WEBVTT - From the Vault: Horror Vacui, Part 4

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<v Speaker 1>Hey, you welcome to Stuff to Blow your Mind. This

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<v Speaker 1>is Robert Lamb. I'm recording all of these intros, by

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<v Speaker 1>the way, in Batch while Joe is on holiday leave.

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<v Speaker 1>He has of course since back, and I am speaking

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<v Speaker 1>to you from the past, but that's why you're not

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<v Speaker 1>hearing Joe on any of these intros for the Horror

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<v Speaker 1>Vacuui series. This, by the way, is part four of

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<v Speaker 1>our series from last year, Horror VACUUEI I hope you

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<v Speaker 1>enjoy it.

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<v Speaker 2>Welcome to Stuff to Blow your Mind, the production of iHeartRadio.

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<v Speaker 1>Hey you, welcome to Stuff to Blow your Mind. My

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<v Speaker 1>name is Robert Lamb.

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<v Speaker 3>And I'm Joe McCormick, and we're back with part four

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<v Speaker 3>of our series on horror. Vacui or fear of the

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<v Speaker 3>void or fear of the vacuum, a concept that has

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<v Speaker 3>relevance in art and design, where it describes an pulse

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<v Speaker 3>to fill in blank or uniform spaces with detail, as

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<v Speaker 3>well as relevance in philosophy and in physics, where it's

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<v Speaker 3>been used to describe the long standing belief, often derived

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<v Speaker 3>from Aristotle, that a vacuum or a void could not

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<v Speaker 3>exist in nature, and that empty space was in fact

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<v Speaker 3>an incoherent concept. So in the previous episode of this

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<v Speaker 3>one we talked about how this view in physics persisted

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<v Speaker 3>through the Middle Ages and part of the early Modern

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<v Speaker 3>period in Europe until important experiments by figures like Evangelista Torricelli,

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<v Speaker 3>the man with the batman symbol for a mustache, or

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<v Speaker 3>rob I think, as you pointed out, the sort of

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<v Speaker 3>the crucifix goatee.

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<v Speaker 1>M h yeah, sort of a crucifix Van.

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<v Speaker 3>Dyck, Yeah, yeah, him and in Blaze, Pascal of course

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<v Speaker 3>established that an approximate vacuum could actually be created inside

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<v Speaker 3>a glass tube, and that the force truly responsible for

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<v Speaker 3>preventing a void from forming in most cases, such as

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<v Speaker 3>in the case of like a pump or a siphon,

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<v Speaker 3>was not Nature's mysterious hatred for vacuums, but in fact

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<v Speaker 3>the weight of the air we breathe, known today as

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<v Speaker 3>atmospheric pressure. But something we alluded to in the previous

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<v Speaker 3>episode is also the fact that while the laws of

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<v Speaker 3>nature don't exactly rule out a vacuum in the way

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<v Speaker 3>that Aristotle and the Scholastics thought, there is also some

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<v Speaker 3>nuance to the issue, because you can create an approximate vacuum,

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<v Speaker 3>but it's really hard or perhaps impossible to create a

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<v Speaker 3>perfect vacuum, depending on how you define your goals. When

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<v Speaker 3>we talk about a vacuum in like real world examples

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<v Speaker 3>instead of you know, ideal thought experiments, we are never

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<v Speaker 3>talking about completely empty spaces with no particles whatsoever. Instead,

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<v Speaker 3>we're usually talking about an area where the density of

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<v Speaker 3>gas particles is very or the inside of a container

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<v Speaker 3>where the density of gas particles is much lower than

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<v Speaker 3>the density of particles on the outside. And the latter

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<v Speaker 3>type of vacuum where a container that has a lower

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<v Speaker 3>density of gas particles than the world outside, is common

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<v Speaker 3>throughout the world of technology and electrical appliances and scientific equipment,

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<v Speaker 3>especially of years past, but still somewhat today. A couple

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<v Speaker 3>of classic examples incandescent light bulbs. They make light by

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<v Speaker 3>running current through a filament that gets so hot that

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<v Speaker 3>it starts to emit photons it starts to glow. But

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<v Speaker 3>these bulbs are not full of air at regular atmospheric pressure,

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<v Speaker 3>and if they were that would be a problem. The

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<v Speaker 3>filament would tend to fail very quickly. That's not good

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<v Speaker 3>for incandescent bulbs, so instead they are typically either filled

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<v Speaker 3>with an inert gas like argon or nitrogen, or they

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<v Speaker 3>are pumped out to contain a vacuum. The earliest light

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<v Speaker 3>bulbs were vacuum based rather than inert gas based. Another

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<v Speaker 3>component used in electronics, one that will be very familiar

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<v Speaker 3>to electric guitar players, is vacuum tubes, which were once

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<v Speaker 3>commonly used to manipulate current to amplify and rectify electrical signals.

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<v Speaker 3>They've been replaced with silicon transistors in most modern devices,

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<v Speaker 3>but they still have their uses. And by the way,

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<v Speaker 3>if you want to see something really weird and awesome,

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<v Speaker 3>look up pictures of vacuum tube based computers before transistors

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<v Speaker 3>took over to become the logic circuitry inside computers. I

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<v Speaker 3>guess that happened roughly around the sixties or so. But

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<v Speaker 3>before that, the information processing in computers was done on

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<v Speaker 3>large arrays of vacuum tubes. And I'm very tempted to

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<v Speaker 3>say like that, I wish to see a certain kind

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<v Speaker 3>of computer snobbery arise, where there are like gamers who

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<v Speaker 3>are like, oh, you play on transistors, I've got a

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<v Speaker 3>vacuum tube rig.

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<v Speaker 1>Yeah, some of the images that come up from me

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<v Speaker 1>they look very there's a mad science quality to these.

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<v Speaker 1>They look like there's some sort of strange experiment containing

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<v Speaker 1>you know, contained gases or something.

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<v Speaker 3>Yeah, it does look like that because they look like

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<v Speaker 3>almost like kind of like pills in a blister pack,

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<v Speaker 3>you know, the little blisters popping out, But they're not

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<v Speaker 3>containing special gases. They are containing lower density of gases.

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<v Speaker 3>What those tubes contain is relatively nothing compared to the atmosphere. Now.

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<v Speaker 3>One place tubes are still popular in electrical devices today

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<v Speaker 3>is in guitar amplifiers, where a lot of players prefer

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<v Speaker 3>the feeling of playing with tubes as opposed to solid

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<v Speaker 3>state amps. Rob, I don't know if you've ever come

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<v Speaker 3>across this debate, you know, sometimes I think people look

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<v Speaker 3>on the tube preference as a kind of snobbery. Personally,

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<v Speaker 3>I can see both sides, Like, I think solid state

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<v Speaker 3>amps sound great, but tubes are. They're cool? Yeah.

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<v Speaker 1>Not being a guitar player myself, I rarely get any

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<v Speaker 1>of these conversations and rarely hear any of this. So

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<v Speaker 1>is this something where I know a lot of conversations

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<v Speaker 1>for regarding retro technology and music and recording and production,

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<v Speaker 1>it actually does come through to the final product. It

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<v Speaker 1>actually is something that affects the final sound of the music.

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<v Speaker 1>Is that the case here?

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<v Speaker 3>People argue about this. The people argue about to what

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<v Speaker 3>extent you can hear the difference in something that comes

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<v Speaker 3>out of a tube versus a good modern attempt to

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<v Speaker 3>approximate that with transistors. I'm not going to try to

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<v Speaker 3>weigh in on one side of the debate here. Basically,

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<v Speaker 3>my experience is that solid state amps sound fine. They

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<v Speaker 3>sound great, but there's also just something kind of cool

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<v Speaker 3>about tubes. They might kind of feel differently when you're

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<v Speaker 3>playing a guitar through one, especially if you're in the

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<v Speaker 3>room with it as opposed to listening to a recording.

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<v Speaker 3>I'm not sure.

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<v Speaker 1>Yeah, listeners, let us know. Do you think tubes are

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<v Speaker 1>tubular or do you think solid state is solid? I

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<v Speaker 1>don't know.

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<v Speaker 3>I will weigh in and say I think it's a

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<v Speaker 3>stupid thing to like get mad at people or criticize

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<v Speaker 3>people about one way or another. Calm down, guys, fair enough,

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<v Speaker 3>But coming back to the bigger point. In cases like

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<v Speaker 3>the vacuum light bulb or the vacuum tube for current amplification,

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<v Speaker 3>the area inside the glass in these devices is again

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<v Speaker 3>not a perfect vacuum. There are particles of atmosphere in there,

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<v Speaker 3>they're just way fewer of them than in an equivalent

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<v Speaker 3>area outside. And there are actually designations for the different

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<v Speaker 3>levels of vacuum that are achieved through technological means. You know,

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<v Speaker 3>you can have like a medium vacuum, a high vacuum,

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<v Speaker 3>an ultra high vacuum, and so that's what's possible on Earth.

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<v Speaker 3>But then you might be wondering in response to that,

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<v Speaker 3>Wait a minute, though, isn't outer space at least a vacuum.

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<v Speaker 3>Isn't the space between the planets or the space between

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<v Speaker 3>the stars at least a vacuum. Again, the answer here

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<v Speaker 3>is yes and no. It depends on what you mean.

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<v Speaker 3>Space is a vacuum when compared to earth atmosphere, and

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<v Speaker 3>it is even lower density than most partial vacuums created

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<v Speaker 3>by humans. I was trying to find a good estimate

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<v Speaker 3>for the density of outer space, and I came across

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<v Speaker 3>a couple things in that book I was talking about

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<v Speaker 3>In the last episode called the Void by the physicists,

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<v Speaker 3>Frank Close, he writes about while he's writing about the

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<v Speaker 3>reasoning that led people to assume that outer space was

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<v Speaker 3>a vacuum when scientists such as Blaize Pascal started to

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<v Speaker 3>notice that the atmospheric pressure was different at different altitude.

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<v Speaker 3>So you go up on a mountain, the atmospheric pressure

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<v Speaker 3>is lower. That does tend to suggest that if you

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<v Speaker 3>go higher and higher, the density of particles just keeps

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<v Speaker 3>getting lower and lower, and you would eventually reach an

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<v Speaker 3>altitude at which there was effectively nowhere to breathe anymore.

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<v Speaker 3>There was no atmosphere anymore, which some people found maybe

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<v Speaker 3>kind of like threatening in principle or maybe threatening to

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<v Speaker 3>their theological ideas of how the universe was put together. Nevertheless,

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<v Speaker 3>you could show it was true. As you go higher

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<v Speaker 3>and higher the density gets lower. So close, writes quote,

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<v Speaker 3>at a height of one hundred kilometers, the pressure is

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<v Speaker 3>less than a billionth of that on the ground, at

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<v Speaker 3>four hundred kilometers a million millionth, and en route to

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<v Speaker 3>the moon in space it is down by ten to

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<v Speaker 3>the nineteen, an amount that is less than the size

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<v Speaker 3>of a proton compared to a kilometer. We can thus

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<v Speaker 3>say that essentially all of the atmosphere is a thin

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<v Speaker 3>shell whose thickness is less than one thousandth of the

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<v Speaker 3>Earth's radius. Wow, I don't doubt that's true. But that's

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<v Speaker 3>the kind of thing that I don't even I don't

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<v Speaker 3>usually picture it that way. I you know, I picture

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<v Speaker 3>the atmosphere is extending much higher up off the surface

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<v Speaker 3>of the Earth.

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<v Speaker 1>Yeah, you know. For me, this like the reality of

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<v Speaker 1>the thinning of the air at the higher altitude you

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<v Speaker 1>get to. This was always kind of spelled out from

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<v Speaker 1>by looking at something like the Lockheed you to the

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<v Speaker 1>spy aircraft that had these just a super long, super

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<v Speaker 1>wide wingspan then enabled it one of several design functions,

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<v Speaker 1>but the most obvious one that enabled it to fly

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<v Speaker 1>at such high altitudes where there is just there's less air.

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<v Speaker 3>Yes, the air is thinner, it's harder and harder to

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<v Speaker 3>generate lyft. But okay, that's how much thinner the atmosphere

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<v Speaker 3>gets as you extend up off of the surface of

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<v Speaker 3>the Earth. What about when you go even beyond that? Well,

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<v Speaker 3>I came across some sort of quick and dirty estimates

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<v Speaker 3>by a radio astronomer named Alistair Gunn doing a short

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<v Speaker 3>Q and A for the BBC, And note that the

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<v Speaker 3>following are approximate. But what gun says is that roughly

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<v Speaker 3>within the Solar System space between the planets contains an

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<v Speaker 3>average of about five atoms per cubic centimeter, so that's

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<v Speaker 3>very low density, but there's still is gas out there.

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<v Speaker 3>It's just extremely dispersed. In interstellar space the space between

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<v Speaker 3>solar systems in our galaxy, so like where you know

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<v Speaker 3>where the voyager probes are eventually headed to, or where

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<v Speaker 3>Omuamua came from. That interstellar space has about one atom

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<v Speaker 3>per cubic centimeter according to gun here. And then in

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<v Speaker 3>intergalactic space, the space between galaxies, the density is about

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<v Speaker 3>one hundred times less than that. It gets pretty lonely

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<v Speaker 3>out there, right, but still there are not no particles.

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<v Speaker 3>They just get farther and farther apart on average. So

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<v Speaker 3>the reason space is so empty is of course gravity.

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<v Speaker 3>Objects with mass attract one another, so mass tends to

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<v Speaker 3>clump together over time, creating this varied terrain of cosmic density,

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<v Speaker 3>with very high density say in the middle of a star,

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<v Speaker 3>and still lower density around that star and around the

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<v Speaker 3>planets around that star, and then lower density in between

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<v Speaker 3>the stars, and then lower density in between the galaxies

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<v Speaker 3>and so forth. But it wasn't always this way. In

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<v Speaker 3>the early history of the universe, matter was dispersed far

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<v Speaker 3>more evenly, and you could think of the early universe

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<v Speaker 3>in a way as a kind of well, in a

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<v Speaker 3>strange way, almost kind of like an ocean. I guess

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<v Speaker 3>it wasn't liquid, but like an ocean or a cloud

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<v Speaker 3>or something where there were more uniform distributions. But then

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<v Speaker 3>as space expanded that more varied terrain that we know

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<v Speaker 3>today influenced by gravity emerged.

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<v Speaker 1>Yeah. Yeah, yeah, so yeah, the accretion of these various

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<v Speaker 1>cosmic bodies of different sizes, and then the resulting sort

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<v Speaker 1>of shrinkage between these accretions.

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<v Speaker 3>So in a weird way, you could argue that Aristotle

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<v Speaker 3>is kind of technically vindicated in that there probably are

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<v Speaker 3>no large scale, long term areas of perfectly empty space

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<v Speaker 3>in the universe. But I think that in the normal

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<v Speaker 3>way of understanding Aristotle, he was wrong. You can create

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<v Speaker 3>a of functional vacuum, but it's not a perfect vacuum.

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<v Speaker 1>Yeah, and it sounds like you can also do a

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<v Speaker 1>fair amount of arguing over the size of said vacuum.

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<v Speaker 3>Yeah. This was making me wonder, like, what is the

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<v Speaker 3>average density of the universe overall? And so I was

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<v Speaker 3>looking around at that I did find a NASA page

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<v Speaker 3>on this This is according to research I think carried

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<v Speaker 3>out by w MAP by the Wilkinson Microwave an isotropy

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<v Speaker 3>probe that was looking at fluctuations in the cosmic microwave background,

0:13:33.160 --> 0:13:36.040
<v Speaker 3>and in a write up on that research by NASA

0:13:36.320 --> 0:13:39.280
<v Speaker 3>that they say, quote w MAP determined that the universe

0:13:39.360 --> 0:13:42.360
<v Speaker 3>is flat, from which it follows that the mean energy

0:13:42.360 --> 0:13:45.200
<v Speaker 3>density in the universe is equal to the critical density

0:13:45.240 --> 0:13:48.240
<v Speaker 3>within a zero point five percent margin of error. This

0:13:48.280 --> 0:13:52.760
<v Speaker 3>is equivalent to a mass density of because as an aside,

0:13:52.840 --> 0:13:55.600
<v Speaker 3>ultimately mass and energy can be exchanged for one another,

0:13:55.600 --> 0:13:58.320
<v Speaker 3>they are equivalently. You know, mass is just a huge

0:13:58.320 --> 0:14:01.840
<v Speaker 3>amount of energy. Coming back to the quote, this is

0:14:01.840 --> 0:14:04.680
<v Speaker 3>equivalent to a mass density of nine point nine times

0:14:04.720 --> 0:14:08.080
<v Speaker 3>ten to the negative thirty grams per cubic centimeter. But

0:14:08.640 --> 0:14:11.280
<v Speaker 3>the density of normal matter is not even that high

0:14:11.360 --> 0:14:14.439
<v Speaker 3>because most of the energy density in the universe is

0:14:14.480 --> 0:14:18.000
<v Speaker 3>not normal matter. It's dark matter or dark energy. So

0:14:18.400 --> 0:14:20.320
<v Speaker 3>maybe normal is not even the right word, because the

0:14:20.360 --> 0:14:22.400
<v Speaker 3>kind of matter we're talking about that we're familiar with

0:14:22.520 --> 0:14:26.080
<v Speaker 3>is the minority of stuff. Less than five percent of

0:14:26.080 --> 0:14:29.040
<v Speaker 3>the stuff in the universe is actually made of atoms.

0:14:29.440 --> 0:14:34.800
<v Speaker 3>So the quote actual energy density of atoms is equivalent

0:14:34.840 --> 0:14:39.920
<v Speaker 3>to roughly one proton per four cubic meters. So you

0:14:39.920 --> 0:14:43.240
<v Speaker 3>can imagine kind of a like a large palette box

0:14:43.480 --> 0:14:46.280
<v Speaker 3>and that's like one proton in there, and that's the

0:14:46.720 --> 0:14:48.360
<v Speaker 3>average density of the universe.

0:14:48.840 --> 0:14:51.480
<v Speaker 1>Yes, so if we were to like redistribute it, that's

0:14:51.520 --> 0:14:52.600
<v Speaker 1>how it would play out.

0:14:53.240 --> 0:14:56.680
<v Speaker 3>I think we should redistribute it. Get a fresh start

0:14:56.720 --> 0:14:57.840
<v Speaker 3>on this thing. Now.

0:14:57.840 --> 0:15:01.400
<v Speaker 1>These numbers are admittedly maybe a little bit challenging to

0:15:01.480 --> 0:15:03.760
<v Speaker 1>sort of picture in your head all the time, But

0:15:03.960 --> 0:15:07.960
<v Speaker 1>I do like that we're dealing with hard numbers here.

0:15:07.960 --> 0:15:14.160
<v Speaker 1>We're doing with dealing with objective numbers related to the

0:15:14.240 --> 0:15:18.240
<v Speaker 1>vacuum and the void, something we don't always have in

0:15:18.320 --> 0:15:24.400
<v Speaker 1>this particular journey. Sometimes we're dealing with very very subjective qualities.

0:15:24.480 --> 0:15:28.640
<v Speaker 3>Oh, you mean, like Aristotle's argument that you couldn't have

0:15:28.680 --> 0:15:31.320
<v Speaker 3>empty space because if it not be body, it could

0:15:31.400 --> 0:15:32.000
<v Speaker 3>not exist.

0:15:32.680 --> 0:15:37.160
<v Speaker 1>Yeah, or certainly getting into some of the philosophical ends

0:15:37.160 --> 0:15:39.880
<v Speaker 1>of the spectrum where we're dealing with what's the difference

0:15:39.880 --> 0:15:45.680
<v Speaker 1>between emptiness and nothingness, what's the difference between eternity and

0:15:45.760 --> 0:15:49.320
<v Speaker 1>nothing It can get a little loosey goosey.

0:15:49.800 --> 0:15:53.120
<v Speaker 3>Well, the difference between I'm going to defend exploring the

0:15:53.120 --> 0:15:56.040
<v Speaker 3>difference between emptiness and nothingness. I think that is an

0:15:56.200 --> 0:16:00.240
<v Speaker 3>interesting distinction, but one that I'm not sure science has

0:16:00.680 --> 0:16:01.600
<v Speaker 3>all the answers on.

0:16:02.280 --> 0:16:03.880
<v Speaker 1>Yeah, I mean a lot of it does come down

0:16:03.920 --> 0:16:07.720
<v Speaker 1>to the subjective experience. I was talking with my wife

0:16:07.760 --> 0:16:09.840
<v Speaker 1>before I came in here, and she brought up the

0:16:09.880 --> 0:16:13.480
<v Speaker 1>example of isolation tanks. Isolation tanks being a situation where

0:16:13.760 --> 0:16:17.200
<v Speaker 1>on one level, you have certainly limited your space. You

0:16:17.200 --> 0:16:20.560
<v Speaker 1>were isolated or within a tank. You're floating within a tank,

0:16:21.440 --> 0:16:26.000
<v Speaker 1>and therefore you're cutting off how much of the outside

0:16:26.080 --> 0:16:29.160
<v Speaker 1>world you were in. But then there is also something

0:16:29.200 --> 0:16:33.240
<v Speaker 1>to the experience that is boundary breaking. You know, floating

0:16:33.280 --> 0:16:36.720
<v Speaker 1>in this salt bath that is the same temperature as

0:16:36.760 --> 0:16:40.360
<v Speaker 1>your body serves to sort of break down the division

0:16:40.440 --> 0:16:44.880
<v Speaker 1>between where you stop and the rest of the world begins. So, yeah,

0:16:45.320 --> 0:16:46.840
<v Speaker 1>there are plenty of cases like you don't have to

0:16:46.840 --> 0:16:49.960
<v Speaker 1>have an isolation tank to engage in that kind of

0:16:51.480 --> 0:16:53.680
<v Speaker 1>boundary dispute, you know.

0:16:53.760 --> 0:16:58.200
<v Speaker 3>I think it's interesting that people often seek maybe not

0:16:58.360 --> 0:17:02.600
<v Speaker 3>isolation tanks exactly, but isolation from stimuli specifically in order

0:17:02.680 --> 0:17:05.560
<v Speaker 3>to be creative, and that kind of strange that almost

0:17:05.640 --> 0:17:09.240
<v Speaker 3>implies that they think a principle of psychological horror vacay

0:17:09.359 --> 0:17:12.080
<v Speaker 3>is going to come into effect, right, that if you

0:17:12.160 --> 0:17:16.480
<v Speaker 3>rob yourself of the normal overwhelming stimuli of everyday existence,

0:17:16.560 --> 0:17:19.680
<v Speaker 3>you will get your eyes like, you will team with ideas.

0:17:20.520 --> 0:17:22.760
<v Speaker 1>Yeah, but it is one of these things too, where

0:17:22.800 --> 0:17:25.800
<v Speaker 1>it's like a lot of times you're just you're just

0:17:25.880 --> 0:17:32.400
<v Speaker 1>changing out one high stimuli environment for another, and maybe

0:17:32.400 --> 0:17:34.080
<v Speaker 1>it's just a new one, a novel one. Like when

0:17:34.119 --> 0:17:36.200
<v Speaker 1>you go to the beach and you walk on the beach. Yeah,

0:17:36.200 --> 0:17:39.639
<v Speaker 1>it's a different experience than being stuck in a city

0:17:39.720 --> 0:17:41.800
<v Speaker 1>or in a library or in your own house. But

0:17:42.200 --> 0:17:44.080
<v Speaker 1>I mean that there's a lot going on at the beach.

0:17:44.240 --> 0:17:47.760
<v Speaker 1>You know, there's crashing waves and expanses of sand and

0:17:47.840 --> 0:17:51.399
<v Speaker 1>birds and all sorts of little shells to look at. Likewise,

0:17:51.400 --> 0:17:54.440
<v Speaker 1>of course, a walk through the woods is just I mean,

0:17:54.600 --> 0:17:57.120
<v Speaker 1>we've talked about this before on the podcast, Like your

0:17:57.280 --> 0:18:00.520
<v Speaker 1>your senses are able to fully engage age in the

0:18:00.640 --> 0:18:04.520
<v Speaker 1>environment for which they have evolved, taking in all these

0:18:04.560 --> 0:18:08.119
<v Speaker 1>details and changing details in the world around you.

0:18:08.640 --> 0:18:10.800
<v Speaker 3>Oh yeah, that does relate to these theories about how

0:18:11.119 --> 0:18:15.240
<v Speaker 3>nature tends to engage our attention in a different way

0:18:15.400 --> 0:18:20.800
<v Speaker 3>than built environments do, and that essentially that I've forgotten

0:18:20.800 --> 0:18:22.879
<v Speaker 3>all the details of exactly what that theory is, but

0:18:23.200 --> 0:18:27.640
<v Speaker 3>it that nature can basically be absorbing to the attention

0:18:27.920 --> 0:18:29.960
<v Speaker 3>but essentially not stress inducing.

0:18:30.040 --> 0:18:32.360
<v Speaker 1>I think, yeah, And of course it is not even

0:18:32.359 --> 0:18:37.879
<v Speaker 1>getting into social isolation cutting yourself off from wanted and

0:18:37.960 --> 0:18:42.400
<v Speaker 1>unwanted social connections. Certainly there's a lot to be said

0:18:42.400 --> 0:18:46.000
<v Speaker 1>for cutting yourself off from the connection to one's smart

0:18:46.000 --> 0:18:48.200
<v Speaker 1>device and the Internet and so forth.

0:18:57.720 --> 0:18:59.800
<v Speaker 3>Finally, before we move on from this, I was wondering,

0:19:00.040 --> 0:19:03.240
<v Speaker 3>what are the superlatives in terms of vacuums created by

0:19:03.400 --> 0:19:07.200
<v Speaker 3>humans in the laboratory or with the aid of technology.

0:19:07.760 --> 0:19:11.400
<v Speaker 3>What's the lowest pressure humans can achieve. I'm not sure

0:19:11.400 --> 0:19:14.280
<v Speaker 3>what the answer is in terms of the lowest pressure overall,

0:19:15.040 --> 0:19:17.760
<v Speaker 3>but I definitely came across a contender, and it is

0:19:17.800 --> 0:19:20.920
<v Speaker 3>certainly one of the most impressive artificial vacuum systems ever

0:19:20.960 --> 0:19:24.440
<v Speaker 3>created by humans, if not the lowest pressure. And it's

0:19:24.440 --> 0:19:28.400
<v Speaker 3>actually the Large Hadron Collider, the world's largest particle accelerator,

0:19:28.440 --> 0:19:32.720
<v Speaker 3>which is operated by the European Organization for Nuclear Research

0:19:32.840 --> 0:19:37.160
<v Speaker 3>or CERN. I believe it is still the largest vacuum

0:19:37.200 --> 0:19:40.119
<v Speaker 3>system in operation in the world. It was certainly at

0:19:40.119 --> 0:19:42.520
<v Speaker 3>the time it was put together, and I can't think

0:19:42.560 --> 0:19:45.560
<v Speaker 3>of what would be larger than it. But it has

0:19:45.680 --> 0:19:49.320
<v Speaker 3>more than one hundred kilometers of piping held in a

0:19:49.359 --> 0:19:51.879
<v Speaker 3>state of vacuum for various purposes. There has to be

0:19:52.359 --> 0:19:55.919
<v Speaker 3>ultra high vacuum piping for the actual particle beams to

0:19:56.000 --> 0:19:59.000
<v Speaker 3>travel through so that like the accelerated particles don't collide

0:19:59.040 --> 0:20:02.600
<v Speaker 3>with gas molecule and ruin the experiments. I'm not sure

0:20:02.720 --> 0:20:05.200
<v Speaker 3>what would happen if they did collide. Maybe it could

0:20:05.200 --> 0:20:07.440
<v Speaker 3>be worse than ruining experiments. Certainly wouldn't be good. You

0:20:07.440 --> 0:20:11.240
<v Speaker 3>don't want it. But there are also advanced vacuum systems

0:20:11.359 --> 0:20:14.640
<v Speaker 3>used to like insulate other elements of the collider, such

0:20:14.680 --> 0:20:18.840
<v Speaker 3>as the magnets or the helium distribution line. So a

0:20:19.359 --> 0:20:23.200
<v Speaker 3>lot of evacuated space going on at the LHC facility,

0:20:23.800 --> 0:20:27.840
<v Speaker 3>and it's at extremely low density. They compare various vacua

0:20:27.920 --> 0:20:32.199
<v Speaker 3>that they create to the density of interstellar space, so

0:20:32.440 --> 0:20:35.560
<v Speaker 3>that is horror vacuity in physics. But one thing I've

0:20:35.560 --> 0:20:38.000
<v Speaker 3>been wanting to come back to is the fear of

0:20:38.040 --> 0:20:41.560
<v Speaker 3>emptiness or the fear of empty spaces as an actual

0:20:41.680 --> 0:20:45.000
<v Speaker 3>literal fear that humans feel the kind of uneasiness that

0:20:45.040 --> 0:20:48.600
<v Speaker 3>one experiences in a depopulated space.

0:20:49.200 --> 0:20:54.680
<v Speaker 1>Yeah, this topic of chinophobia and some other related terms.

0:20:55.280 --> 0:20:57.840
<v Speaker 1>I figure a good place to start on all of

0:20:57.880 --> 0:21:00.960
<v Speaker 1>this might be to return to cinema. We talked a

0:21:00.960 --> 0:21:05.120
<v Speaker 1>little bit about cinema earlier in this journey, and in fact,

0:21:05.280 --> 0:21:08.959
<v Speaker 1>we talked about the nineteen seventy seven Dario Argento horror

0:21:09.000 --> 0:21:13.919
<v Speaker 1>classic Suspiria, and there's a scene in that film that

0:21:14.000 --> 0:21:17.399
<v Speaker 1>instantly came to mind when I was thinking about this fear,

0:21:17.520 --> 0:21:22.040
<v Speaker 1>this horror associated with depopulated spaces. Like you're saying, and

0:21:22.119 --> 0:21:26.080
<v Speaker 1>if you've seen Suspiria the original, though I really like

0:21:26.160 --> 0:21:29.159
<v Speaker 1>the remake as well, and I don't think they recreated

0:21:29.200 --> 0:21:31.080
<v Speaker 1>this scene in the remake, but I could be wrong.

0:21:32.000 --> 0:21:35.399
<v Speaker 1>This scene involves a blind man walking through an open,

0:21:35.560 --> 0:21:39.200
<v Speaker 1>unoccupied city plaza at night. There are no other human

0:21:39.240 --> 0:21:42.720
<v Speaker 1>beings in sight, the environment is pretty well illuminated, though

0:21:42.720 --> 0:21:45.840
<v Speaker 1>there are still some deep pockets of shadow. There's a

0:21:45.880 --> 0:21:49.320
<v Speaker 1>growing sense of threat and terror and eventually, and I

0:21:49.320 --> 0:21:51.480
<v Speaker 1>think we get some very wide shots here too to

0:21:51.520 --> 0:21:55.800
<v Speaker 1>really take in all that space, and then as the

0:21:55.880 --> 0:21:59.200
<v Speaker 1>tension builds, the dog begins to bark, and in a

0:21:59.320 --> 0:22:01.640
<v Speaker 1>nasty twist, because again this is a Gilat film and

0:22:01.720 --> 0:22:05.760
<v Speaker 1>they're often nasty, the dog turns on the blind man

0:22:06.160 --> 0:22:09.600
<v Speaker 1>and kills him. But the way the scene builds up

0:22:09.600 --> 0:22:12.840
<v Speaker 1>to that moment takes just full advantage of this very

0:22:12.880 --> 0:22:18.000
<v Speaker 1>open space, this feeling that there's just something wrong in

0:22:18.040 --> 0:22:20.520
<v Speaker 1>the openness of all of this, that there's just this

0:22:20.560 --> 0:22:24.080
<v Speaker 1>one individual and his dog out here and something terrible

0:22:24.160 --> 0:22:24.919
<v Speaker 1>is about to happen.

0:22:25.240 --> 0:22:27.920
<v Speaker 3>I think this scene is a fantastic example, especially because

0:22:27.960 --> 0:22:32.800
<v Speaker 3>of how different it is than than most of most

0:22:32.840 --> 0:22:35.760
<v Speaker 3>of Suspiria and most of other you know, Italian horror

0:22:35.760 --> 0:22:39.440
<v Speaker 3>films or Gallo films, which we noted in the first

0:22:39.480 --> 0:22:43.280
<v Speaker 3>episode in the series are They are often recognized for

0:22:43.359 --> 0:22:46.680
<v Speaker 3>being especially visually busy, you know, they have that artistic

0:22:46.720 --> 0:22:50.280
<v Speaker 3>sense of horror vacui, as in, you sense a desire

0:22:50.320 --> 0:22:53.480
<v Speaker 3>to fill in all empti or uniform spaces with detail

0:22:53.560 --> 0:22:56.800
<v Speaker 3>and richness and stuff. You know, they're full of patterns,

0:22:57.400 --> 0:22:59.119
<v Speaker 3>and so I think the scene of you know, the

0:22:59.160 --> 0:23:02.160
<v Speaker 3>man who is unfortunately cursed by the witches and then

0:23:02.280 --> 0:23:06.680
<v Speaker 3>this attack happens on him. It gets especially scary because

0:23:06.720 --> 0:23:09.080
<v Speaker 3>it's so unlike the rest of the movie, having all

0:23:09.119 --> 0:23:12.760
<v Speaker 3>this emptiness and blank space in the night. But I

0:23:12.840 --> 0:23:16.040
<v Speaker 3>was thinking about this and about how the horror genre

0:23:16.200 --> 0:23:22.199
<v Speaker 3>in particular tends to favor blank, vacant, empty locations in

0:23:22.320 --> 0:23:26.600
<v Speaker 3>multiple ways. So one way is that they tend to

0:23:26.640 --> 0:23:30.080
<v Speaker 3>favor settings that are like literally emptied in the narrative sense.

0:23:30.119 --> 0:23:33.680
<v Speaker 3>They are literally emptied of human activity or neglected by

0:23:33.760 --> 0:23:37.400
<v Speaker 3>humans in some way. So think of how much horror

0:23:37.480 --> 0:23:42.080
<v Speaker 3>loves like abandoned or empty buildings and settlements. Maybe the

0:23:42.119 --> 0:23:44.680
<v Speaker 3>first idea that comes to my mind is Dracula's Castle,

0:23:45.240 --> 0:23:48.320
<v Speaker 3>which is interesting because it is a castle that has

0:23:48.359 --> 0:23:54.240
<v Speaker 3>no servants bustling about, no courtiers, just empty halls and chambers,

0:23:54.280 --> 0:23:58.879
<v Speaker 3>and then the solitary figure of Dracula himself as the host.

0:23:59.359 --> 0:24:01.680
<v Speaker 3>It's kind of like a like a Where's Waldo, except

0:24:01.720 --> 0:24:04.280
<v Speaker 3>there's just one guy there on the page and he's

0:24:04.320 --> 0:24:05.520
<v Speaker 3>really staring at your neck.

0:24:06.240 --> 0:24:08.040
<v Speaker 1>Oh man, that would be a great twist, and a

0:24:08.040 --> 0:24:11.359
<v Speaker 1>Where's Waldo book? Where's Dracula? And each page is a

0:24:11.400 --> 0:24:15.080
<v Speaker 1>massive level of Dracula's castle and there's just Dracula.

0:24:15.200 --> 0:24:19.600
<v Speaker 3>There's nothing there. It's just him. There are no other Waldos.

0:24:20.880 --> 0:24:22.879
<v Speaker 3>By the way, this reminds me of one of my

0:24:22.960 --> 0:24:27.080
<v Speaker 3>favorite scenes in the movie Shadow of the Vampire from

0:24:27.119 --> 0:24:30.680
<v Speaker 3>the year two thousand, which stars It's a sort of

0:24:30.720 --> 0:24:34.320
<v Speaker 3>a horror comedy about the making of the movie nos Ferratu,

0:24:34.440 --> 0:24:37.600
<v Speaker 3>but it says that Max Shrek, the actor who plays

0:24:37.640 --> 0:24:40.440
<v Speaker 3>no s Faratu in the movie played by Willem Dafoe

0:24:40.480 --> 0:24:43.600
<v Speaker 3>in this movie, was actually a vampire. That is what

0:24:43.680 --> 0:24:46.320
<v Speaker 3>it assumes, and it's kind of a great premise. And

0:24:46.359 --> 0:24:50.520
<v Speaker 3>there's a moment where they ask the character, who is

0:24:50.560 --> 0:24:53.159
<v Speaker 3>in this telling a real vampire, if he read the

0:24:53.200 --> 0:24:56.280
<v Speaker 3>novel Dracula. He says yes. He says the novel made

0:24:56.320 --> 0:24:58.359
<v Speaker 3>him sad, and they said why and he says, because

0:24:58.440 --> 0:24:59.879
<v Speaker 3>Dracula had no servants.

0:25:01.240 --> 0:25:02.240
<v Speaker 1>I forgot about that part.

0:25:02.280 --> 0:25:04.960
<v Speaker 3>That's good, but it is kind of sad, isn't it,

0:25:05.000 --> 0:25:07.919
<v Speaker 3>Like the when when Harker in the novel realizes that

0:25:08.080 --> 0:25:10.760
<v Speaker 3>like it was the count himself who had to set

0:25:10.800 --> 0:25:13.440
<v Speaker 3>out the meal for him and so forth. There's something

0:25:13.560 --> 0:25:17.359
<v Speaker 3>kind of like, not like I want vampires to have servants,

0:25:17.400 --> 0:25:19.919
<v Speaker 3>but I don't know. There's something kind of lonely and

0:25:20.119 --> 0:25:22.440
<v Speaker 3>uneasy about it, And I think it has a lot

0:25:22.480 --> 0:25:24.360
<v Speaker 3>to do with the fact that it's in a castle.

0:25:24.480 --> 0:25:27.600
<v Speaker 3>It's in this big space meant to be occupied by

0:25:27.640 --> 0:25:29.679
<v Speaker 3>many people, but he's the only one there. I mean,

0:25:29.720 --> 0:25:31.560
<v Speaker 3>I guess later we find out there's some other you know,

0:25:31.600 --> 0:25:34.400
<v Speaker 3>ghoul type creatures, but at first it's just empty except

0:25:34.400 --> 0:25:37.840
<v Speaker 3>for him. But think of other movies with just abandoned locations,

0:25:37.920 --> 0:25:42.480
<v Speaker 3>ghost towns, abandoned settlements, you know, empty empty streets and

0:25:42.560 --> 0:25:45.560
<v Speaker 3>other places at night and so forth. Rob, I'm not

0:25:45.560 --> 0:25:48.000
<v Speaker 3>sure if you've noticed the same thing, but it strikes

0:25:48.040 --> 0:25:52.800
<v Speaker 3>me that horror movies especially favor locations that are not

0:25:53.359 --> 0:25:55.920
<v Speaker 3>just empty as a matter of course, like you'd expect

0:25:55.960 --> 0:25:59.040
<v Speaker 3>them to be empty, but locations that are empty in

0:25:59.280 --> 0:26:02.120
<v Speaker 3>contrast to how we usually see them.

0:26:02.640 --> 0:26:05.320
<v Speaker 1>Yeah, yeah, yeah. This is often played a great effect,

0:26:05.480 --> 0:26:08.919
<v Speaker 1>and various ghost towns in your westerns and of course

0:26:09.400 --> 0:26:14.119
<v Speaker 1>depopulated cities, like it's not enough to just replace the

0:26:14.640 --> 0:26:17.040
<v Speaker 1>you know, you get into like post apocalyptic scenarios where

0:26:17.040 --> 0:26:20.879
<v Speaker 1>there's like destroyed cities and bodies and so forth, and yes, zombies,

0:26:21.680 --> 0:26:25.760
<v Speaker 1>but that doesn't mean you're necessarily going for this total

0:26:25.800 --> 0:26:30.240
<v Speaker 1>feeling of emptiness this sense that all the activity and

0:26:30.280 --> 0:26:33.879
<v Speaker 1>presence of it was there previously is just gone. But

0:26:33.920 --> 0:26:35.480
<v Speaker 1>one example that does come to mind, and this is

0:26:35.480 --> 0:26:37.440
<v Speaker 1>a zombie film, but twenty eight days Later, of course,

0:26:37.440 --> 0:26:42.080
<v Speaker 1>that's all those wonderful shots of what depopulated London and

0:26:42.440 --> 0:26:45.560
<v Speaker 1>our character walking around there and sort of experiencing just

0:26:45.600 --> 0:26:47.520
<v Speaker 1>the overwhelming emptiness of the city.

0:26:47.880 --> 0:26:51.160
<v Speaker 3>I think that's a great example. It's incredibly unnerving that opening.

0:26:51.960 --> 0:26:55.399
<v Speaker 3>So you could contrast that with like say a movie

0:26:55.440 --> 0:26:58.520
<v Speaker 3>with scenes in a desert or a forest wilderness, which

0:26:58.920 --> 0:27:01.440
<v Speaker 3>might be empty of human activity, but we would expect

0:27:01.440 --> 0:27:03.720
<v Speaker 3>them to be empty of human activity. And in cases

0:27:03.760 --> 0:27:06.520
<v Speaker 3>where movies focus on that, in the horror genre, at least,

0:27:06.760 --> 0:27:10.480
<v Speaker 3>the horror usually comes from when you find something or someone,

0:27:10.640 --> 0:27:13.719
<v Speaker 3>or suspect the presence of something or someone that you

0:27:13.760 --> 0:27:18.639
<v Speaker 3>wouldn't usually expect to encounter there. Instead, locations that I

0:27:18.680 --> 0:27:20.959
<v Speaker 3>think of as most common to horror movies are like

0:27:21.119 --> 0:27:24.520
<v Speaker 3>empty versions of places you would usually expect to be full.

0:27:24.600 --> 0:27:27.320
<v Speaker 3>So not just cities like at the beginning of twenty

0:27:27.320 --> 0:27:30.240
<v Speaker 3>eight Days Later, but think of empty hospitals at the

0:27:30.320 --> 0:27:35.080
<v Speaker 3>night shift, empty churches and cathedrals, where's the congregation empty

0:27:35.119 --> 0:27:38.720
<v Speaker 3>school buildings after hours, empty empty castles. Like I said

0:27:38.720 --> 0:27:41.080
<v Speaker 3>at the beginning, you know what happened to the crew

0:27:41.119 --> 0:27:44.480
<v Speaker 3>of the event Horizon? Why is this spaceship empty? So

0:27:44.840 --> 0:27:48.240
<v Speaker 3>I think empty locations like this lend themselves well to

0:27:48.280 --> 0:27:51.520
<v Speaker 3>horror for multiple reasons. One is a kind of just

0:27:51.680 --> 0:27:55.320
<v Speaker 3>like literal understanding of danger in the world. Like, you know,

0:27:55.359 --> 0:27:59.240
<v Speaker 3>there's an uneasiness that comes from a location being empty,

0:27:59.280 --> 0:28:01.160
<v Speaker 3>because it sort of me like you're on your own

0:28:01.200 --> 0:28:03.720
<v Speaker 3>against whatever might threaten you. But if for the locations

0:28:03.720 --> 0:28:06.080
<v Speaker 3>full of people, you might be able to get help

0:28:06.119 --> 0:28:08.320
<v Speaker 3>from the werewolf if it's going to come at you,

0:28:08.400 --> 0:28:11.160
<v Speaker 3>Like people usually feel safer in numbers for totally good

0:28:11.200 --> 0:28:12.280
<v Speaker 3>and logical reasons.

0:28:12.600 --> 0:28:14.399
<v Speaker 1>You know two examples that come to mind. They're very

0:28:14.520 --> 0:28:17.080
<v Speaker 1>related because they both involve the same sort of location.

0:28:17.600 --> 0:28:21.879
<v Speaker 1>I think both of these examples kind of maybe you know,

0:28:22.000 --> 0:28:25.200
<v Speaker 1>bend this line a little bit and blurred the distinction

0:28:25.359 --> 0:28:31.639
<v Speaker 1>between emptiness being invigorating and empowering and it being terrifying.

0:28:32.000 --> 0:28:34.000
<v Speaker 1>They both take place in shopping malls, and of course

0:28:34.040 --> 0:28:37.400
<v Speaker 1>thinking about Donna the Dead from George Romero and Shopping Mall,

0:28:37.680 --> 0:28:41.000
<v Speaker 1>both films in which our characters find themselves in a

0:28:41.080 --> 0:28:46.000
<v Speaker 1>depopulated mall shopping mall environment, and eventually they're gonna have

0:28:46.040 --> 0:28:48.080
<v Speaker 1>to deal with of course zombies in one film, and

0:28:48.120 --> 0:28:51.200
<v Speaker 1>well and also like evil bikers in one film, but

0:28:51.240 --> 0:28:52.440
<v Speaker 1>then in the other film theyre can have to deal

0:28:52.480 --> 0:28:55.080
<v Speaker 1>with killer robots. And in both of these there's kind

0:28:55.080 --> 0:28:57.680
<v Speaker 1>of like this I don't know, this kind of I

0:28:57.680 --> 0:29:02.760
<v Speaker 1>guess capitalist rebellion in energy to them, where it's like

0:29:03.080 --> 0:29:08.360
<v Speaker 1>this place that contained me through commerce and also just

0:29:08.440 --> 0:29:11.360
<v Speaker 1>the social environment of the mall. Now those constraints are

0:29:11.360 --> 0:29:13.920
<v Speaker 1>not there, and I can just go into any store

0:29:13.960 --> 0:29:17.000
<v Speaker 1>in the mall and steal things. But then on the

0:29:17.000 --> 0:29:19.440
<v Speaker 1>other hand, yes, it's like all the things that made

0:29:19.480 --> 0:29:22.880
<v Speaker 1>this a normal place, that made this a cathedral of

0:29:24.040 --> 0:29:27.360
<v Speaker 1>American culture during the nineteen eighties or what have you,

0:29:28.040 --> 0:29:31.320
<v Speaker 1>that's gone as well. There's something unholy about the environment.

0:29:31.760 --> 0:29:34.600
<v Speaker 3>That's great observation. Yeah, about the malls in these movies,

0:29:34.640 --> 0:29:37.880
<v Speaker 3>it's like the fact that we see them with all

0:29:37.920 --> 0:29:41.080
<v Speaker 3>of the people taken out of them, not shopping anymore,

0:29:42.200 --> 0:29:45.959
<v Speaker 3>just automatically invites questions, kind of critical questions about what

0:29:46.040 --> 0:29:48.280
<v Speaker 3>this place was for in the first place and what

0:29:48.320 --> 0:29:51.400
<v Speaker 3>it meant. Yeah, and of course. Yeah, it invites that

0:29:51.520 --> 0:29:54.080
<v Speaker 3>uneasy feeling, and I think that goes to the next thing.

0:29:54.120 --> 0:29:56.520
<v Speaker 3>So there was the thing I already said about empty locations,

0:29:56.640 --> 0:29:59.480
<v Speaker 3>or in a very literal sense, they're scarier just because

0:29:59.520 --> 0:30:03.920
<v Speaker 3>like there's safety in numbers, but empty locations and abandoned

0:30:03.960 --> 0:30:06.920
<v Speaker 3>the locations I think are also good fodder for horror

0:30:07.240 --> 0:30:11.200
<v Speaker 3>on a conceptual level because in some cases they invite

0:30:11.240 --> 0:30:13.800
<v Speaker 3>you to wonder why the place is empty, like what

0:30:13.960 --> 0:30:16.920
<v Speaker 3>happened here? Where did the people go? Or as you

0:30:17.000 --> 0:30:19.840
<v Speaker 3>just said, they invite you to sort of look upon

0:30:20.000 --> 0:30:22.520
<v Speaker 3>the purpose of the place with a newly critical eye,

0:30:22.600 --> 0:30:25.800
<v Speaker 3>like when people are not doing the things they're normally

0:30:25.840 --> 0:30:29.320
<v Speaker 3>doing in this place, what is this place actually form?

0:30:30.160 --> 0:30:32.360
<v Speaker 1>Yeah, we just got some of that in our and

0:30:32.400 --> 0:30:34.600
<v Speaker 1>you alluded to this a little bit already. But the

0:30:34.600 --> 0:30:38.760
<v Speaker 1>episodes that we did about Christmas ghost stories, yes from

0:30:38.800 --> 0:30:42.000
<v Speaker 1>Northern Europe, that deal with this whole question, like what

0:30:42.160 --> 0:30:44.720
<v Speaker 1>is a church if it is midnight and no one

0:30:44.800 --> 0:30:46.719
<v Speaker 1>is there, Like is it still a church? And if

0:30:46.720 --> 0:30:48.840
<v Speaker 1>it is still a church, what does that mean?

0:30:49.240 --> 0:30:51.720
<v Speaker 3>Is it still sacred or does the sacredness come from

0:30:51.760 --> 0:30:54.360
<v Speaker 3>the you know, the congregation and the acts they do

0:30:54.440 --> 0:30:57.800
<v Speaker 3>inside it, and so could the same building the church

0:30:57.840 --> 0:31:09.920
<v Speaker 3>be used for unholy rites. But finally, I think there

0:31:09.920 --> 0:31:13.880
<v Speaker 3>are also conceptual suggestions, like a place that is empty

0:31:14.040 --> 0:31:16.960
<v Speaker 3>in contrast to the expectation that it should be full,

0:31:17.200 --> 0:31:20.000
<v Speaker 3>like all of these depopulated places we've been talking about

0:31:20.240 --> 0:31:23.480
<v Speaker 3>that has long been associated with death, right like you

0:31:23.520 --> 0:31:26.520
<v Speaker 3>would think under normal old ideas like humans have left

0:31:26.840 --> 0:31:30.240
<v Speaker 3>this formerly inhabited place, like a soul leaving a body.

0:31:31.000 --> 0:31:34.640
<v Speaker 3>But in addition to all these more literal concerns, I

0:31:34.640 --> 0:31:37.920
<v Speaker 3>think horror films in particular, but other genres as well,

0:31:38.560 --> 0:31:43.600
<v Speaker 3>often use blank space also known as negative space, in

0:31:43.640 --> 0:31:47.960
<v Speaker 3>the frame of the film as a visual marker to

0:31:48.200 --> 0:31:51.360
<v Speaker 3>create uneasiness. So this is less literal about like what

0:31:51.520 --> 0:31:53.880
<v Speaker 3>is threatening the characters, and more just kind of the

0:31:53.920 --> 0:31:56.720
<v Speaker 3>feelings that we get from how a movie looks. I

0:31:56.720 --> 0:32:00.640
<v Speaker 3>don't know how much of this is a natural secological

0:32:00.760 --> 0:32:03.760
<v Speaker 3>expectation that humans have and how much is just sort

0:32:03.760 --> 0:32:08.800
<v Speaker 3>of a like a learned convention emergent convention of filmmaking

0:32:08.800 --> 0:32:12.120
<v Speaker 3>that we have all learned implicitly from watching movies. But

0:32:12.200 --> 0:32:15.080
<v Speaker 3>I think the baseline fact is that when we see

0:32:15.200 --> 0:32:18.640
<v Speaker 3>negative space in a movie, we somewhat expect it to

0:32:18.760 --> 0:32:22.080
<v Speaker 3>become filled. There's empty space on the screen. We expect

0:32:22.120 --> 0:32:25.040
<v Speaker 3>something to come to occupy that space, and of course,

0:32:25.080 --> 0:32:28.880
<v Speaker 3>once you have expectation, you have the ability to create tension,

0:32:29.000 --> 0:32:32.800
<v Speaker 3>and by denying the fulfillment of that expectation, like you know,

0:32:32.840 --> 0:32:35.720
<v Speaker 3>like a character peers out into the darkness and it's

0:32:35.840 --> 0:32:39.480
<v Speaker 3>uniform darkness, not filled in with detail, there's no detail,

0:32:39.840 --> 0:32:42.000
<v Speaker 3>or they look into an empty room with nothing in it,

0:32:42.120 --> 0:32:46.440
<v Speaker 3>or some other negative space. We expect something to happen,

0:32:46.600 --> 0:32:49.120
<v Speaker 3>something to fill that space or to come into view,

0:32:49.480 --> 0:32:53.360
<v Speaker 3>and if it doesn't, that is unresolved tension and uneasiness

0:32:53.560 --> 0:32:55.560
<v Speaker 3>and the sort of the prime example, like one of

0:32:55.560 --> 0:32:59.200
<v Speaker 3>the core feelings that is evoked by weird fiction and cinema.

0:32:59.400 --> 0:33:01.959
<v Speaker 1>Yeah, yeah, And I think a great recent example of

0:33:02.000 --> 0:33:05.280
<v Speaker 1>all this would be Jordan Peele's Note that came out

0:33:05.600 --> 0:33:08.560
<v Speaker 1>just last year. I'm not going to do any spoilers

0:33:08.560 --> 0:33:10.040
<v Speaker 1>for it because I don't think you've seen it.

0:33:10.080 --> 0:33:12.680
<v Speaker 3>Yet, have you? I still haven't, no, okay, and I.

0:33:12.640 --> 0:33:14.080
<v Speaker 1>Know a lot of listeners haven't, so I'm not going

0:33:14.120 --> 0:33:17.000
<v Speaker 1>to spoil it. But I will say that there are

0:33:17.000 --> 0:33:20.200
<v Speaker 1>a lot of shots that established the sky as the

0:33:20.240 --> 0:33:24.600
<v Speaker 1>domain of some manner of inhuman threat. And then below

0:33:24.680 --> 0:33:28.120
<v Speaker 1>beneath the sky you have this wonderful California desert setting

0:33:28.120 --> 0:33:31.040
<v Speaker 1>as well, so it's very geographically open. But then you

0:33:31.080 --> 0:33:34.120
<v Speaker 1>have this open sky, you also have some wonderful clouds

0:33:34.360 --> 0:33:37.920
<v Speaker 1>at play, both during the daytime sequences and the nighttime sequences.

0:33:37.920 --> 0:33:42.400
<v Speaker 1>But still it does this fabulous job of establishing a

0:33:42.400 --> 0:33:46.240
<v Speaker 1>cloudy or even open sky as being possibly a threat.

0:33:46.720 --> 0:33:49.400
<v Speaker 1>And I found that when I watched it in the theater.

0:33:49.800 --> 0:33:51.600
<v Speaker 1>When I left the theater, when I left the dark

0:33:51.640 --> 0:33:53.480
<v Speaker 1>theater and went out into the day, because it was

0:33:53.600 --> 0:33:57.479
<v Speaker 1>a matinee that I attended, instantly I kind of felt

0:33:57.760 --> 0:34:00.000
<v Speaker 1>in danger. I kind of felt some of the danger

0:34:00.280 --> 0:34:04.800
<v Speaker 1>from the film still, like residually coursing through my body

0:34:04.800 --> 0:34:06.240
<v Speaker 1>to where I was like, let's go ahead and get

0:34:06.240 --> 0:34:07.880
<v Speaker 1>to the car. I don't want to. I don't feel

0:34:07.880 --> 0:34:11.640
<v Speaker 1>great walking across this this wide open parking lot beneath

0:34:11.680 --> 0:34:13.320
<v Speaker 1>this the scary sky.

0:34:13.880 --> 0:34:17.239
<v Speaker 3>Oh boy. Well, I will admit that when I come

0:34:17.280 --> 0:34:20.839
<v Speaker 3>out of a matinee, I often feel uneasy. Uh, No

0:34:20.840 --> 0:34:23.839
<v Speaker 3>matter what the movie was, there's just something weird about

0:34:23.840 --> 0:34:25.759
<v Speaker 3>coming out of a darkened movie. Theater and it's still

0:34:25.840 --> 0:34:26.520
<v Speaker 3>light outside.

0:34:27.080 --> 0:34:30.880
<v Speaker 1>Yeah, it's like all the world is what's going on?

0:34:30.960 --> 0:34:34.200
<v Speaker 3>Yeah? True. It kind of reminds me of that feeling

0:34:34.239 --> 0:34:36.120
<v Speaker 3>like when you take too long of a nap in

0:34:36.160 --> 0:34:37.000
<v Speaker 3>the middle of the day.

0:34:37.239 --> 0:34:40.560
<v Speaker 1>It's like, yeah, it's disorienting you. You've been in a

0:34:40.600 --> 0:34:44.080
<v Speaker 1>cave watching a cinema and then then you go out

0:34:44.080 --> 0:34:47.920
<v Speaker 1>into the real world. Now, in thinking about how Note

0:34:48.080 --> 0:34:50.839
<v Speaker 1>made me temporarily feel about open skies, I did find

0:34:50.880 --> 0:34:53.920
<v Speaker 1>it interesting to come across various mentions of a supposed

0:34:53.960 --> 0:34:59.320
<v Speaker 1>phobia online dubbed cassidastrophobia, which is described as a fear

0:34:59.480 --> 0:35:04.840
<v Speaker 1>of essentially falling up into the sky. Now. I couldn't

0:35:04.840 --> 0:35:09.160
<v Speaker 1>find any academic discussion of this alleged phobia, and I'm

0:35:09.160 --> 0:35:12.960
<v Speaker 1>not doubting anyone's experiences around it, because for starters, there's

0:35:12.960 --> 0:35:15.719
<v Speaker 1>plenty of room for anxiety and paranoia to creep up

0:35:15.760 --> 0:35:20.080
<v Speaker 1>in one's experience of reality. It may simply just be

0:35:20.400 --> 0:35:24.799
<v Speaker 1>newly defined and understudied, but to whatever extent it's an

0:35:24.800 --> 0:35:27.239
<v Speaker 1>actual phobia, it would seem to be kind of a

0:35:27.280 --> 0:35:31.640
<v Speaker 1>subset of this idea of chinophobia pronounce fear of the

0:35:31.719 --> 0:35:34.879
<v Speaker 1>open you a feeling that this open sky might either

0:35:34.920 --> 0:35:38.200
<v Speaker 1>swallow you up or somehow gravity is going to fail

0:35:38.520 --> 0:35:40.040
<v Speaker 1>and you'll float up into it.

0:35:40.400 --> 0:35:43.719
<v Speaker 3>That is an interesting fear because it doesn't correspond to

0:35:43.800 --> 0:35:47.160
<v Speaker 3>anything that I can think of that ever happens in reality,

0:35:47.239 --> 0:35:48.560
<v Speaker 3>and it's very specific.

0:35:49.520 --> 0:35:53.240
<v Speaker 1>Yeah, and it's interesting because I can kind of relate

0:35:53.520 --> 0:35:56.680
<v Speaker 1>to these overwhelming feelings of viewing either a clear blue

0:35:56.680 --> 0:35:59.759
<v Speaker 1>sky in the day or certainly a sprawling starscape and

0:35:59.800 --> 0:36:02.319
<v Speaker 1>a rural environment where you're free of light pollution and

0:36:02.320 --> 0:36:07.080
<v Speaker 1>cloud cover and everything's really expansive and it But it's

0:36:07.080 --> 0:36:10.759
<v Speaker 1>also it's weird because these are both vistas that can

0:36:10.800 --> 0:36:15.279
<v Speaker 1>be very inspiring and beautiful but can maybe reach the

0:36:15.320 --> 0:36:18.239
<v Speaker 1>point of being overwhelming, and maybe it ends up having

0:36:18.280 --> 0:36:22.480
<v Speaker 1>this effect where you think about what would happen if I, like,

0:36:22.840 --> 0:36:24.200
<v Speaker 1>what if I just fell up into it? And it

0:36:24.200 --> 0:36:26.120
<v Speaker 1>doesn't make any sense. Nobody's like, this is not going

0:36:26.200 --> 0:36:28.239
<v Speaker 1>to happen. You have you have a number of other

0:36:28.239 --> 0:36:32.480
<v Speaker 1>concerns if gravity stops working, besides you know where you're

0:36:32.480 --> 0:36:35.640
<v Speaker 1>going to float to. But but yeah, I can I

0:36:35.680 --> 0:36:38.600
<v Speaker 1>can sort of look back on times in my life

0:36:38.640 --> 0:36:40.520
<v Speaker 1>where I've been looking up at like a big, clear

0:36:40.560 --> 0:36:44.120
<v Speaker 1>blue sky or some sort of a starscape and feeling this,

0:36:44.480 --> 0:36:47.560
<v Speaker 1>especially with the Blue Sky. I think there are times

0:36:47.560 --> 0:36:49.040
<v Speaker 1>where I looked up at the starscape and I was

0:36:49.080 --> 0:36:51.120
<v Speaker 1>maybe a little afraid of aliens more than I was

0:36:51.160 --> 0:36:53.240
<v Speaker 1>afraid of just falling up into the blue.

0:36:53.800 --> 0:36:57.080
<v Speaker 3>Were you afraid of aliens because you watched Unsolved Mysteries

0:36:57.120 --> 0:36:59.000
<v Speaker 3>and they had the scary sitg Yes.

0:36:58.920 --> 0:37:01.239
<v Speaker 1>As a child, I was. I was afraid of it,

0:37:01.640 --> 0:37:04.160
<v Speaker 1>afraid of aliens because there was no counter narrative. I

0:37:04.160 --> 0:37:06.480
<v Speaker 1>think of discusses on the show before you would just

0:37:06.880 --> 0:37:11.080
<v Speaker 1>encounter this this episode or episodes of Unsolved Mysteries and

0:37:11.120 --> 0:37:13.960
<v Speaker 1>they're like, yep, there might be aliens out there. It

0:37:13.960 --> 0:37:15.719
<v Speaker 1>seems like there's good evidence for it. I don't know.

0:37:15.800 --> 0:37:18.839
<v Speaker 1>And you didn't have Carl Sagan coming on afterwards and

0:37:18.880 --> 0:37:21.440
<v Speaker 1>explaining all the reasons why you shouldn't be worried.

0:37:21.719 --> 0:37:24.440
<v Speaker 3>That would be hilarious. Each episode ends with like a

0:37:24.480 --> 0:37:27.200
<v Speaker 3>formal debate between Robert Stack and Carl c.

0:37:30.560 --> 0:37:34.200
<v Speaker 1>Yeah. But with the Blue it's hard to say. It's

0:37:34.239 --> 0:37:37.200
<v Speaker 1>just at times I felt kind of an unnerving sense

0:37:37.239 --> 0:37:39.360
<v Speaker 1>when there was like this really big blue sky. I

0:37:39.400 --> 0:37:42.560
<v Speaker 1>don't know, I'll get back to this, but it also

0:37:43.239 --> 0:37:45.280
<v Speaker 1>I went on a tangent here where I was reminded

0:37:45.280 --> 0:37:48.320
<v Speaker 1>of something that Geraldine Pinch discusses in her book Egyptian

0:37:48.320 --> 0:37:52.879
<v Speaker 1>Mythology about how the cloudless skies above ancient Egypt would

0:37:52.880 --> 0:37:56.319
<v Speaker 1>have provided ready viewing of the stars and planets, thus

0:37:56.360 --> 0:37:58.920
<v Speaker 1>instilling a great interest in the movement of the heavens

0:37:59.239 --> 0:38:05.000
<v Speaker 1>in Egyptian Mythology. And I wasn't able to find a

0:38:05.120 --> 0:38:08.640
<v Speaker 1>satisfying answer on this, but I mean, this definitely seems

0:38:08.640 --> 0:38:11.160
<v Speaker 1>to be the case with the ancient Egyptians. But the

0:38:11.200 --> 0:38:15.880
<v Speaker 1>ancient Egyptians were not the only people to find the

0:38:15.880 --> 0:38:17.920
<v Speaker 1>sky very interesting. They weren't the only ones to have

0:38:18.560 --> 0:38:21.360
<v Speaker 1>an advanced astronomy. I mean, you look at various examples

0:38:21.360 --> 0:38:26.040
<v Speaker 1>from the ancient world, the Babylonians, the Greeks, India, China, Persia,

0:38:26.560 --> 0:38:31.440
<v Speaker 1>the Mayans. They all had robust astronomical systems. And there

0:38:31.520 --> 0:38:35.160
<v Speaker 1>are disciplines that look into this sort of question, like

0:38:35.640 --> 0:38:39.520
<v Speaker 1>how did the perception of the sky and the understanding

0:38:39.560 --> 0:38:42.440
<v Speaker 1>of the cosmos and the movements of the stars. More specifically,

0:38:42.719 --> 0:38:45.359
<v Speaker 1>like how did this affect a given civilization and their

0:38:45.400 --> 0:38:49.120
<v Speaker 1>beliefs and their views. You have the disciplines of archaeo

0:38:49.160 --> 0:38:52.920
<v Speaker 1>astronomy and ethno astrology. And there's a lot of interesting

0:38:52.960 --> 0:38:56.840
<v Speaker 1>work out there concerning, say, for example, certain architectural traditions

0:38:56.880 --> 0:39:00.600
<v Speaker 1>and to what extent they were created with astronomy astronomical

0:39:00.719 --> 0:39:01.520
<v Speaker 1>data in mind.

0:39:02.000 --> 0:39:05.080
<v Speaker 3>Oh yeah, I see like buildings that may or may

0:39:05.120 --> 0:39:07.560
<v Speaker 3>not have been intended to align with the stars in

0:39:07.600 --> 0:39:08.200
<v Speaker 3>a certain way.

0:39:08.560 --> 0:39:11.800
<v Speaker 1>Yeah, And so what I guess I was curious about was, Okay,

0:39:11.920 --> 0:39:13.880
<v Speaker 1>does this mean that are you going to have certain

0:39:14.239 --> 0:39:19.080
<v Speaker 1>civilizations located in regions or with high population density and

0:39:19.120 --> 0:39:22.640
<v Speaker 1>regions that had maybe more unbstructed views of the night sky,

0:39:22.960 --> 0:39:27.680
<v Speaker 1>would they lean towards a more robust astronomical culture or something.

0:39:28.840 --> 0:39:32.000
<v Speaker 1>I didn't encounter much to really back that up. You know,

0:39:32.960 --> 0:39:35.680
<v Speaker 1>there wasn't much that I was encountering that said that

0:39:35.719 --> 0:39:39.280
<v Speaker 1>there's any kind of like astrophilic or astrophobic division between

0:39:39.320 --> 0:39:41.719
<v Speaker 1>cultures or anything not that I could tell. If it's

0:39:41.719 --> 0:39:43.800
<v Speaker 1>out there and I missed it, and you know about it, listeners,

0:39:44.239 --> 0:39:46.279
<v Speaker 1>write in and let me know. But more often you

0:39:46.320 --> 0:39:50.120
<v Speaker 1>seem to see this mix related to astronomical traditions that

0:39:50.560 --> 0:39:54.560
<v Speaker 1>where a culture, a civilization realizes that okay, you know,

0:39:54.760 --> 0:39:57.560
<v Speaker 1>the trackable movement of the sun and the stars is

0:39:57.600 --> 0:39:59.959
<v Speaker 1>linked to various cycles of life, the passage of time,

0:40:00.000 --> 0:40:03.960
<v Speaker 1>I am, the seasons, navigation, and then you also have

0:40:04.080 --> 0:40:08.680
<v Speaker 1>purely supernatural concepts such as omens and portents and looking

0:40:08.680 --> 0:40:11.400
<v Speaker 1>to the stars to try and divine the future, and

0:40:12.000 --> 0:40:15.840
<v Speaker 1>looking for yeah, individual data, data about the individual experience

0:40:16.920 --> 0:40:23.960
<v Speaker 1>in the heavens, alongside broader information about how life works

0:40:24.280 --> 0:40:27.000
<v Speaker 1>in the long term on Earth. So within a given

0:40:27.080 --> 0:40:30.200
<v Speaker 1>astronomical culture, there might be a number of important but

0:40:30.280 --> 0:40:34.080
<v Speaker 1>kind of mundane considerations about the sky, alongside lofty religious,

0:40:34.280 --> 0:40:39.920
<v Speaker 1>cosmological ideas and negative superstitions concerning certain anomalies such as say, eclipses,

0:40:40.120 --> 0:40:42.600
<v Speaker 1>which we've discussed in the show before, as well as

0:40:42.600 --> 0:40:45.960
<v Speaker 1>things that these certain lunar phases and other things that

0:40:46.120 --> 0:40:48.760
<v Speaker 1>might in some cases might be out of the ordinary

0:40:48.840 --> 0:40:50.360
<v Speaker 1>or somehow novel, but.

0:40:50.520 --> 0:40:52.600
<v Speaker 3>Being anomalies, these would probably not be things where the

0:40:52.600 --> 0:40:56.000
<v Speaker 3>source of the anxiety is anything you could identify as

0:40:56.040 --> 0:40:58.520
<v Speaker 3>like fear of the openness of the sky.

0:40:59.120 --> 0:41:01.920
<v Speaker 1>Right right, Yeah, it's more you read about, you know,

0:41:01.960 --> 0:41:05.640
<v Speaker 1>some of these eclipse myths and all there are fear

0:41:05.760 --> 0:41:10.640
<v Speaker 1>based interpretations of them and myths involving them. Some sort

0:41:10.640 --> 0:41:13.799
<v Speaker 1>of monster threatening reality and so forth. But then on

0:41:13.840 --> 0:41:16.560
<v Speaker 1>the other side, you have, even though they may seem

0:41:16.680 --> 0:41:19.799
<v Speaker 1>like strange anomalies out of nowhere to some observers, and

0:41:19.800 --> 0:41:23.239
<v Speaker 1>perhaps at sometimes you're still going to have astronomy get

0:41:23.280 --> 0:41:25.720
<v Speaker 1>on top of that, as we discussed in those episodes

0:41:25.760 --> 0:41:30.279
<v Speaker 1>we did on Eclipse Myths, and people begin to realize, Okay,

0:41:30.320 --> 0:41:33.279
<v Speaker 1>these things are trackable, and we can tell when they

0:41:33.320 --> 0:41:45.319
<v Speaker 1>will occur, or we can predict them. Now. Within the

0:41:45.360 --> 0:41:50.640
<v Speaker 1>context of horror, this idea of fearing the sky, fearing

0:41:50.719 --> 0:41:56.839
<v Speaker 1>big open places, it does line up not only thematically

0:41:56.880 --> 0:42:01.120
<v Speaker 1>but specifically with the twentieth century writings of HP love Draft.

0:42:01.960 --> 0:42:03.719
<v Speaker 1>I was looking around, and you know, I don't think

0:42:03.760 --> 0:42:07.400
<v Speaker 1>I don't remember reading this story, but there's a nineteen

0:42:07.440 --> 0:42:11.040
<v Speaker 1>twenty one story titled The Other Gods, and there's this

0:42:11.120 --> 0:42:13.880
<v Speaker 1>bit in it where the character who's I'm sure clearly

0:42:14.719 --> 0:42:18.680
<v Speaker 1>going mad thinking about, you know, some sort of monstrous

0:42:18.960 --> 0:42:23.400
<v Speaker 1>reality all around him, exclaims the other gods, the other gods,

0:42:23.719 --> 0:42:25.840
<v Speaker 1>the gods of the auber hells that guard the feeble

0:42:25.840 --> 0:42:28.399
<v Speaker 1>gods of Earth. Look away, go back, do not see,

0:42:28.480 --> 0:42:32.560
<v Speaker 1>do not see the vengeance of the infinite abysses, that cursed,

0:42:32.640 --> 0:42:36.320
<v Speaker 1>that damnable pit, merciful gods of Earth. I am falling

0:42:36.360 --> 0:42:37.000
<v Speaker 1>into the sky.

0:42:37.600 --> 0:42:39.480
<v Speaker 3>Ah yeah, Well, that kind of fear does seem to

0:42:39.480 --> 0:42:43.319
<v Speaker 3>fit into the probably not just Lovecraft, but you could

0:42:43.320 --> 0:42:47.520
<v Speaker 3>say the broader convention of cosmic horror, which you know,

0:42:47.719 --> 0:42:50.640
<v Speaker 3>is horror that has a lot to do not just

0:42:50.719 --> 0:42:54.960
<v Speaker 3>with like specific threats to the individual characters, but a

0:42:55.080 --> 0:42:59.360
<v Speaker 3>kind of terror at the idea of the insignificance of

0:42:59.440 --> 0:43:02.800
<v Speaker 3>human mind when compared to some kind of greater force

0:43:02.920 --> 0:43:07.040
<v Speaker 3>or greater meaninglessness in the cosmos as a whole. And

0:43:07.160 --> 0:43:10.319
<v Speaker 3>one way you could really imagine that that sort of

0:43:10.360 --> 0:43:14.759
<v Speaker 3>absurdity or meaninglessness being highlighted is just like, I don't know,

0:43:14.800 --> 0:43:18.280
<v Speaker 3>capricious violations of the laws of physics. Suddenly you fall

0:43:18.400 --> 0:43:19.399
<v Speaker 3>up instead of down.

0:43:19.840 --> 0:43:23.440
<v Speaker 1>Yeah, yeah, yeah, There's there's a lot of that in

0:43:23.480 --> 0:43:27.040
<v Speaker 1>the weird fiction world, and a lot of this is

0:43:27.560 --> 0:43:31.920
<v Speaker 1>described as being in line with the literary philosophy of cosmicism,

0:43:32.320 --> 0:43:34.719
<v Speaker 1>which is this idea that, yeah, the universe is just

0:43:34.760 --> 0:43:38.080
<v Speaker 1>teeming with alien threats, monster gods from space. But also

0:43:38.560 --> 0:43:44.080
<v Speaker 1>it's related to this fear regarding humanity seemingly inconsequential place

0:43:44.440 --> 0:43:47.279
<v Speaker 1>in a vast and alien universe. And I think this

0:43:47.320 --> 0:43:49.440
<v Speaker 1>is often you know, you often see this emerging in

0:43:49.440 --> 0:43:55.359
<v Speaker 1>a context of our increasing scientific understanding of who we

0:43:55.440 --> 0:43:58.520
<v Speaker 1>are and what the planet is, and you know, getting

0:43:58.520 --> 0:44:02.320
<v Speaker 1>away from these older ideas about and also religious ideas

0:44:02.360 --> 0:44:06.239
<v Speaker 1>about the importance of Earth, the importance of humanity, and

0:44:06.280 --> 0:44:09.640
<v Speaker 1>then what are you left with, or at least what

0:44:09.680 --> 0:44:12.600
<v Speaker 1>are you left with maybe in your darker moments or

0:44:12.640 --> 0:44:14.839
<v Speaker 1>in your moments of doubt.

0:44:15.160 --> 0:44:18.319
<v Speaker 3>Right, I mean it's sort of the antisocial side of

0:44:18.320 --> 0:44:21.920
<v Speaker 3>the Copernican principle. Yeah, so like, yeah, I don't think

0:44:21.960 --> 0:44:25.160
<v Speaker 3>the Compernitan principle, like the fact that you should not

0:44:25.239 --> 0:44:27.200
<v Speaker 3>assume that you are looking at the universe from a

0:44:27.239 --> 0:44:30.680
<v Speaker 3>privileged place or that you are the center of the universe. Instead,

0:44:30.719 --> 0:44:33.920
<v Speaker 3>you should assume you are looking at the universe from

0:44:33.960 --> 0:44:36.840
<v Speaker 3>an average place within the universe. And of course that

0:44:36.880 --> 0:44:40.000
<v Speaker 3>goes along with our discovery of you know, the Earth

0:44:40.239 --> 0:44:41.920
<v Speaker 3>and not being the center of the Solar system and

0:44:42.000 --> 0:44:45.720
<v Speaker 3>so forth. I think that's just a fact of life,

0:44:45.760 --> 0:44:48.160
<v Speaker 3>and that is a good way to look at the universe.

0:44:48.200 --> 0:44:51.120
<v Speaker 3>One need not feel despairing about it, but if one

0:44:51.200 --> 0:44:54.480
<v Speaker 3>chooses to feel despairing about that realization, you kind of

0:44:54.560 --> 0:44:56.360
<v Speaker 3>end up in the cosmic horror area.

0:44:57.040 --> 0:45:00.920
<v Speaker 1>Yeah, and in the case of Lovecraft in particular, perhaps

0:45:00.960 --> 0:45:04.239
<v Speaker 1>related authors as well. You're not just dealing with this

0:45:04.680 --> 0:45:10.080
<v Speaker 1>fear of cosmic insignificance either. You know, you also have

0:45:10.120 --> 0:45:14.080
<v Speaker 1>to throw in there a healthy dose of misanthropy, of

0:45:14.280 --> 0:45:17.799
<v Speaker 1>xenophobia and so forth. So put that all in the

0:45:17.840 --> 0:45:21.840
<v Speaker 1>stew together and you know, a lot of horror can emerge.

0:45:21.880 --> 0:45:25.280
<v Speaker 1>But also, yeah, this this feeling that maybe nothing matters.

0:45:25.880 --> 0:45:28.360
<v Speaker 1>But a lot of this, I think, this thinking about

0:45:28.360 --> 0:45:31.640
<v Speaker 1>the sky and the feeling about these these perhaps fears

0:45:31.640 --> 0:45:34.120
<v Speaker 1>of falling into the sky. And maybe they're not like,

0:45:34.440 --> 0:45:36.279
<v Speaker 1>you know, a literal fear like oh I better hold

0:45:36.320 --> 0:45:38.960
<v Speaker 1>onto the grass, but just this sort of overwhelming sense

0:45:39.080 --> 0:45:42.040
<v Speaker 1>of the vast. I think a lot of it does

0:45:42.080 --> 0:45:44.920
<v Speaker 1>come back to what we discussed earlier, this connection between

0:45:46.080 --> 0:45:50.200
<v Speaker 1>the infinite and the finite, between how this do is

0:45:50.440 --> 0:45:53.359
<v Speaker 1>of great expanse can affect us. So to one line

0:45:53.360 --> 0:45:55.640
<v Speaker 1>of thinking, clear of the blue sky might be relaxing

0:45:55.760 --> 0:45:59.120
<v Speaker 1>and a brilliant starscape inspiring, but to others this could

0:45:59.120 --> 0:46:04.400
<v Speaker 1>certainly be overpower, perhaps bringing out feelings of vulnerability and insignificance.

0:46:04.840 --> 0:46:08.239
<v Speaker 3>Yes, certainly. And this comes back to something we talked

0:46:08.239 --> 0:46:11.440
<v Speaker 3>about a couple of episodes ago about like the difference

0:46:11.600 --> 0:46:16.880
<v Speaker 3>in art styles that people use to create sacred or

0:46:17.000 --> 0:46:22.919
<v Speaker 3>RESTful or contemplative spaces in different environments, and how it's

0:46:23.280 --> 0:46:26.160
<v Speaker 3>not clear that there's always a correlation in this direction,

0:46:26.280 --> 0:46:30.680
<v Speaker 3>but it's possible that you could have trends where people

0:46:30.719 --> 0:46:32.560
<v Speaker 3>who spend more of their time in a kind of

0:46:32.680 --> 0:46:36.359
<v Speaker 3>like a busy environment might be more inclined to have

0:46:36.440 --> 0:46:40.319
<v Speaker 3>their sacred or RESTful or contemplative spaces decorated in a

0:46:40.360 --> 0:46:43.840
<v Speaker 3>minimalist way that has more blankness, more uniformity of color,

0:46:43.920 --> 0:46:48.560
<v Speaker 3>and things like that, whereas people who live in more

0:46:48.560 --> 0:46:53.840
<v Speaker 3>pastoral environments might be more attracted to sacred, RESTful or

0:46:53.880 --> 0:46:56.680
<v Speaker 3>contemplative spaces that are full of rich detail. And the

0:46:56.760 --> 0:46:58.799
<v Speaker 3>example was Tibetan art.

0:46:59.320 --> 0:47:01.120
<v Speaker 1>Yeah, yeah, so I think I think all of that

0:47:01.160 --> 0:47:06.719
<v Speaker 1>applies here as well. Again, this becomes so subjective depending

0:47:06.760 --> 0:47:09.920
<v Speaker 1>on where one's head is, and you know what you're

0:47:09.920 --> 0:47:13.359
<v Speaker 1>thinking about, and then suddenly you encounter, say a wide

0:47:13.360 --> 0:47:16.759
<v Speaker 1>open space or an enclosed space, and then how does

0:47:16.800 --> 0:47:18.680
<v Speaker 1>that affect how you're feeling?

0:47:19.520 --> 0:47:19.640
<v Speaker 3>Now?

0:47:19.680 --> 0:47:23.799
<v Speaker 1>I was looking around for other other sources commenting on

0:47:23.840 --> 0:47:27.240
<v Speaker 1>some of this, and I did find a very interesting

0:47:27.280 --> 0:47:32.880
<v Speaker 1>paper by doctor Francisco Matta. The paper's titled A Phenomenological

0:47:32.920 --> 0:47:40.400
<v Speaker 1>Investigation of the presencing of Space, and this was is

0:47:40.400 --> 0:47:43.600
<v Speaker 1>an interesting paper. You can find it online and read

0:47:43.640 --> 0:47:45.680
<v Speaker 1>it for free off it interests you. But I just

0:47:45.719 --> 0:47:47.360
<v Speaker 1>want to read one quote from it that kind of

0:47:47.400 --> 0:47:51.000
<v Speaker 1>gets down to what we're talking about here. Quote. However,

0:47:51.080 --> 0:47:54.520
<v Speaker 1>this search for freedom or empowerment can be frightening. Whenever

0:47:54.560 --> 0:47:57.120
<v Speaker 1>one is searching for what we used to call a

0:47:57.239 --> 0:48:01.520
<v Speaker 1>horizontality and puts oneself in situations in which one may

0:48:01.560 --> 0:48:05.719
<v Speaker 1>perceive larger volumes of space, one runs the risk of

0:48:05.800 --> 0:48:08.759
<v Speaker 1>losing sight of the limits of such a volume, in

0:48:08.800 --> 0:48:13.200
<v Speaker 1>which case one will likely feel chinophobic. One may have

0:48:13.280 --> 0:48:16.680
<v Speaker 1>this fearful experience since one has no anchors of reference,

0:48:16.960 --> 0:48:20.000
<v Speaker 1>and therefore one is unable to become aware of any

0:48:20.080 --> 0:48:24.560
<v Speaker 1>volume of space. For example, when out at sea, departing

0:48:24.600 --> 0:48:28.200
<v Speaker 1>from the coastline and heading farther and farther into the ocean,

0:48:28.600 --> 0:48:31.160
<v Speaker 1>one comes to be in the midst of a vast

0:48:31.239 --> 0:48:36.320
<v Speaker 1>extension of limitless water. Kinophobia is, in fact the opposite

0:48:36.360 --> 0:48:41.040
<v Speaker 1>of being placed the being at home that comes with topophilia.

0:48:41.640 --> 0:48:43.960
<v Speaker 1>So that's interesting. I like that explanation a lot, this

0:48:44.080 --> 0:48:46.799
<v Speaker 1>feeling of that you could be hit with that. Again,

0:48:46.800 --> 0:48:50.200
<v Speaker 1>this is highly subjective, but you encounter this vast expanse

0:48:50.200 --> 0:48:55.080
<v Speaker 1>of ocean or sky or desert, and you lose sight

0:48:55.120 --> 0:48:56.840
<v Speaker 1>of the limits, and you might think, well, you know,

0:48:56.920 --> 0:48:59.560
<v Speaker 1>I have no place here, I have no belonging here.

0:48:59.600 --> 0:49:02.279
<v Speaker 1>This is the overwhelming scope of the world kind of

0:49:02.640 --> 0:49:07.600
<v Speaker 1>unhinges me from that that spatial sense of belonging. All right,

0:49:07.719 --> 0:49:10.799
<v Speaker 1>looks like we've gone the limit here, were late for

0:49:10.840 --> 0:49:13.319
<v Speaker 1>the sky, So we're gonna go ahead and close it out.

0:49:13.320 --> 0:49:15.440
<v Speaker 1>But we'd love to hear from everyone out there if

0:49:15.480 --> 0:49:18.040
<v Speaker 1>you have thoughts and reflections on all this. I'd especially

0:49:18.080 --> 0:49:20.480
<v Speaker 1>love to hear from anyone out there who's had a

0:49:20.520 --> 0:49:24.640
<v Speaker 1>similar or conflicting reaction to say, a very open blue

0:49:24.640 --> 0:49:30.600
<v Speaker 1>sky or a very open starvest at night. Be interesting

0:49:30.719 --> 0:49:33.080
<v Speaker 1>to continue to discuss this on our listener Mail episodes.

0:49:33.080 --> 0:49:35.960
<v Speaker 1>Our listener Mail episodes of course published on Mondays in

0:49:36.000 --> 0:49:38.799
<v Speaker 1>the Stuff to Blow Your Mind podcast feed. Our Core

0:49:38.880 --> 0:49:42.400
<v Speaker 1>Science episodes are on Tuesdays and Thursdays. Short Form Monster

0:49:42.480 --> 0:49:45.600
<v Speaker 1>Fact on Wednesdays, and then on Fridays we set aside

0:49:45.600 --> 0:49:47.760
<v Speaker 1>most serious concerns and just talk about a strange film

0:49:47.960 --> 0:49:49.280
<v Speaker 1>on Weird House Cinema.

0:49:49.560 --> 0:49:53.279
<v Speaker 3>Huge thanks to our audio producer JJ Posway. If you

0:49:53.320 --> 0:49:55.440
<v Speaker 3>would like to get in touch with us with feedback

0:49:55.480 --> 0:49:57.880
<v Speaker 3>on this episode or any other, to suggest a topic

0:49:57.920 --> 0:49:59.680
<v Speaker 3>for the future, or just to say hello, you can

0:49:59.719 --> 0:50:02.279
<v Speaker 3>email ail us at contact at stuff to Blow your

0:50:02.320 --> 0:50:11.880
<v Speaker 3>Mind dot com.

0:50:11.960 --> 0:50:14.880
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0:50:15.000 --> 0:50:17.759
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