1 00:00:03,040 --> 00:00:05,920 Speaker 1: Welcome to Stuff to Blow your Mind from how Stuff 2 00:00:05,920 --> 00:00:14,000 Speaker 1: Works dot com. Hey you welcome to stuff to Blow 3 00:00:14,040 --> 00:00:17,000 Speaker 1: your mind. My name is Robert Lamb and Julie Douglas. Julie, 4 00:00:17,000 --> 00:00:20,480 Speaker 1: have you gazed into the mirror recently? Oh? Yes, in fact, 5 00:00:21,000 --> 00:00:23,520 Speaker 1: just a moment ago, I looked into the mirror and 6 00:00:23,560 --> 00:00:27,520 Speaker 1: I confirmed my shirt was indeed put on backwards by 7 00:00:27,560 --> 00:00:31,520 Speaker 1: whom by myself, because I dressed myself. Okay, I didn't 8 00:00:31,560 --> 00:00:34,400 Speaker 1: know how how how weird this was going to get. Well, 9 00:00:34,440 --> 00:00:37,479 Speaker 1: don't believe those rumors. I dressed myself all right now 10 00:00:37,520 --> 00:00:39,920 Speaker 1: like strange people in the night, like sneak in, dress 11 00:00:40,000 --> 00:00:42,519 Speaker 1: you and make sure you have your clothes on the 12 00:00:42,680 --> 00:00:47,560 Speaker 1: slightly wrong. Whatever you've heard it not true. But yes, 13 00:00:47,680 --> 00:00:51,440 Speaker 1: recently I have gazed into the looking glass, because we 14 00:00:51,479 --> 00:00:54,000 Speaker 1: do it all the time, right, We surround ourselves with mirrors, 15 00:00:54,680 --> 00:00:57,560 Speaker 1: and from from a very early age, we encounter them, 16 00:00:57,600 --> 00:01:00,880 Speaker 1: we get used to them, and eventually we die in 17 00:01:00,920 --> 00:01:03,040 Speaker 1: many cases, in a in a room with a mirror, 18 00:01:03,160 --> 00:01:05,679 Speaker 1: or or with a mirror right next door into this 19 00:01:05,720 --> 00:01:07,679 Speaker 1: little a little bathroom in the hotel room where we 20 00:01:07,720 --> 00:01:12,200 Speaker 1: finally pass away, this this portal, into this strange uncanny 21 00:01:12,240 --> 00:01:16,560 Speaker 1: ocular world. Were you just imagining Elvis in the bathroom? Yeah, 22 00:01:16,560 --> 00:01:17,720 Speaker 1: well you can. You can look at it that way. 23 00:01:17,760 --> 00:01:21,240 Speaker 1: You can imagine Elvis, um, you know, sadly passing away there. 24 00:01:21,720 --> 00:01:24,039 Speaker 1: But then what if what have the reflected Elvis is 25 00:01:24,120 --> 00:01:27,920 Speaker 1: just standing up watching you know. Well, that's the whole thing, right, 26 00:01:27,920 --> 00:01:31,640 Speaker 1: And that's for an entirely different episode, But right, This 27 00:01:31,720 --> 00:01:35,280 Speaker 1: idea of reflective surfaces in us peering into them has 28 00:01:35,319 --> 00:01:36,959 Speaker 1: been around for a long time. In fact, if you 29 00:01:37,000 --> 00:01:41,240 Speaker 1: look at the myth of Narcissus, you will be met 30 00:01:41,319 --> 00:01:44,640 Speaker 1: with this idea of this beautiful boy who cannot stop 31 00:01:44,720 --> 00:01:49,120 Speaker 1: staring at himself in the mirror, and he chooses to 32 00:01:49,160 --> 00:01:52,960 Speaker 1: die by the side of a reflecting pond rather um, 33 00:01:53,000 --> 00:01:57,360 Speaker 1: instead of leaving his beloved himself behind. That is how 34 00:01:57,400 --> 00:01:59,920 Speaker 1: attached he is to that image staring back at him. 35 00:02:00,160 --> 00:02:03,160 Speaker 1: The obsession with the mirror, obsession with one's own reflection 36 00:02:03,400 --> 00:02:05,240 Speaker 1: in the mirror. Just just as much as we are 37 00:02:05,280 --> 00:02:08,519 Speaker 1: we are at times horrified by reflections or or adverse 38 00:02:09,080 --> 00:02:12,320 Speaker 1: to to looking in the mirror. Um and and and 39 00:02:12,520 --> 00:02:15,519 Speaker 1: I just I think back to some of my earlier 40 00:02:16,480 --> 00:02:21,880 Speaker 1: opportunities to peer into different mirrors, particularly I remember going 41 00:02:21,919 --> 00:02:24,880 Speaker 1: to like sears somewhere with my mom, like way too much, 42 00:02:24,919 --> 00:02:27,000 Speaker 1: because those trips seemed always seem to take for average. 43 00:02:26,960 --> 00:02:28,519 Speaker 1: You know, you're going to buy trainers for you or 44 00:02:28,560 --> 00:02:31,760 Speaker 1: your sisters, and they would have this little, uh, this 45 00:02:31,760 --> 00:02:34,120 Speaker 1: this little area with three mirrors. You know, there's like 46 00:02:34,120 --> 00:02:35,320 Speaker 1: the one in front of you, and there two to 47 00:02:35,400 --> 00:02:37,880 Speaker 1: the sides, ideally so that you can stand in your 48 00:02:38,160 --> 00:02:41,000 Speaker 1: your new outfit or potentially what's going to be your 49 00:02:41,000 --> 00:02:43,560 Speaker 1: new outfit, and twirl around and see what you're wearing 50 00:02:43,560 --> 00:02:47,959 Speaker 1: from different advantage points. But those three mirrors also create 51 00:02:48,040 --> 00:02:51,400 Speaker 1: this kind of mirror world because if you if you 52 00:02:51,440 --> 00:02:53,600 Speaker 1: get close enough, especially as a child and you have 53 00:02:53,680 --> 00:02:55,840 Speaker 1: your board out of your mind because you're surrounded by clothes, 54 00:02:56,560 --> 00:02:58,080 Speaker 1: you get close enough to the mirror and you can 55 00:02:58,120 --> 00:03:00,680 Speaker 1: look in and you see the reflection the other mirror, 56 00:03:00,680 --> 00:03:04,079 Speaker 1: and you see this sort of endless cascade of mirrors, 57 00:03:04,120 --> 00:03:08,400 Speaker 1: just endless use, endless use, or endless sort of half 58 00:03:08,480 --> 00:03:10,240 Speaker 1: glimpse glimpses of you, and you feel like if you 59 00:03:10,240 --> 00:03:12,280 Speaker 1: could just sort of stick your head into the mirror, 60 00:03:12,400 --> 00:03:15,160 Speaker 1: you might be able to see down this hallway of 61 00:03:15,280 --> 00:03:19,360 Speaker 1: mirrors into infinity. So there's always this we're I just 62 00:03:19,440 --> 00:03:21,880 Speaker 1: I remember all these opportunities to look into a mirror 63 00:03:21,919 --> 00:03:25,040 Speaker 1: and getting just a sense of there's something uncanny about it, 64 00:03:25,080 --> 00:03:27,600 Speaker 1: there's something strange about the mirror, and you can't help 65 00:03:27,600 --> 00:03:29,920 Speaker 1: but let your imagination run wild or feel just a 66 00:03:29,919 --> 00:03:32,960 Speaker 1: little odd gazing into one. I like that example because 67 00:03:33,000 --> 00:03:36,080 Speaker 1: so often we think of mirrors just reflecting back reality, 68 00:03:36,120 --> 00:03:39,960 Speaker 1: but in fact, mirrors are really sort of a distorted reality. 69 00:03:40,040 --> 00:03:43,680 Speaker 1: Our perception is distorted, and in some ways mirror adds 70 00:03:44,160 --> 00:03:46,720 Speaker 1: mirrors out of this idea of these delusions that we 71 00:03:46,800 --> 00:03:49,960 Speaker 1: hold about ourselves. Yes, I mean that's the key. Mirrors 72 00:03:50,000 --> 00:03:52,640 Speaker 1: are truth and illusion wound up into one. And I 73 00:03:52,720 --> 00:03:55,240 Speaker 1: think even though on the surface we really fall into 74 00:03:55,280 --> 00:03:58,480 Speaker 1: the the eventual, everyday reality of saying, hey, that's me 75 00:03:58,520 --> 00:04:00,880 Speaker 1: in the mirror. That's me, that's the real that's totally 76 00:04:00,880 --> 00:04:03,120 Speaker 1: the side that I part my hair on, even though 77 00:04:03,120 --> 00:04:06,600 Speaker 1: everyone else is going to see it reverse. But deep 78 00:04:06,640 --> 00:04:09,880 Speaker 1: down there's something in us that knows that that's not right. 79 00:04:09,960 --> 00:04:14,000 Speaker 1: That's that's signaling at least one remaining flashing button on 80 00:04:14,080 --> 00:04:16,960 Speaker 1: the on the cognitive panel is going off saying there's 81 00:04:17,000 --> 00:04:19,440 Speaker 1: something uncanny going here, and I think that's why the 82 00:04:19,520 --> 00:04:24,240 Speaker 1: countless tales of strange creatures in the mirror mirrors that 83 00:04:24,279 --> 00:04:26,919 Speaker 1: tell the future or or reveal of secrets in the past, 84 00:04:26,920 --> 00:04:29,040 Speaker 1: why they resonate so strongly with us. And if you 85 00:04:29,040 --> 00:04:31,400 Speaker 1: go to stuftable your mind dot com, I wrote a 86 00:04:31,440 --> 00:04:35,200 Speaker 1: little list article called twelve Terrifying fictional mirrors that runs 87 00:04:35,240 --> 00:04:38,599 Speaker 1: through a few interesting examples of this. Yeah, so check 88 00:04:38,640 --> 00:04:40,360 Speaker 1: that out. But I think you're right. There's this idea 89 00:04:40,440 --> 00:04:45,240 Speaker 1: that mirrors are capturing this sort of self awareness, this reality. 90 00:04:45,279 --> 00:04:50,279 Speaker 1: And in fact, there's that mirror cognition test that many 91 00:04:50,279 --> 00:04:53,080 Speaker 1: scientists will use with animals. In fact, we know that guerillas, 92 00:04:53,120 --> 00:04:57,719 Speaker 1: we know that chimps, Banobo's dolphins, Asian elephants, they all 93 00:04:57,800 --> 00:05:01,360 Speaker 1: passed that self awareness test in a mirror. In other words, 94 00:05:01,400 --> 00:05:03,400 Speaker 1: you can put markings on them and they will examine 95 00:05:03,440 --> 00:05:06,200 Speaker 1: those markets. They will recognize themselves in that mirror, and 96 00:05:06,240 --> 00:05:10,120 Speaker 1: sometimes they will even inspect the inside of their mouth 97 00:05:10,200 --> 00:05:12,040 Speaker 1: as if like do I have something in my teeth, 98 00:05:12,560 --> 00:05:15,320 Speaker 1: The look up their noses, and sometimes they will even 99 00:05:15,520 --> 00:05:17,560 Speaker 1: check out their genitals. Well there you go. Where where 100 00:05:17,600 --> 00:05:19,920 Speaker 1: can I Where can I go from there? From an 101 00:05:19,920 --> 00:05:22,080 Speaker 1: ape looking at its own genitals in the mirror. UM 102 00:05:22,200 --> 00:05:24,720 Speaker 1: A safe place. That's safe place. Well let's let's let's 103 00:05:25,040 --> 00:05:27,440 Speaker 1: flee into the past for a moment. Then just a 104 00:05:27,560 --> 00:05:31,200 Speaker 1: quick rundown on the history of mirrors. UM. Again, we 105 00:05:31,240 --> 00:05:34,919 Speaker 1: have always from a very early age just lost in prehistory. 106 00:05:35,320 --> 00:05:40,160 Speaker 1: You know, humans gazed into the reflective surface of some 107 00:05:40,240 --> 00:05:42,640 Speaker 1: water and we're able to see their own reflection. I mean, 108 00:05:42,680 --> 00:05:45,400 Speaker 1: that's just that, just that just happened, and who knows 109 00:05:45,440 --> 00:05:49,400 Speaker 1: when it did. But humans started making simple mirrors probably 110 00:05:49,400 --> 00:05:53,160 Speaker 1: around six BC. Uh. They use polished obsidian as a 111 00:05:53,240 --> 00:05:58,120 Speaker 1: reflective surface. Uh. Later on we started using things like copper, bronze, silver, gold, 112 00:05:58,120 --> 00:06:00,880 Speaker 1: and even lad But of course all of this involves 113 00:06:01,000 --> 00:06:03,080 Speaker 1: very very heavy mirrors, you know, and they have to 114 00:06:03,160 --> 00:06:06,040 Speaker 1: be very small because you're making it out of obsidian 115 00:06:06,200 --> 00:06:09,520 Speaker 1: or a gold or silver. UM. Contemporary mirrors didn't come 116 00:06:09,520 --> 00:06:11,760 Speaker 1: into being into the late Middle Ages. But even then 117 00:06:11,920 --> 00:06:14,560 Speaker 1: there were problems with their manufacture because you're using glass, 118 00:06:14,600 --> 00:06:16,800 Speaker 1: and the sand used for glass making contained all these 119 00:06:16,800 --> 00:06:19,320 Speaker 1: different impurities, and so it was hard to produce a 120 00:06:19,400 --> 00:06:23,640 Speaker 1: really clear glass based mirror. Uh. And and also the 121 00:06:23,680 --> 00:06:26,719 Speaker 1: shock caused by the heat of adding molten metal for 122 00:06:26,920 --> 00:06:30,679 Speaker 1: backing that glass almost always broke the glass. So we 123 00:06:30,800 --> 00:06:32,679 Speaker 1: you know, Middle Ages, we knew how to make a mirror, 124 00:06:32,720 --> 00:06:34,920 Speaker 1: but we didn't quite have all the techniques down. It 125 00:06:34,960 --> 00:06:38,480 Speaker 1: wasn't until the Renaissance, when the Florentines admitted a process 126 00:06:38,520 --> 00:06:42,440 Speaker 1: for making low temperature lead backing that modern mirrors really 127 00:06:42,520 --> 00:06:45,080 Speaker 1: hit the scene. Um. And for the longest it was 128 00:06:45,120 --> 00:06:48,440 Speaker 1: all about just looking at yourself. There wasn't It wasn't 129 00:06:48,440 --> 00:06:51,480 Speaker 1: a lot of real, uh, you know, scientific opportunity with 130 00:06:51,520 --> 00:06:55,120 Speaker 1: the mirror. But of course, eventually around the sixteen sixties, 131 00:06:55,560 --> 00:06:59,040 Speaker 1: scientists started realizing we can you utilize and telescopes. Uh. 132 00:06:59,040 --> 00:07:01,360 Speaker 1: And the modern mirror, by the way, is made by 133 00:07:01,400 --> 00:07:04,359 Speaker 1: silvering or spraying a thin layer of silver or aluminum 134 00:07:04,400 --> 00:07:08,919 Speaker 1: onto the back of a sheet of glass. And most 135 00:07:09,000 --> 00:07:11,880 Speaker 1: mirrors are made today by heating aluminum in a vacuum, 136 00:07:11,960 --> 00:07:14,840 Speaker 1: which then bonds to the cooler glass. So that's the 137 00:07:15,120 --> 00:07:17,720 Speaker 1: basics how we started making mirrors and how we make 138 00:07:17,760 --> 00:07:20,840 Speaker 1: mirrors today. Yeah, and they became far more portable. Um. Now, 139 00:07:20,880 --> 00:07:24,200 Speaker 1: let's talk about light interacting with the surface of a mirror. 140 00:07:24,280 --> 00:07:27,000 Speaker 1: When a photon a packet of light hits a mirror, 141 00:07:27,000 --> 00:07:29,400 Speaker 1: it's absorbed by one of the atoms in the mirror, 142 00:07:29,440 --> 00:07:32,480 Speaker 1: and this causes electrons in the atom to vibrate and 143 00:07:32,520 --> 00:07:36,240 Speaker 1: give off an identical photon of light, the one that 144 00:07:36,280 --> 00:07:38,800 Speaker 1: you perceive in your eye yourself right, So your I 145 00:07:38,960 --> 00:07:42,080 Speaker 1: see these reflected photons as a mirror image. The mirror 146 00:07:42,120 --> 00:07:45,600 Speaker 1: image is reversed, which you can easily see if you 147 00:07:45,600 --> 00:07:47,280 Speaker 1: stand in front of a mirror with a shirt with 148 00:07:47,320 --> 00:07:50,280 Speaker 1: words on it. Right. Yes, and again that the parting 149 00:07:50,280 --> 00:07:52,200 Speaker 1: of the hair thing, you know, you always you sort 150 00:07:52,200 --> 00:07:53,600 Speaker 1: of grow to thank you part your hair on one 151 00:07:53,600 --> 00:07:55,680 Speaker 1: side of your your head perhaps, but you're actually doing 152 00:07:55,680 --> 00:07:58,040 Speaker 1: it on the other. Yeah. But in the case of 153 00:07:58,080 --> 00:08:00,560 Speaker 1: the words you have the words on the you're appearing 154 00:08:00,560 --> 00:08:03,920 Speaker 1: backwards in the mirror, and it is not right to left. 155 00:08:03,960 --> 00:08:07,400 Speaker 1: That has been reversed. The image has been reversed from 156 00:08:07,520 --> 00:08:10,440 Speaker 1: front to back. Now, this is a squirrelly concept, right, 157 00:08:10,440 --> 00:08:13,360 Speaker 1: because you're looking in the mirror, you see your right 158 00:08:13,400 --> 00:08:17,240 Speaker 1: hand up. Um, it looks as though it's right to right. 159 00:08:17,360 --> 00:08:20,280 Speaker 1: It just looks like it's been left to right reversed. 160 00:08:21,240 --> 00:08:24,920 Speaker 1: But Richard Kinneman has an interesting idea about this, and 161 00:08:25,000 --> 00:08:28,800 Speaker 1: he says, think about looking into the mirror, putting your 162 00:08:28,880 --> 00:08:33,200 Speaker 1: right hand up and it facing east. Okay, we're on 163 00:08:33,240 --> 00:08:36,360 Speaker 1: this parallel plane with the mirror. If you look at 164 00:08:36,400 --> 00:08:40,400 Speaker 1: yourself in the mirror, your nose, the nose you're touching yourself, 165 00:08:41,040 --> 00:08:43,559 Speaker 1: is pointing north, but the nose that's being reflected back 166 00:08:43,559 --> 00:08:46,480 Speaker 1: to you is pointing south. And he's saying that this 167 00:08:46,559 --> 00:08:49,120 Speaker 1: is that front to back concept. And you and I 168 00:08:49,160 --> 00:08:53,120 Speaker 1: were talking about this earlier and actually um doing some 169 00:08:53,320 --> 00:08:56,480 Speaker 1: yoga in the aisles of our office to try to 170 00:08:56,480 --> 00:08:59,920 Speaker 1: get to the bottom of this concept. Because the reversal 171 00:09:00,240 --> 00:09:03,160 Speaker 1: situation also comes into play in a yoga class because 172 00:09:03,320 --> 00:09:05,480 Speaker 1: you know, it varies depending on who your yoga teacher 173 00:09:05,480 --> 00:09:07,080 Speaker 1: isn't how they do it, but a lot of the 174 00:09:07,120 --> 00:09:10,000 Speaker 1: time the yoga teacher will be facing you like a mirror, 175 00:09:10,080 --> 00:09:12,720 Speaker 1: like a mirror, and they're going to do the reverse 176 00:09:12,760 --> 00:09:15,640 Speaker 1: of whatever you're doing. So if we're lifting our left 177 00:09:15,720 --> 00:09:18,400 Speaker 1: leg in the class, he or she is going to 178 00:09:18,520 --> 00:09:22,440 Speaker 1: lift their right leg because it's going because the right 179 00:09:22,520 --> 00:09:25,760 Speaker 1: leg is going to lift on the same side. Uh 180 00:09:25,920 --> 00:09:28,160 Speaker 1: as far as the room is concerned, as as our 181 00:09:28,200 --> 00:09:30,880 Speaker 1: other legs. So right there, front to back. Yeah, they're 182 00:09:30,880 --> 00:09:34,800 Speaker 1: correcting for the reversal. It's so they're they're front to 183 00:09:34,840 --> 00:09:36,680 Speaker 1: back to you like a mirror. If it were left 184 00:09:36,720 --> 00:09:40,040 Speaker 1: to right, they would turn around right and then you 185 00:09:40,040 --> 00:09:42,560 Speaker 1: would be looking at their backside and they would be 186 00:09:42,600 --> 00:09:46,560 Speaker 1: mirroring you from from from uh left to right in 187 00:09:46,600 --> 00:09:48,760 Speaker 1: that way. So I don't know if it's still kind 188 00:09:48,800 --> 00:09:51,640 Speaker 1: of a squarely concept people. That helps another way I 189 00:09:51,640 --> 00:09:55,160 Speaker 1: was thinking about it, um, a pane of glass with 190 00:09:55,240 --> 00:09:57,120 Speaker 1: writing printed on it, you know, you walk around to 191 00:09:57,120 --> 00:09:59,800 Speaker 1: the other side of it and in it's reverse. Yeah, 192 00:09:59,800 --> 00:10:01,640 Speaker 1: they I guess that's a good example, all right. So 193 00:10:01,760 --> 00:10:04,680 Speaker 1: that's some some mirror basics there. Um. As you mentioned, 194 00:10:04,679 --> 00:10:06,760 Speaker 1: mirrors can be curved to focus light, so boom, you've 195 00:10:06,760 --> 00:10:10,160 Speaker 1: got telescopes, You've got all sorts of uses of mirrors. 196 00:10:10,200 --> 00:10:13,400 Speaker 1: But it turns out that mirrors can actually be used 197 00:10:13,800 --> 00:10:16,880 Speaker 1: in therapy as well. Yes, and this is where things 198 00:10:16,920 --> 00:10:19,240 Speaker 1: start getting getting an early trippy to think about, you know. 199 00:10:19,280 --> 00:10:22,640 Speaker 1: And it also gets back into that uncanny world that 200 00:10:22,720 --> 00:10:24,920 Speaker 1: we discussed earlier. You guys, you're looking in the mirror. 201 00:10:24,920 --> 00:10:28,960 Speaker 1: Something's not quite right, and it twists our perception of reality, 202 00:10:29,360 --> 00:10:31,560 Speaker 1: uh in a way that we take for granted, but 203 00:10:31,679 --> 00:10:35,000 Speaker 1: in a way that becomes far more substantial when we're 204 00:10:35,040 --> 00:10:39,080 Speaker 1: dealing with the treatment of phantom limb syndrome. Yeah, because 205 00:10:39,080 --> 00:10:42,440 Speaker 1: mirror therapy has been used in phantom limbs syndrome, also 206 00:10:42,520 --> 00:10:46,560 Speaker 1: chronic pain and post stroke paralysis. And the reason that 207 00:10:46,640 --> 00:10:49,560 Speaker 1: it's used is that reflected images of patients limbs or 208 00:10:49,640 --> 00:10:53,679 Speaker 1: other body parts trick the brain into healing itself. Now, 209 00:10:53,760 --> 00:10:56,800 Speaker 1: think about this. The majority of people who have phantom 210 00:10:56,920 --> 00:10:59,960 Speaker 1: limb um or excuse me, who have a limb ampute, 211 00:11:00,000 --> 00:11:04,240 Speaker 1: hated or the nerve supply removed report experiencing some kind 212 00:11:04,600 --> 00:11:08,960 Speaker 1: of phantom limb and pain, but only some report persistent 213 00:11:09,000 --> 00:11:14,400 Speaker 1: phantom limb pain, which is apparently excruciating pain. Yeah, I've 214 00:11:14,440 --> 00:11:15,960 Speaker 1: heard some accounts of it are kind of kind of 215 00:11:16,000 --> 00:11:19,160 Speaker 1: like they you know, you feel that that missing limb 216 00:11:19,320 --> 00:11:21,680 Speaker 1: as if it's there, but as if it is, say, 217 00:11:22,000 --> 00:11:24,280 Speaker 1: cramped up, like you need a move it, you need 218 00:11:24,280 --> 00:11:27,160 Speaker 1: to reposition it, but it's not actually there, so you can't. 219 00:11:27,360 --> 00:11:29,280 Speaker 1: It's like an itch that can never be scratched because 220 00:11:29,320 --> 00:11:32,640 Speaker 1: the place of the itch only exist in the circuitry 221 00:11:32,679 --> 00:11:35,480 Speaker 1: of your mind at this point. Now, in the New 222 00:11:35,480 --> 00:11:39,160 Speaker 1: England Journal of Medicine, Jack Zow and neurologist at Walter 223 00:11:39,200 --> 00:11:42,880 Speaker 1: Reed Army Medical Center described the phenomenon, and he said 224 00:11:42,880 --> 00:11:46,640 Speaker 1: that researchers randomly assigned twenty two lower limb amputees with 225 00:11:46,679 --> 00:11:50,320 Speaker 1: phantom limb pain to one of three groups. Now, one 226 00:11:50,320 --> 00:11:54,400 Speaker 1: group had mirror movements, and patients watched the reflected image 227 00:11:54,440 --> 00:11:57,760 Speaker 1: of their intact foot in a mirror while they moved 228 00:11:57,920 --> 00:12:00,880 Speaker 1: both feet simultaneously, or so it felt like they were 229 00:12:00,920 --> 00:12:03,840 Speaker 1: moving both of them simultaneously. Right, So, using one of 230 00:12:03,880 --> 00:12:07,520 Speaker 1: these these mirror boxes, you end up with the when 231 00:12:07,559 --> 00:12:11,760 Speaker 1: you call it an illusion even that that you're watching 232 00:12:11,840 --> 00:12:16,640 Speaker 1: yourself move the missing limb. Yeah, and there's a video 233 00:12:16,640 --> 00:12:19,439 Speaker 1: of this. It's it's extraordinary. They just put the mirror 234 00:12:19,520 --> 00:12:21,959 Speaker 1: there and it really does look as though the patient 235 00:12:22,559 --> 00:12:26,800 Speaker 1: has both limbs intact moving it around, and the reporting 236 00:12:26,920 --> 00:12:31,120 Speaker 1: that it feels like it is there. It's it's bolstering 237 00:12:31,320 --> 00:12:33,439 Speaker 1: all of those ideas they have in their head about 238 00:12:33,480 --> 00:12:37,000 Speaker 1: this uniformity. I should add that the mirror box technique 239 00:12:37,000 --> 00:12:40,600 Speaker 1: was invented by vs vs Ramaschandre, who've we've actually mentioned 240 00:12:40,960 --> 00:12:43,320 Speaker 1: at least several times before in the past. This podcast 241 00:12:43,400 --> 00:12:45,240 Speaker 1: does a lot of interesting work, but if you do 242 00:12:45,679 --> 00:12:48,640 Speaker 1: just a quick Google search for for mirror therapy or 243 00:12:48,640 --> 00:12:51,760 Speaker 1: mirror box, etcetera, you'll find his website that has a 244 00:12:51,760 --> 00:12:56,040 Speaker 1: lot of resources about this this particular branch of therapy. Now, 245 00:12:56,040 --> 00:12:59,360 Speaker 1: the second group, they had a covered mirror movement. In 246 00:12:59,360 --> 00:13:01,920 Speaker 1: other words, atients perform the same movements, but the mirror 247 00:13:01,960 --> 00:13:03,720 Speaker 1: was covered so they did not see a moving limb. 248 00:13:04,080 --> 00:13:08,480 Speaker 1: The third group was imagined movements, so they mentally pictured 249 00:13:08,640 --> 00:13:13,000 Speaker 1: moving the phantom foot with their eyes closed. So what happened? Okay? 250 00:13:13,120 --> 00:13:16,280 Speaker 1: They had the patients performed this fifteen minutes a day 251 00:13:17,080 --> 00:13:20,679 Speaker 1: and they recorded the number, duration, and intensity of pain episodes. 252 00:13:20,800 --> 00:13:24,800 Speaker 1: After four weeks, there were two key findings. First, pain 253 00:13:24,880 --> 00:13:27,760 Speaker 1: decreased significantly in all six patients who were doing the 254 00:13:27,800 --> 00:13:31,320 Speaker 1: mirror movements. Second, three out of six patients in the 255 00:13:31,440 --> 00:13:35,040 Speaker 1: covered mirror movements group and four out of six patients 256 00:13:35,080 --> 00:13:38,120 Speaker 1: in the imagined movements group got worse and not better. 257 00:13:39,559 --> 00:13:44,400 Speaker 1: And some of this, Zal says, is that, um, it 258 00:13:44,440 --> 00:13:47,720 Speaker 1: could be that these movements when you see them in 259 00:13:47,760 --> 00:13:51,319 Speaker 1: the mirror, could be calming down the nerve signals in 260 00:13:51,360 --> 00:13:54,280 Speaker 1: the phantom limb, or it could be replacing what he 261 00:13:54,320 --> 00:13:57,480 Speaker 1: calls the bad memories of that limb, and in a nutshell, 262 00:13:57,640 --> 00:14:00,880 Speaker 1: it's kind of like the visual component of this is 263 00:14:00,920 --> 00:14:03,760 Speaker 1: helping to modulate that pain. Yeah, I was reading that 264 00:14:03,840 --> 00:14:06,520 Speaker 1: in many cases, what you're dealing with is a situation 265 00:14:06,559 --> 00:14:10,000 Speaker 1: where before the limb was amputated, there was a period 266 00:14:10,240 --> 00:14:13,320 Speaker 1: of paralysis. So in a sense, it's kind of like 267 00:14:13,559 --> 00:14:17,480 Speaker 1: it's the echo of the final sensations from that limb 268 00:14:18,080 --> 00:14:20,160 Speaker 1: and uh and then like you say, creating a new 269 00:14:20,200 --> 00:14:23,640 Speaker 1: memory for that limb, one of movement instead of one 270 00:14:23,680 --> 00:14:27,240 Speaker 1: of of paralysis. Yeah. And there's there's all sorts of 271 00:14:27,280 --> 00:14:30,840 Speaker 1: things going on here. So there's there's some evidence that 272 00:14:30,920 --> 00:14:34,520 Speaker 1: mirror therapy really does help. There needs to be more studies, 273 00:14:34,560 --> 00:14:37,000 Speaker 1: but there's an idea that mirror neurons are a part 274 00:14:37,040 --> 00:14:40,360 Speaker 1: of this. There's also an idea that your brain is 275 00:14:40,440 --> 00:14:43,480 Speaker 1: conflicted because what it feels and what it sees are 276 00:14:43,520 --> 00:14:45,840 Speaker 1: completely different and it doesn't really know how to process 277 00:14:45,880 --> 00:14:50,200 Speaker 1: that information. Um, But as I said, mirror therapy seems 278 00:14:50,280 --> 00:14:53,880 Speaker 1: to be helpful in these situations. All Right, we'll hold on. 279 00:14:53,920 --> 00:14:55,640 Speaker 1: We're gonna take a quick break, and when we come back, 280 00:14:55,680 --> 00:14:58,600 Speaker 1: we're going to discuss more about the mirror and the 281 00:14:58,640 --> 00:15:09,360 Speaker 1: person in the mirror watching. All right, we are back 282 00:15:09,720 --> 00:15:12,520 Speaker 1: the next scenario we are going to paint for you. 283 00:15:12,800 --> 00:15:14,840 Speaker 1: I think it's so interesting to me because again, it's 284 00:15:14,880 --> 00:15:17,480 Speaker 1: one of those simple subconscious things going on. You hang 285 00:15:17,480 --> 00:15:20,280 Speaker 1: a mirror in a room, You ask people to do things, 286 00:15:20,440 --> 00:15:23,240 Speaker 1: you observe them, and does just the act of this 287 00:15:23,360 --> 00:15:27,280 Speaker 1: mirror hanging in the room reflecting back their image change 288 00:15:27,320 --> 00:15:30,760 Speaker 1: how they behave Okay, it's an interesting concept. First, I 289 00:15:30,760 --> 00:15:32,200 Speaker 1: think we should get one thing out of the way 290 00:15:32,320 --> 00:15:35,160 Speaker 1: for the paranoid listeners who might be wondering, is this 291 00:15:35,240 --> 00:15:38,920 Speaker 1: a two way mirror behind which there's a cabal of 292 00:15:38,960 --> 00:15:43,960 Speaker 1: secret observers watching our every movement? Uh? No, are you sure? 293 00:15:44,000 --> 00:15:47,120 Speaker 1: I'm sure, because well, this is a little trick. If 294 00:15:47,120 --> 00:15:49,360 Speaker 1: you're ever in a room and you're thinking, I want 295 00:15:49,360 --> 00:15:51,120 Speaker 1: you're thinking to yourself, I wonder if there's a secret 296 00:15:51,120 --> 00:15:53,320 Speaker 1: cabal of observers on the other side of that mirror. 297 00:15:53,480 --> 00:15:56,200 Speaker 1: Turn the light off in the room if possible, or 298 00:15:56,320 --> 00:15:58,760 Speaker 1: you know, break some light bulbs, whatever it takes, because 299 00:15:58,880 --> 00:16:01,200 Speaker 1: if you darken the room you're in, then you will 300 00:16:01,200 --> 00:16:03,040 Speaker 1: be able to see through the two way mirror into 301 00:16:03,080 --> 00:16:06,040 Speaker 1: the observer's room. Because that's how the whole situation works 302 00:16:06,040 --> 00:16:08,760 Speaker 1: with two way mirrors, Yeah, to a mirrors that they 303 00:16:08,800 --> 00:16:12,000 Speaker 1: don't have a coat of paint on the back of them. 304 00:16:12,560 --> 00:16:15,920 Speaker 1: And what they do is they manipulate light. So in 305 00:16:15,960 --> 00:16:18,080 Speaker 1: the room in which you are being observed, the lights 306 00:16:18,120 --> 00:16:21,640 Speaker 1: are are really really high, and so more of that 307 00:16:21,760 --> 00:16:25,360 Speaker 1: light is reflecting onto the person who's being observed. If 308 00:16:25,400 --> 00:16:28,080 Speaker 1: you're in the dark room and you're the detective, well 309 00:16:28,120 --> 00:16:30,920 Speaker 1: of course the lights are down low. But if you 310 00:16:30,960 --> 00:16:33,000 Speaker 1: turn the lights down low in the other room ha ha, 311 00:16:33,560 --> 00:16:36,440 Speaker 1: you can see through to the evil cabal on the 312 00:16:36,520 --> 00:16:39,240 Speaker 1: other side. Yeah, and break the Panopticon in that sense. 313 00:16:39,480 --> 00:16:41,800 Speaker 1: But what we're talking about here is just a normal 314 00:16:41,840 --> 00:16:43,880 Speaker 1: mirror on the wall, and it actually is kind of 315 00:16:43,880 --> 00:16:48,320 Speaker 1: akin to the Panopticon situation, where uh, in the Panopicon situation, 316 00:16:48,360 --> 00:16:50,560 Speaker 1: it's the fear that someone is watching us, the belief 317 00:16:50,600 --> 00:16:53,080 Speaker 1: that someone might be watching what we're doing, and therefore 318 00:16:53,360 --> 00:16:56,080 Speaker 1: we have to perform, uh, we have to perform better, 319 00:16:56,160 --> 00:16:59,520 Speaker 1: We have to perform with more honesty less to someone 320 00:16:59,640 --> 00:17:02,040 Speaker 1: find a stout. But we've talked about this before. When 321 00:17:02,040 --> 00:17:04,680 Speaker 1: people are made self aware, they sort of change their 322 00:17:04,680 --> 00:17:08,200 Speaker 1: behavior if they think that they're uh consciously entering into 323 00:17:08,280 --> 00:17:10,560 Speaker 1: some sort of contract or I guess in this case 324 00:17:10,560 --> 00:17:12,639 Speaker 1: it's more subconsciously. But let's get to the nuts and 325 00:17:12,680 --> 00:17:15,840 Speaker 1: bolts here. We are talking about the Journal of Personality 326 00:17:15,880 --> 00:17:22,280 Speaker 1: and Social Social Psychology and uh Neil McCrae, Gallen V. Bodenhausen, 327 00:17:22,359 --> 00:17:24,960 Speaker 1: and Alan B. Milnai. They found that people in a 328 00:17:25,040 --> 00:17:28,479 Speaker 1: room with a mirror were comparatively less likely to judge 329 00:17:28,520 --> 00:17:32,880 Speaker 1: others based on social stereotypes about for example, sex, race, 330 00:17:32,960 --> 00:17:36,359 Speaker 1: or religion. And Bowden Housen said, when people are made 331 00:17:36,359 --> 00:17:39,200 Speaker 1: to be self aware, they are likelier to stop and 332 00:17:39,320 --> 00:17:42,639 Speaker 1: think about what they're doing. A byproduct of that awareness 333 00:17:42,640 --> 00:17:45,439 Speaker 1: may be a shift away from acting on autopilot towards 334 00:17:45,520 --> 00:17:49,600 Speaker 1: more desirable ways of behaving. So it's kind of interesting. 335 00:17:49,640 --> 00:17:56,879 Speaker 1: It's this this physical self reflection encouraging philosophical self reflection. 336 00:17:57,520 --> 00:18:00,639 Speaker 1: And we've talked about this before. In terms of empathy 337 00:18:00,680 --> 00:18:04,000 Speaker 1: with another person, you are less likely to judge that 338 00:18:04,119 --> 00:18:06,760 Speaker 1: other person if you feel a connection, If you are 339 00:18:06,760 --> 00:18:08,960 Speaker 1: projecting the image of yourself or having some sort of 340 00:18:08,960 --> 00:18:11,640 Speaker 1: self reflection, it makes you dwell a little bit more 341 00:18:12,480 --> 00:18:16,040 Speaker 1: about the person that you're considering because there I am 342 00:18:16,080 --> 00:18:18,320 Speaker 1: in the mirror, and there are the other people conceivably 343 00:18:18,320 --> 00:18:21,280 Speaker 1: in the mirror as well. I am maybe seeing myself 344 00:18:22,160 --> 00:18:24,920 Speaker 1: from from this third person vantage point to a certain 345 00:18:24,920 --> 00:18:27,560 Speaker 1: extent here, I am just another person amid all these people. 346 00:18:27,760 --> 00:18:30,440 Speaker 1: And also, just to get back down to the existential 347 00:18:30,960 --> 00:18:33,399 Speaker 1: none of it all there, I am who is that 348 00:18:33,440 --> 00:18:37,640 Speaker 1: guy there is? And uh, yeah, you can see where 349 00:18:37,640 --> 00:18:41,040 Speaker 1: that would just really throw your brain for for a 350 00:18:41,080 --> 00:18:44,600 Speaker 1: loop there. Philosophically speaking, Yeah, you can't know yourself until 351 00:18:44,640 --> 00:18:46,639 Speaker 1: you know others. Right, I'm looking at the man in 352 00:18:46,680 --> 00:18:49,119 Speaker 1: the mirror. I'm hoping that he'll change his way. Do 353 00:18:49,160 --> 00:18:54,439 Speaker 1: you see a man in the mirror? Um looking? That's right, 354 00:18:55,960 --> 00:18:58,520 Speaker 1: it does. It does bring up an interesting observation, though. 355 00:18:58,760 --> 00:19:01,000 Speaker 1: We have no mirrors in our office place, and I 356 00:19:01,000 --> 00:19:04,080 Speaker 1: wonder if that is by design, because clearly our our 357 00:19:04,119 --> 00:19:06,720 Speaker 1: office is impeccably designed, but with the open floor plan 358 00:19:06,800 --> 00:19:08,760 Speaker 1: and all you know, you know, I say that, but 359 00:19:08,800 --> 00:19:10,919 Speaker 1: I now that I remember. I believe we used to 360 00:19:10,960 --> 00:19:13,879 Speaker 1: have a coworker who kept a mirror on their desk 361 00:19:14,240 --> 00:19:17,760 Speaker 1: so they could keep an eye on people moving behind them, 362 00:19:17,800 --> 00:19:20,600 Speaker 1: standing behind them. That sounds more like a how stuff 363 00:19:20,640 --> 00:19:23,240 Speaker 1: works in in thing, Yeah, which is which is interesting 364 00:19:23,320 --> 00:19:25,359 Speaker 1: kind of almost a magical use of mirrors, using the 365 00:19:25,400 --> 00:19:28,080 Speaker 1: mirror as a protective uh instrument, And you see that 366 00:19:28,119 --> 00:19:30,359 Speaker 1: a lot in the in folklore mythology, the idea that 367 00:19:30,440 --> 00:19:32,439 Speaker 1: the that the mirror just is. There are plenty of 368 00:19:32,680 --> 00:19:35,320 Speaker 1: stories about mirrors that are magical and cursed and awful 369 00:19:35,400 --> 00:19:38,240 Speaker 1: and gay ways to other realms. There's also the idea 370 00:19:38,280 --> 00:19:40,560 Speaker 1: that there's something pure about the mirror, that it reveals 371 00:19:40,560 --> 00:19:43,200 Speaker 1: the soul, the truth. Yeah, it can help you spot 372 00:19:43,440 --> 00:19:46,959 Speaker 1: or spot the absence that that that lets you perceive 373 00:19:47,040 --> 00:19:49,600 Speaker 1: vampires and then all that sort of stuff. I think 374 00:19:49,680 --> 00:19:52,560 Speaker 1: this idea of a coworker having a mirror to look 375 00:19:52,560 --> 00:19:55,160 Speaker 1: at others is interesting because it kind of loops into 376 00:19:55,200 --> 00:19:58,040 Speaker 1: this idea of the Venus effect, because you could if 377 00:19:58,040 --> 00:20:00,000 Speaker 1: you're just passing by, I think that person was looking 378 00:20:00,040 --> 00:20:03,720 Speaker 1: at themselves. And this placed directly into this idea of 379 00:20:03,760 --> 00:20:06,679 Speaker 1: the famous paintings of the goddess Venus looking into a 380 00:20:06,760 --> 00:20:09,719 Speaker 1: small mirror. And if you were to look at these paintings, 381 00:20:09,720 --> 00:20:13,200 Speaker 1: you would have seem assume that Venus is admiring her 382 00:20:13,240 --> 00:20:16,080 Speaker 1: own face because you see her face in the mirror. 383 00:20:16,480 --> 00:20:20,480 Speaker 1: But that's your viewpoint, which is different from hers. If 384 00:20:20,480 --> 00:20:22,359 Speaker 1: you can see her in the mirror, then she would 385 00:20:22,359 --> 00:20:25,800 Speaker 1: see you in the mirror. Right. This is interesting. You 386 00:20:25,800 --> 00:20:28,520 Speaker 1: can really go down the rabbit hole looking up images, 387 00:20:28,840 --> 00:20:31,880 Speaker 1: I mean looking at paintings of people looking in mirrors, 388 00:20:31,960 --> 00:20:34,320 Speaker 1: because in some cases you get you have a situation 389 00:20:34,480 --> 00:20:37,960 Speaker 1: like with these various Venus images, where again they're looking 390 00:20:38,000 --> 00:20:41,040 Speaker 1: in a mirror, but the reflection that you see is 391 00:20:41,080 --> 00:20:43,560 Speaker 1: looking right at you, which means that she, he or 392 00:20:43,560 --> 00:20:46,000 Speaker 1: she is not looking at themselves. They are looking at 393 00:20:46,119 --> 00:20:49,040 Speaker 1: the painter, at the viewer of the painting. However, you 394 00:20:49,080 --> 00:20:52,840 Speaker 1: want to get into that gray area of observer versus art. 395 00:20:53,200 --> 00:20:55,720 Speaker 1: But but then you look at other works and and 396 00:20:55,800 --> 00:20:58,480 Speaker 1: you'll find the that they'll actually have it right. I 397 00:20:58,520 --> 00:21:01,280 Speaker 1: was looking at a number of works by Norman Rockwell, 398 00:21:01,600 --> 00:21:04,280 Speaker 1: who I tend to take for granted as an artist 399 00:21:04,280 --> 00:21:06,560 Speaker 1: because Norman Rockwell is not really my thing, and and 400 00:21:06,640 --> 00:21:09,200 Speaker 1: it's he's you know, he's been so mainstream, such a 401 00:21:09,240 --> 00:21:12,200 Speaker 1: slice of pie Americana, you kind of forget that, Hey, 402 00:21:12,240 --> 00:21:15,239 Speaker 1: this guy really was a talented artist, and he has 403 00:21:15,280 --> 00:21:18,520 Speaker 1: a number of images that involved mirrors, including that that 404 00:21:18,560 --> 00:21:22,680 Speaker 1: the famous self portrait where he is looking there. It's 405 00:21:22,680 --> 00:21:25,040 Speaker 1: just like a triple self portrait, because you see he 406 00:21:25,200 --> 00:21:27,280 Speaker 1: has his back turn to you and he's looking in 407 00:21:27,320 --> 00:21:31,480 Speaker 1: the mirror at himself as he paints an image of himself. Sadly, 408 00:21:31,480 --> 00:21:34,160 Speaker 1: he's wearing glasses that obscure his eyes, so he can't 409 00:21:34,160 --> 00:21:36,359 Speaker 1: really tell if the venus effect is in play. And 410 00:21:36,359 --> 00:21:38,439 Speaker 1: I wonder if that is why, because he wanted to 411 00:21:39,320 --> 00:21:42,800 Speaker 1: avoid that conundrum of where should he where where is 412 00:21:42,800 --> 00:21:47,240 Speaker 1: he looking in this this strange triple self portrait or 413 00:21:47,320 --> 00:21:49,960 Speaker 1: he's just painting us that way, right, But anyway, you 414 00:21:50,000 --> 00:21:51,520 Speaker 1: see plenty of him and he I think he has 415 00:21:51,520 --> 00:21:53,200 Speaker 1: another one of a of a little girl looking into 416 00:21:53,240 --> 00:21:55,280 Speaker 1: the mirror, and in this one she's definitely looking at 417 00:21:55,280 --> 00:21:58,439 Speaker 1: her own reflection, and you really get into the venus effect. 418 00:21:58,440 --> 00:22:02,120 Speaker 1: It's well in movies because what happens when you point 419 00:22:02,119 --> 00:22:04,880 Speaker 1: a camera at an actor looking in a mirror, Well, 420 00:22:04,920 --> 00:22:08,080 Speaker 1: you have to be careful to avoid having the camera 421 00:22:08,440 --> 00:22:11,280 Speaker 1: in the mirror that the actor is looking into. You want, 422 00:22:11,520 --> 00:22:14,640 Speaker 1: uh the the film to show an actor looking at 423 00:22:14,720 --> 00:22:17,040 Speaker 1: his or her own face, So you get into all 424 00:22:17,040 --> 00:22:20,520 Speaker 1: sorts of weird angles that potentially don't match up with 425 00:22:20,640 --> 00:22:24,480 Speaker 1: optical reality. Well, an optical reality is the thing here, 426 00:22:24,520 --> 00:22:26,639 Speaker 1: and that's what the venus effect points to, is this 427 00:22:26,680 --> 00:22:30,120 Speaker 1: idea that we really cannot fuss out ourselves that well 428 00:22:30,240 --> 00:22:33,880 Speaker 1: in the mirror in terms of actual dimensions. Yeah, that's 429 00:22:33,880 --> 00:22:36,080 Speaker 1: why the venus effect, or or any kind of like 430 00:22:36,160 --> 00:22:39,040 Speaker 1: filmmaking shenanigans does. It tends not to throw us out 431 00:22:39,080 --> 00:22:43,560 Speaker 1: of the experience because we ultimately, by and large don't 432 00:22:43,640 --> 00:22:46,200 Speaker 1: have a good grasp on the ocular reality. We don't 433 00:22:46,240 --> 00:22:49,320 Speaker 1: really understand how mirrors work. We just kind of gloss 434 00:22:49,359 --> 00:22:52,959 Speaker 1: over their uncanny nature. Yeah, And to exemplify this, Marco 435 00:22:53,080 --> 00:22:56,679 Speaker 1: Bertamini of the University of Liverpool and his colleagues have 436 00:22:56,800 --> 00:23:00,000 Speaker 1: talked to scores of people about their perception in the mirror, 437 00:23:00,240 --> 00:23:03,400 Speaker 1: and they've conducted a number of studies and what they 438 00:23:03,440 --> 00:23:06,880 Speaker 1: found is that people think, like if if you ask 439 00:23:06,920 --> 00:23:09,720 Speaker 1: them the question, imagine you're standing in front of a 440 00:23:09,720 --> 00:23:11,840 Speaker 1: bathroom mirror, how big do you think the image of 441 00:23:11,840 --> 00:23:14,119 Speaker 1: your face is on the surface? And or if you 442 00:23:14,160 --> 00:23:16,639 Speaker 1: ask them the question, um, what would happen to the 443 00:23:16,680 --> 00:23:19,080 Speaker 1: size of that image if you were to step backward 444 00:23:19,200 --> 00:23:21,520 Speaker 1: away from the class. So think about those for a second, Like, 445 00:23:21,560 --> 00:23:24,120 Speaker 1: the the answer seems to be obvious, right, how big 446 00:23:24,200 --> 00:23:25,919 Speaker 1: is my face in the mirror. It's the size of 447 00:23:26,000 --> 00:23:29,920 Speaker 1: my face because it's my reflection, right, Yeah, And that's 448 00:23:29,920 --> 00:23:31,879 Speaker 1: pretty much what people answered. And then as for the 449 00:23:31,920 --> 00:23:34,760 Speaker 1: second question about moving away from the mirror, they say, well, 450 00:23:34,800 --> 00:23:36,760 Speaker 1: of course, the size of my image will shrink with 451 00:23:36,840 --> 00:23:40,680 Speaker 1: each step. Not so, this is not true. If you 452 00:23:40,720 --> 00:23:43,080 Speaker 1: outline your face on a mirror, it will be exactly 453 00:23:43,160 --> 00:23:46,040 Speaker 1: half the size of your real face, and if you 454 00:23:46,119 --> 00:23:48,680 Speaker 1: step back, the size of the outline won't change. It 455 00:23:48,720 --> 00:23:52,919 Speaker 1: will remain half the size of your image. And people 456 00:23:52,960 --> 00:23:55,480 Speaker 1: fail to understand that the image on the surface of 457 00:23:55,520 --> 00:23:58,000 Speaker 1: the mirror is half the size of the observer because 458 00:23:58,080 --> 00:24:02,080 Speaker 1: a mirror is always halfway between the observer and the 459 00:24:02,119 --> 00:24:04,879 Speaker 1: image that appears inside the mirror. Exactly like if you 460 00:24:04,880 --> 00:24:07,320 Speaker 1: think back to the old Mark's Brother gag and duck Suit, 461 00:24:07,600 --> 00:24:09,600 Speaker 1: it doesn't matter if you haven't seen duck Suit. I'm 462 00:24:09,640 --> 00:24:11,520 Speaker 1: sure most of you have not. You still know the 463 00:24:11,520 --> 00:24:15,119 Speaker 1: gag because it's it keeps repeating itself in countless pieces 464 00:24:15,119 --> 00:24:18,320 Speaker 1: of media where someone thinks they're looking into a mirror 465 00:24:18,800 --> 00:24:20,960 Speaker 1: but they're not. It's just an empty frame and there's 466 00:24:21,000 --> 00:24:24,520 Speaker 1: someone pretending to be them on the other side, matching 467 00:24:24,680 --> 00:24:28,480 Speaker 1: their movements precisely, and generally the ruse will last for 468 00:24:28,600 --> 00:24:32,360 Speaker 1: just a few seconds until one of the the reflective 469 00:24:32,400 --> 00:24:35,960 Speaker 1: people out maneuvers the other one does an unexpected movement. 470 00:24:36,280 --> 00:24:40,199 Speaker 1: The mimic can't mimic. And that's exactly what happened this 471 00:24:40,240 --> 00:24:42,080 Speaker 1: morning in my about from you for the person who 472 00:24:42,200 --> 00:24:44,359 Speaker 1: dressed me. You need to get real mirrors instead of 473 00:24:44,400 --> 00:24:47,439 Speaker 1: just empty frames. But anyway, if there's someone standing on 474 00:24:47,440 --> 00:24:50,920 Speaker 1: the other side of that fake mirror impersonating you, they're 475 00:24:50,960 --> 00:24:53,399 Speaker 1: going to be as far away from the mirror as 476 00:24:53,440 --> 00:24:55,680 Speaker 1: you are, so they're gonna be half your size. Now, 477 00:24:55,720 --> 00:24:59,440 Speaker 1: there are some actual processing errors in people who have 478 00:24:59,720 --> 00:25:02,320 Speaker 1: mirror or agnosia. Now, this is a condition where people 479 00:25:02,320 --> 00:25:05,479 Speaker 1: lose their sense of reflection, and you sometimes see this 480 00:25:05,600 --> 00:25:08,360 Speaker 1: in stroke patients who have had damage to their brains. 481 00:25:08,359 --> 00:25:12,720 Speaker 1: They might have right parietal lesions, and these cases the 482 00:25:12,800 --> 00:25:19,480 Speaker 1: patient still have um intact the knowledge about mirrors right. Um, 483 00:25:19,520 --> 00:25:21,760 Speaker 1: they can describe what they do and how they work, 484 00:25:21,800 --> 00:25:24,159 Speaker 1: but they can't seem to put it into practice or 485 00:25:24,200 --> 00:25:27,360 Speaker 1: to really figure out their bodies in in in time 486 00:25:27,400 --> 00:25:30,360 Speaker 1: and space. For example, if you have a patient stand 487 00:25:30,400 --> 00:25:32,119 Speaker 1: in front of a mirror and the researcher holds a 488 00:25:32,200 --> 00:25:34,639 Speaker 1: pen over the patient's left shoulder and ask him or 489 00:25:34,640 --> 00:25:37,479 Speaker 1: her to reach for it. Well, most people would just 490 00:25:37,560 --> 00:25:39,760 Speaker 1: reach backwards, right, You just put your hand up and 491 00:25:39,760 --> 00:25:42,920 Speaker 1: reach backwards and get it. But people with mirror agnosia, 492 00:25:42,960 --> 00:25:46,040 Speaker 1: they will reach forwards and actually bang their hand into 493 00:25:46,119 --> 00:25:48,520 Speaker 1: the glass because they don't the depth and the perception 494 00:25:48,600 --> 00:25:53,200 Speaker 1: is all off. Well, I know, there's also something known 495 00:25:53,240 --> 00:25:57,600 Speaker 1: as mirrord self misidentification and clinical psychology. A two thousand 496 00:25:57,680 --> 00:26:00,600 Speaker 1: one study from the Choir Center for Cognitive Science looked 497 00:26:00,600 --> 00:26:03,560 Speaker 1: at two dementia patients. The two individuals could no longer 498 00:26:03,640 --> 00:26:05,800 Speaker 1: recognize their own faces in the mirror, but they had 499 00:26:05,840 --> 00:26:08,399 Speaker 1: no problem recognized that the faces of others in reflection. 500 00:26:08,720 --> 00:26:12,200 Speaker 1: It turns out both individuals suffered from right side brain lesions, 501 00:26:12,200 --> 00:26:15,399 Speaker 1: the portion of the brain particularly associated with self facial 502 00:26:15,440 --> 00:26:20,879 Speaker 1: recognition and even the use of self describing adjectives. So 503 00:26:21,119 --> 00:26:24,080 Speaker 1: a couple of ways that there can be uh, something 504 00:26:24,160 --> 00:26:27,840 Speaker 1: a little off in uh the architecture of the brain 505 00:26:28,240 --> 00:26:32,600 Speaker 1: that affects the way that we interact with that uncanny reflection. Now, 506 00:26:32,640 --> 00:26:36,640 Speaker 1: so that's all about distortion um and all the ways 507 00:26:36,640 --> 00:26:40,399 Speaker 1: in which we might get these images wrong. But I 508 00:26:40,400 --> 00:26:43,480 Speaker 1: thought it would be interesting just to flip this around 509 00:26:44,359 --> 00:26:48,440 Speaker 1: the mirror image and think back to Vermeer, because it's 510 00:26:48,520 --> 00:26:52,800 Speaker 1: this great documentary that's actually already out called Tim's Vermeer, 511 00:26:53,880 --> 00:26:57,280 Speaker 1: and this inventor set out to try to figure out 512 00:26:57,280 --> 00:27:02,879 Speaker 1: how Vermier could create such photo realistic depictions with his 513 00:27:03,000 --> 00:27:06,760 Speaker 1: paintbrush in an era that was two hundred years before 514 00:27:07,040 --> 00:27:11,840 Speaker 1: the camera was invented. And it comes down to mirrors, 515 00:27:11,960 --> 00:27:15,080 Speaker 1: which is and I won't go deeply into this, but 516 00:27:15,240 --> 00:27:18,679 Speaker 1: here you have someone who has created this machine with 517 00:27:18,760 --> 00:27:25,240 Speaker 1: two mirrors two make this painting. This image has photo 518 00:27:25,320 --> 00:27:28,920 Speaker 1: realistic because what we see with our you know, three 519 00:27:29,040 --> 00:27:33,719 Speaker 1: D rich world around us always getting flattened by you know, 520 00:27:33,800 --> 00:27:37,640 Speaker 1: two D on our retinas. Um. So, a little interesting 521 00:27:37,680 --> 00:27:39,480 Speaker 1: documentary if you want to check it out. Yeah, it's 522 00:27:39,520 --> 00:27:42,680 Speaker 1: a it's directed by Teller of Penn and Teller and 523 00:27:42,920 --> 00:27:44,840 Speaker 1: uh and I've heard about it a few months back 524 00:27:44,840 --> 00:27:46,320 Speaker 1: and sort of made a mental note to check it out, 525 00:27:46,320 --> 00:27:49,680 Speaker 1: and then somehow lost that that mental note. But but yeah, 526 00:27:49,720 --> 00:27:53,080 Speaker 1: it looks. It looks musty because it's it appears to 527 00:27:53,200 --> 00:27:56,040 Speaker 1: examine not only the question of how does this, How 528 00:27:56,040 --> 00:27:58,320 Speaker 1: did this great artist create this work? But also just 529 00:27:58,320 --> 00:28:00,880 Speaker 1: sort of the nature of art and Nate and how 530 00:28:00,960 --> 00:28:05,040 Speaker 1: we we protect our ideas of how art is created. 531 00:28:05,440 --> 00:28:08,960 Speaker 1: And also personal obsession, like because it seems like the 532 00:28:08,960 --> 00:28:11,520 Speaker 1: the the the Texan individual who really set out to 533 00:28:11,560 --> 00:28:15,840 Speaker 1: try and replicate the process of creating these these these 534 00:28:15,840 --> 00:28:20,880 Speaker 1: works of art. He has a very obsessive mind. And uh, 535 00:28:21,119 --> 00:28:23,160 Speaker 1: and you really want to examine it for the length 536 00:28:23,160 --> 00:28:24,880 Speaker 1: of the documentary. Oh yeah, I mean he I think 537 00:28:24,880 --> 00:28:27,520 Speaker 1: he worked ten years on this. He even recreated the room. 538 00:28:28,040 --> 00:28:31,520 Speaker 1: But um that Vermier used he used the same kind 539 00:28:31,560 --> 00:28:35,080 Speaker 1: of paints. Yeah, paints that would have existed back in 540 00:28:35,119 --> 00:28:39,480 Speaker 1: the day. He's traveling to see of Amir's work in person. Yes, 541 00:28:39,560 --> 00:28:42,040 Speaker 1: that he gets the Queen to show him that exact 542 00:28:42,240 --> 00:28:46,240 Speaker 1: painting up close, so he can really get Hugh right 543 00:28:46,280 --> 00:28:47,959 Speaker 1: when it comes to the color. And he's asking kind 544 00:28:48,000 --> 00:28:50,920 Speaker 1: of dangerous questions at least as far as the artistic 545 00:28:50,920 --> 00:28:54,120 Speaker 1: community is concerned, because a lot of people don't want 546 00:28:54,560 --> 00:28:58,040 Speaker 1: the you know, to to to face the possibility that 547 00:28:58,120 --> 00:29:01,680 Speaker 1: someone like Vermier would have used the best available technology 548 00:29:01,720 --> 00:29:04,000 Speaker 1: of the time to help create it, because on some 549 00:29:04,120 --> 00:29:06,800 Speaker 1: level it's kind of like saying, oh, well, this artist, 550 00:29:06,840 --> 00:29:08,480 Speaker 1: we thought they were a great painter, but they really 551 00:29:08,520 --> 00:29:11,520 Speaker 1: were a great painter who also use photoshop. Like there's 552 00:29:11,560 --> 00:29:14,080 Speaker 1: something poisonous about that idea to us, even though it 553 00:29:14,080 --> 00:29:17,960 Speaker 1: doesn't necessarily make sense. Yeah, actually, because people think of 554 00:29:18,000 --> 00:29:20,440 Speaker 1: it as painting by numbers, that you just get this 555 00:29:20,480 --> 00:29:24,000 Speaker 1: guy right and and he makes the same machine and 556 00:29:24,360 --> 00:29:26,920 Speaker 1: um and using the same technique. A guy who is 557 00:29:27,280 --> 00:29:32,320 Speaker 1: an unskilled artist is able to replicate a masterpiece by 558 00:29:32,400 --> 00:29:35,400 Speaker 1: using this technique. And we actually could probably do a 559 00:29:35,400 --> 00:29:37,280 Speaker 1: whole episode on this, because there are some people who 560 00:29:37,280 --> 00:29:39,280 Speaker 1: are weighing in and saying, well, that's not a big deal, 561 00:29:39,320 --> 00:29:42,720 Speaker 1: because there are some trained artists that don't use the gimmick, 562 00:29:42,840 --> 00:29:45,720 Speaker 1: that don't use the machine, and they can make pretty 563 00:29:45,800 --> 00:29:49,360 Speaker 1: much exact replicas of Vermeer's work just with with their 564 00:29:49,440 --> 00:29:52,280 Speaker 1: naked eye. And it seems to me ultimately the situation though, 565 00:29:52,400 --> 00:29:54,920 Speaker 1: is that it's it's it's always about the artist at 566 00:29:54,920 --> 00:29:57,080 Speaker 1: the center, no matter what kind of technology they're using. 567 00:29:57,320 --> 00:30:00,360 Speaker 1: But you see the same argument in various me dams. 568 00:30:00,520 --> 00:30:03,560 Speaker 1: For instance, in music, like I've seen threads where people 569 00:30:03,600 --> 00:30:06,320 Speaker 1: were talking about electronic music and they're saying, well, the 570 00:30:06,440 --> 00:30:08,400 Speaker 1: you know, the genius that say, you know, an early 571 00:30:08,800 --> 00:30:11,600 Speaker 1: X twin album is not not going to be replicators 572 00:30:11,800 --> 00:30:13,719 Speaker 1: or an APEX twin album doesn't mean the same thing 573 00:30:13,760 --> 00:30:17,800 Speaker 1: anymore because supposedly anybody can create that because the technology 574 00:30:17,840 --> 00:30:20,200 Speaker 1: is there. But that doesn't really hold up because it's 575 00:30:20,240 --> 00:30:23,720 Speaker 1: ultimately it's not about the tools. It's about the artist. Yes, 576 00:30:23,880 --> 00:30:26,400 Speaker 1: and that artist is replicated in the mirror right many 577 00:30:26,400 --> 00:30:30,000 Speaker 1: many times over and over again in different ways, smaller, 578 00:30:30,040 --> 00:30:33,280 Speaker 1: bigger dimensions. All right, Before we go to listener mail, 579 00:30:33,520 --> 00:30:35,200 Speaker 1: I just want to read just a quick excerpt from 580 00:30:35,200 --> 00:30:38,880 Speaker 1: the poem of Mirrors by your Hey Lewis Borges. He says, 581 00:30:39,680 --> 00:30:43,440 Speaker 1: I see them as infinite elemental executioners of an ancient 582 00:30:43,520 --> 00:30:46,520 Speaker 1: pact to multiply the world, like the act of the 583 00:30:46,600 --> 00:30:52,360 Speaker 1: getting Sleepless bringing doom. They prolong this hollow, unstable world 584 00:30:52,520 --> 00:30:56,479 Speaker 1: in their dizzy spider's web. Sometimes in the afternoon they 585 00:30:56,480 --> 00:30:59,280 Speaker 1: are blurred by the breath of a man who is 586 00:30:59,360 --> 00:31:04,760 Speaker 1: not dead. So there you go. There's more to that poem, 587 00:31:04,920 --> 00:31:06,400 Speaker 1: and I recommend you go check it out and do 588 00:31:06,440 --> 00:31:10,280 Speaker 1: a Google search for Mirrors by your Hey Lewis borees. Alright, 589 00:31:10,840 --> 00:31:16,800 Speaker 1: let's read a couple of emails here. We have one 590 00:31:17,560 --> 00:31:21,040 Speaker 1: from Amber and it's about outsourcing memory that we just covered, 591 00:31:21,560 --> 00:31:24,440 Speaker 1: and she says, hey, guys, I loved this topic. I 592 00:31:24,600 --> 00:31:26,640 Speaker 1: listened to you guys at work while I complete all 593 00:31:26,640 --> 00:31:29,440 Speaker 1: my tasks via data entry in some shape and form. Anyways, 594 00:31:29,960 --> 00:31:32,440 Speaker 1: I found this so fascinating because I thought of all 595 00:31:32,440 --> 00:31:35,440 Speaker 1: the things I used to rely on for outsourcing my memory. 596 00:31:35,760 --> 00:31:38,680 Speaker 1: Everywhere I go, I always have my phone. It's actually 597 00:31:38,680 --> 00:31:41,000 Speaker 1: funny because when someone in my group of friends asked 598 00:31:41,000 --> 00:31:43,440 Speaker 1: a questions, no one seems to look it up. I 599 00:31:43,480 --> 00:31:45,800 Speaker 1: am a Google fiend and always have to find an 600 00:31:45,840 --> 00:31:48,520 Speaker 1: answer right then and there. It's strange how if we 601 00:31:48,600 --> 00:31:50,880 Speaker 1: think the information will be stored, we don't memorize it. 602 00:31:50,920 --> 00:31:53,360 Speaker 1: For instance, I use an app for my workout routines, 603 00:31:53,400 --> 00:31:55,680 Speaker 1: and if I didn't have it, I'd be lost, Whereas 604 00:31:55,720 --> 00:31:58,480 Speaker 1: my husband goes and just does whatever, remembers his own 605 00:31:58,600 --> 00:32:01,760 Speaker 1: routines and talk about blast from the past. Lately, there's 606 00:32:01,800 --> 00:32:04,280 Speaker 1: been a craze and I've joined it via an app 607 00:32:04,320 --> 00:32:07,160 Speaker 1: called time Hop. This app will go back one to 608 00:32:07,320 --> 00:32:09,640 Speaker 1: three four years on your Facebook and say what you 609 00:32:09,720 --> 00:32:11,840 Speaker 1: posted on that day. So of course I don't remember 610 00:32:11,880 --> 00:32:15,320 Speaker 1: how I felt last year today, but now I can 611 00:32:15,360 --> 00:32:16,800 Speaker 1: just pull it up and see what was going on 612 00:32:16,840 --> 00:32:18,680 Speaker 1: in my life at that time. Anyway, I think he's 613 00:32:18,680 --> 00:32:20,800 Speaker 1: always putting out such a great information and keeping my 614 00:32:20,840 --> 00:32:25,040 Speaker 1: mind sharp throughout my daily grind. Sincerely, Amber, Huh. Now 615 00:32:25,080 --> 00:32:26,960 Speaker 1: that that was interesting because we talked about this idea 616 00:32:27,000 --> 00:32:31,960 Speaker 1: of revisiting yourself in your states throughout the history of you. Right, 617 00:32:32,360 --> 00:32:35,600 Speaker 1: so if you go back on your timeline four years ago, 618 00:32:36,440 --> 00:32:38,800 Speaker 1: that's just sort of the beginnings of how you can 619 00:32:38,840 --> 00:32:41,640 Speaker 1: begin to construct that memory. Yeah, because there are all 620 00:32:41,680 --> 00:32:44,520 Speaker 1: these slightly different views that spread all the way back 621 00:32:44,520 --> 00:32:46,600 Speaker 1: through time. I've been thinking about this a lot, probably 622 00:32:46,600 --> 00:32:50,240 Speaker 1: more than I should, in response to this craze on Facebook. 623 00:32:50,240 --> 00:32:53,400 Speaker 1: I'm sure you've seen it where they're all these which 624 00:32:54,880 --> 00:32:58,400 Speaker 1: X Man character are you? Which soda are you? And 625 00:32:58,440 --> 00:33:01,400 Speaker 1: now even which how stuff podcaster are you? Have you 626 00:33:01,440 --> 00:33:05,760 Speaker 1: taken this yet? Yeah? Yeah, who'd you get me? It 627 00:33:05,800 --> 00:33:08,680 Speaker 1: was weird like that, but but it made me because 628 00:33:08,680 --> 00:33:10,960 Speaker 1: I took it, and I you know, when I answered truthfully, 629 00:33:10,960 --> 00:33:12,840 Speaker 1: I got myself. And even when I just kind of 630 00:33:13,040 --> 00:33:16,040 Speaker 1: answered semi truthfully, I ended up getting myself for some reason. 631 00:33:16,360 --> 00:33:19,720 Speaker 1: But ultimately it's such a hollow question, like because you 632 00:33:19,720 --> 00:33:22,080 Speaker 1: have to ask yourself which you are you. There's no 633 00:33:22,200 --> 00:33:25,120 Speaker 1: unified you. They are all these different yews, and the 634 00:33:25,200 --> 00:33:28,760 Speaker 1: idea that there's a centralized self is just a complete illusion. 635 00:33:29,360 --> 00:33:31,880 Speaker 1: So the mirrors of you, I mean, because you are 636 00:33:31,920 --> 00:33:35,160 Speaker 1: somewhat like some other people in the office taste wise, right, 637 00:33:35,840 --> 00:33:38,600 Speaker 1: so you would have that reflected back. I'm just not 638 00:33:38,640 --> 00:33:41,640 Speaker 1: going to stout for the whole mirror thing. All right. Well, 639 00:33:41,640 --> 00:33:43,760 Speaker 1: I have a a few bits of listener mail here 640 00:33:43,760 --> 00:33:45,720 Speaker 1: to run through a quick all right, This one comes 641 00:33:45,720 --> 00:33:49,520 Speaker 1: to us from Fernando. Fernando says, hello, Julian Robert. I 642 00:33:49,560 --> 00:33:51,920 Speaker 1: was listening to your podcast episode A Musical time Machine 643 00:33:51,920 --> 00:33:54,200 Speaker 1: for the Brain, and it got me thinking, what if 644 00:33:54,280 --> 00:33:57,320 Speaker 1: time and space is like a music record, and everything 645 00:33:57,360 --> 00:34:00,680 Speaker 1: that has happened is happening and will ever happen exists 646 00:34:00,720 --> 00:34:03,479 Speaker 1: on the same plane. Our human perception would be the 647 00:34:03,480 --> 00:34:07,240 Speaker 1: needle that is only able to process the data, uh literally, 648 00:34:07,480 --> 00:34:10,279 Speaker 1: giving us the illusion of the beginning and an end. 649 00:34:10,480 --> 00:34:12,360 Speaker 1: I can't recall if I've heard this idea before, but 650 00:34:12,400 --> 00:34:15,200 Speaker 1: I know it helped me understand the concept of nonlinear time. 651 00:34:15,400 --> 00:34:18,080 Speaker 1: Love the show and keep up the great work. Well, yes, 652 00:34:18,120 --> 00:34:24,000 Speaker 1: that idea, um that I've heard that almost exact um 653 00:34:24,160 --> 00:34:27,880 Speaker 1: analogy before, particularly with a DVD. The idea that time 654 00:34:28,360 --> 00:34:31,080 Speaker 1: that our our existence, our life is a movie on 655 00:34:31,120 --> 00:34:33,480 Speaker 1: a DVD in time space is the DVD the physical 656 00:34:33,560 --> 00:34:37,000 Speaker 1: DVD itself. There's no beginning or end. Everything has always happened, 657 00:34:37,040 --> 00:34:40,360 Speaker 1: but our perception of it happening is the enigma. I 658 00:34:40,440 --> 00:34:44,000 Speaker 1: love the DVD idea because it's all there waiting for 659 00:34:44,000 --> 00:34:46,240 Speaker 1: you to dip into it. Max tech Mark, I believe 660 00:34:46,320 --> 00:34:49,400 Speaker 1: was the individual we can at least partially attribute that to. 661 00:34:50,120 --> 00:34:53,319 Speaker 1: But yeah, essentially that's what's happening alright. One more bit 662 00:34:53,320 --> 00:34:55,720 Speaker 1: of listener mail, um Eric write, since it says Julie 663 00:34:55,800 --> 00:34:58,040 Speaker 1: talked about going to sleep with basil in her mouth, 664 00:34:58,040 --> 00:35:00,200 Speaker 1: this is a very bad idea due to choking has 665 00:35:00,200 --> 00:35:02,120 Speaker 1: so please don't do it. We like Julie on the 666 00:35:02,120 --> 00:35:04,480 Speaker 1: podcast and we would be sad if you couldn't do 667 00:35:04,480 --> 00:35:08,800 Speaker 1: it for some reason like being dead. Julie, explain yourself. 668 00:35:08,960 --> 00:35:12,440 Speaker 1: Thank you, um Eric. I don't remember that the what 669 00:35:12,480 --> 00:35:15,799 Speaker 1: we were talking about specifically, but something about I don't know. Oh, 670 00:35:16,320 --> 00:35:18,640 Speaker 1: I think we're talking about having some self yes, lucid 671 00:35:18,719 --> 00:35:21,360 Speaker 1: dreaming yes. And we were talking about the ability to 672 00:35:21,360 --> 00:35:24,080 Speaker 1: to lose a dream taste, and I said, maybe if 673 00:35:24,080 --> 00:35:26,000 Speaker 1: I put basil under my tongue or something that that 674 00:35:26,040 --> 00:35:30,000 Speaker 1: would trigger that. But you don't do this. I did. 675 00:35:30,360 --> 00:35:33,040 Speaker 1: The person who dresses me plucked it out just in time. 676 00:35:33,239 --> 00:35:36,279 Speaker 1: So um, I'm fine, Eric, Thank you for writing in though. 677 00:35:36,800 --> 00:35:39,799 Speaker 1: All right, Okay, so hey, you wanna get in touch 678 00:35:39,840 --> 00:35:42,960 Speaker 1: with us, you wanna wrap with us about mirrors. We 679 00:35:43,000 --> 00:35:45,799 Speaker 1: would love to hear from you. Your experience is looking 680 00:35:45,840 --> 00:35:49,280 Speaker 1: to mirrors and in the mirrors, you're any uncanny uh 681 00:35:49,400 --> 00:35:52,200 Speaker 1: ideas that have come to you about mirrors, about the 682 00:35:52,280 --> 00:35:56,520 Speaker 1: nature of mirrors, your favorite weird mirrors from from folk tales, 683 00:35:56,560 --> 00:35:58,640 Speaker 1: horror movies and what have you. Let us know about 684 00:35:58,640 --> 00:36:00,799 Speaker 1: all those. You can find us as all ways at 685 00:36:00,800 --> 00:36:03,800 Speaker 1: the mother Ship Stuff to Blow your Mind dot com. Also, 686 00:36:04,200 --> 00:36:07,160 Speaker 1: you gotta check this out, guys. Robert has an awesome 687 00:36:07,200 --> 00:36:12,120 Speaker 1: new series coming out Monsters Monster Science, I think is 688 00:36:12,160 --> 00:36:14,680 Speaker 1: what we're calling it, and you can find that on 689 00:36:14,960 --> 00:36:18,160 Speaker 1: Mind Stuff Show on YouTube exactly. And I'm not going 690 00:36:18,239 --> 00:36:21,400 Speaker 1: to give a whole lot here away, but I do 691 00:36:21,480 --> 00:36:23,680 Speaker 1: want to just add here that Robert is wearing a 692 00:36:23,800 --> 00:36:26,960 Speaker 1: fine turtle neck in this Yes, yes, we we purchased 693 00:36:26,960 --> 00:36:31,880 Speaker 1: a turtleneck especially for this production, so hopefully it'll be 694 00:36:31,920 --> 00:36:34,920 Speaker 1: a hit. Um, you know, monsters the Science of Monsters. 695 00:36:34,920 --> 00:36:37,759 Speaker 1: If you like my blog series Monster of the Week, 696 00:36:37,880 --> 00:36:40,080 Speaker 1: and it's kind of that in video form with some 697 00:36:40,120 --> 00:36:42,799 Speaker 1: tunanigan thrown and so yes, so check it out. Check 698 00:36:42,800 --> 00:36:45,839 Speaker 1: that out. We'll have all we'll have a little bit 699 00:36:45,880 --> 00:36:50,040 Speaker 1: of a teaser. It'll go up this week. So yeah, 700 00:36:50,160 --> 00:36:53,720 Speaker 1: check that out. Check out our various social media accounts, Facebook, Twitter, Tumbler, 701 00:36:54,160 --> 00:36:56,360 Speaker 1: Google Plus. You'll find all those links at stuff to 702 00:36:56,360 --> 00:36:58,719 Speaker 1: Blow your mind dot com and as always, you can 703 00:36:58,719 --> 00:37:01,560 Speaker 1: reach us via email. Yeah, so, if you have some 704 00:37:01,600 --> 00:37:03,480 Speaker 1: thoughts that you would like send to us, please do 705 00:37:03,680 --> 00:37:10,279 Speaker 1: send them to blow the Mind at Discovery dot com. 706 00:37:10,320 --> 00:37:12,759 Speaker 1: For more on this and thousands of other topics, stick 707 00:37:12,800 --> 00:37:20,600 Speaker 1: at how Stuff Works dot com.