WEBVTT - Fata Morgana

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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 Land, and I'm Joe McCormick.

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<v Speaker 1>And you know, we just came off of doing a

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<v Speaker 1>couple of episodes about the artistic convention of the halo

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<v Speaker 1>and how that comes through in in various different religious concepts,

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<v Speaker 1>and how it might be related to optical phenomena that

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<v Speaker 1>are sometimes observed in the sky, like like solar halos

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<v Speaker 1>or sun dogs, and jumping off of that, we wanted

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<v Speaker 1>to hop over to explore another theme today that the

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<v Speaker 1>sort of in the same wheelhouse, not quite halos, but

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<v Speaker 1>an optical phenomenon that has some connection to legendary accounts

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<v Speaker 1>and myths. And so I thought a great place to

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<v Speaker 1>start today to get us in the mood would be

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<v Speaker 1>a reading from the Rhyme of the Ancient Mariner by

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<v Speaker 1>Samuel Taylor Coleridge. Now, I think this is going to

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<v Speaker 1>be probably what would you guess, Rob, like the seventh

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<v Speaker 1>time we've quoted this poem on the show, always introducing

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<v Speaker 1>a different type of subject matter. It seems to go

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<v Speaker 1>off in a lot of great directions. Well, you know,

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<v Speaker 1>it's a it's a long work, and it it has

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<v Speaker 1>a lot of cool things happening in It has a

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<v Speaker 1>great story and just an infectious cadence. You know, it

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<v Speaker 1>just gets gets into your brain. Right. So in this poem,

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<v Speaker 1>the narrator here, I guess this is a narration within

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<v Speaker 1>a narration. So this guy gets accosted by an ancient

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<v Speaker 1>gray beard. He says, like, unhand me, gray beard loon.

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<v Speaker 1>But then the gray beard loon starts telling his story,

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<v Speaker 1>and and his story is of course one of terror

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<v Speaker 1>and tragedy in the high seas. He he tells that

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<v Speaker 1>he was once out on a ship and I think

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<v Speaker 1>they've been sailing around in the south seas and uh,

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<v Speaker 1>he somehow brings a curse upon his ship and its

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<v Speaker 1>crew by shooting an albatross out of the sky with

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<v Speaker 1>an arrow. And after this, their ship falls into unnatural

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<v Speaker 1>duld RUMs in the equatorial regions. There are no winds

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<v Speaker 1>for it to sail, so it's just sitting there in

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<v Speaker 1>the water, and and the mariner and the rest of

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<v Speaker 1>the crew are dying of thirst without fresh water. Yeah,

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<v Speaker 1>and it's one thing that I guess worth noting about this.

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<v Speaker 1>You know, we've been talking about the ships at sea

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<v Speaker 1>in these days and superstition among the um among the

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<v Speaker 1>crew is that on one hand, absolutely the best science

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<v Speaker 1>and navigation of the day was utilized to get where

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<v Speaker 1>you're going and to survive on the open seas. But

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<v Speaker 1>the crew was often held together by by also this

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<v Speaker 1>this tenuous web of superstitions, and you read about some

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<v Speaker 1>of them, and at times it seems like it would

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<v Speaker 1>not take much to shift things into the realm of

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<v Speaker 1>of of you know, dire omens. Well sailing vessels really

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<v Speaker 1>are at the at the mercy of forces beyond your control. Yeah,

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<v Speaker 1>I mean, there's a lot you can do to design

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<v Speaker 1>a ship well and work hard to you know, do

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<v Speaker 1>everything you can to get where you're going, but you're

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<v Speaker 1>still at the mercy of the seas and the weather,

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<v Speaker 1>and that can make it feel very much like you

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<v Speaker 1>are a sinner in the hands of an angry god. Yeah,

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<v Speaker 1>saying beneath this uncertain sky and uh a top this

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<v Speaker 1>just dark, unfathomable ocean. Right, So, in the context of

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<v Speaker 1>the part of the poem we're about to read, so

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<v Speaker 1>the curse has already come upon them. They're out there diet.

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<v Speaker 1>You know, you get to the part about water, water everywhere,

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<v Speaker 1>and not a drop to drink. They're all parched and thirsty,

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<v Speaker 1>and the boat is just floating around in the dull drums.

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<v Speaker 1>And then the mariners see something horrible. So I'm gonna

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<v Speaker 1>read this first bit here, and then rob. I. I

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<v Speaker 1>don't think I can do a sailor voice, but I

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<v Speaker 1>hope you can do the sailor voice for your part.

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<v Speaker 1>I'll try, Okay, So the mariner says, there past a

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<v Speaker 1>weary time. Each throat was parched and glazed, each eye

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<v Speaker 1>a weary time, A weary time, how glazed each weary eye?

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<v Speaker 1>When looking westward, I beheld something in the sky. At

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<v Speaker 1>first it seemed a little speck, and then it seemed

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<v Speaker 1>a missed. It moved and moved, and took at last

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<v Speaker 1>a certain shape. I whist A speck, a mist shape.

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<v Speaker 1>I whisked, And still it neared and neared, as if

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<v Speaker 1>it dodged a water sprite. It plunged and tacked and veered,

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<v Speaker 1>with throats unslaked, with black lips baked. We could not

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<v Speaker 1>laugh nor wail through utter drought. All dumb we stood.

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<v Speaker 1>I bit my arm, I sucked the blood and cried

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<v Speaker 1>a sail a sail. The western wave was all aflame,

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<v Speaker 1>The day was well nigh done. Almost upon the western

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<v Speaker 1>wave rested the broad bright sun. When that strange shape

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<v Speaker 1>stove suddenly betwixt us and the sun, and straight the

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<v Speaker 1>sun was flecked with bars. Heaven's mother send us grace,

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<v Speaker 1>as if through a dungeon grade. He peered with broad

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<v Speaker 1>and burning face. Alas thought I and my heart beat loud.

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<v Speaker 1>How fast she nears and nears? Are those her sails

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<v Speaker 1>that glance in the sun like restless Gossimir's rob I

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<v Speaker 1>give that four urs? Why thank you? Uh so? Yeah,

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<v Speaker 1>So he sees something approaching. They see a weird spectral

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<v Speaker 1>type of ship coming close. And when this phantom ship

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<v Speaker 1>gets up close to them, they see the figures of

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<v Speaker 1>death and life in death I think represented as like

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<v Speaker 1>a skeleton and then like a pale naked body casting

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<v Speaker 1>lots to claim the fate of the sailors. That's creepy stuff. Yeah.

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<v Speaker 1>Also a great couple's halloween cost him to keep in mind, right,

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<v Speaker 1>death and life and death I call life and death.

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<v Speaker 1>Uh So these passages from the rhyme of the ancient mariner.

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<v Speaker 1>Uh It's not known for sure, but they may well

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<v Speaker 1>have been influenced by the legend of the Flying Dutchman,

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<v Speaker 1>a set of related folk tales shared by the seafaring

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<v Speaker 1>people of Europe at least as far back as the

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<v Speaker 1>eighteenth century, probably earlier. And usually the way this legend

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<v Speaker 1>goes is that there is some kind of spectral ship,

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<v Speaker 1>a ghost vessel. It's a doomed to sail the globe

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<v Speaker 1>in a terrible limbo, forever circling the seas and never

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<v Speaker 1>allowed to come into port. Often it's regarded as an

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<v Speaker 1>omen of disaster. If a sailor sees the flying Dutchman,

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<v Speaker 1>he knows he's going to die in a shipwreck. Yeah,

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<v Speaker 1>like this is one of the big ones, uh, you know,

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<v Speaker 1>as opposed to you know, things like killing I mean,

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<v Speaker 1>I mean, certainly killing an albatross clearly can be a

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<v Speaker 1>big deal, you know, not touching the horseshoe nailed to

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<v Speaker 1>the mast, you know, things like that. But to see

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<v Speaker 1>the flying Dutchman like all is lost. In some versions,

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<v Speaker 1>even worse than seeing it is that sometimes the ship

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<v Speaker 1>will come up next to you and the doomed crew

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<v Speaker 1>will try to hand off letters for you to give

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<v Speaker 1>to their loved ones. Because you know, they can't call

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<v Speaker 1>the port to send the letters themselves, and you are

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<v Speaker 1>not supposed to accept these letters. You you say, sorry,

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<v Speaker 1>I I can't. I can't do it. Oh man, that's

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<v Speaker 1>so creepy that that totally holds up. Now, there are

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<v Speaker 1>a number of popular story is explaining the origin of

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<v Speaker 1>the flying Dutchman. I think the belief itself goes back

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<v Speaker 1>farther than any of these, like written versions of the stories.

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<v Speaker 1>But in one version, there's a captain named Vanderdecken or

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<v Speaker 1>sometimes just the Dutchman, who's on a sea voyage home

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<v Speaker 1>from Batavia, which is in present day Indonesia around the

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<v Speaker 1>area of Jakarta, but at the time would have been

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<v Speaker 1>in the Duchyst Indies. And he's traveling from Batavia trying

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<v Speaker 1>to go back around the southern tip of Africa to

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<v Speaker 1>a place called Table Bay, and so he's trying to

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<v Speaker 1>round the Cape of Good Hope, but his ship falls

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<v Speaker 1>under a terrible squall, and in defiance of God, he

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<v Speaker 1>swears a brazen oath that he will round the Cape

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<v Speaker 1>of Good Hope despite the storm, even if it takes

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<v Speaker 1>him until Armageddon to do it. And as this oath

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<v Speaker 1>leaves his lips. The ship sinks, but before it does,

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<v Speaker 1>the devil hears Vanderdecken's promise and he holds him to it,

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<v Speaker 1>and this turns the Dutchman and the ghost of his

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<v Speaker 1>vessel into a kind of wraith of the seas, and

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<v Speaker 1>they sail forever between life and death without rest until

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<v Speaker 1>he can reach his destination. Uh. This version is the

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<v Speaker 1>subject of an opera by Wagner, and I think in

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<v Speaker 1>that version actually can go to land once every seven

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<v Speaker 1>years so that he can try to find the true

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<v Speaker 1>love that will break the curse, presumably stop at White

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<v Speaker 1>Castle or something that this sounds this sounds like a

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<v Speaker 1>great setup for like a modern horror film, or maybe

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<v Speaker 1>not a morrow of modern one, but at least like

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<v Speaker 1>a nineteen seventies film, you know, or like it could

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<v Speaker 1>have been a hammer horror film. You could have a

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<v Speaker 1>Vanderdecken as your sort of Dracula s ghostly sailor chap

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<v Speaker 1>that has come on shore to seduce a hapless woman

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<v Speaker 1>that that has no idea that this attractive man is

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<v Speaker 1>actually the captain of a damn ship. Oh. I mean,

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<v Speaker 1>that's a great sort of variation on Dracula, right, The

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<v Speaker 1>more seductive versions of Dracula where where you know he

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<v Speaker 1>he falls in love with a woman and he's like,

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<v Speaker 1>you can be with me, you can we can live forever,

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<v Speaker 1>but she doesn't realize that that involves being damned along

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<v Speaker 1>with him. Should have been Christopher Lee, Yeah, he would have.

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<v Speaker 1>He would have. He would have made a good vanderdeck

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<v Speaker 1>and for sure, but the story that this version of

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<v Speaker 1>the story was I think very strong around the area

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<v Speaker 1>of the South Seas and the southern tip of Africa.

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<v Speaker 1>But there's another common version that takes place in the

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<v Speaker 1>North Sea, and this is a captain named Hair von

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<v Speaker 1>Falconberg who sails without rest around the North Sea while

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<v Speaker 1>playing dice with Satan for the possession of his soul.

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<v Speaker 1>And the part about playing dice with the devil for

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<v Speaker 1>for his soul that recalls very much what happens in

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<v Speaker 1>the rhyme of the ancient mariner right after the part

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<v Speaker 1>we read because remember death and life and death or

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<v Speaker 1>gambling for the souls of the crew. Yeah, but there

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<v Speaker 1>are a lot of other variations on this story with

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<v Speaker 1>a good deal of elasticity. It is not known for

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<v Speaker 1>sure exactly where the legend comes from. Originally. I think

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<v Speaker 1>I've read some speculation that it could have to do

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<v Speaker 1>with the Norse legend about a sailor who encounters a

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<v Speaker 1>kind of damned limbo fate, but records of this story

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<v Speaker 1>go at least as far back as the late seventeen hundreds.

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<v Speaker 1>I found one early reference to it from the memoirs

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<v Speaker 1>of a Scottish man named John McDonald who lived seventeen

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<v Speaker 1>forty one to seventeen ninety six, and in writing about

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<v Speaker 1>one of his sea voyages, he writes, quote, the weather

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<v Speaker 1>was so stormy that the sailors said they saw the

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<v Speaker 1>flying Dutchman. The common story is that this Dutchman came

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<v Speaker 1>to the cape in distress of weather and wanted to

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<v Speaker 1>get into harbor, but could not get a pilot to

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<v Speaker 1>conduct her and was lost, and that ever since, in

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<v Speaker 1>very bad weather her vision appears. Now in some versions

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<v Speaker 1>of the story, I think the ship is even more spectral,

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<v Speaker 1>even more of just a clear apparition, something that is

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<v Speaker 1>on the horizon and with a kind of like ghostly silhouette,

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<v Speaker 1>or even appears over the horizon. I think it's not

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<v Speaker 1>exactly clear in the version of the Rhyme of the

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<v Speaker 1>Ancient Mariner whether the ship is said to be approaching

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<v Speaker 1>on the water, or when they first see it it's

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<v Speaker 1>above the water. He he does say that he looked

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<v Speaker 1>and he beheld something in the sky that it first

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<v Speaker 1>looked like it looks like a speck, and then later

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<v Speaker 1>he realizes it's a ship coming toward them. Uh. And

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<v Speaker 1>I guess there are a couple of ways you could

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<v Speaker 1>read that. I know, I've always read that as he

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<v Speaker 1>originally saw the ship flying in the sky. I guess

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<v Speaker 1>you could also read it as they see the ship

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<v Speaker 1>on the water and what he's seeing is the sails

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<v Speaker 1>poking up over the horizon and the sky. But either way,

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<v Speaker 1>I think there are some versions where there's a kind

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<v Speaker 1>of ghost ship that isn't necessarily even confined to the

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<v Speaker 1>water like it flies. Yeah. Yeah, that a true flying

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<v Speaker 1>flying Dutchman. Yeah. And of course this is gonna lead

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<v Speaker 1>us into what we're really talking about here today, a

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<v Speaker 1>very particular type of of optical phenomena, uh that may

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<v Speaker 1>be responsible at least in part for legends like this,

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<v Speaker 1>though of course is always worth remembering that you know,

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<v Speaker 1>anything like this, like the flying Dutchman, for example, in

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<v Speaker 1>all likelihood, we're dealing with a story that has multiple

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<v Speaker 1>converging origins to what extent they are based on things

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<v Speaker 1>that people really saw. They were likely different things, you know,

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<v Speaker 1>like somebody staring into a dark night on a ship,

0:12:12.120 --> 0:12:16.160
<v Speaker 1>somebody seeing an optical phenomenon on the horizon, or somebody

0:12:16.360 --> 0:12:18.520
<v Speaker 1>you know, looking into the chaos of a storm and

0:12:18.800 --> 0:12:23.080
<v Speaker 1>momentarily making out some shape in the flash of lightning. Right,

0:12:23.200 --> 0:12:27.640
<v Speaker 1>But there are some well known optical phenomenon that fit

0:12:27.760 --> 0:12:30.640
<v Speaker 1>with some of these accounts so closely that you have

0:12:30.760 --> 0:12:33.559
<v Speaker 1>to assume at least some of these accounts probably are

0:12:33.640 --> 0:12:36.160
<v Speaker 1>based on the thing we're gonna be talking about today,

0:12:36.240 --> 0:12:40.079
<v Speaker 1>which is known as the Superior Mirage or a variation

0:12:40.120 --> 0:12:44.160
<v Speaker 1>of Superior Mirrage known as the Fatim Morgana. Um. Now,

0:12:44.320 --> 0:12:46.320
<v Speaker 1>the one thing that will tie into this before we

0:12:46.360 --> 0:12:50.080
<v Speaker 1>explain the Superior Mirage and the Fatim Organa. Something I

0:12:50.120 --> 0:12:53.079
<v Speaker 1>noticed that was kind of interesting about the Flying Dutchman accounts.

0:12:53.120 --> 0:12:56.880
<v Speaker 1>A lot of these accounts seemed concentrated towards the polar

0:12:56.920 --> 0:13:00.880
<v Speaker 1>regions rather than the equatorial ones. The go ship usually

0:13:00.880 --> 0:13:04.120
<v Speaker 1>seems to be sailing either the North Seas or the

0:13:04.120 --> 0:13:08.800
<v Speaker 1>South Seas more so than anywhere in between. Yeah, quite interesting,

0:13:08.840 --> 0:13:11.400
<v Speaker 1>So keep keep that in mind as we proceed here.

0:13:11.640 --> 0:13:14.440
<v Speaker 1>So yeah, basically from here we're gonna talk about the

0:13:14.480 --> 0:13:17.719
<v Speaker 1>mirage itself and mirages in general, but then we'll get

0:13:17.760 --> 0:13:21.320
<v Speaker 1>back into some more examples of various folk tales and

0:13:21.400 --> 0:13:26.400
<v Speaker 1>myths that seem to be or perhaps are inspired by

0:13:26.760 --> 0:13:31.360
<v Speaker 1>Fatmorgana sightings. So let's start by talking about the mirage itself.

0:13:31.400 --> 0:13:34.120
<v Speaker 1>A mirage in general is an optical effect that is

0:13:34.160 --> 0:13:36.959
<v Speaker 1>sometimes seen at sea or in the desert or over

0:13:37.040 --> 0:13:40.400
<v Speaker 1>hot pavement, and in some cases these may take on

0:13:40.440 --> 0:13:43.040
<v Speaker 1>the appearance of, say a pool of water or a

0:13:43.080 --> 0:13:48.480
<v Speaker 1>mirror surface, and this can cause distant objects to appear inverted. Uh. Now,

0:13:48.520 --> 0:13:51.280
<v Speaker 1>to be clear on the language here, you do find

0:13:51.280 --> 0:13:55.400
<v Speaker 1>the word mirage sometimes used interchangeably with the notion all

0:13:55.480 --> 0:13:58.640
<v Speaker 1>an illusion, right, and the louse is something that you're

0:13:58.679 --> 0:14:01.959
<v Speaker 1>seeing but is not there. So in common language it's

0:14:02.000 --> 0:14:05.040
<v Speaker 1>sometimes conflated with even like the idea of a hallucination.

0:14:05.240 --> 0:14:07.679
<v Speaker 1>You know, somebody's just seeing something like it's real in

0:14:07.720 --> 0:14:10.880
<v Speaker 1>their perception, but there is not an external reality to it.

0:14:11.240 --> 0:14:13.880
<v Speaker 1>And that's not the case with the technical meaning of

0:14:13.920 --> 0:14:18.439
<v Speaker 1>a mirage, right, and I feel like this is also uh,

0:14:18.520 --> 0:14:21.040
<v Speaker 1>this is also complicated because a lot of us grew

0:14:21.120 --> 0:14:25.440
<v Speaker 1>up watching, especially cartoons that would occasionally have a mirage scene,

0:14:25.840 --> 0:14:28.040
<v Speaker 1>and those would be a bit confusing because a lot

0:14:28.040 --> 0:14:29.480
<v Speaker 1>of times I feel like they would play it up

0:14:29.520 --> 0:14:32.680
<v Speaker 1>like just something magical that you're you only saw because

0:14:32.720 --> 0:14:35.040
<v Speaker 1>you were you were thirsty and dying and you were

0:14:35.080 --> 0:14:38.080
<v Speaker 1>also a cartoon dog. Right. Well, in cartoons, I feel

0:14:38.120 --> 0:14:41.000
<v Speaker 1>like the mirage is always shown in the desert rather

0:14:41.040 --> 0:14:43.200
<v Speaker 1>than say, over an ice sheet or on the seas.

0:14:43.520 --> 0:14:46.560
<v Speaker 1>Uh and and that over the desert you were probably

0:14:46.560 --> 0:14:49.720
<v Speaker 1>looking at a particular type of mirage, the inferior mirage.

0:14:49.760 --> 0:14:52.160
<v Speaker 1>Will get into more of the distinctions there in just

0:14:52.200 --> 0:14:54.600
<v Speaker 1>a minute. But yeah, in the cartoons, it's always like,

0:14:55.360 --> 0:14:57.960
<v Speaker 1>I don't know that you know, Daffy Duck is seeing

0:14:57.960 --> 0:14:59.720
<v Speaker 1>a mirage in the desert, and it's like an ice

0:14:59.760 --> 0:15:03.400
<v Speaker 1>cream stand or something some variation of the oasis in

0:15:03.440 --> 0:15:07.000
<v Speaker 1>the desert. Yet, right, it's something very specific that gives

0:15:07.040 --> 0:15:12.560
<v Speaker 1>the suggestion that you're seeing like a complicated, detailed hallucination. Right,

0:15:12.920 --> 0:15:16.680
<v Speaker 1>But in reality, the sort of mirage, the specific mirrage

0:15:16.720 --> 0:15:19.560
<v Speaker 1>that we're talking about here, this is an optical effect

0:15:19.680 --> 0:15:22.440
<v Speaker 1>that is visible to all, Like if there is a mirage.

0:15:22.680 --> 0:15:24.880
<v Speaker 1>If you're in a party of say, you know, five

0:15:24.920 --> 0:15:27.680
<v Speaker 1>people in the desert or on a ship wherever, if

0:15:27.680 --> 0:15:30.880
<v Speaker 1>you see a mirage in the distance, everyone with you,

0:15:30.880 --> 0:15:33.680
<v Speaker 1>you know, assuming they have the same site capacity that

0:15:33.720 --> 0:15:36.120
<v Speaker 1>you have, they will be able to see the mirage

0:15:36.160 --> 0:15:39.400
<v Speaker 1>as well, and assuming they're looking from the same place also,

0:15:39.560 --> 0:15:41.720
<v Speaker 1>right right, Yeah, you gotta have the same vantage point

0:15:41.760 --> 0:15:45.440
<v Speaker 1>for sure. Um, but you know, now that's not also

0:15:45.520 --> 0:15:47.320
<v Speaker 1>not to say that you know, this could not be

0:15:47.400 --> 0:15:50.440
<v Speaker 1>further distorted by the individual, either visually or in memory.

0:15:51.040 --> 0:15:53.560
<v Speaker 1>But it is a thing that you could and be

0:15:53.680 --> 0:15:57.840
<v Speaker 1>people can and do capture photographically or on you know,

0:15:58.000 --> 0:16:00.440
<v Speaker 1>or with a like a video camera. So is it

0:16:00.600 --> 0:16:02.960
<v Speaker 1>is not something you're seeing that isn't there. It is

0:16:02.960 --> 0:16:07.600
<v Speaker 1>an actual optical phenomena, right, Uh. You you are seeing

0:16:07.680 --> 0:16:10.680
<v Speaker 1>something that is really light coming into your eyes looking

0:16:10.720 --> 0:16:13.120
<v Speaker 1>that way. It's not in your head though, what you're

0:16:13.160 --> 0:16:16.600
<v Speaker 1>seeing is very distorted, so you're probably wandering. Okay, mirage.

0:16:16.680 --> 0:16:19.160
<v Speaker 1>How does the mirage happen? It's you know, not caused

0:16:19.240 --> 0:16:21.840
<v Speaker 1>by you know, um, you know, weird spirits in the

0:16:21.960 --> 0:16:24.040
<v Speaker 1>you know, in the desert or on the seas well.

0:16:24.280 --> 0:16:28.240
<v Speaker 1>Mirages in general occur when light passes through air of

0:16:28.320 --> 0:16:32.440
<v Speaker 1>differing temperatures and the light is reflected or refracted a

0:16:32.560 --> 0:16:36.000
<v Speaker 1>ka bent. And there are two types of mirages. We

0:16:36.040 --> 0:16:41.320
<v Speaker 1>can divide them up generally into inferior mirages and superior mirages.

0:16:41.360 --> 0:16:44.520
<v Speaker 1>This is not about their quality. It's not like you know,

0:16:44.960 --> 0:16:48.960
<v Speaker 1>discount mirages and bespoke mirrages. It has to do with

0:16:49.000 --> 0:16:52.720
<v Speaker 1>where they fall in relation to the horizon. Right. So

0:16:52.800 --> 0:16:56.920
<v Speaker 1>the inferior mirrage is the kind that is being lampooned

0:16:56.920 --> 0:16:59.280
<v Speaker 1>in the cartoons where a character isn't you know, Daffy

0:16:59.360 --> 0:17:01.160
<v Speaker 1>Ducks in the death sert and he thinks he sees

0:17:01.200 --> 0:17:04.160
<v Speaker 1>an oasis. This is a very real thing that people

0:17:04.200 --> 0:17:08.160
<v Speaker 1>often experience in desert climates. And this is the inferior mirage. Yes,

0:17:08.240 --> 0:17:11.440
<v Speaker 1>so the inferior mirage again is your stereotypical oasis mirage.

0:17:11.680 --> 0:17:14.840
<v Speaker 1>It looks like a pool of blue water sometimes you know,

0:17:14.880 --> 0:17:17.760
<v Speaker 1>appears when you also look out across the desert or

0:17:17.800 --> 0:17:20.480
<v Speaker 1>down a highway. You've probably seen one of these on

0:17:20.520 --> 0:17:23.480
<v Speaker 1>your own drives or in movies, especially in movies that

0:17:23.560 --> 0:17:26.359
<v Speaker 1>have a desert highway. This is this is like cat

0:17:26.359 --> 0:17:28.560
<v Speaker 1>Net two directors, they they got to have it you know,

0:17:28.600 --> 0:17:30.360
<v Speaker 1>so they'll they'll get a little bit of that mirage

0:17:30.720 --> 0:17:33.520
<v Speaker 1>in their in their shot. Right. And it's not only

0:17:33.600 --> 0:17:36.280
<v Speaker 1>because the desert is hot and you're thirsty that it

0:17:36.320 --> 0:17:38.520
<v Speaker 1>looks like there's water on the desert. There is a

0:17:38.560 --> 0:17:42.440
<v Speaker 1>specific climate related reason that you're likely to see a

0:17:42.480 --> 0:17:45.720
<v Speaker 1>mirage in the desert that looks like a pool of water. Yeah.

0:17:45.960 --> 0:17:48.600
<v Speaker 1>These occur when a dense layer of cold air sits

0:17:48.680 --> 0:17:51.399
<v Speaker 1>on or above line of sight with a layer of

0:17:51.720 --> 0:17:54.840
<v Speaker 1>less dense, warmer air below line of sight. Now, um,

0:17:55.640 --> 0:17:58.600
<v Speaker 1>an example to to pull from here is consider the

0:17:58.640 --> 0:18:02.439
<v Speaker 1>desert highway. Okay, the unbeats down, heats the asphalt, and

0:18:02.480 --> 0:18:06.000
<v Speaker 1>the hot asphalt heats up the bottom portion of the air.

0:18:06.640 --> 0:18:10.560
<v Speaker 1>Rays of light from above are refracted when they hit

0:18:10.640 --> 0:18:14.879
<v Speaker 1>that refracted toward your eyes, resulting in the mirage. So

0:18:14.920 --> 0:18:17.480
<v Speaker 1>the light of the blue sky above is bent back

0:18:17.520 --> 0:18:21.040
<v Speaker 1>towards you from below the horizon, and thus you have this,

0:18:21.320 --> 0:18:23.240
<v Speaker 1>you know, it's it's like a pool of water, but

0:18:23.359 --> 0:18:25.760
<v Speaker 1>essentially like what seems like a pool of sky. Yeah,

0:18:25.760 --> 0:18:28.320
<v Speaker 1>you're essentially seeing the blue light of the sky that

0:18:28.480 --> 0:18:32.080
<v Speaker 1>is refracted as it changes from the cooler air above

0:18:32.480 --> 0:18:35.520
<v Speaker 1>to this pocket of warmer air below, and it bends

0:18:35.600 --> 0:18:38.000
<v Speaker 1>down and makes it look like part of the sky

0:18:38.240 --> 0:18:41.200
<v Speaker 1>is just sitting on the ground. And when you see that,

0:18:41.200 --> 0:18:44.840
<v Speaker 1>that blue sky looks a lot like water. Yeah. Now

0:18:44.880 --> 0:18:48.960
<v Speaker 1>the superior mirage works the opposite way. Warm air sits

0:18:48.960 --> 0:18:53.240
<v Speaker 1>above line of side, cool layer beneath it, light bends down.

0:18:54.000 --> 0:18:57.080
<v Speaker 1>The light is not traveling straight at us, but our

0:18:57.200 --> 0:19:00.399
<v Speaker 1>visual process assumes that it is, so it makes appear

0:19:00.440 --> 0:19:03.840
<v Speaker 1>as if it is. Uh, it is above its actual positions,

0:19:03.880 --> 0:19:07.359
<v Speaker 1>such as above the horizon, hanging in the sky, and so.

0:19:07.400 --> 0:19:10.119
<v Speaker 1>Of course, in some cases this can cause objects that

0:19:10.160 --> 0:19:14.000
<v Speaker 1>are actually past where you can see on the horizon,

0:19:14.080 --> 0:19:16.359
<v Speaker 1>so they're you know, beyond the curve of the earth

0:19:16.440 --> 0:19:19.640
<v Speaker 1>from your vision, to appear as if they are popping

0:19:19.760 --> 0:19:22.760
<v Speaker 1>up over the horizon. Yeah. They can make something that's

0:19:22.800 --> 0:19:25.920
<v Speaker 1>that's actually just beyond the optical horizons, such as mountain tops,

0:19:25.920 --> 0:19:28.160
<v Speaker 1>appear ahead of schedule. You can imagine how this would

0:19:28.160 --> 0:19:32.840
<v Speaker 1>play into some of your expectations whilst whilst out on

0:19:32.880 --> 0:19:36.280
<v Speaker 1>the open seas. Uh. It can also make objects appear

0:19:36.320 --> 0:19:41.440
<v Speaker 1>closer or further away, larger or smaller than they actually are. Um,

0:19:41.480 --> 0:19:45.120
<v Speaker 1>it's quite interesting. Uh. And and and for another example

0:19:45.119 --> 0:19:48.480
<v Speaker 1>of this. Apparently, the most common example of a superior mirage,

0:19:48.800 --> 0:19:52.840
<v Speaker 1>according to Christine Plam in two thousand eight speaking to

0:19:52.920 --> 0:19:56.720
<v Speaker 1>Robert Siegel of NPR, is a sunrise or a sunset. Quote,

0:19:57.000 --> 0:20:00.040
<v Speaker 1>the same phenomenon occurs to the sun every day and

0:20:00.119 --> 0:20:02.360
<v Speaker 1>makes it appear to be above the horizon when it's

0:20:02.359 --> 0:20:05.240
<v Speaker 1>actually slightly below it. Oh, I think I've read that

0:20:05.280 --> 0:20:08.040
<v Speaker 1>this is even more common, like in polar regions. This

0:20:08.119 --> 0:20:11.200
<v Speaker 1>might be related to what's known as the Novaya Zimilea effect.

0:20:11.600 --> 0:20:14.399
<v Speaker 1>Oh yeah, yeah, it's of course. The thing with the

0:20:14.640 --> 0:20:18.560
<v Speaker 1>sunrise and sunset is since it happens every day, and

0:20:18.560 --> 0:20:20.199
<v Speaker 1>and you know, generally it's the kind of thing you

0:20:20.200 --> 0:20:22.240
<v Speaker 1>see every day, it doesn't seem out of place. But

0:20:22.560 --> 0:20:25.199
<v Speaker 1>where we get into these, you know, remarkable stories and

0:20:25.320 --> 0:20:30.600
<v Speaker 1>legends arising from from sightings of of superior mirages, it's

0:20:30.600 --> 0:20:33.200
<v Speaker 1>because they occur. They don't occur every day. It's something

0:20:33.200 --> 0:20:36.159
<v Speaker 1>you would see maybe some frequency, depending on what part

0:20:36.200 --> 0:20:38.520
<v Speaker 1>of the world and what the exactive environmental settings happen

0:20:38.560 --> 0:20:41.200
<v Speaker 1>to be. But they have more mystery to them. They're

0:20:41.240 --> 0:20:44.120
<v Speaker 1>not part of just the everyday movements of the sun

0:20:44.320 --> 0:20:48.840
<v Speaker 1>or everyday atmospheric behavior. Yeah, the conditions have to be right,

0:20:49.320 --> 0:20:53.600
<v Speaker 1>So superior mirages they require there to be a certain

0:20:53.680 --> 0:20:57.320
<v Speaker 1>kind of pocket of warmer air sitting above a pocket

0:20:57.359 --> 0:21:01.000
<v Speaker 1>of cooler air, which is not normally how the sphere works. Right,

0:21:01.080 --> 0:21:03.520
<v Speaker 1>Usually the air up higher is going to be cooler,

0:21:03.560 --> 0:21:06.360
<v Speaker 1>even though heat rises. Usually it's just farther away from

0:21:06.400 --> 0:21:08.479
<v Speaker 1>the Earth and it's going to be cooler. Now, if

0:21:08.520 --> 0:21:10.879
<v Speaker 1>you're completely lost at this point, which I will, I

0:21:10.880 --> 0:21:13.440
<v Speaker 1>will forgive you for for being so um, I will

0:21:13.480 --> 0:21:15.840
<v Speaker 1>say a couple of resources you can turn to how

0:21:15.880 --> 0:21:18.280
<v Speaker 1>stuff works dot Com has an article about mirages, but

0:21:18.320 --> 0:21:21.040
<v Speaker 1>also the University of British Columbia's Department of Earth, Ocean

0:21:21.040 --> 0:21:24.679
<v Speaker 1>and Atmospheric Sciences. They have a great page that I

0:21:24.720 --> 0:21:28.560
<v Speaker 1>was looking at earlier with very helpful illustrations. Included one

0:21:28.560 --> 0:21:30.439
<v Speaker 1>of these for you to see here, Joe. But uh,

0:21:30.840 --> 0:21:33.720
<v Speaker 1>just very well presented information about like light bending downward,

0:21:33.960 --> 0:21:37.880
<v Speaker 1>that's your superior mirrage, light bending upward, that's your inferior mirage.

0:21:42.119 --> 0:21:47.040
<v Speaker 1>Thank thank now. The superior mirrage can actually get even

0:21:47.080 --> 0:21:51.399
<v Speaker 1>more complicated than just making something appear above where it

0:21:51.480 --> 0:21:54.760
<v Speaker 1>actually is because of the bending of light through these

0:21:54.760 --> 0:21:58.040
<v Speaker 1>pockets of air when there are very specific conditions. I

0:21:58.080 --> 0:22:01.439
<v Speaker 1>think this is something that's usually called atmospheric ducting, like

0:22:01.480 --> 0:22:04.360
<v Speaker 1>when a certain kind of duct or column of atmospheric

0:22:04.400 --> 0:22:08.879
<v Speaker 1>conditions in different temperature gradients in the atmospheric gases are created.

0:22:09.400 --> 0:22:12.960
<v Speaker 1>This can lead to what's known as fatim morgana. Right,

0:22:13.080 --> 0:22:15.800
<v Speaker 1>These occur when there are several layers of warm and

0:22:15.840 --> 0:22:18.399
<v Speaker 1>cold air that cause what is actually a combination of

0:22:18.440 --> 0:22:23.480
<v Speaker 1>superior and inferior images. The uneven inversion causes the light

0:22:23.560 --> 0:22:27.040
<v Speaker 1>to refract and ultimately bizarre ways, so you can wind

0:22:27.119 --> 0:22:31.800
<v Speaker 1>up with multiple segmented reflections in there. So, um, you know,

0:22:31.800 --> 0:22:33.720
<v Speaker 1>it's here that we get into the you know, the

0:22:33.760 --> 0:22:38.320
<v Speaker 1>confusing images that may be interpreted as floating walls or

0:22:38.440 --> 0:22:42.040
<v Speaker 1>castles in the sky, or gigantic ships that are flying

0:22:42.080 --> 0:22:45.640
<v Speaker 1>through the atmosphere above the horizon, that sort of thing. Now,

0:22:45.800 --> 0:22:50.080
<v Speaker 1>you might wonder where the name Fati Morgana actually comes from,

0:22:50.080 --> 0:22:52.520
<v Speaker 1>like why would an optical effect have a name like this?

0:22:52.680 --> 0:22:56.240
<v Speaker 1>The name fatim Morgana actually comes from the character from

0:22:56.400 --> 0:23:00.679
<v Speaker 1>our Thurian legend, usually known by her French name Morgan

0:23:00.840 --> 0:23:03.679
<v Speaker 1>la Fee. In English, of course, Morgan la Fay is

0:23:03.760 --> 0:23:07.240
<v Speaker 1>Morgan the Fairy. Though. When I was writing about this,

0:23:07.320 --> 0:23:10.240
<v Speaker 1>for some reason, I kept thinking back to our episodes

0:23:10.280 --> 0:23:12.720
<v Speaker 1>of Invention where we were talking about Alice gy Blush

0:23:13.040 --> 0:23:16.760
<v Speaker 1>and her first film, The Cabbage Fairy La Faye Shoe.

0:23:17.440 --> 0:23:20.320
<v Speaker 1>So I kept thinking about Morgan the Cabbage Fairy. But

0:23:20.400 --> 0:23:23.119
<v Speaker 1>she she is not merely a cabbage fairy. She is

0:23:23.160 --> 0:23:27.359
<v Speaker 1>a fairy, sometimes a fairy of of helpfulness and and medicine,

0:23:27.480 --> 0:23:31.160
<v Speaker 1>and sometimes a fairy of lies and destruction. It always

0:23:31.200 --> 0:23:34.080
<v Speaker 1>makes me think of the wonderful film ex Caliber, where

0:23:34.200 --> 0:23:38.320
<v Speaker 1>Helen Mirren plays MORGANA Do you remember seen it? Oh?

0:23:38.320 --> 0:23:40.440
<v Speaker 1>It's pretty great, has a very shiny armor, a great

0:23:40.520 --> 0:23:44.600
<v Speaker 1>cast John Borman picture. He's got Nisan's in it. Oh really, yeah,

0:23:44.800 --> 0:23:46.800
<v Speaker 1>this is John Boorman. Did he do it before or

0:23:46.840 --> 0:23:51.879
<v Speaker 1>after Deliverance? That's a strange eight one. So okay, I

0:23:51.920 --> 0:23:54.360
<v Speaker 1>can't remember when Deliverance came out. It was seventies film, right,

0:23:54.920 --> 0:23:57.919
<v Speaker 1>I think, so, yeah, well, maybe i'll check that one

0:23:57.920 --> 0:24:01.439
<v Speaker 1>out soon. Yeah, Deliverance was seventy two. Okay, Well, so

0:24:01.600 --> 0:24:07.000
<v Speaker 1>Morgan suddenly I'm imagining Burt Reynolds as King Arthur. But

0:24:07.280 --> 0:24:10.320
<v Speaker 1>Morgan la Faye is a character that exists in multiple

0:24:10.400 --> 0:24:14.800
<v Speaker 1>stages throughout the evolution of the Arthurian legendary corpus uh As.

0:24:14.840 --> 0:24:17.840
<v Speaker 1>You probably know that there are lots of different types

0:24:17.880 --> 0:24:20.720
<v Speaker 1>of stories of Arthur, and the character of Arthur and

0:24:20.760 --> 0:24:23.480
<v Speaker 1>the stories about him and all the characters around him.

0:24:23.520 --> 0:24:27.280
<v Speaker 1>They change a lot over the centuries. As this story,

0:24:27.400 --> 0:24:30.760
<v Speaker 1>uh As, the story is retold and retold, and so

0:24:31.000 --> 0:24:35.440
<v Speaker 1>she is usually some kind of sorceress or witch or fairy.

0:24:35.480 --> 0:24:39.359
<v Speaker 1>In earlier sources, it seems she's more often a sympathetic character,

0:24:39.440 --> 0:24:42.760
<v Speaker 1>a kind of helper or a healer, sometimes a sister

0:24:43.040 --> 0:24:46.640
<v Speaker 1>or half sister of King Arthur. In later stories she's

0:24:46.720 --> 0:24:50.840
<v Speaker 1>presented as more morally ambiguous or even the vindictive and

0:24:51.000 --> 0:24:55.080
<v Speaker 1>deceitful villainous of the plot, as in the fifteenth century

0:24:55.160 --> 0:24:58.520
<v Speaker 1>Lamorte d'artour and by that one was by Thomas Mallory,

0:24:58.560 --> 0:25:02.000
<v Speaker 1>Sir Thomas Mallory, uh and that one is the source

0:25:02.040 --> 0:25:04.840
<v Speaker 1>of a lot of the Arthurian stories that people know.

0:25:05.359 --> 0:25:08.480
<v Speaker 1>But La fata Morgana is just the Italian for Morgan

0:25:08.560 --> 0:25:11.280
<v Speaker 1>le fay or Morgan the fairy. But you still might

0:25:11.280 --> 0:25:14.000
<v Speaker 1>be wondering, wait a minute, why is this type of

0:25:14.200 --> 0:25:19.600
<v Speaker 1>complex superior mirage associated with a fairy or sorceress from

0:25:19.760 --> 0:25:25.080
<v Speaker 1>Arthurian literature. Well, remember that fairies are tricksters first of all,

0:25:25.160 --> 0:25:27.679
<v Speaker 1>and Morgan la Fay in these later tellings of the

0:25:28.080 --> 0:25:31.480
<v Speaker 1>arthur Saga, is known for her deceptions. But the connection

0:25:31.520 --> 0:25:34.359
<v Speaker 1>appears to run even deeper than that. So I was

0:25:34.400 --> 0:25:38.200
<v Speaker 1>reading about this in a article for Wired by Matt

0:25:38.320 --> 0:25:41.119
<v Speaker 1>Simon that is in part, I think, a review of

0:25:41.119 --> 0:25:46.080
<v Speaker 1>a book by Marina Warner called Phantasmagoria, published in two

0:25:46.080 --> 0:25:50.159
<v Speaker 1>thousand eight from Oxford University Press. And Matt Simon is

0:25:50.200 --> 0:25:53.720
<v Speaker 1>writing up a section from this book that is about

0:25:53.880 --> 0:25:56.600
<v Speaker 1>the discovery of the Fati Morgana, or at least an

0:25:56.600 --> 0:25:59.639
<v Speaker 1>early documentation of the Fati Morgana with a with a

0:25:59.720 --> 0:26:03.000
<v Speaker 1>sign tific point of view. So he tells the story

0:26:03.080 --> 0:26:07.720
<v Speaker 1>of a Jesuit priest named Father Domenico Giardina, who lived

0:26:07.720 --> 0:26:11.600
<v Speaker 1>in the seventeenth century on the island of Sicily. And

0:26:11.920 --> 0:26:14.920
<v Speaker 1>so I'm about to describe some visions. I think there's

0:26:14.960 --> 0:26:19.840
<v Speaker 1>some confusion about whether Giardina saw these visions himself or

0:26:19.840 --> 0:26:22.639
<v Speaker 1>whether he was describing the visions of another person. But

0:26:23.080 --> 0:26:26.080
<v Speaker 1>either way, one day in the sixteen forties, somebody. Maybe

0:26:26.119 --> 0:26:30.320
<v Speaker 1>Jardina was gazing out across the Strait of Messina, which

0:26:30.400 --> 0:26:34.800
<v Speaker 1>is the stretch of ocean between Sicily and mainland Italy.

0:26:35.200 --> 0:26:38.960
<v Speaker 1>And according to Jardina's writings, uh, what was seen here

0:26:39.080 --> 0:26:42.000
<v Speaker 1>was quote a city all floating in the air and

0:26:42.080 --> 0:26:46.840
<v Speaker 1>so measureless and so splendid, so adorned with magnificent buildings,

0:26:47.200 --> 0:26:49.280
<v Speaker 1>all of which was found on a base of a

0:26:49.359 --> 0:26:53.800
<v Speaker 1>luminous crystal. So okay, that's impressive. But it didn't just

0:26:53.880 --> 0:26:57.800
<v Speaker 1>remain that way. Jardina claims that the city transformed itself

0:26:57.840 --> 0:27:00.639
<v Speaker 1>into a garden and then into a worst And I

0:27:00.680 --> 0:27:04.119
<v Speaker 1>can't help but notice the dangerous inversion that might imply.

0:27:04.720 --> 0:27:07.720
<v Speaker 1>The city, of course, is the place of order and humanity,

0:27:08.119 --> 0:27:10.760
<v Speaker 1>and it transforms into the woods, which is the place

0:27:10.800 --> 0:27:13.959
<v Speaker 1>where the power of nature rules and travelers become lost.

0:27:14.400 --> 0:27:17.800
<v Speaker 1>And in some of the classic Arthurian stories, I think

0:27:17.840 --> 0:27:20.760
<v Speaker 1>that's the place you you really see this like civilization

0:27:21.400 --> 0:27:24.399
<v Speaker 1>versus the woods distinction, where the woods are just full

0:27:24.520 --> 0:27:28.400
<v Speaker 1>of unaccountable magic that has power over you rather than

0:27:28.440 --> 0:27:31.879
<v Speaker 1>you over it. Yeah. Absolutely, And Uh, one thing I

0:27:31.960 --> 0:27:34.399
<v Speaker 1>love about this is this is already hit on several

0:27:34.480 --> 0:27:38.800
<v Speaker 1>different themes that we will find not only in you know, um,

0:27:38.840 --> 0:27:42.119
<v Speaker 1>you know, tales from you know, elsewhere in Europe, but

0:27:42.119 --> 0:27:44.560
<v Speaker 1>but tales from the other side of the world. Uh

0:27:44.600 --> 0:27:48.000
<v Speaker 1>and you know other you know, other other cultures seem

0:27:48.040 --> 0:27:50.920
<v Speaker 1>to have possibly or in some cases possibly seen, um

0:27:51.800 --> 0:27:54.560
<v Speaker 1>optical phenomena of this nature and had some of the

0:27:54.640 --> 0:28:01.440
<v Speaker 1>same interpretations. Uh So Anyway, Jardina's description goes on after that,

0:28:01.560 --> 0:28:04.400
<v Speaker 1>even after it becomes a bunch of woods, there are

0:28:04.480 --> 0:28:07.359
<v Speaker 1>more transformations and more chaos. He saw what looked like

0:28:07.560 --> 0:28:12.480
<v Speaker 1>armies attacking towns, and then eventually the entire scene just vanishes.

0:28:13.280 --> 0:28:18.000
<v Speaker 1>And Jardina tried to explain this vision in terms of

0:28:18.040 --> 0:28:22.000
<v Speaker 1>science rather than magic. He he blamed salts in the region,

0:28:22.400 --> 0:28:25.159
<v Speaker 1>which he wrote, quote rise up in hot weather in

0:28:25.320 --> 0:28:29.320
<v Speaker 1>vapors from the sea to form clouds, which then condensed

0:28:29.320 --> 0:28:32.679
<v Speaker 1>in the cooler upper air to become a mobile specchio,

0:28:32.720 --> 0:28:37.600
<v Speaker 1>which means a moving polyhedracal mirror. Now this is not correct,

0:28:37.720 --> 0:28:40.360
<v Speaker 1>but as we've seen, this actually isn't very far off.

0:28:40.640 --> 0:28:43.360
<v Speaker 1>It doesn't necessarily have to do with salts, but the

0:28:43.440 --> 0:28:48.080
<v Speaker 1>effect probably was something like a superior mirage of the

0:28:48.120 --> 0:28:52.280
<v Speaker 1>opposing shore and things on it, or a fata morgana

0:28:52.640 --> 0:28:56.840
<v Speaker 1>even more complex, uh sort of shifting, quickly transforming mirage

0:28:57.640 --> 0:29:01.000
<v Speaker 1>that was caused by the vertical arranged end of of

0:29:01.200 --> 0:29:06.360
<v Speaker 1>gases of different temperatures and atmospheric ducting. Yeah. And you know,

0:29:06.400 --> 0:29:08.320
<v Speaker 1>one of the interesting things about this I was reading

0:29:08.560 --> 0:29:11.440
<v Speaker 1>from a source that i'll side later in the episode,

0:29:11.720 --> 0:29:13.880
<v Speaker 1>and they were talking about how indeed, we we didn't

0:29:13.920 --> 0:29:17.320
<v Speaker 1>really um begin to understand what was going on with

0:29:17.360 --> 0:29:20.400
<v Speaker 1>mirages like this until the eighteenth and nineteenth century, and

0:29:20.480 --> 0:29:25.360
<v Speaker 1>even even say Arab scientists who during the medieval period

0:29:25.520 --> 0:29:28.000
<v Speaker 1>like that was they knew more about optics than anyone

0:29:28.000 --> 0:29:31.080
<v Speaker 1>else in the world, even they were not able to

0:29:31.080 --> 0:29:33.680
<v Speaker 1>to make sense of what they were experiencing when they

0:29:33.680 --> 0:29:39.680
<v Speaker 1>too experienced uh you know, superior inferior mirages on the horizon. Yeah, exactly. So,

0:29:39.680 --> 0:29:42.560
<v Speaker 1>so this explanation is not correct, but I think it's

0:29:42.600 --> 0:29:47.040
<v Speaker 1>surprising how close he got. Yeah. So here here's the question,

0:29:47.200 --> 0:29:50.360
<v Speaker 1>where does Morgan la Fay come in? Right? Well, here

0:29:50.360 --> 0:29:54.600
<v Speaker 1>I'm going to read from from Simon's article. According to Warner,

0:29:54.880 --> 0:29:59.400
<v Speaker 1>the Norman's brought stories of Morgan's magic to Italy, particularly

0:29:59.480 --> 0:30:03.160
<v Speaker 1>her Pin and for luring sailors to an undersea palace

0:30:03.280 --> 0:30:07.560
<v Speaker 1>with visions of castles in the air. Fatim morgana is

0:30:07.600 --> 0:30:11.760
<v Speaker 1>particularly prevalent in southern Italy Strait of Messina, where Father

0:30:11.880 --> 0:30:16.960
<v Speaker 1>Giardina experienced his own vision, and then later Simon writes,

0:30:17.240 --> 0:30:20.200
<v Speaker 1>and long before Arthurian legend, it could have been that

0:30:20.360 --> 0:30:23.719
<v Speaker 1>sightings of these phenomena gave rise to any number of

0:30:24.000 --> 0:30:27.680
<v Speaker 1>woe something is appearing in the sky scenes in antiquity.

0:30:27.840 --> 0:30:31.280
<v Speaker 1>Warner argues, So, I think the the idea of the

0:30:31.320 --> 0:30:34.479
<v Speaker 1>fatim morgana is that there is some equation of this

0:30:34.560 --> 0:30:38.840
<v Speaker 1>optical phenomena of seeing things far away or over the

0:30:38.880 --> 0:30:42.240
<v Speaker 1>horizon appearing up in the air above the horizon, and

0:30:42.280 --> 0:30:47.440
<v Speaker 1>in some cases even uh distorted, inverted and stacked upon themselves,

0:30:47.480 --> 0:30:51.440
<v Speaker 1>forming bizarre visions that could look like castles in the sky,

0:30:51.720 --> 0:30:56.280
<v Speaker 1>cities in the sky, uh weird floating objects, ships sailing

0:30:56.320 --> 0:30:59.280
<v Speaker 1>in the air or among the clouds. And you might

0:30:59.280 --> 0:31:02.360
<v Speaker 1>be tempt to reading accounts of things like this, to think, well, okay,

0:31:02.400 --> 0:31:05.720
<v Speaker 1>you know it's either just creative the creative mind at work,

0:31:05.880 --> 0:31:09.080
<v Speaker 1>or it is uh it is you know that these

0:31:09.120 --> 0:31:13.560
<v Speaker 1>people's mythology or or legends that are then described. But

0:31:13.880 --> 0:31:17.160
<v Speaker 1>the fatam organa gives us uh the opportunity to look

0:31:17.200 --> 0:31:20.520
<v Speaker 1>to actual optical phenomena as a is it possible or

0:31:20.520 --> 0:31:24.200
<v Speaker 1>in some cases like it seems almost definite cause yes,

0:31:24.240 --> 0:31:26.640
<v Speaker 1>though I guess somebody would not be could not be

0:31:26.720 --> 0:31:29.120
<v Speaker 1>blamed too too much for thinking of it as a

0:31:29.200 --> 0:31:32.720
<v Speaker 1>kind of deceptive fairy magic. Yeah, no, I think so,

0:31:32.760 --> 0:31:34.959
<v Speaker 1>because ultimately, like we said before, when you when you

0:31:35.000 --> 0:31:38.720
<v Speaker 1>witness something that you cannot explain, uh, a lot of

0:31:38.720 --> 0:31:41.640
<v Speaker 1>times you have to go to the pre existing uh narratives,

0:31:41.640 --> 0:31:44.280
<v Speaker 1>the pre existing scripts UH to figure out what it

0:31:44.360 --> 0:31:46.960
<v Speaker 1>might be. And that might be aliens, it might be

0:31:47.480 --> 0:31:50.040
<v Speaker 1>um you know, fit that the fairy folk, it might

0:31:50.080 --> 0:31:52.840
<v Speaker 1>be the gods or sea monsters, etcetera. It seems like

0:31:52.880 --> 0:31:54.600
<v Speaker 1>the CEA in particular is full of a lot of

0:31:54.680 --> 0:31:56.920
<v Speaker 1>characters who want to lead you astray and get you

0:31:56.960 --> 0:32:00.880
<v Speaker 1>into trouble with deceptive visions or invitations, you know, the sirens,

0:32:00.920 --> 0:32:04.440
<v Speaker 1>the all those things. Though I guess the woods too,

0:32:04.520 --> 0:32:06.080
<v Speaker 1>I don't know. The woods in the sea have some

0:32:06.120 --> 0:32:09.480
<v Speaker 1>things in common. Yeah, they're both wild realms. And there

0:32:09.520 --> 0:32:13.360
<v Speaker 1>you know, there's a plethora of of mythical creatures and

0:32:13.400 --> 0:32:16.760
<v Speaker 1>beings and strange lights that will lead you astray. Now

0:32:16.800 --> 0:32:20.400
<v Speaker 1>I came across what I thought was a pretty interesting hypothesis.

0:32:20.440 --> 0:32:23.719
<v Speaker 1>I'm not sure how well supported it is, but at

0:32:23.760 --> 0:32:27.160
<v Speaker 1>least in this one case, the fottom Organo mirage has

0:32:27.200 --> 0:32:31.520
<v Speaker 1>been said to not just influence supernatural legends, it may

0:32:31.720 --> 0:32:38.040
<v Speaker 1>possibly explain specific catastrophic navigational blunders in maritime history. And

0:32:38.120 --> 0:32:41.120
<v Speaker 1>the main possibility that has been proposed here is the

0:32:41.160 --> 0:32:45.720
<v Speaker 1>iceberg collision that sank the Titanic. Oh wow, okay. So

0:32:45.960 --> 0:32:50.200
<v Speaker 1>this hypothesis is covered in an April article for The

0:32:50.240 --> 0:32:53.960
<v Speaker 1>New York Times by William J. Broad. In short, there's

0:32:54.000 --> 0:32:58.520
<v Speaker 1>British historian named Tim Malton who was working with the

0:32:58.560 --> 0:33:01.800
<v Speaker 1>help of somebody named Andrew Young, who's an astronomer and

0:33:01.880 --> 0:33:07.880
<v Speaker 1>mirage specialist at San Diego State University. And with Young's help,

0:33:08.040 --> 0:33:12.160
<v Speaker 1>Malton refined and put forward a hypothesis that could explain

0:33:12.320 --> 0:33:16.520
<v Speaker 1>why the Titanics lookouts failed to spot the iceberg in

0:33:16.600 --> 0:33:20.360
<v Speaker 1>time to avoid the collision and why a nearby ship

0:33:20.440 --> 0:33:24.360
<v Speaker 1>failed to respond to a distress signal. Uh So, Malton

0:33:24.520 --> 0:33:28.400
<v Speaker 1>claims that the conditions of the icy water in the

0:33:28.400 --> 0:33:30.880
<v Speaker 1>North Atlantic on the night of the sinking of the

0:33:30.920 --> 0:33:34.840
<v Speaker 1>Titanic were responsible for creating a kind of wall of

0:33:34.920 --> 0:33:39.280
<v Speaker 1>water illusion that could have obscured the approaching iceberg from

0:33:39.360 --> 0:33:43.440
<v Speaker 1>view and A Broad describes the fatim organa effect as

0:33:43.480 --> 0:33:47.920
<v Speaker 1>follows quote. Most people know mirages as natural phenomena caused

0:33:47.920 --> 0:33:51.000
<v Speaker 1>when hot air near the earth surface bends light rays

0:33:51.200 --> 0:33:54.840
<v Speaker 1>upward in a desert, the effect prompts lost travelers to

0:33:54.960 --> 0:33:58.560
<v Speaker 1>mistake patches of blue sky for pools of water. But

0:33:58.640 --> 0:34:01.960
<v Speaker 1>another kind of mirage as when cold air bins light

0:34:02.080 --> 0:34:05.960
<v Speaker 1>raised downward. In that case, observers can see objects and

0:34:06.040 --> 0:34:11.160
<v Speaker 1>settings far over the horizon. The images often undergo quick distortions,

0:34:11.200 --> 0:34:15.120
<v Speaker 1>not unlike the wavy reflections in a fun house mirror. Okay,

0:34:15.160 --> 0:34:17.520
<v Speaker 1>so this is in line with what we've been talking about,

0:34:18.080 --> 0:34:20.439
<v Speaker 1>but Broad goes on to say in an interview, Mr

0:34:20.520 --> 0:34:23.960
<v Speaker 1>Malton said he first learned the possibility of cold mirages

0:34:23.960 --> 0:34:27.640
<v Speaker 1>when reading a nine British inquiry on the Titanic sinking.

0:34:28.200 --> 0:34:31.120
<v Speaker 1>It suggested that the icy waters could have cooled the

0:34:31.160 --> 0:34:35.880
<v Speaker 1>adjacent air and warped images that confused the Californian, a

0:34:35.960 --> 0:34:38.759
<v Speaker 1>nearby ship that could have rushed to the Titanic's aid

0:34:39.120 --> 0:34:43.600
<v Speaker 1>but instead did nothing. Fascinated. Mr Malton, who sailed boats

0:34:43.600 --> 0:34:47.040
<v Speaker 1>in his youth, dug into navigational records and found that

0:34:47.120 --> 0:34:50.360
<v Speaker 1>both the Californian and the Titanic had moved into the

0:34:50.600 --> 0:34:54.800
<v Speaker 1>icy Labrador current that night and had encountered conditions ideal

0:34:54.960 --> 0:34:59.320
<v Speaker 1>for cold mirages. He then hunted through reams of official

0:34:59.400 --> 0:35:02.920
<v Speaker 1>and unaff issual testimony to see what people saw or

0:35:03.040 --> 0:35:06.840
<v Speaker 1>what they thought they saw. A drama of misperceptions and shoes.

0:35:07.320 --> 0:35:10.560
<v Speaker 1>Mr Malton's book shows how mirages could have created false

0:35:10.640 --> 0:35:14.880
<v Speaker 1>horizons that hid the iceberg from the Titanic's lookouts. By

0:35:15.000 --> 0:35:18.359
<v Speaker 1>this theory, the intersection of dark sea and starry sky

0:35:18.480 --> 0:35:22.520
<v Speaker 1>would have looked blurry, reducing the contrast with the looming iceberg.

0:35:23.080 --> 0:35:24.600
<v Speaker 1>And then he goes on to site some of the

0:35:24.640 --> 0:35:27.640
<v Speaker 1>testimony of the lookouts who were who were watching the

0:35:27.680 --> 0:35:30.160
<v Speaker 1>horizon that night, and and so they put together this

0:35:30.200 --> 0:35:33.200
<v Speaker 1>idea that superior mirages could have hidden the iceberg from

0:35:33.200 --> 0:35:35.719
<v Speaker 1>sight as they were approaching it by creating a kind

0:35:35.760 --> 0:35:39.120
<v Speaker 1>of blur or haze along the horizon. And then also

0:35:39.400 --> 0:35:43.440
<v Speaker 1>that that a type of superior mirage caused by the

0:35:43.440 --> 0:35:46.799
<v Speaker 1>the icy currents in the cold water could have interfered

0:35:46.920 --> 0:35:50.000
<v Speaker 1>with the Californians ability. I remember that was the other

0:35:50.000 --> 0:35:52.920
<v Speaker 1>ship that was nearby that did not intervene could have

0:35:53.040 --> 0:35:56.719
<v Speaker 1>interfered with its ability to correctly assess what was going

0:35:56.760 --> 0:35:59.880
<v Speaker 1>on with the Titanic, and this led to a series

0:35:59.920 --> 0:36:05.640
<v Speaker 1>of misunderstandings that cause them not to help. That is interesting. Yeah,

0:36:06.280 --> 0:36:09.000
<v Speaker 1>Now I don't know how much you know, the most

0:36:09.040 --> 0:36:12.120
<v Speaker 1>relevant experts would put into this hypothesis. Today, I was

0:36:12.520 --> 0:36:14.920
<v Speaker 1>trying to see if I could find criticisms of it,

0:36:15.400 --> 0:36:18.440
<v Speaker 1>and I did find a series of papers in the

0:36:18.520 --> 0:36:23.239
<v Speaker 1>journal Weather from twenty nineteen by Mila's in Cova. The

0:36:23.280 --> 0:36:26.200
<v Speaker 1>first one of the four part series is called Titanic's

0:36:26.239 --> 0:36:29.440
<v Speaker 1>Mirage Part one, The Enigma of the Arctic High and

0:36:29.520 --> 0:36:32.960
<v Speaker 1>a Cold Water Tongue of the Labrador Current. I didn't

0:36:32.960 --> 0:36:34.920
<v Speaker 1>have time to get into this whole series in depth,

0:36:34.960 --> 0:36:36.719
<v Speaker 1>but it looks from what I can tell like the

0:36:36.760 --> 0:36:40.920
<v Speaker 1>author argues that maybe the mirage explanation is possible, but

0:36:41.160 --> 0:36:44.440
<v Speaker 1>probably not the explanation that they think is most consistent

0:36:44.480 --> 0:36:48.239
<v Speaker 1>with the facts, and other explanations for the haze over

0:36:48.280 --> 0:36:51.640
<v Speaker 1>the water that night that would reduce visibility would include

0:36:51.680 --> 0:36:54.560
<v Speaker 1>something that is more commonly known as sea smoke, which

0:36:54.600 --> 0:36:57.239
<v Speaker 1>is just a kind of natural fog that forms when

0:36:57.360 --> 0:37:01.080
<v Speaker 1>very cold air moves over warmer water. Yeah. And that

0:37:01.120 --> 0:37:04.040
<v Speaker 1>coupled with the fact that Billy Zane is chasing Leonard

0:37:04.120 --> 0:37:08.000
<v Speaker 1>DiCaprio around ownership and that's probably distracting everybody. I mean,

0:37:08.040 --> 0:37:16.120
<v Speaker 1>that's gonna create a steamy fog of its own, right, Yeah,

0:37:16.400 --> 0:37:21.520
<v Speaker 1>thank well. Um yeah, I have an interesting historic tidbit

0:37:21.560 --> 0:37:23.839
<v Speaker 1>here that I think you know. It flows nicely out

0:37:23.840 --> 0:37:27.760
<v Speaker 1>of the Titanic example. Uh, this one takes place, um

0:37:27.920 --> 0:37:30.279
<v Speaker 1>well techno technically it takes place on water as well,

0:37:30.280 --> 0:37:34.520
<v Speaker 1>but on frozen water. And it concerns something that pops

0:37:34.560 --> 0:37:38.520
<v Speaker 1>up as well, the idea of like phantom islands, phantom mountains. Uh,

0:37:38.600 --> 0:37:40.440
<v Speaker 1>something in the distance that you know, looks like some

0:37:40.480 --> 0:37:44.719
<v Speaker 1>sort of large geographical um occurrence, but then as you

0:37:44.719 --> 0:37:48.360
<v Speaker 1>get closer it does not. And this particular tidbit concerns

0:37:48.600 --> 0:37:51.399
<v Speaker 1>crocker Land. Have you ever been to crocker Land, Joe,

0:37:51.640 --> 0:37:54.479
<v Speaker 1>I don't think so. No. For some reason, I'm thinking

0:37:54.480 --> 0:37:58.759
<v Speaker 1>Betty crocker Land. Well, it turns out nobody has been

0:37:58.800 --> 0:38:01.480
<v Speaker 1>to crocker Land. And here's the story. So it's n

0:38:02.040 --> 0:38:06.840
<v Speaker 1>SI and Robert E. Perry Arctic explorers exploring the polar regions,

0:38:07.080 --> 0:38:10.400
<v Speaker 1>and he makes an alarming sighting a range of mountain

0:38:10.440 --> 0:38:13.440
<v Speaker 1>peaks rising above the ice cap some what looks like

0:38:13.480 --> 0:38:17.240
<v Speaker 1>four hundred miles, uh, you know, west of Greenland's northern tip.

0:38:17.880 --> 0:38:20.839
<v Speaker 1>So he names this Crocker Land, and it apparently goes

0:38:20.960 --> 0:38:23.080
<v Speaker 1>from there. It ends up appearing on at least one

0:38:23.160 --> 0:38:27.400
<v Speaker 1>published map. And then seven years later, Arctic explorer Donald B.

0:38:27.640 --> 0:38:31.279
<v Speaker 1>McMillan he ventures into the same region in search of

0:38:31.400 --> 0:38:34.359
<v Speaker 1>crocker Land, um, you know, thinking that he is going

0:38:34.400 --> 0:38:36.880
<v Speaker 1>to you know, arrive there and further study it. And

0:38:37.000 --> 0:38:40.920
<v Speaker 1>he initially sees these mountains, but then they slowly vanish

0:38:40.960 --> 0:38:43.640
<v Speaker 1>as he draws closer, and as it turns out, there

0:38:43.719 --> 0:38:48.120
<v Speaker 1>was nothing there at all but flat, featureless ice. And

0:38:48.360 --> 0:38:50.920
<v Speaker 1>this is how he describes it. This is from his beliefs.

0:38:51.000 --> 0:38:55.240
<v Speaker 1>Is from his autobiography quote. The day was exceptionally clear,

0:38:55.320 --> 0:38:57.960
<v Speaker 1>not a cloud or trace of mist. If land could

0:38:58.000 --> 0:39:00.840
<v Speaker 1>be seen, now is our time us there It was,

0:39:01.360 --> 0:39:04.120
<v Speaker 1>It could even be seen without a glass. Extending from

0:39:04.200 --> 0:39:09.600
<v Speaker 1>southwest true to north northeast. Are powerful glasses, however, brought

0:39:09.600 --> 0:39:12.799
<v Speaker 1>out more clearly the dark background in contrast with the

0:39:12.840 --> 0:39:17.200
<v Speaker 1>white the whole resembling hills, valleys and snow capped peaks

0:39:17.239 --> 0:39:19.640
<v Speaker 1>to such a degree that had we not been out

0:39:19.719 --> 0:39:22.319
<v Speaker 1>on the frozen sea for a hundred and fifty miles,

0:39:22.360 --> 0:39:25.359
<v Speaker 1>we would have staked our lives upon its reality. Our

0:39:25.440 --> 0:39:28.680
<v Speaker 1>judgment then as now is that this was a mirage

0:39:28.800 --> 0:39:31.279
<v Speaker 1>or loom of the sea ice. Oh. I guess the

0:39:31.320 --> 0:39:35.360
<v Speaker 1>thing that we haven't discussed yet but is related, is

0:39:35.400 --> 0:39:38.920
<v Speaker 1>that there is another phenomenon called looming that can also

0:39:39.160 --> 0:39:43.839
<v Speaker 1>cause illusions of this kind, seeing different things like with

0:39:43.960 --> 0:39:46.840
<v Speaker 1>relationship to the horizon, sort of appearing out of place

0:39:47.200 --> 0:39:51.760
<v Speaker 1>that works by a different mechanism. Yeah. Now, the next

0:39:51.760 --> 0:39:56.160
<v Speaker 1>example I want to cover though, is almomst definitely an

0:39:56.160 --> 0:39:59.440
<v Speaker 1>example of the fatimorgana uh. And this is actually the

0:39:59.480 --> 0:40:02.879
<v Speaker 1>one that that led me uh to uh to bringing

0:40:02.920 --> 0:40:06.160
<v Speaker 1>this up as a potential topic. UM, because I was

0:40:06.239 --> 0:40:09.640
<v Speaker 1>researching the shan Haijing for our recent episode on the

0:40:09.680 --> 0:40:14.080
<v Speaker 1>shan Haijing and uh I ran across a Chinese connection

0:40:14.120 --> 0:40:17.160
<v Speaker 1>to the Fata Morgana. In an article from nineteen eighty

0:40:17.280 --> 0:40:20.440
<v Speaker 1>nine by Edward H. Schaeffer published in the Journal of

0:40:20.480 --> 0:40:25.040
<v Speaker 1>the American Oriental Society, titled Fusang and Beyond the Haunted

0:40:25.120 --> 0:40:30.320
<v Speaker 1>Seas to Japan now. Edward H. Schaefer lived nineteen thirteen

0:40:30.360 --> 0:40:34.480
<v Speaker 1>through nineteen one. He was an American historians, sinologist, and

0:40:34.560 --> 0:40:37.640
<v Speaker 1>writer noted for his experience on the Tang dynasty, and

0:40:37.680 --> 0:40:40.960
<v Speaker 1>he was a professor of Chinese at the University of California,

0:40:41.040 --> 0:40:43.799
<v Speaker 1>Berkeley for thirty five years. He also did some key

0:40:43.840 --> 0:40:48.279
<v Speaker 1>English translations. In this article, however, Schaefer is looking at

0:40:48.400 --> 0:40:51.840
<v Speaker 1>various examples of a class of Chinese poem about travel,

0:40:52.080 --> 0:40:57.160
<v Speaker 1>particularly about this very specific about saying goodbye to honored

0:40:57.160 --> 0:41:00.680
<v Speaker 1>guests as they depart on a journey. I'm trying to

0:41:00.760 --> 0:41:03.560
<v Speaker 1>think of there are any um like English poems that

0:41:03.600 --> 0:41:05.840
<v Speaker 1>come to mind that have a similar theme. I don't know,

0:41:07.160 --> 0:41:09.520
<v Speaker 1>not that I can think of. At any rate, it

0:41:09.520 --> 0:41:12.640
<v Speaker 1>was a popular motif at the time in China. Uh

0:41:12.719 --> 0:41:15.960
<v Speaker 1>In a popular journey. Specific journey for these poems during

0:41:15.960 --> 0:41:19.160
<v Speaker 1>the Tang dynasty, which which was six eighteen through nine

0:41:19.200 --> 0:41:22.040
<v Speaker 1>oh seven, was a journey across the Sea of Japan,

0:41:22.520 --> 0:41:26.520
<v Speaker 1>frequently taken by monks, diplomats, and others. So this was

0:41:26.719 --> 0:41:29.960
<v Speaker 1>and is the puffing Sea, the bursting Sea, the domain

0:41:30.040 --> 0:41:34.600
<v Speaker 1>of danger, for sure, but also a supernatural wonder. Now,

0:41:34.640 --> 0:41:36.960
<v Speaker 1>as we've said, this can be said of basically any

0:41:37.040 --> 0:41:39.560
<v Speaker 1>large body of water, this can be said of any

0:41:39.600 --> 0:41:44.680
<v Speaker 1>seafaring civilization. Right anywhere people meet the ocean, you find

0:41:44.680 --> 0:41:47.959
<v Speaker 1>these descriptions of the ocean as as a potentially deadly placed,

0:41:48.000 --> 0:41:51.040
<v Speaker 1>a mysterious place. And we've developed rich myths and legends

0:41:51.080 --> 0:41:53.600
<v Speaker 1>to account for it. Uh, you know, any time, you know,

0:41:53.760 --> 0:41:58.160
<v Speaker 1>just across cultures. But Schaefer points out that there was

0:41:58.239 --> 0:42:01.000
<v Speaker 1>really a lot of this talk regard in the Eastern Sea,

0:42:01.440 --> 0:42:03.400
<v Speaker 1>and you'll find it in poems and in accounts of

0:42:03.440 --> 0:42:07.680
<v Speaker 1>all sorts, including from very well traveled and well educated individuals.

0:42:08.200 --> 0:42:11.240
<v Speaker 1>And he describes these sightings as being marked with quote

0:42:11.480 --> 0:42:14.560
<v Speaker 1>greater awareness than ever before of the denizens of the

0:42:14.640 --> 0:42:19.439
<v Speaker 1>oceanic world. So what are these denizens of particular? Note

0:42:19.480 --> 0:42:23.160
<v Speaker 1>here are the shin or clam monsters of the Eastern Sea.

0:42:23.760 --> 0:42:27.520
<v Speaker 1>And uh, this is where we get shn jing, which

0:42:27.640 --> 0:42:30.799
<v Speaker 1>is or um or high shishi and low, which are

0:42:30.960 --> 0:42:35.080
<v Speaker 1>terms for mirages in Mandarin. Oh wow, So if you

0:42:35.160 --> 0:42:38.760
<v Speaker 1>were talking in Mandarin about a mirage, you're saying something

0:42:38.880 --> 0:42:43.239
<v Speaker 1>that literally could mean something like clam monster. Uh. Yeah. Yeah,

0:42:43.280 --> 0:42:46.200
<v Speaker 1>like the these terms are are all connected. Yeah. So

0:42:46.760 --> 0:42:49.799
<v Speaker 1>while the pre Han genesis of the term shafer rights

0:42:50.040 --> 0:42:52.880
<v Speaker 1>would seem to apply to real world clams, you know,

0:42:52.960 --> 0:42:54.759
<v Speaker 1>the type of clams you might catch and eat and

0:42:55.320 --> 0:42:59.480
<v Speaker 1>some culinary traditions, uh, it clearly evolved into a legend.

0:43:00.040 --> 0:43:03.239
<v Speaker 1>And so this is what he writes quote. Beginning as

0:43:03.239 --> 0:43:07.080
<v Speaker 1>an unassuming marine invertebrate, the shin was later imagined as

0:43:07.120 --> 0:43:10.759
<v Speaker 1>a gaping, pearl producing clam, possibly to be identified with

0:43:10.840 --> 0:43:15.520
<v Speaker 1>the giant clams of tropical seas, for instance, Tridactna. That's

0:43:15.560 --> 0:43:18.040
<v Speaker 1>the genus. So these if you've ever seen images of giant,

0:43:18.160 --> 0:43:21.719
<v Speaker 1>real world giant clams, that's uh, that's the genus, he

0:43:21.760 --> 0:43:25.280
<v Speaker 1>continues quote. Finally, by early medieval times, it had become

0:43:25.320 --> 0:43:29.640
<v Speaker 1>a monster, lurking in submarine grottoes, and was sometimes endowed

0:43:29.719 --> 0:43:32.719
<v Speaker 1>with the attributes of a dragon, or, more likely, under

0:43:32.800 --> 0:43:36.400
<v Speaker 1>Indian influence, a naga. So it gets this gets like

0:43:36.560 --> 0:43:39.920
<v Speaker 1>just super super super weird, and I love it. Uh.

0:43:40.440 --> 0:43:43.480
<v Speaker 1>So these the shin were said these giant clams in

0:43:43.560 --> 0:43:46.239
<v Speaker 1>the ocean deep were said to exhale and belsh up

0:43:46.400 --> 0:43:49.279
<v Speaker 1>bubbles and froth, which that they could they could then

0:43:49.400 --> 0:43:53.960
<v Speaker 1>manifest into spectral castles and haunted palaces made of what

0:43:54.160 --> 0:43:58.000
<v Speaker 1>Schaefer translates as a kind of plasma and later describes

0:43:58.040 --> 0:44:01.480
<v Speaker 1>as being something between less in energy, like a kind

0:44:01.520 --> 0:44:06.840
<v Speaker 1>of ectoplasm quote dream like carrescant with strange lights and

0:44:06.960 --> 0:44:12.680
<v Speaker 1>prismatic hazes. These seemingly insubstantial confections or counterparts of the

0:44:12.760 --> 0:44:16.440
<v Speaker 1>sea asle pin lay, and also of the astral places

0:44:16.600 --> 0:44:21.480
<v Speaker 1>of the high gods of Daoism, all from clams. Huh, well,

0:44:21.680 --> 0:44:26.279
<v Speaker 1>giant clams, giant magical clams that breathe ectoplasm and use

0:44:26.360 --> 0:44:31.640
<v Speaker 1>it to craft massive illusions in the sky. So he

0:44:31.800 --> 0:44:34.680
<v Speaker 1>from here he goes on to share what I believe

0:44:34.760 --> 0:44:38.160
<v Speaker 1>his translation, one of two translations he provides of a

0:44:38.280 --> 0:44:42.720
<v Speaker 1>poem by Wen chi Uh rhapsody on the High House

0:44:42.920 --> 0:44:46.200
<v Speaker 1>of the clam Monsters, and it's it's just glorious. Um.

0:44:46.560 --> 0:44:48.960
<v Speaker 1>You can look up the Shaffer article. You can find it. Um.

0:44:49.719 --> 0:44:51.680
<v Speaker 1>I think it's on j store and you can access

0:44:51.719 --> 0:44:53.200
<v Speaker 1>it for free, and you can you can read the

0:44:53.239 --> 0:44:55.879
<v Speaker 1>full version of both poems. I just want to read

0:44:56.360 --> 0:44:59.280
<v Speaker 1>the first part of the initial I think was supposed

0:44:59.280 --> 0:45:03.120
<v Speaker 1>to be a more accurate translation. There in the peeing

0:45:03.400 --> 0:45:07.600
<v Speaker 1>bird's basin. Shoreless and boundless are the clam monsters, high

0:45:07.680 --> 0:45:11.640
<v Speaker 1>houses crag crested. They do not rely on timber to

0:45:11.719 --> 0:45:15.160
<v Speaker 1>knit their frames, but use their own fnast to fly

0:45:15.440 --> 0:45:19.560
<v Speaker 1>and float them hidden away without present sign they blaze

0:45:19.640 --> 0:45:22.880
<v Speaker 1>and splendor, hardly to be matched. Then one of them

0:45:22.920 --> 0:45:26.600
<v Speaker 1>emitst waves and surges there as if it would stud

0:45:26.680 --> 0:45:31.360
<v Speaker 1>the sky with them, forming semilacra. Mutating, it creates porches

0:45:31.400 --> 0:45:35.080
<v Speaker 1>and railings, preferring to simulate the sun, which melts our

0:45:35.200 --> 0:45:38.480
<v Speaker 1>cares so large that it would cover a giant turtle

0:45:38.560 --> 0:45:42.160
<v Speaker 1>mountain with yet another island, or dripped down on the

0:45:42.280 --> 0:45:46.279
<v Speaker 1>shark men's houses and hanging streams. Then it is as

0:45:46.320 --> 0:45:50.440
<v Speaker 1>if the fogs have used up their mistiness, the melting

0:45:50.520 --> 0:45:54.279
<v Speaker 1>clouds have gone home. The moon sheds brilliance over a

0:45:54.360 --> 0:46:00.759
<v Speaker 1>thousand lee vision is terminated only by the eight horizons. Yeah,

0:46:00.920 --> 0:46:02.960
<v Speaker 1>it's it's I love it. It's just so full of

0:46:03.120 --> 0:46:07.080
<v Speaker 1>weird wonder and and again has has just start start.

0:46:07.160 --> 0:46:09.920
<v Speaker 1>Comparisons can be made to those to the accounts of

0:46:10.000 --> 0:46:13.080
<v Speaker 1>the fatim Organa that you were reading earlier from you know,

0:46:13.120 --> 0:46:14.960
<v Speaker 1>the other side of the world. But I love all

0:46:15.000 --> 0:46:20.239
<v Speaker 1>the unexplained elements, the shark men's houses. Yeah, yeah, I

0:46:20.320 --> 0:46:21.960
<v Speaker 1>may touch on the shark man in a bit, But yeah,

0:46:21.960 --> 0:46:24.000
<v Speaker 1>there's just so much wonder This feels like some sort

0:46:24.000 --> 0:46:28.200
<v Speaker 1>of a just it's a weird hallucinatory vision out of uh.

0:46:28.280 --> 0:46:30.320
<v Speaker 1>You know that you might find something similar out of

0:46:30.360 --> 0:46:33.759
<v Speaker 1>say the weird fiction era in an American literature. Now

0:46:33.800 --> 0:46:36.839
<v Speaker 1>I am kind of wondering how exactly some of these

0:46:37.040 --> 0:46:41.320
<v Speaker 1>uh words are translated, because obviously, like so the words

0:46:41.400 --> 0:46:44.960
<v Speaker 1>simulacras in there, and I understand what that means in context.

0:46:45.040 --> 0:46:48.719
<v Speaker 1>I wonder if there's actually like a term in the

0:46:48.800 --> 0:46:52.879
<v Speaker 1>original that is becoming exactly that word, or if there

0:46:53.080 --> 0:46:56.960
<v Speaker 1>is something that's somehow the gist of something. Yeah, you know, offhand,

0:46:57.000 --> 0:46:59.160
<v Speaker 1>I can't recall of Schaefer got into that. He it's

0:46:59.200 --> 0:47:02.640
<v Speaker 1>a he. It's mostly related to these two translations that

0:47:02.719 --> 0:47:04.200
<v Speaker 1>he gives, but he does get into some of the

0:47:04.280 --> 0:47:08.520
<v Speaker 1>specific terminology. Um. But on top of that, Shaffer himself

0:47:08.560 --> 0:47:12.120
<v Speaker 1>seemed to be, you know, pretty poetic in his own right. Um,

0:47:12.360 --> 0:47:15.279
<v Speaker 1>you know, just as he's describing the text, there's some

0:47:15.360 --> 0:47:18.920
<v Speaker 1>wonderful sections like he writes in this literary vision, the

0:47:19.000 --> 0:47:22.000
<v Speaker 1>clammy builders are not ordinary creatures at all, but alien

0:47:22.360 --> 0:47:26.480
<v Speaker 1>and anonymous natural forces. Their amorphous bodies are unstable and

0:47:26.560 --> 0:47:31.440
<v Speaker 1>perhaps illusory at least ectoplasmic or spectral. They have no gender.

0:47:31.520 --> 0:47:35.600
<v Speaker 1>They dwell in the murky benthos of the Sea of Whales,

0:47:36.000 --> 0:47:39.480
<v Speaker 1>beyond the domains of the shark people. And uh and

0:47:39.800 --> 0:47:44.120
<v Speaker 1>he actually he provides a second translation in which he

0:47:44.480 --> 0:47:48.600
<v Speaker 1>uses meter in English rhyme. Uh. And again, I just

0:47:48.800 --> 0:47:51.920
<v Speaker 1>have the first section here. Uh, but but he does

0:47:52.000 --> 0:47:53.239
<v Speaker 1>the whole thing. I don't know, did, Joe? Do you

0:47:53.280 --> 0:47:55.040
<v Speaker 1>want to read this one? Oh? Sure I could if

0:47:55.080 --> 0:47:58.200
<v Speaker 1>you want, Jeff, go for it. Where giant fish foul

0:47:58.520 --> 0:48:02.960
<v Speaker 1>range above the seas, and craggy houses clammy monsters weeze.

0:48:03.600 --> 0:48:07.560
<v Speaker 1>They need no dedar to build these halls. Extruded e

0:48:07.680 --> 0:48:13.080
<v Speaker 1>cores fuse as roofs and walls. Abistle gloom eclipses them below,

0:48:13.520 --> 0:48:17.239
<v Speaker 1>but spouted up, they shed a fiery glow. When one

0:48:17.320 --> 0:48:21.120
<v Speaker 1>explodes up through the tossing spume. We hope a vault

0:48:21.200 --> 0:48:25.200
<v Speaker 1>of spangled stars to bloom. Instead, it seems a shining

0:48:25.320 --> 0:48:29.040
<v Speaker 1>golden dome to match the Sun, the God's immortal home.

0:48:29.600 --> 0:48:33.000
<v Speaker 1>It makes the giant seamount seem a hill as vast

0:48:33.200 --> 0:48:37.720
<v Speaker 1>cascades into the vortex spill. Then when the upcast spray

0:48:37.840 --> 0:48:41.960
<v Speaker 1>and froth degrade, and clouds beyond the far horizon fade,

0:48:42.280 --> 0:48:45.759
<v Speaker 1>the lunar lantern sets the sky alight, and all the

0:48:45.840 --> 0:48:49.840
<v Speaker 1>seven seas show clear and bright. The fishy peoples shine

0:48:49.920 --> 0:48:53.360
<v Speaker 1>their scales around. The waves, now soothed, give out no

0:48:53.520 --> 0:48:58.080
<v Speaker 1>further sound. A palace heaves and spouting rare perfumes and

0:48:58.239 --> 0:49:02.520
<v Speaker 1>majesty above the ocean ooms pierces the stubborn haze that

0:49:02.760 --> 0:49:07.799
<v Speaker 1>round it lies and thrusts its mighty walls into the skies. Yeah,

0:49:08.040 --> 0:49:14.560
<v Speaker 1>I absolutely love it. Excellent. Yeah again, giant clam spouting, uh,

0:49:14.719 --> 0:49:17.600
<v Speaker 1>you know, bubbles and froth and exoplasm up into the

0:49:17.680 --> 0:49:21.680
<v Speaker 1>sky and forming an otherworldly castle or city in the sky,

0:49:22.280 --> 0:49:25.600
<v Speaker 1>and then you know, it vanishes and uh. And Schaffer

0:49:25.680 --> 0:49:29.279
<v Speaker 1>himself points to the connection here between these tales and

0:49:29.320 --> 0:49:33.319
<v Speaker 1>the very real phenomenon of fatim organa mirages, which are

0:49:33.640 --> 0:49:37.600
<v Speaker 1>still seen today on the Eastern Sea. So you know these, uh,

0:49:37.719 --> 0:49:41.200
<v Speaker 1>these strange castles are are still glimpsed out there. You

0:49:41.280 --> 0:49:44.239
<v Speaker 1>know that these are this is an optical phenomenon that

0:49:44.400 --> 0:49:47.480
<v Speaker 1>still occurs. What who are the shark people? Do you

0:49:47.600 --> 0:49:50.120
<v Speaker 1>know something about sharkman? Yes? I look these up. These

0:49:50.160 --> 0:49:52.759
<v Speaker 1>would be the jow wren or the people of the

0:49:52.840 --> 0:49:55.080
<v Speaker 1>flood dragons, So they were a kind of mir folk

0:49:55.680 --> 0:49:57.840
<v Speaker 1>um or you know, or a shark person. I like

0:49:57.920 --> 0:50:00.800
<v Speaker 1>how he describes them as as as the shark people

0:50:01.080 --> 0:50:03.239
<v Speaker 1>or fishy people if you will. Well, that makes them

0:50:03.280 --> 0:50:06.000
<v Speaker 1>sound more like the subject of that Peter Benchley novel

0:50:06.040 --> 0:50:08.319
<v Speaker 1>adapted to a made for TV movie that we talked

0:50:08.360 --> 0:50:10.160
<v Speaker 1>about not too long ago. What was the one about

0:50:10.200 --> 0:50:12.920
<v Speaker 1>like the shark human hybrid? Oh? What was it? It

0:50:13.000 --> 0:50:15.760
<v Speaker 1>wasn't beast. It had a similar one word name, because

0:50:15.840 --> 0:50:18.359
<v Speaker 1>you know that you stick with what what works? Kim

0:50:18.440 --> 0:50:20.920
<v Speaker 1>control in it? Is that right? Yeah? And Craig T.

0:50:21.080 --> 0:50:23.359
<v Speaker 1>Nelson And a shark that I think in the book

0:50:23.400 --> 0:50:27.560
<v Speaker 1>at least wasn't was a Nazi created mutant intelligent shark.

0:50:27.600 --> 0:50:30.040
<v Speaker 1>I'm not sure if that translated into the TV adaptation

0:50:30.160 --> 0:50:32.320
<v Speaker 1>or not looking it up, or if it had like

0:50:32.400 --> 0:50:35.800
<v Speaker 1>big muscular arms or not. Oh, it's a mini series.

0:50:35.880 --> 0:50:39.879
<v Speaker 1>It's called Creature Creature. Yes, but I I really want

0:50:39.920 --> 0:50:43.120
<v Speaker 1>to see a film about um, about this giant clam

0:50:43.719 --> 0:50:45.800
<v Speaker 1>um about the Shin and uh, you know, I'm not

0:50:45.920 --> 0:50:48.480
<v Speaker 1>sure that that it doesn't exist. Clearly, there's a lot

0:50:48.520 --> 0:50:53.360
<v Speaker 1>of a wonderful and fantastic Chinese cinema out there, and um,

0:50:53.600 --> 0:50:55.480
<v Speaker 1>I didn't really dive in enough. So anyone out there,

0:50:55.480 --> 0:50:57.719
<v Speaker 1>if you're aware of a film that features even a

0:50:57.840 --> 0:51:03.000
<v Speaker 1>cameo by a giant um of fairy city spouting clam,

0:51:03.400 --> 0:51:06.480
<v Speaker 1>let me know. Alright, I have another example I want

0:51:06.480 --> 0:51:08.960
<v Speaker 1>to turn to, and this one takes this to another

0:51:09.120 --> 0:51:13.440
<v Speaker 1>continent entirely. This takes us to Africa, specifically Southern Africa,

0:51:14.640 --> 0:51:18.120
<v Speaker 1>and this concerns the San people. So these are indigenous

0:51:18.160 --> 0:51:24.160
<v Speaker 1>peoples found chiefly in Botswana, uh Namibia and southeastern Angola.

0:51:25.200 --> 0:51:27.880
<v Speaker 1>Historically they would have been a hunter gatherer people and

0:51:27.960 --> 0:51:30.239
<v Speaker 1>they've been referred to by several different names over time

0:51:30.320 --> 0:51:34.600
<v Speaker 1>and today are apparently not instantly identifiable by any physical features,

0:51:34.719 --> 0:51:38.160
<v Speaker 1>language or culture. Um, but I was reading an article

0:51:38.200 --> 0:51:40.360
<v Speaker 1>about this. This is a from the year two thousand

0:51:40.400 --> 0:51:45.799
<v Speaker 1>by Helmett trabuch Uh titled does mirage derived mythology give

0:51:46.440 --> 0:51:49.000
<v Speaker 1>access to sun Rock Art? And this was published in

0:51:49.040 --> 0:51:53.839
<v Speaker 1>the Southern African Archaeological Bulletin. In it, the author contemplates

0:51:53.880 --> 0:51:56.279
<v Speaker 1>a link between the traditional rock art of the sun,

0:51:56.800 --> 0:52:00.440
<v Speaker 1>their myths, and the superior mirages they would have deserved

0:52:00.560 --> 0:52:03.120
<v Speaker 1>in their environment. That again, like all these can still

0:52:03.160 --> 0:52:06.720
<v Speaker 1>be observed in those environments today, and the author points

0:52:06.760 --> 0:52:08.920
<v Speaker 1>out that you know that that naturally the sort of

0:52:09.000 --> 0:52:11.680
<v Speaker 1>mirage was seen throughout the world for thousands of years.

0:52:11.760 --> 0:52:14.080
<v Speaker 1>He's the author who brings up, uh, you know, the

0:52:14.239 --> 0:52:17.560
<v Speaker 1>the idea that even Arab sciencests, who uh, we're pretty

0:52:17.640 --> 0:52:20.880
<v Speaker 1>much masters of optics. Uh, during the medieval period, they

0:52:20.960 --> 0:52:22.680
<v Speaker 1>weren't able to understand this. So it wasn't ntil the

0:52:22.719 --> 0:52:25.279
<v Speaker 1>eighteenth and nineteenth centuries that we we really were able

0:52:25.360 --> 0:52:27.719
<v Speaker 1>to fully crack what's going on when we behold a

0:52:27.760 --> 0:52:32.000
<v Speaker 1>superior mirage. But you know, everyone who had access to

0:52:32.200 --> 0:52:35.400
<v Speaker 1>to these mirages would have probably had some thoughts about them,

0:52:35.440 --> 0:52:38.280
<v Speaker 1>and you can imagine how they might have influenced one's

0:52:38.640 --> 0:52:43.200
<v Speaker 1>worldview and magical thinking. So sun rock art in particular

0:52:43.280 --> 0:52:47.520
<v Speaker 1>depicts in some cases huge flying creatures, upside down creatures

0:52:48.000 --> 0:52:53.879
<v Speaker 1>and double creatures, finned land creatures, as well as floating waters. Now,

0:52:54.400 --> 0:52:58.120
<v Speaker 1>there there have been a different ways of interpreting these, uh,

0:52:58.200 --> 0:53:01.440
<v Speaker 1>the author points out, so rep presentations of mythic ideas

0:53:01.920 --> 0:53:04.840
<v Speaker 1>art for art's sake, or and this is always interesting,

0:53:05.040 --> 0:53:10.080
<v Speaker 1>altered states of consciousness or shamatic visions, but attributes presents

0:53:10.120 --> 0:53:13.839
<v Speaker 1>a what he refers to a naturalistic interpretation in which

0:53:13.960 --> 0:53:18.120
<v Speaker 1>the observation of superior mirages are a key factor. Um,

0:53:18.920 --> 0:53:20.920
<v Speaker 1>of course, and we should drive home. Uh. You know,

0:53:21.000 --> 0:53:22.960
<v Speaker 1>it's it seems like all of these could be employed

0:53:23.000 --> 0:53:25.840
<v Speaker 1>at the same time, because certainly you could have hallucinations

0:53:25.880 --> 0:53:31.120
<v Speaker 1>occurring whilst looking at, or remembering or or contemplating the

0:53:31.239 --> 0:53:34.600
<v Speaker 1>nature of things seen on the horizon. Combine that with

0:53:34.760 --> 0:53:39.279
<v Speaker 1>your own myth making uh, and just creative thinking in general. Now,

0:53:39.360 --> 0:53:41.799
<v Speaker 1>as for the specific things he's referring to, first of all,

0:53:41.880 --> 0:53:45.560
<v Speaker 1>giant sky water snakes or rain animals above the horizon

0:53:45.920 --> 0:53:49.680
<v Speaker 1>would have been linked to superior mirages that that were

0:53:49.760 --> 0:53:53.640
<v Speaker 1>often observed in the lull before rain storms. So these

0:53:53.640 --> 0:53:57.120
<v Speaker 1>would have been interpreted as powerful entities responsible for rain

0:53:57.560 --> 0:54:00.440
<v Speaker 1>that could then be called out to spiritually like these

0:54:00.480 --> 0:54:04.040
<v Speaker 1>were the masters of rain, the gods and monsters of rain,

0:54:04.640 --> 0:54:07.520
<v Speaker 1>and uh, and they're the ones who who you need

0:54:07.600 --> 0:54:10.239
<v Speaker 1>favor from in order to, you know, to have a

0:54:11.000 --> 0:54:14.920
<v Speaker 1>wet and rich environment. And then there's this really fascinating

0:54:15.040 --> 0:54:19.160
<v Speaker 1>concept of the underwater where souls and the sorcerers went

0:54:19.520 --> 0:54:22.560
<v Speaker 1>to become stretched. Uh. And this may be linked to

0:54:22.800 --> 0:54:28.520
<v Speaker 1>glimmering inferior and mirages and stretched or elongated forms. Uh.

0:54:28.640 --> 0:54:32.719
<v Speaker 1>These may derive from superior mirages. And yeah, you look

0:54:32.719 --> 0:54:34.560
<v Speaker 1>at examples of this and it's like, you know, um,

0:54:34.800 --> 0:54:38.040
<v Speaker 1>you know, clearly humanoid representations, and some will be of

0:54:38.600 --> 0:54:40.840
<v Speaker 1>what you might take to be normal size, and others

0:54:40.920 --> 0:54:45.120
<v Speaker 1>are greatly elongated. And uh, yeah, I'm particularly interested by

0:54:45.200 --> 0:54:48.560
<v Speaker 1>this idea of the inverted world and sorcerers who try

0:54:48.600 --> 0:54:52.719
<v Speaker 1>to make contact with the inverted world by he points out,

0:54:52.840 --> 0:54:56.360
<v Speaker 1>adopting an inverted arm position. Here's a quote from the

0:54:56.400 --> 0:55:00.360
<v Speaker 1>paper quote, what would be more realistic than depicting inverted

0:55:00.480 --> 0:55:03.799
<v Speaker 1>lions in a mirage in such an environment the underwater

0:55:04.120 --> 0:55:08.000
<v Speaker 1>of sun belief. It could even be that trance has

0:55:08.080 --> 0:55:11.160
<v Speaker 1>developed as a way to imitate the inverted world, the

0:55:11.239 --> 0:55:14.640
<v Speaker 1>world where everything is the other way around. The body

0:55:14.719 --> 0:55:18.240
<v Speaker 1>does not preserve the upright position anymore. Food or liquid

0:55:18.280 --> 0:55:20.640
<v Speaker 1>does not enter the mouth but leaves. It has depicted

0:55:20.719 --> 0:55:24.440
<v Speaker 1>in many scenes where liquid sometimes interpreted as blood, is

0:55:24.520 --> 0:55:28.120
<v Speaker 1>streaming from the nose of animals and shamans. Maybe the

0:55:28.239 --> 0:55:32.040
<v Speaker 1>crossed legs of painted antelopes and trans dancers and sound

0:55:32.360 --> 0:55:35.400
<v Speaker 1>rock art may simply mean that they do not walk normally,

0:55:35.480 --> 0:55:38.920
<v Speaker 1>but walk in an inverted way, that is backwards, as

0:55:39.000 --> 0:55:44.120
<v Speaker 1>they should in the other world. That's really interesting. Yeah,

0:55:44.239 --> 0:55:47.000
<v Speaker 1>and again this this connects with with some of what

0:55:47.120 --> 0:55:49.560
<v Speaker 1>you were sharing earlier on again from the other side

0:55:49.600 --> 0:55:53.160
<v Speaker 1>of the world, uh, you know, dealing with contemplations of

0:55:53.239 --> 0:55:58.719
<v Speaker 1>fatimorgana and superior and inferior mirages. So from from here, really,

0:55:58.800 --> 0:56:00.759
<v Speaker 1>I mean, we don't even have to spend much time

0:56:00.800 --> 0:56:04.520
<v Speaker 1>at all talking about the nature of unidentified flying objects

0:56:04.560 --> 0:56:07.440
<v Speaker 1>in the sky UM because you can see I mean,

0:56:07.480 --> 0:56:09.040
<v Speaker 1>it's all written on the wall here. I mean the

0:56:09.200 --> 0:56:12.799
<v Speaker 1>bottom organa is sometimes used to explain UFO sightings, which

0:56:13.760 --> 0:56:16.240
<v Speaker 1>which is just a natural direction to go into, especially

0:56:16.360 --> 0:56:20.080
<v Speaker 1>when you consider modern sailing vessels um and and modern

0:56:20.520 --> 0:56:24.279
<v Speaker 1>vehicles and objects in generals often glinting with metallic details.

0:56:24.840 --> 0:56:29.160
<v Speaker 1>You can imagine them seeing above the horizon as superior mirages.

0:56:29.239 --> 0:56:33.600
<v Speaker 1>And you know, if you consume enough UFO material, which

0:56:33.640 --> 0:56:36.600
<v Speaker 1>I think everybody has at this point, that might be

0:56:36.760 --> 0:56:38.880
<v Speaker 1>one of the first places if not the first places

0:56:38.960 --> 0:56:41.600
<v Speaker 1>that your mind goes. Well, yeah, I mean, I'd imagine

0:56:41.640 --> 0:56:47.080
<v Speaker 1>that superior mirages could explain all kinds of especially anomalous lights. Yeah,

0:56:47.520 --> 0:56:51.040
<v Speaker 1>I've in particular, I've seen it linked to discussions of

0:56:51.360 --> 0:56:54.560
<v Speaker 1>UFO sightings in Texas and also the so called men

0:56:54.640 --> 0:56:58.160
<v Speaker 1>Men light in the Australian Outback. And uh, and I

0:56:58.239 --> 0:57:00.200
<v Speaker 1>think and I think you can. You can find plenty

0:57:00.239 --> 0:57:02.640
<v Speaker 1>of other examples of this as well. They're similar lights

0:57:02.719 --> 0:57:05.040
<v Speaker 1>that can be found in the Middle East that have

0:57:05.120 --> 0:57:09.640
<v Speaker 1>been linked to two superior mirages. So again we're dealing

0:57:09.680 --> 0:57:11.520
<v Speaker 1>with something you can find around the world, and then

0:57:11.560 --> 0:57:15.040
<v Speaker 1>we find all these interesting stories that are either directly

0:57:15.520 --> 0:57:19.440
<v Speaker 1>linked to superior mirages or could easily be linked to them,

0:57:19.600 --> 0:57:22.320
<v Speaker 1>at least at least in part So it basically explains

0:57:22.320 --> 0:57:26.240
<v Speaker 1>everything is so bigfoot. I don't know, I could an

0:57:26.320 --> 0:57:29.440
<v Speaker 1>elongated humanoid. Um, you know that that could work. Oh,

0:57:29.520 --> 0:57:32.480
<v Speaker 1>slender Man is a superior mirrage. Oh you know, I

0:57:32.560 --> 0:57:35.960
<v Speaker 1>was just thinking about the San Rock illustrations and traditions

0:57:35.960 --> 0:57:38.520
<v Speaker 1>about people walking backwards. That makes me think of the

0:57:39.040 --> 0:57:42.600
<v Speaker 1>leshy again. Oh did the less she walk backwards? Was that?

0:57:42.680 --> 0:57:45.680
<v Speaker 1>I think you could confuse the leshy by walking backwards.

0:57:45.720 --> 0:57:47.560
<v Speaker 1>I don't know that's right, or you could put your

0:57:47.640 --> 0:57:53.120
<v Speaker 1>clothes on backwards, right, yeah, yeah, the upside down, the

0:57:53.440 --> 0:57:58.800
<v Speaker 1>the inverted world moving backwards. Um. Now, as I mentioned

0:57:59.480 --> 0:58:03.480
<v Speaker 1>or earlier on the superior mirages uh and the Fate Morgana,

0:58:03.760 --> 0:58:06.280
<v Speaker 1>these are things that can and our photograph. They can

0:58:06.320 --> 0:58:08.280
<v Speaker 1>be photographed. They are photographs. So if you do some

0:58:08.400 --> 0:58:11.720
<v Speaker 1>image searches you can find some some really excellent examples

0:58:11.760 --> 0:58:15.240
<v Speaker 1>of these. I remember seeing one in particular that instantly

0:58:15.360 --> 0:58:20.920
<v Speaker 1>made me think of the gigantic spaceship from Independence Today. Um. Now,

0:58:20.960 --> 0:58:24.520
<v Speaker 1>Independence Day wasn't an actual movie, it was not a mirrage,

0:58:24.960 --> 0:58:29.000
<v Speaker 1>but but the mirages that that that occur can be

0:58:29.120 --> 0:58:31.400
<v Speaker 1>of that nature. You know, it's like there's something huge

0:58:31.480 --> 0:58:34.080
<v Speaker 1>in the sky or on the horizon, and it does

0:58:34.160 --> 0:58:38.240
<v Speaker 1>not confirm, confirm, conform to, uh to to anything that

0:58:38.320 --> 0:58:40.800
<v Speaker 1>would occur in the natural world that you you know of.

0:58:41.240 --> 0:58:43.360
<v Speaker 1>You know, like you have to lead to the the

0:58:43.480 --> 0:58:45.880
<v Speaker 1>unexplained if you're not aware of the sort of you know,

0:58:45.960 --> 0:58:48.240
<v Speaker 1>the again, the optical phenomena that can take place, just

0:58:48.360 --> 0:58:52.000
<v Speaker 1>some shimmering hulk. Yeah. So on that note, we would

0:58:52.080 --> 0:58:54.080
<v Speaker 1>obviously love to hear from anyone out there who has

0:58:54.120 --> 0:58:56.680
<v Speaker 1>witnessed one of these, you know, because I don't think

0:58:56.760 --> 0:59:00.400
<v Speaker 1>I have. I don't remember ever seeing a superior arraje

0:59:00.880 --> 0:59:04.760
<v Speaker 1>much much less uh fata morgana um unless I was

0:59:04.840 --> 0:59:08.040
<v Speaker 1>just you know, barely noticing it certainly. And that's the thing.

0:59:08.120 --> 0:59:10.960
<v Speaker 1>A lot of these examples that you hear about, they're

0:59:11.080 --> 0:59:13.920
<v Speaker 1>they're hard to ignore. Uh So, if you have experience

0:59:14.000 --> 0:59:16.000
<v Speaker 1>with them, please write in and let us know, tell

0:59:16.080 --> 0:59:17.840
<v Speaker 1>us all about it, tell us about your experience with it,

0:59:17.880 --> 0:59:20.560
<v Speaker 1>what was going through your mind when you looked at it. Also,

0:59:20.720 --> 0:59:23.320
<v Speaker 1>if you're familiar with any other of the you know,

0:59:23.400 --> 0:59:27.680
<v Speaker 1>the many global traditions that either are directly linked to

0:59:28.400 --> 0:59:31.160
<v Speaker 1>these optical phenomena or could easily be linked to them,

0:59:31.600 --> 0:59:33.200
<v Speaker 1>we'd love to hear about it. And you know, well,

0:59:33.240 --> 0:59:36.240
<v Speaker 1>we'll try and discuss it on an upcoming episode of

0:59:36.400 --> 0:59:39.120
<v Speaker 1>Stuff to Blow Your Mind listener mail. That's what publishes

0:59:39.200 --> 0:59:42.600
<v Speaker 1>Monday's in the Stuff to Blow Your Mind podcast feed.

0:59:42.960 --> 0:59:45.560
<v Speaker 1>On Wednesdays we have The Artifact. Tuesdays and Thursdays we

0:59:45.640 --> 0:59:48.360
<v Speaker 1>have Core episodes, and on Fridays we have Weird House

0:59:48.400 --> 0:59:50.960
<v Speaker 1>Cinema where we don't so much get into the science,

0:59:51.040 --> 0:59:54.800
<v Speaker 1>but we talk about a weird movie of note, Huge Things.

0:59:54.840 --> 0:59:57.840
<v Speaker 1>As always to our excellent audio producer Seth Nicholas Johnson.

0:59:57.960 --> 0:59:59.440
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0:59:59.520 --> 1:00:01.520
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1:00:01.600 --> 1:00:03.880
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1:00:04.360 --> 1:00:06.960
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1:00:07.000 --> 1:00:16.800
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1:00:16.840 --> 1:00:19.520
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