WEBVTT - Like a Circle in a Spiral, Part 2

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, the production of

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<v Speaker 1>My Heart Radio. Hey you welcome to Stuff to Blow

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<v Speaker 1>your Mind. My name is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and we're back with part two of our series about

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<v Speaker 1>people spinning around in circles. That's right. Part one was

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<v Speaker 1>was essentially a breakdown of of why we've why we

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<v Speaker 1>feel dizzy when we spin around in circles, and then

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<v Speaker 1>we we also went in just a little bit into

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<v Speaker 1>the art of spinning around in circles, particularly as it

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<v Speaker 1>relates to figure skaters and ballet dancers. Now, while figure

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<v Speaker 1>skaters and ballet dancers, I would say regularly practice feats

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<v Speaker 1>that I am in all of in terms of, you know,

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<v Speaker 1>their athleticism and their ability to spin around and stuff

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<v Speaker 1>and still execute precise movements afterwards, I gotta say, there's

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<v Speaker 1>one thing that that maybe makes them not that impressive,

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<v Speaker 1>which is, you know, they only spin for a few

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<v Speaker 1>seconds at a time. What if you were to spin

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<v Speaker 1>around in a dance performance that lasted for minutes and

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<v Speaker 1>minutes on end, maybe hours, who knows. Yeah, And this

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<v Speaker 1>we're getting into the realm of of the whirling dervishes,

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<v Speaker 1>of of Sufi mysticism, the Sufi Whirlers UH that you

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<v Speaker 1>find mostly isolated in in modern day Turkey, but in

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<v Speaker 1>some other regions as well. And if you haven't seen

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<v Speaker 1>footage of this and and certainly heard the corresponding music,

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<v Speaker 1>I really encourage you to to check it out because

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<v Speaker 1>it is. It is phenomenal. It is just to watch it.

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<v Speaker 1>It's a very meditative experience I find. I've always found

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<v Speaker 1>this very intriguing. I think you know I've seen some

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<v Speaker 1>clips on TV at some point, and then back in

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<v Speaker 1>the nineties, at one point, because I was getting increasingly

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<v Speaker 1>into world music and into dead Can dance and stuff,

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<v Speaker 1>I picked up an album off Hemisphere Records titled Mevlana

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<v Speaker 1>Music of the Whirling Dervishes, and and really I was

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<v Speaker 1>blown away by it. Uh I. I looked it up

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<v Speaker 1>again and I don't think this particular album is available anymore,

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<v Speaker 1>but you can find the The particular musician is a

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<v Speaker 1>nes A usual that's an easy I h u z

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<v Speaker 1>e l and UH. A couple of their albums are

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<v Speaker 1>available to stream. UH. It's it's it's really interesting stuff.

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<v Speaker 1>Now I'm not all that well versed in Middle Eastern music,

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<v Speaker 1>but it it does seem to have this very rhythmic

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<v Speaker 1>quality that inspires a certain kind of circular movement even

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<v Speaker 1>in the mind. Oh I, I really enjoyed the music

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<v Speaker 1>too when you shared it with me. Uh, I don't

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<v Speaker 1>know if I found myself thinking in circular ways. Did

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<v Speaker 1>you find yourself ruminating while listening to it? Yeah? I

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<v Speaker 1>played some of I played Usels music for several hours

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<v Speaker 1>while working on notes for for these episodes U the

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<v Speaker 1>other day, and yeah, I found it. I mean, granted,

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<v Speaker 1>you know, part of it is I am thinking about

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<v Speaker 1>people spinning around in circles and then I'm listening to

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<v Speaker 1>this music that is of course uh in a really

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<v Speaker 1>tied to that practice. But but yeah, I found it.

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<v Speaker 1>Found it give me this kind of like calming, circular feeling,

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<v Speaker 1>and really I think it it contributed to yesterday being

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<v Speaker 1>a pretty good day. Nice. Yeah. Watching Sufi whirling dances

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<v Speaker 1>is UM it's kind of hard to describe exactly the

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<v Speaker 1>feeling of what's so beautiful about it. It is not

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<v Speaker 1>like a lot of other dances that UM that operate

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<v Speaker 1>by sort of like surprise, where you know you don't

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<v Speaker 1>know what moves someone's going to do next. The Sufi

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<v Speaker 1>whirling dances are extremely monotonous. I mean, they're basically just

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<v Speaker 1>There might be versions that offers something else, but the

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<v Speaker 1>versions I've seen mainly just feature this repetitive turning in place.

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<v Speaker 1>And yet it is extremely beautiful as a form of dance. Uh,

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<v Speaker 1>And I think it has something to do with the

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<v Speaker 1>thing I want to come back to later in this episode,

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<v Speaker 1>which is the particular movement of the dancers skirts as

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<v Speaker 1>they twirl. There's a kind of like beautiful ge I'm

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<v Speaker 1>a treat to that. And uh, there was actually a

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<v Speaker 1>paper I came across the addressed how that happens. But um,

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<v Speaker 1>but yeah, it's strange that that's such a in a

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<v Speaker 1>way conceptually straightforward type of dance would be so interesting

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<v Speaker 1>to watch for so long. Yeah, there's a real fluidity

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<v Speaker 1>to it. And and you know, we were talking about

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<v Speaker 1>watching it because of course that's that's that's my experience

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<v Speaker 1>with it, uh, seeing it done, listening to the music,

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<v Speaker 1>and it's my understanding that if you you know, if

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<v Speaker 1>you're if you're to travel to say Turkey, you can

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<v Speaker 1>certainly as a tourist see some of it today, observe

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<v Speaker 1>it as a tourist, but of course it's really based

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<v Speaker 1>more in the experience of the dance of being the dancer.

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<v Speaker 1>And I guess you can say that's kind of the

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<v Speaker 1>case with a lot of dance, like it's there's dance

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<v Speaker 1>to watch, but the dance is also the experience, and

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<v Speaker 1>to be the dancer is to be within the system

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<v Speaker 1>of movement. Yeah, so let's let's unpack things a little bit. Yes.

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<v Speaker 1>Sufi Islam. Sufi Ism is the mystical branch of Islam

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<v Speaker 1>in which the practitioner seeks divine love and knowledge through

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<v Speaker 1>the direct experience of God. Uh. It entails different mystical

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<v Speaker 1>paths towards this goal, but the one we're gonna be

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<v Speaker 1>talking about here is, of course, this form of dance.

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<v Speaker 1>The words sufi itself derives from the Arabic for wool,

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<v Speaker 1>as early Islamic aesthetics individuals who practice the denial of

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<v Speaker 1>physical or psychological desires dressed in woolen garments, and Islamic

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<v Speaker 1>mysticism is also known is uh tassa wolf, which literally

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<v Speaker 1>means to dress in wool. The movement originally stirred up

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<v Speaker 1>between six sixty one and seven forty nine c e.

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<v Speaker 1>Apparently in response to perceptions of worldliness in Islamic practice

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<v Speaker 1>at the time. I find it interesting that the mystical

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<v Speaker 1>tradition can sort of arise as a form of almost

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<v Speaker 1>any religion. Like that, you can take almost any religion

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<v Speaker 1>and then there will there can be a mysticism interpretation

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<v Speaker 1>of it, which again is often focused on um individual

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<v Speaker 1>experience and people having practices such as meditation or other

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<v Speaker 1>practices to alter the state of consciousness to make themselves

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<v Speaker 1>have what they believe to be a direct experience of

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<v Speaker 1>the divine in some way. And that there there's Christian mysticism,

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<v Speaker 1>and there's Islamic mysticism, and there's a mystical face of

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<v Speaker 1>almost any religion you can imagine. Yeah, absolutely, and and

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<v Speaker 1>and of course in pretty much any religion you can

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<v Speaker 1>look at to it, it's a divide that can create problems,

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<v Speaker 1>that can can create conflict as well. Um So again,

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<v Speaker 1>out of this, out of Sufi Islam, we we see

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<v Speaker 1>the Sufi whirling emerge. And I imagine a lot of

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<v Speaker 1>you out there have heard of a key individual in this,

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<v Speaker 1>and that is the Persian poet Roomi, who lived twelve

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<v Speaker 1>or seven through twelve seventy three, and he himself was

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<v Speaker 1>a Sufi mystic again. He dies in twelve seventy three

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<v Speaker 1>see and afterwards his followers and his son Sultan Wallad

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<v Speaker 1>create themv Levy Order, an organization of whirling dervishes who

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<v Speaker 1>sought to experience God through elaborate rituals of dance and music.

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<v Speaker 1>And this was formed in thirteen twelve in the Turkish

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<v Speaker 1>city of Kanya. Now many of you may have seen,

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<v Speaker 1>you know, images and videos of of Sufi whirling and uh,

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<v Speaker 1>and you know the dervishes where these tall camel hair

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<v Speaker 1>hats that are said to represent the tombstone of the ego,

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<v Speaker 1>which I really like. Uh. And then they have these

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<v Speaker 1>wide white skirts that twirl around and of course these

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<v Speaker 1>are very visually impressive and certainly play on that concept

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<v Speaker 1>of whirling and turning. But these are said to represent

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<v Speaker 1>the egos shroud. Oh. I love that. And it's funny

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<v Speaker 1>because that might be a little bit more literal than

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<v Speaker 1>people would think. Well, I mean, I guess you can be.

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<v Speaker 1>You can't have something that's too literal if you're talking

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<v Speaker 1>about the ego, which is an intangible concept. But um,

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<v Speaker 1>the way in which it is somewhat literal is that

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<v Speaker 1>it's not just you are wearing a symbolic piece of dress.

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<v Speaker 1>But that when you watch somebody practicing a Sufi whirling dance,

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<v Speaker 1>you will, I think very often find yourself not looking

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<v Speaker 1>at the person and not looking at their face, but

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<v Speaker 1>looking at the twirling skirt. The twirling skirt almost becomes

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<v Speaker 1>the persons. So it's a kind of second order vanishing

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<v Speaker 1>of the identity or the ego. Yeah. Yeah, So the

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<v Speaker 1>big ceremony here is the semi ceremony, and in the

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<v Speaker 1>in this ceremony, the Dervish dancers rotate anti clockwise around

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<v Speaker 1>the vertical access of their bodies while also rotating around

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<v Speaker 1>the other dancers. It's all set to this this wonderful music,

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<v Speaker 1>and it's intended to be a meditative experience, a highly

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<v Speaker 1>meditative experience by which for the dancers their material self

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<v Speaker 1>falls away and a state of oneness is experienced. Yes,

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<v Speaker 1>and so you can obviously look at the the religious,

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<v Speaker 1>the symbolic, the psycle logical importance and significance of this dance.

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<v Speaker 1>But another way to think about the stance is just

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<v Speaker 1>as a physical act. And it comes back to questions

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<v Speaker 1>that I you know that we brought up in our

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<v Speaker 1>earlier episode in the first part of this series, which

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<v Speaker 1>is I watch it and I think, just on a

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<v Speaker 1>physiological level, how do you do that without becoming so

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<v Speaker 1>dizzy that you have to stop? Yeah, because we're talking

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<v Speaker 1>about a lot of spinning. You may have just seen

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<v Speaker 1>clips of this, but the dancers will spend continuously for

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<v Speaker 1>a solid hour with something like thirty spins per minute

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<v Speaker 1>the performance. And this they performed this without experiencing vertico,

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<v Speaker 1>without you know, feeling dizzy, following a reported thousand days

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<v Speaker 1>of training within them of Levy houses. Uh to to

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<v Speaker 1>give another number to you, According to the Guinness Book

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<v Speaker 1>of World Records, the most Sufi whirling revolutions in one

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<v Speaker 1>hour for a mail uh that The record went to

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<v Speaker 1>um Schaffik Ibrahim on January fifth, two thousand twelve for

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<v Speaker 1>two thousand, nine d and five spins in a single hour. Wow. Yeah,

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<v Speaker 1>I have no words. That's that's so many spins. Yeah,

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<v Speaker 1>it's just it's it's a tremendous amount of spinning. Um.

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<v Speaker 1>And and not only is the individual not like physically

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<v Speaker 1>ill from it, not only are they they you know,

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<v Speaker 1>retaining this uh, this fluid movement and this elegance and

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<v Speaker 1>they're not crashing into each other, the walls. Uh they're

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<v Speaker 1>keeping it beautiful, but they're also uh, you know, they're

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<v Speaker 1>said to have this this this meditative experience throughout it all.

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<v Speaker 1>So it's not you know, dizziness is in many ways

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<v Speaker 1>feels like the opposite of of a meditative experience. I mean,

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<v Speaker 1>into a certain extent, you could, I guess you compare

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<v Speaker 1>some things about it. But but yeah, what whatever, whatever

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<v Speaker 1>is going on in the mind of the of the

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<v Speaker 1>Sufi whirler, of the of the whirling dervish, it is

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<v Speaker 1>not a state of dizzy chaos. Uh So it's it's fascinating, Yeah,

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<v Speaker 1>I mean, I would also think of dizziness is sort

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<v Speaker 1>of the opposite of a meditative state. Dizziness makes you

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<v Speaker 1>hyper aware of your body and makes it really difficult

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<v Speaker 1>to focus your mind, right, I guess then the main

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<v Speaker 1>comparison would be, well, you're you're living in the now now,

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<v Speaker 1>if you're, if you're you're clutching your head on the ground,

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<v Speaker 1>but not in the way that you want to feel

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<v Speaker 1>in the moment. So I looked into this and I

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<v Speaker 1>found an interesting paper titled a Possible role of Prolonged

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<v Speaker 1>whirling episodes on structural plasticity of the cortical networks and

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<v Speaker 1>altered vertigo perception the cortex of Sufi Whirling Dervishes by

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<v Speaker 1>cal mac at All and this was this was combining

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<v Speaker 1>researchers from New Zealand, the Netherlands and Turkey particularly. Their

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<v Speaker 1>study looked at quote potential structural cortical plasticity unquote in

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<v Speaker 1>Sufi Whirling Dervishes. These s w d s as the abbreviation,

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<v Speaker 1>because again we're talking about a level of sustained spinning

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<v Speaker 1>that most healthy adults are not going to be able

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<v Speaker 1>to hand handle without experiencing vertigo. As they put it, quote,

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<v Speaker 1>this unique whirling based meditation style of Sufi Whirling Dervishes

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<v Speaker 1>achieves extraordinary physiological outcomes that overcome vertico and balance impairment

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<v Speaker 1>which would be expected after prolonged times of whirling. So

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<v Speaker 1>they looked at quote potential relationship of the motion body

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<v Speaker 1>perception related cortical networks and the prolonged term of whirling

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<v Speaker 1>ability without vertigo or dizziness. So a note here again

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<v Speaker 1>is the vestibular system, which of course we went into

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<v Speaker 1>and defined in the UH in the first episode, you know,

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<v Speaker 1>related to inner ear and our the inner ear in

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<v Speaker 1>our sense of balance. They point out that vestibular processing

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<v Speaker 1>is involved not only in space perception and locomotion, but

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<v Speaker 1>also in cognitive perceptions of self. And so there is

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<v Speaker 1>this connection, they say, between the vestibular system and the

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<v Speaker 1>default mode network as well, something we've also discussed on

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<v Speaker 1>the show quite a bit, tied to self awareness, to consciousness,

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<v Speaker 1>to embodiment, but also in many cases unhappiness. You know,

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<v Speaker 1>this this dwelling on what has happened in the past,

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<v Speaker 1>what has happened to me, what is happening in the footle,

0:13:11.720 --> 0:13:14.880
<v Speaker 1>happening in uh to me in the future, et cetera.

0:13:15.160 --> 0:13:17.520
<v Speaker 1>And and you know, getting away from that now nous

0:13:17.559 --> 0:13:21.320
<v Speaker 1>that we often associate with a meditative calm. Yeah, the

0:13:21.360 --> 0:13:24.680
<v Speaker 1>default mode network, I think, is highly associated with cognitive

0:13:24.679 --> 0:13:28.520
<v Speaker 1>patterns that are focused on the self, thinking about self,

0:13:28.559 --> 0:13:32.000
<v Speaker 1>and making judgments about the self. And I mean, what's

0:13:32.040 --> 0:13:35.160
<v Speaker 1>more miserable than that. Yeah. I think it's interesting too

0:13:35.240 --> 0:13:39.040
<v Speaker 1>that we're talking about wheeling and spinning, because there's you know,

0:13:39.800 --> 0:13:43.600
<v Speaker 1>the sort of thinking associated with the default mode network

0:13:44.320 --> 0:13:47.400
<v Speaker 1>sometimes takes the form of a wheel and other belief systems,

0:13:47.440 --> 0:13:50.840
<v Speaker 1>you know, like some some treatments or interpretations of the

0:13:51.320 --> 0:13:54.280
<v Speaker 1>like the wheel of being in in Buddhism kind of

0:13:54.280 --> 0:13:56.080
<v Speaker 1>relate to this, you know, or just sort of the

0:13:56.120 --> 0:13:58.880
<v Speaker 1>feeling of like, oh, I'm on the I'm on the

0:13:58.920 --> 0:14:01.520
<v Speaker 1>hamster wheel of my own default mode network right now,

0:14:01.520 --> 0:14:04.880
<v Speaker 1>I've got to eject myself from that wheel, uh and

0:14:04.920 --> 0:14:08.320
<v Speaker 1>do something with my time. So the question is does

0:14:08.400 --> 0:14:12.560
<v Speaker 1>prolonged whirling contribute to structural changes in the networks of

0:14:12.600 --> 0:14:15.840
<v Speaker 1>the default mode network and self perception in addition to

0:14:15.920 --> 0:14:19.840
<v Speaker 1>motion perception related networks. So the authors point out that

0:14:19.920 --> 0:14:23.720
<v Speaker 1>previous studies have observed, first of all, that decreased cortical

0:14:23.760 --> 0:14:29.280
<v Speaker 1>thickness and meditator's brains relate to the posterior singulate cortex

0:14:29.400 --> 0:14:33.360
<v Speaker 1>or PCC and default mode network also decreased activity in

0:14:33.360 --> 0:14:36.960
<v Speaker 1>the default mode network as well as long And also

0:14:37.000 --> 0:14:40.720
<v Speaker 1>they point out long term meditation practices associated with altered

0:14:40.760 --> 0:14:45.280
<v Speaker 1>resting brain activity, so long lasting activity changes that persist

0:14:45.440 --> 0:14:48.320
<v Speaker 1>in the brain. In a way, you could think about

0:14:48.560 --> 0:14:53.640
<v Speaker 1>meditation as a way of practicing control over what the

0:14:53.720 --> 0:14:58.080
<v Speaker 1>brain does win at rest, right, Yeah, And you know

0:14:58.160 --> 0:15:00.560
<v Speaker 1>it's it's you know, we we've talked about aitation on

0:15:00.560 --> 0:15:02.240
<v Speaker 1>the show in the past. I'm sure we'll continue too,

0:15:02.320 --> 0:15:06.440
<v Speaker 1>because it is, it can it can feel very elusive

0:15:06.440 --> 0:15:08.160
<v Speaker 1>at times, and I think part of it comes down

0:15:08.160 --> 0:15:10.920
<v Speaker 1>to this connection between the mind and body. You know

0:15:11.040 --> 0:15:13.920
<v Speaker 1>that that UM. I mean, that's why I think a

0:15:13.920 --> 0:15:17.400
<v Speaker 1>lot of us find meditation in meditative states or even

0:15:17.480 --> 0:15:22.160
<v Speaker 1>of the flow state in activities that are physical, you know,

0:15:22.640 --> 0:15:27.120
<v Speaker 1>like in in yoga for instance, um or or um

0:15:27.160 --> 0:15:29.640
<v Speaker 1>you know, even you know, other type forms of exercise,

0:15:29.920 --> 0:15:33.120
<v Speaker 1>swimming laps, running laps, going for a jog, that sort

0:15:33.120 --> 0:15:36.080
<v Speaker 1>of thing. Yes, though I feel like I would identify

0:15:36.240 --> 0:15:39.800
<v Speaker 1>more of that meditative type flow state in physical tasks

0:15:39.880 --> 0:15:45.840
<v Speaker 1>that also require some degree of constant uh sort of

0:15:45.880 --> 0:15:50.680
<v Speaker 1>mental engagement, more so than say jogging does U you know,

0:15:51.040 --> 0:15:54.360
<v Speaker 1>Like I've heard some people complain that maybe they can

0:15:54.480 --> 0:15:58.720
<v Speaker 1>enjoy sports, but they find quote exercise boring. And I

0:15:58.760 --> 0:16:01.320
<v Speaker 1>think what they're thinking of is like running on a treadmill,

0:16:01.960 --> 0:16:05.040
<v Speaker 1>in which like in which case, um, you are engaging

0:16:05.080 --> 0:16:07.480
<v Speaker 1>your body, but you are not you are not being

0:16:07.600 --> 0:16:11.480
<v Speaker 1>faced with tasks. You know, there's not like any problems

0:16:11.560 --> 0:16:13.760
<v Speaker 1>for your brain to solve the way there is when

0:16:13.800 --> 0:16:17.120
<v Speaker 1>you're say playing a sport or something or doing something

0:16:17.200 --> 0:16:21.720
<v Speaker 1>with UM, doing something with like variable activities throughout, such

0:16:21.720 --> 0:16:25.200
<v Speaker 1>as like a yoga practice or a or a you know,

0:16:25.240 --> 0:16:28.000
<v Speaker 1>a dance routine or something. Yeah. Well, but I guess

0:16:28.040 --> 0:16:30.200
<v Speaker 1>if you're, like say, jogging around the neighborhood, you're having

0:16:30.240 --> 0:16:33.160
<v Speaker 1>to solve various problems, right like, Okay, I'm gonna not

0:16:34.000 --> 0:16:37.240
<v Speaker 1>run onto that sidewalk that's all crooked, I'm gonna jump

0:16:37.280 --> 0:16:39.200
<v Speaker 1>over that dog, and I'm not going to step in

0:16:39.320 --> 0:16:42.360
<v Speaker 1>that that or that. Right though. It's funny because I

0:16:42.400 --> 0:16:48.120
<v Speaker 1>feel like that just manifests as extreme annoyance. Yeah, I guess. Yeah,

0:16:48.200 --> 0:16:52.200
<v Speaker 1>it comes like there's a thin line sometimes between uh,

0:16:53.120 --> 0:16:55.680
<v Speaker 1>tasks that are fulfilling and tasks that are just a chore.

0:16:56.760 --> 0:16:59.720
<v Speaker 1>I mean, we've talked before about how, um, sometimes when

0:16:59.720 --> 0:17:02.680
<v Speaker 1>you're driving in a car, it can make other people

0:17:02.800 --> 0:17:05.840
<v Speaker 1>just appear as obstacles to you. There's this kind of

0:17:05.920 --> 0:17:10.040
<v Speaker 1>horrible desnsitization that goes on, and we talked about one

0:17:10.080 --> 0:17:14.679
<v Speaker 1>reason for that being that, um that perhaps the you know,

0:17:14.880 --> 0:17:17.520
<v Speaker 1>updating the body schema to include the car makes you

0:17:17.560 --> 0:17:21.280
<v Speaker 1>feel bigger looking at people through the glass of the windshield,

0:17:21.960 --> 0:17:25.440
<v Speaker 1>operating on you know, the different rules of the control

0:17:25.480 --> 0:17:29.560
<v Speaker 1>traffic versus control foot movements. Those things could be separating you.

0:17:29.640 --> 0:17:31.639
<v Speaker 1>But I think another one that maybe we didn't consider

0:17:31.760 --> 0:17:33.399
<v Speaker 1>enough when we've talked about this in the past is

0:17:33.440 --> 0:17:37.520
<v Speaker 1>just speed, because when you're out running on the sidewalk,

0:17:37.600 --> 0:17:39.879
<v Speaker 1>it seems like you have a very different relationship to

0:17:39.920 --> 0:17:43.400
<v Speaker 1>other people than if you're out walking. When you're out running,

0:17:43.640 --> 0:17:46.560
<v Speaker 1>you start to view other people as like obstacles in

0:17:46.600 --> 0:17:48.159
<v Speaker 1>the same kind of way you do you're when you're

0:17:48.200 --> 0:17:51.160
<v Speaker 1>in a car. You're like persons in my way. They're

0:17:51.200 --> 0:17:53.040
<v Speaker 1>not even really a person. This is just like a

0:17:53.080 --> 0:17:57.280
<v Speaker 1>sack of meat that I need to get around. Yeah,

0:17:57.480 --> 0:17:59.600
<v Speaker 1>you know, I'm not myself a runner, but I do

0:17:59.720 --> 0:18:10.320
<v Speaker 1>I get I get hints of that from other runners sometimes.

0:18:10.320 --> 0:18:12.919
<v Speaker 1>So for for this particular study, the authors are going

0:18:12.960 --> 0:18:16.680
<v Speaker 1>to look at um at a Sufi whirlers. Now. One

0:18:16.680 --> 0:18:19.000
<v Speaker 1>thing they note, though, is that the practice of MeV

0:18:19.119 --> 0:18:22.760
<v Speaker 1>Levi ceremonies they're not as robust as they were prior

0:18:22.800 --> 0:18:26.040
<v Speaker 1>to the twentieth century due to a secular policies that

0:18:26.080 --> 0:18:29.320
<v Speaker 1>were enforced. So a lot of what remains today apparently

0:18:29.400 --> 0:18:33.359
<v Speaker 1>isn't as rigorous and is often aimed at at tourist audiences.

0:18:33.400 --> 0:18:37.040
<v Speaker 1>So it's difficult to study quote the traditional physical and

0:18:37.119 --> 0:18:40.520
<v Speaker 1>spiritual method involved here. As a result, you know, it's

0:18:40.560 --> 0:18:43.840
<v Speaker 1>not a huge sample size they're working with. So they

0:18:43.840 --> 0:18:48.800
<v Speaker 1>looked at eight males and two females adults right handed

0:18:48.920 --> 0:18:53.080
<v Speaker 1>traditional Sufi whirling dervishes with more than eight years of

0:18:53.160 --> 0:18:56.520
<v Speaker 1>whirling meditation experience, so the average with something like ten

0:18:56.560 --> 0:18:59.600
<v Speaker 1>and a half years of whirling uh, which I think

0:18:59.640 --> 0:19:02.760
<v Speaker 1>broke down about like two whirling sessions per week to

0:19:02.880 --> 0:19:05.359
<v Speaker 1>keep the practice up. They also had a ten person

0:19:05.400 --> 0:19:08.520
<v Speaker 1>control group that was otherwise matched up with the attributes

0:19:08.600 --> 0:19:13.360
<v Speaker 1>of of the individuals that were themselves whirlers. They performed

0:19:13.560 --> 0:19:16.080
<v Speaker 1>m r I scans and found an average difference in

0:19:16.119 --> 0:19:20.040
<v Speaker 1>cortical thickness of point ten millimeters for the left hemisphere

0:19:20.040 --> 0:19:23.120
<v Speaker 1>of the brain and point fifteen millimeters for the right

0:19:23.160 --> 0:19:25.800
<v Speaker 1>hemisphere of the brain. So they present this as proof

0:19:25.840 --> 0:19:31.600
<v Speaker 1>of structural plasticity induced by the whirling meditations of Sufi

0:19:31.680 --> 0:19:36.000
<v Speaker 1>whirling dervishes. Now, one of the take homes from this

0:19:36.080 --> 0:19:38.959
<v Speaker 1>study is that this sort of information could lead to

0:19:38.960 --> 0:19:42.600
<v Speaker 1>some improvements in vertigo therapy UH. And I also imagine

0:19:42.640 --> 0:19:43.960
<v Speaker 1>it goes back to what we mentioned in the last

0:19:44.000 --> 0:19:46.200
<v Speaker 1>episode about the more we understand this sort of thing,

0:19:46.520 --> 0:19:49.240
<v Speaker 1>the more we can understand just to how the brain functions,

0:19:49.240 --> 0:19:51.440
<v Speaker 1>how the brain can heal itself, that sort of thing.

0:19:52.040 --> 0:19:53.919
<v Speaker 1>But they also stress that there's a lot of possibility

0:19:53.920 --> 0:19:57.960
<v Speaker 1>in the the potential mood enhancing effect of the defined

0:19:58.280 --> 0:20:02.919
<v Speaker 1>structurally plastinated cortical areas um and and and how that

0:20:03.080 --> 0:20:06.320
<v Speaker 1>is worth consideration. So they point out that the default

0:20:06.359 --> 0:20:10.120
<v Speaker 1>mode network is active except when it is suppressed by

0:20:10.119 --> 0:20:14.640
<v Speaker 1>other networks or stimulated by other states, and that its activity,

0:20:14.680 --> 0:20:19.920
<v Speaker 1>of course, is generally correlated with unhappiness in the human experience. Quote. Therefore,

0:20:19.960 --> 0:20:23.400
<v Speaker 1>it is theorized that prolonged periods of gold erected cognitive

0:20:23.400 --> 0:20:28.560
<v Speaker 1>processes may decrease the mind wandering activity in the swd's

0:20:28.640 --> 0:20:32.960
<v Speaker 1>brain because the pecunious activity has been decreased. They also

0:20:33.040 --> 0:20:37.240
<v Speaker 1>theorized that the suppression of cortical areas related with the

0:20:37.320 --> 0:20:44.000
<v Speaker 1>discriminational perception here leads to less selfish, egocentric behavior and

0:20:44.119 --> 0:20:47.320
<v Speaker 1>increased levels of happiness. And they think that the decreased

0:20:47.320 --> 0:20:52.679
<v Speaker 1>activity in the dorso lateral prefrontal cortex may contribute to

0:20:52.720 --> 0:20:57.080
<v Speaker 1>the behavioral attribute of honesty. And additionally, there could be

0:20:57.119 --> 0:21:00.320
<v Speaker 1>a neuroprotection advantage here as well, you know, against likes

0:21:00.320 --> 0:21:04.320
<v Speaker 1>of say Alzheimer's and other conditions. Well, I guess, like

0:21:04.359 --> 0:21:07.520
<v Speaker 1>a lot of neuroimaging and neurological studies, it it opens

0:21:07.600 --> 0:21:10.080
<v Speaker 1>up a lot of possibilities that you should we should

0:21:10.080 --> 0:21:13.360
<v Speaker 1>be careful to remember aren't necessarily proven yet, but are

0:21:13.400 --> 0:21:17.240
<v Speaker 1>really interesting and worth looking into with other experiments. Yeah, Like,

0:21:17.240 --> 0:21:19.560
<v Speaker 1>there are a lot of questions about the default mode network,

0:21:19.640 --> 0:21:22.120
<v Speaker 1>for example, and and just about anything else you could

0:21:22.240 --> 0:21:24.800
<v Speaker 1>point out in the human brain. Yeah, we've even talked

0:21:24.840 --> 0:21:26.679
<v Speaker 1>about how there are some people I think who question

0:21:26.760 --> 0:21:29.560
<v Speaker 1>the validity of the default mode network as a coherent

0:21:29.640 --> 0:21:32.840
<v Speaker 1>concept and like is this really a thing? But um,

0:21:33.760 --> 0:21:35.879
<v Speaker 1>but but there are others who advocate for it. So

0:21:36.200 --> 0:21:38.640
<v Speaker 1>I don't know how to sort that question out. Yeah.

0:21:38.720 --> 0:21:40.719
<v Speaker 1>I would say that some of the key takeaways from

0:21:40.720 --> 0:21:42.680
<v Speaker 1>the study though, or that that first of all, this

0:21:42.760 --> 0:21:47.000
<v Speaker 1>incredible act of spinning by by the Sufi Wherler's it

0:21:47.160 --> 0:21:49.880
<v Speaker 1>is it is producing like physical changes in the brain,

0:21:50.000 --> 0:21:54.360
<v Speaker 1>like there is there is neural plasticity involved here, and

0:21:54.720 --> 0:21:57.480
<v Speaker 1>you know it is. It is also a meditative state

0:21:57.520 --> 0:22:00.119
<v Speaker 1>they enter into and you don't have to it's not

0:22:00.160 --> 0:22:03.080
<v Speaker 1>really a stretch to say that, Yes, the meditative states

0:22:03.800 --> 0:22:07.560
<v Speaker 1>repetitive me meditative states, meditative meditative states that are engaged

0:22:07.600 --> 0:22:10.080
<v Speaker 1>in with with a fair amount of frequency that has

0:22:10.119 --> 0:22:15.160
<v Speaker 1>an effect on your resting um neural level. Uh so

0:22:15.440 --> 0:22:17.879
<v Speaker 1>all of that is, you know, really fascinating, makes me,

0:22:18.359 --> 0:22:21.720
<v Speaker 1>you know, respect this tradition even more, and I have

0:22:21.800 --> 0:22:24.679
<v Speaker 1>to say, it makes me want to spend more in

0:22:24.760 --> 0:22:28.240
<v Speaker 1>my life. Um well, wait, don't. I mean it seems

0:22:28.240 --> 0:22:30.080
<v Speaker 1>difficult that, like, is it a thing where you'd have

0:22:30.200 --> 0:22:32.320
<v Speaker 1>to do it a lot to get used to it

0:22:32.480 --> 0:22:34.800
<v Speaker 1>enough to get the benefits from it. Is that the case,

0:22:35.400 --> 0:22:38.520
<v Speaker 1>I guess, I mean, yes, that's certainly too well to

0:22:38.600 --> 0:22:41.520
<v Speaker 1>spin at their level, it requires I mean they they

0:22:41.560 --> 0:22:44.479
<v Speaker 1>prescribe what what I say, a thousand days of of

0:22:44.480 --> 0:22:46.960
<v Speaker 1>practice to get to the point where you could actually

0:22:47.040 --> 0:22:51.159
<v Speaker 1>partake of this ceremony. Um, but I mean just in

0:22:51.280 --> 0:22:53.479
<v Speaker 1>terms of, like, on on on one level, it may

0:22:53.560 --> 0:22:56.000
<v Speaker 1>I want to do it just because I I fail

0:22:56.040 --> 0:22:58.800
<v Speaker 1>at it so much. Now, like the idea that I

0:22:58.840 --> 0:23:02.600
<v Speaker 1>can change my brain, that I can change myself to

0:23:02.760 --> 0:23:06.119
<v Speaker 1>spin better, like to do not feel like my soul

0:23:06.200 --> 0:23:07.840
<v Speaker 1>has been ripped out of my body when I spin

0:23:07.920 --> 0:23:11.600
<v Speaker 1>around five times on a yoga mat. Uh Like that

0:23:11.600 --> 0:23:14.480
<v Speaker 1>that alone is attractive, you know, the the idea that like, yeah,

0:23:14.600 --> 0:23:17.600
<v Speaker 1>I'm I can, I can change and become this slightly

0:23:17.600 --> 0:23:20.240
<v Speaker 1>different version of myself. And you know, it's also worth

0:23:20.320 --> 0:23:24.600
<v Speaker 1>noting that, you know, while this is the most um

0:23:24.640 --> 0:23:28.240
<v Speaker 1>intriguing and probably the most extreme example of spinning dance,

0:23:28.520 --> 0:23:30.960
<v Speaker 1>there are a lot of spinning and circular dance traditions

0:23:30.960 --> 0:23:33.560
<v Speaker 1>and other regions of the world. You know, maybe not

0:23:33.640 --> 0:23:37.399
<v Speaker 1>as intense, but certainly the circular form pops up in

0:23:37.400 --> 0:23:41.119
<v Speaker 1>traditions around the world. So I wonder if if just

0:23:41.440 --> 0:23:44.280
<v Speaker 1>even those cases, you have a certain level of a

0:23:44.280 --> 0:23:47.840
<v Speaker 1>flow state and meditative calm that overcomes you when you're

0:23:47.840 --> 0:23:49.239
<v Speaker 1>a part of it. I don't have a lot of

0:23:49.280 --> 0:23:53.040
<v Speaker 1>direct experience with that, aside from what square dancing and

0:23:53.119 --> 0:23:55.159
<v Speaker 1>p class when I was a kid, which is not

0:23:55.280 --> 0:23:57.480
<v Speaker 1>at all the same thing. God, I also had to

0:23:57.480 --> 0:24:03.040
<v Speaker 1>do square dancing and pe and that was bizarre, absolutely bizarre.

0:24:03.400 --> 0:24:05.720
<v Speaker 1>It's a terrible time for it, um, I feel. But

0:24:05.760 --> 0:24:08.600
<v Speaker 1>at the same time, after looking at all this, I'm like, yes,

0:24:08.680 --> 0:24:11.119
<v Speaker 1>they were right to make us dance around in circles

0:24:11.160 --> 0:24:13.560
<v Speaker 1>and move our bodies and spin. Kids need to spin,

0:24:13.640 --> 0:24:16.600
<v Speaker 1>like we discussed in the previous episode, and uh yeah,

0:24:16.720 --> 0:24:19.480
<v Speaker 1>why not make them square dance, I guess. So there's

0:24:19.480 --> 0:24:22.720
<v Speaker 1>another aspect of Sufi whirling that I wanted to talk

0:24:22.720 --> 0:24:25.359
<v Speaker 1>about because I found a strange paper. I alluded to

0:24:25.400 --> 0:24:29.680
<v Speaker 1>this earlier, Uh, but just to reintroduce the concept again.

0:24:30.000 --> 0:24:33.040
<v Speaker 1>So you watch one of these sufi whirling ceremonies, and

0:24:33.160 --> 0:24:36.960
<v Speaker 1>there's the music, and there's just the human factor, you know,

0:24:37.040 --> 0:24:40.480
<v Speaker 1>being interested in in other people's religious practices and all that.

0:24:40.560 --> 0:24:44.560
<v Speaker 1>But there's this other aspect that makes the dance especially

0:24:44.680 --> 0:24:50.560
<v Speaker 1>beautiful and interesting, and it's the movement of the dancers skirts. Now,

0:24:50.600 --> 0:24:53.320
<v Speaker 1>you mentioned earlier that there's this symbolic role of the

0:24:53.359 --> 0:24:56.800
<v Speaker 1>skirts representing, you know, the shroud of the ego, and

0:24:57.080 --> 0:24:59.639
<v Speaker 1>I think that is there's something very much to that,

0:24:59.760 --> 0:25:02.240
<v Speaker 1>even as it comes through in the way the dancers

0:25:02.280 --> 0:25:05.439
<v Speaker 1>look from the outside. But there's also something about the

0:25:05.440 --> 0:25:09.080
<v Speaker 1>skirts that's undeniably a part of the raw visual appeal

0:25:09.480 --> 0:25:14.119
<v Speaker 1>of the dance to outside observers. As the dancer twirls,

0:25:14.840 --> 0:25:18.160
<v Speaker 1>the skirt is sort of lifted into the air by

0:25:18.200 --> 0:25:21.479
<v Speaker 1>the centripetal force of the rotation, but it is not

0:25:21.640 --> 0:25:25.600
<v Speaker 1>lifted up in a perfect uniform circle. Instead, what you

0:25:25.640 --> 0:25:30.600
<v Speaker 1>get are these odd, gorgeous hypnotic patterns of ripples with

0:25:30.760 --> 0:25:34.320
<v Speaker 1>peaks and troughs, as if there were waves in a

0:25:34.440 --> 0:25:38.480
<v Speaker 1>fluid moving through the fabric. And while watching it, it

0:25:38.600 --> 0:25:42.240
<v Speaker 1>is very easy to just space out. It's like it's

0:25:42.280 --> 0:25:46.040
<v Speaker 1>a visual stimulus that creates a feeling that's, at least

0:25:46.040 --> 0:25:48.760
<v Speaker 1>to me, it's very similar to watching the undulations of

0:25:48.800 --> 0:25:52.720
<v Speaker 1>a jellyfish. Absolutely, yeah, I agree. And so the question

0:25:52.800 --> 0:25:56.719
<v Speaker 1>is what causes these sort of mesmerizing patterns of movement

0:25:57.160 --> 0:26:00.840
<v Speaker 1>in the surface of these turning skirts. And believe it

0:26:00.920 --> 0:26:04.320
<v Speaker 1>or not, there is a physics paper about this. Uh so,

0:26:04.520 --> 0:26:08.560
<v Speaker 1>this is called whirling skirts and Rotating Cones in the

0:26:08.640 --> 0:26:14.880
<v Speaker 1>New Journal of Physics published by Jamal Gouvin, H. J. Hannah,

0:26:14.960 --> 0:26:20.119
<v Speaker 1>and Martin Michael Muller. And they put a very technical

0:26:20.160 --> 0:26:23.320
<v Speaker 1>description to these hypnotic movements that I was just talking about.

0:26:23.440 --> 0:26:27.639
<v Speaker 1>They call it, they say, quote steady dihedral e symmetric

0:26:27.760 --> 0:26:31.840
<v Speaker 1>patterns with sharp peaks may be observed on a spinning

0:26:31.880 --> 0:26:36.760
<v Speaker 1>skirt lagging behind the material flow of the fabric. And

0:26:36.840 --> 0:26:39.440
<v Speaker 1>so this is quoted in a in a phiz dot

0:26:39.520 --> 0:26:43.680
<v Speaker 1>or article by co author James Hannah quote. The dancers

0:26:43.760 --> 0:26:46.639
<v Speaker 1>don't do much but spin around at a fixed speed,

0:26:46.760 --> 0:26:51.119
<v Speaker 1>but their skirts show these very striking, long lived patterns

0:26:51.160 --> 0:26:56.320
<v Speaker 1>with sharp, cusp like features, which seem rather counterintuitive. And

0:26:56.480 --> 0:26:59.439
<v Speaker 1>I think it's partially that counterintuitive aspect that makes the

0:26:59.480 --> 0:27:02.119
<v Speaker 1>skirts so interesting to watch. There there's a there's a

0:27:02.160 --> 0:27:05.520
<v Speaker 1>soothing rhythm to how the skirts move, but they also

0:27:05.600 --> 0:27:08.520
<v Speaker 1>seem to sort of defy physics. They don't look like

0:27:08.560 --> 0:27:11.560
<v Speaker 1>they're moving in the way that they should. Are you

0:27:11.600 --> 0:27:15.480
<v Speaker 1>watching an example, I'm picturing it in my head. Yeah,

0:27:15.720 --> 0:27:18.080
<v Speaker 1>as as I said here staring into the zoom camera,

0:27:18.480 --> 0:27:23.520
<v Speaker 1>I'm I'm imagining that's the hypnotic circular movements of the dancers. Yeah. Yeah,

0:27:23.560 --> 0:27:26.280
<v Speaker 1>Like sometimes the skirts kind of resemble the way that

0:27:26.560 --> 0:27:30.760
<v Speaker 1>if you watch a helicopter blade spinning on film, if

0:27:30.800 --> 0:27:33.879
<v Speaker 1>the shutter speed of the camera lines up in the

0:27:33.960 --> 0:27:37.040
<v Speaker 1>right way with the rotation, uh with you know, with

0:27:37.080 --> 0:27:40.000
<v Speaker 1>the rotations per minute of the helicopter blade, it will

0:27:40.040 --> 0:27:43.560
<v Speaker 1>look like the blade is spinning backwards. Yeah, there's a

0:27:43.600 --> 0:27:45.560
<v Speaker 1>similar kind of thing that sometimes goes on with the

0:27:45.560 --> 0:27:49.760
<v Speaker 1>apparent peaks and waves in the skirt. So anyway, what

0:27:49.760 --> 0:27:52.800
<v Speaker 1>what explains this? Well, I thought the answer that came

0:27:52.880 --> 0:27:55.320
<v Speaker 1>up with here was pretty interesting. They found that the

0:27:55.359 --> 0:27:59.360
<v Speaker 1>patterns of movement in a free flowing, nearly symmetrical cone

0:27:59.400 --> 0:28:02.960
<v Speaker 1>shaped structure like the fabric of a dancers skirt, are

0:28:03.040 --> 0:28:08.160
<v Speaker 1>largely influenced by the Coriolis force. Quote A perturbative analysis

0:28:08.200 --> 0:28:12.359
<v Speaker 1>of nearly access symmetric cones shows that Coriolis forces are

0:28:12.440 --> 0:28:19.879
<v Speaker 1>essential and establishing skirt like solutions. Skirt like solutions. And

0:28:20.000 --> 0:28:22.560
<v Speaker 1>I love it when you know, physicists come up with

0:28:22.600 --> 0:28:25.120
<v Speaker 1>like a physics way of describing something that you would

0:28:25.160 --> 0:28:30.720
<v Speaker 1>never normally hear put into those terms. But so Coriolis

0:28:30.800 --> 0:28:35.640
<v Speaker 1>forces are are themselves very interesting. They are responsible for,

0:28:35.640 --> 0:28:38.800
<v Speaker 1>for example, determining the rotation of weather patterns in the

0:28:38.840 --> 0:28:43.280
<v Speaker 1>atmosphere of Earth. The Coriolis effect is a name for

0:28:43.760 --> 0:28:47.959
<v Speaker 1>the deflection of the motion of free flowing materials on

0:28:48.000 --> 0:28:50.760
<v Speaker 1>a rotating surface. And this is one of those things

0:28:50.800 --> 0:28:53.520
<v Speaker 1>that can be kind of hard to understand intuitively, but

0:28:53.760 --> 0:28:57.120
<v Speaker 1>I'll do my best with an analogy. Imagine you're trying

0:28:57.120 --> 0:28:59.240
<v Speaker 1>to play catch with someone, so you're throwing a baseball

0:28:59.240 --> 0:29:03.120
<v Speaker 1>back and forth. But you're throwing a baseball back and

0:29:03.160 --> 0:29:08.000
<v Speaker 1>forth on a merry go round. Suddenly you can't just

0:29:08.160 --> 0:29:10.240
<v Speaker 1>throw in a straight line, right, You know. If I'm

0:29:10.280 --> 0:29:12.080
<v Speaker 1>trying to throw to you on the other side of

0:29:12.080 --> 0:29:14.080
<v Speaker 1>the merry go round and I throw straight at you,

0:29:14.560 --> 0:29:18.120
<v Speaker 1>suddenly the ball from our point of view will appear

0:29:18.160 --> 0:29:22.959
<v Speaker 1>to curve off target in some bizarre way. Right, And

0:29:23.040 --> 0:29:25.240
<v Speaker 1>it's because you're moving. Right, I throw the ball in

0:29:25.280 --> 0:29:27.680
<v Speaker 1>a straight line, it does go in a straight line,

0:29:28.080 --> 0:29:30.400
<v Speaker 1>but you move, and so it looks like the ball

0:29:30.520 --> 0:29:32.240
<v Speaker 1>just flew off to the side in the middle of

0:29:32.280 --> 0:29:36.400
<v Speaker 1>its uh traveling. And it's because we're in a rotating

0:29:36.440 --> 0:29:40.440
<v Speaker 1>reference frame. A similar thing takes place on larger rotating

0:29:40.440 --> 0:29:43.520
<v Speaker 1>reference frames, such as the Earth itself. When you have

0:29:43.680 --> 0:29:47.520
<v Speaker 1>free flowing patterns of fluid you know, such as weather,

0:29:47.680 --> 0:29:51.280
<v Speaker 1>you know it's fluids moving through fluids, it's it's clouds

0:29:51.360 --> 0:29:55.040
<v Speaker 1>or or winds moving through air. These are affected by

0:29:55.040 --> 0:29:58.160
<v Speaker 1>the rotation of the Earth, causing winds to typically form

0:29:58.280 --> 0:30:03.160
<v Speaker 1>clockwise patterns in the northern hemisphere and counterclockwise patterns in

0:30:03.160 --> 0:30:07.200
<v Speaker 1>the southern hemisphere. And apparently, when a Sufi dancer twirls,

0:30:07.320 --> 0:30:11.040
<v Speaker 1>the rotation of the skirt also gives rise to Coreola's

0:30:11.080 --> 0:30:15.240
<v Speaker 1>forces in the patterns of the fabric, to quote James Hannaggan,

0:30:15.320 --> 0:30:18.280
<v Speaker 1>and that that physic or article quote, the flow of

0:30:18.280 --> 0:30:21.080
<v Speaker 1>a sheet of material is much more restrictive than the

0:30:21.080 --> 0:30:25.280
<v Speaker 1>flow of the atmosphere, but nonetheless it results in Coreola's forces.

0:30:25.600 --> 0:30:28.640
<v Speaker 1>What we found was that this flow and the associated

0:30:28.680 --> 0:30:32.720
<v Speaker 1>Coriolis forces plays a crucial role in forming the dervish

0:30:32.800 --> 0:30:36.360
<v Speaker 1>like patterns. And the authors actually came up with equations

0:30:36.720 --> 0:30:40.760
<v Speaker 1>to describe these effects in free flowing conical materials like

0:30:40.800 --> 0:30:42.920
<v Speaker 1>the fabric of a skirt. And so now you have

0:30:42.960 --> 0:30:46.560
<v Speaker 1>an equation that can show you the skirt like solutions. Yeah,

0:30:46.600 --> 0:30:48.280
<v Speaker 1>we will not read it out to you have to

0:30:48.320 --> 0:30:51.680
<v Speaker 1>look it up for yourself because I found a similar

0:30:51.680 --> 0:30:54.520
<v Speaker 1>situation there first episode where we talked about spinning kicks,

0:30:54.520 --> 0:30:56.480
<v Speaker 1>and I found a post about the physics of a

0:30:56.560 --> 0:31:00.320
<v Speaker 1>spin kick. But it was just it was just no

0:31:00.400 --> 0:31:02.040
<v Speaker 1>sense in getting into it because I would just be

0:31:02.160 --> 0:31:05.280
<v Speaker 1>me reading out an equation. But anyway, I don't For

0:31:05.320 --> 0:31:08.800
<v Speaker 1>some reason, I found something oddly beautiful about this study. Yeah,

0:31:08.840 --> 0:31:10.920
<v Speaker 1>I mean, and it's it also seems kind of fitting right,

0:31:11.000 --> 0:31:14.680
<v Speaker 1>given the mystical nature of it, you know, And and

0:31:14.680 --> 0:31:19.320
<v Speaker 1>and the idea of there being this mathematical pattern underlying

0:31:20.320 --> 0:31:25.000
<v Speaker 1>what we see when we uh witness this particular tradition,

0:31:25.080 --> 0:31:35.920
<v Speaker 1>you know. Than now, speaking of cultural traditions about spinning

0:31:35.920 --> 0:31:38.320
<v Speaker 1>around in circles, another one came to mind while we

0:31:38.320 --> 0:31:41.520
<v Speaker 1>were getting ready for this episode, and it is something

0:31:41.560 --> 0:31:44.400
<v Speaker 1>you may have seen at a baseball game. It is

0:31:44.440 --> 0:31:49.200
<v Speaker 1>the dizzy bat race. You know, I had completely forgotten

0:31:49.240 --> 0:31:51.760
<v Speaker 1>about this until you shared a clip of people doing it.

0:31:51.920 --> 0:31:54.960
<v Speaker 1>So this is when the first step is you take

0:31:54.960 --> 0:31:58.600
<v Speaker 1>a baseball bat and you put the I don't know,

0:31:58.680 --> 0:32:02.160
<v Speaker 1>the club end on the on the ground. Does the

0:32:02.280 --> 0:32:05.000
<v Speaker 1>end and I don't know, Yeah, And and then well,

0:32:05.360 --> 0:32:07.280
<v Speaker 1>I guess it. I don't know if it matters. Maybe

0:32:07.280 --> 0:32:10.120
<v Speaker 1>maybe it doesn't. But then one end of the bat

0:32:10.160 --> 0:32:11.600
<v Speaker 1>is on the ground and the other end of the

0:32:11.600 --> 0:32:14.760
<v Speaker 1>bat is on your forehead, so you're bending and then yeah,

0:32:14.760 --> 0:32:17.600
<v Speaker 1>and you're bending over and then you start spinning around

0:32:17.680 --> 0:32:21.440
<v Speaker 1>three Stooges style around it right, yep, yep, spin around

0:32:21.440 --> 0:32:23.520
<v Speaker 1>in the circles. And then you gotta do something. You

0:32:23.600 --> 0:32:26.600
<v Speaker 1>gotta run somewhere. I don't think it really matters after that.

0:32:26.640 --> 0:32:28.320
<v Speaker 1>You just the goal is you get a couple of

0:32:28.320 --> 0:32:30.440
<v Speaker 1>people out of the audience who've maybe been having a

0:32:30.440 --> 0:32:34.360
<v Speaker 1>few stadium beers. I mean, that's probably watered down beer,

0:32:34.440 --> 0:32:38.160
<v Speaker 1>but it's still beer. They've got some alcohol in their system. Alcohol.

0:32:38.280 --> 0:32:41.280
<v Speaker 1>It does affect the vestibular system, as we know. Uh.

0:32:41.320 --> 0:32:43.120
<v Speaker 1>And then and then you make it even worse by

0:32:43.120 --> 0:32:45.120
<v Speaker 1>having them spin around a bunch of times and then

0:32:45.200 --> 0:32:47.320
<v Speaker 1>say like, hey, run and try to catch this hot

0:32:47.360 --> 0:32:51.240
<v Speaker 1>dog or something, and they'll typically stumble all over the place.

0:32:51.240 --> 0:32:52.880
<v Speaker 1>In one example we were looking at, one of the

0:32:52.880 --> 0:32:56.400
<v Speaker 1>guys runs straight into the stands and falls over the wall.

0:32:57.280 --> 0:32:59.640
<v Speaker 1>Oh yeah, it's quite a wipeout. But then he's right

0:32:59.640 --> 0:33:02.800
<v Speaker 1>back in his feet. Yeah, liked you see that. Bra.

0:33:05.360 --> 0:33:08.640
<v Speaker 1>So generally, as you said this, this sport is presented

0:33:08.680 --> 0:33:13.040
<v Speaker 1>as a impromptu competition that one has not trained for.

0:33:13.360 --> 0:33:16.920
<v Speaker 1>But based on everything we've discussed here, um, you know,

0:33:17.200 --> 0:33:19.760
<v Speaker 1>training would be able to help you. Uh. You know,

0:33:19.800 --> 0:33:22.200
<v Speaker 1>the untrained performance seems to be key to the dizzy

0:33:22.280 --> 0:33:25.640
<v Speaker 1>bat race. But if you were to train for it,

0:33:25.800 --> 0:33:28.719
<v Speaker 1>you could potentially be in a better position to excel

0:33:28.760 --> 0:33:31.480
<v Speaker 1>at it. Oh yeah, like training like a Sufi dancer,

0:33:31.680 --> 0:33:35.600
<v Speaker 1>or like a or like a ballerina or a figure skater.

0:33:35.880 --> 0:33:39.280
<v Speaker 1>You just dizzy bat yourself for hours a day, every

0:33:39.360 --> 0:33:43.120
<v Speaker 1>day until you can become the ultimate dizzy bat hustler.

0:33:43.480 --> 0:33:46.480
<v Speaker 1>And like nobody knows when you go in that I'm

0:33:46.480 --> 0:33:48.520
<v Speaker 1>going to be better at catching the hot dog or

0:33:48.520 --> 0:33:50.320
<v Speaker 1>whatever it is. I don't know why I said hot dog.

0:33:50.880 --> 0:33:53.560
<v Speaker 1>I guess that's another thing that's at baseball stadiums. You know,

0:33:53.680 --> 0:33:55.360
<v Speaker 1>they may do a hot dog version. I guess one

0:33:55.360 --> 0:33:56.680
<v Speaker 1>of the versions I was looking at is like you

0:33:56.720 --> 0:33:59.760
<v Speaker 1>do the dizzy bat thing, You've you spin around and

0:33:59.840 --> 0:34:02.479
<v Speaker 1>the you have to run to like first base and

0:34:02.680 --> 0:34:04.240
<v Speaker 1>to see if you can run in a straight line,

0:34:04.520 --> 0:34:06.880
<v Speaker 1>and then you're it's your time, right, It's like they

0:34:06.880 --> 0:34:10.319
<v Speaker 1>time you on it. So, Um, I have a potential

0:34:10.360 --> 0:34:12.880
<v Speaker 1>answer to this. It's not a scientific answer, but I

0:34:12.960 --> 0:34:17.120
<v Speaker 1>come to it via another physical activity that involves spinning,

0:34:17.120 --> 0:34:21.120
<v Speaker 1>and that's the world of professional wrestling. UM. So I

0:34:21.200 --> 0:34:23.920
<v Speaker 1>knew we'd end up back here. I didn't expect to

0:34:23.960 --> 0:34:28.279
<v Speaker 1>talk about about pro wrestling in this at all. Um beside, well,

0:34:28.280 --> 0:34:30.560
<v Speaker 1>I guess I already did. I did bring it up briefly. Um.

0:34:31.000 --> 0:34:34.560
<v Speaker 1>The elbow or something from from Japanese wrestling. Yeah, like

0:34:34.600 --> 0:34:36.440
<v Speaker 1>a roaring elbow where you get you spin around and

0:34:36.480 --> 0:34:38.960
<v Speaker 1>do an elbow and it's uh, you know, it's flashy looking.

0:34:39.560 --> 0:34:41.680
<v Speaker 1>But but there are a couple of other more famous

0:34:41.680 --> 0:34:44.839
<v Speaker 1>spinning maneuvers. So one of them, and tell me if

0:34:44.840 --> 0:34:47.560
<v Speaker 1>you've seen this before, Joe. One is the airplane spin.

0:34:47.719 --> 0:34:50.920
<v Speaker 1>This is when one wrestler puts another in a fireman's carry,

0:34:51.280 --> 0:34:53.720
<v Speaker 1>you know, up on their shoulders, and then they spin

0:34:53.760 --> 0:34:57.960
<v Speaker 1>around more or less like a whirling dervish before dumping

0:34:57.960 --> 0:35:01.839
<v Speaker 1>them over and then the ideas you're both see. Okay.

0:35:02.760 --> 0:35:06.200
<v Speaker 1>The other version is the giant swing, and in this one,

0:35:06.600 --> 0:35:10.080
<v Speaker 1>one wrestler grabs the legs of the other, you know,

0:35:10.200 --> 0:35:13.920
<v Speaker 1>like a wheelbarrow hold, and then spins them around like

0:35:13.960 --> 0:35:17.200
<v Speaker 1>a centrifuge and then eventually releases them. And there are

0:35:17.200 --> 0:35:19.080
<v Speaker 1>a couple of other variants, but these are the main

0:35:19.239 --> 0:35:21.960
<v Speaker 1>spinning moves. So I guess the idea and that the

0:35:21.960 --> 0:35:25.920
<v Speaker 1>giant swing is that you are attempting to spin around

0:35:26.000 --> 0:35:28.880
<v Speaker 1>until the intracranial pressure of the blood flowing up to

0:35:28.920 --> 0:35:30.800
<v Speaker 1>the top of their head kills them. Right. Is that

0:35:30.960 --> 0:35:36.160
<v Speaker 1>is that an execution move? It's a finishing move and generally, yeah,

0:35:36.160 --> 0:35:38.200
<v Speaker 1>I guess in Mortal Kombat, it would it would make

0:35:38.200 --> 0:35:40.080
<v Speaker 1>the top of your head fly off and your brains

0:35:40.080 --> 0:35:43.080
<v Speaker 1>splat again against the camera or something. But in pro

0:35:43.320 --> 0:35:46.399
<v Speaker 1>pro wrestling, both of these moves generally play out this way,

0:35:46.480 --> 0:35:50.200
<v Speaker 1>like you spin your opponent around until they're dizzy. You're

0:35:50.280 --> 0:35:53.000
<v Speaker 1>dizzy as well, but then you take advantage and you

0:35:53.040 --> 0:35:56.640
<v Speaker 1>either pin the person or or it gives you a

0:35:56.719 --> 0:35:59.640
<v Speaker 1>chance to do another maneuver on them and then potentially win.

0:36:00.440 --> 0:36:02.120
<v Speaker 1>A lot of times it's kind of played up for

0:36:02.160 --> 0:36:04.560
<v Speaker 1>comedy though, like, oh, you did the airplane spin, and

0:36:04.560 --> 0:36:07.319
<v Speaker 1>now both people are dizzy and they can't punch each other,

0:36:07.360 --> 0:36:08.920
<v Speaker 1>and they're kind of doing a you know, kind of

0:36:08.920 --> 0:36:12.440
<v Speaker 1>a dizzy bat humor spot, where like, oh, now we

0:36:12.480 --> 0:36:13.960
<v Speaker 1>can't connect, and it's a going to kind of like

0:36:14.000 --> 0:36:16.560
<v Speaker 1>break down the action for a little bit. It seems

0:36:16.560 --> 0:36:19.080
<v Speaker 1>like a move that the bush Whackers would have done,

0:36:19.160 --> 0:36:24.600
<v Speaker 1>remember them. Yeah, But you know, I've often dismissed the

0:36:24.600 --> 0:36:26.759
<v Speaker 1>move because I think, oh, well, that just makes you

0:36:26.800 --> 0:36:28.920
<v Speaker 1>both dizzy. It's not very realistic. What's the point of

0:36:28.960 --> 0:36:32.440
<v Speaker 1>making your opponent really dizzy if you yourself are equally dizzy.

0:36:33.239 --> 0:36:37.680
<v Speaker 1>But given everything we've talked about here, it absolutely makes

0:36:37.680 --> 0:36:41.000
<v Speaker 1>sense that a wrestler who regular uses a spinny move

0:36:41.840 --> 0:36:45.480
<v Speaker 1>or just trains and spinning would be less affected by

0:36:45.480 --> 0:36:48.640
<v Speaker 1>the maneuver and could then you know, better utilize it

0:36:48.800 --> 0:36:51.719
<v Speaker 1>in a match. Of course, the reverse would be true

0:36:51.719 --> 0:36:54.719
<v Speaker 1>as well, right if you in in cafe, within the

0:36:54.800 --> 0:36:56.759
<v Speaker 1>within the fiction of pro wrestling, If you knew you

0:36:56.760 --> 0:36:58.799
<v Speaker 1>were going to go up against someone who uses a

0:36:58.880 --> 0:37:03.200
<v Speaker 1>move like this, say uh Hiroshi Hayes or Cesarrow or

0:37:03.280 --> 0:37:06.920
<v Speaker 1>Daniel Bryant, you could train and prepare for it so

0:37:06.960 --> 0:37:09.600
<v Speaker 1>that they wouldn't be able to, you know, to to

0:37:09.600 --> 0:37:12.479
<v Speaker 1>to to use it effectively against you. I don't think

0:37:12.520 --> 0:37:14.960
<v Speaker 1>I don't think that's ever been used from a wrestling

0:37:14.960 --> 0:37:17.680
<v Speaker 1>psychology standpoint, but it seems like it could be a

0:37:17.680 --> 0:37:22.960
<v Speaker 1>good angle. I'm imagining the Ric Flair monologue. Now, you

0:37:23.000 --> 0:37:27.279
<v Speaker 1>can't use that role on me, it's Rolex time. You

0:37:27.320 --> 0:37:29.880
<v Speaker 1>could have a training montage of somebody spinning around in

0:37:29.920 --> 0:37:32.319
<v Speaker 1>circles preparing for their match, and then, you know, making

0:37:32.360 --> 0:37:36.319
<v Speaker 1>themselves less susceptible to the move. But but outside of

0:37:36.320 --> 0:37:39.520
<v Speaker 1>the fictional world of the you know, the match itself.

0:37:40.280 --> 0:37:42.759
<v Speaker 1>The other question, of course, is do wrestlers like the

0:37:42.800 --> 0:37:45.560
<v Speaker 1>ones I just mentioned do they adapt to using the maneuver?

0:37:45.960 --> 0:37:48.400
<v Speaker 1>You know, if you're using an airplane spin or a

0:37:48.440 --> 0:37:51.360
<v Speaker 1>giant swing in you know, a couple of times a

0:37:51.400 --> 0:37:54.719
<v Speaker 1>week or just regularly, you know in your matches, do

0:37:54.800 --> 0:37:59.520
<v Speaker 1>you become less susceptible to dizziness? And I couldn't find

0:37:59.520 --> 0:38:01.279
<v Speaker 1>a real here on this. I looked around a little

0:38:01.280 --> 0:38:04.120
<v Speaker 1>bit for you know, interviews and all, but I did

0:38:04.200 --> 0:38:10.279
<v Speaker 1>find footage of a dizzy bat competition featuring ww E wrestlers,

0:38:10.320 --> 0:38:13.320
<v Speaker 1>and one of the wrestlers was this guy Cesaro who

0:38:13.680 --> 0:38:16.920
<v Speaker 1>who uses this um this giant swing a lot in

0:38:16.960 --> 0:38:19.920
<v Speaker 1>his matches and has also i think on one in

0:38:19.960 --> 0:38:23.000
<v Speaker 1>one case he used a hundred revolutions in a single match.

0:38:23.840 --> 0:38:26.160
<v Speaker 1>So so yeah, he'll really get spinning. And he has

0:38:26.200 --> 0:38:29.080
<v Speaker 1>another spinning move called a UFO, which is basically an

0:38:29.080 --> 0:38:33.000
<v Speaker 1>inverted airplane spin. It's also very impressive, uh to to

0:38:33.000 --> 0:38:37.120
<v Speaker 1>see performed. So it raises like it's it is the question,

0:38:37.120 --> 0:38:38.960
<v Speaker 1>how's he going to do in this? In this dizzy

0:38:39.000 --> 0:38:43.520
<v Speaker 1>bat competition? And you know, this is very unscientific. He

0:38:43.560 --> 0:38:46.440
<v Speaker 1>only was competing against I think two other people, but

0:38:46.640 --> 0:38:50.160
<v Speaker 1>he did win. He had better time doing the dizzy

0:38:50.200 --> 0:38:52.280
<v Speaker 1>bat thing and then running out the first base he

0:38:52.440 --> 0:38:57.520
<v Speaker 1>had better time than either competitors. Interesting. Yeah, so there

0:38:57.520 --> 0:39:01.160
<v Speaker 1>you go. Maybe maybe it does. Uh, maybe there is

0:39:01.200 --> 0:39:04.200
<v Speaker 1>a way to prepare for the dizzy bat competition, and

0:39:04.440 --> 0:39:08.760
<v Speaker 1>maybe spinning around a lot in pro wrestling does produce

0:39:08.840 --> 0:39:11.279
<v Speaker 1>these results. I mean it makes complete sense based on

0:39:11.320 --> 0:39:13.680
<v Speaker 1>everything we've looked at. I think what it means is

0:39:13.719 --> 0:39:16.720
<v Speaker 1>that Cesarro has a future in ice skating or ballet

0:39:17.600 --> 0:39:22.239
<v Speaker 1>probably so. I mean, professional dance and professional wrestling have

0:39:22.280 --> 0:39:25.160
<v Speaker 1>a lot in common. And uh, I mean he's a hoss.

0:39:25.160 --> 0:39:27.120
<v Speaker 1>He could do it well. What that makes me wonder

0:39:27.239 --> 0:39:29.600
<v Speaker 1>is are there any well known pro wrestlers who were

0:39:29.640 --> 0:39:33.960
<v Speaker 1>also professional dancers in something that is acknowledged as dance. Um,

0:39:34.120 --> 0:39:36.160
<v Speaker 1>I don't know. I'm not sure on that offhand, it

0:39:36.200 --> 0:39:37.840
<v Speaker 1>seems like there there might be. I mean, you have

0:39:38.719 --> 0:39:41.759
<v Speaker 1>wrestlers coming in with all sorts of backgrounds, um, you know,

0:39:41.800 --> 0:39:46.239
<v Speaker 1>certainly gymnastics backgrounds in some cases. So uh, I'm sure

0:39:46.280 --> 0:39:47.880
<v Speaker 1>there's there's one out there that has some sort of

0:39:47.920 --> 0:39:51.480
<v Speaker 1>a dance background. Hulkster was he also a square dancing champion?

0:39:52.840 --> 0:39:54.879
<v Speaker 1>I don't know if the Hulkster was a square great

0:39:54.920 --> 0:39:58.880
<v Speaker 1>dancing champion. No. Um, but Mike, I'm trying to remember

0:39:58.880 --> 0:40:00.560
<v Speaker 1>if he ever did the giant swing. He might have

0:40:00.840 --> 0:40:04.200
<v Speaker 1>I can't recall. While on the subject of of airplane

0:40:04.239 --> 0:40:07.000
<v Speaker 1>spins as as an offensive move, I guess we've come

0:40:07.040 --> 0:40:10.120
<v Speaker 1>full circle to like in Bison territory. There was another

0:40:10.160 --> 0:40:11.719
<v Speaker 1>thing I was thinking about when we were doing this

0:40:11.760 --> 0:40:14.880
<v Speaker 1>episode that was, um, it was a Simpsons episode with

0:40:14.920 --> 0:40:18.040
<v Speaker 1>a certain type of spinning torture as hazing. It's the

0:40:18.080 --> 0:40:22.640
<v Speaker 1>episode where Barton Lisa get enrolled in a military academy

0:40:22.760 --> 0:40:25.480
<v Speaker 1>and there's a scene where they're being hazed and they're

0:40:25.520 --> 0:40:30.160
<v Speaker 1>apparently strapped to airplane propellers, and then the the airplane runs,

0:40:30.360 --> 0:40:32.960
<v Speaker 1>so they like spin around with the propeller. That's a

0:40:32.960 --> 0:40:35.239
<v Speaker 1>different kind of spinning than we're usually talking about, because

0:40:35.239 --> 0:40:39.520
<v Speaker 1>we're talking about spinning along a different access of the body.

0:40:39.560 --> 0:40:41.719
<v Speaker 1>This would be again more like the giant swing. This

0:40:41.760 --> 0:40:45.800
<v Speaker 1>would be like centrifuging you uh. And while it's funny

0:40:45.840 --> 0:40:48.239
<v Speaker 1>in the show, I think I would have to say

0:40:48.760 --> 0:40:52.880
<v Speaker 1>my suspicion is that this would be absolutely one fatal

0:40:52.920 --> 0:40:56.160
<v Speaker 1>in reality. Just like you know, shove all the blood

0:40:56.160 --> 0:40:57.719
<v Speaker 1>in your body up to the top of your head

0:40:57.719 --> 0:41:00.000
<v Speaker 1>and kill you. Yeah, I mean it's it basically comes

0:41:00.200 --> 0:41:03.480
<v Speaker 1>back to the Moonraker example that we talked about earlier,

0:41:03.480 --> 0:41:05.760
<v Speaker 1>you know, where there's a scene and Moonraker where James

0:41:05.760 --> 0:41:09.279
<v Speaker 1>Bond is put in a centrifuge as torture. Right, Yeah,

0:41:10.520 --> 0:41:14.040
<v Speaker 1>the G forces simulator for astronauts. Yeah, except I think

0:41:14.160 --> 0:41:16.799
<v Speaker 1>that's different because the way his body is oriented. The

0:41:16.800 --> 0:41:18.359
<v Speaker 1>way I thought it was supposed to be was that

0:41:18.400 --> 0:41:20.719
<v Speaker 1>the G forces would be operating the other way. It

0:41:20.719 --> 0:41:22.879
<v Speaker 1>would be like taking the blood out of his head,

0:41:22.960 --> 0:41:26.680
<v Speaker 1>you know, and pulling it towards his feet, like would normally, uh,

0:41:26.760 --> 0:41:29.200
<v Speaker 1>though I don't know that's the way it would normally happen. Well, actually,

0:41:29.239 --> 0:41:31.759
<v Speaker 1>I don't know, because if the astronauts are the astronauts

0:41:31.760 --> 0:41:36.720
<v Speaker 1>are usually seeded, what with the back of their bodies

0:41:36.920 --> 0:41:41.880
<v Speaker 1>facing the facing the the exhaust, right, So maybe that

0:41:41.920 --> 0:41:44.600
<v Speaker 1>would just mean that the blood is pulled not up

0:41:44.719 --> 0:41:47.320
<v Speaker 1>or down your body, but towards the back of your body,

0:41:47.400 --> 0:41:49.960
<v Speaker 1>towards the back of your skull. Yeah, I guess. And

0:41:50.000 --> 0:41:51.920
<v Speaker 1>it would also depend on the maneuver you're taking in

0:41:51.960 --> 0:41:55.799
<v Speaker 1>the airplane. But but certainly when you're talking about the

0:41:55.880 --> 0:41:59.000
<v Speaker 1>effects of of G force on the blood flow and

0:41:59.040 --> 0:42:01.799
<v Speaker 1>the body tack really blood flow to the brain. That's

0:42:01.800 --> 0:42:04.520
<v Speaker 1>where you can get into hypoxia territory where not enough

0:42:04.520 --> 0:42:06.960
<v Speaker 1>blood and oxygen is reaching the brain and you can

0:42:07.000 --> 0:42:10.040
<v Speaker 1>certainly lose consciousness that way, um, which is of course

0:42:10.120 --> 0:42:14.120
<v Speaker 1>extra dangerous if you are also piloting an aircraft. Um,

0:42:14.280 --> 0:42:17.000
<v Speaker 1>especially if you're piloting an aircraft that is to say,

0:42:17.160 --> 0:42:20.920
<v Speaker 1>in a spin or something like that. So um, yeah,

0:42:20.920 --> 0:42:24.239
<v Speaker 1>the idea of this being a potentially lethal way to

0:42:24.239 --> 0:42:29.000
<v Speaker 1>torment Barton Lisa, absolutely, what is it? There's some movie

0:42:29.080 --> 0:42:31.799
<v Speaker 1>where that's there's like a scene where a character has

0:42:31.840 --> 0:42:34.200
<v Speaker 1>to execute a move in an airplane or a spaceship

0:42:34.280 --> 0:42:36.719
<v Speaker 1>or something that they know is going to cause them

0:42:36.760 --> 0:42:39.200
<v Speaker 1>to lose consciousness student gye forces and they have to

0:42:39.239 --> 0:42:41.680
<v Speaker 1>like recover in time. Do you know does that ring

0:42:41.719 --> 0:42:44.560
<v Speaker 1>in a bell for you? Oh? It vaguely does. I

0:42:44.600 --> 0:42:46.720
<v Speaker 1>mean this kind of thing comes up a fair amount

0:42:46.719 --> 0:42:51.719
<v Speaker 1>in in films about about to say fighter crafts. And

0:42:51.800 --> 0:42:54.120
<v Speaker 1>also it could have been some of the usual suspects.

0:42:54.120 --> 0:42:56.440
<v Speaker 1>They're like the like top Gun or that one where

0:42:56.480 --> 0:43:00.520
<v Speaker 1>Clint Eastwood flies SR. Seventy one or some version of it.

0:43:01.280 --> 0:43:03.360
<v Speaker 1>I don't know. That one. Yeah, I forget it was.

0:43:03.480 --> 0:43:05.160
<v Speaker 1>I always wanted to watch it as a kid because

0:43:05.160 --> 0:43:08.000
<v Speaker 1>I remember really loving the SR seventy one and the

0:43:08.000 --> 0:43:10.319
<v Speaker 1>the SR seventy one Blackbird, which was right, you know,

0:43:10.440 --> 0:43:13.000
<v Speaker 1>it was a reconnaissance aircraft that could fly super fast,

0:43:13.000 --> 0:43:17.440
<v Speaker 1>super high altitude. Um, I think you got it a

0:43:17.440 --> 0:43:19.560
<v Speaker 1>pretty high altitude as well. Not to be confused with

0:43:19.560 --> 0:43:21.840
<v Speaker 1>the YouTube which just does you know, really long wings

0:43:21.880 --> 0:43:26.359
<v Speaker 1>and his high altitude reconnaissance. But the SR seventy one

0:43:26.400 --> 0:43:29.440
<v Speaker 1>was beautiful, and the he's supposed to be flying a

0:43:29.440 --> 0:43:32.319
<v Speaker 1>fighter plane in this in this film that's based on

0:43:32.320 --> 0:43:34.120
<v Speaker 1>the SR seventy one, or maybe they use an SR

0:43:34.160 --> 0:43:36.080
<v Speaker 1>seventy one stand in. And I used to see the

0:43:36.360 --> 0:43:38.279
<v Speaker 1>VHS copy and think, oh, that that looks like such

0:43:38.280 --> 0:43:40.680
<v Speaker 1>a great movie. And I think later I did see

0:43:40.680 --> 0:43:43.840
<v Speaker 1>it and it's it's not great, but it has a

0:43:43.840 --> 0:43:45.840
<v Speaker 1>cool plane and it's so what can you do but

0:43:45.920 --> 0:43:48.040
<v Speaker 1>to come back to video games, certainly, anyone who's ever

0:43:48.080 --> 0:43:51.239
<v Speaker 1>played a flight simulator you know that, uh, if you

0:43:50.880 --> 0:43:53.480
<v Speaker 1>you take on too many G forces, the screen is

0:43:53.480 --> 0:43:55.480
<v Speaker 1>gonna go black, or the screen is gonna go red.

0:43:55.680 --> 0:43:57.680
<v Speaker 1>You know you're gonna potitionally black out or red Out

0:43:57.719 --> 0:44:00.480
<v Speaker 1>based on the g Forces. Oh. By the way, that

0:44:00.520 --> 0:44:04.480
<v Speaker 1>Clint Eastwood movie was two Firefox. I had to look

0:44:04.520 --> 0:44:06.560
<v Speaker 1>it up to make sure that I was, uh, you know,

0:44:06.600 --> 0:44:12.400
<v Speaker 1>giving everybody the uh the the full recommend there. Directed

0:44:12.400 --> 0:44:16.520
<v Speaker 1>by Clint Eastwood, starring Clint Eastwood. Um, I would have

0:44:16.560 --> 0:44:19.759
<v Speaker 1>had Ronald Lacy in it. Uh of the Raiders have

0:44:19.800 --> 0:44:22.360
<v Speaker 1>Lost Dark Fame, who played uh, you know, the the

0:44:22.480 --> 0:44:27.719
<v Speaker 1>villainous taught uh the s S officer. Wait what, oh,

0:44:27.960 --> 0:44:30.480
<v Speaker 1>I see you. I'm confusing this the name of the

0:44:30.480 --> 0:44:32.400
<v Speaker 1>movie you're talking about with the movie that I watched

0:44:32.440 --> 0:44:36.400
<v Speaker 1>as a child called fire Birds, not Firefox. This was

0:44:36.440 --> 0:44:41.040
<v Speaker 1>a helicopter action movie starring Nicolas Cage, And yeah, I

0:44:41.080 --> 0:44:44.040
<v Speaker 1>had Nicolas Cage and Tommy Lee Jones and Sean Young

0:44:44.760 --> 0:44:48.200
<v Speaker 1>and I think some other recognizable character actors. And I

0:44:48.200 --> 0:44:50.960
<v Speaker 1>remember there's a scene where Nicolas Cage has to like

0:44:51.200 --> 0:44:54.040
<v Speaker 1>drive a car with one of his eyes covered up,

0:44:54.120 --> 0:44:58.160
<v Speaker 1>looking through a periscope in order to train his brain. Oh. Nice,

0:44:59.040 --> 0:45:01.240
<v Speaker 1>Well that's a perfect place to close out here, because

0:45:01.360 --> 0:45:03.080
<v Speaker 1>so much of what we've talked about it comes down

0:45:03.120 --> 0:45:06.280
<v Speaker 1>to training the brain um of the brain becoming used

0:45:06.520 --> 0:45:10.040
<v Speaker 1>to what the body is is going through and and

0:45:10.200 --> 0:45:12.600
<v Speaker 1>altering the way that it understands the signals that are

0:45:12.600 --> 0:45:15.239
<v Speaker 1>delivered to it. All right, we're gonna go ahead and

0:45:15.280 --> 0:45:18.600
<v Speaker 1>close out these episodes here then. UM, obviously we'd love

0:45:18.640 --> 0:45:21.839
<v Speaker 1>to hear from everybody out there about these episodes. You know,

0:45:21.880 --> 0:45:26.040
<v Speaker 1>what are your experiences with spinning around in circles related

0:45:26.040 --> 0:45:29.040
<v Speaker 1>to say, dance? Uh? Do we have skaters and dancers?

0:45:29.160 --> 0:45:32.400
<v Speaker 1>I know we have at least one uh individual listens

0:45:32.400 --> 0:45:34.000
<v Speaker 1>to the show with the ballet background. We'd love to

0:45:34.000 --> 0:45:36.160
<v Speaker 1>hear from them on this. Um. Also, do we have

0:45:36.200 --> 0:45:39.080
<v Speaker 1>any Sufi listeners who would like to chime in on

0:45:39.120 --> 0:45:42.759
<v Speaker 1>either the the experience of the Sufi whirling or just

0:45:43.040 --> 0:45:47.520
<v Speaker 1>the place that it has within the religion? Uh? You know,

0:45:47.800 --> 0:45:49.960
<v Speaker 1>basically any any anything you have to add or if

0:45:50.000 --> 0:45:52.960
<v Speaker 1>you just have stuff about video games and movies, will

0:45:53.000 --> 0:45:55.640
<v Speaker 1>also be happy to listen to you on on that

0:45:55.680 --> 0:45:58.520
<v Speaker 1>front as well. In the meantime, if you like to

0:45:58.560 --> 0:46:00.680
<v Speaker 1>check out other episodes of stuff to your mind, you

0:46:00.719 --> 0:46:02.560
<v Speaker 1>know where to find it. You can find it anywhere

0:46:02.560 --> 0:46:04.400
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0:46:04.520 --> 0:46:07.440
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0:46:07.480 --> 0:46:09.560
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0:46:09.560 --> 0:46:11.239
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0:46:11.280 --> 0:46:13.560
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0:46:13.600 --> 0:46:14.759
<v Speaker 1>go there if you want to buy a shirt with

0:46:14.800 --> 0:46:17.560
<v Speaker 1>a monster or logo on it. And uh, I, I

0:46:17.600 --> 0:46:20.160
<v Speaker 1>know some of you are probably intrigued by the mention

0:46:20.239 --> 0:46:23.440
<v Speaker 1>of the of the Whirling Dervishes, the video and the

0:46:23.520 --> 0:46:26.200
<v Speaker 1>and of course the music. I'm gonna put a post

0:46:26.280 --> 0:46:30.839
<v Speaker 1>up about that at my my website, Samoda music dot com. Uh.

0:46:30.880 --> 0:46:34.560
<v Speaker 1>That's just a little impersonal blog that I do. Uh,

0:46:34.800 --> 0:46:37.279
<v Speaker 1>you know, the low key blogging I call it. But

0:46:37.320 --> 0:46:40.440
<v Speaker 1>I'll do a post there about about the music that

0:46:40.480 --> 0:46:41.960
<v Speaker 1>I have a few links for you in some bedded

0:46:42.080 --> 0:46:44.320
<v Speaker 1>video that you can check out if you so desire.

0:46:45.080 --> 0:46:48.280
<v Speaker 1>Huge thanks as always to our excellent audio producer Seth

0:46:48.360 --> 0:46:50.880
<v Speaker 1>Nicholas Johnson. If you'd like to get in touch with

0:46:50.960 --> 0:46:53.640
<v Speaker 1>us with feedback on this episode or any other, to

0:46:53.719 --> 0:46:56.399
<v Speaker 1>suggest a topic for the future, or just to say hi,

0:46:56.640 --> 0:47:00.120
<v Speaker 1>you can email us at contact at Stuff to Blow

0:47:00.120 --> 0:47:10.880
<v Speaker 1>your Mind. Stuff to Blow Your Mind is production of

0:47:10.880 --> 0:47:13.520
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