WEBVTT - Isolation Chambers: Float Follow-Up

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<v Speaker 1>Welcome to stuff to Blow Your Mind from how Stuffworks

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<v Speaker 1>dot com. Hey, welcome to Stuffed to All Your Mind.

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<v Speaker 1>My name is Robert Lamb and I'm Julie Douglas. If

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<v Speaker 1>you tuned into our podcast recently, you might have enjoyed

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<v Speaker 1>an episode about century deprivation, about sensory deprivation tanks, about

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<v Speaker 1>entering the womb to tomb wet box, which which you

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<v Speaker 1>don't like that term, but I think issue with wet box.

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<v Speaker 1>Yeah it does sound kind of weird, little Chris, But

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<v Speaker 1>but entering this this chamber of salty water and deprivated

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<v Speaker 1>senses and experiencing something phenomenal. Yeah, you go into the

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<v Speaker 1>moist box. See that's no better, is it? Um? And

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<v Speaker 1>it really is sort of an amazing experience. Um, simply

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<v Speaker 1>because you're doing something that's pretty elementary, right, You are

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<v Speaker 1>taking out all that sort of stimuli that's surrounding you

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<v Speaker 1>every day, and then you are trapped with your mind,

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<v Speaker 1>which some of us feel sometimes like we are trapped

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<v Speaker 1>within the box of our minds. So we sort of

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<v Speaker 1>like you're trapped within a box within a box. I

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<v Speaker 1>feel like in a way, when we're trapped in our

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<v Speaker 1>own mind, in our daily life, we tend it's more

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<v Speaker 1>like we are trapped in a party with one party

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<v Speaker 1>guest that we desperately want to annoy a void, but

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<v Speaker 1>they keep cornering us and talking at us. So it's

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<v Speaker 1>like we're in this party. There's lots of stuff around us.

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<v Speaker 1>I got work to do. If I don't want to

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<v Speaker 1>do my work for some reason, I've got things I'm reading.

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<v Speaker 1>I can always look something up on the internet or

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<v Speaker 1>or do something on my to do list. So they're

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<v Speaker 1>all these people that I can interact with at this party.

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<v Speaker 1>But the my this nagging voice in my mind keeps

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<v Speaker 1>coming up and saying, hey, remember when you were in

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<v Speaker 1>high school, and remember that thing you said to your

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<v Speaker 1>friend last week, And what are you gonna do next week?

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<v Speaker 1>You know? And then you're like, oh, I'm cornered by

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<v Speaker 1>this creep again. But then you you go on, Whereas

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<v Speaker 1>the censory deprivation tank is kind of like saying, all right,

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<v Speaker 1>you and this annoying party guests are going to spend

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<v Speaker 1>some time together and you're gonna figure out what doesn't work.

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<v Speaker 1>And there's no cheese plate too to escape to, right,

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<v Speaker 1>Like it's just you and you. Yeah, you can't see,

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<v Speaker 1>you have to run refresh your drink or use the bathroom.

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<v Speaker 1>You gotta fight it out right, right, So we both

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<v Speaker 1>underwent the sensory deprivations sixty minutes long. And uh, I

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<v Speaker 1>will say that for for my first session, because I

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<v Speaker 1>did too. I put a little hand towel in the

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<v Speaker 1>door because I was not really all that interested in

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<v Speaker 1>sealing myself into something, because I wasn't quite sure if

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<v Speaker 1>I was claustrophobic. And we described the thing for them

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<v Speaker 1>enough but essentially kind of like a not as casket

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<v Speaker 1>like as I was hoping, and I imagine you were

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<v Speaker 1>maybe fearing, but kind of you know, like this big

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<v Speaker 1>pod with kind of a squarish like back portion because

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<v Speaker 1>it it has like an auto auto cleaning and filtration

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<v Speaker 1>system and it's about chest high, so it was a

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<v Speaker 1>lot higher than I thought it was going to be,

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<v Speaker 1>which is good because you have more room to to

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<v Speaker 1>move around and get in and out right. Um, it's

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<v Speaker 1>got a little hatch that opens and closes, and it's

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<v Speaker 1>kind of filtration system, very very important for anybody who's

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<v Speaker 1>not interested in soaking in someone else's body stuff. Yeah,

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<v Speaker 1>and in the water itself is is high salt content,

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<v Speaker 1>I mean how many how many pounds was like pounds, right, Yeah,

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<v Speaker 1>so you're just you're soaking in that no, just soaking it,

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<v Speaker 1>floating on it because you float in water that's salty

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<v Speaker 1>and uh. And then the hatches closed or partially closed,

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<v Speaker 1>and that cuts out most of the sound. Also, you're

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<v Speaker 1>using wax waxy earpes, yeah, like little bits of bubblegum

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<v Speaker 1>to go in your ear. You're wearing those. So that's

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<v Speaker 1>helping to deaden out the sound as well, and keep

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<v Speaker 1>the water out and keep the water out. Your eyes

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<v Speaker 1>are kept mostly I mean your your eyes are kept

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<v Speaker 1>above the water because you're floating on your back and uh.

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<v Speaker 1>And then the hatches closed or partially closed, thus obscuring light. Right,

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<v Speaker 1>and the water is heated to believe it's swept a

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<v Speaker 1>thirty three degrees celsius either thirty or thirty three and

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<v Speaker 1>degrees fahrenheit. Yeah. So the idea here is you're not like,

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<v Speaker 1>oh this water is a little chili or oh this

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<v Speaker 1>is so nice and warm, but more it's in it's

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<v Speaker 1>in keeping with your body. So the idea is that

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<v Speaker 1>it blurs the line between where year flesh ends and

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<v Speaker 1>the water begins. Right, the borders are just this fall away,

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<v Speaker 1>and in some sense they certainly do that. Yeah, except

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<v Speaker 1>if you have a scratch on you or something, and

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<v Speaker 1>then the salt water will let you know where your

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<v Speaker 1>flesh ends and the water begins, and that's something they

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<v Speaker 1>warn you about. There's like a tub of asoline on

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<v Speaker 1>top of the tank. You're supposed to put on your

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<v Speaker 1>cuts before you go in if you, I mean, ideally,

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<v Speaker 1>if you just you know, ran through a thornbush, you

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<v Speaker 1>probably should skip going to the Century deprivation tank that

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<v Speaker 1>day until you're or if you've just shaved, or you've

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<v Speaker 1>just shaved. And even then though, if you get like

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<v Speaker 1>a little stain because I went in there and I

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<v Speaker 1>was not expecting that, and it stung a little bit,

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<v Speaker 1>but then you sort of get used to it and

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<v Speaker 1>it goes the feeling goes away. Yeah, And I will

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<v Speaker 1>say the first time I floated, a lot of the

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<v Speaker 1>float was dealing with this the limit. It's stimuli that

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<v Speaker 1>I had access to. In other words, you know, oh,

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<v Speaker 1>I have many more bug bites than I knew of

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<v Speaker 1>because now it's just stinging, and it's much more amplified

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<v Speaker 1>because I have nothing else to concentrate on. Um, there's

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<v Speaker 1>also a particular smell to the water, and I'm attributing

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<v Speaker 1>that to the aps some salt. Yeah, and also just

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<v Speaker 1>sort of I mean, it is essentially kind of enclosed,

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<v Speaker 1>sort of hot tub type environment. So if you've if

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<v Speaker 1>you ever owned a hot tub or frequently use a

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<v Speaker 1>hot tub, you know there are certain smells associated with that.

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<v Speaker 1>I'm talking about a functioning hot tub. I'm not talking

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<v Speaker 1>like a funky, um, you know, disease written hot tub.

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<v Speaker 1>But in other words, what I'm saying is that even

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<v Speaker 1>though you're deprevating, deprevating certain senses, your sense of smell

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<v Speaker 1>is still going to be intact unless you plug up

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<v Speaker 1>your nose, I guess. Um, so you are going to

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<v Speaker 1>get certain salty hot tubby odors. And this is all

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<v Speaker 1>stuff for the money to chew on while you are

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<v Speaker 1>immersed in this water, right because again you have very

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<v Speaker 1>limited stuff here to work with. So um, that doesn't

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<v Speaker 1>mean that your entire float you would be you know,

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<v Speaker 1>sitting here being driven crazy by these different elements. It's

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<v Speaker 1>just sort of easing into this process. And of course

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<v Speaker 1>it is different for every single person who floats. Yeah, Now,

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<v Speaker 1>the feel of it, Um, we should we should talk

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<v Speaker 1>about next. I was I knew I was going to

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<v Speaker 1>be floating, but I haven't really floated in anything like

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<v Speaker 1>this before, Like I've never been to the Dead Sea

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<v Speaker 1>or anything like that. So this was a first for me.

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<v Speaker 1>And it was really kind of surprising because I climbed

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<v Speaker 1>into it. Uh and uh and you you climb you

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<v Speaker 1>you don't think you have to climb into it naked,

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<v Speaker 1>but it's it's implied that you should. It is because again,

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<v Speaker 1>you become much more aware of what stimuli is there.

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<v Speaker 1>So if you have a bathing suit on, then you're

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<v Speaker 1>going to be aware of the elastic or or whatnot.

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<v Speaker 1>And ultimately it's more hygienek that way, because I think

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<v Speaker 1>I've talked about sauna is a bit before. Um. You know,

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<v Speaker 1>in the US, everyone's going into a sauna with some

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<v Speaker 1>sort of bathing suit on, whereas in Europe and you're

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<v Speaker 1>going to encounter more of a nude tramp end in

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<v Speaker 1>your saunas and and and the nude trend is arguably

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<v Speaker 1>far more sanitary because it's you don't know where the

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<v Speaker 1>bathing suits have been or how clean those are. People

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<v Speaker 1>are bringing these soggy um you know, lower torso garments

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<v Speaker 1>that have been soaking in water and and you know

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<v Speaker 1>whatever else. So ultimately, I think I think that everyone

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<v Speaker 1>going into the isolation tank naked is really better for everyone.

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<v Speaker 1>Then you're taking a shower before and after as well. Yeah,

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<v Speaker 1>those are the rules. Those are the rules. Where was

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<v Speaker 1>I talking about on that round? I was talking about

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<v Speaker 1>the feeling. Yes, so I climbed in and then I

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<v Speaker 1>and you kind of slipped the last little bit. It's

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<v Speaker 1>kind of like going into a torpedo tube and then

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<v Speaker 1>suddenly I'm just floating and it's it's really weird sensation

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<v Speaker 1>if you've never felt it before. Yeah, because you can't

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<v Speaker 1>see anything. So um. We talked about this and the

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<v Speaker 1>episode I believe about the quietest room in the world

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<v Speaker 1>that even just deprived of your auditory cues, you begin

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<v Speaker 1>to lose your sense of where you are in time

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<v Speaker 1>and space. So that's why people in the quiet stroom

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<v Speaker 1>in the world at the oar Field Labs, they have

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<v Speaker 1>to sit down after thirty minutes because they don't really

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<v Speaker 1>feel like they're pinned in space and time. Well, think

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<v Speaker 1>of yourself in this tank, floating um, naked, and those

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<v Speaker 1>borders of yourself melting away and This is when people

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<v Speaker 1>begin to feel as though they're spinning inside. And some

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<v Speaker 1>people feel like they're spinning really really fast, or they're

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<v Speaker 1>just kind of cruising around, but it's a very odd feeling. Well,

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<v Speaker 1>I kept having this this feeling, and this would happen

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<v Speaker 1>sort of the more I was in there. Um, you know,

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<v Speaker 1>I'm floating, and I'm floating essentially on a on a

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<v Speaker 1>horizontal plane, and but there's a little bobbing around and

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<v Speaker 1>occasionally your your your hand, your foot will touch the

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<v Speaker 1>side and then I would get get to get this

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<v Speaker 1>feeling as if the horizontal plane were tipping forward, but

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<v Speaker 1>that I was staying in one place, and then kind

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<v Speaker 1>of a feeling like I was shooting down a tube.

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<v Speaker 1>So there's this like false feeling of movement as well. Um,

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<v Speaker 1>it never felt woozy or anything. I didn't feel like

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<v Speaker 1>it was gonna be sick or like it was on

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<v Speaker 1>a roller coaster exactly. But it was this this this

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<v Speaker 1>feeling of movement that I knew wasn't actually happening. Yeah,

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<v Speaker 1>and how did your brain deal with that? You know,

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<v Speaker 1>did you were you consumed by it? Or Um? I

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<v Speaker 1>was kind of like thinking, WHOA, I really feel like

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<v Speaker 1>I'm moving, and I would picture myself in like a

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<v Speaker 1>plane of darkness, um, you know, and then being tipped

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<v Speaker 1>forward and then occasionally and this is where I got

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<v Speaker 1>into trouble a little bit, is that I would sort

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<v Speaker 1>of I feel myself tipping forward. So I tipped my

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<v Speaker 1>head back a little bit, presumably to keep my head

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<v Speaker 1>above the water, and of course my since the water

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<v Speaker 1>plane wasn't actually tilting, all I managed to do was

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<v Speaker 1>was get a little salt water in my eyes. Yeah,

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<v Speaker 1>And it's really interesting all these little things, all this

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<v Speaker 1>minutia you begin to sort of get caught up with,

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<v Speaker 1>and then your body becomes accepting of it eventually because

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<v Speaker 1>it adapts. And now I thought that was the fascinating

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<v Speaker 1>part of all of this, is that here we are

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<v Speaker 1>just completely bombarded by everything, um, by all the little

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<v Speaker 1>undercurrent suff sound of you know, the state of our hunger,

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<v Speaker 1>you know, if we're super hungry or not very hungry

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<v Speaker 1>at all, or not feeling great, um, the interactions with everybody,

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<v Speaker 1>all the data we're taking in with our eyes. You

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<v Speaker 1>shut all of that out and the brain kind of

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<v Speaker 1>goes a little bit. I will say, nuts like light nuts,

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<v Speaker 1>good nuts, right, um, And then adapt to that and

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<v Speaker 1>you begin to feel that release into the water. And

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<v Speaker 1>I think that is the key point that that everybody

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<v Speaker 1>has talked about anecnotally is you know, this is this

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<v Speaker 1>is what the tank is really good for, is that

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<v Speaker 1>you do have a release in your your brain and

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<v Speaker 1>your body finally decide to just sort of submit to

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<v Speaker 1>the experience and things do get quiet. And I'm not

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<v Speaker 1>going to say that I had a completely you know,

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<v Speaker 1>meditative state. You know, after twenty minutes, who knows. Because

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<v Speaker 1>time is nonexistent in the town. Like basically they tell

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<v Speaker 1>you don't think about time because a number of things

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<v Speaker 1>will happen. You'll hear the filtration system kick in the end,

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<v Speaker 1>and then they'll make some music play in the room,

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<v Speaker 1>and then if that didn't work, they'll come and knock

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<v Speaker 1>on the door. So the idea is, don't worry about

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<v Speaker 1>how close you are to the finish line. We'll tell

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<v Speaker 1>you when your time is right. It's just sort of

0:11:07.640 --> 0:11:11.960
<v Speaker 1>slipping in and out of different states. Um. So that

0:11:12.040 --> 0:11:15.040
<v Speaker 1>was to me one of the most interesting things altered Stass,

0:11:15.080 --> 0:11:17.240
<v Speaker 1>which we talked about, is that the main thing that

0:11:17.280 --> 0:11:19.880
<v Speaker 1>comes out of this experiences that people are having altered

0:11:19.920 --> 0:11:23.320
<v Speaker 1>states of consciousness. Now you mean you were talking about

0:11:23.400 --> 0:11:26.200
<v Speaker 1>We're talking about sound there. One of the impressions I

0:11:26.240 --> 0:11:29.000
<v Speaker 1>definitely had is that I you know, I'm in there,

0:11:29.040 --> 0:11:30.800
<v Speaker 1>I'm in my own head. And then time sort of

0:11:30.840 --> 0:11:33.760
<v Speaker 1>starts to slip by, and then suddenly I'm hearing this

0:11:33.920 --> 0:11:36.920
<v Speaker 1>noise and it sounds like the crashing of waves on

0:11:36.960 --> 0:11:39.520
<v Speaker 1>a beach. And then I realized that it's my own

0:11:39.640 --> 0:11:42.120
<v Speaker 1>breathing because I have the have the plugs in, I'm

0:11:42.160 --> 0:11:44.760
<v Speaker 1>in the in the water, and uh, and so most

0:11:44.800 --> 0:11:46.840
<v Speaker 1>of the noises, I mean pretty much all the noises

0:11:46.840 --> 0:11:49.040
<v Speaker 1>I'm hearing is simply the noises of my body. So

0:11:49.120 --> 0:11:51.319
<v Speaker 1>I'm hearing my breathing. And that was a really interesting

0:11:51.320 --> 0:11:54.880
<v Speaker 1>experience because it did feel like waves crashing. Sound like

0:11:54.920 --> 0:11:57.920
<v Speaker 1>waves crashing. I had that same experience, and I thought, wow,

0:11:57.960 --> 0:11:59.200
<v Speaker 1>that sounds like I'm on the beach. And then the

0:11:59.200 --> 0:12:01.280
<v Speaker 1>same thing, I was old to realize that it was

0:12:01.440 --> 0:12:03.920
<v Speaker 1>just my own breath. Um. And you can cure your

0:12:04.040 --> 0:12:07.760
<v Speaker 1>your heart beating. UM. At one point I decided that

0:12:07.840 --> 0:12:10.560
<v Speaker 1>the towel in the door that just had the crack

0:12:10.600 --> 0:12:13.320
<v Speaker 1>of light coming through was not good because I would

0:12:13.320 --> 0:12:16.400
<v Speaker 1>sort of go into these into the void of nothingness

0:12:16.640 --> 0:12:18.880
<v Speaker 1>and be taken out when I floated near the top

0:12:19.120 --> 0:12:21.000
<v Speaker 1>where that crack of light was, and and again you

0:12:21.160 --> 0:12:24.000
<v Speaker 1>you left that there because you're maybe a little claustrophobic.

0:12:24.320 --> 0:12:26.720
<v Speaker 1>I didn't know. You know, I've never been sealed into anything.

0:12:26.920 --> 0:12:29.800
<v Speaker 1>Um I didn't wasn't crazy about the idea, honestly. Um

0:12:29.880 --> 0:12:31.960
<v Speaker 1>So I thought, I'll just do that, and then I

0:12:32.040 --> 0:12:34.000
<v Speaker 1>know that I have you know, I can just push

0:12:34.040 --> 0:12:35.880
<v Speaker 1>it open, which I could do anyway. But once I

0:12:35.920 --> 0:12:38.640
<v Speaker 1>got past the fear of that, I wanted to take

0:12:38.679 --> 0:12:41.720
<v Speaker 1>it out. But here's the thing. I started to lift

0:12:41.760 --> 0:12:44.480
<v Speaker 1>my head maybe a couple of inches, and I was

0:12:44.720 --> 0:12:48.959
<v Speaker 1>so incredibly heavy and so shocked by that that I

0:12:49.000 --> 0:12:53.000
<v Speaker 1>said never mind, because it felt like my my neck

0:12:53.200 --> 0:12:56.480
<v Speaker 1>way a thousand pounds. And that's when I realized the

0:12:56.520 --> 0:13:01.280
<v Speaker 1>extent to which my body had just become entirely relaxed,

0:13:02.080 --> 0:13:04.520
<v Speaker 1>as well as my mind. Yeah, all right, we're gonna

0:13:04.559 --> 0:13:06.560
<v Speaker 1>take a quick break, and when we come back, we're

0:13:06.640 --> 0:13:09.920
<v Speaker 1>going to enter one of the more obvious realms of

0:13:09.920 --> 0:13:12.160
<v Speaker 1>the senses here, that is that is being taken away

0:13:12.160 --> 0:13:13.600
<v Speaker 1>from us in the tank. We're going to talk about

0:13:13.679 --> 0:13:16.040
<v Speaker 1>sight and we're gonna talk about the darkness, and then

0:13:16.080 --> 0:13:17.520
<v Speaker 1>after that we're also going to try and catch up

0:13:17.559 --> 0:13:30.120
<v Speaker 1>on a little of the stroman. All right, we're back,

0:13:30.360 --> 0:13:32.480
<v Speaker 1>and now it's time to talk about the darkness and

0:13:32.520 --> 0:13:35.840
<v Speaker 1>talk about the darkness. Darkness? What about what our encounter

0:13:35.920 --> 0:13:38.200
<v Speaker 1>with the darkness inside of the tank? All right? So

0:13:38.280 --> 0:13:41.800
<v Speaker 1>are you talking about hallucinations? Yes? Yes, Okay, Well, the

0:13:41.840 --> 0:13:43.840
<v Speaker 1>first time, I really, like I said, it was sort

0:13:43.840 --> 0:13:47.760
<v Speaker 1>of a struggle between being present and letting myself go

0:13:48.160 --> 0:13:50.840
<v Speaker 1>and being preoccupied with what was going on with my

0:13:50.920 --> 0:13:54.520
<v Speaker 1>body or you get my stomach gurgling um. But I

0:13:54.559 --> 0:14:00.240
<v Speaker 1>did see a crusty eyeball staring at me. Whoa, which

0:14:00.240 --> 0:14:05.520
<v Speaker 1>I wasn't crusty sort of well, sort of like opaque

0:14:05.559 --> 0:14:10.720
<v Speaker 1>looking eyeball that just looked crusty and old. And I

0:14:10.880 --> 0:14:13.120
<v Speaker 1>wasn't I mean, I wasn't thrilled with that. I wasn't

0:14:13.120 --> 0:14:15.880
<v Speaker 1>scared by it, but uh no, it was just sort of,

0:14:16.000 --> 0:14:20.400
<v Speaker 1>like I said, opaque looking. And that was the extent

0:14:20.440 --> 0:14:22.400
<v Speaker 1>of that. But the second time, I floated by the

0:14:22.400 --> 0:14:26.480
<v Speaker 1>way it just when I went back in. It's amazing

0:14:26.480 --> 0:14:28.320
<v Speaker 1>how your brain just mapped all this stuff out, and

0:14:28.680 --> 0:14:32.400
<v Speaker 1>it's ready for the experience. The smell, everything, the water temperature.

0:14:32.440 --> 0:14:35.160
<v Speaker 1>None of this was surprised to me, so I was

0:14:35.200 --> 0:14:38.760
<v Speaker 1>able to get into that altered state much quicker. And

0:14:38.800 --> 0:14:40.720
<v Speaker 1>the second time, I just sort of saw a bunch

0:14:40.760 --> 0:14:44.040
<v Speaker 1>of very odd things, like um as if I were

0:14:44.080 --> 0:14:46.960
<v Speaker 1>a lizard crawling up a rock, and seeing my little

0:14:47.000 --> 0:14:50.600
<v Speaker 1>lizard arms crawling up those sorts of things, and not

0:14:50.680 --> 0:14:53.520
<v Speaker 1>to mention having just um a lot of very interesting

0:14:53.560 --> 0:14:56.720
<v Speaker 1>thoughts about either how I operate in the world or

0:14:58.000 --> 0:15:01.800
<v Speaker 1>things I've experienced, wouldn't call them revelations, but things that

0:15:01.840 --> 0:15:06.400
<v Speaker 1>were sort of important that I needed to maybe acknowledge

0:15:06.480 --> 0:15:08.960
<v Speaker 1>or discuss with myself. Yeah, and I had trapped myself

0:15:09.040 --> 0:15:11.520
<v Speaker 1>in a box to do. So. Yeah, you're you're taking

0:15:11.520 --> 0:15:13.640
<v Speaker 1>that person that corners you at the party. You're trapping

0:15:13.720 --> 0:15:16.240
<v Speaker 1>them in the box with you, and you may think

0:15:16.280 --> 0:15:18.840
<v Speaker 1>to realize, I should maybe ask them about their job,

0:15:19.040 --> 0:15:22.360
<v Speaker 1>maybe I right, or maybe we have something or unresolved

0:15:22.360 --> 0:15:25.360
<v Speaker 1>issue I should talk about with this part of myself.

0:15:25.560 --> 0:15:28.600
<v Speaker 1>And it was really interesting because, as you say, there

0:15:28.600 --> 0:15:30.640
<v Speaker 1>are so many things that we can occupy our brains with,

0:15:31.040 --> 0:15:33.080
<v Speaker 1>you know, with trying to escape that person at the

0:15:33.120 --> 0:15:36.920
<v Speaker 1>party that when you are in that space and it's

0:15:36.960 --> 0:15:39.120
<v Speaker 1>just you and you. Then it becomes like, well, this

0:15:39.280 --> 0:15:41.480
<v Speaker 1>is very important, and those sort of things do rise

0:15:41.520 --> 0:15:43.440
<v Speaker 1>to the surface and you do have to deal with them,

0:15:43.480 --> 0:15:45.520
<v Speaker 1>albeit in a good way. I don't mean to say that,

0:15:45.560 --> 0:15:48.240
<v Speaker 1>you know, there's any sort of strife associated with us.

0:15:49.040 --> 0:15:51.320
<v Speaker 1>Now when you were picturing yourself as a lizard and

0:15:51.440 --> 0:15:55.160
<v Speaker 1>uh and some more things, were these colorful in any way?

0:15:54.680 --> 0:15:58.880
<v Speaker 1>Were they? Like? No, it was more like desert colors.

0:15:59.600 --> 0:16:01.920
<v Speaker 1>Is that makes it's like more sort of fitting in

0:16:01.960 --> 0:16:06.360
<v Speaker 1>with the rain than I was scaling? Okay, cool? Oh

0:16:06.440 --> 0:16:09.600
<v Speaker 1>well with me? Um? Well, I basically, you know, I

0:16:09.640 --> 0:16:11.080
<v Speaker 1>go into the tank and it's all dark in your

0:16:11.120 --> 0:16:13.000
<v Speaker 1>eyes kind of a just to you know, sort of

0:16:13.080 --> 0:16:15.960
<v Speaker 1>dancing lights a little bit, you know. At first, and

0:16:16.320 --> 0:16:18.080
<v Speaker 1>after a while i'd been in there and I had

0:16:18.080 --> 0:16:22.000
<v Speaker 1>the experience hearing the ocean, and then I I was

0:16:22.160 --> 0:16:24.960
<v Speaker 1>observing some light and at first I thought that light

0:16:25.040 --> 0:16:27.280
<v Speaker 1>was leaking in through the tank, and my my first

0:16:27.320 --> 0:16:29.520
<v Speaker 1>thought was, well, this is kind of a crappy sensory

0:16:29.520 --> 0:16:32.880
<v Speaker 1>deprivation tank because there's all this light leaking into it,

0:16:33.000 --> 0:16:34.840
<v Speaker 1>or somebody has come into the room and opened a

0:16:34.880 --> 0:16:39.040
<v Speaker 1>window or something or the or something's a jar. And

0:16:39.080 --> 0:16:42.720
<v Speaker 1>then I quickly realized that this was not actual light.

0:16:42.800 --> 0:16:45.040
<v Speaker 1>I was seeing light. I was seeing this kind of

0:16:45.120 --> 0:16:49.520
<v Speaker 1>gray light as if it were leaking in to the tank,

0:16:49.560 --> 0:16:52.080
<v Speaker 1>but it wasn't actually illuminating anything, like I couldn't see

0:16:52.120 --> 0:16:55.600
<v Speaker 1>my body or anything. I was just seeing light, uh,

0:16:55.680 --> 0:16:59.400
<v Speaker 1>specifically at the the edges of my site. And as

0:16:59.440 --> 0:17:02.680
<v Speaker 1>I sort of watch the light some more, I saw

0:17:03.480 --> 0:17:07.560
<v Speaker 1>like a human skull um like a gray light made

0:17:07.560 --> 0:17:09.280
<v Speaker 1>of the same gray light that I was receiving, a

0:17:09.359 --> 0:17:13.040
<v Speaker 1>human skull made of this rotating. And of course if

0:17:13.280 --> 0:17:15.200
<v Speaker 1>you know me, then you know it probably didn't take

0:17:15.280 --> 0:17:17.040
<v Speaker 1>much for me to think or imagine a skull, So

0:17:17.080 --> 0:17:21.080
<v Speaker 1>I don't know, but it hello, dear Horatio did. I

0:17:21.160 --> 0:17:23.520
<v Speaker 1>did not speak to it, but I saw it rotating there.

0:17:23.560 --> 0:17:25.840
<v Speaker 1>And then that kind of went away, and I saw

0:17:27.000 --> 0:17:29.919
<v Speaker 1>like a like a whole bunch of like like gray

0:17:30.040 --> 0:17:33.520
<v Speaker 1>sea an enemy tentacles of the They're not really tend

0:17:33.640 --> 0:17:35.760
<v Speaker 1>are they tentacles? I'm not up on my see an

0:17:35.840 --> 0:17:39.760
<v Speaker 1>enemy an enemy they are well, and I mean maybe uh,

0:17:40.440 --> 0:17:43.880
<v Speaker 1>maybe they are, but they don't remind me of technacle, right, Yeah,

0:17:44.520 --> 0:17:47.800
<v Speaker 1>those appendages that they have, um, so they were kind

0:17:47.840 --> 0:17:50.480
<v Speaker 1>of dancing, They're just kind of undulating, as if in

0:17:50.560 --> 0:17:53.040
<v Speaker 1>a c current, and they were also composed of that

0:17:53.119 --> 0:17:56.640
<v Speaker 1>same sort of gray light, almost kind of an ectoplasmy

0:17:56.720 --> 0:17:59.720
<v Speaker 1>substance as the skull. And then that kind of faded

0:17:59.760 --> 0:18:03.720
<v Speaker 1>away and I didn't have any more visual hallucinations for

0:18:03.760 --> 0:18:07.720
<v Speaker 1>the remainder of the episode. UM, I have to share

0:18:07.720 --> 0:18:09.560
<v Speaker 1>with you that the first time that I floated, I

0:18:09.600 --> 0:18:14.560
<v Speaker 1>did find myself at one point giggling, just crazy giggling,

0:18:14.720 --> 0:18:16.800
<v Speaker 1>and I was sort of like afterward afraid of well,

0:18:16.840 --> 0:18:18.320
<v Speaker 1>I wonder if they heard me in the other room.

0:18:18.880 --> 0:18:21.800
<v Speaker 1>But the reason I was giggling is because they were

0:18:21.880 --> 0:18:25.120
<v Speaker 1>things that I started to think about that seems so

0:18:25.160 --> 0:18:29.000
<v Speaker 1>important that I was stressed out about that. In the

0:18:29.080 --> 0:18:33.480
<v Speaker 1>light of that experience, I just it became hilarious. And

0:18:33.600 --> 0:18:35.960
<v Speaker 1>I will say that after my second float, a couple

0:18:36.000 --> 0:18:40.199
<v Speaker 1>of hours after that, my husband was, you know, we

0:18:40.200 --> 0:18:42.639
<v Speaker 1>were talking about something fixing dinner, and he started stressing

0:18:42.640 --> 0:18:46.359
<v Speaker 1>out about something and I started laughing again at him

0:18:46.400 --> 0:18:48.280
<v Speaker 1>because he was stressed out. I was still in this

0:18:48.359 --> 0:18:52.360
<v Speaker 1>state and he was like, oh, it was like, seriously,

0:18:52.480 --> 0:18:55.080
<v Speaker 1>is this how you're going to be all night. Um.

0:18:55.359 --> 0:18:57.480
<v Speaker 1>So I will say that the second time, I really

0:18:57.480 --> 0:19:00.600
<v Speaker 1>felt like the after effects of that were much more announced,

0:19:00.840 --> 0:19:03.120
<v Speaker 1>that I was viewing the world a little bit more

0:19:03.200 --> 0:19:06.399
<v Speaker 1>outside of myself and not trying to make my my

0:19:06.480 --> 0:19:09.600
<v Speaker 1>husband feel bad by laughing at him. But it was funny.

0:19:11.160 --> 0:19:13.720
<v Speaker 1>Time was really strange in the in the tank because

0:19:13.720 --> 0:19:15.960
<v Speaker 1>when I first got in, you know, everything was sort

0:19:15.960 --> 0:19:18.080
<v Speaker 1>of new and I'm taking it in, and then nothing

0:19:18.160 --> 0:19:20.359
<v Speaker 1>was really happening, and I started thinking, oh, I'm going

0:19:20.400 --> 0:19:24.920
<v Speaker 1>to be in here an hour. I I and I

0:19:24.960 --> 0:19:28.520
<v Speaker 1>actually started thinking what if I just would How badly

0:19:28.520 --> 0:19:30.760
<v Speaker 1>would the lady at the front judge me if I

0:19:30.920 --> 0:19:34.160
<v Speaker 1>left after fifteen minutes? You know, how how much of

0:19:33.640 --> 0:19:35.800
<v Speaker 1>a of a square would I appear to be? If

0:19:35.840 --> 0:19:38.639
<v Speaker 1>that was my story. I sat there for fifteen minutes,

0:19:38.680 --> 0:19:40.919
<v Speaker 1>so I just got wet, so I just left, you know.

0:19:41.400 --> 0:19:43.440
<v Speaker 1>But but then I stayed there longer, and eventually I

0:19:44.160 --> 0:19:46.680
<v Speaker 1>did lose complete track of time. So when the when

0:19:46.680 --> 0:19:49.520
<v Speaker 1>the filtration system finally kicked in and the music came on,

0:19:50.000 --> 0:19:52.040
<v Speaker 1>I was really shocked. I was like, Wow, I can't

0:19:52.080 --> 0:19:55.200
<v Speaker 1>believe an hour's passed. That was interesting to talk to Maryland.

0:19:55.280 --> 0:19:59.119
<v Speaker 1>She she's the person at the Harmony Wellness and Yoga

0:19:59.160 --> 0:20:03.640
<v Speaker 1>Center in Georgia and Tucker, Georgia, and she was saying that, Um,

0:20:03.760 --> 0:20:05.840
<v Speaker 1>she says, the tank is the teacher, which, by the way,

0:20:05.880 --> 0:20:09.280
<v Speaker 1>the tank is made by somebody, which is the somebody

0:20:09.440 --> 0:20:13.000
<v Speaker 1>And is this idea of um being the tool of

0:20:13.080 --> 0:20:17.880
<v Speaker 1>meditation right? And somebody the company John cy Lily actually

0:20:17.920 --> 0:20:22.440
<v Speaker 1>helped to develop this current iteration of the tank, by

0:20:22.440 --> 0:20:24.760
<v Speaker 1>the way, so we were in a John sale see

0:20:24.840 --> 0:20:28.800
<v Speaker 1>Lily approved tank UM. But anyway, she was saying that

0:20:28.800 --> 0:20:31.320
<v Speaker 1>the tank is essentially the teacher and that She said

0:20:31.320 --> 0:20:33.720
<v Speaker 1>that there was one person who got out after fifteen minutes,

0:20:34.440 --> 0:20:36.639
<v Speaker 1>and he said that he kept spinning and spinning and spinning,

0:20:36.680 --> 0:20:39.200
<v Speaker 1>or felt like he was spinning uncontrollably, and he realized

0:20:39.200 --> 0:20:43.640
<v Speaker 1>that his mind was so disordered and was always spinning

0:20:44.520 --> 0:20:46.760
<v Speaker 1>and he couldn't stop it, and so he decided that

0:20:46.800 --> 0:20:48.520
<v Speaker 1>he would get out. And she said, you know, even

0:20:48.520 --> 0:20:50.840
<v Speaker 1>though he just had a fifteen minute experience, he sort

0:20:50.840 --> 0:20:54.199
<v Speaker 1>of had the breakthrough of realizing that his life was

0:20:54.240 --> 0:20:57.840
<v Speaker 1>in such disorder because of his his mind. UM. So

0:20:57.920 --> 0:20:59.600
<v Speaker 1>she was saying, you know, there's something to be learned

0:20:59.640 --> 0:21:02.080
<v Speaker 1>from every single moment that you're in there. But that

0:21:02.160 --> 0:21:05.159
<v Speaker 1>being said, as you said, you just don't really realize

0:21:05.640 --> 0:21:07.639
<v Speaker 1>time is passing, or you do and you're trying to

0:21:07.680 --> 0:21:10.639
<v Speaker 1>tag it, but the brain isn't quite letting you. And

0:21:10.680 --> 0:21:13.240
<v Speaker 1>so I thought it would be interesting just to drop

0:21:13.280 --> 0:21:16.600
<v Speaker 1>in UM that there was some research by neurophysiologists and

0:21:16.680 --> 0:21:19.600
<v Speaker 1>chemists who are working on time processing, and they showed

0:21:19.600 --> 0:21:22.440
<v Speaker 1>how emotions can speed up or slow down our perception

0:21:22.480 --> 0:21:25.800
<v Speaker 1>of time. In our last episode, you actually touched on

0:21:25.840 --> 0:21:30.080
<v Speaker 1>this too, about how emotion can color time perception. In

0:21:30.800 --> 0:21:35.760
<v Speaker 1>Professor Droit Vollette and Sandrine gil published a study on

0:21:36.000 --> 0:21:40.280
<v Speaker 1>emotional states, and they did this by having their volunteers

0:21:40.320 --> 0:21:43.400
<v Speaker 1>watch films and seeing how that affected their sense of time.

0:21:43.880 --> 0:21:48.240
<v Speaker 1>So these students, these volunteers were looking at films like

0:21:48.240 --> 0:21:50.560
<v Speaker 1>horror movies like The Blair Witch Project, Scream and The

0:21:50.600 --> 0:21:53.280
<v Speaker 1>Shining Um. And then they looked at film really sad

0:21:53.320 --> 0:21:57.520
<v Speaker 1>films like City of Angels, Philadelphia, Dangerous Minds. Um. That's

0:21:57.560 --> 0:21:59.880
<v Speaker 1>what they say, is that sad movie A third cat

0:22:00.000 --> 0:22:03.840
<v Speaker 1>a glory with neutral footage. So weather forecasts, um, stock

0:22:03.880 --> 0:22:05.959
<v Speaker 1>market updates. Some people can think that was side by

0:22:06.000 --> 0:22:08.399
<v Speaker 1>the way. Uh. And then they asked the students to

0:22:08.480 --> 0:22:11.600
<v Speaker 1>estimate the duration of a visual stimulus, like how long

0:22:11.640 --> 0:22:14.040
<v Speaker 1>they were looking at this or experiencing this, and they

0:22:14.080 --> 0:22:17.800
<v Speaker 1>found that feared shorted time and the simuls being perceived

0:22:18.119 --> 0:22:21.160
<v Speaker 1>was much longer than it actually was, and that fear

0:22:21.160 --> 0:22:23.840
<v Speaker 1>prompted a state of arousal that speeded up the rate

0:22:23.920 --> 0:22:27.119
<v Speaker 1>of the internal clock. And the state also involved that

0:22:27.200 --> 0:22:29.960
<v Speaker 1>late to pupils, higher pulse rate, increased blood pressure, you know,

0:22:30.040 --> 0:22:33.159
<v Speaker 1>all the known quantities. So in the fearful situation, it

0:22:33.200 --> 0:22:35.640
<v Speaker 1>seemed to last longer than it actually Wasn't interesting though,

0:22:35.640 --> 0:22:37.960
<v Speaker 1>because we always think about fear, something fearful happening and

0:22:38.040 --> 0:22:40.200
<v Speaker 1>like have just in a split second. But we also

0:22:40.320 --> 0:22:42.919
<v Speaker 1>know that when you feel like you're under attack that

0:22:43.040 --> 0:22:45.879
<v Speaker 1>things do slow down. They seem to slow down because

0:22:45.880 --> 0:22:48.479
<v Speaker 1>you're trying to take in every single element of what

0:22:48.520 --> 0:22:51.840
<v Speaker 1>you're experiencing, which is why your pupils dilate, right, huh, Well,

0:22:51.880 --> 0:22:54.200
<v Speaker 1>that reminds me of like recently, I was looking up

0:22:54.840 --> 0:22:58.679
<v Speaker 1>a clip from The Ring, the American remake, and I

0:22:58.760 --> 0:23:01.920
<v Speaker 1>was looking it was looking at the scene where um Samara,

0:23:02.760 --> 0:23:07.480
<v Speaker 1>the ghost slash entity emerges from the television set and

0:23:07.520 --> 0:23:10.000
<v Speaker 1>I was surprised at how short that segment was when

0:23:10.000 --> 0:23:12.000
<v Speaker 1>I saw it, you know, on on on a YouTube

0:23:12.040 --> 0:23:13.560
<v Speaker 1>clip as being an I forget how long it was,

0:23:13.600 --> 0:23:15.159
<v Speaker 1>but you know, you saw the clear time stamp of

0:23:15.400 --> 0:23:17.560
<v Speaker 1>stamp of when it began and when it ended, and

0:23:17.600 --> 0:23:19.720
<v Speaker 1>I was like, wow, that really felt like a much

0:23:19.840 --> 0:23:22.960
<v Speaker 1>longer scene when I saw it the first time. Right,

0:23:23.040 --> 0:23:26.120
<v Speaker 1>So because you you were, as we know, with our

0:23:26.320 --> 0:23:31.240
<v Speaker 1>mirror neurons sort of in empathy going through the experience, right,

0:23:31.400 --> 0:23:35.880
<v Speaker 1>and and things felt sort of drawn out. Um. Now,

0:23:35.920 --> 0:23:40.040
<v Speaker 1>they found out that sadness does not affect our perception

0:23:40.040 --> 0:23:41.840
<v Speaker 1>of time. And they thought that it would, that it

0:23:41.840 --> 0:23:44.560
<v Speaker 1>would slow it down or speed it up, um, And

0:23:44.600 --> 0:23:47.879
<v Speaker 1>they feel like the emotion that was felt while watching

0:23:47.880 --> 0:23:51.440
<v Speaker 1>the film wasn't strong enough to slow down physiological functions. Now,

0:23:51.560 --> 0:23:55.560
<v Speaker 1>that does not mean that, um, severe depression is not

0:23:56.000 --> 0:23:58.680
<v Speaker 1>affected in this way. That they were taking people who

0:23:58.680 --> 0:24:02.520
<v Speaker 1>were quote unquote how healthy volunteers who didn't have any

0:24:02.560 --> 0:24:05.280
<v Speaker 1>depression problems and sort of measuring it that way, that

0:24:05.320 --> 0:24:08.840
<v Speaker 1>doesn't mean that, you know, people who do suffer from

0:24:08.880 --> 0:24:14.159
<v Speaker 1>severe depression don't experience time dilation right anyway, So I

0:24:14.160 --> 0:24:16.960
<v Speaker 1>thought this was just sort of interesting information to add

0:24:17.000 --> 0:24:21.080
<v Speaker 1>when we're talking about taking all that stimuli out in

0:24:21.119 --> 0:24:24.280
<v Speaker 1>the tank and trying to gauge time. Well, it's kind

0:24:24.280 --> 0:24:26.719
<v Speaker 1>of like, uh, it's kind of like Convengence and Dragons,

0:24:26.720 --> 0:24:28.040
<v Speaker 1>where you have like a sword and it does a

0:24:28.040 --> 0:24:30.360
<v Speaker 1>certain amount of based damage. But then if it's magical,

0:24:30.400 --> 0:24:32.360
<v Speaker 1>they don't have like a modifier of a plus three

0:24:32.440 --> 0:24:34.920
<v Speaker 1>year a plus two. But then if the individual is

0:24:34.960 --> 0:24:37.120
<v Speaker 1>in a stressful situation or he is cursed or something,

0:24:37.160 --> 0:24:39.800
<v Speaker 1>you have maybe a modifier of a negative one, and

0:24:39.800 --> 0:24:41.719
<v Speaker 1>and all of that adds up to what the sword's

0:24:41.720 --> 0:24:43.560
<v Speaker 1>actual power is. So in a sense, when you go

0:24:43.600 --> 0:24:47.639
<v Speaker 1>into a tank like this, you were removing some of

0:24:47.680 --> 0:24:52.080
<v Speaker 1>the modifiers on your on your appreciation of time and

0:24:52.080 --> 0:24:54.440
<v Speaker 1>your experience of time, the things that make it speed

0:24:54.520 --> 0:24:56.760
<v Speaker 1>up and the things that slow it down. Well, you know,

0:24:56.800 --> 0:24:59.840
<v Speaker 1>we we've talked so much about the default mode network,

0:25:00.080 --> 0:25:02.359
<v Speaker 1>this idea that this is the center of the ego

0:25:02.520 --> 0:25:05.160
<v Speaker 1>in the self, and that's where all this chatter happens.

0:25:05.280 --> 0:25:07.920
<v Speaker 1>And when we have excessive chatter, this leads to depression,

0:25:08.040 --> 0:25:10.320
<v Speaker 1>right because you you get sort of caught up in

0:25:10.320 --> 0:25:14.000
<v Speaker 1>this sort of I eighness of the experience. Um so

0:25:14.080 --> 0:25:15.520
<v Speaker 1>it's kind of funny. You would think that if you

0:25:15.560 --> 0:25:19.200
<v Speaker 1>put yourself in the tank that this default mode network

0:25:19.320 --> 0:25:21.399
<v Speaker 1>might go crazy, right and be like, oh, this is

0:25:21.440 --> 0:25:25.040
<v Speaker 1>the opportunity just to to really focus on the self.

0:25:25.160 --> 0:25:28.720
<v Speaker 1>But because we discussed before, since re deprivation is used

0:25:28.760 --> 0:25:32.600
<v Speaker 1>as a mode of an enhanced interrogation or or light torture,

0:25:33.000 --> 0:25:35.560
<v Speaker 1>so there is definitely a dark side to it. So

0:25:35.800 --> 0:25:37.879
<v Speaker 1>you can see where you would enter the situation thinking well,

0:25:37.920 --> 0:25:40.000
<v Speaker 1>I'm going to go crazy in there and turn into

0:25:40.040 --> 0:25:43.600
<v Speaker 1>a neander Doll. But it didn't happen to us, and

0:25:43.640 --> 0:25:45.959
<v Speaker 1>it doesn't happen to mostly Yeah, I don't think so.

0:25:45.960 --> 0:25:47.919
<v Speaker 1>So yeah, in the end, uh, I know you you

0:25:47.920 --> 0:25:50.120
<v Speaker 1>went once and you went the second time, and uh

0:25:50.440 --> 0:25:53.879
<v Speaker 1>and and found it even more amazing, and you have

0:25:54.680 --> 0:25:57.520
<v Speaker 1>what two more scheduled I do continue the journey. Yeah,

0:25:57.720 --> 0:26:00.199
<v Speaker 1>let's just pretty cool because when I left Chap, you

0:26:00.200 --> 0:26:02.840
<v Speaker 1>know she's just telling me, um, well, you know the

0:26:03.240 --> 0:26:05.760
<v Speaker 1>no float is like the next or the one before,

0:26:05.760 --> 0:26:07.840
<v Speaker 1>at each one is different and you really understand it.

0:26:07.880 --> 0:26:09.639
<v Speaker 1>You need to come back for a second one, which

0:26:10.520 --> 0:26:12.600
<v Speaker 1>you know part of that I'm thinking, well, of course

0:26:12.640 --> 0:26:14.040
<v Speaker 1>you want me to come back for a second one

0:26:14.320 --> 0:26:17.840
<v Speaker 1>because I have to pay for it. UM, And obviously

0:26:17.840 --> 0:26:19.720
<v Speaker 1>you want to encourage it's a business. You want people

0:26:19.760 --> 0:26:22.159
<v Speaker 1>to come back in and be a repeat listener. But

0:26:22.359 --> 0:26:24.399
<v Speaker 1>from your experience, it sounds like that is definitely the case.

0:26:24.760 --> 0:26:26.679
<v Speaker 1>And it makes sense because the first time you're in there,

0:26:26.720 --> 0:26:30.640
<v Speaker 1>you're just experiencing the tank for the first time, and

0:26:30.920 --> 0:26:32.720
<v Speaker 1>the next time you can focus less on the tank

0:26:32.720 --> 0:26:36.119
<v Speaker 1>and more in the experience. Well, and um Marilan was

0:26:36.160 --> 0:26:38.879
<v Speaker 1>saying that there's a recovery group that she works with

0:26:38.920 --> 0:26:41.439
<v Speaker 1>that also uses the tank and it's very effective. And

0:26:41.480 --> 0:26:43.720
<v Speaker 1>I thought about that afterward, and I thought it, I

0:26:43.760 --> 0:26:48.040
<v Speaker 1>can completely see that being very therapeutic because you are

0:26:49.520 --> 0:26:51.399
<v Speaker 1>you are in a space where you have where you

0:26:51.400 --> 0:26:54.280
<v Speaker 1>have to confront the way that your mind is working

0:26:54.960 --> 0:26:58.520
<v Speaker 1>and uh, not just working, but some of the falsities

0:26:58.560 --> 0:27:01.639
<v Speaker 1>that we tend to wrap ourselves in. Yeah, you know,

0:27:01.680 --> 0:27:04.240
<v Speaker 1>there's no escaping that go set in the corner and

0:27:04.240 --> 0:27:06.840
<v Speaker 1>think about what you've done kind of a little bit,

0:27:07.080 --> 0:27:09.400
<v Speaker 1>A little bit. In fact, I have a quote here

0:27:09.440 --> 0:27:11.080
<v Speaker 1>that I thought that I would read that that that

0:27:11.280 --> 0:27:15.920
<v Speaker 1>UM pairs up with us pretty nicely. UM. And this

0:27:16.000 --> 0:27:19.040
<v Speaker 1>is a sutra from the ancient sanscrit text called the

0:27:19.080 --> 0:27:24.720
<v Speaker 1>Vigian by Rava Tantra, and the Guyana means wisdom and insight,

0:27:24.840 --> 0:27:28.480
<v Speaker 1>perception that is free of thought, and by Rava means

0:27:28.600 --> 0:27:31.960
<v Speaker 1>the fearsome form of Shiva, in this case consciousness, which

0:27:32.080 --> 0:27:36.880
<v Speaker 1>destroys ignorance and mental conditioning. I've also seen this translated

0:27:36.920 --> 0:27:40.199
<v Speaker 1>as the joy and terror of realizing oneness with the

0:27:40.240 --> 0:27:43.159
<v Speaker 1>soul um. The text is thought to date that to

0:27:43.320 --> 0:27:46.880
<v Speaker 1>eight and it's a collection of one twelve meditation techniques

0:27:47.000 --> 0:27:49.760
<v Speaker 1>using the senses as a point of departure. So it

0:27:49.800 --> 0:27:52.679
<v Speaker 1>seemed pretty fitting to cap this section off with the

0:27:52.760 --> 0:27:56.400
<v Speaker 1>quote is attend to the skin as a subtle boundary

0:27:56.440 --> 0:28:01.119
<v Speaker 1>containing vastness. Enter that shimmering and pulsing fess. Discover that

0:28:01.200 --> 0:28:04.240
<v Speaker 1>you are not separate from anything there, and there is

0:28:04.280 --> 0:28:07.720
<v Speaker 1>no other, no object to meditate upon that is not you.

0:28:08.960 --> 0:28:13.240
<v Speaker 1>That's nice, all right. Well, on that note, let us

0:28:13.320 --> 0:28:15.719
<v Speaker 1>call over the robot so that we may catch up

0:28:15.760 --> 0:28:20.120
<v Speaker 1>on a little listener mail. All right, This one comes

0:28:20.160 --> 0:28:23.120
<v Speaker 1>to us from Marta, not to be confused with our

0:28:22.880 --> 0:28:26.440
<v Speaker 1>our transportation system public transportation system here in here in Atlanta,

0:28:26.520 --> 0:28:30.800
<v Speaker 1>but um Marta, as in a person Marty Wrightson and says, Hey, guys,

0:28:31.000 --> 0:28:33.360
<v Speaker 1>I just finished listening to You or Eating a live podcast,

0:28:33.400 --> 0:28:36.399
<v Speaker 1>and I can't avoid thinking about the book I recently

0:28:36.440 --> 0:28:39.800
<v Speaker 1>listened to by Christopher Moore Fluke or I Know Why

0:28:39.840 --> 0:28:42.640
<v Speaker 1>the Wing Whale Sings. It's an amazingly funny tale of

0:28:42.680 --> 0:28:45.479
<v Speaker 1>a biologist who has actually eaten alive whole by a whale.

0:28:45.640 --> 0:28:48.200
<v Speaker 1>And that's just the start. It's fantasy mixed with real

0:28:48.240 --> 0:28:51.440
<v Speaker 1>science and environmental questions, all wrapped up in smart humor.

0:28:51.480 --> 0:28:53.960
<v Speaker 1>I totally recommend it to you. Uh and and this

0:28:54.040 --> 0:28:55.800
<v Speaker 1>is a this is Have you ever read anything by

0:28:55.840 --> 0:29:00.320
<v Speaker 1>Christopher Moore? Christopher Moore I can personally vouch is is

0:29:00.360 --> 0:29:03.360
<v Speaker 1>that is a fine author and well worth reading. I've

0:29:03.480 --> 0:29:06.040
<v Speaker 1>I've read read a book he wrote called Lamb, which

0:29:06.080 --> 0:29:12.120
<v Speaker 1>is a fictional, humorous at times but also surprisingly poignant

0:29:12.320 --> 0:29:16.400
<v Speaker 1>um account of the life of Jesus the Lost Years

0:29:16.760 --> 0:29:18.640
<v Speaker 1>where he and he goes on adventures. And he has

0:29:18.680 --> 0:29:21.040
<v Speaker 1>this it's told by his friend. Uh his name's friend

0:29:21.120 --> 0:29:23.520
<v Speaker 1>was built Lost Years. Yeah, so he has this kind

0:29:23.560 --> 0:29:25.760
<v Speaker 1>of Uh. He has his friend Biff, who's talking about

0:29:25.760 --> 0:29:28.560
<v Speaker 1>his travels with Jesus and they end up deff and

0:29:28.560 --> 0:29:31.719
<v Speaker 1>they travel to India and they fight a demon at

0:29:31.760 --> 0:29:33.800
<v Speaker 1>one point, so they go in adventures the fun book,

0:29:33.840 --> 0:29:35.880
<v Speaker 1>but also it's not one where it's like, let's just

0:29:35.920 --> 0:29:38.800
<v Speaker 1>have some stupid adventures with Jesus and and make fun of,

0:29:39.120 --> 0:29:41.320
<v Speaker 1>you know, somebody's faith or something like. It's a it's

0:29:41.320 --> 0:29:44.160
<v Speaker 1>a really poignant book as well as a hilarious one.

0:29:44.320 --> 0:29:46.840
<v Speaker 1>And then he also wrote one called Fool, which is

0:29:46.920 --> 0:29:51.160
<v Speaker 1>kind of a medieval Shakespearean story that brings in elements

0:29:51.160 --> 0:29:54.560
<v Speaker 1>of a few different shakespeare plays, but it's it's told

0:29:54.560 --> 0:29:57.040
<v Speaker 1>from the point of view of a fool, and uh,

0:29:57.040 --> 0:29:58.920
<v Speaker 1>and that one's just a lot of fun, especially for

0:29:58.960 --> 0:30:02.400
<v Speaker 1>any Shakespeare buff out there. Um, I highly recommend that one.

0:30:02.480 --> 0:30:05.760
<v Speaker 1>So anyway, Marta continuous, he says, just to close, I

0:30:05.800 --> 0:30:08.440
<v Speaker 1>didn't write in at the time regarding the lebri Cons

0:30:08.440 --> 0:30:10.840
<v Speaker 1>podcast and the migraines that can cause visual allusions, but

0:30:10.880 --> 0:30:13.320
<v Speaker 1>I was amazed by the exact description you made of

0:30:13.400 --> 0:30:17.360
<v Speaker 1>whole scenes I read in Hruki Mirakami's tales, particularly the

0:30:17.400 --> 0:30:20.040
<v Speaker 1>small creatures coming out of the TV. It's kind of

0:30:20.040 --> 0:30:22.320
<v Speaker 1>a recurrent theme and his writing, and I'm surprised to

0:30:22.360 --> 0:30:24.480
<v Speaker 1>find out it might be because he suffers from my

0:30:24.560 --> 0:30:28.520
<v Speaker 1>drinks migraines. Thanks for so much fantastic work, Marta from Portugal.

0:30:28.960 --> 0:30:31.640
<v Speaker 1>All right, very cool. Um. Speaking of books, I wanted

0:30:31.680 --> 0:30:34.720
<v Speaker 1>to interject that, Um, I am in the middle of

0:30:34.800 --> 0:30:41.200
<v Speaker 1>reading The Hitman's God to House Cleaning. If anybody has

0:30:41.320 --> 0:30:44.200
<v Speaker 1>picked that up and you are shocked by the language,

0:30:45.640 --> 0:30:48.800
<v Speaker 1>I apologize. If anybody has picked it up and they

0:30:48.840 --> 0:30:53.800
<v Speaker 1>are sort of delighted by how uh how crazy pulp

0:30:53.920 --> 0:30:56.200
<v Speaker 1>fiction a e crime this is, then then I hope

0:30:56.240 --> 0:30:58.120
<v Speaker 1>you're enjoying it. Um, I have to say that I'm

0:30:58.120 --> 0:31:01.000
<v Speaker 1>struggling between both of those hemis bears. All right, Well,

0:31:01.040 --> 0:31:03.720
<v Speaker 1>here's our next one. This one is from Eric uh,

0:31:04.000 --> 0:31:07.560
<v Speaker 1>frequent contributor to the Listener mail section. He says he's

0:31:07.560 --> 0:31:10.240
<v Speaker 1>responding to our control equism episode because when I was

0:31:10.280 --> 0:31:12.360
<v Speaker 1>seven or eight, I was interested in introl equism. My

0:31:12.440 --> 0:31:15.040
<v Speaker 1>parents got me a dummy and I started learning the art.

0:31:15.360 --> 0:31:17.920
<v Speaker 1>I was having fun until while watching The Twilight Zone

0:31:17.960 --> 0:31:21.600
<v Speaker 1>I saw the dummy episode titled the Dummy. It scared

0:31:21.680 --> 0:31:24.080
<v Speaker 1>the ever living blank out of me. What made it

0:31:24.160 --> 0:31:27.080
<v Speaker 1>so bad was my dummy looked exactly the same as

0:31:27.120 --> 0:31:29.080
<v Speaker 1>the one on the show, so I had nightmares for

0:31:29.160 --> 0:31:32.120
<v Speaker 1>weeks after, and it still creeps me out like crazy.

0:31:32.720 --> 0:31:34.800
<v Speaker 1>Many years later, I saw the episode again with my mother.

0:31:34.840 --> 0:31:37.040
<v Speaker 1>I told her how much this episode scared me, especially

0:31:37.040 --> 0:31:39.520
<v Speaker 1>because I had a dummy like the one in the episode.

0:31:39.560 --> 0:31:42.120
<v Speaker 1>She told me she wondered why she had found my

0:31:42.200 --> 0:31:44.480
<v Speaker 1>dummy under my bed with his arms, legs, and head

0:31:44.520 --> 0:31:48.040
<v Speaker 1>torn off. Killing and dismembering my own dummy also led

0:31:48.080 --> 0:31:50.800
<v Speaker 1>to nightmares where it tried to take revenge on me.

0:31:50.920 --> 0:31:53.880
<v Speaker 1>I love this episode. Thanks Wow. I mean we talked

0:31:53.880 --> 0:31:57.000
<v Speaker 1>a lot about the relationship of the puppeteer and the

0:31:57.040 --> 0:32:00.120
<v Speaker 1>puppet and how you feel this some sort of like

0:32:00.240 --> 0:32:04.360
<v Speaker 1>a you know, like loyalty to it or disloyalty in

0:32:04.360 --> 0:32:06.960
<v Speaker 1>this case. So it's interesting to hear that, and also

0:32:07.000 --> 0:32:11.360
<v Speaker 1>interesting to learn that that Eric has a committed Chris

0:32:11.720 --> 0:32:16.440
<v Speaker 1>Ventral side Puppets. Yeah, he killed the puppet, but it's

0:32:17.560 --> 0:32:20.800
<v Speaker 1>it's it's quite as quite a little story you created

0:32:20.840 --> 0:32:22.760
<v Speaker 1>in our head there. Yeah, I don't judge. I have

0:32:22.800 --> 0:32:24.720
<v Speaker 1>to say, if if I the same thing had happened

0:32:24.760 --> 0:32:26.920
<v Speaker 1>to me at that tender age, I might do the same. Well,

0:32:27.040 --> 0:32:29.280
<v Speaker 1>these these you know, stories, be a horror movie, your

0:32:29.320 --> 0:32:31.440
<v Speaker 1>horror show. You're watching at the young age and something

0:32:31.800 --> 0:32:34.160
<v Speaker 1>something creepy happens was was something in the real world,

0:32:34.200 --> 0:32:36.000
<v Speaker 1>it can freak you out. Like I remember watching Poulder

0:32:36.080 --> 0:32:38.720
<v Speaker 1>Guys way too young in age, and there's that whole

0:32:38.720 --> 0:32:42.080
<v Speaker 1>scene where like stuff starts, weird starts happening in the night,

0:32:42.160 --> 0:32:45.760
<v Speaker 1>and then the door opens, and there's also branches tapping,

0:32:45.880 --> 0:32:48.360
<v Speaker 1>so like for ages, like the idea of a tree

0:32:48.400 --> 0:32:51.160
<v Speaker 1>branch tapping against my window that was horrorfiing. And I

0:32:51.200 --> 0:32:53.240
<v Speaker 1>think there's a weird puppet, like a kind of a

0:32:53.240 --> 0:32:56.880
<v Speaker 1>Harlequin looking puppet in there as well, and a clown,

0:32:56.920 --> 0:33:00.479
<v Speaker 1>I believe, speaking of clowns and harlequin's, I wanted to

0:33:00.480 --> 0:33:02.240
<v Speaker 1>point out in the past, we've talked about clowns a

0:33:02.240 --> 0:33:05.280
<v Speaker 1>bit and about scary clowns, and we've we've never done

0:33:05.280 --> 0:33:09.120
<v Speaker 1>an episode on clowning traditions, though Pop Stuff did one

0:33:09.120 --> 0:33:10.440
<v Speaker 1>where they're going a lot of the history. I mean,

0:33:10.440 --> 0:33:12.080
<v Speaker 1>he gets really interesting, you know, you look at various

0:33:12.120 --> 0:33:15.800
<v Speaker 1>Native American traditions and and just how important the clown

0:33:15.840 --> 0:33:18.840
<v Speaker 1>of the fool of the harlequin is. I'm currently reading

0:33:19.120 --> 0:33:23.040
<v Speaker 1>a horror short story by Thomas Logatti called The Last

0:33:23.080 --> 0:33:26.240
<v Speaker 1>Feast of Harlequin, and so far it's pretty creepy because

0:33:26.240 --> 0:33:29.560
<v Speaker 1>there's a there's an anthropologist who's investigating a like a

0:33:29.600 --> 0:33:34.160
<v Speaker 1>love craft ian um north eastern town that has some

0:33:34.240 --> 0:33:38.080
<v Speaker 1>sort of rich and possibly grotesque harlequin tradition. But he's

0:33:38.080 --> 0:33:41.320
<v Speaker 1>really excited about going because he also partakes and clowning

0:33:41.400 --> 0:33:44.200
<v Speaker 1>himself and is into juggling, and so I don't know

0:33:44.200 --> 0:33:46.720
<v Speaker 1>where it's going to go, but it's probably part I

0:33:46.760 --> 0:33:50.680
<v Speaker 1>have to wonder what's the grotesque. Well, there's like grotesquery

0:33:50.880 --> 0:33:55.440
<v Speaker 1>meaning like exaggeration or like disgusting. Well I'm not sure

0:33:55.560 --> 0:33:57.280
<v Speaker 1>because at this point in the story I haven't finished

0:33:57.280 --> 0:34:02.000
<v Speaker 1>it yet, but there's some sort of weird harlequin type

0:34:02.000 --> 0:34:04.680
<v Speaker 1>of ceremony that goes on, so some sort of clowning

0:34:04.760 --> 0:34:07.720
<v Speaker 1>going about, but then also some sort of uh, some

0:34:07.760 --> 0:34:10.200
<v Speaker 1>sort of belief system that is really heavy on the

0:34:10.239 --> 0:34:13.560
<v Speaker 1>circlical idea that that maybe we've begin his worms and

0:34:13.640 --> 0:34:16.439
<v Speaker 1>we end his worms. So there's bound to be something

0:34:16.480 --> 0:34:18.440
<v Speaker 1>kind of CORPSEI in there. I don't know. I'm not

0:34:18.520 --> 0:34:20.480
<v Speaker 1>that familiar with this author yet, so it's all kind

0:34:20.480 --> 0:34:23.600
<v Speaker 1>of news. Yeah, Well, now I'm intrigued, all right, Here's

0:34:23.600 --> 0:34:25.799
<v Speaker 1>another one about our eventual equism episode. This one comes

0:34:25.800 --> 0:34:27.920
<v Speaker 1>from David. David writes and it says, HI happen to

0:34:27.960 --> 0:34:30.080
<v Speaker 1>come across the Ventriloquism cast, and I loved it. I

0:34:30.120 --> 0:34:33.440
<v Speaker 1>was especially interested in the tethered to an object idea,

0:34:33.480 --> 0:34:36.799
<v Speaker 1>which goes well beyond ventriloquism. You might be interested in

0:34:36.840 --> 0:34:41.120
<v Speaker 1>my book in the Rutledge series, Critical Voices in Art,

0:34:41.320 --> 0:34:44.440
<v Speaker 1>Theory and Culture. The book is Art and Ventriloquism, and

0:34:44.640 --> 0:34:48.080
<v Speaker 1>is really a way of showcasing ventriloquism as a metaphor

0:34:48.320 --> 0:34:54.360
<v Speaker 1>and performance act in many aspects of philosophers like Nietzsche, food, cult, Plato, Derita,

0:34:54.960 --> 0:34:58.880
<v Speaker 1>and in many philosophical areas, but especially aesthetics, by unpacking

0:34:58.880 --> 0:35:00.880
<v Speaker 1>the metaphor, I mean of all of the things that

0:35:00.960 --> 0:35:03.600
<v Speaker 1>you two spoke about, such as speaking in other voices,

0:35:03.800 --> 0:35:07.320
<v Speaker 1>the Greek notion of its status of being beside oneself,

0:35:07.360 --> 0:35:11.480
<v Speaker 1>illusion without deception, the animation of inanimate objects, and so forth.

0:35:11.719 --> 0:35:13.719
<v Speaker 1>I'm sure you are busy with the next podcast, but

0:35:13.760 --> 0:35:15.600
<v Speaker 1>if you chance to check out the book, do so.

0:35:15.840 --> 0:35:18.120
<v Speaker 1>Thanks for the cast. Will be sure to listen regularly.

0:35:18.200 --> 0:35:21.040
<v Speaker 1>Best David, uh and will since David's an author. I

0:35:21.200 --> 0:35:22.560
<v Speaker 1>let me go and give you his name, so you

0:35:22.600 --> 0:35:25.239
<v Speaker 1>can look that up at that interests you, That's Aid

0:35:25.320 --> 0:35:28.200
<v Speaker 1>David gold Plat Goldblat, So that's d A v I

0:35:28.320 --> 0:35:30.920
<v Speaker 1>D G O L D B L A T T

0:35:31.160 --> 0:35:34.320
<v Speaker 1>in that. The that again is the Rutledge series Critical

0:35:34.400 --> 0:35:36.799
<v Speaker 1>Voices in Art, Theory and Culture, and the book is

0:35:36.880 --> 0:35:39.880
<v Speaker 1>Art and Ventriloquism. So that sounds interesting. I'm gonna have

0:35:39.880 --> 0:35:42.800
<v Speaker 1>to seek that out myself, and and that would probably

0:35:42.840 --> 0:35:44.759
<v Speaker 1>interest us some of our listeners as well. That sounds

0:35:44.800 --> 0:35:48.960
<v Speaker 1>really cool. Um. I actually wrote a paper, a Zarada paper,

0:35:48.960 --> 0:35:52.000
<v Speaker 1>and I think it was I won't be able to

0:35:52.040 --> 0:35:54.280
<v Speaker 1>remember the content so well, but I believe the title

0:35:54.360 --> 0:35:57.480
<v Speaker 1>was Dwelling in the Tomb of A. So if there's

0:35:57.480 --> 0:36:00.160
<v Speaker 1>anybody out there who has studied Dareda, you know, probably

0:36:00.600 --> 0:36:03.040
<v Speaker 1>a sense of what I'm talking about there. But um,

0:36:03.080 --> 0:36:05.359
<v Speaker 1>I can't help but sort of laughing about that title now,

0:36:05.719 --> 0:36:08.360
<v Speaker 1>all right. We also heard from France and she contacted

0:36:08.440 --> 0:36:11.799
<v Speaker 1>us about our episode on Finnish education. She wanted to

0:36:11.840 --> 0:36:15.759
<v Speaker 1>point out that we referred to Finland as a Scandinavian

0:36:15.760 --> 0:36:18.800
<v Speaker 1>country and that we should not have. She is correct,

0:36:18.960 --> 0:36:20.960
<v Speaker 1>we should have referred to it more in the general

0:36:21.000 --> 0:36:23.200
<v Speaker 1>sense as a Nordic country, so I wanted to say that.

0:36:23.520 --> 0:36:26.200
<v Speaker 1>She also said that she she wanted to take some

0:36:26.280 --> 0:36:31.360
<v Speaker 1>issue with us referring to uh Finland as as a

0:36:31.960 --> 0:36:34.480
<v Speaker 1>becoming independent from Russia in the sixties, and I just

0:36:34.520 --> 0:36:36.640
<v Speaker 1>wanted to point out that we did not say that

0:36:36.680 --> 0:36:40.080
<v Speaker 1>Finland became independent from Russia in the sixties. What we

0:36:40.239 --> 0:36:42.440
<v Speaker 1>said is that they came out of a cocoon of

0:36:42.480 --> 0:36:45.520
<v Speaker 1>influence from Russia in the sixties. Okay, well, let's look

0:36:45.520 --> 0:36:47.759
<v Speaker 1>at one last bit of listener mail, and this one

0:36:47.760 --> 0:36:51.640
<v Speaker 1>comes to us from Brian. Brian write, since is hey guys,

0:36:51.640 --> 0:36:54.359
<v Speaker 1>I just listen to your cat Parasite episode, and one

0:36:54.360 --> 0:36:57.239
<v Speaker 1>of the listener emails about your art freak Out episode

0:36:57.520 --> 0:37:00.719
<v Speaker 1>made me take notice. You proposed that many that maybe

0:37:00.719 --> 0:37:03.600
<v Speaker 1>people in Italy had a strip mall syndrome. And this

0:37:03.719 --> 0:37:06.239
<v Speaker 1>we were talking about how when what you know, Americans

0:37:06.280 --> 0:37:09.720
<v Speaker 1>that live in strip Mall country travel to say Italy,

0:37:10.000 --> 0:37:12.000
<v Speaker 1>go to one of the amazing museums there, or see

0:37:12.000 --> 0:37:13.880
<v Speaker 1>some of the historical sites, and it's just too much,

0:37:13.960 --> 0:37:16.839
<v Speaker 1>you know, getting a standall syndrome where it just overpowers

0:37:16.840 --> 0:37:19.919
<v Speaker 1>you and maybe you pass out right. So someone from Rome,

0:37:20.000 --> 0:37:23.600
<v Speaker 1>for instance, who is is just surrounded by all this antiquity.

0:37:23.640 --> 0:37:25.360
<v Speaker 1>If they were to go to a strip mall in America,

0:37:25.440 --> 0:37:29.160
<v Speaker 1>what would happen? So, Brian Sell says, I have had

0:37:29.200 --> 0:37:31.640
<v Speaker 1>a version of this. I've lived in several cities in

0:37:31.680 --> 0:37:34.400
<v Speaker 1>Europe and the US, but the only big reaction I

0:37:34.440 --> 0:37:37.040
<v Speaker 1>remember from culture shock came when I moved back home

0:37:37.080 --> 0:37:39.319
<v Speaker 1>to the Twin Cities after living in New York City

0:37:39.360 --> 0:37:42.719
<v Speaker 1>for a few years. Grocery stores, any stories, really are

0:37:42.760 --> 0:37:45.600
<v Speaker 1>dominutive in New York City because space is very expensive.

0:37:46.120 --> 0:37:48.840
<v Speaker 1>This isn't true in the Cities. The first time I

0:37:48.880 --> 0:37:51.040
<v Speaker 1>went to a large grocery store, I had a freak out.

0:37:51.080 --> 0:37:53.120
<v Speaker 1>The scale of the place, the ceiling so high they

0:37:53.120 --> 0:37:55.880
<v Speaker 1>could contain their own weather patterns, the forty types of

0:37:55.960 --> 0:37:58.719
<v Speaker 1>yellow mustard, not to mention brown, et cetera, and the

0:37:58.840 --> 0:38:01.400
<v Speaker 1>terrible use of space. My wife had to steer the

0:38:01.440 --> 0:38:04.960
<v Speaker 1>cart as I fought hyperventilating. This hasn't happened since, but

0:38:05.000 --> 0:38:07.719
<v Speaker 1>I can remember the sensation viscerally. I'm going to have

0:38:07.760 --> 0:38:09.880
<v Speaker 1>to go back and listen to the whole episode. Thanks

0:38:09.920 --> 0:38:13.200
<v Speaker 1>for some great content, Cheers, Brian. I think He brings

0:38:13.280 --> 0:38:15.680
<v Speaker 1>up a really good point because I've been in cities

0:38:16.280 --> 0:38:18.040
<v Speaker 1>for a while that had small grocery stores, and I

0:38:18.080 --> 0:38:20.280
<v Speaker 1>know exactly what it means. I'm thinking about Star Market

0:38:20.280 --> 0:38:23.719
<v Speaker 1>and Boston stock Market and then coming back to Atlanta

0:38:23.920 --> 0:38:26.480
<v Speaker 1>and then being in these big box retailers, and it

0:38:26.640 --> 0:38:30.520
<v Speaker 1>is sort of disorienting to to be in this huge

0:38:30.560 --> 0:38:34.000
<v Speaker 1>hall of consumerism. Yeah. I mean even here in Atlanta,

0:38:34.000 --> 0:38:36.240
<v Speaker 1>where we are playing big stores and a lot of sprawl.

0:38:36.920 --> 0:38:39.600
<v Speaker 1>I tend to not go to Walmart a lot. So

0:38:39.719 --> 0:38:42.239
<v Speaker 1>when I do, it is always a bit of insanity

0:38:42.480 --> 0:38:45.080
<v Speaker 1>because it's so big and there's just so much stuff,

0:38:45.080 --> 0:38:47.800
<v Speaker 1>and they're just vast distances, Like, oh, I the grocery

0:38:47.840 --> 0:38:49.600
<v Speaker 1>thidem I need is on the other side of the store.

0:38:49.640 --> 0:38:52.399
<v Speaker 1>It's time for an enormous walk. And you know then

0:38:52.440 --> 0:38:54.880
<v Speaker 1>it's their idea of of a quick checkout is like

0:38:55.000 --> 0:38:57.200
<v Speaker 1>fifty items are less or something. But anyway, that's the

0:38:57.200 --> 0:38:59.440
<v Speaker 1>whole rent. Yeah, and you know there's this other thing

0:38:59.520 --> 0:39:01.640
<v Speaker 1>to compound that, which is Sam's or Costco. Right, you

0:39:01.640 --> 0:39:03.640
<v Speaker 1>can go down to Aisle and you can see the

0:39:04.840 --> 0:39:07.560
<v Speaker 1>largest jar of peanut butter that you've ever seen in

0:39:07.600 --> 0:39:10.680
<v Speaker 1>your life. That's bigger than your head. Uh, and just

0:39:10.880 --> 0:39:13.080
<v Speaker 1>jars and jars of him, and it's it's sort of

0:39:13.080 --> 0:39:17.839
<v Speaker 1>like being like Alice in Wonderland. Yeah, well there you go. Um, Hey,

0:39:17.880 --> 0:39:19.480
<v Speaker 1>if any of you have something you would like to

0:39:19.480 --> 0:39:22.000
<v Speaker 1>share with us about giant jars of peanut butter in

0:39:22.040 --> 0:39:27.240
<v Speaker 1>Wonderland or about Stendall syndrome at the strip mall about

0:39:27.360 --> 0:39:31.640
<v Speaker 1>sensory deprivation. Uh, this episode, we ended up putting this out. Actually,

0:39:31.640 --> 0:39:34.640
<v Speaker 1>we ended up recording this the day after our initial

0:39:34.640 --> 0:39:37.280
<v Speaker 1>episode aired, so it didn't really leave any time for

0:39:37.280 --> 0:39:40.239
<v Speaker 1>for you guys and girls to to respond with your

0:39:40.280 --> 0:39:43.520
<v Speaker 1>own stories of sensory deprivation. So feel free to send

0:39:43.560 --> 0:39:45.960
<v Speaker 1>those in because we'll still hopefully read read those in

0:39:46.040 --> 0:39:48.520
<v Speaker 1>future episodes. You can find us in a number of

0:39:48.520 --> 0:39:50.399
<v Speaker 1>ways to interact with us, to catch up on past

0:39:50.480 --> 0:39:52.840
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