1>if not the lowest pressure. And it's actually the large

0:18:54.400 --> 0:18:57.600
<v Speaker 1>Head round collider at the way it's largest particle accelerator,

0:18:57.640 --> 0:19:01.000
<v Speaker 1>which is operated by the by the Ropean Organization for

0:19:01.080 --> 0:19:05.040
<v Speaker 1>Nuclear Research or CERN. I believe it is still the

0:19:05.119 --> 0:19:08.560
<v Speaker 1>largest vacuum system in operation in the world. It was

0:19:08.760 --> 0:19:11.280
<v Speaker 1>certainly at the time it was put together, and I

0:19:11.320 --> 0:19:14.320
<v Speaker 1>can't think of what would be larger than it. But

0:19:14.440 --> 0:19:17.959
<v Speaker 1>it has more than a hundred kilometers of piping held

0:19:18.119 --> 0:19:20.840
<v Speaker 1>in a state of vacuum for various purposes. There has

0:19:20.880 --> 0:19:24.520
<v Speaker 1>to be ultra high vacuum piping for the actual particle

0:19:24.600 --> 0:19:27.520
<v Speaker 1>beams to travel through so that like the accelerated particles

0:19:27.520 --> 0:19:31.080
<v Speaker 1>don't collide with gas molecules and ruin the experiments. And

0:19:31.240 --> 0:19:33.480
<v Speaker 1>I'm not sure what would happen if they did collide.

0:19:33.960 --> 0:19:36.359
<v Speaker 1>Maybe it could be worse than ruining experiments. Certainly wouldn't

0:19:36.359 --> 0:19:38.600
<v Speaker 1>be good. You don't want it. But there are also

0:19:38.760 --> 0:19:42.639
<v Speaker 1>advanced vacuum systems used to like insulate other elements of

0:19:42.680 --> 0:19:47.520
<v Speaker 1>the collider, such as the magnets or the helium distribution line.

0:19:47.560 --> 0:19:50.600
<v Speaker 1>So a lot a lot of evacuated space going on

0:19:50.680 --> 0:19:54.920
<v Speaker 1>at at the LHC facility, and it's at extremely low density.

0:19:55.000 --> 0:19:58.720
<v Speaker 1>They compare various vacuums that they create to the density

0:19:58.760 --> 0:20:03.960
<v Speaker 1>of interstellar space. So that is horror vakay in in physics.

0:20:04.000 --> 0:20:05.840
<v Speaker 1>But one thing I've been wanting to come back to

0:20:06.119 --> 0:20:08.840
<v Speaker 1>is the fear of emptiness or the fear of empty

0:20:08.880 --> 0:20:12.680
<v Speaker 1>spaces as as an actual literal fear that humans feel,

0:20:12.680 --> 0:20:18.840
<v Speaker 1>the kind of uneasiness that one experiences in a depopulated space. Yeah,

0:20:18.840 --> 0:20:22.920
<v Speaker 1>this topic of chinophobia, um, and some and some other

0:20:22.960 --> 0:20:26.800
<v Speaker 1>related terms. I figured a good place to start on

0:20:26.800 --> 0:20:29.879
<v Speaker 1>all of this might be to return to cinema. We

0:20:29.880 --> 0:20:33.440
<v Speaker 1>talked a little bit about cinema earlier in this journey,

0:20:33.560 --> 0:20:36.800
<v Speaker 1>and in fact, we talked about the ninety seven Dario

0:20:36.920 --> 0:20:42.399
<v Speaker 1>Argento horror classic Suspiria, and there's a there's a scene

0:20:42.400 --> 0:20:45.359
<v Speaker 1>in that film that instantly came to mind when I

0:20:45.400 --> 0:20:49.720
<v Speaker 1>was thinking about this fear, this horror associated with depopulated spaces.

0:20:49.800 --> 0:20:53.479
<v Speaker 1>Like you're saying, uh, and if you've seen Suspiria the original, um,

0:20:54.400 --> 0:20:56.760
<v Speaker 1>although I really like the remake as well, and I

0:20:56.800 --> 0:20:59.520
<v Speaker 1>don't think they recreated this scene in the remake, but

0:20:59.560 --> 0:21:02.800
<v Speaker 1>I could be wrong. Uh. This scene involves a blind

0:21:02.840 --> 0:21:06.920
<v Speaker 1>man walking through an open, unoccupied city plaza at night.

0:21:07.320 --> 0:21:10.080
<v Speaker 1>There are no other human beings in sight. The environment

0:21:10.200 --> 0:21:12.760
<v Speaker 1>is is pretty well illuminated, though there's still some deep

0:21:12.880 --> 0:21:17.359
<v Speaker 1>pockets of shadow. There's a growing sense of threat and terror,

0:21:17.760 --> 0:21:19.679
<v Speaker 1>and eventually, and I think we get some very wide

0:21:19.720 --> 0:21:23.080
<v Speaker 1>shots here too, to really take in all that space.

0:21:24.280 --> 0:21:26.800
<v Speaker 1>And then as the tension builds, the dog begins to

0:21:26.880 --> 0:21:29.720
<v Speaker 1>bark and in a in a nasty twist, because again

0:21:29.720 --> 0:21:31.560
<v Speaker 1>this is a gilt film and they they're off a

0:21:31.640 --> 0:21:35.520
<v Speaker 1>nasty uh. The dog turns on the blind man and

0:21:35.680 --> 0:21:38.879
<v Speaker 1>kills him. But the way the scene builds up to

0:21:38.960 --> 0:21:43.760
<v Speaker 1>that moment takes just full advantage of this very open space. Uh.

0:21:43.880 --> 0:21:47.159
<v Speaker 1>This there this feeling that there's just something wrong in

0:21:47.200 --> 0:21:49.520
<v Speaker 1>the openness of all of this, that there's just just

0:21:49.560 --> 0:21:52.840
<v Speaker 1>this one individual and his dog out here, and something

0:21:52.960 --> 0:21:55.240
<v Speaker 1>terrible is about to happen. I think this scene is

0:21:55.280 --> 0:21:58.320
<v Speaker 1>a fantastic example, especially because of how different it is

0:21:58.440 --> 0:22:03.200
<v Speaker 1>than than more of uh, most of Suspiria and most

0:22:03.200 --> 0:22:06.200
<v Speaker 1>of other h you know, Italian horror films or Jealo films,

0:22:06.920 --> 0:22:09.600
<v Speaker 1>which we noted in the first episode in the series

0:22:09.640 --> 0:22:14.520
<v Speaker 1>are uh. They are often recognized for being especially visually busy.

0:22:14.680 --> 0:22:16.879
<v Speaker 1>You know, they have that artistic sense of horror vakoy

0:22:17.000 --> 0:22:20.200
<v Speaker 1>as in you you sense a desire to fill in

0:22:20.240 --> 0:22:24.040
<v Speaker 1>all emptier uniform spaces with detail and richness and stuff.

0:22:24.480 --> 0:22:27.320
<v Speaker 1>You know, they're full of patterns and so I think

0:22:27.320 --> 0:22:29.920
<v Speaker 1>the scene of you know, the man who is unfortunately

0:22:29.960 --> 0:22:32.719
<v Speaker 1>cursed by the witches and then this this attack happens

0:22:32.720 --> 0:22:37.000
<v Speaker 1>on him. It gets especially scary because it's so unlike

0:22:37.040 --> 0:22:39.240
<v Speaker 1>the rest of the movie, having all this emptiness and

0:22:39.280 --> 0:22:42.760
<v Speaker 1>blank space in the night. But I was thinking about

0:22:42.800 --> 0:22:47.159
<v Speaker 1>this and about how the horror genre in particular tends

0:22:47.200 --> 0:22:53.840
<v Speaker 1>to favor blank, vacant, empty locations in multiple ways. Uh So,

0:22:54.160 --> 0:22:56.720
<v Speaker 1>one way is that they tend to favor settings that

0:22:56.760 --> 0:22:59.560
<v Speaker 1>are like literally emptied in the narrative sense. They are

0:22:59.640 --> 0:23:03.560
<v Speaker 1>literally emptied of human activity or neglected by humans in

0:23:03.600 --> 0:23:07.320
<v Speaker 1>some way. So think of how much horror loves like

0:23:07.440 --> 0:23:11.879
<v Speaker 1>abandoned or empty buildings and settlements. Maybe the first idea

0:23:11.960 --> 0:23:15.120
<v Speaker 1>that comes to my mind is Dracula's Castle, which is

0:23:15.320 --> 0:23:18.280
<v Speaker 1>interesting because it is a castle that has no servants

0:23:18.359 --> 0:23:23.439
<v Speaker 1>bustling about, no courtiers, uh just empty halls and chambers,

0:23:23.480 --> 0:23:28.080
<v Speaker 1>and then the solitary figure of Dracula himself as the host.

0:23:28.640 --> 0:23:30.879
<v Speaker 1>It's kind of like a like a Wear's waldo, except

0:23:30.920 --> 0:23:32.960
<v Speaker 1>there's just one guy there on the page and he

0:23:33.119 --> 0:23:36.040
<v Speaker 1>and he's really staring at your neck. Oh man, that

0:23:36.080 --> 0:23:38.080
<v Speaker 1>would be a great twist center where's wild a book

0:23:38.080 --> 0:23:42.200
<v Speaker 1>Where's Dracula, And each each page is a massive level

0:23:42.200 --> 0:23:45.280
<v Speaker 1>of Dracula's castle and there's just Dracula. There's nothing there.

0:23:46.920 --> 0:23:50.560
<v Speaker 1>It's just hum There are no other Waldos. By the way,

0:23:50.600 --> 0:23:53.080
<v Speaker 1>this reminds me of one of my favorite scenes in

0:23:53.680 --> 0:23:57.240
<v Speaker 1>the movie Shadow of the Vampire from the year two thousand,

0:23:57.840 --> 0:24:01.119
<v Speaker 1>which stars It's a sort of a horror comedy about

0:24:01.160 --> 0:24:04.800
<v Speaker 1>the making of the movie nos Ferrato, but it says

0:24:04.920 --> 0:24:07.600
<v Speaker 1>that Max Shrek, the actor who plays nos Ferrato in

0:24:07.640 --> 0:24:10.919
<v Speaker 1>the movie played by Willem Dafoe in this movie, was

0:24:11.000 --> 0:24:14.280
<v Speaker 1>actually a vampire. That is what it assumes, and uh,

0:24:14.320 --> 0:24:16.280
<v Speaker 1>it's kind of a great premise. And there's a moment

0:24:16.600 --> 0:24:20.040
<v Speaker 1>where they ask, uh, the character who is in this

0:24:20.400 --> 0:24:23.320
<v Speaker 1>telling a real vampire if he read the novel Dracula.

0:24:23.720 --> 0:24:26.119
<v Speaker 1>He says yes. He says the novel made him sad,

0:24:26.160 --> 0:24:28.320
<v Speaker 1>and they said why and he says, because Dracula had

0:24:28.359 --> 0:24:32.240
<v Speaker 1>no servants. I forgot about that part. That's good, but

0:24:32.320 --> 0:24:34.800
<v Speaker 1>it is kind of sad, isn't it. Like the when

0:24:34.800 --> 0:24:38.320
<v Speaker 1>when Harker in the novel realizes that like it was

0:24:38.359 --> 0:24:40.600
<v Speaker 1>the count himself who had to set out the meal

0:24:40.760 --> 0:24:43.600
<v Speaker 1>for him, and so forth, there's something kind of uh

0:24:43.760 --> 0:24:46.520
<v Speaker 1>not like not like I want vampires to have servants,

0:24:46.600 --> 0:24:49.159
<v Speaker 1>but I don't know, there's something kind of lonely and

0:24:49.320 --> 0:24:51.680
<v Speaker 1>uneasy about it. And I think it has a lot

0:24:51.720 --> 0:24:53.560
<v Speaker 1>to do with the fact that it's in a castle.

0:24:53.720 --> 0:24:56.800
<v Speaker 1>It's in this big space meant to be occupied by

0:24:56.800 --> 0:24:58.879
<v Speaker 1>many people, but he's the only one there. I mean,

0:24:58.920 --> 0:25:00.760
<v Speaker 1>I guess later we find out are some other you know,

0:25:00.800 --> 0:25:03.600
<v Speaker 1>ghoul type creatures, but at first it's just empty except

0:25:03.640 --> 0:25:07.080
<v Speaker 1>for him. But think of other movies with just abandoned locations,

0:25:07.119 --> 0:25:11.680
<v Speaker 1>ghost towns, abandoned settlements, you know, empty empty streets and

0:25:11.760 --> 0:25:14.680
<v Speaker 1>other places at night and so forth. Uh, Rob, I'm

0:25:14.680 --> 0:25:16.679
<v Speaker 1>not sure if you've noticed the same thing, but it

0:25:16.760 --> 0:25:21.880
<v Speaker 1>strikes me that horror movies, especially favor locations that are

0:25:21.920 --> 0:25:24.640
<v Speaker 1>not just empty as a matter of course, like you'd

0:25:24.640 --> 0:25:28.080
<v Speaker 1>expect them to be empty, but locations that are empty

0:25:28.160 --> 0:25:32.880
<v Speaker 1>in contrast to how we usually see them. Yeah, yeah, yeah.

0:25:32.920 --> 0:25:35.760
<v Speaker 1>This has often played a great effect and various ghost

0:25:35.840 --> 0:25:40.040
<v Speaker 1>towns and your westerns and of course depopulated cities like

0:25:40.080 --> 0:25:44.040
<v Speaker 1>It's it's not enough to just replace the you know,

0:25:44.080 --> 0:25:46.560
<v Speaker 1>you get into like post apocalyptic scenarios where it's like

0:25:46.600 --> 0:25:50.840
<v Speaker 1>destroyed cities and bodies and so forth. And yes, zombies, um,

0:25:50.920 --> 0:25:54.199
<v Speaker 1>but that doesn't mean you're necessarily going for this, uh

0:25:54.359 --> 0:25:58.400
<v Speaker 1>this total feeling of emptiness. Uh, this this sense that

0:25:58.400 --> 0:26:00.800
<v Speaker 1>that all the activity in presence of the was there

0:26:00.800 --> 0:26:04.080
<v Speaker 1>previously is just gone. But one example that does come

0:26:04.119 --> 0:26:05.680
<v Speaker 1>to nine, and this is a zombie film, but twenty

0:26:05.680 --> 0:26:08.400
<v Speaker 1>eight days later, of course, that's all those wonderful shots

0:26:08.480 --> 0:26:12.800
<v Speaker 1>of what depopulated London and our our our character walking

0:26:12.840 --> 0:26:16.160
<v Speaker 1>around there and sort of experiencing just the overwhelming emptiness

0:26:16.200 --> 0:26:18.520
<v Speaker 1>of the city. I think that's a great example. It's

0:26:18.560 --> 0:26:22.840
<v Speaker 1>incredibly unnerving that opening. Uh So you could contrast that

0:26:22.840 --> 0:26:25.920
<v Speaker 1>with like say a movie with scenes in a desert

0:26:26.119 --> 0:26:29.760
<v Speaker 1>or a forest wilderness, which might be empty of human activity,

0:26:29.800 --> 0:26:32.320
<v Speaker 1>but we would expect them to be empty of human activity.

0:26:32.359 --> 0:26:34.600
<v Speaker 1>And in cases where movies focus on that, in the

0:26:34.640 --> 0:26:37.800
<v Speaker 1>horror genre, at least, the horror usually comes from when

0:26:37.880 --> 0:26:41.320
<v Speaker 1>you find something or someone, or suspect the presence of

0:26:41.359 --> 0:26:46.400
<v Speaker 1>something or someone that you wouldn't usually expect to encounter there. Instead,

0:26:46.480 --> 0:26:49.520
<v Speaker 1>locations that I think of his most common to horror

0:26:49.520 --> 0:26:52.639
<v Speaker 1>movies are like empty versions of places you would usually

0:26:52.640 --> 0:26:55.560
<v Speaker 1>expect to be full. So not just cities like at

0:26:55.600 --> 0:26:58.080
<v Speaker 1>the beginning of twenty days Later, but I think of

0:26:58.119 --> 0:27:02.440
<v Speaker 1>empty hospitals at the night shift, empty churches and cathedrals,

0:27:02.480 --> 0:27:07.520
<v Speaker 1>whereas the congregation, empty school buildings after hours, empty empty castles.

0:27:07.560 --> 0:27:09.800
<v Speaker 1>Like I said at the beginning, you know what happened

0:27:09.800 --> 0:27:11.680
<v Speaker 1>to the crew of the event horizon? Why is this

0:27:11.720 --> 0:27:15.880
<v Speaker 1>spaceship empty? Uh So, I think empty locations like this

0:27:16.280 --> 0:27:20.080
<v Speaker 1>lend themselves well to horror for multiple reasons. One is

0:27:20.080 --> 0:27:23.240
<v Speaker 1>a kind of just like literal understanding of danger in

0:27:23.240 --> 0:27:26.439
<v Speaker 1>the world. Like you know, there's an uneasiness that comes

0:27:26.520 --> 0:27:29.400
<v Speaker 1>from a location being empty, because it sort of means

0:27:29.440 --> 0:27:31.919
<v Speaker 1>like you're on your own against whatever might threaten you.

0:27:31.960 --> 0:27:34.119
<v Speaker 1>But if for the location is full of people, you

0:27:34.200 --> 0:27:36.400
<v Speaker 1>might be able to get help from the werewolf if

0:27:36.440 --> 0:27:38.640
<v Speaker 1>it's going to come at you, like people usually feel

0:27:38.640 --> 0:27:41.919
<v Speaker 1>safer in numbers for totally good and logical reasons. You

0:27:41.920 --> 0:27:44.120
<v Speaker 1>know two examples that come to mind. They're very related

0:27:44.160 --> 0:27:46.919
<v Speaker 1>because they both involved the same sort of location. I

0:27:46.960 --> 0:27:51.080
<v Speaker 1>think both of these examples kind of maybe you know,

0:27:51.200 --> 0:27:53.800
<v Speaker 1>bend this line a little bit and and and blurred

0:27:53.840 --> 0:27:59.280
<v Speaker 1>the distinction between uh emptiness being invigorating and empowering and

0:27:59.320 --> 0:28:02.760
<v Speaker 1>it being terrifying. They both take place in shopping malls,

0:28:02.760 --> 0:28:05.240
<v Speaker 1>and of course thinking about Donna the Dead from George

0:28:05.320 --> 0:28:08.680
<v Speaker 1>Romero and Shopping Mall both films in which our characters

0:28:08.680 --> 0:28:14.200
<v Speaker 1>find themselves in a depopulated mall shopping mall environment and uh,

0:28:14.240 --> 0:28:15.960
<v Speaker 1>and eventually they're gonna have to deal with of course

0:28:16.040 --> 0:28:18.560
<v Speaker 1>zombies in one film, and well and also um like

0:28:18.640 --> 0:28:20.840
<v Speaker 1>evil bikers in one film, but then in the other

0:28:20.880 --> 0:28:23.000
<v Speaker 1>film they're gonna have to deal with killer robots. And

0:28:23.000 --> 0:28:25.399
<v Speaker 1>in both of these there's kind of like this um,

0:28:25.960 --> 0:28:29.399
<v Speaker 1>I don't know, this kind of I guess capitalist rebellion

0:28:29.720 --> 0:28:32.760
<v Speaker 1>um energy to them where it's like this this this

0:28:32.840 --> 0:28:37.720
<v Speaker 1>place that contained me through commerce and also just the

0:28:37.800 --> 0:28:40.920
<v Speaker 1>social environment of the mall. Now those constraints are not there,

0:28:40.960 --> 0:28:43.200
<v Speaker 1>and I can just go into any any store in

0:28:43.240 --> 0:28:46.120
<v Speaker 1>the mall and steal things. And then but then on

0:28:46.120 --> 0:28:48.360
<v Speaker 1>the other hand, yes, it's like all the things that

0:28:48.480 --> 0:28:51.280
<v Speaker 1>made this a normal place, that made this a you know,

0:28:51.360 --> 0:28:55.920
<v Speaker 1>cathedral of of American culture during the nineteen eighties or

0:28:56.120 --> 0:28:58.880
<v Speaker 1>what have you. Uh, that's gone as well. There's something

0:28:59.000 --> 0:29:02.800
<v Speaker 1>unholy about the environment that's great observation. Yeah, about the

0:29:02.800 --> 0:29:05.760
<v Speaker 1>malls in these movies, it's like the the fact that

0:29:05.800 --> 0:29:08.640
<v Speaker 1>we see them with all of the people taken out

0:29:08.680 --> 0:29:13.720
<v Speaker 1>of them, not shopping anymore, just automatically invites questions, kind

0:29:13.720 --> 0:29:16.440
<v Speaker 1>of critical questions about what this place was for in

0:29:16.480 --> 0:29:20.000
<v Speaker 1>the first place and what it meant. And of course, yeah,

0:29:20.040 --> 0:29:22.640
<v Speaker 1>it invites that uneasy feeling, and I think that goes

0:29:22.680 --> 0:29:24.120
<v Speaker 1>to the next thing. So there was the thing I

0:29:24.160 --> 0:29:27.440
<v Speaker 1>already said about empty locations are in a very literal sense,

0:29:27.440 --> 0:29:30.880
<v Speaker 1>they're scarier just because like their safety and numbers. But

0:29:30.880 --> 0:29:34.240
<v Speaker 1>but empty locations and abandoned the locations I think are

0:29:34.240 --> 0:29:38.080
<v Speaker 1>also good fodder for horror on a conceptual level because

0:29:38.200 --> 0:29:41.640
<v Speaker 1>in some cases they invite you to wonder why the

0:29:41.640 --> 0:29:44.320
<v Speaker 1>place is empty, like what happened here? Where did the

0:29:44.320 --> 0:29:47.200
<v Speaker 1>people go? Or as you just said, they invite you

0:29:47.240 --> 0:29:50.200
<v Speaker 1>to sort of look upon the purpose of the place

0:29:50.240 --> 0:29:53.480
<v Speaker 1>with a newly critical eye, like when when people are

0:29:53.520 --> 0:29:55.959
<v Speaker 1>not doing the things they're normally doing in this place,

0:29:56.440 --> 0:29:59.880
<v Speaker 1>what is this place actually for? Yeah, we just go

0:30:00.120 --> 0:30:02.479
<v Speaker 1>some of that in our and you alluded to this

0:30:02.560 --> 0:30:04.640
<v Speaker 1>a little bit already, But the episodes that we did

0:30:04.720 --> 0:30:10.080
<v Speaker 1>about Christmas ghost stories from Northern Europe to deal with

0:30:10.320 --> 0:30:12.360
<v Speaker 1>this whole question like what is a church if it

0:30:12.440 --> 0:30:15.000
<v Speaker 1>is midnight and no one is there, Like is it

0:30:15.080 --> 0:30:16.840
<v Speaker 1>still a church? And if it is still a church,

0:30:16.960 --> 0:30:19.640
<v Speaker 1>what what does that mean? Is it still sacred or

0:30:19.680 --> 0:30:22.080
<v Speaker 1>just the sacredness come from the uh, you know, the

0:30:22.080 --> 0:30:24.480
<v Speaker 1>congregation and the acts they do inside it. And so

0:30:25.200 --> 0:30:28.520
<v Speaker 1>could the same building the church be used for unholy rites?

0:30:34.840 --> 0:30:39.520
<v Speaker 1>Thank thank, thank, But finally, I think there are also

0:30:40.000 --> 0:30:43.960
<v Speaker 1>conceptual suggestions, like a place that is empty in contrast

0:30:44.000 --> 0:30:46.720
<v Speaker 1>to the expectation that it should be full, like all

0:30:46.760 --> 0:30:50.240
<v Speaker 1>of these depopulated places we've been talking about that has

0:30:50.280 --> 0:30:53.320
<v Speaker 1>long been associated with death, right like you would think

0:30:53.400 --> 0:30:56.720
<v Speaker 1>under normal old ideas like humans have left this formerly

0:30:56.760 --> 0:30:59.440
<v Speaker 1>inhabited place, like a like a soul leaving a body.

0:31:00.240 --> 0:31:03.840
<v Speaker 1>But in addition to all these more literal concerns, I

0:31:03.880 --> 0:31:07.200
<v Speaker 1>think horror films in particular, but other genres as well,

0:31:07.760 --> 0:31:12.719
<v Speaker 1>often use blank space also known as negative space, in

0:31:12.840 --> 0:31:16.960
<v Speaker 1>the frame of of the film as a visual marker

0:31:17.080 --> 0:31:20.400
<v Speaker 1>to create uneasiness. So this is less literal about like

0:31:20.480 --> 0:31:22.960
<v Speaker 1>what is threatening the characters, and more just kind of

0:31:23.000 --> 0:31:25.280
<v Speaker 1>the feelings that we get from how a movie looks

0:31:25.840 --> 0:31:28.440
<v Speaker 1>I don't know how much of this is a natural

0:31:29.040 --> 0:31:32.680
<v Speaker 1>psychological expectation that humans have and how much is just

0:31:32.760 --> 0:31:37.240
<v Speaker 1>sort of a like a learned convention and emergent convention

0:31:37.280 --> 0:31:40.760
<v Speaker 1>of filmmaking that we have all learned implicitly from watching movies.

0:31:41.240 --> 0:31:43.920
<v Speaker 1>But I think the baseline fact is that when we

0:31:44.000 --> 0:31:47.680
<v Speaker 1>see negative space in a movie, we somewhat expect it

0:31:47.760 --> 0:31:50.880
<v Speaker 1>to become filled. There's empty space on the screen. We

0:31:50.920 --> 0:31:54.280
<v Speaker 1>expect something to come to occupy that space, and of course,

0:31:54.320 --> 0:31:58.040
<v Speaker 1>once you have expectation, you have the ability to create tension,

0:31:58.200 --> 0:32:02.000
<v Speaker 1>and by denying the fulfillment of that expectation, like you know,

0:32:02.040 --> 0:32:04.960
<v Speaker 1>like a character peers out into the darkness and it's

0:32:05.040 --> 0:32:08.640
<v Speaker 1>uniform darkness, not not filled in with detail, there's no detail,

0:32:09.040 --> 0:32:11.239
<v Speaker 1>or they look into an empty room with nothing in it,

0:32:11.360 --> 0:32:15.640
<v Speaker 1>or some other negative space. We expect something to happen,

0:32:15.800 --> 0:32:18.320
<v Speaker 1>something to fill that space, sort to come into view,

0:32:18.680 --> 0:32:22.760
<v Speaker 1>and if it doesn't, that is unresolved tension and uneasiness

0:32:22.800 --> 0:32:24.760
<v Speaker 1>and the sort of the prime example, like one of

0:32:24.760 --> 0:32:29.160
<v Speaker 1>the core feelings that is evoked by weird fiction and cinema. Yeah, yeah,

0:32:29.200 --> 0:32:31.640
<v Speaker 1>And I think a great recent example of all this

0:32:31.680 --> 0:32:35.560
<v Speaker 1>would be Jordan Peel's Note that came out just last year.

0:32:36.200 --> 0:32:38.360
<v Speaker 1>I'm not gonna do any spoilers for it, because I

0:32:38.360 --> 0:32:40.800
<v Speaker 1>don't think you've seen it yet, have you. I still haven't, no,

0:32:41.520 --> 0:32:43.080
<v Speaker 1>and I know a lot of listeners haven't, So I'm

0:32:43.120 --> 0:32:46.120
<v Speaker 1>not gonna spoil it. But I will say that there

0:32:46.120 --> 0:32:49.080
<v Speaker 1>are a lot of shots that established the sky as

0:32:49.280 --> 0:32:53.040
<v Speaker 1>the domain of some manner of inhuman threat and uh.

0:32:53.040 --> 0:32:55.040
<v Speaker 1>And then below beneath the sky you have the this

0:32:55.240 --> 0:32:59.440
<v Speaker 1>wonderful California desert setting as well, so it's very geographically open.

0:32:59.760 --> 0:33:01.760
<v Speaker 1>But then you have this open sky, you also have

0:33:01.800 --> 0:33:05.520
<v Speaker 1>some some wonderful clouds at play, both during the daytime

0:33:05.520 --> 0:33:08.400
<v Speaker 1>sequences in the nighttime sequences. But still it does this

0:33:08.520 --> 0:33:12.720
<v Speaker 1>fabulous job of establishing um a cloudy or even open

0:33:12.760 --> 0:33:17.520
<v Speaker 1>skies being possibly a threat. And I found when I

0:33:17.560 --> 0:33:20.040
<v Speaker 1>watched it in the theater when I left the theater,

0:33:20.080 --> 0:33:21.880
<v Speaker 1>when I left the dark theater and went out into

0:33:21.880 --> 0:33:25.880
<v Speaker 1>the day, because it was Mattenee that I attended, Uh, instantly,

0:33:25.920 --> 0:33:28.600
<v Speaker 1>I kind of felt in danger. I kind of felt

0:33:28.640 --> 0:33:32.520
<v Speaker 1>some of the danger from the film still, like residually

0:33:32.880 --> 0:33:34.920
<v Speaker 1>coursing through my body to where I was like, let's

0:33:34.960 --> 0:33:36.200
<v Speaker 1>go ahead, and get to the car. I don't want to.

0:33:36.240 --> 0:33:39.640
<v Speaker 1>I don't feel great walking across this this wide open

0:33:39.720 --> 0:33:44.320
<v Speaker 1>parking lot beneath this uh this scary sky. Oh boy. Well,

0:33:44.400 --> 0:33:47.440
<v Speaker 1>I will admit that when I come out of a mattenee,

0:33:47.560 --> 0:33:51.160
<v Speaker 1>I often feel uneasy. Uh, No matter what the movie was,

0:33:51.680 --> 0:33:53.760
<v Speaker 1>there's just something weird about coming out of a dark

0:33:53.800 --> 0:33:57.480
<v Speaker 1>ended movie theater and it's still light outside. Yeah, it's

0:33:57.520 --> 0:34:00.560
<v Speaker 1>like other worlds, It's what's what's going on? Yeah, it

0:34:02.120 --> 0:34:03.880
<v Speaker 1>kind of reminds me of that feeling like when you

0:34:03.960 --> 0:34:05.760
<v Speaker 1>take too long of a nap in the middle of

0:34:05.840 --> 0:34:09.520
<v Speaker 1>the day. It's like, yeah, it's disorienting. You've you've been

0:34:09.560 --> 0:34:12.920
<v Speaker 1>in a cave watching a cinema, and then then you

0:34:13.040 --> 0:34:16.200
<v Speaker 1>go out into the real world. Now, in thinking about

0:34:16.360 --> 0:34:19.640
<v Speaker 1>how Note made me temporarily feel about open skies, I

0:34:19.680 --> 0:34:22.560
<v Speaker 1>did find it interesting to come across various mentions of

0:34:22.560 --> 0:34:27.960
<v Speaker 1>a supposed phobia online dubbed cassadastrophobia, which is described as

0:34:28.000 --> 0:34:33.160
<v Speaker 1>a fear of essentially falling up into the sky. M Now,

0:34:33.280 --> 0:34:37.800
<v Speaker 1>I I couldn't find any academic discussion of this alleged phobia,

0:34:38.080 --> 0:34:41.960
<v Speaker 1>and I'm not doubting anyone's experiences around it because for starters,

0:34:42.000 --> 0:34:44.759
<v Speaker 1>there's plenty of room for anxiety and paranoia to creep

0:34:44.840 --> 0:34:49.000
<v Speaker 1>up in one's experience of reality. Um. It may simply

0:34:49.040 --> 0:34:53.320
<v Speaker 1>just be newly defined and understudied UM. But to whatever

0:34:53.400 --> 0:34:56.040
<v Speaker 1>extent it's an actual phobia, it would seem to be

0:34:56.120 --> 0:34:59.120
<v Speaker 1>kind of a subset of this idea of quenophobia pronounced

0:34:59.120 --> 0:35:02.480
<v Speaker 1>fear of of the open You know, a feeling that

0:35:02.680 --> 0:35:06.240
<v Speaker 1>this open sky might either swallow you up or somehow

0:35:06.280 --> 0:35:09.200
<v Speaker 1>gravity is going to fail and you'll float up into it.

0:35:09.600 --> 0:35:12.880
<v Speaker 1>That is an interesting fear because it doesn't correspond to

0:35:13.000 --> 0:35:16.360
<v Speaker 1>anything that I can think of that ever happens in reality.

0:35:16.440 --> 0:35:21.319
<v Speaker 1>And it's very specific. Yeah, And it's interesting because I

0:35:21.320 --> 0:35:25.080
<v Speaker 1>can kind of relate to these overwhelming feelings of viewing

0:35:25.080 --> 0:35:27.200
<v Speaker 1>either a clear blue sky in the day or certainly

0:35:27.560 --> 0:35:30.520
<v Speaker 1>a sprawling star escape in a rural environment where you're

0:35:30.560 --> 0:35:34.040
<v Speaker 1>free of light pollution and cloud cover and everything's really expansive.

0:35:34.560 --> 0:35:37.160
<v Speaker 1>Um and and it. But it's also it's weird because

0:35:37.160 --> 0:35:41.120
<v Speaker 1>these are both This is that can be very inspiring

0:35:41.200 --> 0:35:45.160
<v Speaker 1>and beautiful but can maybe reach the point of being

0:35:45.360 --> 0:35:47.960
<v Speaker 1>overwhelming and and maybe it ends up having this effect

0:35:48.000 --> 0:35:51.640
<v Speaker 1>where you think about what would happen if I like,

0:35:51.719 --> 0:35:53.400
<v Speaker 1>what if I just fell up into it? And it

0:35:53.440 --> 0:35:55.279
<v Speaker 1>doesn't make any sense. Nobody's like, this is not going

0:35:55.360 --> 0:35:57.400
<v Speaker 1>to happen. You have, you have a number of other

0:35:57.440 --> 0:36:01.680
<v Speaker 1>concerns if gravity stops working. Besides, you know where you're

0:36:01.680 --> 0:36:04.840
<v Speaker 1>gonna float to. But um, but yeah, I can. I

0:36:04.880 --> 0:36:07.839
<v Speaker 1>can sort of look back on times in my life

0:36:07.840 --> 0:36:09.760
<v Speaker 1>where I've been looking up at like a big, clear

0:36:09.800 --> 0:36:13.360
<v Speaker 1>blue sky or some sort of star escape and feeling this,

0:36:13.680 --> 0:36:16.799
<v Speaker 1>especially with the blue sky. I think there are times

0:36:16.800 --> 0:36:18.160
<v Speaker 1>where I looked up at the star escape and I

0:36:18.200 --> 0:36:20.279
<v Speaker 1>was maybe a little afraid of aliens more than I

0:36:20.280 --> 0:36:23.200
<v Speaker 1>was afraid of just falling up into the blue Were

0:36:23.200 --> 0:36:26.440
<v Speaker 1>you afraid of aliens because you watched Unsolved Mysteries and

0:36:26.480 --> 0:36:29.160
<v Speaker 1>they had the scary Yes. As a child, I was.

0:36:29.440 --> 0:36:32.359
<v Speaker 1>I was afraid of it, afraid of aliens because there

0:36:32.400 --> 0:36:34.279
<v Speaker 1>was no counter narrative. I think of discusses on the

0:36:34.280 --> 0:36:38.680
<v Speaker 1>show before you would just encounter this said this episode

0:36:38.760 --> 0:36:42.239
<v Speaker 1>or episodes of Unsolved Mysteries and they're like, Yep, there

0:36:42.280 --> 0:36:43.879
<v Speaker 1>might be aliens out there. It seems like there's good

0:36:43.880 --> 0:36:45.960
<v Speaker 1>evidence for it. I don't know, And you know, you

0:36:46.000 --> 0:36:48.719
<v Speaker 1>didn't have Carl Sagan coming on afterwards and explaining all

0:36:48.719 --> 0:36:51.920
<v Speaker 1>the reasons why you shouldn't be worried. That would be hilarious.

0:36:52.000 --> 0:36:55.400
<v Speaker 1>Each episode ends with like a formal debate between Robert

0:36:55.480 --> 0:37:01.239
<v Speaker 1>Stack and Carl say, um, yeah, that so. But with

0:37:01.320 --> 0:37:03.520
<v Speaker 1>the with the blue, It's hard to say. It's just

0:37:03.760 --> 0:37:06.640
<v Speaker 1>at times I felt kind of an unnerving sense when

0:37:06.640 --> 0:37:09.000
<v Speaker 1>there was like this really big blue sky. I don't know,

0:37:09.360 --> 0:37:12.520
<v Speaker 1>I'll get back to this, but but it also I

0:37:12.560 --> 0:37:14.600
<v Speaker 1>went on a tangent here where I was reminded of

0:37:14.640 --> 0:37:18.279
<v Speaker 1>something that Geraldine Pinch discusses in her book Egyptian Mythology

0:37:18.600 --> 0:37:22.160
<v Speaker 1>about how the cloudless skies above ancient Egypt would have

0:37:22.160 --> 0:37:26.000
<v Speaker 1>provided ready viewing of the stars and planets, thus instilling

0:37:26.000 --> 0:37:28.520
<v Speaker 1>a great interest in the movement of the heavens in

0:37:28.600 --> 0:37:33.720
<v Speaker 1>Egyptian mythology. And uh this I wasn't able to find

0:37:34.120 --> 0:37:37.520
<v Speaker 1>a satisfying answer on this, but I mean, this definitely

0:37:37.560 --> 0:37:39.840
<v Speaker 1>seems to be the case with the ancient Egyptians. But

0:37:40.280 --> 0:37:44.560
<v Speaker 1>the ancient Egyptians were not the only people to find

0:37:45.000 --> 0:37:47.000
<v Speaker 1>the sky very interesting. They weren't the only ones to

0:37:47.040 --> 0:37:49.759
<v Speaker 1>have ah an advanced astronomy. I mean, you look at

0:37:49.800 --> 0:37:52.880
<v Speaker 1>various examples from the ancient world, the Babylonians, the Greeks,

0:37:53.400 --> 0:37:57.640
<v Speaker 1>uh India, China, Persia, the Mayans. They all had robust

0:37:57.760 --> 0:38:02.880
<v Speaker 1>astronomical systems, and there there are disciplines that look into

0:38:03.040 --> 0:38:07.279
<v Speaker 1>this sort of question, like how did the perception of

0:38:07.280 --> 0:38:10.040
<v Speaker 1>the sky and the understanding of the cosmos and the

0:38:10.040 --> 0:38:12.600
<v Speaker 1>movements of the stars. More specifically, like how did this

0:38:12.640 --> 0:38:15.600
<v Speaker 1>affect a given civilization and their beliefs and their views.

0:38:16.040 --> 0:38:20.879
<v Speaker 1>You have the disciplines of arco astronomy and ethno astrology,

0:38:21.040 --> 0:38:23.600
<v Speaker 1>and there's a lot of interesting work out there concerning, say,

0:38:23.600 --> 0:38:26.840
<v Speaker 1>for an example, certain architectural traditions and to what extent

0:38:26.920 --> 0:38:30.720
<v Speaker 1>they were created with astronomy and astronomical data in mind.

0:38:31.200 --> 0:38:34.279
<v Speaker 1>Oh yeah, I see, like buildings that may or may

0:38:34.320 --> 0:38:36.759
<v Speaker 1>not have been intended to align with the stars in

0:38:36.800 --> 0:38:39.200
<v Speaker 1>a certain way. Yeah, And so what I guess I

0:38:39.280 --> 0:38:42.239
<v Speaker 1>was curious about was, Okay, does this mean that are

0:38:42.239 --> 0:38:46.359
<v Speaker 1>you going to have certain civilizations located in regions or

0:38:46.400 --> 0:38:50.080
<v Speaker 1>with high population density and regions that had maybe more

0:38:50.160 --> 0:38:53.320
<v Speaker 1>understructed views of the night sky with a lean towards

0:38:53.320 --> 0:38:58.440
<v Speaker 1>a more robust astronomical culture or something. Um I didn't

0:38:58.480 --> 0:39:02.080
<v Speaker 1>encounter much to really back that up. You know, there

0:39:02.200 --> 0:39:04.880
<v Speaker 1>there wasn't much that I was encountering that said that

0:39:04.920 --> 0:39:08.480
<v Speaker 1>there's any kind of like astrophilic or astrophobic division between

0:39:08.520 --> 0:39:10.920
<v Speaker 1>cultures or anything not that I could tell. If it's

0:39:10.960 --> 0:39:12.520
<v Speaker 1>out there and I missed it, and you know about it,

0:39:12.560 --> 0:39:15.359
<v Speaker 1>listeners right in and let me know. But more often

0:39:15.400 --> 0:39:19.200
<v Speaker 1>you seem to see this mix related to astronomical traditions

0:39:19.200 --> 0:39:23.799
<v Speaker 1>that where a culture civilization realizes that okay, you know

0:39:23.840 --> 0:39:26.200
<v Speaker 1>that the trackable movement of the sun and the stars

0:39:26.719 --> 0:39:29.280
<v Speaker 1>is linked to various cycles of life, the passage of time,

0:39:29.640 --> 0:39:34.399
<v Speaker 1>the seasons, navigation, and then you also have purely supernatural

0:39:34.440 --> 0:39:37.960
<v Speaker 1>concepts such as omens and portents and the looking to

0:39:38.239 --> 0:39:41.120
<v Speaker 1>the stars to try and divine the future, and and

0:39:41.200 --> 0:39:45.120
<v Speaker 1>looking for yet individual data data about the individual experience

0:39:45.600 --> 0:39:52.080
<v Speaker 1>UH in the heavens, alongside broader information about UH like

0:39:52.160 --> 0:39:55.600
<v Speaker 1>how life works in the long term on Earth. So

0:39:55.640 --> 0:39:58.040
<v Speaker 1>within a given astronomical culture, there might be a number

0:39:58.080 --> 0:40:01.719
<v Speaker 1>of important but kind of mone aim considerations about the sky,

0:40:01.760 --> 0:40:06.920
<v Speaker 1>alongside lofty or religious cosmological ideas and negative superstitions concerning

0:40:07.120 --> 0:40:10.160
<v Speaker 1>certain anomalies such as say, eclipses, which we've discussed in

0:40:10.239 --> 0:40:12.920
<v Speaker 1>the show before, as well as things that certain lunar

0:40:12.920 --> 0:40:16.640
<v Speaker 1>phases and and other things that might in some cases

0:40:16.719 --> 0:40:19.520
<v Speaker 1>might be out of the ordinary or somehow novel, but

0:40:19.760 --> 0:40:21.799
<v Speaker 1>being anomalies, these would probably not be things where the

0:40:21.800 --> 0:40:25.160
<v Speaker 1>source of the anxiety is anything you could identify as

0:40:25.239 --> 0:40:29.200
<v Speaker 1>like fear of the openness of the sky, right right, Yeah,

0:40:29.280 --> 0:40:31.600
<v Speaker 1>it's more you read about, you know, some of these

0:40:32.120 --> 0:40:36.840
<v Speaker 1>eclipse myths and all there are fear based um interpretations

0:40:36.840 --> 0:40:39.640
<v Speaker 1>of them and and and myths involving you know, some

0:40:39.680 --> 0:40:42.880
<v Speaker 1>sort of monster threatening reality and so forth. But then

0:40:42.920 --> 0:40:45.440
<v Speaker 1>on the other side, you have even though they may

0:40:45.480 --> 0:40:48.880
<v Speaker 1>seem like strange anomalies out of nowhere to some observers,

0:40:48.920 --> 0:40:52.440
<v Speaker 1>and perhaps it's sometimes you're still gonna have astronomy get

0:40:52.480 --> 0:40:54.520
<v Speaker 1>on top of that. As we discussed in those those

0:40:54.520 --> 0:40:57.640
<v Speaker 1>episodes we did on eclipse myths, and uh, you know,

0:40:58.000 --> 0:41:01.080
<v Speaker 1>people begin to realize, okay, these things are trackable and

0:41:01.120 --> 0:41:03.480
<v Speaker 1>we can tell when they will occur or we can

0:41:03.480 --> 0:41:15.200
<v Speaker 1>predict them. Thank thank thank Now, within the context of

0:41:15.360 --> 0:41:20.200
<v Speaker 1>horror Um, this idea of fearing the sky, fearing big

0:41:20.239 --> 0:41:26.040
<v Speaker 1>open places um, it does line up not only thematically

0:41:26.080 --> 0:41:30.360
<v Speaker 1>but specifically with the twentieth century writings of HP love Draft.

0:41:31.160 --> 0:41:32.960
<v Speaker 1>I was looking around, and you know, I don't think

0:41:33.000 --> 0:41:38.280
<v Speaker 1>I don't remember reading this story, but there's story titled

0:41:38.320 --> 0:41:41.160
<v Speaker 1>The Other Gods, and there's this bit in it where

0:41:41.480 --> 0:41:45.560
<v Speaker 1>the character who's I'm sure clearly um going mad thinking about,

0:41:46.000 --> 0:41:50.160
<v Speaker 1>you know, the some sort of monstrous reality all around him, uh,

0:41:50.320 --> 0:41:53.440
<v Speaker 1>exclaims the other gods, the other gods, the gods of

0:41:53.480 --> 0:41:55.719
<v Speaker 1>the outer hells that guard the feeble gods of Earth.

0:41:55.760 --> 0:41:58.320
<v Speaker 1>Look away, go back, do not see, do not see

0:41:58.680 --> 0:42:01.760
<v Speaker 1>the vengeance of the infinite to this is that cursed,

0:42:01.840 --> 0:42:05.520
<v Speaker 1>that damnable pit, merciful gods of Earth. I am falling

0:42:05.560 --> 0:42:08.160
<v Speaker 1>into the sky. Ah. Yeah, Well, that kind of fear

0:42:08.200 --> 0:42:11.400
<v Speaker 1>does seem to fit into the I mean, probably not

0:42:11.480 --> 0:42:14.200
<v Speaker 1>just Lovecraft, but you could say the broader convention of

0:42:14.200 --> 0:42:18.320
<v Speaker 1>of cosmic horror, which uh, you know, is a horror

0:42:18.360 --> 0:42:20.080
<v Speaker 1>that that has a lot to do not just with

0:42:20.120 --> 0:42:24.480
<v Speaker 1>like specific threats to the individual characters, but a kind

0:42:24.480 --> 0:42:29.439
<v Speaker 1>of terror at the idea of the insignificance of humankind

0:42:29.600 --> 0:42:32.520
<v Speaker 1>when compared to some kind of greater force or greater

0:42:32.640 --> 0:42:36.239
<v Speaker 1>meaninglessness in the in the cosmos as a whole. And

0:42:36.360 --> 0:42:39.520
<v Speaker 1>one way you could really imagine that that sort of

0:42:39.560 --> 0:42:43.920
<v Speaker 1>absurdity or meaninglessness being highlighted is just like, I don't know,

0:42:44.040 --> 0:42:47.480
<v Speaker 1>capricious violations of the laws of physics. Suddenly you fall

0:42:47.600 --> 0:42:52.000
<v Speaker 1>up instead of down. Yeah, yeah, yeah, there's a there's

0:42:52.000 --> 0:42:55.040
<v Speaker 1>a lot of that in the weird fiction world. Um.

0:42:55.320 --> 0:42:57.640
<v Speaker 1>And a lot of this is is described as being

0:42:57.960 --> 0:43:02.000
<v Speaker 1>in line with the literary philosophy of cosmicism, which is

0:43:02.040 --> 0:43:04.320
<v Speaker 1>this idea that, yeah, though the universe is just teeming

0:43:04.400 --> 0:43:08.000
<v Speaker 1>with alien threats, monster gods from space, but also it's

0:43:08.000 --> 0:43:13.719
<v Speaker 1>related to this fear regarding humanity seemingly inconsequential place in

0:43:13.760 --> 0:43:16.640
<v Speaker 1>a vast and alien universe. And I think this is

0:43:16.680 --> 0:43:18.719
<v Speaker 1>often you know, you often see this emerging in a

0:43:18.800 --> 0:43:24.160
<v Speaker 1>context of of of our increasing scientific understanding of of

0:43:24.200 --> 0:43:26.839
<v Speaker 1>who we are and what the planet is and uh,

0:43:26.920 --> 0:43:29.560
<v Speaker 1>you know, and getting away from these older ideas about

0:43:29.880 --> 0:43:33.120
<v Speaker 1>and also religious ideas about the importance of earth, the

0:43:33.120 --> 0:43:37.359
<v Speaker 1>importance of humanity. Uh, and then what are you left with? Um,

0:43:38.400 --> 0:43:40.000
<v Speaker 1>or at least what are you left with? And maybe

0:43:40.000 --> 0:43:44.600
<v Speaker 1>in your darker moments or in your your moments of doubt, right,

0:43:44.640 --> 0:43:47.600
<v Speaker 1>I mean, it's sort of the antisocial side of the

0:43:47.600 --> 0:43:51.239
<v Speaker 1>Copernican principle. Yeah, so like, yeah, I don't think the

0:43:51.239 --> 0:43:54.360
<v Speaker 1>compernic in principle, like the fact that you should not

0:43:54.400 --> 0:43:56.440
<v Speaker 1>assume that you are looking at the universe from a

0:43:56.480 --> 0:43:59.840
<v Speaker 1>privileged place or that you are the center of the universe. Instead,

0:44:00.040 --> 0:44:03.160
<v Speaker 1>should um assume you are looking at the universe from

0:44:03.200 --> 0:44:06.040
<v Speaker 1>an average place within the universe. And of course that

0:44:06.080 --> 0:44:08.920
<v Speaker 1>goes along with our discovery of uh, you know, the

0:44:08.960 --> 0:44:11.200
<v Speaker 1>Earth not being the center of the solar system and

0:44:11.200 --> 0:44:14.480
<v Speaker 1>so forth. Uh. Yeah, I think that's just a fact

0:44:14.520 --> 0:44:16.719
<v Speaker 1>of life, and that is a good way to look

0:44:16.760 --> 0:44:19.719
<v Speaker 1>at the universe. One need not feel despairing about it.

0:44:19.760 --> 0:44:23.200
<v Speaker 1>But if one chooses to feel despairing about that realization,

0:44:23.320 --> 0:44:26.479
<v Speaker 1>you kind of end up in the cosmic horror area. Yeah.

0:44:26.560 --> 0:44:28.840
<v Speaker 1>And and in the case of love Craft in particular,

0:44:28.920 --> 0:44:33.040
<v Speaker 1>and perhaps related authors as well, you're not just dealing

0:44:33.080 --> 0:44:38.759
<v Speaker 1>with this fear of cosmic insignificance either. Uh. You know,

0:44:38.800 --> 0:44:41.480
<v Speaker 1>you also have to throw in there a healthy dose

0:44:41.560 --> 0:44:46.440
<v Speaker 1>of misanthropy, of xenophobia and so forth. So uh, put

0:44:46.480 --> 0:44:49.360
<v Speaker 1>that all in the stew together, and um, yeah, a

0:44:49.400 --> 0:44:51.960
<v Speaker 1>lot of horror can can emerge. But also, yeah, this

0:44:52.080 --> 0:44:55.600
<v Speaker 1>this feeling that maybe nothing matters. But a lot of

0:44:55.600 --> 0:44:58.040
<v Speaker 1>this I think this, this thinking about the sky and

0:44:58.040 --> 0:45:02.399
<v Speaker 1>this feeling about the perhaps fears of falling into the sky,

0:45:02.480 --> 0:45:04.719
<v Speaker 1>And maybe they're not like, you know, a literal fear

0:45:04.760 --> 0:45:06.719
<v Speaker 1>like oh I better hold onto the grass, but it's

0:45:06.760 --> 0:45:10.480
<v Speaker 1>this sort of overwhelming sense of of the vast. I

0:45:10.480 --> 0:45:11.799
<v Speaker 1>think a lot of it does come back to what

0:45:11.840 --> 0:45:16.000
<v Speaker 1>we discussed earlier, this connection between UM, the infinite and

0:45:16.040 --> 0:45:21.000
<v Speaker 1>the finite, between how this is of great expanse can

0:45:21.040 --> 0:45:23.279
<v Speaker 1>affect us. So to one line of thinking, clear of

0:45:23.320 --> 0:45:25.960
<v Speaker 1>the blue sky might be relaxing and a brilliant star

0:45:26.080 --> 0:45:29.560
<v Speaker 1>escape inspiring, but to others this could certainly be overpowering,

0:45:29.640 --> 0:45:34.720
<v Speaker 1>perhaps bringing out feelings of vulnerability and insignificance. Yes, certainly,

0:45:34.719 --> 0:45:37.200
<v Speaker 1>And this comes back to UM. You know something we

0:45:37.239 --> 0:45:39.759
<v Speaker 1>talked about a couple of episodes ago about like the

0:45:40.120 --> 0:45:44.680
<v Speaker 1>difference in art styles that people use to h to

0:45:44.840 --> 0:45:49.520
<v Speaker 1>create sacred or RESTful or contemplative spaces in UH in

0:45:49.560 --> 0:45:54.040
<v Speaker 1>different environments, and how it's not clear that there's always

0:45:54.040 --> 0:45:58.239
<v Speaker 1>a correlation in this direction, but it's possible that you

0:45:58.239 --> 0:46:00.920
<v Speaker 1>could have trends where people who spend more of their

0:46:00.920 --> 0:46:04.120
<v Speaker 1>time in a kind of like a busy environment might

0:46:04.200 --> 0:46:07.120
<v Speaker 1>be more inclined to have their sacred or RESTful or

0:46:07.120 --> 0:46:11.640
<v Speaker 1>contemplative spaces decorated in a minimalist way that has more blankness,

0:46:11.680 --> 0:46:14.960
<v Speaker 1>more uniformity of color, and things like that, whereas people

0:46:15.040 --> 0:46:19.799
<v Speaker 1>who live in uh in more pastoral environments might be

0:46:19.880 --> 0:46:24.239
<v Speaker 1>more attracted to sacred, RESTful, or or contemplative spaces that

0:46:24.280 --> 0:46:29.200
<v Speaker 1>are full of rich detail. And the example was Tibetan art. Yeah. Yeah,

0:46:29.239 --> 0:46:32.520
<v Speaker 1>so I think I think all that applies here as well. Again,

0:46:32.880 --> 0:46:37.040
<v Speaker 1>this this becomes so subjective depending on where one's head

0:46:37.200 --> 0:46:39.720
<v Speaker 1>is and um, and you know what you're thinking about,

0:46:40.239 --> 0:46:43.280
<v Speaker 1>and then suddenly you encounter, say a wide open space

0:46:43.440 --> 0:46:46.680
<v Speaker 1>or an enclosed space, and then how does that affect

0:46:47.080 --> 0:46:51.279
<v Speaker 1>how you're feeling? Now? I was looking around for other

0:46:51.520 --> 0:46:54.680
<v Speaker 1>other sources commenting on some of this, and I did

0:46:54.719 --> 0:46:59.440
<v Speaker 1>find a very interesting paper by Dr Francisco Matta. The

0:46:59.440 --> 0:47:05.279
<v Speaker 1>papers all they a phenomenological investigation of the presence thing

0:47:05.320 --> 0:47:10.400
<v Speaker 1>of space, and this was, Uh, this is an interesting paper.

0:47:10.440 --> 0:47:12.839
<v Speaker 1>You can find it online, um and uh and read

0:47:12.880 --> 0:47:14.920
<v Speaker 1>it for free of an interest here, But I just

0:47:14.960 --> 0:47:16.600
<v Speaker 1>want to read one quote from it that kind of

0:47:16.600 --> 0:47:20.240
<v Speaker 1>gets down to what we're talking about here quote. However,

0:47:20.280 --> 0:47:23.720
<v Speaker 1>this search for freedom or empowerment can be frightening whenever

0:47:23.800 --> 0:47:26.320
<v Speaker 1>one is searching for what we used to call a

0:47:26.440 --> 0:47:30.719
<v Speaker 1>horizontality and puts oneself in situations in which one may

0:47:30.760 --> 0:47:34.880
<v Speaker 1>perceive larger volumes of space, one runs the risk of

0:47:35.000 --> 0:47:38.000
<v Speaker 1>losing sight of the limits of such a volume, in

0:47:38.000 --> 0:47:42.279
<v Speaker 1>which case one will likely feel keenophobic. One may have

0:47:42.480 --> 0:47:45.920
<v Speaker 1>this fearful experience since one has no anchors of reference,

0:47:46.200 --> 0:47:49.200
<v Speaker 1>and therefore one is unable to become aware of any

0:47:49.280 --> 0:47:53.800
<v Speaker 1>volume of space. For example, when out at c departing

0:47:53.800 --> 0:47:57.400
<v Speaker 1>from the coastline and heading farther and farther into the ocean,

0:47:57.800 --> 0:48:00.320
<v Speaker 1>one comes to be in the midst of a vast

0:48:00.440 --> 0:48:05.600
<v Speaker 1>extension of limitless water. Canophobia is in fact the opposite

0:48:05.600 --> 0:48:09.360
<v Speaker 1>of being placed, the being at home that comes with

0:48:09.480 --> 0:48:12.879
<v Speaker 1>top ophilia. So that's interesting. I like that explanation a lot,

0:48:13.080 --> 0:48:16.040
<v Speaker 1>This feeling of that you could be hit with that. Again,

0:48:16.040 --> 0:48:19.360
<v Speaker 1>this is highly subjective, but you encounter this vast expands

0:48:19.400 --> 0:48:23.439
<v Speaker 1>of ocean or sky or desert, and you you loose

0:48:24.040 --> 0:48:26.080
<v Speaker 1>side of the limits, and you might think, well, you know,

0:48:26.120 --> 0:48:27.880
<v Speaker 1>I have no place here, I have I have no

0:48:28.000 --> 0:48:30.800
<v Speaker 1>belonging here. This is the overwhelming scope of the world

0:48:31.160 --> 0:48:34.960
<v Speaker 1>kind of unhinges me from that, like that spatial sense

0:48:35.000 --> 0:48:38.399
<v Speaker 1>of belonging. Alright, looks like we've gone the limit here.

0:48:38.800 --> 0:48:41.200
<v Speaker 1>We're we're late for the sky, so we're gonna go

0:48:41.280 --> 0:48:43.279
<v Speaker 1>ahead and close it out. But we'd love to hear

0:48:43.320 --> 0:48:46.279
<v Speaker 1>from everyone out there if you have thoughts and reflections

0:48:46.280 --> 0:48:47.799
<v Speaker 1>on all of this. I'd especially love to hear from

0:48:47.800 --> 0:48:50.880
<v Speaker 1>anyone out there who has had a similar or conflicting

0:48:50.920 --> 0:48:54.560
<v Speaker 1>reaction to say, a very open blue sky or a

0:48:54.640 --> 0:49:00.040
<v Speaker 1>very open um starvista at night. Uh be interesting to

0:49:00.120 --> 0:49:02.440
<v Speaker 1>continue to discuss this on our listener mail episodes. Our

0:49:02.480 --> 0:49:05.239
<v Speaker 1>listener Mail episodes of course published on Mondays in the

0:49:05.239 --> 0:49:08.360
<v Speaker 1>Stuff to Blow Your Mind podcast feed Our Core Science

0:49:08.400 --> 0:49:12.000
<v Speaker 1>episodes are on Tuesdays and Thursdays, short form Monster Fact

0:49:12.080 --> 0:49:14.960
<v Speaker 1>on Wednesdays, and then on Fridays, we set aside most

0:49:14.960 --> 0:49:17.279
<v Speaker 1>serious concerns and just talk about a strange film on

0:49:17.400 --> 0:49:21.920
<v Speaker 1>Weird House Cinema. Huge thanks to our audio producer J J. Pauseway.

0:49:22.280 --> 0:49:24.000
<v Speaker 1>If you would like to get in touch with us

0:49:24.000 --> 0:49:26.640
<v Speaker 1>with feedback on this episode or any other, to suggest

0:49:26.680 --> 0:49:28.640
<v Speaker 1>a topic for the future, or just to say hello,

0:49:28.680 --> 0:49:31.319
<v Speaker 1>you can email us at contact at Stuff to Blow

0:49:31.360 --> 0:49:42.319
<v Speaker 1>Your Mind dot com Stuff to Blow your Mind. It's

0:49:42.320 --> 0:49:45.040
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