WEBVTT - Listener Mail: That Sweaty Horse Light

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>Listener mail. This is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and we're bringing you some of the messages that you've

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<v Speaker 1>sent us over the past couple of weeks. Uh, Rob,

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<v Speaker 1>if you're ready, do you want to jump right in

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<v Speaker 1>reading this message from Ian about our Punish the Machine episodes?

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<v Speaker 1>All right, Ian Rights, Dear Robin, Joe, I'm still way behind,

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<v Speaker 1>still working to catch up. I went for a weeklong vacation,

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<v Speaker 1>which was wonderful, but one side effect was that I

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<v Speaker 1>lost some of the ground I had been making up.

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<v Speaker 1>Say sorry, I say LEVI say LEVI? What do is say?

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<v Speaker 1>LEVI mean? I think that's life. That's life, Okay, um,

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<v Speaker 1>so yeah, that is life. It's hard to keep up

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<v Speaker 1>with all these podcasts. I can't keep up with all

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<v Speaker 1>these podcasts. We can't keep up with all these polks.

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<v Speaker 1>It's listening to us really should be a full time job.

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<v Speaker 1>You're not taking it seriously. If you're not doing eight

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<v Speaker 1>hours a day anyway, and continues in your Punish the

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<v Speaker 1>Machine episode, you spend a decent amount of time discussing

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<v Speaker 1>who would be held responsible if an intelligent machine, such

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<v Speaker 1>as a self driving car, injured someone, you didn't mention

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<v Speaker 1>what to me as an attorney seems like the obvious

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<v Speaker 1>avenue no pun intended product liability law. This is obviously

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<v Speaker 1>a gross over simplification of a complicated area of law,

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<v Speaker 1>but the basic idea is if a product is defective

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<v Speaker 1>or malfunctions in a way that harms someone, the manufacturer

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<v Speaker 1>is responsible. A problem caused by the decision making of

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<v Speaker 1>a smart device just seems to me like another form

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<v Speaker 1>of malfunction or defect. Rather than trying to develop novel

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<v Speaker 1>but legal mechanisms to modify the behavior of the machines themselves,

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<v Speaker 1>you simply apply the coercive pressure, because all law is

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<v Speaker 1>fundamentally coercive in some way to the manufacturer, usually a

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<v Speaker 1>corporate entity, in order to motivate them to try to

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<v Speaker 1>avoid problems and to try to correct them when they

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<v Speaker 1>do arise. In fact, there is at least one real

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<v Speaker 1>world example that is strikingly similar to the self driving

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<v Speaker 1>car situation, the recent crashes of the Boeing seven thirty

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<v Speaker 1>seven Max Airliner. Those crashes were caused by the autopilot

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<v Speaker 1>which is a smart system, mistakenly concluding the plane was

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<v Speaker 1>nearing a stall condition when the air speed drops too

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<v Speaker 1>low for the wings to maintain lift, and attempting to

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<v Speaker 1>force the nose of the plane down to correct the

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<v Speaker 1>perceived problem. In this situation, Boeing has been held responsible

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<v Speaker 1>for the malfunctions and the ensuing deaths. Imposing monetary penalties

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<v Speaker 1>and possible criminal prosecution to Boeing rather than the plane

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<v Speaker 1>allows the law to focus its efforts on the entity it,

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<v Speaker 1>at least in theory, has the ability to influence. This

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<v Speaker 1>also sidesteps the problem you discussed in trying to determine

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<v Speaker 1>which specific person is responsible. Even if there is no

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<v Speaker 1>identifiable individual, the business entity can be held accountable. How

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<v Speaker 1>effective modern law is that. Holding corporations accountable is a

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<v Speaker 1>different discussion. Individuals are only sponsible for their parts of

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<v Speaker 1>the process, but the company is responsible for the whole.

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<v Speaker 1>Thank you again for your wonderful discussions. I hope one

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<v Speaker 1>day to catch up. I yes, we too, We too

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<v Speaker 1>hope one day to catch up. Yeah. Well, thanks for

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<v Speaker 1>your input, I and well so Ian. Obviously, I agree

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<v Speaker 1>with a lot of what you say there, except the

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<v Speaker 1>well I agree in the sense that. Um, I think

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<v Speaker 1>a lot of what you say seems like probably in

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<v Speaker 1>many cases, what the law should be. But but I

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<v Speaker 1>think a lot of the complications that are raised by

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<v Speaker 1>the main paper that we talked about in that episode,

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<v Speaker 1>the Remedies for Robots paper, is about what kinds of avenues,

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<v Speaker 1>of sort of appeals to the court systems that corporations

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<v Speaker 1>who make these machines will be able to use in

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<v Speaker 1>order to evade responsibility. Uh. And they might sound plausible

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<v Speaker 1>to some people. They might say that, Um, with a

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<v Speaker 1>certain level of complexity and certain kinds of machines, it

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<v Speaker 1>actually becomes increasingly difficult to identify whether what happened is

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<v Speaker 1>a result of manufacturer defect, you know, a problem with

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<v Speaker 1>the machine itself as it left the factory versus how

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<v Speaker 1>it was being used by the user, and and that

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<v Speaker 1>kind of thing. And then of course as you as

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<v Speaker 1>you raise there are some difficulties with getting actual, you know,

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<v Speaker 1>the the effect that you want of the law by

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<v Speaker 1>trying to enforce penalties on corporations rather than on individuals.

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<v Speaker 1>Because I remember one of the things we talked about

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<v Speaker 1>in the episode is like, well, does a you know

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<v Speaker 1>where they're going to be situations where a corporation says,

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<v Speaker 1>you know, we're gonna make a lot of money off this.

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<v Speaker 1>If at some point we have to pay some damages

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<v Speaker 1>on it, that's just the cost of doing business. Yeah,

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<v Speaker 1>and I believe we also discussed how that that can

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<v Speaker 1>potentially be the AIS approach as well, that can be

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<v Speaker 1>the machines approach. Well like that, well, that's the operating

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<v Speaker 1>cost of doing what I'm doing. I'm going to have

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<v Speaker 1>to pay fines on, you know, whatever it is I'm

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<v Speaker 1>doing that is out of line. Right, And that also

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<v Speaker 1>comes into when you're trying to program a robot not

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<v Speaker 1>to do something that is considered in some way prohibited,

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<v Speaker 1>something that is bad. Uh. There are these differences in

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<v Speaker 1>the philosophy of how you encode prohibitions, right. Uh, this

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<v Speaker 1>was a big theme we talked about in these episodes.

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<v Speaker 1>Do you encode the prohibitions as inviolable rules or do

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<v Speaker 1>you encode them as like, uh, sort of disincentives with

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<v Speaker 1>a certain numerical value that's hard to overcome. And there

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<v Speaker 1>there are good arguments on both sides of that. So anyway, Ian,

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<v Speaker 1>since you are a lawyer, I might recommend if you

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<v Speaker 1>want to send us any more thoughts on this that

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<v Speaker 1>you actually just read the full Remedies for Robots paper

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<v Speaker 1>and tell us more about what you think about their

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<v Speaker 1>complete argument, which you know, we we just discussed some

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<v Speaker 1>parts of. All right, when I've got the you've got

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<v Speaker 1>the mail bot, Carnie all hot and bothered over this,

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<v Speaker 1>Uh this taco? What else do we have in the

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<v Speaker 1>mail bag? Joe? Oh? Okay. So next, I wanted to

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<v Speaker 1>get into a number of responses to the most recent

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<v Speaker 1>artifact episode I did, which was called the Sugar Light. Now,

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<v Speaker 1>this was an artifact act in which I talked about uh,

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<v Speaker 1>mentions of anomalous sources of cold light. In Sir Francis

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<v Speaker 1>Bacon's sixteen twenty work Novum Organum and rob I assume

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<v Speaker 1>you haven't had a chance to listen to my artifact

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<v Speaker 1>episode yet, but I'll try to summarize for you so

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<v Speaker 1>we can talk about it. The Novum Organum was a

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<v Speaker 1>book in which Bacon was trying to lay out a

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<v Speaker 1>new method for logical investigation of the world, and in

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<v Speaker 1>many ways this the method described in this book could

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<v Speaker 1>be considered proto scientific, since his method is in essence

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<v Speaker 1>empirical and inductive. So, for example, It says, if you

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<v Speaker 1>want to understand something, you should try to use, you know,

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<v Speaker 1>use observation from the real world to list every instance

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<v Speaker 1>you can of the phenomenon you're trying to understand, and

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<v Speaker 1>then you should list properties that are associated with it.

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<v Speaker 1>So in the example of heat, that would be stuff

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<v Speaker 1>like light. And then you can list a bunch of

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<v Speaker 1>examples of things that have that associated property, but not

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<v Speaker 1>the property you're studying, so occurrences of light without heat

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<v Speaker 1>and so forth. And he thinks that this ultimately can

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<v Speaker 1>help you understand nature better. But so this leads to

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<v Speaker 1>a section of the book where he's just listing a

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<v Speaker 1>bunch of examples of cold light, light that doesn't actually burn,

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<v Speaker 1>like the hot light from the sun or from a fire.

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<v Speaker 1>And so I talked about some of the examples that

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<v Speaker 1>he lists in this artifact episode. He lists the appearances

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<v Speaker 1>of fire around the heads of of children, sometimes like

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<v Speaker 1>fire around the head or the hair that appears to

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<v Speaker 1>be not hot and not burning, just a kind of

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<v Speaker 1>halo effect. Uh. I'm not sure what to make that,

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<v Speaker 1>except it maybe just a general you know, it may

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<v Speaker 1>tie into some of the lore that we discussed in

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<v Speaker 1>our episodes on the history of halos and halo imagery.

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<v Speaker 1>But then he also talked about some really strange stuff. Um.

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<v Speaker 1>One was the idea that a flash without any evident

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<v Speaker 1>heat quote has sometimes been seen about a horse when

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<v Speaker 1>sweating at night. So I was like, what is the

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<v Speaker 1>deal with the flashes of light from a sweaty horse? Light? Yeah,

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<v Speaker 1>And then also I mentioned a few others, but for

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<v Speaker 1>for the rest of the Artifact episode, I talked about

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<v Speaker 1>the claim of light being emitted from scraped or crushed sugar,

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<v Speaker 1>which is in fact entirely real as a phenomenon something

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<v Speaker 1>you can see for yourself by crushing sugarcubes in a

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<v Speaker 1>darkened room. Um. But I mentioned that I didn't know

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<v Speaker 1>what to make of a few of the other things

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<v Speaker 1>he talks about, especially the sweaty horse. But another one,

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<v Speaker 1>which is that he says that light sometimes flashes from

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<v Speaker 1>an oar slapping in seawater at night, and listeners got

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<v Speaker 1>in touch about these with some ideas about what he

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<v Speaker 1>might have been talking about. The one with the oar

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<v Speaker 1>slapping water turned out to be relatively easy. I think

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<v Speaker 1>several listeners suggested that this might be a result of

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<v Speaker 1>bioluminescent plankton so as an example of this type of message,

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<v Speaker 1>Eric got in touch to say, Robert and Joe, longtime listener,

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<v Speaker 1>first time emailer, the glow caused by an oar slapping

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<v Speaker 1>the water sounds like by luminescent plankton to me, love

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<v Speaker 1>the show. Eric and John also got in touch to

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<v Speaker 1>say you mentioned light being emitted when an oar strikes

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<v Speaker 1>the water. This is actually a common example of bioluminescence

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<v Speaker 1>in the ocean, caused by micro organisms in the water.

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<v Speaker 1>This can also occur in rolling waves when the agitation

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<v Speaker 1>is enough to stir them up, and sometimes even in

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<v Speaker 1>calm water. So obviously we've talked about all kinds of

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<v Speaker 1>bioluminescent marine organisms on the show before. But I suppose

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<v Speaker 1>I didn't connect Bacon's claim to bioluminescent organisms because I

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<v Speaker 1>was focused on the detail of the glow occurring when

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<v Speaker 1>the ore slaps the water, Like, why would an ore

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<v Speaker 1>striking the water have anything to do with the onset

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<v Speaker 1>of the light. I'd never heard of this, but I

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<v Speaker 1>did some more digging, and I think the listeners probably

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<v Speaker 1>are correct here that actually hitting the water or mechanically

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<v Speaker 1>disturbing it in some way can sometimes cause the plankton

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<v Speaker 1>to light up, and as one very easy to consume

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<v Speaker 1>example of this, I found a q A on the

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<v Speaker 1>a s U website by a marine biologist named Amy

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<v Speaker 1>Hanson that connects plankton bioluminescence to mechanical disturbance uh and so.

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<v Speaker 1>Hansen writes that one example of bioluminescent algae is a

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<v Speaker 1>dinoflagellate called noct to luca or see sparklenc To Luca

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<v Speaker 1>are so small that thousands of them can fit in

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<v Speaker 1>a single drop of water in places like Bioluminescent Bay

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<v Speaker 1>in Puerto Rico see sparkle are so abundant that the

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<v Speaker 1>water sparkles and neon bleu at night when you run

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<v Speaker 1>your hand or a kayak paddle through it. So there

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<v Speaker 1>is actually associating the disturbance of the water with the

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<v Speaker 1>light coming on. And and she actually also cites a

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<v Speaker 1>couple of reasons that might be the cause of the

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<v Speaker 1>light coming on due to mechanical disturbance. One is the

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<v Speaker 1>idea that okay, a predator swims through the water and

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<v Speaker 1>then the light comes on to startle or scare the

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<v Speaker 1>predator away. Another possible explanation is that these dinoflagellates use

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<v Speaker 1>the light to attract bigger predators that would eat their

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<v Speaker 1>own predators. So I'm handing it to the listeners who

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<v Speaker 1>got in touch on that one. I'd say I'm fairly

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<v Speaker 1>confident that this is exactly what Bacon was talking about

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<v Speaker 1>with the oar slapping the water. But the sweaty horse,

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<v Speaker 1>on the other hand, I feel like that one is

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<v Speaker 1>still a lot more mysterious. Though we did get one

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<v Speaker 1>response taking a stab at the sweaty horse, Rob, do

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<v Speaker 1>you want to read this one? Sure? There's the one

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<v Speaker 1>from Stephen Hi Robin Joe. I've been a fan of

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<v Speaker 1>your show for quite some time, and I'm probably more

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<v Speaker 1>excited than I should be that I might be able

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<v Speaker 1>to contribute in some small fashion. The glowing sweaty horse

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<v Speaker 1>all caps in the recent Artifact episode about sugar light

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<v Speaker 1>may be much simpler than it sounds. Horses tend to

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<v Speaker 1>sweat profusely when working hard, so much so that their

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<v Speaker 1>entire body becomes drenched. A hot, sweaty horse in cool,

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<v Speaker 1>dry air can create what looks like a cloud of

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<v Speaker 1>mist around its body as the sweat evaporates. I live

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<v Speaker 1>in an area with a large Amish population, and it

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<v Speaker 1>is not uncommon on dry winter day to see a

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<v Speaker 1>sweaty horse doing a decent impression of a fog machine,

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<v Speaker 1>simply due to the evaporating sweat. A steamy horse may

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<v Speaker 1>not look special under the bright light of the sun,

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<v Speaker 1>but perhaps a wisp of vapor catching moonlight directly or

0:12:14.360 --> 0:12:17.200
<v Speaker 1>via reflection from a pond or stream may look like

0:12:17.280 --> 0:12:20.920
<v Speaker 1>a brief flash of light from a short distance. I

0:12:21.000 --> 0:12:23.240
<v Speaker 1>was unable to find any good photos of this. Perhaps

0:12:23.320 --> 0:12:26.840
<v Speaker 1>the market for sweaty horse pictures is underserved, but I've

0:12:26.840 --> 0:12:29.320
<v Speaker 1>included a link to a stock photo that shows the

0:12:29.360 --> 0:12:32.240
<v Speaker 1>general idea, but is likely edited to look much more

0:12:32.360 --> 0:12:35.000
<v Speaker 1>dramatic than it is in reality. This is just a

0:12:35.040 --> 0:12:38.760
<v Speaker 1>wild guess, but old riding tends to portray things in

0:12:38.760 --> 0:12:42.160
<v Speaker 1>a much more fantastic way than we might today. And

0:12:42.200 --> 0:12:46.080
<v Speaker 1>they include this wonderful photo of a sweaty horse. It's

0:12:46.120 --> 0:12:48.760
<v Speaker 1>with this mist coming off of it, or what you know,

0:12:48.760 --> 0:12:50.400
<v Speaker 1>it looks to be a mist coming off it looks

0:12:50.440 --> 0:12:53.200
<v Speaker 1>it looks like it is a magical horse that has

0:12:53.200 --> 0:12:56.040
<v Speaker 1>come out of some misty realm and is therefore emitting

0:12:56.040 --> 0:12:59.240
<v Speaker 1>the mist. It's quite beautiful. I feel like I'm about

0:12:59.280 --> 0:13:01.720
<v Speaker 1>to see it flanked by a hopping vampire at any moment.

0:13:02.760 --> 0:13:04.960
<v Speaker 1>I love it. Stephen. Anyways, so I think this is

0:13:05.320 --> 0:13:06.839
<v Speaker 1>I don't know if you're right, but this is a

0:13:07.160 --> 0:13:10.080
<v Speaker 1>fantastic attempt at an answer. Thank you so much to

0:13:10.120 --> 0:13:12.600
<v Speaker 1>all the listeners who got in touch with the ideas

0:13:12.640 --> 0:13:15.640
<v Speaker 1>about the glowing the glowing oar slaps and the sweaty horses.

0:13:16.240 --> 0:13:26.720
<v Speaker 1>This is just great, all right. This next message comes

0:13:26.800 --> 0:13:29.920
<v Speaker 1>from Daniel. This when just seems general. Daniel says, Hi,

0:13:30.000 --> 0:13:32.200
<v Speaker 1>Robert and Joe, first off, love the show. Thanks for

0:13:32.240 --> 0:13:34.560
<v Speaker 1>all you guys do. I don't understand people who listen

0:13:34.600 --> 0:13:36.920
<v Speaker 1>to music while driving. I love the way you guys

0:13:36.960 --> 0:13:40.760
<v Speaker 1>engage my brain. Um, there are two topics I've been

0:13:40.760 --> 0:13:42.880
<v Speaker 1>thinking about recently, and I wondered if you guys had

0:13:42.920 --> 0:13:45.320
<v Speaker 1>either already done something about them in the past or

0:13:45.400 --> 0:13:48.360
<v Speaker 1>might in the future. One. A number of times I've

0:13:48.360 --> 0:13:51.800
<v Speaker 1>come across mentions of different types of ice, both in

0:13:51.960 --> 0:13:55.079
<v Speaker 1>your shows and in science fiction I read. Most recently,

0:13:55.120 --> 0:13:57.160
<v Speaker 1>I picked the episode on Pie Create out of the

0:13:57.160 --> 0:13:59.839
<v Speaker 1>show History, and you mentioned there that we have one

0:14:00.040 --> 0:14:03.480
<v Speaker 1>specific type of ice naturally occurring here on Earth. So

0:14:03.559 --> 0:14:05.960
<v Speaker 1>what are the others, Where can they be found or

0:14:06.000 --> 0:14:08.400
<v Speaker 1>how can they be made? And how are they different

0:14:08.480 --> 0:14:13.480
<v Speaker 1>from what we already know? Second, glass elevators make me nauseous.

0:14:14.640 --> 0:14:17.800
<v Speaker 1>My work recently moved into a new building that has

0:14:17.880 --> 0:14:20.560
<v Speaker 1>glass elevators, and every time I ride one down, I

0:14:20.600 --> 0:14:23.440
<v Speaker 1>have to close my eyes to avoid nausea. No one

0:14:23.480 --> 0:14:26.320
<v Speaker 1>else I know has this problem. What's going on here?

0:14:26.640 --> 0:14:30.160
<v Speaker 1>Going up doesn't cause any issue, and normally closed elevators

0:14:30.200 --> 0:14:33.080
<v Speaker 1>don't bother me at all. Thanks well to take your

0:14:33.120 --> 0:14:35.680
<v Speaker 1>second question first. I don't know, but I wonder if

0:14:35.680 --> 0:14:38.960
<v Speaker 1>it has anything to do with uh with I don't know,

0:14:39.320 --> 0:14:42.520
<v Speaker 1>something akin to simulator sickness, which we've talked about in

0:14:42.560 --> 0:14:44.840
<v Speaker 1>previous episodes. But maybe this will be worth coming back

0:14:44.880 --> 0:14:48.080
<v Speaker 1>to in another episode, because I can imagine that's not

0:14:48.160 --> 0:14:52.080
<v Speaker 1>too uncommon of a feeling. I likewise don't have any

0:14:52.120 --> 0:14:55.200
<v Speaker 1>problem in regular closed elevators, but I feel like when

0:14:55.240 --> 0:14:58.480
<v Speaker 1>I've been in transparent elevators before, I've gotten I don't

0:14:58.520 --> 0:15:02.160
<v Speaker 1>know about nauseous, but definitely a little woozy. But but

0:15:02.280 --> 0:15:04.880
<v Speaker 1>as for ice, rob I know we have talked about

0:15:04.960 --> 0:15:07.360
<v Speaker 1>different types of ice before. I can't remember what the

0:15:07.400 --> 0:15:10.320
<v Speaker 1>scientific term for the different ice configurations is but I

0:15:10.320 --> 0:15:13.360
<v Speaker 1>think it has to do with the the different crystalline

0:15:13.440 --> 0:15:15.480
<v Speaker 1>structure of ice. Is that right? Like ice? You know,

0:15:15.560 --> 0:15:18.840
<v Speaker 1>the different numbers applied to ice one, two, three, four

0:15:18.880 --> 0:15:20.920
<v Speaker 1>and so forth. Yeah. I mean I thought we got

0:15:20.920 --> 0:15:22.800
<v Speaker 1>into it maybe a little bit in pie crete and

0:15:22.840 --> 0:15:25.560
<v Speaker 1>maybe a little bit more as well on our episode

0:15:25.560 --> 0:15:29.440
<v Speaker 1>on heavy Water. Oh yeah, yeah yeah. So, uh, Daniel,

0:15:29.520 --> 0:15:32.480
<v Speaker 1>you might want to go check out that that episode

0:15:32.480 --> 0:15:34.280
<v Speaker 1>on heavy Water if you haven't heard that. I think

0:15:34.320 --> 0:15:36.920
<v Speaker 1>we talked about it in there. But I'm doing this

0:15:36.960 --> 0:15:38.800
<v Speaker 1>from memory, so I'm sorry if I'm wrong, But I

0:15:38.800 --> 0:15:41.200
<v Speaker 1>think the issue is just that the different phases of

0:15:41.200 --> 0:15:45.280
<v Speaker 1>ice have different crystalline structures, usually because they're formed under

0:15:45.480 --> 0:15:48.200
<v Speaker 1>very extreme conditions that are not present on Earth, say,

0:15:48.400 --> 0:15:51.440
<v Speaker 1>is like really high pressure or something. Yeah, so I

0:15:51.480 --> 0:15:52.720
<v Speaker 1>don't know. Well, we'll have to look at it. It's

0:15:52.720 --> 0:15:56.120
<v Speaker 1>possible that we could do in an episode on alternative waters,

0:15:56.760 --> 0:16:00.240
<v Speaker 1>I mean alternative ices rather, but I don't I love

0:16:00.320 --> 0:16:07.520
<v Speaker 1>to see. All right, Well, let's close it out with

0:16:07.720 --> 0:16:10.560
<v Speaker 1>one bit of weird house cinema listener mail. This one

0:16:10.600 --> 0:16:13.120
<v Speaker 1>comes to us from Charles Hi, Robert, and Joe. I

0:16:13.120 --> 0:16:16.080
<v Speaker 1>hope this email finds you healthy and well. I came

0:16:16.080 --> 0:16:18.200
<v Speaker 1>across your podcast last year and just got to your

0:16:18.200 --> 0:16:21.480
<v Speaker 1>Weird House Cinema episode on Gunhead. Had it not been

0:16:21.520 --> 0:16:24.000
<v Speaker 1>for the fact that I'm able to listen to podcasts

0:16:24.000 --> 0:16:26.520
<v Speaker 1>at work, I'd probably still be very far behind. The

0:16:26.600 --> 0:16:29.760
<v Speaker 1>added effort to answer listener mail is nice because everyone

0:16:29.800 --> 0:16:32.680
<v Speaker 1>writing in has such interesting information to share. As a

0:16:32.720 --> 0:16:34.640
<v Speaker 1>first time writer, I hope I can add to that

0:16:34.720 --> 0:16:38.160
<v Speaker 1>as well. Anyway, during the Gunhead episode, you mentioned that

0:16:38.160 --> 0:16:40.320
<v Speaker 1>there were one or two scenes where one of the

0:16:40.400 --> 0:16:43.480
<v Speaker 1>characters was waving or pointing their gun at another character

0:16:43.960 --> 0:16:45.960
<v Speaker 1>when they were told to stop. You both were a

0:16:46.000 --> 0:16:48.400
<v Speaker 1>bit confused as to the reasoning the character gave, and

0:16:48.440 --> 0:16:51.720
<v Speaker 1>just concluded it was likely because it was dangerous. Although

0:16:51.720 --> 0:16:54.280
<v Speaker 1>this is inherently true for safety, I believe that there

0:16:54.320 --> 0:16:56.760
<v Speaker 1>is also a cultural significance, and I hope to shed

0:16:56.800 --> 0:16:59.240
<v Speaker 1>some light on it. Growing up in an East Asian

0:16:59.240 --> 0:17:01.760
<v Speaker 1>family my parents, it's always emphasized the idea of karma.

0:17:02.240 --> 0:17:05.080
<v Speaker 1>This not only included physical actions, but also extended to

0:17:05.080 --> 0:17:07.720
<v Speaker 1>acts such as gossiping about others or in this case,

0:17:07.920 --> 0:17:10.960
<v Speaker 1>pointing a weapon at someone, even in jest, the idea

0:17:11.040 --> 0:17:14.160
<v Speaker 1>being that even a benign gesture is still looked at

0:17:14.359 --> 0:17:17.080
<v Speaker 1>as you wishing ill fortune on that person and will

0:17:17.119 --> 0:17:20.840
<v Speaker 1>count as bad karma. Although this doesn't follow the traditional

0:17:20.920 --> 0:17:24.160
<v Speaker 1>definition of karma, which focuses on you being the recipient

0:17:24.480 --> 0:17:27.080
<v Speaker 1>of your own actions coming back to you later in life.

0:17:27.240 --> 0:17:30.000
<v Speaker 1>It revolves around the karma you wish on others. I

0:17:30.040 --> 0:17:32.679
<v Speaker 1>haven't watched Gunheads, so I don't know the nuance of

0:17:32.720 --> 0:17:34.919
<v Speaker 1>the scene, but this is my best guest based on

0:17:34.960 --> 0:17:37.520
<v Speaker 1>your description. Thank you for all the recent topics you're

0:17:37.520 --> 0:17:40.320
<v Speaker 1>covering your podcast. I always know I'm in for a

0:17:40.400 --> 0:17:44.720
<v Speaker 1>knowledge expansion when I turn on your podcast. Many thanks, Charles. Oh,

0:17:44.760 --> 0:17:46.960
<v Speaker 1>thank you, Charles. To be honest, I do not remember

0:17:47.040 --> 0:17:50.040
<v Speaker 1>what scene you're talking about. Oh no, no, I remember it.

0:17:50.080 --> 0:17:52.520
<v Speaker 1>There's so we have. We have the old guy, the

0:17:52.520 --> 0:17:55.080
<v Speaker 1>one who is played by the cool prog rock dude.

0:17:55.520 --> 0:17:59.280
<v Speaker 1>Oh that's right, yes, yes, yes, yeah, and um I'm

0:17:59.320 --> 0:18:01.400
<v Speaker 1>blinking on his name him off hand, but anyway, he's

0:18:01.400 --> 0:18:03.800
<v Speaker 1>the wise member of the crew that's gonna run this

0:18:03.960 --> 0:18:07.440
<v Speaker 1>uh uh, this gig that's gonna try and steal the

0:18:07.480 --> 0:18:11.240
<v Speaker 1>stuff from the the Robot place, you know, the Robot Island.

0:18:12.920 --> 0:18:16.560
<v Speaker 1>And yeah, there horse the gun yeah, club mach Um,

0:18:16.600 --> 0:18:18.480
<v Speaker 1>and he's he's like, what are you doing? Don't point

0:18:18.480 --> 0:18:21.000
<v Speaker 1>that at people? You're you know, that's you know, there's

0:18:21.040 --> 0:18:22.800
<v Speaker 1>no good. You know, he's he's, he's shutting him down

0:18:22.840 --> 0:18:24.800
<v Speaker 1>every time he does it. And we were like, well, yeah,

0:18:24.800 --> 0:18:26.800
<v Speaker 1>that makes sense. You shouldn't point guns at people. That's

0:18:26.800 --> 0:18:29.520
<v Speaker 1>not safe. But it does seem like, yeah, I feel

0:18:29.560 --> 0:18:31.960
<v Speaker 1>like Charles is making a fair point here. It sounds

0:18:31.960 --> 0:18:35.600
<v Speaker 1>like maybe it is verse two in um in an

0:18:35.680 --> 0:18:38.919
<v Speaker 1>idea of of of of ild karma and you know

0:18:39.240 --> 0:18:41.439
<v Speaker 1>the superstuit that would that would track with some some

0:18:41.480 --> 0:18:44.000
<v Speaker 1>other stuff I think I've heard before. So Charles, thank

0:18:44.040 --> 0:18:47.600
<v Speaker 1>you for writing in and um and illuminating gun Head further.

0:18:48.160 --> 0:18:50.360
<v Speaker 1>It is it is, It is a text that deserves

0:18:50.640 --> 0:18:54.200
<v Speaker 1>more illumination. Yes, sincere. Thanks. All right, Well we're gonna

0:18:54.200 --> 0:18:56.359
<v Speaker 1>go ahead and close up the mail bag for today,

0:18:56.400 --> 0:18:58.359
<v Speaker 1>but we thank we thank everybody for writing in. We

0:18:58.400 --> 0:19:00.200
<v Speaker 1>read everything that comes in. We don't always have time

0:19:00.200 --> 0:19:03.040
<v Speaker 1>to respond, and we don't have time to include everything

0:19:03.200 --> 0:19:06.879
<v Speaker 1>on listener mail, but keep it coming. We love hearing

0:19:08.160 --> 0:19:11.840
<v Speaker 1>on these topics. We love hearing about everyone's experiences UH

0:19:11.840 --> 0:19:14.560
<v Speaker 1>with these topics and UH and and your insight. In

0:19:14.600 --> 0:19:16.400
<v Speaker 1>the meantime, If you want to listen to other episodes

0:19:16.400 --> 0:19:17.920
<v Speaker 1>of Stuff to Blow your Mind, listener mail Well, that

0:19:17.960 --> 0:19:20.000
<v Speaker 1>happens every Monday. We have core episodes of Stuff to

0:19:20.000 --> 0:19:22.960
<v Speaker 1>Blow Your Mind on Tuesdays and Thursdays. Wednesday is the Artifact,

0:19:22.960 --> 0:19:25.520
<v Speaker 1>Friday is is Weird how Cinema. That's our time to

0:19:25.640 --> 0:19:27.480
<v Speaker 1>cut loose and enjoy a weird film. And then we

0:19:27.480 --> 0:19:29.680
<v Speaker 1>have a rerun on the weekend. And then on Sunday,

0:19:29.920 --> 0:19:33.000
<v Speaker 1>the seventh day, we rest or we run a promo

0:19:33.119 --> 0:19:36.440
<v Speaker 1>for some other show. That's depends what what's what's required

0:19:36.480 --> 0:19:39.320
<v Speaker 1>of us frantically get ready for the first day again, yes,

0:19:40.680 --> 0:19:43.679
<v Speaker 1>um yeah, so huge, Thanks as always to our excellent

0:19:43.720 --> 0:19:46.800
<v Speaker 1>audio producer Seth Nicholas Johnson. If you would like to

0:19:46.800 --> 0:19:49.080
<v Speaker 1>get in touch with us with feedback on this episode

0:19:49.160 --> 0:19:53.040
<v Speaker 1>or any other uh to uh to uh suggest topic

0:19:53.119 --> 0:19:55.000
<v Speaker 1>for the future, that's what you can do, or you

0:19:55.040 --> 0:19:57.639
<v Speaker 1>can just say hello. You can email us at contact

0:19:57.640 --> 0:20:07.240
<v Speaker 1>and Stuff to Blow your Mind dot com. Stuff to

0:20:07.240 --> 0:20:09.399
<v Speaker 1>Blow Your Mind is a production of I Heart Radio.

0:20:09.720 --> 0:20:11.879
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