1 00:00:03,120 --> 00:00:06,240 Speaker 1: Welcome to stuff to Blow Your Mind from how Stuffworks 2 00:00:06,280 --> 00:00:15,120 Speaker 1: dot com. Hey, welcome to Stuffed to All Your Mind. 3 00:00:15,160 --> 00:00:17,680 Speaker 1: My name is Robert Lamb and I'm Julie Douglas. If 4 00:00:17,720 --> 00:00:20,680 Speaker 1: you tuned into our podcast recently, you might have enjoyed 5 00:00:20,720 --> 00:00:25,320 Speaker 1: an episode about century deprivation, about sensory deprivation tanks, about 6 00:00:25,960 --> 00:00:29,840 Speaker 1: entering the womb to tomb wet box, which which you 7 00:00:29,840 --> 00:00:32,480 Speaker 1: don't like that term, but I think issue with wet box. 8 00:00:32,560 --> 00:00:35,479 Speaker 1: Yeah it does sound kind of weird, little Chris, But 9 00:00:35,960 --> 00:00:39,840 Speaker 1: but entering this this chamber of salty water and deprivated 10 00:00:39,840 --> 00:00:44,239 Speaker 1: senses and experiencing something phenomenal. Yeah, you go into the 11 00:00:44,240 --> 00:00:47,720 Speaker 1: moist box. See that's no better, is it? Um? And 12 00:00:47,880 --> 00:00:52,760 Speaker 1: it really is sort of an amazing experience. Um, simply 13 00:00:52,800 --> 00:00:56,040 Speaker 1: because you're doing something that's pretty elementary, right, You are 14 00:00:56,080 --> 00:00:59,040 Speaker 1: taking out all that sort of stimuli that's surrounding you 15 00:00:59,080 --> 00:01:02,880 Speaker 1: every day, and then you are trapped with your mind, 16 00:01:03,360 --> 00:01:05,640 Speaker 1: which some of us feel sometimes like we are trapped 17 00:01:05,680 --> 00:01:07,720 Speaker 1: within the box of our minds. So we sort of 18 00:01:07,760 --> 00:01:10,640 Speaker 1: like you're trapped within a box within a box. I 19 00:01:10,680 --> 00:01:12,680 Speaker 1: feel like in a way, when we're trapped in our 20 00:01:12,720 --> 00:01:15,080 Speaker 1: own mind, in our daily life, we tend it's more 21 00:01:15,160 --> 00:01:17,919 Speaker 1: like we are trapped in a party with one party 22 00:01:17,959 --> 00:01:20,399 Speaker 1: guest that we desperately want to annoy a void, but 23 00:01:20,440 --> 00:01:23,080 Speaker 1: they keep cornering us and talking at us. So it's 24 00:01:23,080 --> 00:01:25,080 Speaker 1: like we're in this party. There's lots of stuff around us. 25 00:01:25,080 --> 00:01:26,720 Speaker 1: I got work to do. If I don't want to 26 00:01:26,720 --> 00:01:28,839 Speaker 1: do my work for some reason, I've got things I'm reading. 27 00:01:28,920 --> 00:01:31,240 Speaker 1: I can always look something up on the internet or 28 00:01:31,440 --> 00:01:34,400 Speaker 1: or do something on my to do list. So they're 29 00:01:34,400 --> 00:01:37,440 Speaker 1: all these people that I can interact with at this party. 30 00:01:37,480 --> 00:01:40,880 Speaker 1: But the my this nagging voice in my mind keeps 31 00:01:40,920 --> 00:01:43,000 Speaker 1: coming up and saying, hey, remember when you were in 32 00:01:43,080 --> 00:01:45,440 Speaker 1: high school, and remember that thing you said to your 33 00:01:45,440 --> 00:01:47,440 Speaker 1: friend last week, And what are you gonna do next week? 34 00:01:47,480 --> 00:01:49,640 Speaker 1: You know? And then you're like, oh, I'm cornered by 35 00:01:49,640 --> 00:01:51,760 Speaker 1: this creep again. But then you you go on, Whereas 36 00:01:51,800 --> 00:01:54,440 Speaker 1: the censory deprivation tank is kind of like saying, all right, 37 00:01:55,160 --> 00:01:57,200 Speaker 1: you and this annoying party guests are going to spend 38 00:01:57,200 --> 00:01:59,880 Speaker 1: some time together and you're gonna figure out what doesn't work. 39 00:02:00,160 --> 00:02:03,000 Speaker 1: And there's no cheese plate too to escape to, right, 40 00:02:03,080 --> 00:02:05,520 Speaker 1: Like it's just you and you. Yeah, you can't see, 41 00:02:05,560 --> 00:02:07,600 Speaker 1: you have to run refresh your drink or use the bathroom. 42 00:02:07,720 --> 00:02:11,080 Speaker 1: You gotta fight it out right, right, So we both 43 00:02:11,200 --> 00:02:17,000 Speaker 1: underwent the sensory deprivations sixty minutes long. And uh, I 44 00:02:17,040 --> 00:02:20,000 Speaker 1: will say that for for my first session, because I 45 00:02:20,000 --> 00:02:23,080 Speaker 1: did too. I put a little hand towel in the 46 00:02:23,120 --> 00:02:26,000 Speaker 1: door because I was not really all that interested in 47 00:02:26,120 --> 00:02:28,720 Speaker 1: sealing myself into something, because I wasn't quite sure if 48 00:02:28,720 --> 00:02:31,280 Speaker 1: I was claustrophobic. And we described the thing for them 49 00:02:31,360 --> 00:02:35,120 Speaker 1: enough but essentially kind of like a not as casket 50 00:02:35,200 --> 00:02:37,560 Speaker 1: like as I was hoping, and I imagine you were 51 00:02:37,600 --> 00:02:40,239 Speaker 1: maybe fearing, but kind of you know, like this big 52 00:02:40,280 --> 00:02:43,800 Speaker 1: pod with kind of a squarish like back portion because 53 00:02:43,800 --> 00:02:47,000 Speaker 1: it it has like an auto auto cleaning and filtration 54 00:02:47,040 --> 00:02:50,600 Speaker 1: system and it's about chest high, so it was a 55 00:02:50,600 --> 00:02:52,000 Speaker 1: lot higher than I thought it was going to be, 56 00:02:52,040 --> 00:02:53,960 Speaker 1: which is good because you have more room to to 57 00:02:54,080 --> 00:02:56,919 Speaker 1: move around and get in and out right. Um, it's 58 00:02:56,919 --> 00:03:00,360 Speaker 1: got a little hatch that opens and closes, and it's 59 00:03:00,400 --> 00:03:03,840 Speaker 1: kind of filtration system, very very important for anybody who's 60 00:03:03,960 --> 00:03:07,960 Speaker 1: not interested in soaking in someone else's body stuff. Yeah, 61 00:03:08,560 --> 00:03:12,160 Speaker 1: and in the water itself is is high salt content, 62 00:03:12,200 --> 00:03:16,440 Speaker 1: I mean how many how many pounds was like pounds, right, Yeah, 63 00:03:16,480 --> 00:03:19,080 Speaker 1: so you're just you're soaking in that no, just soaking it, 64 00:03:19,160 --> 00:03:22,800 Speaker 1: floating on it because you float in water that's salty 65 00:03:22,880 --> 00:03:26,720 Speaker 1: and uh. And then the hatches closed or partially closed, 66 00:03:27,280 --> 00:03:30,200 Speaker 1: and that cuts out most of the sound. Also, you're 67 00:03:30,280 --> 00:03:33,480 Speaker 1: using wax waxy earpes, yeah, like little bits of bubblegum 68 00:03:33,520 --> 00:03:35,600 Speaker 1: to go in your ear. You're wearing those. So that's 69 00:03:35,600 --> 00:03:37,720 Speaker 1: helping to deaden out the sound as well, and keep 70 00:03:37,720 --> 00:03:40,440 Speaker 1: the water out and keep the water out. Your eyes 71 00:03:40,480 --> 00:03:43,200 Speaker 1: are kept mostly I mean your your eyes are kept 72 00:03:43,240 --> 00:03:46,560 Speaker 1: above the water because you're floating on your back and uh. 73 00:03:46,640 --> 00:03:51,440 Speaker 1: And then the hatches closed or partially closed, thus obscuring light. Right, 74 00:03:51,720 --> 00:03:53,880 Speaker 1: and the water is heated to believe it's swept a 75 00:03:54,080 --> 00:03:58,480 Speaker 1: thirty three degrees celsius either thirty or thirty three and 76 00:03:59,240 --> 00:04:01,920 Speaker 1: degrees fahrenheit. Yeah. So the idea here is you're not like, 77 00:04:01,920 --> 00:04:04,040 Speaker 1: oh this water is a little chili or oh this 78 00:04:04,080 --> 00:04:07,160 Speaker 1: is so nice and warm, but more it's in it's 79 00:04:07,160 --> 00:04:09,920 Speaker 1: in keeping with your body. So the idea is that 80 00:04:09,960 --> 00:04:13,720 Speaker 1: it blurs the line between where year flesh ends and 81 00:04:13,760 --> 00:04:16,680 Speaker 1: the water begins. Right, the borders are just this fall away, 82 00:04:16,720 --> 00:04:19,680 Speaker 1: and in some sense they certainly do that. Yeah, except 83 00:04:19,680 --> 00:04:21,839 Speaker 1: if you have a scratch on you or something, and 84 00:04:21,839 --> 00:04:24,279 Speaker 1: then the salt water will let you know where your 85 00:04:24,320 --> 00:04:26,240 Speaker 1: flesh ends and the water begins, and that's something they 86 00:04:26,279 --> 00:04:28,680 Speaker 1: warn you about. There's like a tub of asoline on 87 00:04:28,720 --> 00:04:31,600 Speaker 1: top of the tank. You're supposed to put on your 88 00:04:31,600 --> 00:04:34,279 Speaker 1: cuts before you go in if you, I mean, ideally, 89 00:04:34,279 --> 00:04:36,040 Speaker 1: if you just you know, ran through a thornbush, you 90 00:04:36,360 --> 00:04:39,599 Speaker 1: probably should skip going to the Century deprivation tank that 91 00:04:39,720 --> 00:04:42,080 Speaker 1: day until you're or if you've just shaved, or you've 92 00:04:42,120 --> 00:04:44,919 Speaker 1: just shaved. And even then though, if you get like 93 00:04:44,920 --> 00:04:46,560 Speaker 1: a little stain because I went in there and I 94 00:04:47,080 --> 00:04:50,240 Speaker 1: was not expecting that, and it stung a little bit, 95 00:04:50,240 --> 00:04:51,440 Speaker 1: but then you sort of get used to it and 96 00:04:51,440 --> 00:04:53,240 Speaker 1: it goes the feeling goes away. Yeah, And I will 97 00:04:53,279 --> 00:04:55,840 Speaker 1: say the first time I floated, a lot of the 98 00:04:56,160 --> 00:05:01,320 Speaker 1: float was dealing with this the limit. It's stimuli that 99 00:05:01,360 --> 00:05:03,719 Speaker 1: I had access to. In other words, you know, oh, 100 00:05:03,800 --> 00:05:05,720 Speaker 1: I have many more bug bites than I knew of 101 00:05:05,760 --> 00:05:09,120 Speaker 1: because now it's just stinging, and it's much more amplified 102 00:05:09,440 --> 00:05:12,400 Speaker 1: because I have nothing else to concentrate on. Um, there's 103 00:05:12,440 --> 00:05:15,039 Speaker 1: also a particular smell to the water, and I'm attributing 104 00:05:15,120 --> 00:05:17,839 Speaker 1: that to the aps some salt. Yeah, and also just 105 00:05:17,880 --> 00:05:20,880 Speaker 1: sort of I mean, it is essentially kind of enclosed, 106 00:05:20,920 --> 00:05:23,760 Speaker 1: sort of hot tub type environment. So if you've if 107 00:05:23,760 --> 00:05:25,640 Speaker 1: you ever owned a hot tub or frequently use a 108 00:05:25,640 --> 00:05:29,159 Speaker 1: hot tub, you know there are certain smells associated with that. 109 00:05:29,279 --> 00:05:31,320 Speaker 1: I'm talking about a functioning hot tub. I'm not talking 110 00:05:31,360 --> 00:05:35,120 Speaker 1: like a funky, um, you know, disease written hot tub. 111 00:05:35,440 --> 00:05:37,839 Speaker 1: But in other words, what I'm saying is that even 112 00:05:37,880 --> 00:05:41,360 Speaker 1: though you're deprevating, deprevating certain senses, your sense of smell 113 00:05:41,440 --> 00:05:43,400 Speaker 1: is still going to be intact unless you plug up 114 00:05:43,400 --> 00:05:46,040 Speaker 1: your nose, I guess. Um, so you are going to 115 00:05:46,120 --> 00:05:49,880 Speaker 1: get certain salty hot tubby odors. And this is all 116 00:05:49,960 --> 00:05:52,520 Speaker 1: stuff for the money to chew on while you are 117 00:05:52,600 --> 00:05:56,960 Speaker 1: immersed in this water, right because again you have very 118 00:05:57,080 --> 00:06:00,440 Speaker 1: limited stuff here to work with. So um, that doesn't 119 00:06:00,480 --> 00:06:02,880 Speaker 1: mean that your entire float you would be you know, 120 00:06:02,920 --> 00:06:06,800 Speaker 1: sitting here being driven crazy by these different elements. It's 121 00:06:06,839 --> 00:06:09,960 Speaker 1: just sort of easing into this process. And of course 122 00:06:10,120 --> 00:06:13,360 Speaker 1: it is different for every single person who floats. Yeah, Now, 123 00:06:13,400 --> 00:06:15,560 Speaker 1: the feel of it, Um, we should we should talk 124 00:06:15,560 --> 00:06:17,560 Speaker 1: about next. I was I knew I was going to 125 00:06:17,640 --> 00:06:20,560 Speaker 1: be floating, but I haven't really floated in anything like 126 00:06:20,600 --> 00:06:22,719 Speaker 1: this before, Like I've never been to the Dead Sea 127 00:06:22,839 --> 00:06:26,360 Speaker 1: or anything like that. So this was a first for me. 128 00:06:26,400 --> 00:06:28,760 Speaker 1: And it was really kind of surprising because I climbed 129 00:06:28,760 --> 00:06:32,200 Speaker 1: into it. Uh and uh and you you climb you 130 00:06:32,200 --> 00:06:33,920 Speaker 1: you don't think you have to climb into it naked, 131 00:06:34,000 --> 00:06:37,760 Speaker 1: but it's it's implied that you should. It is because again, 132 00:06:37,800 --> 00:06:40,560 Speaker 1: you become much more aware of what stimuli is there. 133 00:06:40,600 --> 00:06:41,960 Speaker 1: So if you have a bathing suit on, then you're 134 00:06:41,960 --> 00:06:45,039 Speaker 1: going to be aware of the elastic or or whatnot. 135 00:06:45,120 --> 00:06:48,480 Speaker 1: And ultimately it's more hygienek that way, because I think 136 00:06:48,480 --> 00:06:51,159 Speaker 1: I've talked about sauna is a bit before. Um. You know, 137 00:06:51,200 --> 00:06:53,279 Speaker 1: in the US, everyone's going into a sauna with some 138 00:06:53,320 --> 00:06:57,280 Speaker 1: sort of bathing suit on, whereas in Europe and you're 139 00:06:57,320 --> 00:07:00,240 Speaker 1: going to encounter more of a nude tramp end in 140 00:07:00,240 --> 00:07:04,159 Speaker 1: your saunas and and and the nude trend is arguably 141 00:07:04,200 --> 00:07:07,000 Speaker 1: far more sanitary because it's you don't know where the 142 00:07:07,200 --> 00:07:09,320 Speaker 1: bathing suits have been or how clean those are. People 143 00:07:09,320 --> 00:07:13,840 Speaker 1: are bringing these soggy um you know, lower torso garments 144 00:07:13,880 --> 00:07:16,200 Speaker 1: that have been soaking in water and and you know 145 00:07:16,240 --> 00:07:19,640 Speaker 1: whatever else. So ultimately, I think I think that everyone 146 00:07:19,720 --> 00:07:22,600 Speaker 1: going into the isolation tank naked is really better for everyone. 147 00:07:22,920 --> 00:07:25,920 Speaker 1: Then you're taking a shower before and after as well. Yeah, 148 00:07:25,960 --> 00:07:28,320 Speaker 1: those are the rules. Those are the rules. Where was 149 00:07:28,360 --> 00:07:30,920 Speaker 1: I talking about on that round? I was talking about 150 00:07:30,920 --> 00:07:33,720 Speaker 1: the feeling. Yes, so I climbed in and then I 151 00:07:34,360 --> 00:07:36,480 Speaker 1: and you kind of slipped the last little bit. It's 152 00:07:36,520 --> 00:07:39,240 Speaker 1: kind of like going into a torpedo tube and then 153 00:07:39,240 --> 00:07:43,200 Speaker 1: suddenly I'm just floating and it's it's really weird sensation 154 00:07:43,240 --> 00:07:45,560 Speaker 1: if you've never felt it before. Yeah, because you can't 155 00:07:45,600 --> 00:07:48,880 Speaker 1: see anything. So um. We talked about this and the 156 00:07:49,000 --> 00:07:51,520 Speaker 1: episode I believe about the quietest room in the world 157 00:07:51,560 --> 00:07:55,520 Speaker 1: that even just deprived of your auditory cues, you begin 158 00:07:55,640 --> 00:07:58,200 Speaker 1: to lose your sense of where you are in time 159 00:07:58,240 --> 00:08:00,320 Speaker 1: and space. So that's why people in the quiet stroom 160 00:08:00,320 --> 00:08:03,080 Speaker 1: in the world at the oar Field Labs, they have 161 00:08:03,160 --> 00:08:06,120 Speaker 1: to sit down after thirty minutes because they don't really 162 00:08:06,120 --> 00:08:09,400 Speaker 1: feel like they're pinned in space and time. Well, think 163 00:08:09,400 --> 00:08:14,280 Speaker 1: of yourself in this tank, floating um, naked, and those 164 00:08:14,360 --> 00:08:18,360 Speaker 1: borders of yourself melting away and This is when people 165 00:08:18,400 --> 00:08:20,640 Speaker 1: begin to feel as though they're spinning inside. And some 166 00:08:20,640 --> 00:08:22,880 Speaker 1: people feel like they're spinning really really fast, or they're 167 00:08:22,880 --> 00:08:26,040 Speaker 1: just kind of cruising around, but it's a very odd feeling. Well, 168 00:08:26,080 --> 00:08:28,520 Speaker 1: I kept having this this feeling, and this would happen 169 00:08:28,520 --> 00:08:31,440 Speaker 1: sort of the more I was in there. Um, you know, 170 00:08:31,480 --> 00:08:35,120 Speaker 1: I'm floating, and I'm floating essentially on a on a 171 00:08:35,160 --> 00:08:39,160 Speaker 1: horizontal plane, and but there's a little bobbing around and 172 00:08:39,160 --> 00:08:41,480 Speaker 1: occasionally your your your hand, your foot will touch the 173 00:08:41,520 --> 00:08:44,280 Speaker 1: side and then I would get get to get this 174 00:08:44,320 --> 00:08:47,560 Speaker 1: feeling as if the horizontal plane were tipping forward, but 175 00:08:47,600 --> 00:08:49,520 Speaker 1: that I was staying in one place, and then kind 176 00:08:49,520 --> 00:08:52,240 Speaker 1: of a feeling like I was shooting down a tube. 177 00:08:52,559 --> 00:08:55,880 Speaker 1: So there's this like false feeling of movement as well. Um, 178 00:08:56,160 --> 00:08:58,160 Speaker 1: it never felt woozy or anything. I didn't feel like 179 00:08:58,160 --> 00:08:59,240 Speaker 1: it was gonna be sick or like it was on 180 00:08:59,280 --> 00:09:02,400 Speaker 1: a roller coaster exactly. But it was this this this 181 00:09:02,480 --> 00:09:06,320 Speaker 1: feeling of movement that I knew wasn't actually happening. Yeah, 182 00:09:06,400 --> 00:09:08,640 Speaker 1: and how did your brain deal with that? You know, 183 00:09:08,800 --> 00:09:11,959 Speaker 1: did you were you consumed by it? Or Um? I 184 00:09:12,040 --> 00:09:14,320 Speaker 1: was kind of like thinking, WHOA, I really feel like 185 00:09:14,360 --> 00:09:17,400 Speaker 1: I'm moving, and I would picture myself in like a 186 00:09:17,440 --> 00:09:20,680 Speaker 1: plane of darkness, um, you know, and then being tipped 187 00:09:20,720 --> 00:09:22,839 Speaker 1: forward and then occasionally and this is where I got 188 00:09:22,880 --> 00:09:25,240 Speaker 1: into trouble a little bit, is that I would sort 189 00:09:25,240 --> 00:09:27,400 Speaker 1: of I feel myself tipping forward. So I tipped my 190 00:09:27,400 --> 00:09:30,800 Speaker 1: head back a little bit, presumably to keep my head 191 00:09:30,840 --> 00:09:33,200 Speaker 1: above the water, and of course my since the water 192 00:09:33,360 --> 00:09:36,080 Speaker 1: plane wasn't actually tilting, all I managed to do was 193 00:09:36,360 --> 00:09:39,520 Speaker 1: was get a little salt water in my eyes. Yeah, 194 00:09:39,600 --> 00:09:42,280 Speaker 1: And it's really interesting all these little things, all this 195 00:09:42,400 --> 00:09:45,120 Speaker 1: minutia you begin to sort of get caught up with, 196 00:09:45,200 --> 00:09:50,280 Speaker 1: and then your body becomes accepting of it eventually because 197 00:09:50,400 --> 00:09:52,720 Speaker 1: it adapts. And now I thought that was the fascinating 198 00:09:52,760 --> 00:09:55,079 Speaker 1: part of all of this, is that here we are 199 00:09:55,679 --> 00:09:59,120 Speaker 1: just completely bombarded by everything, um, by all the little 200 00:09:59,200 --> 00:10:04,080 Speaker 1: undercurrent suff sound of you know, the state of our hunger, 201 00:10:04,559 --> 00:10:07,480 Speaker 1: you know, if we're super hungry or not very hungry 202 00:10:07,520 --> 00:10:11,359 Speaker 1: at all, or not feeling great, um, the interactions with everybody, 203 00:10:11,760 --> 00:10:14,160 Speaker 1: all the data we're taking in with our eyes. You 204 00:10:14,200 --> 00:10:17,000 Speaker 1: shut all of that out and the brain kind of 205 00:10:17,000 --> 00:10:19,640 Speaker 1: goes a little bit. I will say, nuts like light nuts, 206 00:10:19,720 --> 00:10:22,360 Speaker 1: good nuts, right, um, And then adapt to that and 207 00:10:22,400 --> 00:10:24,760 Speaker 1: you begin to feel that release into the water. And 208 00:10:24,800 --> 00:10:27,320 Speaker 1: I think that is the key point that that everybody 209 00:10:27,360 --> 00:10:31,000 Speaker 1: has talked about anecnotally is you know, this is this 210 00:10:31,080 --> 00:10:33,480 Speaker 1: is what the tank is really good for, is that 211 00:10:33,520 --> 00:10:35,880 Speaker 1: you do have a release in your your brain and 212 00:10:35,920 --> 00:10:38,600 Speaker 1: your body finally decide to just sort of submit to 213 00:10:38,679 --> 00:10:42,160 Speaker 1: the experience and things do get quiet. And I'm not 214 00:10:42,200 --> 00:10:43,880 Speaker 1: going to say that I had a completely you know, 215 00:10:43,920 --> 00:10:47,080 Speaker 1: meditative state. You know, after twenty minutes, who knows. Because 216 00:10:47,200 --> 00:10:51,400 Speaker 1: time is nonexistent in the town. Like basically they tell 217 00:10:51,440 --> 00:10:53,800 Speaker 1: you don't think about time because a number of things 218 00:10:53,840 --> 00:10:56,360 Speaker 1: will happen. You'll hear the filtration system kick in the end, 219 00:10:57,000 --> 00:10:59,520 Speaker 1: and then they'll make some music play in the room, 220 00:10:59,600 --> 00:11:01,160 Speaker 1: and then if that didn't work, they'll come and knock 221 00:11:01,160 --> 00:11:03,760 Speaker 1: on the door. So the idea is, don't worry about 222 00:11:03,800 --> 00:11:05,679 Speaker 1: how close you are to the finish line. We'll tell 223 00:11:05,720 --> 00:11:07,640 Speaker 1: you when your time is right. It's just sort of 224 00:11:07,640 --> 00:11:11,960 Speaker 1: slipping in and out of different states. Um. So that 225 00:11:12,040 --> 00:11:15,040 Speaker 1: was to me one of the most interesting things altered Stass, 226 00:11:15,080 --> 00:11:17,240 Speaker 1: which we talked about, is that the main thing that 227 00:11:17,280 --> 00:11:19,880 Speaker 1: comes out of this experiences that people are having altered 228 00:11:19,920 --> 00:11:23,320 Speaker 1: states of consciousness. Now you mean you were talking about 229 00:11:23,400 --> 00:11:26,200 Speaker 1: We're talking about sound there. One of the impressions I 230 00:11:26,240 --> 00:11:29,000 Speaker 1: definitely had is that I you know, I'm in there, 231 00:11:29,040 --> 00:11:30,800 Speaker 1: I'm in my own head. And then time sort of 232 00:11:30,840 --> 00:11:33,760 Speaker 1: starts to slip by, and then suddenly I'm hearing this 233 00:11:33,920 --> 00:11:36,920 Speaker 1: noise and it sounds like the crashing of waves on 234 00:11:36,960 --> 00:11:39,520 Speaker 1: a beach. And then I realized that it's my own 235 00:11:39,640 --> 00:11:42,120 Speaker 1: breathing because I have the have the plugs in, I'm 236 00:11:42,160 --> 00:11:44,760 Speaker 1: in the in the water, and uh, and so most 237 00:11:44,800 --> 00:11:46,840 Speaker 1: of the noises, I mean pretty much all the noises 238 00:11:46,840 --> 00:11:49,040 Speaker 1: I'm hearing is simply the noises of my body. So 239 00:11:49,120 --> 00:11:51,319 Speaker 1: I'm hearing my breathing. And that was a really interesting 240 00:11:51,320 --> 00:11:54,880 Speaker 1: experience because it did feel like waves crashing. Sound like 241 00:11:54,920 --> 00:11:57,920 Speaker 1: waves crashing. I had that same experience, and I thought, wow, 242 00:11:57,960 --> 00:11:59,200 Speaker 1: that sounds like I'm on the beach. And then the 243 00:11:59,200 --> 00:12:01,280 Speaker 1: same thing, I was old to realize that it was 244 00:12:01,440 --> 00:12:03,920 Speaker 1: just my own breath. Um. And you can cure your 245 00:12:04,040 --> 00:12:07,760 Speaker 1: your heart beating. UM. At one point I decided that 246 00:12:07,840 --> 00:12:10,560 Speaker 1: the towel in the door that just had the crack 247 00:12:10,600 --> 00:12:13,320 Speaker 1: of light coming through was not good because I would 248 00:12:13,320 --> 00:12:16,400 Speaker 1: sort of go into these into the void of nothingness 249 00:12:16,640 --> 00:12:18,880 Speaker 1: and be taken out when I floated near the top 250 00:12:19,120 --> 00:12:21,000 Speaker 1: where that crack of light was, and and again you 251 00:12:21,160 --> 00:12:24,000 Speaker 1: you left that there because you're maybe a little claustrophobic. 252 00:12:24,320 --> 00:12:26,720 Speaker 1: I didn't know. You know, I've never been sealed into anything. 253 00:12:26,920 --> 00:12:29,800 Speaker 1: Um I didn't wasn't crazy about the idea, honestly. Um 254 00:12:29,880 --> 00:12:31,960 Speaker 1: So I thought, I'll just do that, and then I 255 00:12:32,040 --> 00:12:34,000 Speaker 1: know that I have you know, I can just push 256 00:12:34,040 --> 00:12:35,880 Speaker 1: it open, which I could do anyway. But once I 257 00:12:35,920 --> 00:12:38,640 Speaker 1: got past the fear of that, I wanted to take 258 00:12:38,679 --> 00:12:41,720 Speaker 1: it out. But here's the thing. I started to lift 259 00:12:41,760 --> 00:12:44,480 Speaker 1: my head maybe a couple of inches, and I was 260 00:12:44,720 --> 00:12:48,959 Speaker 1: so incredibly heavy and so shocked by that that I 261 00:12:49,000 --> 00:12:53,000 Speaker 1: said never mind, because it felt like my my neck 262 00:12:53,200 --> 00:12:56,480 Speaker 1: way a thousand pounds. And that's when I realized the 263 00:12:56,520 --> 00:13:01,280 Speaker 1: extent to which my body had just become entirely relaxed, 264 00:13:02,080 --> 00:13:04,520 Speaker 1: as well as my mind. Yeah, all right, we're gonna 265 00:13:04,559 --> 00:13:06,560 Speaker 1: take a quick break, and when we come back, we're 266 00:13:06,640 --> 00:13:09,920 Speaker 1: going to enter one of the more obvious realms of 267 00:13:09,920 --> 00:13:12,160 Speaker 1: the senses here, that is that is being taken away 268 00:13:12,160 --> 00:13:13,600 Speaker 1: from us in the tank. We're going to talk about 269 00:13:13,679 --> 00:13:16,040 Speaker 1: sight and we're gonna talk about the darkness, and then 270 00:13:16,080 --> 00:13:17,520 Speaker 1: after that we're also going to try and catch up 271 00:13:17,559 --> 00:13:30,120 Speaker 1: on a little of the stroman. All right, we're back, 272 00:13:30,360 --> 00:13:32,480 Speaker 1: and now it's time to talk about the darkness and 273 00:13:32,520 --> 00:13:35,840 Speaker 1: talk about the darkness. Darkness? What about what our encounter 274 00:13:35,920 --> 00:13:38,200 Speaker 1: with the darkness inside of the tank? All right? So 275 00:13:38,280 --> 00:13:41,800 Speaker 1: are you talking about hallucinations? Yes? Yes, Okay, Well, the 276 00:13:41,840 --> 00:13:43,840 Speaker 1: first time, I really, like I said, it was sort 277 00:13:43,840 --> 00:13:47,760 Speaker 1: of a struggle between being present and letting myself go 278 00:13:48,160 --> 00:13:50,840 Speaker 1: and being preoccupied with what was going on with my 279 00:13:50,920 --> 00:13:54,520 Speaker 1: body or you get my stomach gurgling um. But I 280 00:13:54,559 --> 00:14:00,240 Speaker 1: did see a crusty eyeball staring at me. Whoa, which 281 00:14:00,240 --> 00:14:05,520 Speaker 1: I wasn't crusty sort of well, sort of like opaque 282 00:14:05,559 --> 00:14:10,720 Speaker 1: looking eyeball that just looked crusty and old. And I 283 00:14:10,880 --> 00:14:13,120 Speaker 1: wasn't I mean, I wasn't thrilled with that. I wasn't 284 00:14:13,120 --> 00:14:15,880 Speaker 1: scared by it, but uh no, it was just sort of, 285 00:14:16,000 --> 00:14:20,400 Speaker 1: like I said, opaque looking. And that was the extent 286 00:14:20,440 --> 00:14:22,400 Speaker 1: of that. But the second time, I floated by the 287 00:14:22,400 --> 00:14:26,480 Speaker 1: way it just when I went back in. It's amazing 288 00:14:26,480 --> 00:14:28,320 Speaker 1: how your brain just mapped all this stuff out, and 289 00:14:28,680 --> 00:14:32,400 Speaker 1: it's ready for the experience. The smell, everything, the water temperature. 290 00:14:32,440 --> 00:14:35,160 Speaker 1: None of this was surprised to me, so I was 291 00:14:35,200 --> 00:14:38,760 Speaker 1: able to get into that altered state much quicker. And 292 00:14:38,800 --> 00:14:40,720 Speaker 1: the second time, I just sort of saw a bunch 293 00:14:40,760 --> 00:14:44,040 Speaker 1: of very odd things, like um as if I were 294 00:14:44,080 --> 00:14:46,960 Speaker 1: a lizard crawling up a rock, and seeing my little 295 00:14:47,000 --> 00:14:50,600 Speaker 1: lizard arms crawling up those sorts of things, and not 296 00:14:50,680 --> 00:14:53,520 Speaker 1: to mention having just um a lot of very interesting 297 00:14:53,560 --> 00:14:56,720 Speaker 1: thoughts about either how I operate in the world or 298 00:14:58,000 --> 00:15:01,800 Speaker 1: things I've experienced, wouldn't call them revelations, but things that 299 00:15:01,840 --> 00:15:06,400 Speaker 1: were sort of important that I needed to maybe acknowledge 300 00:15:06,480 --> 00:15:08,960 Speaker 1: or discuss with myself. Yeah, and I had trapped myself 301 00:15:09,040 --> 00:15:11,520 Speaker 1: in a box to do. So. Yeah, you're you're taking 302 00:15:11,520 --> 00:15:13,640 Speaker 1: that person that corners you at the party. You're trapping 303 00:15:13,720 --> 00:15:16,240 Speaker 1: them in the box with you, and you may think 304 00:15:16,280 --> 00:15:18,840 Speaker 1: to realize, I should maybe ask them about their job, 305 00:15:19,040 --> 00:15:22,360 Speaker 1: maybe I right, or maybe we have something or unresolved 306 00:15:22,360 --> 00:15:25,360 Speaker 1: issue I should talk about with this part of myself. 307 00:15:25,560 --> 00:15:28,600 Speaker 1: And it was really interesting because, as you say, there 308 00:15:28,600 --> 00:15:30,640 Speaker 1: are so many things that we can occupy our brains with, 309 00:15:31,040 --> 00:15:33,080 Speaker 1: you know, with trying to escape that person at the 310 00:15:33,120 --> 00:15:36,920 Speaker 1: party that when you are in that space and it's 311 00:15:36,960 --> 00:15:39,120 Speaker 1: just you and you. Then it becomes like, well, this 312 00:15:39,280 --> 00:15:41,480 Speaker 1: is very important, and those sort of things do rise 313 00:15:41,520 --> 00:15:43,440 Speaker 1: to the surface and you do have to deal with them, 314 00:15:43,480 --> 00:15:45,520 Speaker 1: albeit in a good way. I don't mean to say that, 315 00:15:45,560 --> 00:15:48,240 Speaker 1: you know, there's any sort of strife associated with us. 316 00:15:49,040 --> 00:15:51,320 Speaker 1: Now when you were picturing yourself as a lizard and 317 00:15:51,440 --> 00:15:55,160 Speaker 1: uh and some more things, were these colorful in any way? 318 00:15:54,680 --> 00:15:58,880 Speaker 1: Were they? Like? No, it was more like desert colors. 319 00:15:59,600 --> 00:16:01,920 Speaker 1: Is that makes it's like more sort of fitting in 320 00:16:01,960 --> 00:16:06,360 Speaker 1: with the rain than I was scaling? Okay, cool? Oh 321 00:16:06,440 --> 00:16:09,600 Speaker 1: well with me? Um? Well, I basically, you know, I 322 00:16:09,640 --> 00:16:11,080 Speaker 1: go into the tank and it's all dark in your 323 00:16:11,120 --> 00:16:13,000 Speaker 1: eyes kind of a just to you know, sort of 324 00:16:13,080 --> 00:16:15,960 Speaker 1: dancing lights a little bit, you know. At first, and 325 00:16:16,320 --> 00:16:18,080 Speaker 1: after a while i'd been in there and I had 326 00:16:18,080 --> 00:16:22,000 Speaker 1: the experience hearing the ocean, and then I I was 327 00:16:22,160 --> 00:16:24,960 Speaker 1: observing some light and at first I thought that light 328 00:16:25,040 --> 00:16:27,280 Speaker 1: was leaking in through the tank, and my my first 329 00:16:27,320 --> 00:16:29,520 Speaker 1: thought was, well, this is kind of a crappy sensory 330 00:16:29,520 --> 00:16:32,880 Speaker 1: deprivation tank because there's all this light leaking into it, 331 00:16:33,000 --> 00:16:34,840 Speaker 1: or somebody has come into the room and opened a 332 00:16:34,880 --> 00:16:39,040 Speaker 1: window or something or the or something's a jar. And 333 00:16:39,080 --> 00:16:42,720 Speaker 1: then I quickly realized that this was not actual light. 334 00:16:42,800 --> 00:16:45,040 Speaker 1: I was seeing light. I was seeing this kind of 335 00:16:45,120 --> 00:16:49,520 Speaker 1: gray light as if it were leaking in to the tank, 336 00:16:49,560 --> 00:16:52,080 Speaker 1: but it wasn't actually illuminating anything, like I couldn't see 337 00:16:52,120 --> 00:16:55,600 Speaker 1: my body or anything. I was just seeing light, uh, 338 00:16:55,680 --> 00:16:59,400 Speaker 1: specifically at the the edges of my site. And as 339 00:16:59,440 --> 00:17:02,680 Speaker 1: I sort of watch the light some more, I saw 340 00:17:03,480 --> 00:17:07,560 Speaker 1: like a human skull um like a gray light made 341 00:17:07,560 --> 00:17:09,280 Speaker 1: of the same gray light that I was receiving, a 342 00:17:09,359 --> 00:17:13,040 Speaker 1: human skull made of this rotating. And of course if 343 00:17:13,280 --> 00:17:15,200 Speaker 1: you know me, then you know it probably didn't take 344 00:17:15,280 --> 00:17:17,040 Speaker 1: much for me to think or imagine a skull, So 345 00:17:17,080 --> 00:17:21,080 Speaker 1: I don't know, but it hello, dear Horatio did. I 346 00:17:21,160 --> 00:17:23,520 Speaker 1: did not speak to it, but I saw it rotating there. 347 00:17:23,560 --> 00:17:25,840 Speaker 1: And then that kind of went away, and I saw 348 00:17:27,000 --> 00:17:29,919 Speaker 1: like a like a whole bunch of like like gray 349 00:17:30,040 --> 00:17:33,520 Speaker 1: sea an enemy tentacles of the They're not really tend 350 00:17:33,640 --> 00:17:35,760 Speaker 1: are they tentacles? I'm not up on my see an 351 00:17:35,840 --> 00:17:39,760 Speaker 1: enemy an enemy they are well, and I mean maybe uh, 352 00:17:40,440 --> 00:17:43,880 Speaker 1: maybe they are, but they don't remind me of technacle, right, Yeah, 353 00:17:44,520 --> 00:17:47,800 Speaker 1: those appendages that they have, um, so they were kind 354 00:17:47,840 --> 00:17:50,480 Speaker 1: of dancing, They're just kind of undulating, as if in 355 00:17:50,560 --> 00:17:53,040 Speaker 1: a c current, and they were also composed of that 356 00:17:53,119 --> 00:17:56,640 Speaker 1: same sort of gray light, almost kind of an ectoplasmy 357 00:17:56,720 --> 00:17:59,720 Speaker 1: substance as the skull. And then that kind of faded 358 00:17:59,760 --> 00:18:03,720 Speaker 1: away and I didn't have any more visual hallucinations for 359 00:18:03,760 --> 00:18:07,720 Speaker 1: the remainder of the episode. UM, I have to share 360 00:18:07,720 --> 00:18:09,560 Speaker 1: with you that the first time that I floated, I 361 00:18:09,600 --> 00:18:14,560 Speaker 1: did find myself at one point giggling, just crazy giggling, 362 00:18:14,720 --> 00:18:16,800 Speaker 1: and I was sort of like afterward afraid of well, 363 00:18:16,840 --> 00:18:18,320 Speaker 1: I wonder if they heard me in the other room. 364 00:18:18,880 --> 00:18:21,800 Speaker 1: But the reason I was giggling is because they were 365 00:18:21,880 --> 00:18:25,120 Speaker 1: things that I started to think about that seems so 366 00:18:25,160 --> 00:18:29,000 Speaker 1: important that I was stressed out about that. In the 367 00:18:29,080 --> 00:18:33,480 Speaker 1: light of that experience, I just it became hilarious. And 368 00:18:33,600 --> 00:18:35,960 Speaker 1: I will say that after my second float, a couple 369 00:18:36,000 --> 00:18:40,199 Speaker 1: of hours after that, my husband was, you know, we 370 00:18:40,200 --> 00:18:42,639 Speaker 1: were talking about something fixing dinner, and he started stressing 371 00:18:42,640 --> 00:18:46,359 Speaker 1: out about something and I started laughing again at him 372 00:18:46,400 --> 00:18:48,280 Speaker 1: because he was stressed out. I was still in this 373 00:18:48,359 --> 00:18:52,360 Speaker 1: state and he was like, oh, it was like, seriously, 374 00:18:52,480 --> 00:18:55,080 Speaker 1: is this how you're going to be all night. Um. 375 00:18:55,359 --> 00:18:57,480 Speaker 1: So I will say that the second time, I really 376 00:18:57,480 --> 00:19:00,600 Speaker 1: felt like the after effects of that were much more announced, 377 00:19:00,840 --> 00:19:03,120 Speaker 1: that I was viewing the world a little bit more 378 00:19:03,200 --> 00:19:06,399 Speaker 1: outside of myself and not trying to make my my 379 00:19:06,480 --> 00:19:09,600 Speaker 1: husband feel bad by laughing at him. But it was funny. 380 00:19:11,160 --> 00:19:13,720 Speaker 1: Time was really strange in the in the tank because 381 00:19:13,720 --> 00:19:15,960 Speaker 1: when I first got in, you know, everything was sort 382 00:19:15,960 --> 00:19:18,080 Speaker 1: of new and I'm taking it in, and then nothing 383 00:19:18,160 --> 00:19:20,359 Speaker 1: was really happening, and I started thinking, oh, I'm going 384 00:19:20,400 --> 00:19:24,920 Speaker 1: to be in here an hour. I I and I 385 00:19:24,960 --> 00:19:28,520 Speaker 1: actually started thinking what if I just would How badly 386 00:19:28,520 --> 00:19:30,760 Speaker 1: would the lady at the front judge me if I 387 00:19:30,920 --> 00:19:34,160 Speaker 1: left after fifteen minutes? You know, how how much of 388 00:19:33,640 --> 00:19:35,800 Speaker 1: a of a square would I appear to be? If 389 00:19:35,840 --> 00:19:38,639 Speaker 1: that was my story. I sat there for fifteen minutes, 390 00:19:38,680 --> 00:19:40,919 Speaker 1: so I just got wet, so I just left, you know. 391 00:19:41,400 --> 00:19:43,440 Speaker 1: But but then I stayed there longer, and eventually I 392 00:19:44,160 --> 00:19:46,680 Speaker 1: did lose complete track of time. So when the when 393 00:19:46,680 --> 00:19:49,520 Speaker 1: the filtration system finally kicked in and the music came on, 394 00:19:50,000 --> 00:19:52,040 Speaker 1: I was really shocked. I was like, Wow, I can't 395 00:19:52,080 --> 00:19:55,200 Speaker 1: believe an hour's passed. That was interesting to talk to Maryland. 396 00:19:55,280 --> 00:19:59,119 Speaker 1: She she's the person at the Harmony Wellness and Yoga 397 00:19:59,160 --> 00:20:03,640 Speaker 1: Center in Georgia and Tucker, Georgia, and she was saying that, Um, 398 00:20:03,760 --> 00:20:05,840 Speaker 1: she says, the tank is the teacher, which, by the way, 399 00:20:05,880 --> 00:20:09,280 Speaker 1: the tank is made by somebody, which is the somebody 400 00:20:09,440 --> 00:20:13,000 Speaker 1: And is this idea of um being the tool of 401 00:20:13,080 --> 00:20:17,880 Speaker 1: meditation right? And somebody the company John cy Lily actually 402 00:20:17,920 --> 00:20:22,440 Speaker 1: helped to develop this current iteration of the tank, by 403 00:20:22,440 --> 00:20:24,760 Speaker 1: the way, so we were in a John sale see 404 00:20:24,840 --> 00:20:28,800 Speaker 1: Lily approved tank UM. But anyway, she was saying that 405 00:20:28,800 --> 00:20:31,320 Speaker 1: the tank is essentially the teacher and that She said 406 00:20:31,320 --> 00:20:33,720 Speaker 1: that there was one person who got out after fifteen minutes, 407 00:20:34,440 --> 00:20:36,639 Speaker 1: and he said that he kept spinning and spinning and spinning, 408 00:20:36,680 --> 00:20:39,200 Speaker 1: or felt like he was spinning uncontrollably, and he realized 409 00:20:39,200 --> 00:20:43,640 Speaker 1: that his mind was so disordered and was always spinning 410 00:20:44,520 --> 00:20:46,760 Speaker 1: and he couldn't stop it, and so he decided that 411 00:20:46,800 --> 00:20:48,520 Speaker 1: he would get out. And she said, you know, even 412 00:20:48,520 --> 00:20:50,840 Speaker 1: though he just had a fifteen minute experience, he sort 413 00:20:50,840 --> 00:20:54,199 Speaker 1: of had the breakthrough of realizing that his life was 414 00:20:54,240 --> 00:20:57,840 Speaker 1: in such disorder because of his his mind. UM. So 415 00:20:57,920 --> 00:20:59,600 Speaker 1: she was saying, you know, there's something to be learned 416 00:20:59,640 --> 00:21:02,080 Speaker 1: from every single moment that you're in there. But that 417 00:21:02,160 --> 00:21:05,159 Speaker 1: being said, as you said, you just don't really realize 418 00:21:05,640 --> 00:21:07,639 Speaker 1: time is passing, or you do and you're trying to 419 00:21:07,680 --> 00:21:10,639 Speaker 1: tag it, but the brain isn't quite letting you. And 420 00:21:10,680 --> 00:21:13,240 Speaker 1: so I thought it would be interesting just to drop 421 00:21:13,280 --> 00:21:16,600 Speaker 1: in UM that there was some research by neurophysiologists and 422 00:21:16,680 --> 00:21:19,600 Speaker 1: chemists who are working on time processing, and they showed 423 00:21:19,600 --> 00:21:22,440 Speaker 1: how emotions can speed up or slow down our perception 424 00:21:22,480 --> 00:21:25,800 Speaker 1: of time. In our last episode, you actually touched on 425 00:21:25,840 --> 00:21:30,080 Speaker 1: this too, about how emotion can color time perception. In 426 00:21:30,800 --> 00:21:35,760 Speaker 1: Professor Droit Vollette and Sandrine gil published a study on 427 00:21:36,000 --> 00:21:40,280 Speaker 1: emotional states, and they did this by having their volunteers 428 00:21:40,320 --> 00:21:43,400 Speaker 1: watch films and seeing how that affected their sense of time. 429 00:21:43,880 --> 00:21:48,240 Speaker 1: So these students, these volunteers were looking at films like 430 00:21:48,240 --> 00:21:50,560 Speaker 1: horror movies like The Blair Witch Project, Scream and The 431 00:21:50,600 --> 00:21:53,280 Speaker 1: Shining Um. And then they looked at film really sad 432 00:21:53,320 --> 00:21:57,520 Speaker 1: films like City of Angels, Philadelphia, Dangerous Minds. Um. That's 433 00:21:57,560 --> 00:21:59,880 Speaker 1: what they say, is that sad movie A third cat 434 00:22:00,000 --> 00:22:03,840 Speaker 1: a glory with neutral footage. So weather forecasts, um, stock 435 00:22:03,880 --> 00:22:05,959 Speaker 1: market updates. Some people can think that was side by 436 00:22:06,000 --> 00:22:08,399 Speaker 1: the way. Uh. And then they asked the students to 437 00:22:08,480 --> 00:22:11,600 Speaker 1: estimate the duration of a visual stimulus, like how long 438 00:22:11,640 --> 00:22:14,040 Speaker 1: they were looking at this or experiencing this, and they 439 00:22:14,080 --> 00:22:17,800 Speaker 1: found that feared shorted time and the simuls being perceived 440 00:22:18,119 --> 00:22:21,160 Speaker 1: was much longer than it actually was, and that fear 441 00:22:21,160 --> 00:22:23,840 Speaker 1: prompted a state of arousal that speeded up the rate 442 00:22:23,920 --> 00:22:27,119 Speaker 1: of the internal clock. And the state also involved that 443 00:22:27,200 --> 00:22:29,960 Speaker 1: late to pupils, higher pulse rate, increased blood pressure, you know, 444 00:22:30,040 --> 00:22:33,159 Speaker 1: all the known quantities. So in the fearful situation, it 445 00:22:33,200 --> 00:22:35,640 Speaker 1: seemed to last longer than it actually Wasn't interesting though, 446 00:22:35,640 --> 00:22:37,960 Speaker 1: because we always think about fear, something fearful happening and 447 00:22:38,040 --> 00:22:40,200 Speaker 1: like have just in a split second. But we also 448 00:22:40,320 --> 00:22:42,919 Speaker 1: know that when you feel like you're under attack that 449 00:22:43,040 --> 00:22:45,879 Speaker 1: things do slow down. They seem to slow down because 450 00:22:45,880 --> 00:22:48,479 Speaker 1: you're trying to take in every single element of what 451 00:22:48,520 --> 00:22:51,840 Speaker 1: you're experiencing, which is why your pupils dilate, right, huh, Well, 452 00:22:51,880 --> 00:22:54,200 Speaker 1: that reminds me of like recently, I was looking up 453 00:22:54,840 --> 00:22:58,679 Speaker 1: a clip from The Ring, the American remake, and I 454 00:22:58,760 --> 00:23:01,920 Speaker 1: was looking it was looking at the scene where um Samara, 455 00:23:02,760 --> 00:23:07,480 Speaker 1: the ghost slash entity emerges from the television set and 456 00:23:07,520 --> 00:23:10,000 Speaker 1: I was surprised at how short that segment was when 457 00:23:10,000 --> 00:23:12,000 Speaker 1: I saw it, you know, on on on a YouTube 458 00:23:12,040 --> 00:23:13,560 Speaker 1: clip as being an I forget how long it was, 459 00:23:13,600 --> 00:23:15,159 Speaker 1: but you know, you saw the clear time stamp of 460 00:23:15,400 --> 00:23:17,560 Speaker 1: stamp of when it began and when it ended, and 461 00:23:17,600 --> 00:23:19,720 Speaker 1: I was like, wow, that really felt like a much 462 00:23:19,840 --> 00:23:22,960 Speaker 1: longer scene when I saw it the first time. Right, 463 00:23:23,040 --> 00:23:26,120 Speaker 1: So because you you were, as we know, with our 464 00:23:26,320 --> 00:23:31,240 Speaker 1: mirror neurons sort of in empathy going through the experience, right, 465 00:23:31,400 --> 00:23:35,880 Speaker 1: and and things felt sort of drawn out. Um. Now, 466 00:23:35,920 --> 00:23:40,040 Speaker 1: they found out that sadness does not affect our perception 467 00:23:40,040 --> 00:23:41,840 Speaker 1: of time. And they thought that it would, that it 468 00:23:41,840 --> 00:23:44,560 Speaker 1: would slow it down or speed it up, um, And 469 00:23:44,600 --> 00:23:47,879 Speaker 1: they feel like the emotion that was felt while watching 470 00:23:47,880 --> 00:23:51,440 Speaker 1: the film wasn't strong enough to slow down physiological functions. Now, 471 00:23:51,560 --> 00:23:55,560 Speaker 1: that does not mean that, um, severe depression is not 472 00:23:56,000 --> 00:23:58,680 Speaker 1: affected in this way. That they were taking people who 473 00:23:58,680 --> 00:24:02,520 Speaker 1: were quote unquote how healthy volunteers who didn't have any 474 00:24:02,560 --> 00:24:05,280 Speaker 1: depression problems and sort of measuring it that way, that 475 00:24:05,320 --> 00:24:08,840 Speaker 1: doesn't mean that, you know, people who do suffer from 476 00:24:08,880 --> 00:24:14,159 Speaker 1: severe depression don't experience time dilation right anyway, So I 477 00:24:14,160 --> 00:24:16,960 Speaker 1: thought this was just sort of interesting information to add 478 00:24:17,000 --> 00:24:21,080 Speaker 1: when we're talking about taking all that stimuli out in 479 00:24:21,119 --> 00:24:24,280 Speaker 1: the tank and trying to gauge time. Well, it's kind 480 00:24:24,280 --> 00:24:26,719 Speaker 1: of like, uh, it's kind of like Convengence and Dragons, 481 00:24:26,720 --> 00:24:28,040 Speaker 1: where you have like a sword and it does a 482 00:24:28,040 --> 00:24:30,360 Speaker 1: certain amount of based damage. But then if it's magical, 483 00:24:30,400 --> 00:24:32,360 Speaker 1: they don't have like a modifier of a plus three 484 00:24:32,440 --> 00:24:34,920 Speaker 1: year a plus two. But then if the individual is 485 00:24:34,960 --> 00:24:37,120 Speaker 1: in a stressful situation or he is cursed or something, 486 00:24:37,160 --> 00:24:39,800 Speaker 1: you have maybe a modifier of a negative one, and 487 00:24:39,800 --> 00:24:41,719 Speaker 1: and all of that adds up to what the sword's 488 00:24:41,720 --> 00:24:43,560 Speaker 1: actual power is. So in a sense, when you go 489 00:24:43,600 --> 00:24:47,639 Speaker 1: into a tank like this, you were removing some of 490 00:24:47,680 --> 00:24:52,080 Speaker 1: the modifiers on your on your appreciation of time and 491 00:24:52,080 --> 00:24:54,440 Speaker 1: your experience of time, the things that make it speed 492 00:24:54,520 --> 00:24:56,760 Speaker 1: up and the things that slow it down. Well, you know, 493 00:24:56,800 --> 00:24:59,840 Speaker 1: we we've talked so much about the default mode network, 494 00:25:00,080 --> 00:25:02,359 Speaker 1: this idea that this is the center of the ego 495 00:25:02,520 --> 00:25:05,160 Speaker 1: in the self, and that's where all this chatter happens. 496 00:25:05,280 --> 00:25:07,920 Speaker 1: And when we have excessive chatter, this leads to depression, 497 00:25:08,040 --> 00:25:10,320 Speaker 1: right because you you get sort of caught up in 498 00:25:10,320 --> 00:25:14,000 Speaker 1: this sort of I eighness of the experience. Um so 499 00:25:14,080 --> 00:25:15,520 Speaker 1: it's kind of funny. You would think that if you 500 00:25:15,560 --> 00:25:19,200 Speaker 1: put yourself in the tank that this default mode network 501 00:25:19,320 --> 00:25:21,399 Speaker 1: might go crazy, right and be like, oh, this is 502 00:25:21,440 --> 00:25:25,040 Speaker 1: the opportunity just to to really focus on the self. 503 00:25:25,160 --> 00:25:28,720 Speaker 1: But because we discussed before, since re deprivation is used 504 00:25:28,760 --> 00:25:32,600 Speaker 1: as a mode of an enhanced interrogation or or light torture, 505 00:25:33,000 --> 00:25:35,560 Speaker 1: so there is definitely a dark side to it. So 506 00:25:35,800 --> 00:25:37,879 Speaker 1: you can see where you would enter the situation thinking well, 507 00:25:37,920 --> 00:25:40,000 Speaker 1: I'm going to go crazy in there and turn into 508 00:25:40,040 --> 00:25:43,600 Speaker 1: a neander Doll. But it didn't happen to us, and 509 00:25:43,640 --> 00:25:45,959 Speaker 1: it doesn't happen to mostly Yeah, I don't think so. 510 00:25:45,960 --> 00:25:47,919 Speaker 1: So yeah, in the end, uh, I know you you 511 00:25:47,920 --> 00:25:50,120 Speaker 1: went once and you went the second time, and uh 512 00:25:50,440 --> 00:25:53,879 Speaker 1: and and found it even more amazing, and you have 513 00:25:54,680 --> 00:25:57,520 Speaker 1: what two more scheduled I do continue the journey. Yeah, 514 00:25:57,720 --> 00:26:00,199 Speaker 1: let's just pretty cool because when I left Chap, you 515 00:26:00,200 --> 00:26:02,840 Speaker 1: know she's just telling me, um, well, you know the 516 00:26:03,240 --> 00:26:05,760 Speaker 1: no float is like the next or the one before, 517 00:26:05,760 --> 00:26:07,840 Speaker 1: at each one is different and you really understand it. 518 00:26:07,880 --> 00:26:09,639 Speaker 1: You need to come back for a second one, which 519 00:26:10,520 --> 00:26:12,600 Speaker 1: you know part of that I'm thinking, well, of course 520 00:26:12,640 --> 00:26:14,040 Speaker 1: you want me to come back for a second one 521 00:26:14,320 --> 00:26:17,840 Speaker 1: because I have to pay for it. UM, And obviously 522 00:26:17,840 --> 00:26:19,720 Speaker 1: you want to encourage it's a business. You want people 523 00:26:19,760 --> 00:26:22,159 Speaker 1: to come back in and be a repeat listener. But 524 00:26:22,359 --> 00:26:24,399 Speaker 1: from your experience, it sounds like that is definitely the case. 525 00:26:24,760 --> 00:26:26,679 Speaker 1: And it makes sense because the first time you're in there, 526 00:26:26,720 --> 00:26:30,640 Speaker 1: you're just experiencing the tank for the first time, and 527 00:26:30,920 --> 00:26:32,720 Speaker 1: the next time you can focus less on the tank 528 00:26:32,720 --> 00:26:36,119 Speaker 1: and more in the experience. Well, and um Marilan was 529 00:26:36,160 --> 00:26:38,879 Speaker 1: saying that there's a recovery group that she works with 530 00:26:38,920 --> 00:26:41,439 Speaker 1: that also uses the tank and it's very effective. And 531 00:26:41,480 --> 00:26:43,720 Speaker 1: I thought about that afterward, and I thought it, I 532 00:26:43,760 --> 00:26:48,040 Speaker 1: can completely see that being very therapeutic because you are 533 00:26:49,520 --> 00:26:51,399 Speaker 1: you are in a space where you have where you 534 00:26:51,400 --> 00:26:54,280 Speaker 1: have to confront the way that your mind is working 535 00:26:54,960 --> 00:26:58,520 Speaker 1: and uh, not just working, but some of the falsities 536 00:26:58,560 --> 00:27:01,639 Speaker 1: that we tend to wrap ourselves in. Yeah, you know, 537 00:27:01,680 --> 00:27:04,240 Speaker 1: there's no escaping that go set in the corner and 538 00:27:04,240 --> 00:27:06,840 Speaker 1: think about what you've done kind of a little bit, 539 00:27:07,080 --> 00:27:09,400 Speaker 1: A little bit. In fact, I have a quote here 540 00:27:09,440 --> 00:27:11,080 Speaker 1: that I thought that I would read that that that 541 00:27:11,280 --> 00:27:15,920 Speaker 1: UM pairs up with us pretty nicely. UM. And this 542 00:27:16,000 --> 00:27:19,040 Speaker 1: is a sutra from the ancient sanscrit text called the 543 00:27:19,080 --> 00:27:24,720 Speaker 1: Vigian by Rava Tantra, and the Guyana means wisdom and insight, 544 00:27:24,840 --> 00:27:28,480 Speaker 1: perception that is free of thought, and by Rava means 545 00:27:28,600 --> 00:27:31,960 Speaker 1: the fearsome form of Shiva, in this case consciousness, which 546 00:27:32,080 --> 00:27:36,880 Speaker 1: destroys ignorance and mental conditioning. I've also seen this translated 547 00:27:36,920 --> 00:27:40,199 Speaker 1: as the joy and terror of realizing oneness with the 548 00:27:40,240 --> 00:27:43,159 Speaker 1: soul um. The text is thought to date that to 549 00:27:43,320 --> 00:27:46,880 Speaker 1: eight and it's a collection of one twelve meditation techniques 550 00:27:47,000 --> 00:27:49,760 Speaker 1: using the senses as a point of departure. So it 551 00:27:49,800 --> 00:27:52,679 Speaker 1: seemed pretty fitting to cap this section off with the 552 00:27:52,760 --> 00:27:56,400 Speaker 1: quote is attend to the skin as a subtle boundary 553 00:27:56,440 --> 00:28:01,119 Speaker 1: containing vastness. Enter that shimmering and pulsing fess. Discover that 554 00:28:01,200 --> 00:28:04,240 Speaker 1: you are not separate from anything there, and there is 555 00:28:04,280 --> 00:28:07,720 Speaker 1: no other, no object to meditate upon that is not you. 556 00:28:08,960 --> 00:28:13,240 Speaker 1: That's nice, all right. Well, on that note, let us 557 00:28:13,320 --> 00:28:15,719 Speaker 1: call over the robot so that we may catch up 558 00:28:15,760 --> 00:28:20,120 Speaker 1: on a little listener mail. All right, This one comes 559 00:28:20,160 --> 00:28:23,120 Speaker 1: to us from Marta, not to be confused with our 560 00:28:22,880 --> 00:28:26,440 Speaker 1: our transportation system public transportation system here in here in Atlanta, 561 00:28:26,520 --> 00:28:30,800 Speaker 1: but um Marta, as in a person Marty Wrightson and says, Hey, guys, 562 00:28:31,000 --> 00:28:33,360 Speaker 1: I just finished listening to You or Eating a live podcast, 563 00:28:33,400 --> 00:28:36,399 Speaker 1: and I can't avoid thinking about the book I recently 564 00:28:36,440 --> 00:28:39,800 Speaker 1: listened to by Christopher Moore Fluke or I Know Why 565 00:28:39,840 --> 00:28:42,640 Speaker 1: the Wing Whale Sings. It's an amazingly funny tale of 566 00:28:42,680 --> 00:28:45,479 Speaker 1: a biologist who has actually eaten alive whole by a whale. 567 00:28:45,640 --> 00:28:48,200 Speaker 1: And that's just the start. It's fantasy mixed with real 568 00:28:48,240 --> 00:28:51,440 Speaker 1: science and environmental questions, all wrapped up in smart humor. 569 00:28:51,480 --> 00:28:53,960 Speaker 1: I totally recommend it to you. Uh and and this 570 00:28:54,040 --> 00:28:55,800 Speaker 1: is a this is Have you ever read anything by 571 00:28:55,840 --> 00:29:00,320 Speaker 1: Christopher Moore? Christopher Moore I can personally vouch is is 572 00:29:00,360 --> 00:29:03,360 Speaker 1: that is a fine author and well worth reading. I've 573 00:29:03,480 --> 00:29:06,040 Speaker 1: I've read read a book he wrote called Lamb, which 574 00:29:06,080 --> 00:29:12,120 Speaker 1: is a fictional, humorous at times but also surprisingly poignant 575 00:29:12,320 --> 00:29:16,400 Speaker 1: um account of the life of Jesus the Lost Years 576 00:29:16,760 --> 00:29:18,640 Speaker 1: where he and he goes on adventures. And he has 577 00:29:18,680 --> 00:29:21,040 Speaker 1: this it's told by his friend. Uh his name's friend 578 00:29:21,120 --> 00:29:23,520 Speaker 1: was built Lost Years. Yeah, so he has this kind 579 00:29:23,560 --> 00:29:25,760 Speaker 1: of Uh. He has his friend Biff, who's talking about 580 00:29:25,760 --> 00:29:28,560 Speaker 1: his travels with Jesus and they end up deff and 581 00:29:28,560 --> 00:29:31,719 Speaker 1: they travel to India and they fight a demon at 582 00:29:31,760 --> 00:29:33,800 Speaker 1: one point, so they go in adventures the fun book, 583 00:29:33,840 --> 00:29:35,880 Speaker 1: but also it's not one where it's like, let's just 584 00:29:35,920 --> 00:29:38,800 Speaker 1: have some stupid adventures with Jesus and and make fun of, 585 00:29:39,120 --> 00:29:41,320 Speaker 1: you know, somebody's faith or something like. It's a it's 586 00:29:41,320 --> 00:29:44,160 Speaker 1: a really poignant book as well as a hilarious one. 587 00:29:44,320 --> 00:29:46,840 Speaker 1: And then he also wrote one called Fool, which is 588 00:29:46,920 --> 00:29:51,160 Speaker 1: kind of a medieval Shakespearean story that brings in elements 589 00:29:51,160 --> 00:29:54,560 Speaker 1: of a few different shakespeare plays, but it's it's told 590 00:29:54,560 --> 00:29:57,040 Speaker 1: from the point of view of a fool, and uh, 591 00:29:57,040 --> 00:29:58,920 Speaker 1: and that one's just a lot of fun, especially for 592 00:29:58,960 --> 00:30:02,400 Speaker 1: any Shakespeare buff out there. Um, I highly recommend that one. 593 00:30:02,480 --> 00:30:05,760 Speaker 1: So anyway, Marta continuous, he says, just to close, I 594 00:30:05,800 --> 00:30:08,440 Speaker 1: didn't write in at the time regarding the lebri Cons 595 00:30:08,440 --> 00:30:10,840 Speaker 1: podcast and the migraines that can cause visual allusions, but 596 00:30:10,880 --> 00:30:13,320 Speaker 1: I was amazed by the exact description you made of 597 00:30:13,400 --> 00:30:17,360 Speaker 1: whole scenes I read in Hruki Mirakami's tales, particularly the 598 00:30:17,400 --> 00:30:20,040 Speaker 1: small creatures coming out of the TV. It's kind of 599 00:30:20,040 --> 00:30:22,320 Speaker 1: a recurrent theme and his writing, and I'm surprised to 600 00:30:22,360 --> 00:30:24,480 Speaker 1: find out it might be because he suffers from my 601 00:30:24,560 --> 00:30:28,520 Speaker 1: drinks migraines. Thanks for so much fantastic work, Marta from Portugal. 602 00:30:28,960 --> 00:30:31,640 Speaker 1: All right, very cool. Um. Speaking of books, I wanted 603 00:30:31,680 --> 00:30:34,720 Speaker 1: to interject that, Um, I am in the middle of 604 00:30:34,800 --> 00:30:41,200 Speaker 1: reading The Hitman's God to House Cleaning. If anybody has 605 00:30:41,320 --> 00:30:44,200 Speaker 1: picked that up and you are shocked by the language, 606 00:30:45,640 --> 00:30:48,800 Speaker 1: I apologize. If anybody has picked it up and they 607 00:30:48,840 --> 00:30:53,800 Speaker 1: are sort of delighted by how uh how crazy pulp 608 00:30:53,920 --> 00:30:56,200 Speaker 1: fiction a e crime this is, then then I hope 609 00:30:56,240 --> 00:30:58,120 Speaker 1: you're enjoying it. Um, I have to say that I'm 610 00:30:58,120 --> 00:31:01,000 Speaker 1: struggling between both of those hemis bears. All right, Well, 611 00:31:01,040 --> 00:31:03,720 Speaker 1: here's our next one. This one is from Eric uh, 612 00:31:04,000 --> 00:31:07,560 Speaker 1: frequent contributor to the Listener mail section. He says he's 613 00:31:07,560 --> 00:31:10,240 Speaker 1: responding to our control equism episode because when I was 614 00:31:10,280 --> 00:31:12,360 Speaker 1: seven or eight, I was interested in introl equism. My 615 00:31:12,440 --> 00:31:15,040 Speaker 1: parents got me a dummy and I started learning the art. 616 00:31:15,360 --> 00:31:17,920 Speaker 1: I was having fun until while watching The Twilight Zone 617 00:31:17,960 --> 00:31:21,600 Speaker 1: I saw the dummy episode titled the Dummy. It scared 618 00:31:21,680 --> 00:31:24,080 Speaker 1: the ever living blank out of me. What made it 619 00:31:24,160 --> 00:31:27,080 Speaker 1: so bad was my dummy looked exactly the same as 620 00:31:27,120 --> 00:31:29,080 Speaker 1: the one on the show, so I had nightmares for 621 00:31:29,160 --> 00:31:32,120 Speaker 1: weeks after, and it still creeps me out like crazy. 622 00:31:32,720 --> 00:31:34,800 Speaker 1: Many years later, I saw the episode again with my mother. 623 00:31:34,840 --> 00:31:37,040 Speaker 1: I told her how much this episode scared me, especially 624 00:31:37,040 --> 00:31:39,520 Speaker 1: because I had a dummy like the one in the episode. 625 00:31:39,560 --> 00:31:42,120 Speaker 1: She told me she wondered why she had found my 626 00:31:42,200 --> 00:31:44,480 Speaker 1: dummy under my bed with his arms, legs, and head 627 00:31:44,520 --> 00:31:48,040 Speaker 1: torn off. Killing and dismembering my own dummy also led 628 00:31:48,080 --> 00:31:50,800 Speaker 1: to nightmares where it tried to take revenge on me. 629 00:31:50,920 --> 00:31:53,880 Speaker 1: I love this episode. Thanks Wow. I mean we talked 630 00:31:53,880 --> 00:31:57,000 Speaker 1: a lot about the relationship of the puppeteer and the 631 00:31:57,040 --> 00:32:00,120 Speaker 1: puppet and how you feel this some sort of like 632 00:32:00,240 --> 00:32:04,360 Speaker 1: a you know, like loyalty to it or disloyalty in 633 00:32:04,360 --> 00:32:06,960 Speaker 1: this case. So it's interesting to hear that, and also 634 00:32:07,000 --> 00:32:11,360 Speaker 1: interesting to learn that that Eric has a committed Chris 635 00:32:11,720 --> 00:32:16,440 Speaker 1: Ventral side Puppets. Yeah, he killed the puppet, but it's 636 00:32:17,560 --> 00:32:20,800 Speaker 1: it's it's quite as quite a little story you created 637 00:32:20,840 --> 00:32:22,760 Speaker 1: in our head there. Yeah, I don't judge. I have 638 00:32:22,800 --> 00:32:24,720 Speaker 1: to say, if if I the same thing had happened 639 00:32:24,760 --> 00:32:26,920 Speaker 1: to me at that tender age, I might do the same. Well, 640 00:32:27,040 --> 00:32:29,280 Speaker 1: these these you know, stories, be a horror movie, your 641 00:32:29,320 --> 00:32:31,440 Speaker 1: horror show. You're watching at the young age and something 642 00:32:31,800 --> 00:32:34,160 Speaker 1: something creepy happens was was something in the real world, 643 00:32:34,200 --> 00:32:36,000 Speaker 1: it can freak you out. Like I remember watching Poulder 644 00:32:36,080 --> 00:32:38,720 Speaker 1: Guys way too young in age, and there's that whole 645 00:32:38,720 --> 00:32:42,080 Speaker 1: scene where like stuff starts, weird starts happening in the night, 646 00:32:42,160 --> 00:32:45,760 Speaker 1: and then the door opens, and there's also branches tapping, 647 00:32:45,880 --> 00:32:48,360 Speaker 1: so like for ages, like the idea of a tree 648 00:32:48,400 --> 00:32:51,160 Speaker 1: branch tapping against my window that was horrorfiing. And I 649 00:32:51,200 --> 00:32:53,240 Speaker 1: think there's a weird puppet, like a kind of a 650 00:32:53,240 --> 00:32:56,880 Speaker 1: Harlequin looking puppet in there as well, and a clown, 651 00:32:56,920 --> 00:33:00,479 Speaker 1: I believe, speaking of clowns and harlequin's, I wanted to 652 00:33:00,480 --> 00:33:02,240 Speaker 1: point out in the past, we've talked about clowns a 653 00:33:02,240 --> 00:33:05,280 Speaker 1: bit and about scary clowns, and we've we've never done 654 00:33:05,280 --> 00:33:09,120 Speaker 1: an episode on clowning traditions, though Pop Stuff did one 655 00:33:09,120 --> 00:33:10,440 Speaker 1: where they're going a lot of the history. I mean, 656 00:33:10,440 --> 00:33:12,080 Speaker 1: he gets really interesting, you know, you look at various 657 00:33:12,120 --> 00:33:15,800 Speaker 1: Native American traditions and and just how important the clown 658 00:33:15,840 --> 00:33:18,840 Speaker 1: of the fool of the harlequin is. I'm currently reading 659 00:33:19,120 --> 00:33:23,040 Speaker 1: a horror short story by Thomas Logatti called The Last 660 00:33:23,080 --> 00:33:26,240 Speaker 1: Feast of Harlequin, and so far it's pretty creepy because 661 00:33:26,240 --> 00:33:29,560 Speaker 1: there's a there's an anthropologist who's investigating a like a 662 00:33:29,600 --> 00:33:34,160 Speaker 1: love craft ian um north eastern town that has some 663 00:33:34,240 --> 00:33:38,080 Speaker 1: sort of rich and possibly grotesque harlequin tradition. But he's 664 00:33:38,080 --> 00:33:41,320 Speaker 1: really excited about going because he also partakes and clowning 665 00:33:41,400 --> 00:33:44,200 Speaker 1: himself and is into juggling, and so I don't know 666 00:33:44,200 --> 00:33:46,720 Speaker 1: where it's going to go, but it's probably part I 667 00:33:46,760 --> 00:33:50,680 Speaker 1: have to wonder what's the grotesque. Well, there's like grotesquery 668 00:33:50,880 --> 00:33:55,440 Speaker 1: meaning like exaggeration or like disgusting. Well I'm not sure 669 00:33:55,560 --> 00:33:57,280 Speaker 1: because at this point in the story I haven't finished 670 00:33:57,280 --> 00:34:02,000 Speaker 1: it yet, but there's some sort of weird harlequin type 671 00:34:02,000 --> 00:34:04,680 Speaker 1: of ceremony that goes on, so some sort of clowning 672 00:34:04,760 --> 00:34:07,720 Speaker 1: going about, but then also some sort of uh, some 673 00:34:07,760 --> 00:34:10,200 Speaker 1: sort of belief system that is really heavy on the 674 00:34:10,239 --> 00:34:13,560 Speaker 1: circlical idea that that maybe we've begin his worms and 675 00:34:13,640 --> 00:34:16,439 Speaker 1: we end his worms. So there's bound to be something 676 00:34:16,480 --> 00:34:18,440 Speaker 1: kind of CORPSEI in there. I don't know. I'm not 677 00:34:18,520 --> 00:34:20,480 Speaker 1: that familiar with this author yet, so it's all kind 678 00:34:20,480 --> 00:34:23,600 Speaker 1: of news. Yeah, Well, now I'm intrigued, all right, Here's 679 00:34:23,600 --> 00:34:25,799 Speaker 1: another one about our eventual equism episode. This one comes 680 00:34:25,800 --> 00:34:27,920 Speaker 1: from David. David writes and it says, HI happen to 681 00:34:27,960 --> 00:34:30,080 Speaker 1: come across the Ventriloquism cast, and I loved it. I 682 00:34:30,120 --> 00:34:33,440 Speaker 1: was especially interested in the tethered to an object idea, 683 00:34:33,480 --> 00:34:36,799 Speaker 1: which goes well beyond ventriloquism. You might be interested in 684 00:34:36,840 --> 00:34:41,120 Speaker 1: my book in the Rutledge series, Critical Voices in Art, 685 00:34:41,320 --> 00:34:44,440 Speaker 1: Theory and Culture. The book is Art and Ventriloquism, and 686 00:34:44,640 --> 00:34:48,080 Speaker 1: is really a way of showcasing ventriloquism as a metaphor 687 00:34:48,320 --> 00:34:54,360 Speaker 1: and performance act in many aspects of philosophers like Nietzsche, food, cult, Plato, Derita, 688 00:34:54,960 --> 00:34:58,880 Speaker 1: and in many philosophical areas, but especially aesthetics, by unpacking 689 00:34:58,880 --> 00:35:00,880 Speaker 1: the metaphor, I mean of all of the things that 690 00:35:00,960 --> 00:35:03,600 Speaker 1: you two spoke about, such as speaking in other voices, 691 00:35:03,800 --> 00:35:07,320 Speaker 1: the Greek notion of its status of being beside oneself, 692 00:35:07,360 --> 00:35:11,480 Speaker 1: illusion without deception, the animation of inanimate objects, and so forth. 693 00:35:11,719 --> 00:35:13,719 Speaker 1: I'm sure you are busy with the next podcast, but 694 00:35:13,760 --> 00:35:15,600 Speaker 1: if you chance to check out the book, do so. 695 00:35:15,840 --> 00:35:18,120 Speaker 1: Thanks for the cast. Will be sure to listen regularly. 696 00:35:18,200 --> 00:35:21,040 Speaker 1: Best David, uh and will since David's an author. I 697 00:35:21,200 --> 00:35:22,560 Speaker 1: let me go and give you his name, so you 698 00:35:22,600 --> 00:35:25,239 Speaker 1: can look that up at that interests you, That's Aid 699 00:35:25,320 --> 00:35:28,200 Speaker 1: David gold Plat Goldblat, So that's d A v I 700 00:35:28,320 --> 00:35:30,920 Speaker 1: D G O L D B L A T T 701 00:35:31,160 --> 00:35:34,320 Speaker 1: in that. The that again is the Rutledge series Critical 702 00:35:34,400 --> 00:35:36,799 Speaker 1: Voices in Art, Theory and Culture, and the book is 703 00:35:36,880 --> 00:35:39,880 Speaker 1: Art and Ventriloquism. So that sounds interesting. I'm gonna have 704 00:35:39,880 --> 00:35:42,800 Speaker 1: to seek that out myself, and and that would probably 705 00:35:42,840 --> 00:35:44,759 Speaker 1: interest us some of our listeners as well. That sounds 706 00:35:44,800 --> 00:35:48,960 Speaker 1: really cool. Um. I actually wrote a paper, a Zarada paper, 707 00:35:48,960 --> 00:35:52,000 Speaker 1: and I think it was I won't be able to 708 00:35:52,040 --> 00:35:54,280 Speaker 1: remember the content so well, but I believe the title 709 00:35:54,360 --> 00:35:57,480 Speaker 1: was Dwelling in the Tomb of A. So if there's 710 00:35:57,480 --> 00:36:00,160 Speaker 1: anybody out there who has studied Dareda, you know, probably 711 00:36:00,600 --> 00:36:03,040 Speaker 1: a sense of what I'm talking about there. But um, 712 00:36:03,080 --> 00:36:05,359 Speaker 1: I can't help but sort of laughing about that title now, 713 00:36:05,719 --> 00:36:08,360 Speaker 1: all right. We also heard from France and she contacted 714 00:36:08,440 --> 00:36:11,799 Speaker 1: us about our episode on Finnish education. She wanted to 715 00:36:11,840 --> 00:36:15,759 Speaker 1: point out that we referred to Finland as a Scandinavian 716 00:36:15,760 --> 00:36:18,800 Speaker 1: country and that we should not have. She is correct, 717 00:36:18,960 --> 00:36:20,960 Speaker 1: we should have referred to it more in the general 718 00:36:21,000 --> 00:36:23,200 Speaker 1: sense as a Nordic country, so I wanted to say that. 719 00:36:23,520 --> 00:36:26,200 Speaker 1: She also said that she she wanted to take some 720 00:36:26,280 --> 00:36:31,360 Speaker 1: issue with us referring to uh Finland as as a 721 00:36:31,960 --> 00:36:34,480 Speaker 1: becoming independent from Russia in the sixties, and I just 722 00:36:34,520 --> 00:36:36,640 Speaker 1: wanted to point out that we did not say that 723 00:36:36,680 --> 00:36:40,080 Speaker 1: Finland became independent from Russia in the sixties. What we 724 00:36:40,239 --> 00:36:42,440 Speaker 1: said is that they came out of a cocoon of 725 00:36:42,480 --> 00:36:45,520 Speaker 1: influence from Russia in the sixties. Okay, well, let's look 726 00:36:45,520 --> 00:36:47,759 Speaker 1: at one last bit of listener mail, and this one 727 00:36:47,760 --> 00:36:51,640 Speaker 1: comes to us from Brian. Brian write, since is hey guys, 728 00:36:51,640 --> 00:36:54,359 Speaker 1: I just listen to your cat Parasite episode, and one 729 00:36:54,360 --> 00:36:57,239 Speaker 1: of the listener emails about your art freak Out episode 730 00:36:57,520 --> 00:37:00,719 Speaker 1: made me take notice. You proposed that many that maybe 731 00:37:00,719 --> 00:37:03,600 Speaker 1: people in Italy had a strip mall syndrome. And this 732 00:37:03,719 --> 00:37:06,239 Speaker 1: we were talking about how when what you know, Americans 733 00:37:06,280 --> 00:37:09,720 Speaker 1: that live in strip Mall country travel to say Italy, 734 00:37:10,000 --> 00:37:12,000 Speaker 1: go to one of the amazing museums there, or see 735 00:37:12,000 --> 00:37:13,880 Speaker 1: some of the historical sites, and it's just too much, 736 00:37:13,960 --> 00:37:16,839 Speaker 1: you know, getting a standall syndrome where it just overpowers 737 00:37:16,840 --> 00:37:19,919 Speaker 1: you and maybe you pass out right. So someone from Rome, 738 00:37:20,000 --> 00:37:23,600 Speaker 1: for instance, who is is just surrounded by all this antiquity. 739 00:37:23,640 --> 00:37:25,360 Speaker 1: If they were to go to a strip mall in America, 740 00:37:25,440 --> 00:37:29,160 Speaker 1: what would happen? So, Brian Sell says, I have had 741 00:37:29,200 --> 00:37:31,640 Speaker 1: a version of this. I've lived in several cities in 742 00:37:31,680 --> 00:37:34,400 Speaker 1: Europe and the US, but the only big reaction I 743 00:37:34,440 --> 00:37:37,040 Speaker 1: remember from culture shock came when I moved back home 744 00:37:37,080 --> 00:37:39,319 Speaker 1: to the Twin Cities after living in New York City 745 00:37:39,360 --> 00:37:42,719 Speaker 1: for a few years. Grocery stores, any stories, really are 746 00:37:42,760 --> 00:37:45,600 Speaker 1: dominutive in New York City because space is very expensive. 747 00:37:46,120 --> 00:37:48,840 Speaker 1: This isn't true in the Cities. The first time I 748 00:37:48,880 --> 00:37:51,040 Speaker 1: went to a large grocery store, I had a freak out. 749 00:37:51,080 --> 00:37:53,120 Speaker 1: The scale of the place, the ceiling so high they 750 00:37:53,120 --> 00:37:55,880 Speaker 1: could contain their own weather patterns, the forty types of 751 00:37:55,960 --> 00:37:58,719 Speaker 1: yellow mustard, not to mention brown, et cetera, and the 752 00:37:58,840 --> 00:38:01,400 Speaker 1: terrible use of space. My wife had to steer the 753 00:38:01,440 --> 00:38:04,960 Speaker 1: cart as I fought hyperventilating. This hasn't happened since, but 754 00:38:05,000 --> 00:38:07,719 Speaker 1: I can remember the sensation viscerally. I'm going to have 755 00:38:07,760 --> 00:38:09,880 Speaker 1: to go back and listen to the whole episode. Thanks 756 00:38:09,920 --> 00:38:13,200 Speaker 1: for some great content, Cheers, Brian. I think He brings 757 00:38:13,280 --> 00:38:15,680 Speaker 1: up a really good point because I've been in cities 758 00:38:16,280 --> 00:38:18,040 Speaker 1: for a while that had small grocery stores, and I 759 00:38:18,080 --> 00:38:20,280 Speaker 1: know exactly what it means. I'm thinking about Star Market 760 00:38:20,280 --> 00:38:23,719 Speaker 1: and Boston stock Market and then coming back to Atlanta 761 00:38:23,920 --> 00:38:26,480 Speaker 1: and then being in these big box retailers, and it 762 00:38:26,640 --> 00:38:30,520 Speaker 1: is sort of disorienting to to be in this huge 763 00:38:30,560 --> 00:38:34,000 Speaker 1: hall of consumerism. Yeah. I mean even here in Atlanta, 764 00:38:34,000 --> 00:38:36,240 Speaker 1: where we are playing big stores and a lot of sprawl. 765 00:38:36,920 --> 00:38:39,600 Speaker 1: I tend to not go to Walmart a lot. So 766 00:38:39,719 --> 00:38:42,239 Speaker 1: when I do, it is always a bit of insanity 767 00:38:42,480 --> 00:38:45,080 Speaker 1: because it's so big and there's just so much stuff, 768 00:38:45,080 --> 00:38:47,800 Speaker 1: and they're just vast distances, Like, oh, I the grocery 769 00:38:47,840 --> 00:38:49,600 Speaker 1: thidem I need is on the other side of the store. 770 00:38:49,640 --> 00:38:52,399 Speaker 1: It's time for an enormous walk. And you know then 771 00:38:52,440 --> 00:38:54,880 Speaker 1: it's their idea of of a quick checkout is like 772 00:38:55,000 --> 00:38:57,200 Speaker 1: fifty items are less or something. But anyway, that's the 773 00:38:57,200 --> 00:38:59,440 Speaker 1: whole rent. Yeah, and you know there's this other thing 774 00:38:59,520 --> 00:39:01,640 Speaker 1: to compound that, which is Sam's or Costco. Right, you 775 00:39:01,640 --> 00:39:03,640 Speaker 1: can go down to Aisle and you can see the 776 00:39:04,840 --> 00:39:07,560 Speaker 1: largest jar of peanut butter that you've ever seen in 777 00:39:07,600 --> 00:39:10,680 Speaker 1: your life. That's bigger than your head. Uh, and just 778 00:39:10,880 --> 00:39:13,080 Speaker 1: jars and jars of him, and it's it's sort of 779 00:39:13,080 --> 00:39:17,839 Speaker 1: like being like Alice in Wonderland. Yeah, well there you go. Um, Hey, 780 00:39:17,880 --> 00:39:19,480 Speaker 1: if any of you have something you would like to 781 00:39:19,480 --> 00:39:22,000 Speaker 1: share with us about giant jars of peanut butter in 782 00:39:22,040 --> 00:39:27,240 Speaker 1: Wonderland or about Stendall syndrome at the strip mall about 783 00:39:27,360 --> 00:39:31,640 Speaker 1: sensory deprivation. Uh, this episode, we ended up putting this out. Actually, 784 00:39:31,640 --> 00:39:34,640 Speaker 1: we ended up recording this the day after our initial 785 00:39:34,640 --> 00:39:37,280 Speaker 1: episode aired, so it didn't really leave any time for 786 00:39:37,280 --> 00:39:40,239 Speaker 1: for you guys and girls to to respond with your 787 00:39:40,280 --> 00:39:43,520 Speaker 1: own stories of sensory deprivation. So feel free to send 788 00:39:43,560 --> 00:39:45,960 Speaker 1: those in because we'll still hopefully read read those in 789 00:39:46,040 --> 00:39:48,520 Speaker 1: future episodes. You can find us in a number of 790 00:39:48,520 --> 00:39:50,399 Speaker 1: ways to interact with us, to catch up on past 791 00:39:50,480 --> 00:39:52,840 Speaker 1: episodes and see what we're up to. Our mothership is 792 00:39:52,880 --> 00:39:55,080 Speaker 1: stuff to bowl your mind. That's where our blogs are. 793 00:39:55,160 --> 00:39:58,239 Speaker 1: That's where everything that we do winds up there one 794 00:39:58,239 --> 00:39:59,640 Speaker 1: way or another, and that is stuff to blow your 795 00:39:59,680 --> 00:40:01,600 Speaker 1: mind up com and you can also find us on 796 00:40:01,719 --> 00:40:04,800 Speaker 1: various social media networks. You can find us on Facebook 797 00:40:04,800 --> 00:40:06,640 Speaker 1: is stuff to blow your mind. I'm tumbler stuff to 798 00:40:06,640 --> 00:40:09,120 Speaker 1: bow your mind. On Twitter we are blow the Mind, 799 00:40:09,160 --> 00:40:12,800 Speaker 1: and on YouTube were mind Stuff and you can always 800 00:40:12,800 --> 00:40:15,160 Speaker 1: send us a line at below the Mind at Discovery 801 00:40:15,200 --> 00:40:22,920 Speaker 1: dot com for more on this and thousands of other topics, 802 00:40:23,040 --> 00:40:30,640 Speaker 1: does it How stuff works dot com