WEBVTT - The Invention of the Gimbal

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>My name is Robert Lamb, and I'm Joe McCormick, and

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<v Speaker 1>I want to start this episode of the quote just

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<v Speaker 1>because this is where my mind instantly went for this episode,

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<v Speaker 1>which is going to be about the gimbal I. I

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<v Speaker 1>thought of this of this line from the poem The

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<v Speaker 1>Jabberwocke by Lewis Carroll. Okay, twas brillig and the slivey

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<v Speaker 1>toes to gyor and gimble in the wabe. Okay, So

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<v Speaker 1>I was about to say that every noun, verb and

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<v Speaker 1>adjective in this u in this couplet is nonsense, but

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<v Speaker 1>then I realized there are actually a couple of real

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<v Speaker 1>verbs in there. There's twas and there's did. In fact,

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<v Speaker 1>actually twas I think contains a noun and a verb

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<v Speaker 1>because the t in twas is for it, so we

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<v Speaker 1>get it was and did. But yeah, everything else I

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<v Speaker 1>don't know what those words mean. And you're I think

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<v Speaker 1>you're not supposed to, Well, gyre is real um to

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<v Speaker 1>whirl or or to gyrate um. Do you think that's

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<v Speaker 1>what it's supposed to mean? In this context, though I

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<v Speaker 1>think yes, or mostly yes. Stem But but that's the

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<v Speaker 1>thing about Lewis Carroll. A lot of nonsense words, and

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<v Speaker 1>then gimbal throws one off because when you look at

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<v Speaker 1>this gimbal, as in the title of this episode in

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<v Speaker 1>case you don't have the title in front of you,

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<v Speaker 1>is spelled g I M B A L, and in

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<v Speaker 1>the Lewis Carroll poem it's spelled g I M B

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<v Speaker 1>L E. And if you look that spelling of gimbal

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<v Speaker 1>up in a dictionary, you get to make a face

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<v Speaker 1>or two grimace, which does not seem to be what's

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<v Speaker 1>going on here. Um. The gimble we're talking about is

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<v Speaker 1>is well to define more clearly in a bit a

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<v Speaker 1>mechanism typically consisting of rings pivoting at right angles for

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<v Speaker 1>keeping an instrument um horizon toll uh in a moving

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<v Speaker 1>vessel or on a moving plane, that sort of thing. Um.

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<v Speaker 1>So it that definition would seem to sort of line

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<v Speaker 1>up more with what's going on here, the idea of

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<v Speaker 1>some sort of um jy or some sort of revolution

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<v Speaker 1>going on. But I was reading, I read a little

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<v Speaker 1>bit more about this, and it turns out that Lewis

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<v Speaker 1>Carroll is absolutely of no help to us today. Um

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<v Speaker 1>he in this text, apparently Humpty Dumpty himself weighs in,

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<v Speaker 1>I either didn't know this or had forgotten this on

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<v Speaker 1>the meaning of all this pointing out that toathes are

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<v Speaker 1>a kind of lizard badger creature, and that gimbal in

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<v Speaker 1>this context means quote to make holes like a gimlet.

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<v Speaker 1>A gimlet is a hand tool for drilling small holes

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<v Speaker 1>in wood. Slithy is a combination of lithe and slimy,

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<v Speaker 1>so it's a slimy badger lizard that rotates in bores. Okay,

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<v Speaker 1>I see, but wait, I'm still confused when you say

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<v Speaker 1>that gimbal in this line means to make holes like

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<v Speaker 1>a gimble. It was that a general definition of the

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<v Speaker 1>word at the time this poem was written, or is

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<v Speaker 1>that unique to the meaning within the poem. My understanding

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<v Speaker 1>is that this is a Lewis Carroll thing. Okay, Humpty

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<v Speaker 1>Dumpty is explaining it because, or at least in the

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<v Speaker 1>dictionaries I was looking at, I did not see this

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<v Speaker 1>as an accepted definition or alternate definition for gimbal g

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<v Speaker 1>I M. B. L E. Well, in that case, that

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<v Speaker 1>would support my initial interpretation that even though gyre is

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<v Speaker 1>a real word, in this context, is supposed to be

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<v Speaker 1>a nonsense word, right, but but the nonsense being perhaps

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<v Speaker 1>less removed from the reality. It's it's I mean, that's

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<v Speaker 1>I guess that the light of Lewis Carroll text. As

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<v Speaker 1>you have all of these nonsense words, you have words

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<v Speaker 1>that are are being used, at the very least in

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<v Speaker 1>the pursuit of some sort of nonsense. This may be

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<v Speaker 1>the most whimsical opening effort to a podcast about a

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<v Speaker 1>rotation mechanism. Yeah, it's probably a bad opening since the

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<v Speaker 1>com well, now the example does not have a useful

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<v Speaker 1>definition of the word involved. It's more of a tangent.

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<v Speaker 1>But still, I mean entertaining, I would hope. I I

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<v Speaker 1>enjoyed going on this little Lewis Carroll journey with you.

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<v Speaker 1>But okay, so we're gonna talk about gimbals today. What

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<v Speaker 1>is a gimbal? I think we might need to do

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<v Speaker 1>a little bit of concept sorting, because when I was

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<v Speaker 1>searching for information about gimbals on the internet, first of all,

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<v Speaker 1>a lot of what comes up is just camera equipment,

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<v Speaker 1>and we can discuss that later in the episode. But

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<v Speaker 1>even when you're just trying to find information about the

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<v Speaker 1>underlying mechanical concept. A lot of what comes up seems

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<v Speaker 1>to be references to a complex device made out of

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<v Speaker 1>three parts that are in fact each individually called a gimbal.

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<v Speaker 1>So anyway, I got this sorted out by consulting a

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<v Speaker 1>reference manual. I went to the Oxford Dictionary of Mechanical Engineering.

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<v Speaker 1>If that's not an authoritative source, I don't know what is.

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<v Speaker 1>And according to this volume, a gimbal is quote, a

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<v Speaker 1>pivoted support that allows row tation of a supported object

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<v Speaker 1>about a single axis. Two orthogonal gimbals are used in

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<v Speaker 1>supports of, for example, compasses. So I think the object

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<v Speaker 1>mounted within a gimbal is most often going to be

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<v Speaker 1>a platform that is supposed to maintain its orientation with

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<v Speaker 1>respect to gravity, or it's some kind of detector, sensor

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<v Speaker 1>or measuring device. But when I was thinking about simple

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<v Speaker 1>examples that people might know from around their homes, actually

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<v Speaker 1>thought of the C shaped mounting for a globe. Uh

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<v Speaker 1>Actually was was looking at a globe just the other

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<v Speaker 1>day and admiring all of the like names of countries

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<v Speaker 1>that are no longer accurate on it um. But on

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<v Speaker 1>a globe, you've got this. You know often have this

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<v Speaker 1>either either a full ring or or sort of a

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<v Speaker 1>C shaped metal ring that connects to the globe at

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<v Speaker 1>the poles and allows the globe to rotate within it.

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<v Speaker 1>Uh and of course this simulates the rotation of the Earth. Now,

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<v Speaker 1>often when you read about references to gimbals, they will

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<v Speaker 1>be referring to systems that use two or three or

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<v Speaker 1>even more gimbals in combination in succession with one another

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<v Speaker 1>to allow more dimensions of free rotation. For example, probably

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<v Speaker 1>the most famous one is known as card Ends suspension,

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<v Speaker 1>and this is again according to the the Oxford Handbook

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<v Speaker 1>of Mechanical Engineering, quote a system that uses three gimbals

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<v Speaker 1>with orthogonal axis orthogonal meaning at at ninety degree angles

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<v Speaker 1>orthogonal axis, so as to support a component in a

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<v Speaker 1>fixed orientation despite rotation of the mounting of the gimbals.

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<v Speaker 1>Card And, by the way, that's named for Geralamo Cardano,

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<v Speaker 1>a sixteenth century Italian polymath who developed a or made

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<v Speaker 1>use of a three ring gimbal. Right, and the handbook

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<v Speaker 1>goes on to say that the card and suspension is

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<v Speaker 1>most often used to support gyroscopes for navigational use or

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<v Speaker 1>for various types of experiments about freely rotating bodies. So

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<v Speaker 1>to return to the globe analogy, imagine you've got a

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<v Speaker 1>regular globe. It's got a C shaped mounting that allows

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<v Speaker 1>it to rotate freely on its axis. But then imagine

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<v Speaker 1>you mount that C shaped mounting to a ring that

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<v Speaker 1>allows the C shaped mounting to rotate freely on the

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<v Speaker 1>equatorial axis. So that's two dimensions of rotation. And then

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<v Speaker 1>say you mount that within a third ring, and within

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<v Speaker 1>that ring you can actually have the globe rotate sort

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<v Speaker 1>of say top front to back. And with these three

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<v Speaker 1>rings you can rotate freely in all three dimensions of space,

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<v Speaker 1>the dimensions that in the context of, say talking about

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<v Speaker 1>the attitude of an airplane, you would call pitch, roll

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<v Speaker 1>and yaw. Now, there's normally no reason you would want

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<v Speaker 1>a globe to rotate in three dimensions, but there are

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<v Speaker 1>situations where it would be very useful to have an

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<v Speaker 1>object mounted within two or three gimbals. For example, what

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<v Speaker 1>if you want to create an object that maintains a

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<v Speaker 1>fixed orientation with respect to some outside frame of reference,

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<v Speaker 1>even though the ground or the housing in which the

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<v Speaker 1>object is mounted will itself move. So so you want

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<v Speaker 1>a platform that maintains orientation with respect to the Earth,

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<v Speaker 1>maybe the Earth's center of gravity, or maintains uh, maintains

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<v Speaker 1>orientation with respect to some point in the stars, or

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<v Speaker 1>some fixed point of focus like say the subject of

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<v Speaker 1>a frame. Uh, when you're using a camera, all while

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<v Speaker 1>being mounted inside of housing that is prone to moving

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<v Speaker 1>and jostling around. For a simpler version of all that,

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<v Speaker 1>just imagine you want you want a cup holder or

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<v Speaker 1>any open reservoir for liquid that will stay upright and

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<v Speaker 1>not spill, even though it's a mounted in a ship

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<v Speaker 1>that is expected to be going through rough seas. Yeah,

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<v Speaker 1>and looking around, I know you can get some some

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<v Speaker 1>gimbal duh drink holders for I think mostly boats. This

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<v Speaker 1>reminds me, though, I think the earliest example of this

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<v Speaker 1>mechanism that I remember seeing, uh, I mean I would

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<v Speaker 1>have seen compasses and so forth, but a situation where

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<v Speaker 1>someone who's really calling out the gimbal technology was some

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<v Speaker 1>sort of I don't know if this was like a Mr.

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<v Speaker 1>Wizard or Reading Rainbow or some Nickelodeon show, but it

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<v Speaker 1>was like something with kid inventors, and kids were rolling

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<v Speaker 1>out their inventions, and one of the kid inventions was

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<v Speaker 1>essentially a gimbal drink tray. Um so I think, if

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<v Speaker 1>memory serves, these weren't round frames, but they were square frames.

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<v Speaker 1>But it created the same sort of situation, and they

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<v Speaker 1>demonstrated it showing like a glass of coke or PEPSI,

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<v Speaker 1>you know, they're in the middle of it. And I

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<v Speaker 1>remember at the time thinking, well, this is phenomenal. This

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<v Speaker 1>is what we should use all the time. And and

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<v Speaker 1>of course then you go back into the world you know, well, no,

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<v Speaker 1>I guess, I guess the engineering benefits of this design

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<v Speaker 1>do not make this a better option than simply being

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<v Speaker 1>careful with a tray. But at the time I remember

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<v Speaker 1>being really impressed with it and thinking, well, this, this

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<v Speaker 1>is the way, This is the way we should be

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<v Speaker 1>carrying drinks around on trays. We should see this in

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<v Speaker 1>every restaurant in in every city around the world. Oh yeah,

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<v Speaker 1>I mean when you're carrying your coffee cup and it's

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<v Speaker 1>and it's too full, and it just starts slashing back

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<v Speaker 1>and forth and you're like, I can't I've got to

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<v Speaker 1>stop walking, or I've got to spill it there. That's

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<v Speaker 1>pretty much it a sort of gimbaled sling for your

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<v Speaker 1>coffee cup. I suspect would help overcome that problem. Yeah,

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<v Speaker 1>or say a Martini glass where it's like this, This

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<v Speaker 1>is a horrible design. I mean, and you know, I

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<v Speaker 1>could easily go off on the Martine glass is easy.

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<v Speaker 1>It's so easy to slash. But it makes you think, well,

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<v Speaker 1>we gotta have gimbal trays for these things. If we're

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<v Speaker 1>gonna insist on drinking out of these ridiculous glasses and

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<v Speaker 1>not something more reasonable, like a like a coop or

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<v Speaker 1>a Nick and Nora, then well then well let's get

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<v Speaker 1>special lies trays. You know, I think the poor design

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<v Speaker 1>of the Martini glass is actually intentional. There's like a

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<v Speaker 1>psychological effect of the fact that it slashes so easily.

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<v Speaker 1>It makes the act of drinking the martini kind of

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<v Speaker 1>delicate experience. So you imagine, I don't know, Don Draper

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<v Speaker 1>having a martini or whatever, and he's not just knocking

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<v Speaker 1>it back, you know, he's got to like hold it

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<v Speaker 1>very carefully and sip it carefully, and it makes it

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<v Speaker 1>a tender moment. Yeah, And then I guess the threshold

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<v Speaker 1>for for for becoming sloppy with your drink is that

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<v Speaker 1>much closer, and therefore maybe the idea as well if

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<v Speaker 1>they're getting they're having too much to drink, They're gonna

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<v Speaker 1>spill more of it. They'll spill more of it on themselves,

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<v Speaker 1>and they'll think twice about ordering more of this particular bedridge.

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<v Speaker 1>They'll realize, I maybe I should just get a water

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<v Speaker 1>and go home. Maybe I should just get six dozen

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<v Speaker 1>more oysters and then go to the meeting. Well, okay, anyway,

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<v Speaker 1>a lot of sources if you try to look for

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<v Speaker 1>the origins of the gimbal system. I think this is

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<v Speaker 1>one of the many mechanical designs that we don't know

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<v Speaker 1>for sure the the actual origin of it. But uh

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<v Speaker 1>the one of the earliest mentions of a gimbal is

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<v Speaker 1>often cited to a third century b c. E. Greek

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<v Speaker 1>engineer and author named Philo of Byzantium or Philon of Byzantium.

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<v Speaker 1>I was reading about this in a book called Gears

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<v Speaker 1>by Vincenzo Vulo published by Springer in and there's just

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<v Speaker 1>a short paragraph about Philo here, uh A, Vulo writes quote.

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<v Speaker 1>Filo was also the first to describe a gimbal. It

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<v Speaker 1>was applied to an eight side ink pot that could

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<v Speaker 1>be turned anyway, driven by gears without the ink being poured.

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<v Speaker 1>This was done by suspending the ink well at a

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<v Speaker 1>central plate after assembling this on a series of concentric

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<v Speaker 1>metal rings which were stationary regardless of how the pot

0:12:54.040 --> 0:12:58.199
<v Speaker 1>could rotate. Now, like many things, like many inventions mentioned

0:12:58.240 --> 0:13:02.480
<v Speaker 1>in ancient Greek reference texts, this doesn't necessarily mean that

0:13:02.640 --> 0:13:06.560
<v Speaker 1>Filo was the inventor of the subject, or that Filo

0:13:06.720 --> 0:13:09.800
<v Speaker 1>was the inventor of the gimbal or the gimbal system.

0:13:09.800 --> 0:13:12.680
<v Speaker 1>But this does appear to be a very early, if

0:13:12.720 --> 0:13:15.560
<v Speaker 1>not the earliest written reference to it. Yeah, in looking

0:13:15.600 --> 0:13:18.040
<v Speaker 1>at and considering the history of the gimbal, i'm i'm

0:13:18.080 --> 0:13:21.400
<v Speaker 1>reminded of our discussions of the wheel. So you look

0:13:21.400 --> 0:13:23.200
<v Speaker 1>at the history and go, certainly we have an invention

0:13:23.280 --> 0:13:26.199
<v Speaker 1>episode on the wheel, at least one, I can't remember.

0:13:26.240 --> 0:13:28.400
<v Speaker 1>It's a one part or two partner. But one of

0:13:28.440 --> 0:13:30.360
<v Speaker 1>the things we touched on is that it's one thing

0:13:30.440 --> 0:13:33.840
<v Speaker 1>to happen upon the concept, to invent the concept of

0:13:33.840 --> 0:13:36.599
<v Speaker 1>the wheel. But then how practical is it if you

0:13:36.640 --> 0:13:39.680
<v Speaker 1>don't have roads? And so if we have various examples

0:13:39.679 --> 0:13:42.840
<v Speaker 1>of cultures where there wasn't really a practical use of

0:13:42.880 --> 0:13:45.800
<v Speaker 1>the wheel, but the wheel was still around as a novelty.

0:13:45.960 --> 0:13:47.400
<v Speaker 1>We'd see that would the one would see it in

0:13:47.440 --> 0:13:50.079
<v Speaker 1>the use of toys for children, And so one can

0:13:50.080 --> 0:13:52.520
<v Speaker 1>easily imagine a situation where the gimbal is much the

0:13:52.600 --> 0:13:58.720
<v Speaker 1>same where UH, craftsmen and curious minds would have happened

0:13:58.760 --> 0:14:01.720
<v Speaker 1>upon this property, would have developed this. But if there's

0:14:01.760 --> 0:14:06.600
<v Speaker 1>not something that you need to keep stable and then

0:14:06.640 --> 0:14:09.560
<v Speaker 1>then then why roll it out? Why make any more

0:14:09.600 --> 0:14:11.840
<v Speaker 1>of a of an issue out of it? Because again

0:14:11.880 --> 0:14:14.120
<v Speaker 1>I come back to that example of the kid inventors

0:14:14.520 --> 0:14:17.120
<v Speaker 1>with the with the tray, Like that's cool and all,

0:14:17.160 --> 0:14:21.120
<v Speaker 1>but if it's not actually better than just carefully carrying

0:14:21.160 --> 0:14:23.600
<v Speaker 1>a tray, then it's not an invention that's going to

0:14:23.640 --> 0:14:26.440
<v Speaker 1>actually have any legs. Right, And in the end, a

0:14:26.480 --> 0:14:29.560
<v Speaker 1>lot of the real uses of gimbal systems seem to

0:14:29.560 --> 0:14:34.440
<v Speaker 1>be highly specialized. They're not usually like everyday use kind

0:14:34.480 --> 0:14:38.920
<v Speaker 1>of objects. They're often for special kinds of uh detectors

0:14:38.920 --> 0:14:44.400
<v Speaker 1>and sensors in special contexts of course, in scientific experiments

0:14:44.440 --> 0:14:47.000
<v Speaker 1>and UH later we'll get to this in space travel

0:14:47.320 --> 0:14:51.120
<v Speaker 1>after the invention of photography, but earlier than that, at

0:14:51.160 --> 0:14:54.440
<v Speaker 1>least in the use of c navigation. Right, right, at

0:14:54.440 --> 0:14:56.760
<v Speaker 1>what point do you have something where it makes sense

0:14:57.160 --> 0:15:04.320
<v Speaker 1>to bust out this technology to keep it stationary. Thank

0:15:06.280 --> 0:15:08.840
<v Speaker 1>and you just said the word sensor, you were, of

0:15:08.880 --> 0:15:11.840
<v Speaker 1>course you're referring to a different spelling and usage of

0:15:11.840 --> 0:15:15.040
<v Speaker 1>the word. But the in this we're coming back to

0:15:15.640 --> 0:15:19.960
<v Speaker 1>our discussion of incense and incense sensors from the previous

0:15:20.200 --> 0:15:23.720
<v Speaker 1>episodes of the show, because, as we teased towards the

0:15:23.840 --> 0:15:27.600
<v Speaker 1>end of Incense Part two, this episode on gimbals is

0:15:27.680 --> 0:15:31.400
<v Speaker 1>kind of a continuation of that journey. Um So, while

0:15:31.400 --> 0:15:34.000
<v Speaker 1>a great deal of the history of incense usage has

0:15:34.040 --> 0:15:36.840
<v Speaker 1>more to do with religion and pure aesthetics, there are

0:15:36.880 --> 0:15:40.760
<v Speaker 1>still practical applications and we when we consider the technology

0:15:40.800 --> 0:15:46.000
<v Speaker 1>of sensors again dedicated incense burning containers and devices, Uh yeah,

0:15:46.000 --> 0:15:49.040
<v Speaker 1>things get a bit more complicated. And indeed, in this case,

0:15:49.120 --> 0:15:53.720
<v Speaker 1>we see links between sensors and gimbal technology that will

0:15:53.800 --> 0:15:56.240
<v Speaker 1>ultimately play a big role in say, the future of

0:15:56.280 --> 0:16:00.440
<v Speaker 1>things like photography and marine navigation and even rockets science.

0:16:01.800 --> 0:16:05.320
<v Speaker 1>But but we can go back to very old traditions,

0:16:05.400 --> 0:16:09.000
<v Speaker 1>very old technologies involving the use of incense, and I

0:16:09.000 --> 0:16:11.480
<v Speaker 1>guess you might might wonder, well, why would you need

0:16:11.520 --> 0:16:13.920
<v Speaker 1>to use a gimbal on an incense, at which point

0:16:14.200 --> 0:16:18.040
<v Speaker 1>does it pass that kid inventor test of the practicality

0:16:18.480 --> 0:16:21.800
<v Speaker 1>um overpowering the This is the pure novelty of the thing.

0:16:22.280 --> 0:16:24.840
<v Speaker 1>So one of my main sources for this is a

0:16:24.960 --> 0:16:28.440
<v Speaker 1>two thousand twenty two article by art historian Bing Wong

0:16:28.920 --> 0:16:33.280
<v Speaker 1>published in the journal Religions UH. He cites several sources here,

0:16:33.360 --> 0:16:37.560
<v Speaker 1>including the work of noted sinologist Joseph Needham, whose writings

0:16:37.560 --> 0:16:41.520
<v Speaker 1>we recently reference on the show as well. Um. This

0:16:41.600 --> 0:16:44.640
<v Speaker 1>is an individual who casts cast along shadow in the

0:16:44.680 --> 0:16:47.440
<v Speaker 1>study of Chinese science and technology, especially in the West.

0:16:47.880 --> 0:16:50.360
<v Speaker 1>His multi volume work on the History of Science and

0:16:50.400 --> 0:16:53.800
<v Speaker 1>Civilization in China was very much a career defining work,

0:16:54.880 --> 0:16:59.240
<v Speaker 1>so as Huang describes here, it would seem based on

0:16:59.320 --> 0:17:03.160
<v Speaker 1>Needham's reas Urchin writings, the Chinese knowledge of the gimbal

0:17:03.480 --> 0:17:07.320
<v Speaker 1>dates back at least to the second century CE, but

0:17:07.440 --> 0:17:11.359
<v Speaker 1>also possibly to the second century b C. We have

0:17:11.440 --> 0:17:15.200
<v Speaker 1>a poet by the name of Sima scheng Ru who

0:17:15.200 --> 0:17:18.280
<v Speaker 1>makes a reference to the jin Zoo and Chuang. These

0:17:18.320 --> 0:17:23.640
<v Speaker 1>are the metal rings containing the burning perfume, and this

0:17:23.760 --> 0:17:27.320
<v Speaker 1>is in the marin fu uh. This is owed on

0:17:27.600 --> 0:17:31.239
<v Speaker 1>beautiful women a poem that contains a seduction scene and

0:17:31.280 --> 0:17:34.800
<v Speaker 1>in doing so describes the various these a bed chambers

0:17:35.240 --> 0:17:39.359
<v Speaker 1>and the items inside that bed chamber. And it's inferred

0:17:39.400 --> 0:17:43.879
<v Speaker 1>then in Needham's writing that, based on other texts, the

0:17:44.040 --> 0:17:48.320
<v Speaker 1>artifact described here might in fact be a gimbal suspension

0:17:48.560 --> 0:17:53.359
<v Speaker 1>to keep the burning perfume stable. Okay, So much like

0:17:53.440 --> 0:17:56.439
<v Speaker 1>you might have, say a cup holder on a boat

0:17:56.720 --> 0:17:59.960
<v Speaker 1>that could use a gimbal system in order to keep

0:18:00.000 --> 0:18:02.640
<v Speaker 1>the drink from spilling while the boat rocks in the waves,

0:18:03.160 --> 0:18:06.399
<v Speaker 1>this could potentially be a container for burning incense that

0:18:06.440 --> 0:18:09.119
<v Speaker 1>would use a gimbal system to keep it stable, to

0:18:09.160 --> 0:18:12.200
<v Speaker 1>make sure it didn't it didn't spill. Right now that

0:18:12.400 --> 0:18:15.080
<v Speaker 1>you may be wondering about the again the kid inventor

0:18:15.760 --> 0:18:18.720
<v Speaker 1>test here, like why is it really necessary? Well, there's

0:18:18.720 --> 0:18:20.639
<v Speaker 1>a potential answer for that, and I'll get through that

0:18:20.680 --> 0:18:24.600
<v Speaker 1>in a second. But um, if this is this is true,

0:18:24.760 --> 0:18:28.760
<v Speaker 1>if this would seem to position the earliest Chinese references

0:18:28.800 --> 0:18:32.440
<v Speaker 1>to gimbal um pretty early on. In some case, I

0:18:32.440 --> 0:18:35.359
<v Speaker 1>don't know if this would necessarily be earlier than um

0:18:35.480 --> 0:18:38.879
<v Speaker 1>than than Philo, but but certainly this would be pretty

0:18:38.880 --> 0:18:44.000
<v Speaker 1>early on. Um and Eastern traditions compared with Western traditions.

0:18:44.800 --> 0:18:46.960
<v Speaker 1>I should note that when it comes to critics of

0:18:47.080 --> 0:18:51.200
<v Speaker 1>need Him, a common one was that he tended towards

0:18:51.320 --> 0:18:55.760
<v Speaker 1>Chinese superiority in his analysis. Apparently. Other critics, however, argued

0:18:55.880 --> 0:18:58.879
<v Speaker 1>quite the opposite, that he struggled to shake free of

0:18:58.920 --> 0:19:04.119
<v Speaker 1>the shackles of Europe in exceptionalism in his synology. So um,

0:19:04.160 --> 0:19:07.119
<v Speaker 1>you know, ultimately, I'm not sure exactly where the truth

0:19:07.200 --> 0:19:10.080
<v Speaker 1>falls on all of that, but uh, probably worth reminding

0:19:10.080 --> 0:19:14.399
<v Speaker 1>everyone the need Him live and and and it was

0:19:14.480 --> 0:19:17.560
<v Speaker 1>I think pretty active up and towards the toward towards

0:19:17.600 --> 0:19:19.399
<v Speaker 1>the end of his life, as like an editor of

0:19:19.480 --> 0:19:23.600
<v Speaker 1>these volumes. But Um long does not raise the spectr

0:19:23.680 --> 0:19:26.200
<v Speaker 1>of either inclination, though he does look at new evidence,

0:19:26.280 --> 0:19:29.040
<v Speaker 1>disagrees with a few Needham theories, but otherwise did not

0:19:29.119 --> 0:19:32.679
<v Speaker 1>does not seem to oppose the second century BC date, Uh,

0:19:32.680 --> 0:19:36.760
<v Speaker 1>though does firmly base it in the analysis of need Um. So, anyway,

0:19:36.800 --> 0:19:39.040
<v Speaker 1>coming back to this question, Okay, why why would you

0:19:39.080 --> 0:19:41.440
<v Speaker 1>need your burning perfume? Why would you need your incense

0:19:41.840 --> 0:19:44.440
<v Speaker 1>to have some sort of a mechanical system to keep

0:19:44.440 --> 0:19:46.040
<v Speaker 1>it level? I mean, if you're taking a gut on

0:19:46.080 --> 0:19:48.359
<v Speaker 1>a ship. Are you running with it? Right? Like? What's

0:19:48.400 --> 0:19:51.600
<v Speaker 1>the what's the purpose? Yeah? Well this brings us to

0:19:51.680 --> 0:19:56.440
<v Speaker 1>consideration of the spherical incense burner that had been previously

0:19:56.840 --> 0:20:00.280
<v Speaker 1>referred to by archaeologists as as a perfume ball, but

0:20:00.359 --> 0:20:03.640
<v Speaker 1>eventually written descriptions were discovered that referred to them as

0:20:03.760 --> 0:20:08.560
<v Speaker 1>a hung nun, which Huong translates as sachet, in which

0:20:09.040 --> 0:20:13.280
<v Speaker 1>Yabla Chinese, which is a website for translating Mandarin, translates

0:20:13.320 --> 0:20:18.000
<v Speaker 1>as spiceball. Now, to be clear, these are metal uh

0:20:18.080 --> 0:20:22.080
<v Speaker 1>spheres as opposed to silk or cloth bound bags of incense.

0:20:22.600 --> 0:20:25.720
<v Speaker 1>So one points out that these metal spheres seem to

0:20:25.760 --> 0:20:29.560
<v Speaker 1>have two primary uses. In Tang dynasty China, this would

0:20:29.600 --> 0:20:33.679
<v Speaker 1>be uh, we're we're moving ahead several centuries here. This

0:20:33.720 --> 0:20:36.760
<v Speaker 1>would be the period of six eighteen through nine oh

0:20:36.760 --> 0:20:40.160
<v Speaker 1>seven CE, So they would have two purposes basically as

0:20:40.160 --> 0:20:43.560
<v Speaker 1>an incense burner, but also as a hand warm warmer

0:20:43.840 --> 0:20:48.280
<v Speaker 1>as well as quote a sensor amid the covers which

0:20:48.320 --> 0:20:51.800
<v Speaker 1>allowed it to set or I guess even roll around

0:20:52.320 --> 0:20:57.160
<v Speaker 1>on bedding without fear of tipping over. WHOA, yeah, so

0:20:57.240 --> 0:21:00.520
<v Speaker 1>and I so this is something that based on some

0:21:00.560 --> 0:21:03.719
<v Speaker 1>of the the the explanations I was reading. It kind

0:21:03.760 --> 0:21:05.520
<v Speaker 1>of brings the mind this idea of like, here's this

0:21:05.760 --> 0:21:08.640
<v Speaker 1>and you can look up images of this their ornate. Uh,

0:21:08.720 --> 0:21:11.280
<v Speaker 1>it's a it's a metal sphere, and inside there's a

0:21:11.280 --> 0:21:14.760
<v Speaker 1>gimbaled system to keep a tray of burning coals and

0:21:14.760 --> 0:21:17.439
<v Speaker 1>and incense from tipping over. And then you would be

0:21:17.440 --> 0:21:21.719
<v Speaker 1>able to place this amid some some some regal bedding,

0:21:22.359 --> 0:21:25.640
<v Speaker 1>and the fumes from it would of course, uh make

0:21:25.680 --> 0:21:28.400
<v Speaker 1>the bed smell nice. The heat from it would would

0:21:28.440 --> 0:21:31.720
<v Speaker 1>potentially warm the bed, and I mean, I'm not sure

0:21:31.800 --> 0:21:33.680
<v Speaker 1>from the descriptions I was reading if this is something

0:21:33.720 --> 0:21:35.760
<v Speaker 1>that would actually stay there all night. Maybe it would.

0:21:35.760 --> 0:21:37.560
<v Speaker 1>And maybe that's the idea that you could be in

0:21:37.600 --> 0:21:39.920
<v Speaker 1>the bed and you wouldn't have to worry about kicking

0:21:40.000 --> 0:21:43.800
<v Speaker 1>it over and you know, then burning your covers, even

0:21:43.840 --> 0:21:45.879
<v Speaker 1>with the gimbals. I don't know that that would kind

0:21:45.880 --> 0:21:48.640
<v Speaker 1>of freak me out, but I guess I'm not used

0:21:48.640 --> 0:21:51.680
<v Speaker 1>to it. Yeah, I don't know. I mean, there's a

0:21:51.760 --> 0:21:53.440
<v Speaker 1>there's a fun history. I don't know if we could

0:21:53.480 --> 0:21:55.960
<v Speaker 1>get a full Invention episode out of this, But when

0:21:55.960 --> 0:21:58.760
<v Speaker 1>you get into the history of bed warmers. It's pretty

0:21:58.760 --> 0:22:02.560
<v Speaker 1>fascinating the use of everything from essentially just hot bricks too,

0:22:02.600 --> 0:22:05.560
<v Speaker 1>of course, bottles of water, and and then of course

0:22:05.840 --> 0:22:08.320
<v Speaker 1>various technological systems. I think we did touch on some

0:22:08.359 --> 0:22:10.600
<v Speaker 1>of these in our History of the bed, you know,

0:22:10.640 --> 0:22:14.679
<v Speaker 1>ideas where you have bed and heating apparatus in a

0:22:14.760 --> 0:22:18.399
<v Speaker 1>home far more integrated than we're used to today in

0:22:18.640 --> 0:22:20.680
<v Speaker 1>many parts of the world world I should I should

0:22:20.680 --> 0:22:22.120
<v Speaker 1>mention there are parts of the world where you still

0:22:22.119 --> 0:22:26.239
<v Speaker 1>find this integration. So this is this is insightful. Here

0:22:26.320 --> 0:22:29.800
<v Speaker 1>Huong's Chairs a description of of this invention from a

0:22:29.840 --> 0:22:34.639
<v Speaker 1>Western Hans source. The sources as the translated title of

0:22:34.680 --> 0:22:38.480
<v Speaker 1>Miscellaneous Records of the Western Capital, and it even credits

0:22:38.680 --> 0:22:42.720
<v Speaker 1>some key inventors and innovators. Here quote Ding Juan, a

0:22:42.840 --> 0:22:46.879
<v Speaker 1>skilled craftsman from chang On, made an always full lamp.

0:22:47.240 --> 0:22:51.400
<v Speaker 1>It had extraordinary decorations, sporting seven dragons and five phoenixes,

0:22:51.800 --> 0:22:55.880
<v Speaker 1>which were supported by lotus shaped platforms resting on stalks.

0:22:56.800 --> 0:23:00.760
<v Speaker 1>He also created an incense burner which lay on the bedcloths.

0:23:01.320 --> 0:23:04.879
<v Speaker 1>It was also called the censor amid the covers. The

0:23:05.000 --> 0:23:08.679
<v Speaker 1>technique is original from Feng Feng, a Han dynasty skilled

0:23:08.760 --> 0:23:13.199
<v Speaker 1>artisan whose skills are unprecedented but now lost. It is

0:23:13.200 --> 0:23:16.399
<v Speaker 1>not until ding Juan that the technique is made possible again.

0:23:16.680 --> 0:23:21.040
<v Speaker 1>To make it, Dinghan fashioned a series of mechanically connected rings.

0:23:21.520 --> 0:23:24.320
<v Speaker 1>The sensor could roll in any direction and yet the

0:23:24.359 --> 0:23:29.040
<v Speaker 1>central incense burning chamber would remain level. Thus one could

0:23:29.080 --> 0:23:31.840
<v Speaker 1>position it on the bed covers. This is how it

0:23:31.880 --> 0:23:34.720
<v Speaker 1>acquired its name. Wow, so it is like the cup

0:23:34.720 --> 0:23:37.360
<v Speaker 1>holder on board a ship, except instead of the ocean,

0:23:37.520 --> 0:23:41.280
<v Speaker 1>it is the the roll king tide and waves of

0:23:41.320 --> 0:23:45.760
<v Speaker 1>the bed. Yeah. Yeah, So this would be a situation

0:23:45.800 --> 0:23:47.840
<v Speaker 1>seemed to be a situation where at least on some

0:23:48.040 --> 0:23:51.160
<v Speaker 1>level it passes the kin inventor test and someone's like, no, look,

0:23:51.480 --> 0:23:54.560
<v Speaker 1>we cannot have the bed govers burned anymore. We can't

0:23:54.640 --> 0:23:57.240
<v Speaker 1>risk the bed govers being burned anymore. Is there not

0:23:57.359 --> 0:24:00.080
<v Speaker 1>some sort of system we could employ here? And and

0:24:00.280 --> 0:24:02.880
<v Speaker 1>once you see examples of it too, I think it's

0:24:02.880 --> 0:24:05.320
<v Speaker 1>a situation where you you kind of buy into the

0:24:05.359 --> 0:24:08.280
<v Speaker 1>style of it as well. Uh, this idea that here's

0:24:08.359 --> 0:24:12.959
<v Speaker 1>this this sensor that you know has this internal novelty

0:24:12.960 --> 0:24:16.640
<v Speaker 1>to it but also looks quite beautiful and then apparently

0:24:16.720 --> 0:24:19.600
<v Speaker 1>can also be picked up and held as a handwarmer.

0:24:19.880 --> 0:24:23.040
<v Speaker 1>Like it allows the like space between the heat source,

0:24:23.359 --> 0:24:26.399
<v Speaker 1>which again would not be a roaring fire, but like

0:24:26.560 --> 0:24:29.440
<v Speaker 1>some hot coals, and that would allow UM. I think

0:24:29.600 --> 0:24:32.199
<v Speaker 1>like that. It's often when it's depicted or described, it's

0:24:32.240 --> 0:24:36.679
<v Speaker 1>often like noble women or royal um uh, female members

0:24:36.680 --> 0:24:40.160
<v Speaker 1>of the of the the king's entourage, of those kinds

0:24:40.200 --> 0:24:42.600
<v Speaker 1>of individuals that might be holding one of these to

0:24:42.680 --> 0:24:47.360
<v Speaker 1>keep them warm. So something fancy but also useful. Other

0:24:47.400 --> 0:24:49.879
<v Speaker 1>inventions attributed to Ding Juan, by the way, include an

0:24:49.920 --> 0:24:54.440
<v Speaker 1>evaporative cooling system and something that might have just been

0:24:54.480 --> 0:24:57.760
<v Speaker 1>like a flip book, but might have been some sort

0:24:57.800 --> 0:25:01.000
<v Speaker 1>of zootrope kind of device like it gets. I think

0:25:01.280 --> 0:25:04.600
<v Speaker 1>historians are kind of split on exactly what this might

0:25:04.600 --> 0:25:06.919
<v Speaker 1>have been. It also might have just been some novel

0:25:07.000 --> 0:25:10.960
<v Speaker 1>form of sequential artwork, the first graphic novel. Yeah, I mean,

0:25:11.200 --> 0:25:12.920
<v Speaker 1>you know, maybe so, yeah, they have. The history of

0:25:12.960 --> 0:25:16.800
<v Speaker 1>sequential art is quite quite fascinating. So so some of

0:25:16.840 --> 0:25:21.880
<v Speaker 1>these these balls, these are these mental spheres. Um. They

0:25:21.920 --> 0:25:25.680
<v Speaker 1>they had chains for hanging, others did not. Um. These

0:25:25.680 --> 0:25:29.199
<v Speaker 1>were apparently more used for for betting or handwarmers. So

0:25:29.240 --> 0:25:31.080
<v Speaker 1>I think that's interesting. As well, that you end up

0:25:31.119 --> 0:25:33.919
<v Speaker 1>with with hanging varieties of these where I guess in

0:25:35.240 --> 0:25:38.399
<v Speaker 1>I guess that would make sense. I don't know what

0:25:38.440 --> 0:25:41.440
<v Speaker 1>would be shaking the room or the house so much,

0:25:41.480 --> 0:25:43.240
<v Speaker 1>but I guess if you're gonna have something hanging from

0:25:43.240 --> 0:25:46.399
<v Speaker 1>a chain, you there's the potential for that movement to

0:25:46.440 --> 0:25:49.240
<v Speaker 1>take place, and therefore the gimbal system would would potentially

0:25:49.240 --> 0:25:53.080
<v Speaker 1>be useful. And then during the Ming dynasty, it's also

0:25:53.160 --> 0:25:55.959
<v Speaker 1>mentioned that specific types of incense could be used in

0:25:56.040 --> 0:25:58.639
<v Speaker 1>one of these devices to ward away insects. So we

0:25:58.680 --> 0:26:02.800
<v Speaker 1>have another uh practical use of the device here. And

0:26:02.880 --> 0:26:07.080
<v Speaker 1>One describes that this design eventually spreads from China to

0:26:07.200 --> 0:26:12.680
<v Speaker 1>the Islamic world and Venice quote possibly influencing the development

0:26:12.720 --> 0:26:16.520
<v Speaker 1>of the gyroscope from maritime navigation in Europe, and he

0:26:16.560 --> 0:26:20.199
<v Speaker 1>points out that while incense was widely used throughout the

0:26:20.240 --> 0:26:24.199
<v Speaker 1>Islamic world, this was fascinating. It never became, according to

0:26:24.240 --> 0:26:27.560
<v Speaker 1>this author, an essential part of Islamic ritual. But of

0:26:27.600 --> 0:26:29.879
<v Speaker 1>course the same cannot be said for Christianity, as we

0:26:29.920 --> 0:26:32.760
<v Speaker 1>discussed in the in those incense episodes, so we do

0:26:32.920 --> 0:26:37.040
<v Speaker 1>see the appearance of spherical incense burners in Islamic culture

0:26:37.040 --> 0:26:40.240
<v Speaker 1>as though not in religious ritual again based based on

0:26:40.280 --> 0:26:43.600
<v Speaker 1>this paper, but also we we do see spherical incense

0:26:43.640 --> 0:26:47.960
<v Speaker 1>burners popping up in European churches and being involved in

0:26:48.119 --> 0:26:53.639
<v Speaker 1>or very closely alongside religious rituals within Catholicism. Okay, so

0:26:53.720 --> 0:26:58.000
<v Speaker 1>generally yes, secular but not religious uses of incense in

0:26:58.000 --> 0:27:00.960
<v Speaker 1>the Islamic world. In Christianity, we talked about this in

0:27:01.000 --> 0:27:04.760
<v Speaker 1>the in the previous series on incense, that incense was

0:27:04.920 --> 0:27:09.719
<v Speaker 1>mostly missing from Christian religious use until around the fourth

0:27:09.760 --> 0:27:13.359
<v Speaker 1>and fifth century and and then um it seems to

0:27:13.440 --> 0:27:18.080
<v Speaker 1>be concurrent with the with the overtaking of the Roman Empire,

0:27:18.200 --> 0:27:22.360
<v Speaker 1>with Christianity is a dominant religion, that incense becomes an

0:27:22.359 --> 0:27:26.880
<v Speaker 1>integral part of Christian worship. Yeah. Now, an important thing

0:27:27.160 --> 0:27:28.640
<v Speaker 1>here and this is I thought this was a great

0:27:28.640 --> 0:27:30.520
<v Speaker 1>point and it's it makes so much sense when you

0:27:30.520 --> 0:27:33.920
<v Speaker 1>hear it spelled out. But when we talk about technologies

0:27:34.119 --> 0:27:37.520
<v Speaker 1>and ideas spreading from one culture to the next, we

0:27:37.600 --> 0:27:42.239
<v Speaker 1>often think of just a very sequential arrangement, like you

0:27:42.280 --> 0:27:45.240
<v Speaker 1>imagine something say traveling on the Silk Road out of China,

0:27:45.520 --> 0:27:47.520
<v Speaker 1>or in this case, you can imagine this ball like Okay,

0:27:47.560 --> 0:27:50.080
<v Speaker 1>now the ball goes to um goes, it goes to

0:27:50.200 --> 0:27:52.400
<v Speaker 1>the Middle East, and it takes on Middle Eastern properties,

0:27:52.400 --> 0:27:54.120
<v Speaker 1>and then it travels to Venice, and then it takes

0:27:54.119 --> 0:27:57.680
<v Speaker 1>on European properties. End of story. But but one points

0:27:57.680 --> 0:27:59.600
<v Speaker 1>out that it's not it's not just a matter of

0:27:59.600 --> 0:28:02.680
<v Speaker 1>the technology traveling from China eventually to Europe, but there's

0:28:02.720 --> 0:28:05.280
<v Speaker 1>a rather a fair amount of eventual back and forth

0:28:05.760 --> 0:28:10.240
<v Speaker 1>involving not only European craftsmen but also Sasanian craftsmen. Um.

0:28:11.359 --> 0:28:13.720
<v Speaker 1>We of course talked about the Sasanian Empire in previous

0:28:13.720 --> 0:28:19.240
<v Speaker 1>episodes as well. Uh uh Persian Iranian craftsmen adding their

0:28:19.280 --> 0:28:23.119
<v Speaker 1>own touches to this uh to to this type of technology,

0:28:23.280 --> 0:28:26.560
<v Speaker 1>and then some of that flowing back. So quote. The

0:28:26.600 --> 0:28:29.600
<v Speaker 1>metal work utilized in the Tang dynasty Sensor is a

0:28:29.680 --> 0:28:33.679
<v Speaker 1>consequence of the chasing and hammering techniques taught to the

0:28:33.760 --> 0:28:37.680
<v Speaker 1>Chinese by the Sasanian goldsmiths of Persia, while the culture

0:28:37.920 --> 0:28:42.479
<v Speaker 1>of burning incense is from Indian Buddhism, so they're there

0:28:42.480 --> 0:28:45.160
<v Speaker 1>are various beautiful examples of where like you can look

0:28:45.200 --> 0:28:47.880
<v Speaker 1>up the Chinese examples of these incense of spears that

0:28:47.960 --> 0:28:51.440
<v Speaker 1>you can also find some wonderful examples, for example, included

0:28:51.480 --> 0:28:54.560
<v Speaker 1>a picture here for you, Joe, of of one of

0:28:54.600 --> 0:28:59.120
<v Speaker 1>these that was apparently forged in Damascus around the thirteenth century.

0:28:59.160 --> 0:29:01.200
<v Speaker 1>And you can see the and like the elegant script

0:29:01.240 --> 0:29:04.480
<v Speaker 1>in here. Yeah, it's beautiful. So with this invention we

0:29:04.600 --> 0:29:09.200
<v Speaker 1>see an early use of the gimbal um, which at

0:29:09.240 --> 0:29:12.200
<v Speaker 1>this time is largely I guess best used for just

0:29:12.280 --> 0:29:15.160
<v Speaker 1>this purpose. Like, here is something that you would want

0:29:15.160 --> 0:29:18.720
<v Speaker 1>to keep stable, so here is how you can keep

0:29:18.720 --> 0:29:21.520
<v Speaker 1>it stable, and then I and then like the the

0:29:21.520 --> 0:29:24.800
<v Speaker 1>the art artistry of the invention seems to take on

0:29:24.840 --> 0:29:27.240
<v Speaker 1>a life of its own, and we see it employed

0:29:27.240 --> 0:29:29.880
<v Speaker 1>in situations where maybe it doesn't doesn't make as much sense.

0:29:30.240 --> 0:29:34.760
<v Speaker 1>But once you're crafting these beautiful globes of of like

0:29:34.880 --> 0:29:37.840
<v Speaker 1>silver and bronze and so forth in there you can

0:29:37.840 --> 0:29:41.120
<v Speaker 1>imagine them emitting this a sweet smelling smoke, it like

0:29:41.200 --> 0:29:50.120
<v Speaker 1>kind of takes on a life all its own. Now,

0:29:50.160 --> 0:29:53.160
<v Speaker 1>another example that came up in the research here is

0:29:53.280 --> 0:29:57.320
<v Speaker 1>the patheke eon um. This is an example of a

0:29:57.360 --> 0:30:00.640
<v Speaker 1>gimbal in action, and we have reference is to a

0:30:00.640 --> 0:30:04.120
<v Speaker 1>device called the pothecon or little ape as it is

0:30:04.360 --> 0:30:08.960
<v Speaker 1>often translated in a second century text on siegecraft titled

0:30:09.200 --> 0:30:12.760
<v Speaker 1>on Machines by an author that is referred to by

0:30:12.840 --> 0:30:18.560
<v Speaker 1>historians as Athenaeus Mechanicals. Oh, i'd seen this is an

0:30:18.560 --> 0:30:23.560
<v Speaker 1>interesting coincidence. I'd sometimes seen a Philo of Byzantium, the

0:30:23.680 --> 0:30:26.240
<v Speaker 1>person cited with this early description of the gimble in

0:30:26.280 --> 0:30:31.520
<v Speaker 1>the third century BC, as sometimes called Philo Mechanicus. So

0:30:31.640 --> 0:30:34.800
<v Speaker 1>I don't know where that appellation comes from. Apparently in

0:30:34.800 --> 0:30:39.080
<v Speaker 1>this case it's because um Uh Athenaus was a common

0:30:39.200 --> 0:30:43.200
<v Speaker 1>enough name, and then there in referring to this particular Athenaus,

0:30:44.040 --> 0:30:46.160
<v Speaker 1>we just add the title of the text. They're most

0:30:46.160 --> 0:30:51.800
<v Speaker 1>known for on Machines, So this is Athenaus Mechanicals. Some

0:30:51.880 --> 0:30:55.880
<v Speaker 1>historians identify them with Athenaeus of Solutia, but there are

0:30:55.880 --> 0:30:59.120
<v Speaker 1>also some alternative theories as well. Again, this is a

0:30:59.160 --> 0:31:01.880
<v Speaker 1>common name, and apparently some of the dating of it

0:31:02.080 --> 0:31:07.880
<v Speaker 1>is based on the book's preface, which references one Marcellus,

0:31:08.400 --> 0:31:13.000
<v Speaker 1>and according to historian David Whitehead Uh, this causes the

0:31:13.120 --> 0:31:15.920
<v Speaker 1>dating of the text to oscillate from as early as

0:31:16.360 --> 0:31:19.400
<v Speaker 1>the late third century b C. To the mid third

0:31:19.440 --> 0:31:25.600
<v Speaker 1>century CE. But anyway, the the Salucia idea would date

0:31:25.680 --> 0:31:29.760
<v Speaker 1>this to mid to late first century BC. Okay, the

0:31:29.800 --> 0:31:33.920
<v Speaker 1>Whitehead white Head here along with pH blythe they're responsible

0:31:33.960 --> 0:31:36.640
<v Speaker 1>for a two thousand and four translation of the on

0:31:36.840 --> 0:31:41.000
<v Speaker 1>Machines text, so anyway, it would regardless on which Apanaus

0:31:41.000 --> 0:31:43.680
<v Speaker 1>wrote it and when exactly during this time period it

0:31:43.720 --> 0:31:48.760
<v Speaker 1>was written. The book is largely concerned with siege machinery um,

0:31:48.880 --> 0:31:51.240
<v Speaker 1>and it's not that long of a text either. But

0:31:51.480 --> 0:31:55.120
<v Speaker 1>later in the work the author does make mention of

0:31:55.200 --> 0:31:58.840
<v Speaker 1>the patheke eon or a little ape. Whitehead describes it

0:31:59.520 --> 0:32:04.440
<v Speaker 1>as fall follows in the paper Athanaus Mechanicals for the

0:32:04.440 --> 0:32:09.200
<v Speaker 1>Oxford Classical Dictionary quote a device perhaps involving nets or

0:32:09.240 --> 0:32:14.440
<v Speaker 1>gimbals for stabilizing shipborn machines when they are deployed in

0:32:14.560 --> 0:32:17.880
<v Speaker 1>choppy seas. Why is this an ape? I'm so curious

0:32:17.920 --> 0:32:20.840
<v Speaker 1>about the name. I yeah that I have a lot

0:32:20.880 --> 0:32:23.880
<v Speaker 1>of questions about that as well. Uh and and I

0:32:23.960 --> 0:32:28.200
<v Speaker 1>ultimately have maybe more questions than answers here for everyone.

0:32:28.280 --> 0:32:32.560
<v Speaker 1>But apparently this does relate to Roman siegecraft, in which

0:32:32.560 --> 0:32:35.880
<v Speaker 1>they would take merchant ships yoked them together to bear

0:32:35.880 --> 0:32:40.000
<v Speaker 1>the weight of siege weapons in attacking coastal towns. The

0:32:40.040 --> 0:32:42.920
<v Speaker 1>little ape here was used, and this is where I

0:32:42.960 --> 0:32:46.560
<v Speaker 1>get kind of foggy, apparently used to keep the machines

0:32:46.640 --> 0:32:49.240
<v Speaker 1>from rolling around with the movement of the ships. That's

0:32:49.600 --> 0:32:54.520
<v Speaker 1>one interpretation that I've seen, but I'm not sure about that.

0:32:55.320 --> 0:32:58.960
<v Speaker 1>The quote from the text from All Machines says, you quote,

0:32:58.960 --> 0:33:02.000
<v Speaker 1>you must fix the chion on the platform attached to

0:33:02.040 --> 0:33:04.600
<v Speaker 1>the merchant ships in the middle, so that the machine

0:33:04.960 --> 0:33:08.680
<v Speaker 1>stays upright in any angle. Well, I don't know. I mean,

0:33:08.720 --> 0:33:10.960
<v Speaker 1>at this period of time, I don't know how much

0:33:11.040 --> 0:33:14.840
<v Speaker 1>minute aiming would be involved in the use of siege weapons.

0:33:14.840 --> 0:33:18.080
<v Speaker 1>But of course gimbals are very useful in the mounting

0:33:18.240 --> 0:33:21.640
<v Speaker 1>of of modern weapons like of you know, machine gun

0:33:21.680 --> 0:33:24.360
<v Speaker 1>turrets and stuff like that, or if they're within like

0:33:24.400 --> 0:33:26.200
<v Speaker 1>a ship or an airplane or something, they can be

0:33:26.240 --> 0:33:30.000
<v Speaker 1>mounted within gimbals in order to stabilize for aiming purposes,

0:33:30.200 --> 0:33:34.240
<v Speaker 1>because otherwise, like you're trying to aim while the ground

0:33:34.400 --> 0:33:37.360
<v Speaker 1>or the housing is rocking all over the place. Yeah.

0:33:37.480 --> 0:33:42.040
<v Speaker 1>I have a very hard time imagining a gimbal system

0:33:42.080 --> 0:33:45.440
<v Speaker 1>big enough on a Roman ship that would accommodate some

0:33:45.520 --> 0:33:50.080
<v Speaker 1>sort of really robust form of siege work. Machinery, you know,

0:33:50.160 --> 0:33:56.200
<v Speaker 1>like some sort of a large crossbow or catapult type device. Um.

0:33:56.240 --> 0:33:58.480
<v Speaker 1>It seems like it would make more sense if it

0:33:58.560 --> 0:34:02.400
<v Speaker 1>was designed for some more subtle too of siegecraft, some

0:34:02.480 --> 0:34:05.600
<v Speaker 1>sort of as we see in in the nautical traditions,

0:34:05.720 --> 0:34:09.520
<v Speaker 1>something uh that would aid in the use of siege weapons,

0:34:09.719 --> 0:34:13.200
<v Speaker 1>but not the siege weapon itself. Yeah. And when I

0:34:13.239 --> 0:34:16.400
<v Speaker 1>looked around for more examples, more descriptions of what the

0:34:16.440 --> 0:34:19.000
<v Speaker 1>pathechion would have looked like, indeed why it it is

0:34:19.080 --> 0:34:21.920
<v Speaker 1>compared to an ape um, I wasn't able to find

0:34:22.040 --> 0:34:26.720
<v Speaker 1>much I was looking at. In one case, I was

0:34:26.760 --> 0:34:29.960
<v Speaker 1>reading about deck based weapons. I was looking at The

0:34:30.040 --> 0:34:34.440
<v Speaker 1>Navies of Rome by Michael Potassi, and they mentioned that

0:34:34.920 --> 0:34:39.480
<v Speaker 1>during the war between Caesar and POMPEII, the later constructed

0:34:39.520 --> 0:34:42.920
<v Speaker 1>three story towers the top merchant ships and mounted artillery

0:34:42.960 --> 0:34:46.719
<v Speaker 1>on them. Uh and and use these against Caesar's blockade,

0:34:47.400 --> 0:34:49.759
<v Speaker 1>just as an example of something that the Romans would

0:34:49.760 --> 0:34:52.640
<v Speaker 1>have would have done with merchant ships and some sort

0:34:52.680 --> 0:34:55.600
<v Speaker 1>of a combat scenario. But there's no mention of gimbal

0:34:55.640 --> 0:34:58.120
<v Speaker 1>technology in that book as far as I could tell.

0:34:58.760 --> 0:35:01.920
<v Speaker 1>And he does site a text by Athenaeus at one

0:35:01.960 --> 0:35:05.640
<v Speaker 1>point or by unaps. But yeah, so I wasn't really

0:35:05.680 --> 0:35:08.560
<v Speaker 1>able to find much in the way of answers about

0:35:08.600 --> 0:35:13.440
<v Speaker 1>exactly what the little ape was achieving. But it seems

0:35:13.440 --> 0:35:15.520
<v Speaker 1>based on all these other examples, it seems like we

0:35:15.560 --> 0:35:18.360
<v Speaker 1>would probably be talking about a way to keep some

0:35:18.440 --> 0:35:22.000
<v Speaker 1>sort of measurement tool steady as opposed to some sort

0:35:22.000 --> 0:35:26.400
<v Speaker 1>of large catapult or crossbow or what have you. Okay,

0:35:27.000 --> 0:35:29.919
<v Speaker 1>I did find a wonderful illustration though this was used.

0:35:29.920 --> 0:35:33.080
<v Speaker 1>I think this was in Wang's article. Uh, I could

0:35:33.080 --> 0:35:35.799
<v Speaker 1>be mistaken on that, but it's um a drawing from

0:35:35.920 --> 0:35:42.839
<v Speaker 1>fifteen sixty seven UM by Jacques Bisson's book. Let's say,

0:35:42.880 --> 0:35:46.760
<v Speaker 1>what is this lick Cosmo LABU uh like Cosmo Lab,

0:35:47.760 --> 0:35:51.839
<v Speaker 1>Cosmo Lab, but it's a it's it's a wonderful illustration

0:35:51.920 --> 0:35:55.920
<v Speaker 1>of a ship. And we see this fascinating and I

0:35:57.400 --> 0:35:59.719
<v Speaker 1>have a hard time imagining if this was ever built either.

0:36:00.080 --> 0:36:04.759
<v Speaker 1>But we see like a table, um and chair, like

0:36:04.800 --> 0:36:08.320
<v Speaker 1>a basically of the little desk, a little office mounted

0:36:08.360 --> 0:36:13.680
<v Speaker 1>inside this large spherical gimbal system. Um that it takes

0:36:13.719 --> 0:36:16.719
<v Speaker 1>up a large portion of the ship in this illustration. Yeah,

0:36:16.719 --> 0:36:18.719
<v Speaker 1>I see, you gotta have a gimbal system if you

0:36:18.760 --> 0:36:20.880
<v Speaker 1>want to like mount a platform on which you can

0:36:20.880 --> 0:36:23.080
<v Speaker 1>put a pool table on a ship so that you

0:36:23.120 --> 0:36:26.399
<v Speaker 1>can play pool or you can play ping pong. Yeah,

0:36:26.560 --> 0:36:29.719
<v Speaker 1>I I wonder with illustrations like this, it's if it's

0:36:29.760 --> 0:36:32.719
<v Speaker 1>more about sort of illustrating the purpose or if it's

0:36:32.719 --> 0:36:36.440
<v Speaker 1>a or a telephone game of of relating what a

0:36:36.440 --> 0:36:40.000
<v Speaker 1>gimble is and how it functions and enable context. And

0:36:40.040 --> 0:36:42.400
<v Speaker 1>then of course you're also probably getting into the situation

0:36:42.440 --> 0:36:44.600
<v Speaker 1>where why while it might if you're just familiar with

0:36:44.640 --> 0:36:46.680
<v Speaker 1>the basics of the gimble, you might think, well, yeah,

0:36:46.719 --> 0:36:49.399
<v Speaker 1>let's just put the whole office in the gimbal. Why

0:36:49.400 --> 0:36:51.880
<v Speaker 1>can't we put the whole ship in the gimbal? Everybody

0:36:51.880 --> 0:36:53.600
<v Speaker 1>on the ship is in the gimble, and then nobody

0:36:53.600 --> 0:36:56.680
<v Speaker 1>will get sick. And the reality is probably a bit

0:36:56.680 --> 0:37:00.399
<v Speaker 1>different from that. Umus, once you get an off weight,

0:37:00.440 --> 0:37:03.160
<v Speaker 1>you're probably putting a lot of strain on the on

0:37:03.239 --> 0:37:06.239
<v Speaker 1>the little pivot hinges for those rings. Yeah, so you

0:37:06.320 --> 0:37:08.640
<v Speaker 1>probably come up and come back to the situation then

0:37:08.800 --> 0:37:13.839
<v Speaker 1>either in practicality, oh you know, through experimentation, or through

0:37:13.880 --> 0:37:16.080
<v Speaker 1>just learning more about what they're actually doing out there

0:37:16.719 --> 0:37:19.480
<v Speaker 1>at say you realize, now this makes the most sense

0:37:19.880 --> 0:37:25.200
<v Speaker 1>as a way to keep specialized tools steady, generally small

0:37:25.200 --> 0:37:29.959
<v Speaker 1>measurement tools or burning incense. Certainly, yeah, that makes sense

0:37:30.000 --> 0:37:34.080
<v Speaker 1>to me. So we mentioned earlier that systems of orthogonal

0:37:34.120 --> 0:37:38.160
<v Speaker 1>gimbals are used in many technologies today, and one major

0:37:38.280 --> 0:37:41.880
<v Speaker 1>theater of use is space travel. And funny enough, I

0:37:41.920 --> 0:37:44.359
<v Speaker 1>actually found an old house Stuff Works article about this

0:37:44.400 --> 0:37:47.560
<v Speaker 1>by our colleague Jonathan Strickland of the podcast tech Stuff

0:37:48.239 --> 0:37:51.160
<v Speaker 1>highlighting the use of gimbals by NASA. If you're if

0:37:51.200 --> 0:37:54.160
<v Speaker 1>you're not familiar, uh, Rob and I we've been doing

0:37:54.160 --> 0:37:56.520
<v Speaker 1>this podcast for a while, but we started doing it

0:37:56.920 --> 0:38:00.239
<v Speaker 1>long ago under the auspices of a website called how

0:38:00.320 --> 0:38:04.400
<v Speaker 1>Stuff Works. So in this short little article, Jonathan highlights

0:38:04.440 --> 0:38:07.000
<v Speaker 1>a number of different uses of gimbals by by NASA.

0:38:07.360 --> 0:38:11.000
<v Speaker 1>For example, a harness mounted within a gimbal system is

0:38:11.040 --> 0:38:14.759
<v Speaker 1>sometimes used to simulate spacewalks during astronaut training. So you

0:38:14.800 --> 0:38:18.200
<v Speaker 1>want to get astronauts used to, um, you know, the

0:38:18.239 --> 0:38:20.640
<v Speaker 1>different ways that their body will sort of float around

0:38:20.680 --> 0:38:24.960
<v Speaker 1>and reorient smoothly in space if they're trying to do say,

0:38:25.040 --> 0:38:28.839
<v Speaker 1>external repairs on a on a spacecraft or something. Of course,

0:38:28.840 --> 0:38:32.279
<v Speaker 1>the gimbals will not remove the influence of Earth's gravity,

0:38:32.320 --> 0:38:36.080
<v Speaker 1>but they will simulate other aspects of of space walking,

0:38:36.120 --> 0:38:38.000
<v Speaker 1>the way that you can you know, change your body's

0:38:38.040 --> 0:38:41.239
<v Speaker 1>orientation in any direction in space. And then of course

0:38:41.239 --> 0:38:43.719
<v Speaker 1>there are lots of other uses within spacecraft and the

0:38:43.760 --> 0:38:47.320
<v Speaker 1>mechanical parts, so like you might have motorized gimbals to

0:38:47.520 --> 0:38:50.480
<v Speaker 1>orient solar panels to keep facing the sun even as

0:38:50.560 --> 0:38:54.160
<v Speaker 1>the position of a space station changes. Of course, there

0:38:54.160 --> 0:38:57.480
<v Speaker 1>are detectors and sensors. For example, an instrument called the

0:38:57.520 --> 0:39:01.799
<v Speaker 1>inertial Measurement Unit UH, which is a sort of mechanical

0:39:01.840 --> 0:39:06.280
<v Speaker 1>inner ear. It measures the orientation of the spacecraft so pitch,

0:39:06.400 --> 0:39:10.520
<v Speaker 1>role and yaw, and it also measures acceleration. And I

0:39:10.520 --> 0:39:14.319
<v Speaker 1>guess this also highlights different ways that gimbals can be used.

0:39:14.360 --> 0:39:16.680
<v Speaker 1>I mean, most of the gimbals we've been talking about

0:39:17.400 --> 0:39:22.160
<v Speaker 1>um have been free rotating gimbals that are supposed to allow,

0:39:22.440 --> 0:39:27.040
<v Speaker 1>say a platform to keep its orientation with respect to

0:39:27.120 --> 0:39:30.440
<v Speaker 1>the Earth's gravity no matter how the outer housing moves.

0:39:30.440 --> 0:39:33.120
<v Speaker 1>So in that case it would just be the goal

0:39:33.239 --> 0:39:36.239
<v Speaker 1>of the different gimbals in the in the card end

0:39:36.280 --> 0:39:39.320
<v Speaker 1>suspension or the or you know, even just one or

0:39:39.320 --> 0:39:42.600
<v Speaker 1>two gimbals the purpose would just be that they can

0:39:42.760 --> 0:39:46.960
<v Speaker 1>rotate easily and freely smooth movement to allow a naturally

0:39:47.400 --> 0:39:50.640
<v Speaker 1>gravity oriented platform to stay as it is. But you

0:39:50.640 --> 0:39:53.359
<v Speaker 1>can also, of course create motorized gimbals if you want

0:39:53.360 --> 0:39:59.120
<v Speaker 1>to intentionally maintain the orientation of a central object or platform,

0:39:59.680 --> 0:40:03.440
<v Speaker 1>uh with some kind of external control mechanism and gimbal

0:40:03.480 --> 0:40:07.080
<v Speaker 1>systems like this or have proven very useful for cameras.

0:40:07.160 --> 0:40:11.320
<v Speaker 1>So imagine you are trying to shoot something, keep something

0:40:11.360 --> 0:40:13.840
<v Speaker 1>in focus, keep a subject of a frame in focus

0:40:13.960 --> 0:40:17.600
<v Speaker 1>while the camera itself is moving. You're shooting moving video.

0:40:18.360 --> 0:40:20.760
<v Speaker 1>If you just hold a camera and then you walk

0:40:20.840 --> 0:40:23.840
<v Speaker 1>or run. If you ever tried this rob like, you

0:40:23.880 --> 0:40:26.840
<v Speaker 1>will often be very dissatisfied with the results. There's a

0:40:26.840 --> 0:40:30.759
<v Speaker 1>lot of jostling, yeah, like like blair, which effect at

0:40:30.800 --> 0:40:34.680
<v Speaker 1>times ten Yeah. So to keep the movement smooth, you

0:40:34.760 --> 0:40:39.440
<v Speaker 1>can make a mounting system with motorized gimbals that detect

0:40:39.520 --> 0:40:42.319
<v Speaker 1>the movement coming up through the frame that's holding the

0:40:42.360 --> 0:40:47.120
<v Speaker 1>camera and then use little computers inside to algorithmically adjust

0:40:48.040 --> 0:40:51.560
<v Speaker 1>the camera itself to cancel out that movement. So it's

0:40:51.600 --> 0:40:54.600
<v Speaker 1>not just allowing the camera to sort of like rotate

0:40:54.680 --> 0:41:00.080
<v Speaker 1>freely within the gimbal system, it's actually making adjustments deliberately

0:41:00.280 --> 0:41:04.280
<v Speaker 1>to smooth out any jostling that comes through the housing.

0:41:04.840 --> 0:41:06.760
<v Speaker 1>You know, in the in the natural world, of course,

0:41:07.600 --> 0:41:10.080
<v Speaker 1>as we're looking around, there's kind of a gimbling effect

0:41:10.360 --> 0:41:14.839
<v Speaker 1>just to our the way we position our head. But

0:41:14.920 --> 0:41:17.759
<v Speaker 1>it's also been pointed out that the chicken is a

0:41:18.000 --> 0:41:22.520
<v Speaker 1>is a like a natural gimbal. It's nature's gimbal, the

0:41:22.680 --> 0:41:26.040
<v Speaker 1>the way a chicken can keep its head perfectly stationary

0:41:26.160 --> 0:41:30.000
<v Speaker 1>whilst someone holding the chicken moves its body around. Oh yeah,

0:41:30.239 --> 0:41:32.480
<v Speaker 1>there's some really fun videos of this, including one that

0:41:32.680 --> 0:41:35.560
<v Speaker 1>uh that I'm not sure if this was an April

0:41:35.600 --> 0:41:38.480
<v Speaker 1>Fools video or not, but it's a it's a parody

0:41:38.480 --> 0:41:41.480
<v Speaker 1>in which they're saying, well, we've discovered the ultimate for

0:41:42.080 --> 0:41:45.520
<v Speaker 1>photography and filmmaking gimbals. We just put a little camera

0:41:45.520 --> 0:41:47.640
<v Speaker 1>on top of the chicken's head and then use the

0:41:47.719 --> 0:41:52.719
<v Speaker 1>chicken as the gimble, which I thought was very very funny. Now, um, not,

0:41:52.719 --> 0:41:54.640
<v Speaker 1>not only can you keep things stable with this kind

0:41:54.680 --> 0:41:56.920
<v Speaker 1>of a layout, you can also, of course just mess

0:41:57.280 --> 0:42:01.200
<v Speaker 1>with whatever is strapped in the middle. Particularly I'm thinking

0:42:01.200 --> 0:42:05.839
<v Speaker 1>of those various uh gyroscope um mounting systems. You would

0:42:05.840 --> 0:42:09.800
<v Speaker 1>see these sometimes and get like carnivals. I remember seeing these,

0:42:09.920 --> 0:42:12.920
<v Speaker 1>uh perhaps at carnivals or in sort of like carnival

0:42:12.960 --> 0:42:15.319
<v Speaker 1>type towns where you could come up, you paid your

0:42:15.320 --> 0:42:16.839
<v Speaker 1>money and they would strap you into one of these

0:42:16.880 --> 0:42:20.160
<v Speaker 1>things and just spin you around. Um. I think sometimes

0:42:20.200 --> 0:42:23.880
<v Speaker 1>there's a virtual reality headset that is employed in these.

0:42:24.080 --> 0:42:26.399
<v Speaker 1>And of course, if you've ever seen any kind of

0:42:26.800 --> 0:42:31.640
<v Speaker 1>VR VR exploitation film, I'm particularly thinking of the lawnmower

0:42:31.719 --> 0:42:34.719
<v Speaker 1>Man films here, but films like that, there's always going

0:42:34.800 --> 0:42:36.879
<v Speaker 1>to be a scene where somebody puts some some sort

0:42:36.880 --> 0:42:40.839
<v Speaker 1>of shiny jumpsuit, uh, some VR goggles and then they're

0:42:40.840 --> 0:42:44.720
<v Speaker 1>put in some sort of like Neon Strobe light gyroscope

0:42:44.840 --> 0:42:48.680
<v Speaker 1>or uh you know, or or Gimbalt system and then

0:42:48.719 --> 0:42:51.719
<v Speaker 1>they're spinning all over the place. It's pierrece brasman get

0:42:51.719 --> 0:42:53.480
<v Speaker 1>in one of those or is that is that just

0:42:53.800 --> 0:42:57.719
<v Speaker 1>Jeff Ahey? I think they both do. Yeah, okay, I

0:42:57.760 --> 0:43:00.279
<v Speaker 1>think also sometimes with Max you see this, right, I

0:43:00.280 --> 0:43:03.560
<v Speaker 1>can't remember if we saw this sort of outfit in

0:43:03.800 --> 0:43:06.560
<v Speaker 1>robot jocks, but I feel like maybe they had it

0:43:06.600 --> 0:43:08.440
<v Speaker 1>in I don't know, a Pacific room or one of

0:43:08.480 --> 0:43:13.200
<v Speaker 1>these type of shows. Well, we've hit our lawnmower man quota,

0:43:13.320 --> 0:43:17.399
<v Speaker 1>so I think it may be time to call this episode. Yeah, yeah,

0:43:17.400 --> 0:43:21.000
<v Speaker 1>but I thought this was fascinating, especially when you get again.

0:43:21.120 --> 0:43:23.920
<v Speaker 1>It's kind of like the wheel where you begin asking questions.

0:43:23.960 --> 0:43:26.279
<v Speaker 1>All right, at what point in human history is this

0:43:26.320 --> 0:43:32.279
<v Speaker 1>technology both possible and uh, you know, achievable and also recognizable? Like,

0:43:32.400 --> 0:43:34.400
<v Speaker 1>at what point might someone have made one of these

0:43:34.400 --> 0:43:37.000
<v Speaker 1>at least as a lark? But then at what point

0:43:37.239 --> 0:43:40.360
<v Speaker 1>does it become practical to put something in the middle

0:43:40.400 --> 0:43:43.200
<v Speaker 1>of it? At what point point is it practical, uh,

0:43:43.239 --> 0:43:46.319
<v Speaker 1>to to put to build a card, to build even

0:43:46.400 --> 0:43:49.600
<v Speaker 1>a very simple card. At what point? What point does

0:43:49.600 --> 0:43:52.520
<v Speaker 1>it become practical to build some sort of gimbald system

0:43:52.560 --> 0:43:55.800
<v Speaker 1>to keep something steady if there's not truly a practical

0:43:55.840 --> 0:43:58.680
<v Speaker 1>reason for it. When will we discover the meaning of

0:43:58.719 --> 0:44:01.520
<v Speaker 1>the little ape? Yeah? So if anyone out there has

0:44:01.520 --> 0:44:03.920
<v Speaker 1>insight on that, certainly right in let us know, and

0:44:03.960 --> 0:44:10.000
<v Speaker 1>just in general, examples of amazing gimbals from other technologies,

0:44:10.520 --> 0:44:13.440
<v Speaker 1>other cultures and histories. Right in, we would love to

0:44:13.480 --> 0:44:15.279
<v Speaker 1>hear from you. I especially would love to hear from

0:44:15.280 --> 0:44:18.399
<v Speaker 1>anyone who's seen some other great examples of these uh

0:44:18.480 --> 0:44:22.680
<v Speaker 1>these these these globes that burn in since and various

0:44:22.680 --> 0:44:25.640
<v Speaker 1>cultures in which they were built and uh and designed.

0:44:26.200 --> 0:44:28.160
<v Speaker 1>Uh so yeah right in let us know, send us

0:44:28.160 --> 0:44:30.359
<v Speaker 1>your photos. We'd love to hear from. We would love

0:44:30.400 --> 0:44:33.000
<v Speaker 1>to see them. In the meantime, we'll remind you that

0:44:33.080 --> 0:44:35.880
<v Speaker 1>Stuff to Blow Your Mind publishes its core episodes on

0:44:35.920 --> 0:44:38.000
<v Speaker 1>Tuesdays and Thursdays, and this Stuff to Blow your Mind

0:44:38.040 --> 0:44:41.239
<v Speaker 1>podcast feed. Uh, you'll find that feed wherever you get

0:44:41.280 --> 0:44:45.759
<v Speaker 1>your podcasts these days. And on Mondays we do listener mail.

0:44:46.120 --> 0:44:49.040
<v Speaker 1>On Wednesdays we do a short form artifact or monster

0:44:49.120 --> 0:44:52.560
<v Speaker 1>fact episode, and then on Fridays we do Weird House Cinema.

0:44:53.000 --> 0:44:55.080
<v Speaker 1>That is a time for us to set aside most

0:44:55.080 --> 0:44:58.000
<v Speaker 1>serious concerns and just talk about a weird film. And

0:44:58.040 --> 0:44:59.799
<v Speaker 1>I have to say, we didn't even think about the

0:45:00.040 --> 0:45:04.279
<v Speaker 1>energy between this episode and the movie that we're going

0:45:04.320 --> 0:45:07.560
<v Speaker 1>to be discussing this Friday. Huge thanks as always to

0:45:07.600 --> 0:45:11.439
<v Speaker 1>our excellent audio producer Seth Nicholas Johnson. If you would

0:45:11.480 --> 0:45:13.400
<v Speaker 1>like to get in touch with us with feedback on

0:45:13.440 --> 0:45:15.880
<v Speaker 1>this episode or any other, to suggest a topic for

0:45:15.920 --> 0:45:18.120
<v Speaker 1>the future, or just to say hello, you can email

0:45:18.200 --> 0:45:28.920
<v Speaker 1>us at contact at Stuff to Blow Your Mind dot com.

0:45:28.960 --> 0:45:31.440
<v Speaker 1>Stuff to Blow Your Mind is production of I heart Radio.

0:45:31.800 --> 0:45:34.120
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0:45:34.200 --> 0:45:36.920
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