1 00:00:03,800 --> 00:00:06,680 Speaker 1: Welcome to Stuff to Blow Your Mind from how Stuff 2 00:00:06,680 --> 00:00:13,960 Speaker 1: Works dot com. Hey, welcome to Stuff to Blow your Mind. 3 00:00:14,000 --> 00:00:16,680 Speaker 1: My name is Robert Lamb, and I'm Julie Douglas. And 4 00:00:16,720 --> 00:00:19,480 Speaker 1: you know, Julie, I was recently my warth and I 5 00:00:19,520 --> 00:00:23,000 Speaker 1: were in Costa Rica, uh a few months back. And 6 00:00:23,000 --> 00:00:24,560 Speaker 1: you know, when you're on vacation, you always run into 7 00:00:24,600 --> 00:00:26,400 Speaker 1: people and you sort of end up sort of hanging 8 00:00:26,400 --> 00:00:28,560 Speaker 1: out with these people a little bit for the people 9 00:00:28,560 --> 00:00:31,520 Speaker 1: that you meet. Yeah, yeah, and we happen to run 10 00:00:31,560 --> 00:00:37,120 Speaker 1: into this couple where the husband was a retired edgecator. 11 00:00:38,040 --> 00:00:39,600 Speaker 1: So you know, I was talking to him a little 12 00:00:39,640 --> 00:00:43,000 Speaker 1: bit about education, because I mean, since I'm in the 13 00:00:43,040 --> 00:00:47,479 Speaker 1: business of writing about science and podcasting about science and yeah, 14 00:00:47,640 --> 00:00:50,760 Speaker 1: and he was in the business of teaching kids about 15 00:00:50,800 --> 00:00:53,559 Speaker 1: trying to get kids excited about science. We we were 16 00:00:53,560 --> 00:00:55,640 Speaker 1: able to, uh to go back and forth a little bit, 17 00:00:55,680 --> 00:00:58,120 Speaker 1: and at one point he said something really fascinating to me. 18 00:00:58,200 --> 00:01:01,200 Speaker 1: He was he was like, ah, but then then Walkman's 19 00:01:01,240 --> 00:01:03,880 Speaker 1: came around, and then nobody wanted to go into space anymore. 20 00:01:05,000 --> 00:01:07,800 Speaker 1: And and I got to thinking about that because at 21 00:01:07,840 --> 00:01:09,920 Speaker 1: first I was like, what this is? What does what 22 00:01:09,959 --> 00:01:11,600 Speaker 1: does that even mean that this must have been a 23 00:01:11,680 --> 00:01:14,640 Speaker 1: late night conversation. Oh no, I think it was like, well, 24 00:01:14,920 --> 00:01:16,920 Speaker 1: we were probably no, we couldn't have been very jatlick. 25 00:01:17,080 --> 00:01:20,920 Speaker 1: It's just Costa Rica, but maybe mid morning. But still 26 00:01:20,959 --> 00:01:22,880 Speaker 1: we were all disoriented by being in a new place. 27 00:01:23,000 --> 00:01:27,720 Speaker 1: You had sloth disorientation, well, sloth anticipation destroyed for orientation 28 00:01:27,760 --> 00:01:29,480 Speaker 1: because because we were you know, the first thing you 29 00:01:29,520 --> 00:01:31,240 Speaker 1: want to do is like, take me to those sloths. Yeah, 30 00:01:31,240 --> 00:01:34,720 Speaker 1: I just want to set the scene here. But but yeah, 31 00:01:34,720 --> 00:01:36,600 Speaker 1: I got I got to thinking about that, and I'm like, well, 32 00:01:36,640 --> 00:01:38,760 Speaker 1: how does how does one effect the other? We're like, 33 00:01:38,760 --> 00:01:42,160 Speaker 1: why why would suddenly Walkman's become popular in the eighties? 34 00:01:42,200 --> 00:01:44,679 Speaker 1: And then everyone's like space to heck with that? I 35 00:01:44,720 --> 00:01:47,120 Speaker 1: got my tunes that it didn't make a lot of 36 00:01:47,120 --> 00:01:49,720 Speaker 1: sense to me until I started researching it more and 37 00:01:49,760 --> 00:01:53,320 Speaker 1: I found out that there is this thing called the 38 00:01:53,320 --> 00:01:57,440 Speaker 1: walkman effect. Yes, I've heard of this, and uh, it's 39 00:01:57,640 --> 00:02:02,200 Speaker 1: pretty fascinating it um. The term first emerged in the 40 00:02:02,240 --> 00:02:08,560 Speaker 1: writings of Japan's uh Shuhei Hosakawa around and this was 41 00:02:08,600 --> 00:02:12,480 Speaker 1: stirred in part by the work of French writer Philippe 42 00:02:13,160 --> 00:02:18,079 Speaker 1: Solis and uh. Anyway, so Stollers did this really cool 43 00:02:18,120 --> 00:02:21,880 Speaker 1: bit where he was interviewing young people about how the 44 00:02:21,960 --> 00:02:25,880 Speaker 1: use of headphones altered their perceptions of others, about humanity's 45 00:02:25,960 --> 00:02:31,040 Speaker 1: future and what outside reality reality was like, um and 46 00:02:31,200 --> 00:02:34,200 Speaker 1: uh and the this is the reply, as published in 47 00:02:34,200 --> 00:02:37,640 Speaker 1: the Journal of Popular Music. Well, actually, I don't know. 48 00:02:37,639 --> 00:02:40,680 Speaker 1: It's your French accent better than mine. No, okay, I 49 00:02:40,720 --> 00:02:43,480 Speaker 1: can get to you. It'll it'll become like Scottish. Okay, Well, 50 00:02:43,520 --> 00:02:45,200 Speaker 1: well I will. I will attempt to do this because 51 00:02:45,200 --> 00:02:48,160 Speaker 1: it's it's a very French sounding answer, so it says, 52 00:02:48,360 --> 00:02:51,240 Speaker 1: and so in outrageous French. Your question is out of dates. 53 00:02:51,400 --> 00:02:54,840 Speaker 1: All of these problems of communication and incommunability belonged to 54 00:02:54,880 --> 00:02:56,840 Speaker 1: the sixties and the seventies. The eighties are not the 55 00:02:56,880 --> 00:02:59,560 Speaker 1: same at all. These are the years now I'm kind 56 00:02:59,560 --> 00:03:02,400 Speaker 1: of becoming German. It always becomes honold Tornat. It doesn't 57 00:03:02,440 --> 00:03:05,839 Speaker 1: matter yet. These are the years of of autonomy, of 58 00:03:05,880 --> 00:03:09,960 Speaker 1: an into section of singularities in the construction of discourses. 59 00:03:10,040 --> 00:03:12,640 Speaker 1: Soon you will have every kind of film and on 60 00:03:12,800 --> 00:03:15,480 Speaker 1: video at home, every kind of classical music on only 61 00:03:15,480 --> 00:03:18,480 Speaker 1: one tape. This is what gives me pleasure. Well, I 62 00:03:18,480 --> 00:03:21,720 Speaker 1: think it's also a very German idea, which is probably 63 00:03:21,760 --> 00:03:24,600 Speaker 1: why my accent became German halfway through, you know. Yeah, yeah, 64 00:03:24,680 --> 00:03:27,280 Speaker 1: but the pleasure part that's very French. But this is 65 00:03:27,320 --> 00:03:30,920 Speaker 1: what around and obviously all of this has come to 66 00:03:30,960 --> 00:03:34,840 Speaker 1: fruition now, right, we we have everything in our fingertips um, 67 00:03:34,920 --> 00:03:37,120 Speaker 1: so it sort of becomes like this, the Walkman effect 68 00:03:37,240 --> 00:03:40,560 Speaker 1: is becomes this question about whether or not we are 69 00:03:40,600 --> 00:03:45,880 Speaker 1: now moving through life so seamlessly that um and then 70 00:03:45,880 --> 00:03:49,400 Speaker 1: we're engaging in different ways and very much in virtual ways, 71 00:03:49,520 --> 00:03:52,520 Speaker 1: right and having virtual relationships. The question is that when 72 00:03:52,520 --> 00:03:55,920 Speaker 1: we're um faced with real obstacles outside of this bubble 73 00:03:55,960 --> 00:03:58,600 Speaker 1: we've we create, we've created, you know, are we have 74 00:03:58,720 --> 00:04:01,760 Speaker 1: we just become complacent routes. This is one of the 75 00:04:01,920 --> 00:04:04,640 Speaker 1: issues that has come up that will get into later. 76 00:04:04,800 --> 00:04:07,160 Speaker 1: But yeah, because so many of this, especially with the 77 00:04:07,200 --> 00:04:09,880 Speaker 1: with the smartphones. You know, it's like like I get 78 00:04:09,920 --> 00:04:12,360 Speaker 1: on the train in the morning and I have my 79 00:04:12,400 --> 00:04:16,480 Speaker 1: headphones in, I'll have some music playing, and I'm I'm 80 00:04:16,520 --> 00:04:18,480 Speaker 1: one of the holdout so I still actually pull out 81 00:04:18,480 --> 00:04:21,320 Speaker 1: a physical book and read it. But for most people, 82 00:04:21,800 --> 00:04:23,800 Speaker 1: or most of the people who are willing into these devices. 83 00:04:23,800 --> 00:04:25,800 Speaker 1: Are you know, it's more and more reading on your 84 00:04:25,839 --> 00:04:28,560 Speaker 1: phone or reading your your iPad or your your Kindled 85 00:04:28,640 --> 00:04:31,560 Speaker 1: or whatever you happen to have um, or you're or 86 00:04:31,560 --> 00:04:33,800 Speaker 1: you're playing a game, you're checking your email, or you're 87 00:04:33,839 --> 00:04:37,320 Speaker 1: doing a scrapple or something. Uh. And to what extent 88 00:04:38,000 --> 00:04:41,440 Speaker 1: are you no longer in the space that you occupy? Yeah, 89 00:04:41,480 --> 00:04:44,800 Speaker 1: And it's interesting too because the walkman effect. This this concern, right, 90 00:04:44,880 --> 00:04:47,880 Speaker 1: that we are chopping ourselves in this bubble, came up 91 00:04:47,880 --> 00:04:49,760 Speaker 1: in the eighties, and then it came up again with 92 00:04:49,800 --> 00:04:52,120 Speaker 1: the advent of the iPod. Right, And there's actually a 93 00:04:52,120 --> 00:04:55,120 Speaker 1: New York Times article about pod people and this is 94 00:04:55,160 --> 00:04:57,760 Speaker 1: a quote from it. Um. The fear that personal stereos 95 00:04:57,760 --> 00:04:59,840 Speaker 1: could lead to anti secial behavior is an old one. 96 00:05:00,120 --> 00:05:03,080 Speaker 1: Late Akio Morita, a founder of so Many and the 97 00:05:03,080 --> 00:05:06,400 Speaker 1: company's chief executive at the Walkman's introduction, was said to 98 00:05:06,440 --> 00:05:09,640 Speaker 1: have been so afraid of the device's capacity for creating slips, 99 00:05:09,800 --> 00:05:14,920 Speaker 1: salipsistic drones, a bunch of sleepwalkers that he insisted early 100 00:05:15,000 --> 00:05:18,599 Speaker 1: on that the Walkman have two headphone jacks and a 101 00:05:18,680 --> 00:05:21,280 Speaker 1: microphone so listeners could communicate with each other. There is 102 00:05:21,320 --> 00:05:24,840 Speaker 1: a little evidence that the Walkman wrecked modern society. So 103 00:05:24,960 --> 00:05:27,719 Speaker 1: some technologists say that there's a little reason to fear 104 00:05:27,800 --> 00:05:31,039 Speaker 1: the iPod, right, And I don't think there's any reason 105 00:05:31,240 --> 00:05:34,440 Speaker 1: to fear the iPod. And and certainly you can. I 106 00:05:34,480 --> 00:05:38,040 Speaker 1: was reading some uh some more sort of criticism of this, uh, 107 00:05:38,279 --> 00:05:41,599 Speaker 1: this line of thinking, and uh it was pointed out 108 00:05:41,680 --> 00:05:45,200 Speaker 1: that you know, talk about like you know, your device 109 00:05:45,279 --> 00:05:48,000 Speaker 1: is becoming distracting. You know, it's like because indeed, I 110 00:05:48,040 --> 00:05:50,520 Speaker 1: mean just from personal experience, uh the time or two 111 00:05:50,560 --> 00:05:52,800 Speaker 1: that I've had headphone problems, are run out of batteries 112 00:05:52,839 --> 00:05:56,719 Speaker 1: and I've had to go um without on Martha on 113 00:05:56,800 --> 00:06:00,040 Speaker 1: the public transportation to public transportation system here, and and 114 00:06:00,680 --> 00:06:03,039 Speaker 1: I find that I am a little more present in 115 00:06:03,080 --> 00:06:06,360 Speaker 1: the space. I'm aware that, hey, there are actual people 116 00:06:06,400 --> 00:06:09,800 Speaker 1: around me, and they're not just grumpy things, but actual 117 00:06:09,880 --> 00:06:13,040 Speaker 1: grumpy people. Well see, I was saying, that's the depressing part. 118 00:06:13,120 --> 00:06:15,960 Speaker 1: And that's why for me, when when I use public 119 00:06:16,000 --> 00:06:18,880 Speaker 1: transport transportation, or if I'm in a situation where I 120 00:06:18,880 --> 00:06:21,160 Speaker 1: just kind of want to block everything out, it's it 121 00:06:21,240 --> 00:06:25,719 Speaker 1: can make life a lot more fuller seeming, right. And 122 00:06:25,800 --> 00:06:28,000 Speaker 1: part of this is because we're listening to music, and 123 00:06:28,040 --> 00:06:32,800 Speaker 1: we already know that music has really very uh positive 124 00:06:32,839 --> 00:06:36,800 Speaker 1: effects on our mood. So but the problem is this 125 00:06:36,920 --> 00:06:38,960 Speaker 1: is that when you talk about the Walkman effector you 126 00:06:39,000 --> 00:06:41,680 Speaker 1: talk about iPod, a lot of the the initial reaction 127 00:06:41,720 --> 00:06:44,240 Speaker 1: to it and that the type of research that was 128 00:06:44,279 --> 00:06:46,839 Speaker 1: tried with it was really focusing on music and we 129 00:06:46,960 --> 00:06:51,440 Speaker 1: and as you've mentioned, it's now become um a device 130 00:06:51,480 --> 00:06:54,440 Speaker 1: for everything in your life, right, so it's very hard 131 00:06:54,480 --> 00:06:57,680 Speaker 1: to sort of gauge what the what the result is 132 00:06:57,720 --> 00:07:00,760 Speaker 1: now how it's really affecting us, because like I I 133 00:07:00,839 --> 00:07:03,640 Speaker 1: listen to music for a large portion of the day 134 00:07:03,800 --> 00:07:05,440 Speaker 1: on on my commute, and then most of the time 135 00:07:05,440 --> 00:07:07,839 Speaker 1: when I'm at work, I'm I have some sort of 136 00:07:07,880 --> 00:07:10,760 Speaker 1: music going attest to that. Like you you have your 137 00:07:10,880 --> 00:07:13,560 Speaker 1: like virtual office walls up when you've got your your 138 00:07:13,600 --> 00:07:16,600 Speaker 1: headphones on, and it's it's weird because you always approached 139 00:07:16,600 --> 00:07:19,920 Speaker 1: from one side of the desk, and Alison, my editor, 140 00:07:19,960 --> 00:07:22,960 Speaker 1: always approached from the other side. So but then occasionally 141 00:07:23,000 --> 00:07:25,240 Speaker 1: other random people will approach from different sides and I 142 00:07:25,240 --> 00:07:26,840 Speaker 1: have no idea who's who it's going to be. Oh, yeah, 143 00:07:26,840 --> 00:07:29,120 Speaker 1: you're completely gone. Yeah, Sometimes I just sit there and 144 00:07:29,160 --> 00:07:30,800 Speaker 1: talk to you, or just like I start doing this 145 00:07:30,840 --> 00:07:34,840 Speaker 1: drumming beat and like when isn't gonna notice? But always 146 00:07:34,880 --> 00:07:37,360 Speaker 1: when I do prints, when when this is you know, 147 00:07:37,480 --> 00:07:42,520 Speaker 1: Dove's cry, When I do that little knock, you always respond. Interesting. 148 00:07:42,560 --> 00:07:45,400 Speaker 1: I just brought in Prince's Greatest hits on a stick 149 00:07:45,440 --> 00:07:48,920 Speaker 1: today to listen to me. There was something there. Yeah, well, um, 150 00:07:48,960 --> 00:07:50,600 Speaker 1: you know. But but in listening to all this music 151 00:07:50,600 --> 00:07:53,840 Speaker 1: all day, it does paint the world that you're experiencing. 152 00:07:53,880 --> 00:07:56,560 Speaker 1: It's it's not it's not as much like you're just 153 00:07:56,760 --> 00:08:01,040 Speaker 1: you know, casting aside, but you're experiencing in a front light. Um. 154 00:08:01,080 --> 00:08:04,360 Speaker 1: There's a psychologist by the name of Verner Schonhammer and 155 00:08:04,520 --> 00:08:07,440 Speaker 1: uh he wrote a nine nine article called the Walkman 156 00:08:07,480 --> 00:08:10,120 Speaker 1: in the Primary World of the Senses, and uh, I 157 00:08:10,160 --> 00:08:13,680 Speaker 1: really like the way he described his own experiences of 158 00:08:13,840 --> 00:08:16,200 Speaker 1: trying to walk around with music playing in his ear, 159 00:08:16,400 --> 00:08:19,600 Speaker 1: which apparently he had not really done before. Um so 160 00:08:19,920 --> 00:08:22,200 Speaker 1: so he had a fresher response to it. He says, 161 00:08:22,560 --> 00:08:25,960 Speaker 1: the music literally colors the visual world. Furthermore, the outside 162 00:08:25,960 --> 00:08:28,880 Speaker 1: world profoundly alters its character. It is perceived like a film. 163 00:08:29,240 --> 00:08:32,720 Speaker 1: The subject speaks of his feeling of being outside reality 164 00:08:32,720 --> 00:08:35,079 Speaker 1: while at the same time being aware of living in 165 00:08:35,080 --> 00:08:38,200 Speaker 1: this reality. When he adds that he gains a calmer 166 00:08:38,240 --> 00:08:41,080 Speaker 1: attitude to time and space. He makes us understand the 167 00:08:41,120 --> 00:08:45,720 Speaker 1: significance of his experience of simultaneous absence and presence. Absence 168 00:08:45,760 --> 00:08:48,040 Speaker 1: does not mean that the world is no longer worth attention. 169 00:08:48,080 --> 00:08:51,320 Speaker 1: On the contrary, the subjects disengagement sets him free to 170 00:08:51,440 --> 00:08:55,360 Speaker 1: enjoy the world attentively as a colorful and rich spectacle. 171 00:08:55,480 --> 00:08:58,400 Speaker 1: His being in the world shifts from that of the 172 00:08:58,520 --> 00:09:01,760 Speaker 1: participant to that of the spectator. Well, and I think 173 00:09:01,800 --> 00:09:04,200 Speaker 1: that's really important right there, because I think that and 174 00:09:04,440 --> 00:09:06,360 Speaker 1: just to play devil's advocate, I think that's where people 175 00:09:06,360 --> 00:09:08,960 Speaker 1: will take issue with it and saying, Okay, no longer 176 00:09:09,000 --> 00:09:12,000 Speaker 1: are you engaging UM in the world. You are now 177 00:09:12,240 --> 00:09:15,520 Speaker 1: looking at it from a distance. And as a result, 178 00:09:15,720 --> 00:09:19,840 Speaker 1: you know, since since we are society that's based on 179 00:09:19,880 --> 00:09:25,280 Speaker 1: communication and community, you're taking yourself out of that equation UM. 180 00:09:25,320 --> 00:09:27,720 Speaker 1: And there's a New York Times article called digital Devices 181 00:09:27,720 --> 00:09:30,520 Speaker 1: Deprived Brain of Downtown and their downtime, and they're actually 182 00:09:30,559 --> 00:09:33,240 Speaker 1: talking about you know, some of us. Again, this is 183 00:09:33,280 --> 00:09:35,560 Speaker 1: the this is sort of the con part of the 184 00:09:35,640 --> 00:09:38,480 Speaker 1: argument right about why you should be so fully engaged 185 00:09:38,520 --> 00:09:41,400 Speaker 1: in a device. Well, also this is the argument that 186 00:09:41,520 --> 00:09:45,040 Speaker 1: you just need to stop bombarding your brain sometimes exactly, 187 00:09:45,120 --> 00:09:48,920 Speaker 1: let everything settle, let everything process right, And they say, okay, 188 00:09:48,920 --> 00:09:53,120 Speaker 1: almost certainly, downtime lets the brain go over experiences it's had, 189 00:09:53,240 --> 00:09:56,240 Speaker 1: solidify them and turn them into permanent, long term memories, 190 00:09:56,240 --> 00:09:59,200 Speaker 1: says Lauren Frank, assistant professor in the Department of Physiology 191 00:10:00,120 --> 00:10:04,440 Speaker 1: UM where UH where he specializes in learning and memory. 192 00:10:04,559 --> 00:10:07,600 Speaker 1: He said he believed that when the brain was constantly stimulated, 193 00:10:07,760 --> 00:10:11,760 Speaker 1: you prevent this learning process. And as the University of Michigan, 194 00:10:11,800 --> 00:10:15,000 Speaker 1: a study UM or rather, a study at the University 195 00:10:15,040 --> 00:10:18,200 Speaker 1: of Michigan found that people learned significantly better after a 196 00:10:18,200 --> 00:10:20,679 Speaker 1: walk in nature than after a walk in a dense 197 00:10:20,920 --> 00:10:24,680 Speaker 1: urban environment, suggesting that processing a barrage of information leaves 198 00:10:24,720 --> 00:10:29,360 Speaker 1: people fatigued. So I think that's an interesting concept. But 199 00:10:29,559 --> 00:10:32,280 Speaker 1: I mean my counter argument would be, can you not 200 00:10:32,400 --> 00:10:36,760 Speaker 1: create your own forest, you know, auditory forests for yourself 201 00:10:36,800 --> 00:10:40,280 Speaker 1: when with music? Right? Um, So again that's what I'm 202 00:10:40,280 --> 00:10:42,199 Speaker 1: saying that I think that this is incompletely that the 203 00:10:42,280 --> 00:10:45,200 Speaker 1: studies on this obviously haven't really been conducted in a 204 00:10:45,240 --> 00:10:48,360 Speaker 1: way that we can get a good bird, bird's eye 205 00:10:48,400 --> 00:10:51,240 Speaker 1: view of what has been happening over the last thirty 206 00:10:51,320 --> 00:10:54,240 Speaker 1: years plus. I don't think I think that the idea 207 00:10:54,320 --> 00:10:57,959 Speaker 1: of people over stimulating their brain, or stimulating their brain constantly, 208 00:10:58,240 --> 00:11:01,200 Speaker 1: that is not something that has just urge with the 209 00:11:01,240 --> 00:11:04,199 Speaker 1: advent of electronic devices. I mean, clearly, for ages you've 210 00:11:04,200 --> 00:11:06,160 Speaker 1: had people who were you know, read a Hollocks, who 211 00:11:06,200 --> 00:11:08,920 Speaker 1: just always had a book on them and whip it 212 00:11:08,960 --> 00:11:11,080 Speaker 1: out at a moment's notice to to read and just 213 00:11:11,160 --> 00:11:14,520 Speaker 1: are constantly studying or constantly working or look, you know, 214 00:11:14,520 --> 00:11:16,960 Speaker 1: look at any of these just amazing minds through from 215 00:11:16,960 --> 00:11:19,959 Speaker 1: throughout history that we've discussed in the podcast, like Leonardo 216 00:11:20,000 --> 00:11:24,400 Speaker 1: da Vinci, you know, the most you know, famous example 217 00:11:24,440 --> 00:11:26,280 Speaker 1: like It's it's it's hard to imagine that guy just 218 00:11:26,320 --> 00:11:28,920 Speaker 1: setting around and just doing nothing and kicking back. He 219 00:11:29,000 --> 00:11:32,400 Speaker 1: was probably sketching or you know, coming up with these ideas. 220 00:11:32,400 --> 00:11:35,080 Speaker 1: And I wonder if if he was really, according to 221 00:11:35,080 --> 00:11:37,520 Speaker 1: this article, he was really giving those ideas the proper 222 00:11:37,559 --> 00:11:41,199 Speaker 1: time to settle down. Of course, the internet imporn did 223 00:11:41,240 --> 00:11:44,360 Speaker 1: not exist at that time, so I mean, I'm just 224 00:11:44,360 --> 00:11:47,280 Speaker 1: gonna play again Devil's advocate because though he I think 225 00:11:47,360 --> 00:11:50,760 Speaker 1: Leonardo DaVinci invented early forms of both of course did 226 00:11:51,000 --> 00:11:53,280 Speaker 1: of course, or at least sketched out to say, he 227 00:11:53,480 --> 00:11:56,320 Speaker 1: certainly has a blueprint of it somewhere, I'm sure. But um, 228 00:11:56,559 --> 00:11:58,440 Speaker 1: but I mean that that would be the argument is 229 00:11:58,480 --> 00:12:02,239 Speaker 1: that our chin has pulled in so many different directions 230 00:12:02,280 --> 00:12:05,880 Speaker 1: that it's very difficult for us to sometimes just sit 231 00:12:05,960 --> 00:12:08,400 Speaker 1: down and concentrate on one thing, and so as a result, 232 00:12:08,880 --> 00:12:12,280 Speaker 1: you know, we're just we're scattered all over the place. Um, 233 00:12:12,320 --> 00:12:15,240 Speaker 1: And I think that's really interesting. Actually, Wired magazine has 234 00:12:15,240 --> 00:12:17,200 Speaker 1: a good counterpoint to all of this as well, and 235 00:12:17,240 --> 00:12:19,600 Speaker 1: we'll check that out in a second hair right after 236 00:12:19,640 --> 00:12:25,439 Speaker 1: our break. This presentation is brought to you by Intel 237 00:12:25,640 --> 00:12:35,600 Speaker 1: Sponsors of Tomorrow. So what Wired says is like, just 238 00:12:35,600 --> 00:12:37,680 Speaker 1: just as you had had sort of mentioned before, is 239 00:12:37,720 --> 00:12:41,560 Speaker 1: that the idea of new technology technology overloading us is 240 00:12:42,000 --> 00:12:47,760 Speaker 1: um as old as technology. UM. Technology isn't actually damaging 241 00:12:47,760 --> 00:12:50,719 Speaker 1: the brain. We have always been bifurcated in terms of 242 00:12:50,760 --> 00:12:52,840 Speaker 1: what we're trying to do. So let's say that you 243 00:12:52,880 --> 00:12:56,439 Speaker 1: were driving a horse and buggy and you old olden days, 244 00:12:56,800 --> 00:12:58,600 Speaker 1: I mean, you're still having to concentrate on the road. 245 00:12:58,600 --> 00:13:01,480 Speaker 1: You're probably still having a conversation, and you're still your 246 00:13:01,480 --> 00:13:03,760 Speaker 1: brain is still going to operate in the ways that 247 00:13:03,800 --> 00:13:07,000 Speaker 1: it wants to. We are, it, says Wired Magazine says, 248 00:13:07,640 --> 00:13:11,280 Speaker 1: we are born to multitask, so in a way, you know, 249 00:13:11,320 --> 00:13:14,440 Speaker 1: we can't help. But even process like this. Yeah, and 250 00:13:14,520 --> 00:13:16,680 Speaker 1: like any new any new technology is going to bring 251 00:13:16,720 --> 00:13:19,960 Speaker 1: people saying well, how, like, um, I didn't think to 252 00:13:20,000 --> 00:13:22,720 Speaker 1: even even research this, but I wonder when when they 253 00:13:22,720 --> 00:13:25,560 Speaker 1: first started putting radios in cars, like what, how what 254 00:13:25,640 --> 00:13:27,720 Speaker 1: the response there was if people were like, oh, my goodness, 255 00:13:27,760 --> 00:13:30,000 Speaker 1: you're going to destroy everything, Like people are gonna be 256 00:13:30,000 --> 00:13:31,719 Speaker 1: listening to the radio, They're going to drive off the road. 257 00:13:32,000 --> 00:13:35,160 Speaker 1: I guarantee somebody was making that argument. Yeah. Absolutely, But 258 00:13:35,160 --> 00:13:36,760 Speaker 1: of course we know that's not the case. Right. We 259 00:13:36,760 --> 00:13:39,720 Speaker 1: can still listen to conversation, you can still hear music, 260 00:13:39,760 --> 00:13:41,440 Speaker 1: and you're still concentrate on the road. So I do 261 00:13:41,480 --> 00:13:44,560 Speaker 1: find if I'm if I'm driving and I'm conversing, I'll 262 00:13:45,120 --> 00:13:47,600 Speaker 1: accidentally slow down to about thirty five miles per hour 263 00:13:48,360 --> 00:13:50,760 Speaker 1: regardless of speed. Onmen, really, my husband does that to 264 00:13:50,880 --> 00:13:53,120 Speaker 1: It drives me nuts. So I'll be like and sometimes 265 00:13:53,160 --> 00:13:55,480 Speaker 1: I'll just quit talking someone to see if they'll speed up, 266 00:13:55,720 --> 00:13:58,640 Speaker 1: which happens. Um. But it is interesting, I mean, and 267 00:13:58,640 --> 00:14:00,800 Speaker 1: I will say to you that when I'm listening to music, 268 00:14:00,840 --> 00:14:03,320 Speaker 1: there are certain types of music that I can't listen 269 00:14:03,360 --> 00:14:05,880 Speaker 1: to you when I'm writing, so yeah, I mean I 270 00:14:05,880 --> 00:14:09,040 Speaker 1: can't listen to lyrical I mean, yeah, yeah, I need to. 271 00:14:09,120 --> 00:14:11,400 Speaker 1: It just has to be you know, yo yoma or 272 00:14:11,400 --> 00:14:15,240 Speaker 1: something really repetitive. Helps when I'm trying to to really 273 00:14:15,400 --> 00:14:18,719 Speaker 1: uh cogitate in the old brain. Yeah, I find that 274 00:14:18,840 --> 00:14:22,360 Speaker 1: I can. I can generally listen to too lyrical music, 275 00:14:22,400 --> 00:14:25,480 Speaker 1: but if it's something really brain intensive where I really 276 00:14:25,480 --> 00:14:27,640 Speaker 1: need to batten down the hatches, I'll tend to go 277 00:14:27,680 --> 00:14:31,600 Speaker 1: with something without human voices in it. Yeah. And then 278 00:14:31,640 --> 00:14:33,960 Speaker 1: also I'll find that I'll go with different things that 279 00:14:34,000 --> 00:14:37,120 Speaker 1: fit the theme. Like if I'm writing a piece, you know, 280 00:14:37,200 --> 00:14:40,160 Speaker 1: for work that deals with a more serious, cerebral or 281 00:14:40,200 --> 00:14:42,560 Speaker 1: cosmic kind of a thing, then then I'll definitely go 282 00:14:42,640 --> 00:14:44,640 Speaker 1: for something that fits that vibe. But if it's more fun, 283 00:14:44,680 --> 00:14:46,320 Speaker 1: I might put on a little, you know, something a 284 00:14:46,360 --> 00:14:50,080 Speaker 1: little sillier beaten, you know, dancing for you when you 285 00:14:50,120 --> 00:14:53,320 Speaker 1: wrote a a interpretive dance article where you listening to 286 00:14:53,360 --> 00:14:56,680 Speaker 1: Philip Glass. Well, when I was interpretive dance, I was 287 00:14:56,760 --> 00:15:02,200 Speaker 1: listening to um uh Shakers music from the I don't 288 00:15:02,200 --> 00:15:04,040 Speaker 1: know why. I was just completely up. I get I 289 00:15:04,080 --> 00:15:05,680 Speaker 1: had to get a suit filt class just because of 290 00:15:05,720 --> 00:15:07,400 Speaker 1: the rolling on the floor. I do have some filip 291 00:15:07,400 --> 00:15:10,160 Speaker 1: glass though, I do. I do put Yeah, I can 292 00:15:10,160 --> 00:15:12,680 Speaker 1: take me some filip. But what I think about, what 293 00:15:12,760 --> 00:15:14,560 Speaker 1: I think is interesting about all of this is that 294 00:15:14,680 --> 00:15:17,880 Speaker 1: there's still this idea that there's something wrong with us 295 00:15:18,520 --> 00:15:23,360 Speaker 1: opting out of of of I guess you would say communication. Yeah, Well, 296 00:15:23,440 --> 00:15:25,520 Speaker 1: I mean, you know, if you're if you're in a 297 00:15:25,560 --> 00:15:27,400 Speaker 1: setting with people you know, and you whip out a 298 00:15:27,440 --> 00:15:30,440 Speaker 1: cell phone or you you know, or you actually put 299 00:15:30,480 --> 00:15:33,440 Speaker 1: in a headphones or something, Yeah, that's rude. That's uh. 300 00:15:33,520 --> 00:15:36,680 Speaker 1: And likewise, like I was always raised that if you're 301 00:15:36,680 --> 00:15:39,400 Speaker 1: wearing sunglasses, you take them off while you're talking to somebody, right, 302 00:15:39,400 --> 00:15:42,080 Speaker 1: because if you're wearing sunglasses, you can't make eye contact 303 00:15:42,120 --> 00:15:44,800 Speaker 1: with that person. Well, and I think that the problem 304 00:15:44,880 --> 00:15:47,520 Speaker 1: with some people perceive it as um is if they 305 00:15:47,560 --> 00:15:51,240 Speaker 1: see someone who's got their headphones on, that person seems unavailable, right, 306 00:15:51,320 --> 00:15:55,760 Speaker 1: And but that person is able to auditize. Look, this 307 00:15:55,840 --> 00:15:58,000 Speaker 1: is this is a term that they're auditized looking at 308 00:15:58,000 --> 00:16:01,600 Speaker 1: everybody else. In other words, they they have the ability 309 00:16:01,760 --> 00:16:06,040 Speaker 1: to to engage, but on their own terms. So the 310 00:16:06,080 --> 00:16:09,320 Speaker 1: social contract is that you know, you you have ears, right, 311 00:16:10,240 --> 00:16:15,240 Speaker 1: and um, you're you're taking in language and we're all 312 00:16:15,640 --> 00:16:19,040 Speaker 1: sort of in this together via language, right. And if 313 00:16:19,080 --> 00:16:22,200 Speaker 1: you seal that off, then you're saying, I'm no longer 314 00:16:22,280 --> 00:16:25,080 Speaker 1: part of the community. And yet I can sit back 315 00:16:25,080 --> 00:16:27,680 Speaker 1: here and I can observe all of you, but I 316 00:16:27,840 --> 00:16:30,360 Speaker 1: you know, I take myself out of the equation. Um. 317 00:16:30,400 --> 00:16:32,640 Speaker 1: And I think that's the problem that some people perceive 318 00:16:32,760 --> 00:16:35,200 Speaker 1: this as is that people are sort of saying, you know, 319 00:16:35,280 --> 00:16:39,320 Speaker 1: forget it, I'm I'm dropping out. Yeah, well it's it's interesting. 320 00:16:39,320 --> 00:16:42,880 Speaker 1: When I first started taking public transportation, UM, my friend 321 00:16:43,000 --> 00:16:44,600 Speaker 1: Dave told me, it's like, all right, here's what you 322 00:16:44,600 --> 00:16:46,920 Speaker 1: need to do so you don't get hassled by people. 323 00:16:47,720 --> 00:16:51,600 Speaker 1: Bring a book, your headphones in, wear sunglasses, um, and 324 00:16:51,640 --> 00:16:54,040 Speaker 1: then you know nobody will even see. And so for 325 00:16:54,080 --> 00:16:57,200 Speaker 1: a while I did that even with this the sunglasses. Um. 326 00:16:57,200 --> 00:16:59,560 Speaker 1: But I did find that it works on normal people, 327 00:16:59,560 --> 00:17:03,000 Speaker 1: but not crazy people. Well of the crazy like crazy 328 00:17:03,000 --> 00:17:04,800 Speaker 1: people on on on the train, they want to come 329 00:17:04,840 --> 00:17:08,080 Speaker 1: up and talk to you. Uh. Sometimes they're they're panhandling, 330 00:17:08,080 --> 00:17:10,080 Speaker 1: but sometimes they just want to talk to you. Uh. 331 00:17:10,119 --> 00:17:12,040 Speaker 1: They'll just come up and just continue to talk and 332 00:17:12,080 --> 00:17:14,919 Speaker 1: talk and then finally you sort of like feel something, 333 00:17:15,040 --> 00:17:18,000 Speaker 1: you know, and over to your side and you'll you'll 334 00:17:18,040 --> 00:17:20,439 Speaker 1: look over and who knows how long they've been standing 335 00:17:20,440 --> 00:17:22,960 Speaker 1: there because they're they're immune to it. But yeah, for 336 00:17:22,960 --> 00:17:25,360 Speaker 1: everybody else, it's set. Put it where in the headphones, 337 00:17:25,359 --> 00:17:29,200 Speaker 1: wearing the the sunglasses sends the message, I'm not here 338 00:17:29,240 --> 00:17:30,920 Speaker 1: to listen to you. I'm gonna here to see you. 339 00:17:31,359 --> 00:17:35,200 Speaker 1: My sensory organs are for the most part cut off 340 00:17:35,200 --> 00:17:37,800 Speaker 1: from you. Yeah. And this this article that you sent um, 341 00:17:38,000 --> 00:17:40,800 Speaker 1: which is great. The walkman in the primary world was 342 00:17:40,800 --> 00:17:43,960 Speaker 1: actually talking about this again, this social contract that's uh, 343 00:17:44,000 --> 00:17:46,919 Speaker 1: there's a apart from it says, the acoustical pursues us. 344 00:17:47,000 --> 00:17:49,960 Speaker 1: We are at its mercy, unable to get away once 345 00:17:50,080 --> 00:17:53,399 Speaker 1: uttered a word is they're entering and owning us. And 346 00:17:53,440 --> 00:17:55,480 Speaker 1: I think that that's the important part of this, is 347 00:17:55,520 --> 00:17:58,920 Speaker 1: that you don't necessarily have the ability to own someone's 348 00:17:58,920 --> 00:18:03,560 Speaker 1: attention once they decided to opt out. Yeah, and I 349 00:18:03,640 --> 00:18:06,520 Speaker 1: was actually thinking about this too. There's a French philosopher 350 00:18:06,560 --> 00:18:10,359 Speaker 1: by the name of Luis Alfuser, and he talks about 351 00:18:10,400 --> 00:18:13,600 Speaker 1: how it's a sort of interesting concept about how we 352 00:18:13,640 --> 00:18:17,960 Speaker 1: are all tied to something called the ideological state apparatus. 353 00:18:18,400 --> 00:18:20,800 Speaker 1: And of course he's Marxism, right, so when we talk 354 00:18:20,840 --> 00:18:25,480 Speaker 1: about state, he's talking more about governments or um communities 355 00:18:25,520 --> 00:18:27,879 Speaker 1: even And what he's saying is that through language and 356 00:18:27,920 --> 00:18:30,560 Speaker 1: communication we learned what our roles are, who we are, 357 00:18:30,640 --> 00:18:33,720 Speaker 1: and how we should behave and that we're a product 358 00:18:33,720 --> 00:18:37,760 Speaker 1: of language. I mean, our existence is completely tied to language, right. Yeah. 359 00:18:37,840 --> 00:18:40,200 Speaker 1: Language is the operating system for the brain. I mean 360 00:18:40,240 --> 00:18:43,320 Speaker 1: it's it's it's core to who we are and how 361 00:18:43,359 --> 00:18:46,159 Speaker 1: we perceive the universe. Right. And even if if you 362 00:18:46,200 --> 00:18:49,280 Speaker 1: are deaf or if you are blind, you are still 363 00:18:49,280 --> 00:18:52,720 Speaker 1: communicating in some manner, right. Um. He gives the example 364 00:18:52,720 --> 00:18:54,800 Speaker 1: of walking down the street and someone hailing you and 365 00:18:54,840 --> 00:18:58,440 Speaker 1: saying hey you, and we automatically respond as a result, 366 00:18:58,680 --> 00:19:01,800 Speaker 1: and he says this is becau us we are always ready, 367 00:19:02,359 --> 00:19:05,840 Speaker 1: always already we were sort of born as as understanding 368 00:19:05,840 --> 00:19:09,400 Speaker 1: that we were a subject and um, and that if 369 00:19:09,440 --> 00:19:12,840 Speaker 1: someone says, hey, you, we can't help but misidentify perhaps 370 00:19:12,920 --> 00:19:17,080 Speaker 1: ourselves as that subject, and that that he says represents 371 00:19:17,119 --> 00:19:22,200 Speaker 1: the imaginary relationship of individuals of existence or to existence. 372 00:19:22,680 --> 00:19:25,680 Speaker 1: So that's what I thought was fascinating about this. Of course, 373 00:19:25,720 --> 00:19:27,600 Speaker 1: he has a problem with that because what he's saying 374 00:19:27,680 --> 00:19:30,280 Speaker 1: is that where we're in a sort of false um 375 00:19:31,160 --> 00:19:35,000 Speaker 1: cage of ourselves through this this apparatus of always being 376 00:19:35,000 --> 00:19:38,040 Speaker 1: a subject and always being identified as you through language 377 00:19:38,600 --> 00:19:41,439 Speaker 1: and in a Marxist so he's basically saying, hey, you're 378 00:19:41,440 --> 00:19:42,600 Speaker 1: just a cog and the wheel and you're just a 379 00:19:42,640 --> 00:19:45,840 Speaker 1: subject in a product. But um, but I did think 380 00:19:45,880 --> 00:19:47,679 Speaker 1: that that was sort of interesting. Is the crux of 381 00:19:47,680 --> 00:19:50,160 Speaker 1: this problem that when people point to it and they say, ah, 382 00:19:50,160 --> 00:19:53,000 Speaker 1: but you're creating this portable bubble of yourself off your 383 00:19:53,040 --> 00:19:57,679 Speaker 1: own existence. It's not much different than already describing meaning 384 00:19:58,280 --> 00:20:01,400 Speaker 1: to our existing. So when we take off our headphones, 385 00:20:01,440 --> 00:20:04,359 Speaker 1: were always constructing some sort of idea of ourselves, right right. 386 00:20:04,640 --> 00:20:07,280 Speaker 1: So um, to me, it's a bit of like a 387 00:20:07,320 --> 00:20:09,720 Speaker 1: free will thing, like, Okay, of course you want to 388 00:20:09,720 --> 00:20:12,639 Speaker 1: communicate with other people, you want to be engaged with 389 00:20:12,680 --> 00:20:14,840 Speaker 1: each other, you want to have eye contact, because that's 390 00:20:14,840 --> 00:20:18,320 Speaker 1: really uh, you know, that's what being alive means, right, 391 00:20:18,320 --> 00:20:22,400 Speaker 1: just having relationships and having communication and language. But there's 392 00:20:22,440 --> 00:20:24,800 Speaker 1: nothing wrong I think with creating that that sort of 393 00:20:25,000 --> 00:20:27,440 Speaker 1: personal bubble for yourself. Solun't you step out of it? Yeah, 394 00:20:27,560 --> 00:20:30,280 Speaker 1: Like I've I've noticed before, like like occasionally, I'll be 395 00:20:30,320 --> 00:20:32,880 Speaker 1: on the train and I'll I'll put on some sort 396 00:20:32,920 --> 00:20:36,000 Speaker 1: of sad music and I'll look around and notice notice 397 00:20:36,040 --> 00:20:37,960 Speaker 1: everybody and be like, man, everybody looks so sad on 398 00:20:38,000 --> 00:20:41,320 Speaker 1: this train. And so I wonder, is it a situation 399 00:20:41,359 --> 00:20:45,119 Speaker 1: where the music is painting my interpretation of the world, 400 00:20:45,480 --> 00:20:48,160 Speaker 1: or is it helping me actually to take note. I'm 401 00:20:48,200 --> 00:20:50,359 Speaker 1: not listening to some sort of upbeat thing or something 402 00:20:50,400 --> 00:20:53,480 Speaker 1: that's more cerebral. I'm listening to something that's this a 403 00:20:53,520 --> 00:20:57,280 Speaker 1: little uh depressing, and I'm actually noticing, Hey, there's some 404 00:20:57,359 --> 00:21:01,359 Speaker 1: people dealing with some unhappy situations and I'm blind to it. Well. See, 405 00:21:01,359 --> 00:21:04,040 Speaker 1: that's that's what's really interesting about music, right. I Mean, 406 00:21:04,119 --> 00:21:07,320 Speaker 1: if in this particular instance, not necessarily reading a book, 407 00:21:07,400 --> 00:21:09,720 Speaker 1: reading a book, you're probably going to be completely disengaged. 408 00:21:09,720 --> 00:21:12,920 Speaker 1: But music might be able to enhance your connection with humanity. 409 00:21:13,119 --> 00:21:16,000 Speaker 1: And this is from Molly Edmonds articles or linked between 410 00:21:16,080 --> 00:21:18,600 Speaker 1: music and happiness, and she actually says that hearing piece 411 00:21:18,640 --> 00:21:21,720 Speaker 1: of music um that is in a minor key and 412 00:21:21,880 --> 00:21:26,639 Speaker 1: is slower will actually result in a more feelings of sadness, right, 413 00:21:26,720 --> 00:21:29,520 Speaker 1: because it can cause a slowing of the pulse and 414 00:21:29,560 --> 00:21:33,240 Speaker 1: a rise in blood pressure. And of course conversely, you know, 415 00:21:33,440 --> 00:21:35,960 Speaker 1: fast tempos with a major key can make you breathe 416 00:21:36,000 --> 00:21:39,439 Speaker 1: faster and sort of elevate your mood. And you know 417 00:21:39,520 --> 00:21:44,400 Speaker 1: breathing faster is also associated with being happy. So yeah, 418 00:21:44,480 --> 00:21:47,520 Speaker 1: I mean, obviously this music is having an effect on you, 419 00:21:47,680 --> 00:21:52,280 Speaker 1: but it's also extending, uh, and indirectly towards other people. 420 00:21:53,440 --> 00:21:54,880 Speaker 1: I mean, whether or not they know that you feel 421 00:21:54,920 --> 00:21:57,440 Speaker 1: sad or feel connected to them or feel happy for them, 422 00:21:57,600 --> 00:22:01,240 Speaker 1: who knows. But again this is uh, so much of 423 00:22:01,280 --> 00:22:04,760 Speaker 1: this is we're predicated on this sort of behavior in 424 00:22:04,800 --> 00:22:07,760 Speaker 1: connecting with people, and empathy is certainly a big part 425 00:22:07,800 --> 00:22:10,199 Speaker 1: of that. See maybe what the answer here is that 426 00:22:10,280 --> 00:22:13,960 Speaker 1: each train, each car on the train needs to have 427 00:22:14,280 --> 00:22:17,399 Speaker 1: a DJ to to like get a hold of what 428 00:22:17,480 --> 00:22:20,560 Speaker 1: the crowd is feeling and like work the crowd manipulated 429 00:22:20,680 --> 00:22:24,600 Speaker 1: with choices in music well, we know too from our 430 00:22:24,600 --> 00:22:27,720 Speaker 1: other research that that when people listen to music, sometimes 431 00:22:27,720 --> 00:22:30,720 Speaker 1: their neurons will start firing together and gives them that 432 00:22:30,760 --> 00:22:33,400 Speaker 1: sense of oneness. Right, So maybe that's what we need, 433 00:22:33,440 --> 00:22:36,080 Speaker 1: like group songs on kind of like you see I 434 00:22:36,080 --> 00:22:38,359 Speaker 1: don't know in the movies anyway, like where busses start 435 00:22:38,400 --> 00:22:41,360 Speaker 1: singing together. I don't know. I'm just like now I'm 436 00:22:41,359 --> 00:22:44,760 Speaker 1: thinking about the Walkman with like twenty different headphones coming 437 00:22:44,800 --> 00:22:47,320 Speaker 1: from one walkman. Becuse you don't need that, but I 438 00:22:47,320 --> 00:22:49,199 Speaker 1: think that was the whole idea, you know, that the 439 00:22:49,240 --> 00:22:51,679 Speaker 1: concern back in the day, right when they decided to 440 00:22:51,680 --> 00:22:56,080 Speaker 1: have the two um headphones being so that people could 441 00:22:56,160 --> 00:22:58,639 Speaker 1: sit there together and and listen to music and have 442 00:22:58,720 --> 00:23:02,520 Speaker 1: that experience and not just person grab one corner of it, 443 00:23:02,680 --> 00:23:05,439 Speaker 1: right right, yeah, right, So there you go. I don't know, 444 00:23:05,480 --> 00:23:08,399 Speaker 1: it's some food for thought. Yeah, yeah, it's uh, this 445 00:23:08,440 --> 00:23:10,640 Speaker 1: is this is definitely a food for thought episode where 446 00:23:10,680 --> 00:23:12,800 Speaker 1: we're really throwing it out there to you guys, because 447 00:23:13,040 --> 00:23:16,159 Speaker 1: I imagine a lot of our listeners probably listen to 448 00:23:16,240 --> 00:23:19,520 Speaker 1: this uh uh to to our listening to our voices 449 00:23:19,960 --> 00:23:23,040 Speaker 1: at the expense of the actual strangers surrounding them. Or 450 00:23:23,080 --> 00:23:25,320 Speaker 1: the actual environment surrounding them. So I'm curious to know 451 00:23:25,359 --> 00:23:30,280 Speaker 1: how that plays into their their encounter with reality. UM. Likewise, 452 00:23:30,359 --> 00:23:32,640 Speaker 1: just you know, whatever else you're you're plugging into, your 453 00:23:32,680 --> 00:23:37,400 Speaker 1: into your senses, or your your music, your your iPads, 454 00:23:37,440 --> 00:23:39,880 Speaker 1: your your different gadgets, Like, how does that affect your 455 00:23:39,920 --> 00:23:43,520 Speaker 1: relationship with the real world and the bubble you've created? 456 00:23:43,640 --> 00:23:47,040 Speaker 1: We want to know about your portable bubble. I have 457 00:23:47,440 --> 00:23:50,800 Speaker 1: one really cool it's not really listener mail because it's 458 00:23:50,800 --> 00:23:53,159 Speaker 1: it's more related to the blog posts that I do, 459 00:23:53,880 --> 00:23:55,919 Speaker 1: but I had to share it because it's pretty awesome. 460 00:23:56,400 --> 00:24:00,080 Speaker 1: Uh and it is from Sandy King, who is the 461 00:24:00,080 --> 00:24:04,240 Speaker 1: the wife of director John Carpenter. UM. I had written 462 00:24:04,600 --> 00:24:07,640 Speaker 1: an article that was called Big Troubling, Little China, UM, 463 00:24:07,680 --> 00:24:11,760 Speaker 1: Where's the Universe, which is about cosmological issues that arise 464 00:24:11,840 --> 00:24:13,879 Speaker 1: in the film Big Trouble and Little China. I know, 465 00:24:14,000 --> 00:24:16,919 Speaker 1: slightly a stretch, but the thing is John Carpenter always 466 00:24:16,920 --> 00:24:19,800 Speaker 1: puts a lot of science into uh or science has 467 00:24:19,840 --> 00:24:23,600 Speaker 1: popped up in a number of his films and interesting ways, like, um, 468 00:24:23,640 --> 00:24:26,040 Speaker 1: you know, there'll be it'll be a movie about satanic 469 00:24:26,119 --> 00:24:28,760 Speaker 1: zombies like Prince of Darkness, but there's there's also all this. 470 00:24:29,040 --> 00:24:31,200 Speaker 1: There's some stuff I'm to do with quantum mechanics thrown 471 00:24:31,280 --> 00:24:33,359 Speaker 1: in there, and it really shows you that he was 472 00:24:33,560 --> 00:24:36,480 Speaker 1: he was really geeking out on this stuff too. Um. 473 00:24:36,520 --> 00:24:39,160 Speaker 1: But anyway, Sandy writes, dear Mr Lamb, had to drop 474 00:24:39,200 --> 00:24:40,640 Speaker 1: you a line and tell you how great the big 475 00:24:40,640 --> 00:24:44,760 Speaker 1: trouble and little China cosmology piece you did was when 476 00:24:44,800 --> 00:24:47,280 Speaker 1: you sent that the email to the office to Sean 477 00:24:47,359 --> 00:24:49,439 Speaker 1: and John's attention. I hit the link to show it 478 00:24:49,480 --> 00:24:51,359 Speaker 1: to John and he loved it. He has always been 479 00:24:51,359 --> 00:24:54,439 Speaker 1: a quantum mechanics cosmology junkie. So you hit near to 480 00:24:54,520 --> 00:24:56,800 Speaker 1: what's dear to his heart. Thanks for a great time, 481 00:24:56,960 --> 00:25:00,840 Speaker 1: best Sandy. So, uh yeah, so that's Uh. I really 482 00:25:00,880 --> 00:25:03,080 Speaker 1: like that. I'm gonna have to get that framed or something. Yeah. 483 00:25:03,200 --> 00:25:05,119 Speaker 1: So I've been I've been speaking out all morning on that, 484 00:25:06,200 --> 00:25:09,119 Speaker 1: uh and uh and I just put it onto Facebook. 485 00:25:09,160 --> 00:25:10,680 Speaker 1: So if you want to come and see what kind 486 00:25:10,680 --> 00:25:14,159 Speaker 1: of blog post I'm writing, what kind of stuff we're into, 487 00:25:14,240 --> 00:25:16,560 Speaker 1: what we're podcasting about, you can find us there on 488 00:25:16,560 --> 00:25:18,760 Speaker 1: Facebook as blow the Mind, and you can also find 489 00:25:18,800 --> 00:25:21,920 Speaker 1: us on Twitter as blow the Mind, and by all means, 490 00:25:22,480 --> 00:25:27,320 Speaker 1: share your experiences with with the Walkman effect with us. 491 00:25:27,440 --> 00:25:29,560 Speaker 1: We'd love to hear about it, indeed, and you can 492 00:25:29,560 --> 00:25:31,439 Speaker 1: always drop us a line at blow the Mind at 493 00:25:31,440 --> 00:25:38,080 Speaker 1: how stuff works dot com. Be sure to check out 494 00:25:38,119 --> 00:25:41,280 Speaker 1: our new video podcast, Stuff from the Future. Join how 495 00:25:41,359 --> 00:25:43,879 Speaker 1: Stuff Work staff as we explore the most promising and 496 00:25:43,920 --> 00:25:46,080 Speaker 1: perplexing possibilities of tomorrow.