WEBVTT - Selects: MC Escher and His Trippy Art

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<v Speaker 1>Hi, everybody. Chuck here on a Saturday. I'm just sitting

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<v Speaker 1>here drawing cubes and things with my poor artwork. But

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<v Speaker 1>you know who was really good at this? Mc Esher

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<v Speaker 1>And this episode from December twenty nineteen gets all into

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<v Speaker 1>the life of the great artist. And the title is

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<v Speaker 1>mc esher and his Trippy Art. I hope you enjoy it.

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<v Speaker 1>Welcome to Stuff You Should Know, a production of iHeartRadio.

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<v Speaker 2>Hey, and welcome to the podcast.

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<v Speaker 3>I'm Josh Clark, and there's Charles W Chuck Bryant, and

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<v Speaker 3>there's Jerry over there, and this is Stuff you Should Know.

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<v Speaker 2>The Arts Sea.

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<v Speaker 1>Edition is Jerry Roomtone. Roland.

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<v Speaker 2>Yeah, I think that's make believe stuff.

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<v Speaker 1>Room tone.

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<v Speaker 2>Yeah.

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<v Speaker 3>She might as well be like, let me capture a

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<v Speaker 3>few fairies in this, Mason jow First.

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<v Speaker 2>I think it's the same thing.

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<v Speaker 1>We may need us in the final edit. Perry, I

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<v Speaker 1>don't know what it is about to explain to everyone.

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<v Speaker 1>Room tone is you do this on film sets and

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<v Speaker 1>in studios where you just make everyone sit completely silently

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<v Speaker 1>while you capture the sound of the room. So I

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<v Speaker 1>guess you can. What do you do with that, Joe?

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<v Speaker 1>Do you layer it in in case you need it

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<v Speaker 1>or something. Did you hear that? Everyone?

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<v Speaker 3>She said, she cleans up the background to everybody listening.

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<v Speaker 3>It sounded like.

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<v Speaker 1>There's something about it. Though. It's like being in church

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<v Speaker 1>and getting the giggles. Like it's really hard, especially on

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<v Speaker 1>a film set when there's like fifty people standing around

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<v Speaker 1>being completely silent.

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<v Speaker 3>I suspect it's strictly a power trip, you think, So

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<v Speaker 3>the person calling for a room tone, that's what I think.

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<v Speaker 1>I'm going to start doing that my house when things

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<v Speaker 1>get out of hand room tone?

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<v Speaker 2>Do you think that works?

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<v Speaker 3>Don't make me bust out the room tone on you? Well,

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<v Speaker 3>since this no, no, I was going to say, since

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<v Speaker 3>we're talking about room tone, obviously, the topic today is

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<v Speaker 3>mc escher, who is well known for going berserk anytime

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<v Speaker 3>someone asked him to be quiet for room tone, trash chairs,

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<v Speaker 3>grab reptiles straight out of the two dimensions and throw

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<v Speaker 3>them into the third dimension, just do all sorts of weird.

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<v Speaker 1>Stuff that's funny.

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<v Speaker 2>Did you think so that was a joke just for you?

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<v Speaker 1>Yeah? So he everyone knows mc es or. If you've

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<v Speaker 1>ever been to college or taken drugs.

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<v Speaker 2>Or sold drugs to somebody in college.

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<v Speaker 1>Then you've probably seen hands drawing hands or I mean,

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<v Speaker 1>that's not what the name of that one.

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<v Speaker 2>Was, but it's called drawing hands, oh is it?

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<v Speaker 1>Or the Some of his more famous ones are the

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<v Speaker 1>these impossible rooms like stairs that lead to sideway stairs

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<v Speaker 1>but you got to wrap your head around it in

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<v Speaker 1>a certain way to even make sense of it, all.

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<v Speaker 3>Right, or stairs that lead into other stairs that lead

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<v Speaker 3>back into the other stairs.

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<v Speaker 2>Sure this is constant.

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<v Speaker 1>Or I'm a big fan of that one self portrait

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<v Speaker 1>he did in the with the sphere. Yeah, the mirror sphere,

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<v Speaker 1>mirror sphere.

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<v Speaker 2>Yeah, it's cool, it is very cool.

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<v Speaker 3>I'm not crazy about the face, even though I'm sure

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<v Speaker 3>he did it exactly precise, but the hand, if you

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<v Speaker 3>look at the hand, it's really realistic.

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<v Speaker 2>It's very pretty.

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<v Speaker 1>Yeah, I mean I like this stuff. This is not

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<v Speaker 1>my style, as in anything I would put on my

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<v Speaker 1>walls these days, but I still think he's one of

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<v Speaker 1>the coolest, more innovative artists out there.

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<v Speaker 2>Yeah.

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<v Speaker 1>And there's a great factoid that I hope will hold

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<v Speaker 1>till the end, which not the end but kind of

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<v Speaker 1>where it falls in our So what an outline?

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<v Speaker 3>What does factoid mean against I mean you've killed ten

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<v Speaker 3>percent of all the facts, that's right, and this is

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<v Speaker 3>just one of the ten percent remaining.

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<v Speaker 1>That's right.

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<v Speaker 2>Okay, gotcha. So one of the things you chuck about MC.

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<v Speaker 3>I sure that I found was that if you were

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<v Speaker 3>impressed by his work, prepared to get exponentially more impressed

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<v Speaker 3>as we talk about how he made those works. Well too,

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<v Speaker 3>that's the fact of the show too for me. Oh okay,

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<v Speaker 3>that's the factoid you.

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<v Speaker 1>Yeah, you got a hold onto that.

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<v Speaker 3>Oh sure, sure, sure sure. I was just teasing it

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<v Speaker 3>a little bit. I didn't know that's what you're talking about,

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<v Speaker 3>although I should have guessed. Yeah. So this is a

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<v Speaker 3>talking about an artist, which means that we should probably

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<v Speaker 3>talk about the artist being born. And in the case

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<v Speaker 3>of MC Escher, whose name, by the way, was Moritz Cornelis,

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<v Speaker 3>I want to say Cornelius, but there's no U in there.

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<v Speaker 1>I think Cornelis.

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<v Speaker 3>Sure Esher, I nailed the last nurme. That's right, But

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<v Speaker 3>I misspoke on name.

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<v Speaker 1>Oh you didn't say the name nrme.

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<v Speaker 2>So I nailed the last nurme.

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<v Speaker 3>This is the point where the people say, get to

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<v Speaker 3>the point already.

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<v Speaker 1>Well we are at that point. That's MC and then

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<v Speaker 1>Esher born June seventeenth, eighteen ninety eight, not nineteen eighty nine,

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<v Speaker 1>as the Grabster put it. Yeah, it was like, man,

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<v Speaker 1>he's like, here's the numbers. He was born in leu Warden, Netherlands,

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<v Speaker 1>grew up in Arnheim, which is about sixty miles southeast

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<v Speaker 1>of Amsterdam.

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<v Speaker 2>Is that right?

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<v Speaker 1>Yeah? Okay, I mapped all this stuff out nice, kind

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<v Speaker 1>of that general area.

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<v Speaker 2>He went on a little Google tour.

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<v Speaker 1>Sure, and he signed even from early on as MCE

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<v Speaker 1>he signed his paintings, although people called him mock m

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<v Speaker 1>a UK friends and family.

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<v Speaker 3>Right, which didn't mean anything, Ed points out. But it's

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<v Speaker 3>just like, you know, an affectionate term for Moritz. Yeah,

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<v Speaker 3>is it Mouritz?

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<v Speaker 1>Probably Maritz Maurites, cornelis Escher, but.

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<v Speaker 2>It could also go the way of Morris. So is

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<v Speaker 2>it Moritz or more?

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<v Speaker 1>I don't know.

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<v Speaker 2>I wish I knew.

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<v Speaker 1>Well. What we do know is that in this we

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<v Speaker 1>should put a pin in because it sort of plays

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<v Speaker 1>a big part in how he pursued his art. But

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<v Speaker 1>his dad had some money.

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<v Speaker 2>He was a rich kid, yeah for sure.

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<v Speaker 1>Which really helps. As we'll see as he's trapesing around Europe.

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<v Speaker 3>On dad's dime, slowly getting better at art slowly.

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<v Speaker 1>Yeah, that's a good point, because he was not great

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<v Speaker 1>in school. He did love drawing class, but apparently wasn't

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<v Speaker 1>you know, he didn't have his second grade teachers falling

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<v Speaker 1>over themselves about what a talented artist he was.

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<v Speaker 3>No, and apparently he also didn't consider himself much of

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<v Speaker 3>an artist, although he engaged in art like he did

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<v Speaker 3>produce art from a very young age. He was terrible

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<v Speaker 3>in school, except at math and at drawing. Apparently when

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<v Speaker 3>he was in grade school primary school he failed as finals,

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<v Speaker 3>all of them except for math. And I read that

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<v Speaker 3>his father noted in his journal with some affection that

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<v Speaker 3>his son consoled himself by producing a lina type of

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<v Speaker 3>a sunflower. That's how he made himself feel better after

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<v Speaker 3>failing out of school.

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<v Speaker 1>Well, and he was somewhat adept at math early on.

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<v Speaker 1>But it's interesting his work is highly mathematical as far

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<v Speaker 1>as art goes, but later on in life, when he

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<v Speaker 1>was confronted with real mathematicians, he would sort of be like, no,

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<v Speaker 1>not me, man, I'm an artist. Well, I'm not that

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<v Speaker 1>kind of mathematician.

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<v Speaker 3>So I said yes. But he was most of his

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<v Speaker 3>friends were mathematicians. For most of his career, he was

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<v Speaker 3>mostly appreciated by mathematicians and scientists. Those are the people

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<v Speaker 3>who really vibed on his work and drugs that came later.

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<v Speaker 3>That came later, and he got real popular. But I

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<v Speaker 3>saw that somebody made a movie called Journey into Infinity documentary,

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<v Speaker 3>full length documentary.

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<v Speaker 2>I believe the whole.

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<v Speaker 3>Thing's on YouTube, and it starts out.

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<v Speaker 2>The trailer starts out with.

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<v Speaker 3>Graham Nash saying, Hey, I called up mc esher one

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<v Speaker 3>day just to say, mister Esher, I think you're a

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<v Speaker 3>really great artist. That's all I wanted you to say.

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<v Speaker 3>And he said, I don't consider myself an artist. I

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<v Speaker 3>consider myself a mathematician. Oh really, yes, So I'm going

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<v Speaker 3>with Graham Nash's interpretation as counter to this spoke to

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<v Speaker 3>him directly.

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<v Speaker 1>Yeah, yeah, I mean it's crazy. He I mean, not

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<v Speaker 1>to spoil anything, but he died in nineteen seventy two

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<v Speaker 1>at just seventy three. So you know, if he would

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<v Speaker 1>have lived to his like mid eighties, which is somewhat reasonable,

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<v Speaker 1>he would have been like alive in the eighties, which

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<v Speaker 1>just seems so weird.

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<v Speaker 3>It does seem kind of weird, you know, yeah, because

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<v Speaker 3>he was. He seems countercultural for sure, even though him

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<v Speaker 3>his personality was not very countercultural. No, and he didn't

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<v Speaker 3>really have much love for hippies. In fact, he later

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<v Speaker 3>said that the hippies in San Francisco are legally making

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<v Speaker 3>copies of my work. He didn't exactly follow, you know,

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<v Speaker 3>the normal usual beat throughout his lifetime. And he was

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<v Speaker 3>a mathematician. He was a bit of a square, but

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<v Speaker 3>he was also a very imaginative square.

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<v Speaker 1>That's right. I was trying to make a square joke,

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<v Speaker 1>but it's not coming to me.

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<v Speaker 2>Remember that show, Square peg, square peg, square, yeah, square peg.

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<v Speaker 3>Sarah Jesica Parker was she in that. She was also

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<v Speaker 3>in Girls Just Want to Have Fun, That's right.

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<v Speaker 1>Yeah, And I'm going to see her on Broadway next spring.

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<v Speaker 1>Really yeah. She and her husband are co starring in

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<v Speaker 1>Plaza Suite and Neil Simon's Plaza Sweet. Very nice, very

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<v Speaker 1>excited about that. But I'm trying to align it with

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<v Speaker 1>a Bonnie Prince Billy show. But they're like a week apart,

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<v Speaker 1>and I'm like, I can't just stay in New York.

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<v Speaker 3>Time to kill, especially when there's hourly flights between Atlanta

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<v Speaker 3>and New York.

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<v Speaker 1>I know, I may just go see Bonnie Prince Billy

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<v Speaker 1>and come home because he didn't play much. But that's

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<v Speaker 1>a story for another day, all right. So he goes

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<v Speaker 1>to school at Technical College of Delft, not for very long,

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<v Speaker 1>and then he went to the Harlem with two A's

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<v Speaker 1>School of Architecture and Decorative Arts, which is west of Amsterdam,

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<v Speaker 1>not Harlem, New York.

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<v Speaker 3>Well, I think that's what the Harlem, New York is

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<v Speaker 3>named after. Right, Yeah, that's where Bonnie Prince.

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<v Speaker 1>He's at town Hall.

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<v Speaker 2>Actually, Oh is that right? Yeah, we played there.

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<v Speaker 1>That's right. We got our stink on that joint. So

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<v Speaker 1>his dad said, you know, because you know, his dad

0:10:01.760 --> 0:10:03.880
<v Speaker 1>had a lot of money and made money, and even

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<v Speaker 1>though you want to support your kids, you want you

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<v Speaker 1>want to try and edge them into something. Sure, if

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<v Speaker 1>you're that kind of dude, that might be lucrative. So

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<v Speaker 1>he said, hey, you like to draw shapes, why don't

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<v Speaker 1>you go study architecture. And he did that for a

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<v Speaker 1>little while, even though he wasn't super into it. But

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<v Speaker 1>while at school there he had a very fortunate meeting

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<v Speaker 1>by being mentored by one Samuel Jasurin Demisquita m.

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<v Speaker 3>Who would be his mentor, who noticed some of his

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<v Speaker 3>early art. I'm not sure how he saw it, but

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<v Speaker 3>he took one look at Esher's art and said, you

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<v Speaker 3>don't need to go into architecture. Come study under me

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<v Speaker 3>and learn graphic design. And so Escher did. He became

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<v Speaker 3>a graphic designer, which he whether he knew it or not,

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<v Speaker 3>he had been his whole life up to that point.

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<v Speaker 3>All of his work is very graphic in nature and designing.

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<v Speaker 2>Yeah, it really really is.

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<v Speaker 1>But I'm sure his dad in the early, you know,

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<v Speaker 1>nineteen twenties was probably like, is that even a thing, right?

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<v Speaker 2>That sounds made up?

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<v Speaker 1>Yeah.

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<v Speaker 3>Well, his dad also, I don't know if you said

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<v Speaker 3>or not, was a civil engineer, so of course he

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<v Speaker 3>would be like, you draw, just go do architecture, right,

0:11:09.559 --> 0:11:12.199
<v Speaker 3>that's what I know, civil engineering, and there's architects in

0:11:12.240 --> 0:11:14.240
<v Speaker 3>the world. Just go do the other thing that I

0:11:14.280 --> 0:11:14.719
<v Speaker 3>don't do.

0:11:14.840 --> 0:11:17.280
<v Speaker 1>And he probably thought graphic design just meant like you're

0:11:17.320 --> 0:11:18.760
<v Speaker 1>gonna make signs.

0:11:19.040 --> 0:11:22.079
<v Speaker 3>Right or post his stamps or Christmas paper, which he

0:11:22.120 --> 0:11:22.760
<v Speaker 3>did later on.

0:11:22.880 --> 0:11:24.440
<v Speaker 1>That's right, until he made a little bit of dough.

0:11:25.240 --> 0:11:29.120
<v Speaker 1>So in the early nineteen twenties, he started on his

0:11:29.720 --> 0:11:34.160
<v Speaker 1>sort of rich kid journey, traveling around Europe on his

0:11:34.240 --> 0:11:35.080
<v Speaker 1>dad's dime.

0:11:35.000 --> 0:11:37.559
<v Speaker 2>On a gap year that was really really long.

0:11:37.679 --> 0:11:41.280
<v Speaker 1>Very long. But on one of these trips he went

0:11:41.320 --> 0:11:43.160
<v Speaker 1>to a couple of places that would end up having

0:11:43.160 --> 0:11:46.240
<v Speaker 1>a big influence on him. Yeah, one in Spain at

0:11:46.240 --> 0:11:50.920
<v Speaker 1>the Alhambra, and then just traveling through southern Italy through

0:11:50.960 --> 0:11:51.599
<v Speaker 1>the countryside.

0:11:51.679 --> 0:11:53.160
<v Speaker 2>Yeah, he just fell in love with Italy.

0:11:53.520 --> 0:11:55.680
<v Speaker 1>Yeah, but in Spain this is this is one that

0:11:55.679 --> 0:11:59.240
<v Speaker 1>didn't bear fruit right away, but he was really fascinated

0:11:59.240 --> 0:12:05.040
<v Speaker 1>by these mosaics and tesselations, which are described as.

0:12:06.080 --> 0:12:11.080
<v Speaker 3>Okay, they are repeating designs that interlock with one another,

0:12:11.240 --> 0:12:13.480
<v Speaker 3>leave no space between one another, and that when you

0:12:13.520 --> 0:12:17.200
<v Speaker 3>fit them together they fully cover a plane, which is

0:12:17.880 --> 0:12:20.400
<v Speaker 3>harder to do than you would think.

0:12:20.600 --> 0:12:24.720
<v Speaker 1>Yeah, Like, if you've ever seen the esher fish sort

0:12:24.760 --> 0:12:26.000
<v Speaker 1>of tesselation.

0:12:25.880 --> 0:12:29.720
<v Speaker 3>The whitefish and the blackfish kind of working in one another.

0:12:29.559 --> 0:12:31.760
<v Speaker 1>Yeah, that's a perfect example. And he would do this

0:12:31.840 --> 0:12:35.960
<v Speaker 1>a lot later on. If you've ever played Cubert, Yeah,

0:12:36.280 --> 0:12:40.840
<v Speaker 1>those cubes are tesselations, sure, a certain kind. But he

0:12:40.880 --> 0:12:43.280
<v Speaker 1>got really into this, even though it wasn't like right

0:12:43.320 --> 0:12:45.719
<v Speaker 1>away that he started doing these things that sort of

0:12:45.760 --> 0:12:47.920
<v Speaker 1>came a little bit later. But what he did do

0:12:48.040 --> 0:12:51.640
<v Speaker 1>was started drawing the Italian countryside because he loved it.

0:12:52.200 --> 0:12:54.880
<v Speaker 2>Loved it, I mean, like he went to Italy, he

0:12:54.920 --> 0:12:55.800
<v Speaker 2>was like, this is my home.

0:12:55.960 --> 0:12:56.240
<v Speaker 1>Yeah.

0:12:56.280 --> 0:12:58.720
<v Speaker 3>And he was quoted at one point in time as

0:12:58.720 --> 0:13:01.880
<v Speaker 3>saying like he never wanted to be an Italian among Italians.

0:13:02.240 --> 0:13:06.319
<v Speaker 3>He liked being a stranger, but he loved Italy, which.

0:13:06.160 --> 0:13:08.240
<v Speaker 1>Is an interesting thing to say. I'm not exactly sure

0:13:08.280 --> 0:13:08.760
<v Speaker 1>what it means.

0:13:08.800 --> 0:13:12.959
<v Speaker 3>I think what he was saying was he he likes

0:13:13.080 --> 0:13:18.600
<v Speaker 3>being a visitor to Italy rather than there's a certain

0:13:18.600 --> 0:13:20.960
<v Speaker 3>amount of responsibility that comes with being one of us,

0:13:21.200 --> 0:13:22.880
<v Speaker 3>you know what I mean. Whereas if you can be

0:13:23.000 --> 0:13:25.679
<v Speaker 3>like that guy over there, who will accept him. We're

0:13:25.720 --> 0:13:27.079
<v Speaker 3>not going to throw rocks at him every time we

0:13:27.160 --> 0:13:28.720
<v Speaker 3>see him or anything like that, and we'll take his

0:13:28.760 --> 0:13:30.520
<v Speaker 3>money and you know, maybe even say hi.

0:13:30.480 --> 0:13:32.200
<v Speaker 2>To him or whatever, but we'll leave him alone.

0:13:32.200 --> 0:13:35.640
<v Speaker 3>We won't include him in our expectations of what it

0:13:35.679 --> 0:13:38.400
<v Speaker 3>means to be a local. Gotcha, That's what I think

0:13:38.400 --> 0:13:40.840
<v Speaker 3>he was after. Clearly I can identify with that.

0:13:41.800 --> 0:13:43.600
<v Speaker 1>Well. That kind of came through in his work too,

0:13:43.679 --> 0:13:47.680
<v Speaker 1>because if you'll notice even in these, before he started

0:13:47.720 --> 0:13:51.959
<v Speaker 1>doing the like trippy three dimensional handstrawing hands and stuff,

0:13:51.960 --> 0:13:54.480
<v Speaker 1>when he was doing countrysides, he didn't do a lot

0:13:54.480 --> 0:13:57.120
<v Speaker 1>of people, didn't do a lot of faces. People were

0:13:57.240 --> 0:14:00.640
<v Speaker 1>very much in the background and nondescript. But even when

0:14:00.679 --> 0:14:03.080
<v Speaker 1>you look at these, when you say Italian still lives

0:14:03.320 --> 0:14:07.959
<v Speaker 1>of countrysides, what came to mind for me were these beautiful, lush,

0:14:08.000 --> 0:14:12.400
<v Speaker 1>colorful recreations of a countryside. Nope, Nope, when you look

0:14:12.400 --> 0:14:14.440
<v Speaker 1>at these, they still look very much like in the

0:14:14.559 --> 0:14:16.040
<v Speaker 1>mc escher style that we all know.

0:14:16.320 --> 0:14:18.640
<v Speaker 2>Yeah, like very clearly. A lot of love them too.

0:14:18.720 --> 0:14:19.160
<v Speaker 1>They're cool.

0:14:19.200 --> 0:14:20.000
<v Speaker 2>Yeah, they're beautiful.

0:14:20.040 --> 0:14:22.920
<v Speaker 3>Yeah, they're black and white and then shades of gray,

0:14:22.960 --> 0:14:25.800
<v Speaker 3>which is all just shading, right, Yeah, but they are

0:14:25.840 --> 0:14:27.400
<v Speaker 3>beautiful in their way and lovely.

0:14:27.480 --> 0:14:29.760
<v Speaker 1>Even I like this stuff more than the trippy stuff.

0:14:30.320 --> 0:14:32.160
<v Speaker 1>Oh yeah, yeah, I mean this is something I would

0:14:32.160 --> 0:14:32.840
<v Speaker 1>put on my wall.

0:14:33.200 --> 0:14:35.320
<v Speaker 3>You're an art snob, You're like, oh, I only like

0:14:35.480 --> 0:14:37.560
<v Speaker 3>Esher's early Italian landscapes.

0:14:39.040 --> 0:14:41.960
<v Speaker 2>Oh man, you take that, say the trippy stuff for

0:14:42.000 --> 0:14:42.680
<v Speaker 2>Graham Nash.

0:14:42.760 --> 0:14:43.640
<v Speaker 1>I'm so ashamed.

0:14:43.880 --> 0:14:46.160
<v Speaker 2>No, I think it's great, Chuck. You you have.

0:14:46.240 --> 0:14:52.360
<v Speaker 1>Totally right but they are gorgeous. And then in nineteen

0:14:52.360 --> 0:14:54.040
<v Speaker 1>twenty three he met his wife.

0:14:54.600 --> 0:14:56.640
<v Speaker 2>His name was Jetta jedda Umaker.

0:14:57.040 --> 0:14:58.560
<v Speaker 1>That's right, very nice, thank you.

0:14:58.880 --> 0:15:02.560
<v Speaker 2>She was learned from the.

0:15:01.200 --> 0:15:03.920
<v Speaker 1>They met her in Italy, but she was Swiss and

0:15:04.440 --> 0:15:06.480
<v Speaker 1>she went home and they sent a bunch of love letters.

0:15:06.480 --> 0:15:09.400
<v Speaker 1>It's a very sweet story. I'm sure an mcacsher movie

0:15:09.440 --> 0:15:10.720
<v Speaker 1>would be pretty cool.

0:15:11.480 --> 0:15:15.360
<v Speaker 3>Somebody wrote a script or they wrote a dissertation about

0:15:15.440 --> 0:15:19.040
<v Speaker 3>the process of writing a script about mc esher. It's

0:15:19.080 --> 0:15:21.960
<v Speaker 3>from University of Texas. I wrote it in twenty seventeen.

0:15:22.000 --> 0:15:25.120
<v Speaker 3>I can't remember the name of it. But just look up. Oh,

0:15:25.280 --> 0:15:27.960
<v Speaker 3>just some random stuff comes up if you look up

0:15:28.600 --> 0:15:32.560
<v Speaker 3>mosquito bootprint, which will come up later. But if you

0:15:32.600 --> 0:15:35.240
<v Speaker 3>search that on Google, it brings up Have you ever

0:15:35.280 --> 0:15:37.320
<v Speaker 3>done that? Have you ever been like, I'm bored. I

0:15:37.360 --> 0:15:40.280
<v Speaker 3>want to see what weird stuff I can unlock from Google.

0:15:40.800 --> 0:15:43.880
<v Speaker 3>And it takes a certain amount of skill because Google

0:15:43.920 --> 0:15:46.200
<v Speaker 3>wants to give you exactly what you're looking for. It

0:15:46.200 --> 0:15:49.280
<v Speaker 3>doesn't want to give you just randomness, so you have

0:15:49.320 --> 0:15:52.200
<v Speaker 3>to trick it. So maybe you'll you'll type in a

0:15:52.200 --> 0:15:55.080
<v Speaker 3>weird word or the first three letters of a word

0:15:55.160 --> 0:15:58.160
<v Speaker 3>or something like that, and weird stuff will start to come.

0:15:58.240 --> 0:16:01.520
<v Speaker 3>Well if you type in mosquito. Probably only like the

0:16:01.520 --> 0:16:03.680
<v Speaker 3>first three of them pertained to m cescher and the

0:16:03.720 --> 0:16:07.520
<v Speaker 3>rest are just a random assortment of links.

0:16:07.880 --> 0:16:11.960
<v Speaker 1>I remember, early in the days of Google, we had

0:16:11.960 --> 0:16:15.200
<v Speaker 1>a mutual friend who they did this what I thought

0:16:15.240 --> 0:16:17.800
<v Speaker 1>was a very dumb game where they would try and

0:16:17.920 --> 0:16:21.080
<v Speaker 1>find two words together that they would try and produce

0:16:21.120 --> 0:16:24.240
<v Speaker 1>the fewest amount of Google results. And whoever could put

0:16:24.280 --> 0:16:27.040
<v Speaker 1>two words together that found the fewest one. Yeah, And

0:16:27.080 --> 0:16:28.680
<v Speaker 1>I don't know if you remember them doing that, but

0:16:28.760 --> 0:16:30.640
<v Speaker 1>so I don't know. I don't remember you talking about

0:16:30.640 --> 0:16:31.440
<v Speaker 1>lost a waste of time.

0:16:31.480 --> 0:16:33.560
<v Speaker 2>But I remember that some guy did, like a ted

0:16:33.600 --> 0:16:34.240
<v Speaker 2>talk about that.

0:16:34.480 --> 0:16:36.560
<v Speaker 1>Oh really yeah, Oh well, maybe I'm the dummy.

0:16:36.680 --> 0:16:37.960
<v Speaker 2>No, no, no, it was.

0:16:38.960 --> 0:16:41.480
<v Speaker 1>I mean, look at me. I'd like mcsher's early work.

0:16:42.360 --> 0:16:46.280
<v Speaker 2>I think that's awesome. I mean, what taste. Yeah, you know.

0:16:46.640 --> 0:16:51.240
<v Speaker 1>So he meets and gets married. She returns to Italy

0:16:51.280 --> 0:16:52.760
<v Speaker 1>and they married nineteen twenty four.

0:16:52.840 --> 0:16:54.400
<v Speaker 2>Do you mean Jeda Umaker.

0:16:54.600 --> 0:16:57.280
<v Speaker 1>That's right. She would become Jeda Esher.

0:16:57.280 --> 0:16:59.280
<v Speaker 2>Jeda Umiker Esher, and.

0:16:59.200 --> 0:17:03.080
<v Speaker 1>They had a son named Georgio. Later had sons, Arthur

0:17:03.160 --> 0:17:07.240
<v Speaker 1>and Jan and uh, they were still just sort of

0:17:07.280 --> 0:17:09.600
<v Speaker 1>traveling and his dad was even though he was married,

0:17:09.800 --> 0:17:11.400
<v Speaker 1>his dad was still footing the bill.

0:17:12.600 --> 0:17:16.359
<v Speaker 3>Esher's dad father, Yeah, yeah, yeah, yeah, which I was just

0:17:16.400 --> 0:17:19.199
<v Speaker 3>thinking about it. I was like, gosh, you know, I

0:17:19.240 --> 0:17:21.679
<v Speaker 3>get a benefactor. Wake up every day and look at

0:17:21.720 --> 0:17:22.560
<v Speaker 3>yourself in the mirror.

0:17:22.720 --> 0:17:26.480
<v Speaker 1>But if you're if you're in the mirror sphere.

0:17:25.520 --> 0:17:27.560
<v Speaker 2>Right, how do you and then how do you draw it?

0:17:27.920 --> 0:17:28.120
<v Speaker 1>Yeah?

0:17:28.280 --> 0:17:33.800
<v Speaker 3>So amazingly the the father Esher's father though, and like,

0:17:33.800 --> 0:17:35.800
<v Speaker 3>what better way to spend your money than to just

0:17:35.800 --> 0:17:37.080
<v Speaker 3>be like, this is what you want to do with

0:17:37.119 --> 0:17:39.920
<v Speaker 3>your life, son, you want to pursue art and live

0:17:39.960 --> 0:17:42.439
<v Speaker 3>in beautiful Italy than like here, this is what I

0:17:42.480 --> 0:17:43.160
<v Speaker 3>want for you.

0:17:43.840 --> 0:17:45.960
<v Speaker 1>And that's like, that's awesome.

0:17:46.080 --> 0:17:48.239
<v Speaker 3>That's the pinnacle of what a parent can do for

0:17:48.280 --> 0:17:49.920
<v Speaker 3>their child in a lot of ways.

0:17:50.040 --> 0:17:50.960
<v Speaker 1>No, totally know.

0:17:51.000 --> 0:17:53.239
<v Speaker 3>It's not like, hey, why don't you go, you know,

0:17:53.359 --> 0:17:55.520
<v Speaker 3>take up Heroin and here's a bunch of money for

0:17:55.560 --> 0:17:57.119
<v Speaker 3>you to like lay around in a BEFA.

0:17:57.840 --> 0:18:00.440
<v Speaker 1>True I want to know more. I'm not I hope

0:18:00.440 --> 0:18:02.440
<v Speaker 1>I'm not coming across his cynical but I wonder if

0:18:02.480 --> 0:18:06.159
<v Speaker 1>some of this was like, he'll come around if I

0:18:06.600 --> 0:18:07.960
<v Speaker 1>you know, to architecture or whatever.

0:18:08.040 --> 0:18:10.000
<v Speaker 3>Right, you kept waiting for the part where his father

0:18:10.080 --> 0:18:13.880
<v Speaker 3>cuts him off. I was his father apparently wouldn't like that.

0:18:14.600 --> 0:18:16.320
<v Speaker 3>All right, I know how you feel. I'm not trying

0:18:16.359 --> 0:18:18.119
<v Speaker 3>to talk you into my way of thinking. I'm not

0:18:18.119 --> 0:18:20.760
<v Speaker 3>saying like I had. I started out thinking the same

0:18:20.760 --> 0:18:22.760
<v Speaker 3>way you did. And then something happened. I was like, Oh,

0:18:22.760 --> 0:18:24.160
<v Speaker 3>it was actually really neat of his dad.

0:18:24.280 --> 0:18:27.880
<v Speaker 1>It was it all seems above board. Yeah. So World

0:18:27.920 --> 0:18:30.800
<v Speaker 1>War Two has a profound effect on Esher and his work.

0:18:31.520 --> 0:18:35.719
<v Speaker 1>In nineteen thirty five, he learned that they were making

0:18:35.720 --> 0:18:40.359
<v Speaker 1>his nine year old son, Georgio, marching fascist youth parades,

0:18:40.920 --> 0:18:43.080
<v Speaker 1>and he said, pack your bags, we're going to Switzerland.

0:18:43.200 --> 0:18:46.320
<v Speaker 3>That is the appropriate response to that news. Yeah, we're

0:18:46.359 --> 0:18:49.560
<v Speaker 3>getting out of here marching for Mussolini.

0:18:49.880 --> 0:18:51.680
<v Speaker 1>Have you seen Jojo Rabbit yet?

0:18:52.119 --> 0:18:54.680
<v Speaker 2>No? Is it good? Is it as good as it looks?

0:18:54.760 --> 0:18:55.160
<v Speaker 1>It's great?

0:18:55.280 --> 0:18:56.520
<v Speaker 2>Oh, I can't wait.

0:18:56.560 --> 0:18:58.240
<v Speaker 1>It's great. Everything about it is created.

0:18:58.600 --> 0:19:00.320
<v Speaker 2>I need to see it in theater. It doesn't like

0:19:00.359 --> 0:19:01.320
<v Speaker 2>one I have to see any No.

0:19:01.359 --> 0:19:03.240
<v Speaker 1>I mean, you know, it's always fun to laugh with

0:19:03.280 --> 0:19:05.399
<v Speaker 1>a big group of people, although by now it's probably

0:19:05.400 --> 0:19:08.479
<v Speaker 1>thinned out. Yeah, and I was laughing a lot and

0:19:08.640 --> 0:19:10.840
<v Speaker 1>people weren't laughing. Oh, I like that kind of one

0:19:10.840 --> 0:19:13.120
<v Speaker 1>of those deals. Yeah, I mean, it's a movie about

0:19:13.119 --> 0:19:15.359
<v Speaker 1>a kid having Hitler as an imaginary friend.

0:19:15.440 --> 0:19:18.399
<v Speaker 2>So don't tell me that I didn't know. I know,

0:19:18.480 --> 0:19:21.159
<v Speaker 2>I had no idea Itler's on the poster. I know,

0:19:21.280 --> 0:19:23.760
<v Speaker 2>but I didn't know he was an imaginary friend. Oh,

0:19:24.119 --> 0:19:25.520
<v Speaker 2>get out of my brain.

0:19:25.760 --> 0:19:27.439
<v Speaker 1>Sorry, that really doesn't spoil anything.

0:19:27.480 --> 0:19:30.119
<v Speaker 2>Okay, like, don't tell me any not some big reveal.

0:19:31.480 --> 0:19:35.840
<v Speaker 1>So they go to Switzerland. All apologies, it's really not a.

0:19:35.760 --> 0:19:37.360
<v Speaker 2>Big deal as long as it's not a big spoiler.

0:19:37.440 --> 0:19:38.359
<v Speaker 1>No, no, no, no, of course not.

0:19:38.400 --> 0:19:38.720
<v Speaker 2>Okay.

0:19:39.359 --> 0:19:42.400
<v Speaker 1>They go to Switzerland and he even though he did

0:19:42.400 --> 0:19:45.600
<v Speaker 1>not like the mountains, he didn't like the snow, did

0:19:45.600 --> 0:19:49.560
<v Speaker 1>not like cold weather. So they moved to Belgium after

0:19:49.600 --> 0:19:50.760
<v Speaker 1>a couple of years.

0:19:50.520 --> 0:19:53.359
<v Speaker 2>Which is just beautiful compared to Switzerland.

0:19:53.880 --> 0:19:57.960
<v Speaker 1>Belgium's nice sure in the nineteen In May of nineteen forty, though,

0:19:58.000 --> 0:20:02.280
<v Speaker 1>the Nazzis invaded Belgium, and so they moved to the

0:20:02.280 --> 0:20:04.040
<v Speaker 1>Netherlands in nineteen forty one.

0:20:03.920 --> 0:20:07.280
<v Speaker 3>Where the Nazis already were. Yeah, I guess they really

0:20:07.560 --> 0:20:09.119
<v Speaker 3>can't occupy it again.

0:20:09.200 --> 0:20:12.800
<v Speaker 1>Well in its home right, and they settled in Barn,

0:20:13.800 --> 0:20:16.600
<v Speaker 1>which is about twenty three miles southeast of Amsterdam.

0:20:16.720 --> 0:20:18.919
<v Speaker 2>I don't know if that's how you're supposed to say it.

0:20:18.960 --> 0:20:25.040
<v Speaker 1>B aa aaar inn, I like it's probably Barn.

0:20:25.760 --> 0:20:27.320
<v Speaker 2>Oh yeah, I'll bet you just nailed it.

0:20:27.520 --> 0:20:30.800
<v Speaker 1>I think so. But Dutchess very strange. It is language,

0:20:30.960 --> 0:20:33.159
<v Speaker 1>but it's supposed that's strange. But just for my English,

0:20:33.280 --> 0:20:34.040
<v Speaker 1>dumb English.

0:20:33.840 --> 0:20:36.320
<v Speaker 2>Years, supposedly English is the strangest of all.

0:20:36.520 --> 0:20:37.920
<v Speaker 1>Yeah, I'm sure it's just.

0:20:37.840 --> 0:20:40.119
<v Speaker 2>A hybrid mongrel language.

0:20:40.359 --> 0:20:42.600
<v Speaker 3>Yet that doesn't make any sense to anyone who's not

0:20:42.640 --> 0:20:43.760
<v Speaker 3>a native speaker of it.

0:20:44.000 --> 0:20:47.120
<v Speaker 1>You know, what is an interesting language is Welsh. Because

0:20:47.119 --> 0:20:51.080
<v Speaker 1>I'm watching the Crown and when Prince Charles starts coming around,

0:20:51.480 --> 0:20:54.679
<v Speaker 1>Prince of Wales, there's people speaking Welsh. And I was

0:20:54.800 --> 0:20:57.639
<v Speaker 1>very ignorant about even knowing that what it sounds like,

0:20:57.800 --> 0:20:59.840
<v Speaker 1>what it sounds like, and that it was still spoken,

0:21:00.080 --> 0:21:03.760
<v Speaker 1>and it was a very odd hybrid. It sounded like

0:21:03.760 --> 0:21:04.760
<v Speaker 1>of several different things.

0:21:05.040 --> 0:21:06.800
<v Speaker 2>It's all old Celtic stuff.

0:21:06.920 --> 0:21:08.720
<v Speaker 1>Yeah, very unusual.

0:21:08.520 --> 0:21:12.520
<v Speaker 3>Gallic, gallic, Yeah, I think it's Gallic. It's the language group,

0:21:12.560 --> 0:21:13.120
<v Speaker 3>one of the two.

0:21:13.240 --> 0:21:13.600
<v Speaker 1>Yeah.

0:21:13.720 --> 0:21:17.000
<v Speaker 3>Everything I know about Welsh I learned from super furry animals.

0:21:17.800 --> 0:21:19.680
<v Speaker 2>Oh yeah, because that guy's welsh Man.

0:21:19.760 --> 0:21:22.440
<v Speaker 1>I saw them blood granddaddy off the stage one time.

0:21:22.920 --> 0:21:23.800
<v Speaker 2>Oh you saw him live?

0:21:24.280 --> 0:21:25.960
<v Speaker 1>Oh I think you told me that he melted. My

0:21:25.960 --> 0:21:29.720
<v Speaker 1>brain was so good all that. So they're traveling around still,

0:21:30.600 --> 0:21:34.160
<v Speaker 1>even though they're settled in Barn, and they go back

0:21:34.200 --> 0:21:37.159
<v Speaker 1>to al Hambra in Spain, which I don't think we

0:21:37.160 --> 0:21:37.959
<v Speaker 1>said what that is.

0:21:38.520 --> 0:21:41.879
<v Speaker 3>No, it's a thirteenth century Moorish castle from when the

0:21:41.880 --> 0:21:43.040
<v Speaker 3>Moors conquered Spain.

0:21:43.080 --> 0:21:43.640
<v Speaker 1>It's beautiful.

0:21:43.880 --> 0:21:45.200
<v Speaker 2>It is very beautiful, and they.

0:21:45.080 --> 0:21:47.040
<v Speaker 3>Built it in the Moorish style and then it was

0:21:47.080 --> 0:21:50.639
<v Speaker 3>eventually like taken over by the Christian like royalty that

0:21:51.960 --> 0:21:54.520
<v Speaker 3>explored the New World and all that stuff. Yeah, but

0:21:54.600 --> 0:22:00.359
<v Speaker 3>this castle was done in these tiles that are noun

0:22:00.600 --> 0:22:05.720
<v Speaker 3>for being some of the most beautiful geometric like Islamic

0:22:05.880 --> 0:22:09.000
<v Speaker 3>patterns you've ever seen in your life. And they got

0:22:09.040 --> 0:22:11.800
<v Speaker 3>to esher. He'd seen him before, but it was I

0:22:11.840 --> 0:22:13.800
<v Speaker 3>guess he was like, oh, that's kind of cool. But

0:22:13.880 --> 0:22:16.479
<v Speaker 3>the second trip that he went back with after they

0:22:16.520 --> 0:22:20.120
<v Speaker 3>moved from Switzerland. I think to Belgium or maybe to Switzerland.

0:22:21.520 --> 0:22:23.880
<v Speaker 3>That's when he was like, I am obsessed with these

0:22:23.920 --> 0:22:26.480
<v Speaker 3>Now these tessellations.

0:22:25.920 --> 0:22:29.359
<v Speaker 1>Started drawing him. Jetted it too. It says that they

0:22:29.400 --> 0:22:32.280
<v Speaker 1>worked together. So I didn't know that she was an artist.

0:22:32.920 --> 0:22:33.960
<v Speaker 2>Yeah, I didn't either.

0:22:34.520 --> 0:22:38.600
<v Speaker 1>But they World War two comes back around, will not

0:22:38.640 --> 0:22:41.560
<v Speaker 1>comes back around. It never left, let's be honest. But

0:22:42.680 --> 0:22:46.320
<v Speaker 1>Spain would devolve into civil war. And so this meant

0:22:46.359 --> 0:22:51.080
<v Speaker 1>that he was kind of stuck in outside of Amsterdam

0:22:51.119 --> 0:22:52.919
<v Speaker 1>for a little while longer. Yeah, he wasn't doing as

0:22:53.000 --> 0:22:53.600
<v Speaker 1>much traveling.

0:22:53.840 --> 0:22:58.160
<v Speaker 3>No, he was in the Netherlands and he rekindled his

0:22:58.160 --> 0:23:04.600
<v Speaker 3>friendship with Mosquita, his old mentor who had stayed in

0:23:04.680 --> 0:23:10.000
<v Speaker 3>Netherlands this whole time. And Mosquita was Jewish and he

0:23:10.440 --> 0:23:14.080
<v Speaker 3>was taken away by the Nazis. Eventually he was killed

0:23:14.280 --> 0:23:19.160
<v Speaker 3>at Auschwitz, I believe, with his wife and their son

0:23:19.240 --> 0:23:22.160
<v Speaker 3>was also killed at another concentration camp by the Nazis.

0:23:22.520 --> 0:23:26.320
<v Speaker 3>And this really got to esher, like, this is one

0:23:26.320 --> 0:23:29.679
<v Speaker 3>of his dear friends. And he had a work a

0:23:29.720 --> 0:23:32.679
<v Speaker 3>sketch of Mosquitos. When he went to his house to

0:23:32.720 --> 0:23:34.760
<v Speaker 3>visit Mosquito, he found the door was opened and they

0:23:34.760 --> 0:23:37.080
<v Speaker 3>weren't there, and they'd clearly been taken by the Nazis.

0:23:37.440 --> 0:23:40.119
<v Speaker 3>And one of the pieces of artwork that he gathered

0:23:40.160 --> 0:23:42.919
<v Speaker 3>together to preserve was a sketch of mosquitos that had

0:23:42.920 --> 0:23:44.440
<v Speaker 3>a Nazi bootprint on it.

0:23:44.600 --> 0:23:46.880
<v Speaker 1>And that's what you were referenced earlier with your.

0:23:46.800 --> 0:23:48.480
<v Speaker 2>Google search mosquito bootprint.

0:23:48.600 --> 0:23:49.800
<v Speaker 1>Did you Was there a picture of it?

0:23:49.880 --> 0:23:49.960
<v Speaker 2>No?

0:23:50.000 --> 0:23:52.040
<v Speaker 3>I couldn't find anything aside from the fact that it

0:23:52.119 --> 0:23:53.800
<v Speaker 3>was a sketch, not that it was a sketch of

0:23:53.960 --> 0:23:56.320
<v Speaker 3>what or anything like that, just that there was a

0:23:56.359 --> 0:24:00.680
<v Speaker 3>sketch of mosquitos that had boor bootprint, and the Escher

0:24:01.080 --> 0:24:03.960
<v Speaker 3>hung onto this his his entire life. It was very

0:24:04.160 --> 0:24:05.360
<v Speaker 3>important to him.

0:24:05.520 --> 0:24:06.880
<v Speaker 2>And he was not.

0:24:10.600 --> 0:24:16.560
<v Speaker 3>A very flowery, like like passionate man or anything like that.

0:24:17.000 --> 0:24:19.560
<v Speaker 3>I get the impression that he and this is esture

0:24:19.600 --> 0:24:22.199
<v Speaker 3>I'm talking about, that he internalized a lot of stuff,

0:24:23.040 --> 0:24:25.879
<v Speaker 3>and I think that him holding on to that piece

0:24:25.920 --> 0:24:30.280
<v Speaker 3>of art was probably more significant than even it appears

0:24:30.320 --> 0:24:31.200
<v Speaker 3>on the outside.

0:24:31.680 --> 0:24:36.800
<v Speaker 1>Yeah, and supposedly hid some people from a Jewish family

0:24:37.359 --> 0:24:41.240
<v Speaker 1>during the Nazi occupation years, and also during those same years,

0:24:41.400 --> 0:24:43.359
<v Speaker 1>did not exhibit or release any prints.

0:24:43.480 --> 0:24:45.080
<v Speaker 3>Wait a minute, I think you just said hid some

0:24:45.160 --> 0:24:48.400
<v Speaker 3>people from a Jewish family, or did you say hid

0:24:48.400 --> 0:24:49.840
<v Speaker 3>some members of a Jewish family.

0:24:50.080 --> 0:24:52.679
<v Speaker 1>Well, people members of a Jewish family.

0:24:52.440 --> 0:24:55.040
<v Speaker 2>But you said from I think yeah.

0:24:54.920 --> 0:24:56.720
<v Speaker 1>I mean like they were from a Jewish family.

0:24:56.880 --> 0:24:58.320
<v Speaker 2>Oh oh, gotcha, gotcha, gotcha.

0:24:58.480 --> 0:25:01.440
<v Speaker 1>He didn't hide them from right, don't.

0:25:01.240 --> 0:25:03.400
<v Speaker 2>Tell the Jewish family that you're hiding over here.

0:25:03.600 --> 0:25:07.200
<v Speaker 1>No, that would have been weird. So maybe we should

0:25:07.240 --> 0:25:07.920
<v Speaker 1>take a break now.

0:25:08.640 --> 0:25:11.400
<v Speaker 2>Oh, I think it's unraveled for the point the guys

0:25:11.440 --> 0:25:12.080
<v Speaker 2>are yeah.

0:25:11.920 --> 0:25:36.359
<v Speaker 3>All right, okay, Chuck. So World War two kind of

0:25:36.400 --> 0:25:39.159
<v Speaker 3>comes and goes around esher despite his best efforts to

0:25:39.280 --> 0:25:43.640
<v Speaker 3>escape it, and it definitely had a mark on him.

0:25:43.640 --> 0:25:46.199
<v Speaker 3>But one of the other things that that had a

0:25:46.240 --> 0:25:49.120
<v Speaker 3>really big mark on him was having to move from

0:25:49.160 --> 0:25:52.040
<v Speaker 3>Italy because, like you said, like he was married, had

0:25:52.040 --> 0:25:54.840
<v Speaker 3>a family, his father was still supporting him, and every

0:25:55.080 --> 0:25:57.840
<v Speaker 3>spring and summer he would just tour the Italian countryside

0:25:57.880 --> 0:26:01.680
<v Speaker 3>and visit small quaint towns be inspired to keep making

0:26:01.720 --> 0:26:04.840
<v Speaker 3>these Italian landscapes. But Ed makes a really great point

0:26:04.840 --> 0:26:08.199
<v Speaker 3>here that his Italian landscapes are very handsome works of art,

0:26:08.480 --> 0:26:12.280
<v Speaker 3>very beautiful, my favorite, technically proficient. They're Chuck's favorite. But

0:26:12.480 --> 0:26:15.280
<v Speaker 3>you would almost certainly have never seen them in your

0:26:15.440 --> 0:26:19.520
<v Speaker 3>entire life now were it not for him moving from Italy,

0:26:20.040 --> 0:26:22.960
<v Speaker 3>because in doing so he lost his source of inspiration

0:26:23.320 --> 0:26:25.600
<v Speaker 3>and was forced to kind of turn inward because he

0:26:25.680 --> 0:26:29.400
<v Speaker 3>hated what Switzerland looked like. He wasn't apparently very inspired

0:26:29.440 --> 0:26:32.959
<v Speaker 3>by his home country of the Netherlands, so he had

0:26:33.000 --> 0:26:35.879
<v Speaker 3>to kind of turn inward into his own imagination and

0:26:35.960 --> 0:26:39.400
<v Speaker 3>start coming up with new subjects, and in doing that,

0:26:39.800 --> 0:26:42.520
<v Speaker 3>the true Escher was unlocked.

0:26:42.960 --> 0:26:45.720
<v Speaker 1>Yeah, because early and like a lot of artists early

0:26:45.720 --> 0:26:49.919
<v Speaker 1>in their career, they kind of free ranged through different styles,

0:26:50.280 --> 0:26:52.120
<v Speaker 1>trying to find their own personal thing.

0:26:52.280 --> 0:26:56.000
<v Speaker 3>He had a very very colorful clown period. It's very bizarre.

0:26:56.320 --> 0:26:57.919
<v Speaker 3>Doesn't fit with the rest of it.

0:26:58.160 --> 0:27:02.400
<v Speaker 1>Arry, John Wayne Gacy, You're right, but you can very

0:27:02.560 --> 0:27:05.520
<v Speaker 1>clearly see if you look at Mosquito's work that connection

0:27:05.920 --> 0:27:09.479
<v Speaker 1>and the influence from him. Although Mosquita did a lot

0:27:09.560 --> 0:27:13.560
<v Speaker 1>of sort of graphic portraits and things like that, whereas

0:27:13.640 --> 0:27:16.240
<v Speaker 1>Esher didn't really worry too much about humans and faces.

0:27:16.440 --> 0:27:20.159
<v Speaker 3>Yeah, yeah, they were just kind of like almost afterthoughts.

0:27:20.640 --> 0:27:23.119
<v Speaker 1>But early on he did start experimenting with stuff that

0:27:23.160 --> 0:27:26.359
<v Speaker 1>would later become sort of his hallmark. When he did

0:27:26.920 --> 0:27:31.640
<v Speaker 1>do a sketch of a building, let's say it would

0:27:31.640 --> 0:27:35.160
<v Speaker 1>be from this really like tall odd angle looking down

0:27:35.200 --> 0:27:41.399
<v Speaker 1>on it, very severe angles and like a horizon, or

0:27:41.440 --> 0:27:44.240
<v Speaker 1>trees that sort of go on into infinity. Stuff like that,

0:27:44.240 --> 0:27:47.720
<v Speaker 1>that would become very much his style. Later on, and

0:27:47.920 --> 0:27:50.639
<v Speaker 1>ed Various Stuteley points out that there's something about his

0:27:50.760 --> 0:27:54.560
<v Speaker 1>style that I don't know how dark of a person

0:27:54.600 --> 0:27:58.680
<v Speaker 1>he was emotionally, but there is something about the severity

0:27:58.720 --> 0:28:01.240
<v Speaker 1>of these angles and a lot of his work that

0:28:01.400 --> 0:28:05.960
<v Speaker 1>was just sort of uneasy feeling, right. It didn't look

0:28:06.040 --> 0:28:11.320
<v Speaker 1>like just some beautiful, colorful Italian countryside. There was something

0:28:11.800 --> 0:28:14.480
<v Speaker 1>kind of strange and unusual about it.

0:28:14.560 --> 0:28:18.520
<v Speaker 3>Something about the contrast of black and white definitely does

0:28:18.520 --> 0:28:21.240
<v Speaker 3>it too. And he was such a master of shading

0:28:21.760 --> 0:28:24.440
<v Speaker 3>that if something was stark and black and white, I mean,

0:28:24.600 --> 0:28:27.240
<v Speaker 3>unless it was his earliest work, was because he wanted

0:28:27.240 --> 0:28:29.679
<v Speaker 3>it to look that way and to make it stark

0:28:29.720 --> 0:28:31.960
<v Speaker 3>and kind of unsettling like that. But yeah, there's like

0:28:32.000 --> 0:28:36.119
<v Speaker 3>a certain amount of dread in a lot of his stuff. Yeah,

0:28:36.160 --> 0:28:38.480
<v Speaker 3>and it's not something you can easily put your finger on,

0:28:38.560 --> 0:28:39.560
<v Speaker 3>but it's definitely there.

0:28:40.040 --> 0:28:45.200
<v Speaker 1>Yeah, like did you see the mummified priests? Yeah, that

0:28:45.320 --> 0:28:47.080
<v Speaker 1>was creepy and then one of them.

0:28:47.240 --> 0:28:49.280
<v Speaker 2>Isn't it more creepy to actually do that in real

0:28:49.320 --> 0:28:53.760
<v Speaker 2>life to stand them up like that? And these little alcoves?

0:28:54.280 --> 0:28:55.680
<v Speaker 1>Oh? Yeah, absolutely sure.

0:28:55.880 --> 0:28:57.640
<v Speaker 2>He was just don't kill the messenger.

0:28:58.560 --> 0:29:02.479
<v Speaker 1>And he would have sometimes skulls featured in some of

0:29:02.520 --> 0:29:04.640
<v Speaker 1>his work and stuff like that, like the one of

0:29:04.680 --> 0:29:07.960
<v Speaker 1>the eye believe called eye right in the middle of

0:29:08.000 --> 0:29:10.400
<v Speaker 1>the people is a skull staring back. So he had

0:29:10.400 --> 0:29:15.120
<v Speaker 1>little touches like that without going full like you know,

0:29:15.280 --> 0:29:16.560
<v Speaker 1>love Craftian.

0:29:16.480 --> 0:29:18.240
<v Speaker 2>Right or Goya or something like that.

0:29:18.280 --> 0:29:20.600
<v Speaker 1>And I don't even know, Bosh, I don't know who

0:29:20.600 --> 0:29:20.920
<v Speaker 1>that is.

0:29:21.080 --> 0:29:25.000
<v Speaker 2>Sure you do, I'm just kidding, Okay, I know those people. Okay, So.

0:29:27.040 --> 0:29:28.960
<v Speaker 1>His I guess this is where we get to the

0:29:29.000 --> 0:29:31.320
<v Speaker 1>fact of the show for me. Take it away, Chuck,

0:29:31.400 --> 0:29:35.960
<v Speaker 1>because folks, if you've ever seen an mcsher print and

0:29:36.040 --> 0:29:38.800
<v Speaker 1>you thought, man, that guy could sure draw a print,

0:29:39.560 --> 0:29:44.400
<v Speaker 1>imagine cutting that out of wood in reverse, in reverse.

0:29:44.480 --> 0:29:46.480
<v Speaker 3>Because that's what he did. A lot of his stuff

0:29:46.480 --> 0:29:51.640
<v Speaker 3>were wood cuts. Even harder than that, Chuck, is the lithograph.

0:29:51.800 --> 0:29:55.080
<v Speaker 1>Yeah, so a woodcut if you've ever made used a

0:29:55.160 --> 0:29:58.560
<v Speaker 1>stamp or made a potato stamp as your kid.

0:29:58.480 --> 0:29:59.560
<v Speaker 2>You're basically.

0:30:00.680 --> 0:30:02.800
<v Speaker 1>Well, that's what it is. He's actually carving the stuff

0:30:02.840 --> 0:30:05.720
<v Speaker 1>into wood as a negative image, because then when you

0:30:05.800 --> 0:30:07.440
<v Speaker 1>run ink over it and stamp it, you get the

0:30:07.480 --> 0:30:11.560
<v Speaker 1>positive image. And it's just incredible. I mean, it's hard

0:30:11.600 --> 0:30:14.600
<v Speaker 1>enough to draw and sketch this stuff, much less cut

0:30:14.640 --> 0:30:15.240
<v Speaker 1>it out of wood.

0:30:15.560 --> 0:30:17.960
<v Speaker 3>Right, So just take a step back and think about

0:30:17.960 --> 0:30:21.520
<v Speaker 3>the eshers that you've seen before. Imagine that they were

0:30:21.520 --> 0:30:25.200
<v Speaker 3>originally carved out of wood, and now imagine that to

0:30:25.320 --> 0:30:28.840
<v Speaker 3>get even more detailing. Because you can't adjust how much

0:30:28.920 --> 0:30:31.880
<v Speaker 3>ink a certain part of the woodblock gets. It's all

0:30:31.960 --> 0:30:34.160
<v Speaker 3>going to get an even layer of ink. So to

0:30:34.240 --> 0:30:37.680
<v Speaker 3>shade something you have to do cross hatching, lines, stippling

0:30:37.800 --> 0:30:41.160
<v Speaker 3>something like that. But to get really detailed with shading,

0:30:41.480 --> 0:30:45.320
<v Speaker 3>you need multiple blocks of the same image in the

0:30:45.400 --> 0:30:50.040
<v Speaker 3>exact same size, with different parts accentuated so that you

0:30:50.040 --> 0:30:52.880
<v Speaker 3>can layer over. You can take the same paper and

0:30:53.000 --> 0:30:56.600
<v Speaker 3>layer them on different blocks and line them up so

0:30:56.640 --> 0:31:00.560
<v Speaker 3>that you have layers to this image. That was the

0:31:00.680 --> 0:31:03.000
<v Speaker 3>level of the woodcuts this guy was doing.

0:31:03.240 --> 0:31:07.000
<v Speaker 1>Yeah, like that's sort of like a T shirt hippie exactly.

0:31:07.000 --> 0:31:10.400
<v Speaker 1>Screen printing, like a four color shirt. You gotta layer,

0:31:10.520 --> 0:31:12.560
<v Speaker 1>you gotta put it on exactly in the in the

0:31:12.560 --> 0:31:15.160
<v Speaker 1>spot that it needs to go each time drag that

0:31:15.200 --> 0:31:18.360
<v Speaker 1>inc across so it's not you know, off by a

0:31:18.480 --> 0:31:20.680
<v Speaker 1>centimeter right, because it would look bad.

0:31:21.000 --> 0:31:25.160
<v Speaker 3>So the woodcuts, especially as earlier woodcuts, you can tell

0:31:25.200 --> 0:31:26.000
<v Speaker 3>their woodcuts.

0:31:26.040 --> 0:31:28.600
<v Speaker 2>They look like woodcuts. Some of them do not.

0:31:29.000 --> 0:31:34.160
<v Speaker 3>There's some of the Italian countryside that favorites are just yeah,

0:31:34.560 --> 0:31:37.640
<v Speaker 3>are just astounding. And when you stop and think about

0:31:37.640 --> 0:31:40.640
<v Speaker 3>the idea that they there's not a drawing that there

0:31:40.640 --> 0:31:45.040
<v Speaker 3>wood cuts, multiple blocked woodcuts, is pretty astounding. But like

0:31:45.080 --> 0:31:48.800
<v Speaker 3>I was saying to me, even even more difficult is

0:31:48.880 --> 0:31:51.120
<v Speaker 3>making the lithograph. Yeah.

0:31:51.240 --> 0:31:53.880
<v Speaker 1>I think I talked about this on some other episode.

0:31:55.040 --> 0:31:57.920
<v Speaker 1>I know it talked about batikuing, but I also talked

0:31:57.960 --> 0:32:01.600
<v Speaker 1>to in industrial arts. We did of lithography in that

0:32:01.680 --> 0:32:06.640
<v Speaker 1>social experiment high school. Yeah, exactly, we did offset lithography,

0:32:06.680 --> 0:32:10.240
<v Speaker 1>which basically, I mean that's the process today. I mean,

0:32:10.320 --> 0:32:13.320
<v Speaker 1>that's how they make newspapers, posters, books, maps, kind of

0:32:13.360 --> 0:32:15.840
<v Speaker 1>everything is with offset lithography.

0:32:16.040 --> 0:32:19.760
<v Speaker 3>It was in do you remember it was in the

0:32:20.640 --> 0:32:23.640
<v Speaker 3>etch A sketch episode. Oh that's what Ohio Art originally

0:32:23.720 --> 0:32:24.760
<v Speaker 3>did was lithography.

0:32:24.840 --> 0:32:28.960
<v Speaker 1>Okay, well this is this is pre like today, use

0:32:29.080 --> 0:32:32.160
<v Speaker 1>like aluminum or some other kind of metal sheet and

0:32:32.280 --> 0:32:39.479
<v Speaker 1>these emulsions and chemicals. Back then it was drawn onto limestone,

0:32:39.760 --> 0:32:42.479
<v Speaker 1>a flat slab of limestone with a grease pencil, and

0:32:42.520 --> 0:32:47.480
<v Speaker 1>then use a chemical treatment on the areas that basically

0:32:47.600 --> 0:32:49.720
<v Speaker 1>water and ink don't mix. It's sort of all built

0:32:49.760 --> 0:32:53.080
<v Speaker 1>on that principle. So the areas where you have written

0:32:53.120 --> 0:32:56.880
<v Speaker 1>in Greece do not hold that ink or is it

0:32:56.920 --> 0:32:57.600
<v Speaker 1>the other way around?

0:32:57.720 --> 0:32:58.880
<v Speaker 2>No, I think they don't hold the a.

0:32:59.120 --> 0:33:01.719
<v Speaker 1>Yeah. Again, what you're doing is creating a negative image,

0:33:01.760 --> 0:33:03.480
<v Speaker 1>just like the woodcut essentially.

0:33:03.280 --> 0:33:10.200
<v Speaker 3>Right, So you've got this attraction and repulsion interplay between ink,

0:33:10.400 --> 0:33:14.840
<v Speaker 3>water and grease, and when you put it all together

0:33:15.080 --> 0:33:21.880
<v Speaker 3>on limestone, it makes these extremely subtle gradients of shading

0:33:23.080 --> 0:33:25.440
<v Speaker 3>that are kind of like a hallmark of some of

0:33:26.000 --> 0:33:34.040
<v Speaker 3>Esher's more well known works. Yeah, the hands drawing hands, right, Yeah,

0:33:34.080 --> 0:33:36.680
<v Speaker 3>that was a lithograph. He made that with limestone and

0:33:36.760 --> 0:33:40.320
<v Speaker 3>grease pen and ink, and did it in reverse too,

0:33:40.400 --> 0:33:42.760
<v Speaker 3>because just like with a woodblock, you have to create

0:33:42.800 --> 0:33:46.480
<v Speaker 3>the negative of it, Yah, because you want the positive

0:33:46.520 --> 0:33:47.479
<v Speaker 3>image on the paper.

0:33:47.600 --> 0:33:49.640
<v Speaker 1>You have a very special brain if this is if

0:33:49.680 --> 0:33:51.560
<v Speaker 1>you can work this stuff out as an artist. Yes,

0:33:51.920 --> 0:33:56.000
<v Speaker 1>you know, it's not saying that any kind of artist

0:33:56.120 --> 0:33:59.360
<v Speaker 1>is any better or worse or smarter than the next.

0:34:00.080 --> 0:34:02.080
<v Speaker 1>But your brain just has to be wired a little

0:34:02.080 --> 0:34:04.640
<v Speaker 1>bit differently to thinking negatives.

0:34:04.080 --> 0:34:06.960
<v Speaker 3>Like that, like a mathematician. Basically, yeah, your brain has

0:34:07.000 --> 0:34:07.920
<v Speaker 3>to be set up that way.

0:34:08.000 --> 0:34:13.960
<v Speaker 1>Yeah, absolutely, But lithography is difficult, very labor intensive. So

0:34:14.040 --> 0:34:17.520
<v Speaker 1>later on he would hire a lithographer to actually create

0:34:17.560 --> 0:34:20.520
<v Speaker 1>his prints after he's sketched and drawn the stuff out.

0:34:20.680 --> 0:34:23.840
<v Speaker 1>Smart move, And he would destroy the limestone. Well, he

0:34:23.840 --> 0:34:25.360
<v Speaker 1>wouldn't destroy it, he would scrape it clean so we

0:34:25.360 --> 0:34:28.279
<v Speaker 1>could reuse it. So that's the reason. Like if you

0:34:28.320 --> 0:34:31.840
<v Speaker 1>want to buy an original mc escher, good luck.

0:34:32.120 --> 0:34:35.040
<v Speaker 3>Well there's no such thing. There's original prints that he made,

0:34:35.239 --> 0:34:37.080
<v Speaker 3>right And apparently you're.

0:34:36.960 --> 0:34:38.759
<v Speaker 1>Not going to get your hands one of those limestones.

0:34:38.920 --> 0:34:41.479
<v Speaker 3>No, but there are a couple of those left over.

0:34:41.560 --> 0:34:43.840
<v Speaker 3>But he said that he wanted him. I think canceled

0:34:44.160 --> 0:34:46.520
<v Speaker 3>is what they call it in his will right where

0:34:46.520 --> 0:34:50.040
<v Speaker 3>they intentionally damage it so that even if you got

0:34:50.080 --> 0:34:52.080
<v Speaker 3>a hold of one of these things, and you were like, I'm.

0:34:52.000 --> 0:34:53.600
<v Speaker 2>Going to print me a brain new Esher.

0:34:54.560 --> 0:34:58.440
<v Speaker 3>There'd be like the like the negative image of Snegel

0:34:58.520 --> 0:35:02.680
<v Speaker 3>Puss like comes through the hand drawing hands picture.

0:35:03.320 --> 0:35:06.640
<v Speaker 1>And he did not do many original prints from those

0:35:06.680 --> 0:35:09.640
<v Speaker 1>original woodcuts and lithographs either. I think he only did

0:35:09.680 --> 0:35:15.040
<v Speaker 1>ten of still life with spherical mirror, and so anything, obviously,

0:35:15.160 --> 0:35:18.480
<v Speaker 1>anything you'd buy in a Spencer Gifts is going to

0:35:18.480 --> 0:35:19.280
<v Speaker 1>be a print anyway.

0:35:19.600 --> 0:35:23.640
<v Speaker 2>What they told me it was an original.

0:35:23.280 --> 0:35:25.200
<v Speaker 1>You mean bikini lady on Corvette.

0:35:26.320 --> 0:35:28.440
<v Speaker 2>You can probably get the original of that at Spencer.

0:35:28.600 --> 0:35:30.320
<v Speaker 1>Probably could the original negative.

0:35:31.800 --> 0:35:36.000
<v Speaker 2>Bikini lady on Corvette. Man remember that Starfield with Lamborghini.

0:35:37.200 --> 0:35:40.560
<v Speaker 1>These lithographs, he would also layer those just like you

0:35:40.600 --> 0:35:44.200
<v Speaker 1>did with the woodcuts, creating multiple plates to layer on

0:35:44.280 --> 0:35:46.600
<v Speaker 1>top of one another for shading and toning and stuff

0:35:46.640 --> 0:35:49.400
<v Speaker 1>like that. It's just amazing. I mean I did it

0:35:49.440 --> 0:35:50.600
<v Speaker 1>to make a Monkey's T shirt.

0:35:51.680 --> 0:35:53.799
<v Speaker 2>I forgot used to screenprint too, so did.

0:35:53.760 --> 0:35:57.320
<v Speaker 1>I Yeah, yeah, well actually the Monkeys T shirt was

0:35:57.360 --> 0:36:00.120
<v Speaker 1>screen printing. I think can remember what I did for

0:36:00.160 --> 0:36:02.640
<v Speaker 1>a lithograph. I think something to make a notepad that

0:36:02.719 --> 0:36:04.919
<v Speaker 1>said like my name and something else.

0:36:05.000 --> 0:36:10.040
<v Speaker 3>Oh that's right. So you you screenprinted in industrial arts? Yes, okay,

0:36:10.120 --> 0:36:13.400
<v Speaker 3>like you were you ever employed gainfully as a screen Oh? No?

0:36:14.040 --> 0:36:14.400
<v Speaker 2>Oh no?

0:36:14.600 --> 0:36:15.200
<v Speaker 1>Did you do that?

0:36:15.360 --> 0:36:15.600
<v Speaker 2>Yeah?

0:36:15.840 --> 0:36:17.120
<v Speaker 1>No, I mean I would have loved to it. I

0:36:17.160 --> 0:36:17.960
<v Speaker 1>wasn't good enough.

0:36:18.040 --> 0:36:19.320
<v Speaker 2>It's always not hard.

0:36:19.840 --> 0:36:21.920
<v Speaker 1>Yeah, but you would draw the stuff or you would.

0:36:21.719 --> 0:36:25.360
<v Speaker 3>No, no, no, no, I would like burn the screens and

0:36:25.400 --> 0:36:27.200
<v Speaker 3>everything and drag the ink through.

0:36:27.239 --> 0:36:30.000
<v Speaker 1>And you do that for a job, sure, well like

0:36:30.080 --> 0:36:30.600
<v Speaker 1>high school?

0:36:30.760 --> 0:36:32.280
<v Speaker 2>No, this is is college.

0:36:32.320 --> 0:36:33.799
<v Speaker 1>What kind of dough do you make doing that?

0:36:34.400 --> 0:36:34.720
<v Speaker 2>Jack?

0:36:35.120 --> 0:36:35.560
<v Speaker 1>Yeah?

0:36:35.600 --> 0:36:37.440
<v Speaker 2>But it's fun. It's cool work, you know, you just

0:36:37.480 --> 0:36:41.040
<v Speaker 2>listening to be in a few bucks pretty much hang

0:36:41.120 --> 0:36:43.680
<v Speaker 2>out with some cool dudes, and you know's.

0:36:43.360 --> 0:36:44.400
<v Speaker 1>Yeah, yeah, I gotcha.

0:36:44.880 --> 0:36:47.000
<v Speaker 2>It's a good, good early college job, you know what

0:36:47.040 --> 0:36:47.319
<v Speaker 2>I mean.

0:36:47.880 --> 0:36:50.080
<v Speaker 1>I think it'd be cool. And I mean there's a

0:36:50.200 --> 0:36:52.120
<v Speaker 1>very cool T shirt local T shirt shop here that

0:36:52.239 --> 0:36:55.040
<v Speaker 1>every time I go over there because that's where our friend, uh,

0:36:55.680 --> 0:36:59.680
<v Speaker 1>the patchmaker, Katie Culp works, or at least she used

0:36:59.680 --> 0:37:01.840
<v Speaker 1>to think she's got her own space now, but she

0:37:01.920 --> 0:37:05.600
<v Speaker 1>shared a space with T shirt dudes. And anytime I'm

0:37:05.600 --> 0:37:06.840
<v Speaker 1>in there, it's just a good vibe, you know what

0:37:06.880 --> 0:37:09.680
<v Speaker 1>I mean, It really is there a lot worse places

0:37:09.680 --> 0:37:13.919
<v Speaker 1>to spend your time than a T shirt shop? So oh,

0:37:14.000 --> 0:37:16.120
<v Speaker 1>another thing we should point out is that he did

0:37:16.160 --> 0:37:19.719
<v Speaker 1>do color occasionally, but color was a hole different. You

0:37:19.800 --> 0:37:22.680
<v Speaker 1>had to do a separate stone for each color. So

0:37:22.680 --> 0:37:24.160
<v Speaker 1>that's why a lot of his stuff ended up in

0:37:24.160 --> 0:37:26.480
<v Speaker 1>black and white, aside from the fact that he liked

0:37:26.480 --> 0:37:26.879
<v Speaker 1>it as well.

0:37:26.960 --> 0:37:28.680
<v Speaker 2>Yeah, he seemed to be very pleased with black and

0:37:28.680 --> 0:37:29.400
<v Speaker 2>white in general.

0:37:29.520 --> 0:37:31.200
<v Speaker 1>Yeah, I'm not saying he was lazy.

0:37:31.800 --> 0:37:33.719
<v Speaker 3>No, but let's take a step back here for a

0:37:33.760 --> 0:37:37.600
<v Speaker 3>second and examine the idea that you thought mc yesher

0:37:37.719 --> 0:37:40.560
<v Speaker 3>was a pretty amazing artist when you just imagined that

0:37:40.640 --> 0:37:43.120
<v Speaker 3>he was sitting in his studio drawing all of this

0:37:43.160 --> 0:37:46.400
<v Speaker 3>stuff with a pencil. Now, really let it sink in

0:37:46.480 --> 0:37:49.720
<v Speaker 3>that he carved these things in reverse out of wood

0:37:50.000 --> 0:37:54.120
<v Speaker 3>or limestone or limestone and then use these crazy techniques

0:37:54.160 --> 0:38:01.360
<v Speaker 3>to make these extraordinarily detailed, incredibly precise and technical works

0:38:01.360 --> 0:38:01.839
<v Speaker 3>of art.

0:38:02.040 --> 0:38:05.319
<v Speaker 1>It's amazing. It really is amazing, truly astounding. And like

0:38:05.360 --> 0:38:08.279
<v Speaker 1>you said, there are a few of those stones and

0:38:08.320 --> 0:38:11.040
<v Speaker 1>woodblocks that are owned by the mc escher Foundation.

0:38:11.360 --> 0:38:13.320
<v Speaker 2>Snago puts on every single one of them.

0:38:13.200 --> 0:38:18.000
<v Speaker 1>And apparently they will display them occasionally along with his works.

0:38:17.840 --> 0:38:21.000
<v Speaker 3>Right, which I imagine seeing that and then looking at the

0:38:21.120 --> 0:38:23.279
<v Speaker 3>work of art, and then going back and looking at

0:38:23.280 --> 0:38:25.200
<v Speaker 3>that limestone and then looking at the work of art.

0:38:25.239 --> 0:38:27.560
<v Speaker 3>It really kind of sinks in, like, oh my.

0:38:28.000 --> 0:38:31.040
<v Speaker 1>Yeah, I'd love to see an exhibition of his stuff.

0:38:30.800 --> 0:38:33.480
<v Speaker 2>Me too. They've picked up in recent years, have they.

0:38:34.080 --> 0:38:37.680
<v Speaker 1>Yeah, it seems like he's being more appreciated as a

0:38:37.719 --> 0:38:41.360
<v Speaker 1>truly great artist and less college dorm wall material.

0:38:41.560 --> 0:38:41.719
<v Speaker 2>Yeap.

0:38:42.120 --> 0:38:46.560
<v Speaker 3>In twenty eleven, the record for highest overall attendance in

0:38:46.640 --> 0:38:49.040
<v Speaker 3>the world out of all the museums in the world

0:38:49.040 --> 0:38:52.960
<v Speaker 3>that year was at the Centro Cultural Banco to Brazil,

0:38:53.480 --> 0:38:56.719
<v Speaker 3>which held their Magical World of Escher exhibit. Oh wow,

0:38:56.760 --> 0:39:01.120
<v Speaker 3>five hundred and seventy thousand visitors about ten thousand a day.

0:39:01.360 --> 0:39:01.919
<v Speaker 1>Holy cow.

0:39:02.040 --> 0:39:02.360
<v Speaker 2>Yep.

0:39:02.960 --> 0:39:07.480
<v Speaker 1>So if you think lithography and woodcutting sounds difficult, we'll

0:39:07.480 --> 0:39:13.239
<v Speaker 1>talk a minute about mesotint. That is sort of like woodcutting,

0:39:13.719 --> 0:39:16.759
<v Speaker 1>except you're using a sheet of copper that starts out

0:39:16.800 --> 0:39:20.040
<v Speaker 1>as a rough surface and then use these little tools

0:39:20.080 --> 0:39:22.880
<v Speaker 1>to smooth out things that are going to be the image,

0:39:23.360 --> 0:39:25.200
<v Speaker 1>applying that ink and then wiping it off.

0:39:25.440 --> 0:39:29.640
<v Speaker 3>Right, So the places you smooth out are don't have ink.

0:39:29.719 --> 0:39:31.279
<v Speaker 3>The ones that are going to be white on the

0:39:31.320 --> 0:39:34.479
<v Speaker 3>paper are blank on the paper. Right, it's the rough

0:39:34.600 --> 0:39:37.560
<v Speaker 3>edges that hold the ink. So you cover the whole

0:39:37.560 --> 0:39:41.480
<v Speaker 3>thing with ink, wipe it down. The smooth start parts

0:39:41.560 --> 0:39:46.239
<v Speaker 3>come clean. The rough stuff has the ink, and you

0:39:46.280 --> 0:39:48.759
<v Speaker 3>can use this like this is this isn't like, oh

0:39:48.800 --> 0:39:52.840
<v Speaker 3>look I'm made an X, right, this is like incredibly

0:39:53.040 --> 0:39:58.279
<v Speaker 3>fine stippling is possible with these copper plates and all

0:39:58.280 --> 0:40:01.919
<v Speaker 3>this mezotint And that I that you were talking about

0:40:02.160 --> 0:40:04.560
<v Speaker 3>with the skull. If you go back and look at that,

0:40:04.560 --> 0:40:05.560
<v Speaker 3>that was a mezzo tint.

0:40:05.680 --> 0:40:10.400
<v Speaker 1>Yes, it was de drop, very detailed cupped leaf showing

0:40:10.400 --> 0:40:12.560
<v Speaker 1>a single drop of dew inside it, with all kinds

0:40:12.600 --> 0:40:15.879
<v Speaker 1>of cool reflections. But Escher called this the black art.

0:40:16.800 --> 0:40:19.239
<v Speaker 1>He only made eight of these because it is a

0:40:19.280 --> 0:40:23.960
<v Speaker 1>real undertaking, and I think he's just he did a

0:40:24.000 --> 0:40:26.399
<v Speaker 1>handful of him and then moved on to the far

0:40:26.520 --> 0:40:27.480
<v Speaker 1>easier wood cutting.

0:40:27.680 --> 0:40:31.919
<v Speaker 2>Right right, He's like, oh, I came back, baby.

0:40:32.640 --> 0:40:35.319
<v Speaker 1>All right, We'll take a break and then we'll come

0:40:35.320 --> 0:40:38.200
<v Speaker 1>back and pick up with his life story again, which

0:40:38.280 --> 0:40:40.560
<v Speaker 1>is I believeably left off in what end of world

0:40:40.560 --> 0:41:06.160
<v Speaker 1>War two sounds right, all right, Okay, world War Two

0:41:06.239 --> 0:41:10.920
<v Speaker 1>is over. Mc esher was, like a lot of people,

0:41:11.080 --> 0:41:15.560
<v Speaker 1>very rattled by that experience in Europe. And at this

0:41:15.680 --> 0:41:19.319
<v Speaker 1>point he's still is not a super famous artist making

0:41:19.360 --> 0:41:20.040
<v Speaker 1>tons of money.

0:41:20.360 --> 0:41:23.279
<v Speaker 3>No, but he's more famous than this makes him out

0:41:23.320 --> 0:41:27.040
<v Speaker 3>to be. Like, yeah, he's got some renown in the Netherlands,

0:41:27.080 --> 0:41:31.160
<v Speaker 3>there's certain circles of bits. Yeah, but he's not anywhere

0:41:31.560 --> 0:41:34.440
<v Speaker 3>anywhere even approaching how he is today or how he

0:41:34.480 --> 0:41:36.600
<v Speaker 3>has been the last few decades, since about like the

0:41:36.680 --> 0:41:37.440
<v Speaker 3>late sixties.

0:41:37.520 --> 0:41:40.600
<v Speaker 1>Yeah, college dorms have not yet started putting his stuff everywhere.

0:41:40.719 --> 0:41:44.279
<v Speaker 3>No, but the people who who most appreciate what he's

0:41:44.280 --> 0:41:48.440
<v Speaker 3>doing are scientists and mathematicians who are like, this is astounding.

0:41:48.480 --> 0:41:52.080
<v Speaker 3>This guy is taking what we write out as formulas

0:41:52.120 --> 0:41:55.680
<v Speaker 3>and turning them into art and making them precise. Yeah,

0:41:55.719 --> 0:41:59.959
<v Speaker 3>like you could describe this work of art as a formula.

0:41:59.400 --> 0:42:01.960
<v Speaker 3>That is what mc esher was able to do. He

0:42:02.040 --> 0:42:04.400
<v Speaker 3>was able to take math and translate it into a

0:42:04.480 --> 0:42:05.080
<v Speaker 3>visual art.

0:42:05.480 --> 0:42:08.160
<v Speaker 1>Yeah. And you know, remember what you said earlier, This

0:42:08.200 --> 0:42:09.799
<v Speaker 1>is where we are in his life. Where he is

0:42:11.280 --> 0:42:13.239
<v Speaker 1>he is not in the Italian countryside.

0:42:13.280 --> 0:42:15.280
<v Speaker 2>He's been ripped from its bodice, So.

0:42:15.280 --> 0:42:17.880
<v Speaker 1>His muse is gone and he is now looking inward

0:42:17.920 --> 0:42:21.120
<v Speaker 1>for his inspiration in his own unique brain.

0:42:21.320 --> 0:42:23.960
<v Speaker 2>He's being forced into his own bodice. Face first.

0:42:25.160 --> 0:42:28.680
<v Speaker 1>This is where he starts with these tessellations, more elaborate

0:42:28.719 --> 0:42:32.160
<v Speaker 1>geometric shapes. He's doing the lizards and the birds and

0:42:32.200 --> 0:42:38.439
<v Speaker 1>the insects. His tessellations, really really cool stuff. His brother said, hey, dude,

0:42:38.480 --> 0:42:40.000
<v Speaker 1>you know what you should do is go talk to

0:42:40.040 --> 0:42:42.920
<v Speaker 1>a crystallographer. He's like, if you want to talk detailed

0:42:42.920 --> 0:42:46.680
<v Speaker 1>shapes in maths, And he does so, and that taught

0:42:46.719 --> 0:42:49.560
<v Speaker 1>him a lot. And then he learned about the seventeen

0:42:49.600 --> 0:42:54.319
<v Speaker 1>wallpaper groups, which is so dense that I, you know,

0:42:54.480 --> 0:42:56.000
<v Speaker 1>how much do we even want to talk about it?

0:42:56.040 --> 0:42:58.200
<v Speaker 2>Well, we'll just sum it up.

0:42:58.239 --> 0:43:01.440
<v Speaker 3>The seventeen wallpaper groups basically is a mathematical concept that

0:43:01.480 --> 0:43:07.000
<v Speaker 3>says every geometric pattern two dimensional geometric pattern falls into

0:43:07.040 --> 0:43:10.120
<v Speaker 3>one of seventeen categories. There's only seventeen, and they're called,

0:43:10.360 --> 0:43:13.799
<v Speaker 3>kind of half jokingly, the wallpaper groups because wallpaper has

0:43:13.840 --> 0:43:20.160
<v Speaker 3>geometric patterns. I usually right, Escher couldn't understand it mathematically.

0:43:20.320 --> 0:43:24.520
<v Speaker 1>Yeah, it was proved out twice independently that there are

0:43:24.560 --> 0:43:26.560
<v Speaker 1>seventeen wallpapers the mathematical proof.

0:43:26.719 --> 0:43:28.960
<v Speaker 3>One of the things that's interesting, Chuck, is the Alhambra

0:43:29.680 --> 0:43:33.640
<v Speaker 3>apparently is the only place in the world that contains

0:43:33.680 --> 0:43:36.920
<v Speaker 3>all seventeen geometric wallpaper.

0:43:36.400 --> 0:43:38.560
<v Speaker 1>Patterns within its walls. That's pretty cool.

0:43:38.640 --> 0:43:41.719
<v Speaker 3>Yeah, so of course this would appeal to Esher, But

0:43:41.800 --> 0:43:44.880
<v Speaker 3>he didn't understand. He couldn't sit down and explain, like,

0:43:44.920 --> 0:43:48.440
<v Speaker 3>we can't what the seventeen wallpaper groups are or what

0:43:48.480 --> 0:43:52.480
<v Speaker 3>they mean mathematically, but he understood them intuitively, and as

0:43:52.480 --> 0:43:58.880
<v Speaker 3>he became friends with mathematicians know about mid career, he

0:43:59.040 --> 0:44:01.799
<v Speaker 3>was apparently kind of amused to find like, you know,

0:44:01.880 --> 0:44:04.319
<v Speaker 3>these guys spend all this time writing this stuff out

0:44:04.360 --> 0:44:06.719
<v Speaker 3>in these formulas, and I just know it. It was

0:44:06.760 --> 0:44:09.080
<v Speaker 3>almost like I was born knowing it. Yeah, you know,

0:44:09.400 --> 0:44:12.040
<v Speaker 3>I mean, I guess he was real cocky. Yeah, he

0:44:12.120 --> 0:44:13.359
<v Speaker 3>wasn't really just kidding.

0:44:13.360 --> 0:44:15.359
<v Speaker 1>And I didn't get the idea either that he was

0:44:15.400 --> 0:44:18.680
<v Speaker 1>like take your math and shove it. He was just

0:44:18.719 --> 0:44:21.319
<v Speaker 1>a little more amused that, like, you've got these mathematical

0:44:21.360 --> 0:44:26.000
<v Speaker 1>proofs that like, I'm drawing this stuff from my creative

0:44:26.000 --> 0:44:31.080
<v Speaker 1>brain on limestone on limestone, cutting it out of wood.

0:44:31.920 --> 0:44:34.840
<v Speaker 1>So I think he appreciated the way they coalesced. But

0:44:35.520 --> 0:44:37.640
<v Speaker 1>and he was very like you said, most of his

0:44:37.640 --> 0:44:40.920
<v Speaker 1>friends were mathematicians I think later in life. Who did

0:44:40.920 --> 0:44:44.880
<v Speaker 1>he have Penroses? Yeah, Roger and Lionel Pinrose, which I

0:44:44.920 --> 0:44:50.160
<v Speaker 1>love how it's described here, father and son mathematician team. Yeah, yeah,

0:44:50.280 --> 0:44:51.040
<v Speaker 1>you know those.

0:44:51.000 --> 0:44:56.160
<v Speaker 3>They were matching dolphin shorts, oh man, part of their uniform.

0:44:56.200 --> 0:44:58.839
<v Speaker 1>I wish people still wore those. Yeah, did you ever

0:44:58.880 --> 0:44:59.239
<v Speaker 1>wear those?

0:44:59.600 --> 0:45:01.320
<v Speaker 2>No, we were a little before my time.

0:45:01.480 --> 0:45:04.480
<v Speaker 1>Well, they were for joggers and runners.

0:45:04.800 --> 0:45:09.680
<v Speaker 3>Yeah, and it twenty eleven and who do I forgot

0:45:09.680 --> 0:45:10.000
<v Speaker 3>about that?

0:45:10.120 --> 0:45:12.000
<v Speaker 2>Yeah? That is what Hooters waitresses.

0:45:11.680 --> 0:45:15.200
<v Speaker 1>Orange shorts with remember bronze panny house.

0:45:15.000 --> 0:45:17.160
<v Speaker 2>There Yeah, and then chunky white socks.

0:45:17.400 --> 0:45:18.919
<v Speaker 1>Yeah, and it was a very back high tops.

0:45:18.960 --> 0:45:19.760
<v Speaker 2>It was bizarre.

0:45:19.960 --> 0:45:20.320
<v Speaker 1>Interesting.

0:45:20.360 --> 0:45:24.120
<v Speaker 3>Look somebody put that together and not a woman. Do

0:45:24.200 --> 0:45:27.440
<v Speaker 3>you remember there was a there was a Hooters airline

0:45:27.800 --> 0:45:29.600
<v Speaker 3>what yeah, wow.

0:45:29.320 --> 0:45:31.879
<v Speaker 1>That kind of rings a bell. Yeah. That was very

0:45:31.880 --> 0:45:33.240
<v Speaker 1>short lived, I imagine.

0:45:32.920 --> 0:45:34.880
<v Speaker 2>I believe, so it was pretty short lived.

0:45:35.040 --> 0:45:37.880
<v Speaker 1>Interesting, I guess. Yeah, so you would get asked like

0:45:37.920 --> 0:45:41.080
<v Speaker 1>what kind of drink and what style of chicken wing

0:45:41.120 --> 0:45:41.719
<v Speaker 1>do you want to get?

0:45:42.160 --> 0:45:44.799
<v Speaker 3>They did serve chicken wings on those of course, but

0:45:44.920 --> 0:45:47.239
<v Speaker 3>can you imagine being on an airplane being forced to

0:45:47.239 --> 0:45:49.400
<v Speaker 3>smell chicken wings the whole time if you didn't like it.

0:45:49.719 --> 0:45:52.840
<v Speaker 1>Uh, that's like every flight I ever take. It's true,

0:45:52.880 --> 0:45:54.440
<v Speaker 1>there's somebody with some stinky food.

0:45:54.560 --> 0:45:56.840
<v Speaker 3>You know. If I sit next to somebody on the

0:45:56.840 --> 0:45:58.920
<v Speaker 3>plane and I'm going to eat, I ask them if

0:45:58.960 --> 0:46:00.160
<v Speaker 3>it's okay if I eat.

0:46:00.200 --> 0:46:03.160
<v Speaker 1>Like if you bring food on yep. I don't bring

0:46:03.200 --> 0:46:03.880
<v Speaker 1>food onto.

0:46:03.719 --> 0:46:06.879
<v Speaker 2>A flight sometimes, dude, you just have to. Yeah, it's

0:46:06.920 --> 0:46:07.600
<v Speaker 2>a long flight.

0:46:07.719 --> 0:46:09.680
<v Speaker 3>And sure, I'm not going to run out of turkey

0:46:09.719 --> 0:46:11.959
<v Speaker 3>wraps like in the first half a second.

0:46:11.880 --> 0:46:14.640
<v Speaker 1>So you just pull out your what my kung pow

0:46:14.880 --> 0:46:16.520
<v Speaker 1>out of your pocket you had just in case they're

0:46:16.520 --> 0:46:17.280
<v Speaker 1>out of turkey wraps?

0:46:17.320 --> 0:46:19.960
<v Speaker 2>Yea, not even in the containers, just in my pocket.

0:46:20.920 --> 0:46:24.279
<v Speaker 1>Oh goodness. So I thought this part was sort of

0:46:24.280 --> 0:46:28.120
<v Speaker 1>amusing how orderly he always was with his art, and

0:46:28.600 --> 0:46:33.000
<v Speaker 1>he tried to get into chaos a bit in this

0:46:33.080 --> 0:46:38.759
<v Speaker 1>one work contrast parentheses Order and chaos parentheses, wherein he

0:46:38.800 --> 0:46:42.759
<v Speaker 1>went and dug up a bunch of trash and said

0:46:42.480 --> 0:46:46.160
<v Speaker 1>I will draw chaos, and it ended up being if

0:46:46.160 --> 0:46:48.040
<v Speaker 1>you go and look at it. There's like a broken bottle,

0:46:48.160 --> 0:46:51.560
<v Speaker 1>broken eggshell, an open sardine tin and broken clay pipe

0:46:51.560 --> 0:46:55.239
<v Speaker 1>and some other refuse drawn to like perfect or I

0:46:55.239 --> 0:46:59.320
<v Speaker 1>guess woodcutter lithographed with perfect, beautiful precision.

0:46:59.440 --> 0:47:02.000
<v Speaker 2>Right was chaos his interpretation of it.

0:47:02.080 --> 0:47:02.839
<v Speaker 1>He just couldn't do it.

0:47:02.960 --> 0:47:05.120
<v Speaker 3>He was very much preoccupied with Kassi. He has a

0:47:05.200 --> 0:47:08.080
<v Speaker 3>very famous quote, probably his most famous quat quote, we

0:47:08.160 --> 0:47:12.200
<v Speaker 3>adore chaos because we'd love to produce order. And he's like,

0:47:12.280 --> 0:47:14.759
<v Speaker 3>by we, I mean me, Yeah.

0:47:14.800 --> 0:47:17.200
<v Speaker 1>Sure, sounded very much like an eye statement.

0:47:17.320 --> 0:47:21.279
<v Speaker 3>But he was very much into geometry and precision and

0:47:21.400 --> 0:47:22.719
<v Speaker 3>clean lines and all that.

0:47:22.920 --> 0:47:26.839
<v Speaker 1>Yeah. And also as his career would progress, this this

0:47:26.880 --> 0:47:32.120
<v Speaker 1>these repeating patterns on a finite space. If you've seen

0:47:32.120 --> 0:47:35.160
<v Speaker 1>his circle limit series, that's where you'll find the fish

0:47:35.680 --> 0:47:38.239
<v Speaker 1>or these demons. And they start out with like one

0:47:38.280 --> 0:47:41.080
<v Speaker 1>in the center, and then there's a pattern all around,

0:47:41.120 --> 0:47:42.799
<v Speaker 1>and as it gets closer and close to the edge,

0:47:42.840 --> 0:47:45.239
<v Speaker 1>they get smaller and smaller and smaller, and you can

0:47:45.280 --> 0:47:48.239
<v Speaker 1>just sort of imagine that there is no end to

0:47:48.360 --> 0:47:49.319
<v Speaker 1>these shapes.

0:47:49.040 --> 0:47:52.320
<v Speaker 3>That they're just going infinitely around the sphere. Yeah, perfectly,

0:47:52.360 --> 0:47:54.279
<v Speaker 3>but again you have to stop and remind yourself this

0:47:54.320 --> 0:47:56.880
<v Speaker 3>is a two dimensional image I'm looking at right, and

0:47:56.920 --> 0:47:58.080
<v Speaker 3>then secondly.

0:47:57.800 --> 0:47:59.080
<v Speaker 2>This is cut out of wood.

0:48:00.880 --> 0:48:03.920
<v Speaker 3>But yeah, he apparently made a three dimensional wood carving

0:48:04.040 --> 0:48:06.320
<v Speaker 3>of his circle limits series later on in life. And

0:48:06.360 --> 0:48:09.080
<v Speaker 3>I'll bet that's spectacular to see too. He made it,

0:48:09.080 --> 0:48:12.520
<v Speaker 3>what a three dimensional wood carving of it, basically proving

0:48:12.560 --> 0:48:16.799
<v Speaker 3>that his two dimensional drawing was accurate. Yeah, because he

0:48:16.840 --> 0:48:19.520
<v Speaker 3>made it in the three dimensions, that's awesome.

0:48:19.600 --> 0:48:22.640
<v Speaker 2>Yeah, he was just showing off towards the end there.

0:48:23.080 --> 0:48:26.759
<v Speaker 1>I like reptiles that's going aside from his early countryside

0:48:26.760 --> 0:48:30.960
<v Speaker 1>work that is far superior. The tessellation of the lizards

0:48:31.160 --> 0:48:33.279
<v Speaker 1>and reptiles is really neat. That's the one that has

0:48:33.960 --> 0:48:38.839
<v Speaker 1>the lizards being like crawling off of the page as

0:48:38.880 --> 0:48:42.200
<v Speaker 1>a drawn image, circling around, walking over some books, and

0:48:42.200 --> 0:48:46.080
<v Speaker 1>then crawling back over onto the page as a drawn image. Yeah,

0:48:46.200 --> 0:48:46.640
<v Speaker 1>very neat.

0:48:46.760 --> 0:48:50.960
<v Speaker 3>It's a lot like the hands drawing or drawing hands

0:48:51.320 --> 0:48:54.600
<v Speaker 3>one kind of where the hands are drawing themselves or

0:48:54.640 --> 0:48:57.600
<v Speaker 3>one another, but they're also three dimensional two and that

0:48:57.760 --> 0:49:01.000
<v Speaker 3>actually kind of jobs with another quote he had then,

0:49:01.040 --> 0:49:04.520
<v Speaker 3>I think really sums that style of art up. He said,

0:49:04.560 --> 0:49:07.640
<v Speaker 3>the flat shape irritates me. I feel as if I

0:49:07.719 --> 0:49:11.279
<v Speaker 3>were shouting to my figures, you are too fictitious for me.

0:49:11.600 --> 0:49:15.080
<v Speaker 3>You just lie there, static and frozen together. Do something.

0:49:15.320 --> 0:49:17.120
<v Speaker 3>Come out of there and show me what you are

0:49:17.160 --> 0:49:20.360
<v Speaker 3>capable of. And he would shout it just like that.

0:49:20.280 --> 0:49:23.399
<v Speaker 1>And then Jetta would back out of the room slowly. Okay, dear,

0:49:23.440 --> 0:49:26.799
<v Speaker 1>here's your t Yeah. And that sort of brings us too.

0:49:26.800 --> 0:49:29.440
<v Speaker 1>With the reptiles. We need to talk a little bit

0:49:29.440 --> 0:49:34.719
<v Speaker 1>about illusion because it started sort of early on. He

0:49:34.800 --> 0:49:38.480
<v Speaker 1>was preoccupied with illusion, whether it was like these lizards

0:49:38.480 --> 0:49:42.680
<v Speaker 1>coming off the page or still Life in Street, which

0:49:42.760 --> 0:49:45.120
<v Speaker 1>is a tabletop that blends into a street scene.

0:49:45.160 --> 0:49:45.799
<v Speaker 2>That's a neat one.

0:49:45.880 --> 0:49:49.440
<v Speaker 1>Yeah, it's really cool. I like that one too, or relativity,

0:49:49.480 --> 0:49:52.200
<v Speaker 1>which I don't know. I mean, is there a most

0:49:52.200 --> 0:49:53.240
<v Speaker 1>famous maybe hands?

0:49:53.440 --> 0:49:57.279
<v Speaker 3>It's between hands self portrait with sphere and relativity.

0:49:57.360 --> 0:49:59.719
<v Speaker 1>Yeah. Relativity is the one with the staircases.

0:49:59.800 --> 0:50:03.280
<v Speaker 3>Yeah, people going up and downstairs that don't go anywhere,

0:50:03.280 --> 0:50:05.480
<v Speaker 3>but they go everywhere and they circle back on each

0:50:05.480 --> 0:50:09.720
<v Speaker 3>other and it's just an impossible staircase actually called Penrose Stairs.

0:50:09.880 --> 0:50:10.400
<v Speaker 1>Oh really.

0:50:10.560 --> 0:50:10.840
<v Speaker 2>Yeah.

0:50:10.880 --> 0:50:13.640
<v Speaker 1>After the famous father and son mathemagician.

0:50:13.160 --> 0:50:16.160
<v Speaker 2>Team and speaking of the Penrose as they did.

0:50:16.160 --> 0:50:19.839
<v Speaker 1>I'd just say, mathemagician, I just invented something I.

0:50:19.800 --> 0:50:23.959
<v Speaker 3>Did that's amazing, completely by accident the Penroses. That would

0:50:24.000 --> 0:50:25.160
<v Speaker 3>be great, mathemagician.

0:50:25.280 --> 0:50:27.359
<v Speaker 1>Yeah, I bet that's something four right.

0:50:31.239 --> 0:50:34.960
<v Speaker 3>But the Penroses apparently wrote they saw some of Esher's work,

0:50:35.200 --> 0:50:39.120
<v Speaker 3>wrote a paper explaining his work about impossible things like

0:50:39.360 --> 0:50:42.920
<v Speaker 3>impossible stairs, which came to be called Penrose stairs. And

0:50:44.000 --> 0:50:47.400
<v Speaker 3>Esher was either mailed a copy of this or somebody

0:50:47.400 --> 0:50:50.120
<v Speaker 3>pointed out to him. So he created something called house

0:50:50.160 --> 0:50:53.680
<v Speaker 3>of stairs or upstairs downstairs, one of the two, and

0:50:54.360 --> 0:50:57.279
<v Speaker 3>sent one of the original prints to the Penroses. So,

0:50:57.360 --> 0:51:00.840
<v Speaker 3>in a way, their correspondence and inspiration for one another

0:51:01.280 --> 0:51:04.240
<v Speaker 3>was like a set of impossible stairs in real life.

0:51:04.960 --> 0:51:05.600
<v Speaker 2>That interesting.

0:51:05.680 --> 0:51:08.720
<v Speaker 1>Yeah, And this is you know, we were talking earlier

0:51:08.760 --> 0:51:13.560
<v Speaker 1>about how his works somehow felt unsettling, and you know

0:51:13.600 --> 0:51:16.720
<v Speaker 1>the subject matter as well. When you think about these

0:51:16.880 --> 0:51:21.880
<v Speaker 1>the subjects walking in relativity, clearly never getting anywhere, walking

0:51:21.920 --> 0:51:25.600
<v Speaker 1>downstairs sideways, all of a sudden, I'm walking back into

0:51:25.840 --> 0:51:28.800
<v Speaker 1>the same staircase I was just on. Like you imagine,

0:51:28.800 --> 0:51:32.080
<v Speaker 1>if these things were to come alive, they would be frustrated,

0:51:32.480 --> 0:51:33.200
<v Speaker 1>angry people.

0:51:33.560 --> 0:51:33.719
<v Speaker 2>Right.

0:51:33.880 --> 0:51:36.600
<v Speaker 3>And as a matter of fact, one of the one

0:51:36.600 --> 0:51:41.239
<v Speaker 3>that you're just talking about upstairs downstairs, they that was

0:51:41.280 --> 0:51:47.920
<v Speaker 3>supposedly based on some a staircase in his school. Oh really,

0:51:48.000 --> 0:51:50.640
<v Speaker 3>which suddenly says quite a bit about his psychology, don't

0:51:50.640 --> 0:51:50.920
<v Speaker 3>you think?

0:51:51.120 --> 0:51:51.839
<v Speaker 1>Well? How so?

0:51:52.920 --> 0:51:53.080
<v Speaker 2>Well?

0:51:53.160 --> 0:51:55.799
<v Speaker 3>I mean, like, these students aren't going anywhere, they're not

0:51:55.840 --> 0:51:59.279
<v Speaker 3>even human. There's centipedes with human faces, gotcha, gotcha.

0:51:59.040 --> 0:52:01.279
<v Speaker 2>And they're kind of trapped in this well.

0:52:01.360 --> 0:52:08.360
<v Speaker 3>You could definitely call like a a purposeless existence in

0:52:08.400 --> 0:52:10.800
<v Speaker 3>this building. It's kind of a dark building.

0:52:11.320 --> 0:52:16.359
<v Speaker 1>Interesting. So he does finally achieve really great fame later

0:52:16.400 --> 0:52:20.120
<v Speaker 1>in his life. Like you said, he was holding exhibitions

0:52:20.120 --> 0:52:22.920
<v Speaker 1>in the Netherlands and a little bit in Europe, but

0:52:23.360 --> 0:52:26.399
<v Speaker 1>he did one in Belgium in nineteen fifty. That led

0:52:26.440 --> 0:52:30.680
<v Speaker 1>to an article in The Studio, which was an art magazine,

0:52:31.440 --> 0:52:34.680
<v Speaker 1>and that captured the attention of a journalist who wrote

0:52:34.680 --> 0:52:38.080
<v Speaker 1>about him in Time and Life magazines, which definitely propped

0:52:38.120 --> 0:52:38.799
<v Speaker 1>him up a little bit.

0:52:38.920 --> 0:52:39.080
<v Speaker 2>Yo.

0:52:39.200 --> 0:52:42.480
<v Speaker 1>Yeah. Then that led to a larger exhibition at the

0:52:42.480 --> 0:52:47.920
<v Speaker 1>International Mathematical Congress in fifty four. Flash forward to sixty six,

0:52:48.680 --> 0:52:53.560
<v Speaker 1>he was featured in Mathematical Games Column and Scientific American

0:52:53.640 --> 0:52:58.279
<v Speaker 1>by Martin Gardner mathemagician, I guarantee you that's a thing.

0:53:00.320 --> 0:53:02.920
<v Speaker 1>And that increased his And this was sixty six, so

0:53:03.160 --> 0:53:06.000
<v Speaker 1>it was kind of perfect timing with the hippies and

0:53:06.000 --> 0:53:08.960
<v Speaker 1>the drugs and the counterculture. And I guess who was

0:53:09.000 --> 0:53:09.600
<v Speaker 1>at Graham.

0:53:09.440 --> 0:53:12.880
<v Speaker 3>Nash Graham Nash Mick Jagger sent him a fan ladder

0:53:13.239 --> 0:53:15.759
<v Speaker 3>and made the mistake of calling him by his first name.

0:53:16.000 --> 0:53:19.880
<v Speaker 3>Oh really, Jessher did not appreciate Stanley Kubrick tried to

0:53:19.920 --> 0:53:22.920
<v Speaker 3>recruit him to make two thousand and one in Space Odyssey,

0:53:23.160 --> 0:53:24.840
<v Speaker 3>a fourth dimensional film.

0:53:25.280 --> 0:53:25.720
<v Speaker 1>Huh.

0:53:25.760 --> 0:53:25.960
<v Speaker 2>Yeah.

0:53:25.960 --> 0:53:28.600
<v Speaker 3>There's this interesting article called the Impossible World of mc

0:53:28.800 --> 0:53:31.319
<v Speaker 3>Escher that Stephen Poole wrote in The Guardian that has

0:53:31.360 --> 0:53:33.520
<v Speaker 3>a lot of that stuff in it. But he was

0:53:33.600 --> 0:53:35.759
<v Speaker 3>kind of like, no, I'm good over here with my

0:53:35.960 --> 0:53:37.480
<v Speaker 3>mathematician friends.

0:53:37.600 --> 0:53:40.719
<v Speaker 1>Well, once he was featured in Scientific American, that led

0:53:40.760 --> 0:53:43.840
<v Speaker 1>to the big daddy of them all. He got featured

0:53:43.840 --> 0:53:46.919
<v Speaker 1>in Rolling Stone, and then after that it was all over.

0:53:47.040 --> 0:53:50.480
<v Speaker 2>He was huge, Yeah, dorm room huge.

0:53:50.600 --> 0:53:54.040
<v Speaker 1>Four hundred and forty eight works. Then this doesn't count

0:53:54.480 --> 0:53:56.480
<v Speaker 1>all the sketches and drafts. These are like the actual

0:53:57.080 --> 0:53:59.960
<v Speaker 1>final works, right, And like we said earlier, he dies

0:54:00.400 --> 0:54:03.520
<v Speaker 1>nineteen seventy two of cancer the age of seventy three.

0:54:04.000 --> 0:54:06.400
<v Speaker 1>And I tried to find more about his family, but

0:54:06.440 --> 0:54:08.200
<v Speaker 1>there's not a lot out there, like his sons and

0:54:08.239 --> 0:54:10.680
<v Speaker 1>whether or not his I mean, I guess his grandkids

0:54:10.680 --> 0:54:14.120
<v Speaker 1>would be contemporaries of ours.

0:54:14.320 --> 0:54:17.280
<v Speaker 3>Yep, I don't know, Like he was born in eighteen

0:54:17.360 --> 0:54:20.920
<v Speaker 3>ninety nine, Well, great grandkids maybe.

0:54:20.760 --> 0:54:23.520
<v Speaker 1>Yeah, Okay, I guess if his kids were born in

0:54:23.520 --> 0:54:27.240
<v Speaker 1>the nineteen twenties, Yeah, contemporaries of our parents maybe.

0:54:27.440 --> 0:54:30.839
<v Speaker 2>Sure. The old stirs Yeah boomers.

0:54:30.440 --> 0:54:35.399
<v Speaker 1>Hey, boomer, Boomer. Okay, boom hey boomer. So get that right.

0:54:35.719 --> 0:54:38.960
<v Speaker 3>In that Journey to Infinity movie, apparently all three of

0:54:38.960 --> 0:54:40.279
<v Speaker 3>his children appear in it.

0:54:40.440 --> 0:54:42.040
<v Speaker 2>Oh really, if you want to know more about them,

0:54:42.520 --> 0:54:43.120
<v Speaker 2>go watch that.

0:54:43.800 --> 0:54:46.040
<v Speaker 1>I saw one picture of him where he looked a

0:54:46.040 --> 0:54:49.359
<v Speaker 1>lot like our old colleague John Fuller when John had

0:54:49.400 --> 0:54:49.800
<v Speaker 1>a beard.

0:54:49.920 --> 0:54:51.520
<v Speaker 3>Oh yeah he did, didn't It looked a little bit

0:54:51.520 --> 0:54:55.359
<v Speaker 3>like him. Yeah, it's not expecting that, nop. So there's

0:54:55.440 --> 0:54:58.080
<v Speaker 3>mc es sure, that's right. Speaking of not expecting that,

0:55:00.360 --> 0:55:07.160
<v Speaker 3>Babe on Corvette Sure and Hooters air Line made appearances

0:55:07.200 --> 0:55:09.319
<v Speaker 3>in the mcs. You're I just want to point out

0:55:09.760 --> 0:55:11.479
<v Speaker 3>if you want to know more about any of those things,

0:55:11.520 --> 0:55:14.959
<v Speaker 3>go on to the internet and start searching. And since

0:55:14.960 --> 0:55:16.399
<v Speaker 3>I said that, it's time for listener mail.

0:55:19.680 --> 0:55:22.080
<v Speaker 1>Hey guys, I've been listening to your show since twenty eleven.

0:55:22.080 --> 0:55:25.399
<v Speaker 1>I even seeing you. I've even seen you on your

0:55:25.440 --> 0:55:27.920
<v Speaker 1>first amazing show in Chicago and had to wait a

0:55:27.920 --> 0:55:31.160
<v Speaker 1>whole year to hear that on the podcast. Oh yeah,

0:55:31.280 --> 0:55:32.000
<v Speaker 1>that's how it works.

0:55:32.360 --> 0:55:36.000
<v Speaker 3>Sure, Sorry, it's not even guaranteed that it's going to

0:55:36.040 --> 0:55:37.360
<v Speaker 3>be the show you saw.

0:55:37.719 --> 0:55:37.919
<v Speaker 2>Yeah.

0:55:37.920 --> 0:55:40.120
<v Speaker 1>A lot of podcasts put out just tons and tons

0:55:40.200 --> 0:55:44.759
<v Speaker 1>of live shows. We don't do that. No, Yeah, and

0:55:44.800 --> 0:55:46.640
<v Speaker 1>I honestly think the live shows are a little better

0:55:46.640 --> 0:55:48.759
<v Speaker 1>in person. I don't think they make as a fan

0:55:48.800 --> 0:55:51.200
<v Speaker 1>of other podcasts, I don't think they make for the

0:55:51.239 --> 0:55:53.160
<v Speaker 1>best just regular content.

0:55:53.400 --> 0:55:54.680
<v Speaker 2>I think most people think.

0:55:54.520 --> 0:55:56.600
<v Speaker 1>That, but we just so. That's why we only put

0:55:56.600 --> 0:55:58.799
<v Speaker 1>out the one, right, So back to the letter, This

0:55:58.840 --> 0:56:01.800
<v Speaker 1>show is so great I would even save high interest

0:56:01.840 --> 0:56:05.000
<v Speaker 1>episodes for my son to listen to over the years. Nice,

0:56:05.800 --> 0:56:07.359
<v Speaker 1>you were one of the few people that can keep

0:56:07.400 --> 0:56:09.640
<v Speaker 1>his attention. I never thought I would write, but as

0:56:09.640 --> 0:56:12.080
<v Speaker 1>a science teacher, you said something recently that's so true.

0:56:12.400 --> 0:56:15.640
<v Speaker 1>Some of the best science websites are children's science websites.

0:56:16.320 --> 0:56:18.439
<v Speaker 1>Or if a definition is too difficult, I always tell

0:56:18.480 --> 0:56:21.160
<v Speaker 1>people to look up a child's definition for that word.

0:56:22.280 --> 0:56:24.759
<v Speaker 1>Really good tip, guys. Thanks for sharing that. Thanks for

0:56:24.800 --> 0:56:26.880
<v Speaker 1>all your work, and now I will have to figure

0:56:26.920 --> 0:56:30.080
<v Speaker 1>out what to do now that I am finally caught up.

0:56:30.640 --> 0:56:32.840
<v Speaker 1>Keep up the great work. And that is from Jenny

0:56:32.880 --> 0:56:33.480
<v Speaker 1>with an Eye.

0:56:33.719 --> 0:56:34.960
<v Speaker 2>Thanks Jenny with an Eye.

0:56:35.080 --> 0:56:37.799
<v Speaker 3>Hopefully you dot the I with the heart, maybe with

0:56:37.840 --> 0:56:39.480
<v Speaker 3>a little reflection on the side of the heart. You

0:56:39.480 --> 0:56:43.879
<v Speaker 3>remember that one two curve lines top with topped and

0:56:44.440 --> 0:56:45.440
<v Speaker 3>I guess bottomed with.

0:56:45.400 --> 0:56:46.200
<v Speaker 2>A straight line.

0:56:46.480 --> 0:56:47.799
<v Speaker 1>I think I know what you're talking about, Caro.

0:56:47.840 --> 0:56:50.000
<v Speaker 2>I'll show you.

0:56:50.080 --> 0:56:56.360
<v Speaker 1>Oh boy, since we just dis oh oh sure that yeah, yeah.

0:56:56.239 --> 0:57:01.040
<v Speaker 3>It almost looks like a bent Roman numeral to inside

0:57:01.080 --> 0:57:04.239
<v Speaker 3>the heart. That's the reflection of light. That's where the

0:57:04.320 --> 0:57:05.120
<v Speaker 3>light's coming from.

0:57:05.160 --> 0:57:05.760
<v Speaker 1>It's beautiful.

0:57:05.760 --> 0:57:07.040
<v Speaker 2>Thanks to Escher reference.

0:57:07.040 --> 0:57:07.680
<v Speaker 1>I'll treasure that.

0:57:08.480 --> 0:57:10.680
<v Speaker 2>You're welcome check. I wasn't going to give it to you,

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<v Speaker 2>but now.

0:57:11.040 --> 0:57:12.640
<v Speaker 1>I have to just sign it first.

0:57:12.960 --> 0:57:14.440
<v Speaker 3>If you want to get in touch with us, you

0:57:14.640 --> 0:57:17.720
<v Speaker 3>can go on to stuff you should know dot com

0:57:17.720 --> 0:57:19.720
<v Speaker 3>and look for our social links there. And you can

0:57:19.760 --> 0:57:21.960
<v Speaker 3>also send us an email like Jenny with and I did.

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<v Speaker 3>You can send it to.

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<v Speaker 2>Stuff podcast at iHeartRadio dot com.

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<v Speaker 1>You Know Stuff You Should Know is a production of iHeartRadio.

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<v Speaker 1>For more podcasts my heart Radio, visit the iHeartRadio app,

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<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.