WEBVTT - The Map-addled Brain

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<v Speaker 1>Welcome to Stuff to Blow Your Mind from how Stuff

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<v Speaker 1>Works dot com. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>My name is Robert Lamb and I'm Julie Douglas. Julie,

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<v Speaker 1>what is the worst map that you've ever created or had?

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<v Speaker 1>Do you use m oh man? I don't know. I

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<v Speaker 1>love to draw maps, and so I feel like all

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<v Speaker 1>the maps that I've created have been brilliant and places. Yeah, yeah,

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<v Speaker 1>I'm not like a cartographer on the side or anything,

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<v Speaker 1>but no, I don't I don't feel like I've done

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<v Speaker 1>anything too crazy. My daughter recently created a map, and um,

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<v Speaker 1>I was pretty impressed. She had China, the United States

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<v Speaker 1>is like a blue blob, um, Europe as a yellow blob,

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<v Speaker 1>and then butterfly Land. But yeah they had little wings. Um.

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<v Speaker 1>So I don't know. I want to say that's the

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<v Speaker 1>worst map, but I don't think it was very practical. Still,

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<v Speaker 1>it's it's interesting, and we'll have to think about butterfly

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<v Speaker 1>Land if we uh as we dive into this podcast,

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<v Speaker 1>as we talk about brains, our brains and maps and

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<v Speaker 1>how this map ends up informing the world around us. Um,

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<v Speaker 1>when I think of bad maps, I've had to use

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<v Speaker 1>probably the worst was when is that Yosemite National Park.

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<v Speaker 1>There's like just a map that was handed not an

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<v Speaker 1>official map, it was like handed out like maybe by

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<v Speaker 1>somebody at the hotel that had to show different locations

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<v Speaker 1>around this little uh town, different trails, and none of

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<v Speaker 1>it was really to scale. So you've got to really

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<v Speaker 1>warp sense of distance when you tried to go out

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<v Speaker 1>and introverse any of this. I will say, map or

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<v Speaker 1>hotel maps are pretty bad because they just want to

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<v Speaker 1>show you the landmarks and they just are like that's

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<v Speaker 1>all that tourists really care about. They'll they'll figure it out.

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<v Speaker 1>Don't worry about the distances, don't worry about whether it's

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<v Speaker 1>walkable or you need to set aside a day to

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<v Speaker 1>travel this distance. Just just take our word for it

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<v Speaker 1>that it's there. Yeah, yeah, you'll see it just like

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<v Speaker 1>on the map. Is huge thing just on the horizon. Um,

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<v Speaker 1>so of course, yes, we're talking about maps today. We're

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<v Speaker 1>talking about how we have our own sort of autobiographical

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<v Speaker 1>element to maps that we'll talk about and um, we

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<v Speaker 1>should probably kick this off with allegorical maps. Yes, allegorical

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<v Speaker 1>maps maps that are not so much of places. I mean,

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<v Speaker 1>they can be of places. But they're they're about much

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<v Speaker 1>more than that. When when you when you put in

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<v Speaker 1>a location into Google Maps or Apple Maps or whatever

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<v Speaker 1>you're using, generally you're getting a pretty ironed out idea

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<v Speaker 1>of where point A is in relation to point B

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<v Speaker 1>between two physical locations with an allegorical map. Point A

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<v Speaker 1>and point B may not be things that are precisely real.

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<v Speaker 1>They might be states of mind, states of being. Uh.

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<v Speaker 1>They might one point A might exist in this world,

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<v Speaker 1>point point B might exist in some mythical other world. Yeah.

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<v Speaker 1>I was actually thinking about this in terms of Dante,

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<v Speaker 1>particularly when I when I thought back to our previous

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<v Speaker 1>podcast that dealt with the sins and his sort of

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<v Speaker 1>allegorical map of how you are traversing this mountain until

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<v Speaker 1>you can you know, scale all these different sins and

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<v Speaker 1>wash yourselves of them. Yeah. Yeah. Certainly, with his his

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<v Speaker 1>map of Hell, he relied on a lot of older

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<v Speaker 1>maps and models that people have been sort of trying

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<v Speaker 1>to figure out what the what what a hell might

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<v Speaker 1>look like and mapping that up for some time. Uh.

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<v Speaker 1>The Purgatory is certainly more of a purely allegorical map

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<v Speaker 1>because it's about it. It's it's more precisely about this

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<v Speaker 1>journey from a state of of sin, but you know,

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<v Speaker 1>acceptable level of sin through cleanliness up the mountain and

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<v Speaker 1>into heavens. So it's about the journey of the human soul.

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<v Speaker 1>And there's another allegorical map I wanted to mention, and

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<v Speaker 1>this one is called a Road to Success, And apparently

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<v Speaker 1>this was really popular circa nineteen ten. I love this map.

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<v Speaker 1>It is in a book called map Head by Ken Jennings.

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<v Speaker 1>Yes that Ken Jennings, Jeopardy, jeopardy um. And it depicts

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<v Speaker 1>an actual road winding up a mountain in a similar

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<v Speaker 1>way that that Dante considered the landscape. And success is

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<v Speaker 1>depicted as a leer at the very top, but at

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<v Speaker 1>the bottom all these different things you have to go

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<v Speaker 1>through that might prevent you from having success, including boheman

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<v Speaker 1>is bohemianism. At the base of this mountain, it looks

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<v Speaker 1>like a beer garden. Yes, it looks like a fun

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<v Speaker 1>place you might stop in. But his his whole arguments

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<v Speaker 1>you stopped in there, he might never leave, right you might.

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<v Speaker 1>I mean you can't even get up to the you know,

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<v Speaker 1>halfway up the mountain, right, it looks a lot more

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<v Speaker 1>attractive than the pit of illiteracy, the pit of a literacy,

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<v Speaker 1>which feels like tiny figures plumbing and it is dark abyss.

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<v Speaker 1>There's also the mutual admiration society, in which and this

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<v Speaker 1>is what I love, because it really is in the

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<v Speaker 1>spirit of the times. People are telling each other things

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<v Speaker 1>like you'll set the world on fire, You're a wonder

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<v Speaker 1>my boy. Um. So you know you can get caught

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<v Speaker 1>up in that. But anyway, you go up and up

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<v Speaker 1>and up, and you go through true knowledge. Um. But

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<v Speaker 1>you of course have to traverse lack of preparation until

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<v Speaker 1>you go through the gate of ideals and finally you

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<v Speaker 1>have found success. It should be a board game because

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<v Speaker 1>it reminds me a lot of the game of Life,

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<v Speaker 1>which in in its in its its own sense, it's

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<v Speaker 1>kind of an allegorical map transformed into a board game. Well,

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<v Speaker 1>and that's what I think is interesting about this is

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<v Speaker 1>it is instructional. It is, of course, as you say,

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<v Speaker 1>not going to tell you how to get from you know,

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<v Speaker 1>point A to point B in terms of uh, you know,

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<v Speaker 1>day to day, like how do I just navigate the world,

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<v Speaker 1>But it does tell you in some sense this is

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<v Speaker 1>the direction that you should take here of the pitfalls.

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<v Speaker 1>But of course a lot of people are like thinking, well,

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<v Speaker 1>an allegorical map. Again, this is a map of something

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<v Speaker 1>that is not real. It's a map of something that

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<v Speaker 1>is not a physical location. It doesn't really deal with geography.

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<v Speaker 1>It's dealing with abstract ideas and things that exist only

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<v Speaker 1>in our heads. But the crazy thing is when you

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<v Speaker 1>start looking at maps in our history with maps and

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<v Speaker 1>even our future with maps, that same description applies to

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<v Speaker 1>to even are more hard boiled um maps that deal

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<v Speaker 1>with physical locations, we're still bringing in all of this

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<v Speaker 1>mental junk uh and and laying that out as part

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<v Speaker 1>of the map making process. It's true, Like, think about

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<v Speaker 1>the last time that you just jotted down a quick

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<v Speaker 1>map for someone and gave them directions. As you were

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<v Speaker 1>doing that, and you're saying, here's the gas station on

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<v Speaker 1>the left. Um, you know, there's all these different memories

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<v Speaker 1>that you have flooding your brain about that gas station,

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<v Speaker 1>or here's the school I went to or so on

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<v Speaker 1>and so forth. So you might be putting landmarks on there,

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<v Speaker 1>but it's all informed by your past experience. Yeah, and

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<v Speaker 1>even as you just find yourself like driving around town

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<v Speaker 1>or taking the train to work, Inevitably, you're you're crossing things,

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<v Speaker 1>You're you're passing by things that have some sort of

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<v Speaker 1>significance to yourself, and they start ticking off in the

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<v Speaker 1>in the in the background, you know, you're kind of like, Oh,

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<v Speaker 1>that's the place I had that really good sandwich at

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<v Speaker 1>that time, That's that place where that that spider leapt

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<v Speaker 1>out of my suit. I don't know, whatever the memory

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<v Speaker 1>may be, we can't help build an informal map out

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<v Speaker 1>of those experiences. Yeah, I was thinking about the writer

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<v Speaker 1>Pat Conroy as well. He's a Southern writer in the

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<v Speaker 1>United States, and a lot of his fiction draws upon

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<v Speaker 1>the landscape in the sort of stories it tells, and

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<v Speaker 1>he has a some of my famous quote that says,

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<v Speaker 1>my wound is geography. It's also my anchorage and my

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<v Speaker 1>port of call. So if you think about this map

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<v Speaker 1>is really storytelling, um, it's you know, drawing from our

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<v Speaker 1>experience but also our imagination of what could be. And

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<v Speaker 1>this is probably what we're all trying to get to

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<v Speaker 1>you right now, is you know, the million dollar question,

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<v Speaker 1>what is happening in our brains when we are considering

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<v Speaker 1>maps in terms of our own personal autobiography but also um,

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<v Speaker 1>just trying to navigate the world. I can. So when

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<v Speaker 1>you think about ben is m is the brain and

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<v Speaker 1>absence of the map. You know what happens when the

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<v Speaker 1>map is is almost entirely internalized. And one of the

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<v Speaker 1>best examples of that, the one one that we've we've

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<v Speaker 1>actually studied scientifically, um, has to do with the London

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<v Speaker 1>cab drivers. Yeah. I'm sure a lot of people out

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<v Speaker 1>there have heard about this, the fact that their hippocampuses

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<v Speaker 1>are larger than non cab drivers in London. But before

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<v Speaker 1>we talk about that a little bit more, I wanted

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<v Speaker 1>to just sort of lay out the landscape of London

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<v Speaker 1>for everyone. Um, the streets that comprised the city. They

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<v Speaker 1>sprawl beyond Greater London and they are a tangle of

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<v Speaker 1>ancient streets and people have actually referred to them before

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<v Speaker 1>as a plate of spaghetti. Yeah. This isn't like a

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<v Speaker 1>modern US city where somebody came out, laid out a

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<v Speaker 1>bunch of grid work and said, all right, you're gonna

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<v Speaker 1>put streets here, going down, streets here, going across the

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<v Speaker 1>park here, and that's going to be the city. Boom. Yeah,

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<v Speaker 1>this is a place that it's more like sediment city.

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<v Speaker 1>A sediment like over the years, different layers have accumulated,

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<v Speaker 1>and if you walk through London, you're looking over here,

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<v Speaker 1>here's this modern skyscraper that looks like a pickle. Uh,

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<v Speaker 1>Here's here's some ancient Roman ruins. Here's some sort of

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<v Speaker 1>like mid um mid twentieth century sort of communist looking

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<v Speaker 1>building that looks like just an ugly box. And it's

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<v Speaker 1>all just a complete it. It's like history through up

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<v Speaker 1>this city and you have to sort of navigate the

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<v Speaker 1>chunks and have to adjust to debts that is London.

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<v Speaker 1>It's true you have names that change just you know, suddenly,

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<v Speaker 1>and there's not a lot of consistency with with the

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<v Speaker 1>way that the names go and are um going through

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<v Speaker 1>the actual city. And then you have a lack of

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<v Speaker 1>house numbers on some streets that doesn't seem to be

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<v Speaker 1>important to everyone um in every location. And it can

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<v Speaker 1>take a London Cabby two to four years of training

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<v Speaker 1>to master the twenty five thousand streets that dart out

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<v Speaker 1>in the six mile radius from trying cross area all

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<v Speaker 1>the knowledge that's right um. This training is a culmination

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<v Speaker 1>and of what they will finally sit down and be

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<v Speaker 1>tested on called as you say, the Knowledge, which I

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<v Speaker 1>love because it just sounds like so mysterious and wonderful,

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<v Speaker 1>like you're about to go through a portal um. But yeah,

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<v Speaker 1>the Knowledge is basically a series of sit down test

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<v Speaker 1>with an examiner who tells the cabby where she or

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<v Speaker 1>he wants to go, and then the cabby has to

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<v Speaker 1>tell the examiner the exact turn by turn route that

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<v Speaker 1>here she will take, including the side of the street

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<v Speaker 1>that the journey begins on. He reminds me a lot

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<v Speaker 1>of Mark Clain's Life on the Mississippi, which I remember

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<v Speaker 1>reading as a child and being dreadfully bored by it

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<v Speaker 1>because it's a lot of Mark Clain talking about being

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<v Speaker 1>on on the Mississippi and and about how one navigates

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<v Speaker 1>the Mississippi. But it's but it was really similar in

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<v Speaker 1>that you had these, uh, these guys that had to

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<v Speaker 1>just memorize, just had to commit to memory all of

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<v Speaker 1>these details of the river and about its depth in

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<v Speaker 1>which and how navigable different portions of the river we're

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<v Speaker 1>going to be at a given time, right, And that's

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<v Speaker 1>actually what all of us are doing all the time.

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<v Speaker 1>But Lendon cab drivers in particular are really paying attention

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<v Speaker 1>to Yes, they're dealing with a very complex street system.

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<v Speaker 1>Like you said, numbers not not aren't necessarily where they

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<v Speaker 1>need to be. You're you're dealing with the with the

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<v Speaker 1>various flow and flux of traffic. And as a result,

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<v Speaker 1>their hippocampus, which is located in the brains temporal lobe

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<v Speaker 1>and is responsible for uh navigating, starts to get bigger

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<v Speaker 1>and bigger. And the more years that they're on the job,

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<v Speaker 1>the bigger the hippocampus. Alright, so most people who have

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<v Speaker 1>a job that involves sitting and might think, well, your

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<v Speaker 1>your rear end might grow over time. The rear end

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<v Speaker 1>of the hippocampus grows over time, swells with this knowledge

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<v Speaker 1>if you will. Yes, it does. But when you retire,

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<v Speaker 1>it shrinks back down to normal. That's the thing. Um So.

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<v Speaker 1>And also this is interesting too when they found when

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<v Speaker 1>they actually did a couple of more follow up tests

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<v Speaker 1>because the hippocampus. It was a two thousand study and

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<v Speaker 1>in two thousand and eight they did a follow up

0:11:56.520 --> 0:11:59.199
<v Speaker 1>and they found that the hippocampus was really only activated

0:11:59.240 --> 0:12:01.079
<v Speaker 1>at the beginning of a trip, and then other parts

0:12:01.080 --> 0:12:03.200
<v Speaker 1>of the brain started to take over. And there have

0:12:03.240 --> 0:12:05.840
<v Speaker 1>been there have been some studies to that have suggested

0:12:05.840 --> 0:12:09.679
<v Speaker 1>that there's a trade off in cognitive talents that as

0:12:09.679 --> 0:12:13.200
<v Speaker 1>a taxi driver becomes more and more equipped to navigate

0:12:13.240 --> 0:12:16.920
<v Speaker 1>this complex road system, there their their other modes of

0:12:16.920 --> 0:12:20.560
<v Speaker 1>memory kind of kind of dim just a little bit, really,

0:12:20.679 --> 0:12:25.280
<v Speaker 1>so the backswells, the front portion shrinks a little Okay, well,

0:12:25.280 --> 0:12:28.319
<v Speaker 1>there you go. UM. I wanted to also talk about

0:12:28.840 --> 0:12:33.120
<v Speaker 1>neurons and how they are influencing the way that we

0:12:33.559 --> 0:12:38.520
<v Speaker 1>actually are able to follow directions. According to Barbara Trusky

0:12:38.600 --> 0:12:42.840
<v Speaker 1>in her article Distortions in Memory for maps, UM, we

0:12:42.920 --> 0:12:45.679
<v Speaker 1>have neurons in our brains that are biased towards horizontal

0:12:45.760 --> 0:12:49.080
<v Speaker 1>and vertical arrangements, which I think is trippy in and

0:12:49.120 --> 0:12:52.960
<v Speaker 1>of itself. In fact, the neurons greatly outnumber the neurons

0:12:53.000 --> 0:12:57.160
<v Speaker 1>that are dedicated to diagonal arrangement. But when you start

0:12:57.200 --> 0:13:00.680
<v Speaker 1>to think about our planet, which is biased on this

0:13:00.920 --> 0:13:02.920
<v Speaker 1>X Y access, it begins to make sense because we

0:13:02.960 --> 0:13:06.560
<v Speaker 1>have really strong verticals in the trees that we see right,

0:13:07.040 --> 0:13:09.760
<v Speaker 1>and then the ground provides a flat horizon, and even

0:13:09.760 --> 0:13:11.760
<v Speaker 1>when you look out, you see the horizon. So it

0:13:11.880 --> 0:13:14.880
<v Speaker 1>makes sense that we evolve to have more neurons that

0:13:14.960 --> 0:13:18.439
<v Speaker 1>would appreciate this X y axis. So yeah, so we're

0:13:18.480 --> 0:13:21.920
<v Speaker 1>more in line with the rook on a on a chessboard,

0:13:22.640 --> 0:13:27.719
<v Speaker 1>just up and down, yes, and think right and think

0:13:27.720 --> 0:13:30.880
<v Speaker 1>about those trees. This sort of proto landmarks for for

0:13:30.920 --> 0:13:34.839
<v Speaker 1>all animals really, And then I was reminded of that

0:13:35.040 --> 0:13:37.640
<v Speaker 1>sleight of hand trick that we discussed when we talked

0:13:37.640 --> 0:13:42.440
<v Speaker 1>about the science of magicians, and um, the fact that

0:13:42.720 --> 0:13:46.960
<v Speaker 1>not just magicians use this trick, but pickpocketers also will

0:13:47.040 --> 0:13:48.960
<v Speaker 1>take advantage of the fact that we have this x

0:13:49.080 --> 0:13:52.679
<v Speaker 1>y axis, and they do this by moving their hands

0:13:53.240 --> 0:13:56.880
<v Speaker 1>uh in an arc rather than horizontally. And the reason

0:13:56.960 --> 0:13:59.280
<v Speaker 1>for that is that we have cicades and these are

0:13:59.440 --> 0:14:02.480
<v Speaker 1>the fast just movements in the human body, and it

0:14:02.480 --> 0:14:06.679
<v Speaker 1>occurs in our eyes right, and they automatically move their

0:14:06.720 --> 0:14:10.040
<v Speaker 1>gaze to the endpoint um of what they think is

0:14:10.120 --> 0:14:12.960
<v Speaker 1>going to happen. So if you were to move your

0:14:13.000 --> 0:14:19.240
<v Speaker 1>hand horizontally, then you could track it really well. But pipocketers, uh, magicians, illusionists,

0:14:19.240 --> 0:14:21.600
<v Speaker 1>they all do this sort of arc because it's very

0:14:21.640 --> 0:14:25.120
<v Speaker 1>hard to track it accurately and you're distracted. It also

0:14:25.160 --> 0:14:27.800
<v Speaker 1>reminds me of zigzagging, like the whole deal and alligators

0:14:27.840 --> 0:14:30.840
<v Speaker 1>chasing you, Right, what do you do? Run bag? That's right?

0:14:31.400 --> 0:14:35.000
<v Speaker 1>Mess with their ability to determine when something is actually

0:14:35.040 --> 0:14:38.760
<v Speaker 1>moving sideways. And if you think that that's not enough

0:14:38.760 --> 0:14:40.960
<v Speaker 1>of a case to say that we prefer this sort

0:14:41.000 --> 0:14:44.440
<v Speaker 1>of x Y access, think about the London Tube map. Yes,

0:14:44.680 --> 0:14:48.040
<v Speaker 1>back to London, the the fabulous London Tube Map. Where

0:14:49.080 --> 0:14:52.720
<v Speaker 1>it's really and I'm fairly new to all of this, um.

0:14:53.080 --> 0:14:55.160
<v Speaker 1>I mean I've been to London, you know, I've certainly

0:14:55.240 --> 0:14:58.360
<v Speaker 1>used that tube map to get around before, but but

0:14:58.440 --> 0:15:01.600
<v Speaker 1>I really never stopped to realize how how important it

0:15:01.640 --> 0:15:04.240
<v Speaker 1>was and how groundbreaking that map design was. And certainly

0:15:04.280 --> 0:15:06.640
<v Speaker 1>you see its influence everywhere. You see various versions of it.

0:15:06.720 --> 0:15:10.160
<v Speaker 1>You see other public transportation systems that mimic that style.

0:15:11.120 --> 0:15:15.160
<v Speaker 1>It's it's become sort of something of a modern art motif. Yes,

0:15:15.160 --> 0:15:18.440
<v Speaker 1>it's definitely iconic. Um And the reason why it works

0:15:18.480 --> 0:15:20.360
<v Speaker 1>so well is that it plays again to the x

0:15:20.480 --> 0:15:24.400
<v Speaker 1>Y access. Harry Beck is the person who designed this

0:15:24.480 --> 0:15:26.800
<v Speaker 1>map in nineteen thirty three, or rather he did it

0:15:26.840 --> 0:15:28.520
<v Speaker 1>a couple of years before that, but they didn't adopt

0:15:28.600 --> 0:15:31.280
<v Speaker 1>until ninety three. And what he did is he took

0:15:31.320 --> 0:15:34.640
<v Speaker 1>all the squirrely lines that played a spaghetti and tried

0:15:34.680 --> 0:15:38.080
<v Speaker 1>to make sense of it by only delineating all the

0:15:38.160 --> 0:15:41.720
<v Speaker 1>stations and that connecting stations in forty five degree angles.

0:15:42.200 --> 0:15:45.320
<v Speaker 1>So the effect, while being really modern to the eye,

0:15:45.360 --> 0:15:48.480
<v Speaker 1>I think um is that it really cleaned up that

0:15:48.520 --> 0:15:51.360
<v Speaker 1>space and it made it much more logical for people

0:15:51.360 --> 0:15:55.359
<v Speaker 1>to understand the system, and it really becomes one's understanding

0:15:55.400 --> 0:15:58.720
<v Speaker 1>of the city. That's what what really fascinates me. I mean,

0:15:58.760 --> 0:16:01.800
<v Speaker 1>you tend to sort of the fine your space based

0:16:01.800 --> 0:16:04.440
<v Speaker 1>on the roads and paths you have to travel. Like, uh,

0:16:04.840 --> 0:16:08.560
<v Speaker 1>here in Atlanta, we live in a pretty pretty uh

0:16:09.120 --> 0:16:12.160
<v Speaker 1>non complex city as far as public transportation goes. We

0:16:12.240 --> 0:16:15.240
<v Speaker 1>got north and southeast and west, We've got we've got

0:16:15.240 --> 0:16:17.360
<v Speaker 1>eight and seventy five going up the center, We've got

0:16:17.360 --> 0:16:19.600
<v Speaker 1>twenty going through in the middle. So it's it's it's

0:16:19.640 --> 0:16:22.360
<v Speaker 1>pretty it's pretty simple. And then you have the Highway

0:16:22.400 --> 0:16:25.640
<v Speaker 1>to eighty five looping, yeah, looping around and trapping everybody

0:16:25.640 --> 0:16:28.440
<v Speaker 1>inside because that's our plan is that you just roar

0:16:28.520 --> 0:16:30.720
<v Speaker 1>enough traffic through there and the zombies can't get in

0:16:30.800 --> 0:16:33.520
<v Speaker 1>or out, depending on what the scenario is. But but

0:16:33.520 --> 0:16:37.080
<v Speaker 1>but it's difficult to not think about one surroundings in

0:16:37.120 --> 0:16:39.200
<v Speaker 1>those terms, like thinking about where are you in terms

0:16:39.200 --> 0:16:41.600
<v Speaker 1>of the perimeter. I mean, I'm here in Atlanta. People

0:16:41.600 --> 0:16:44.560
<v Speaker 1>tend to talk about things being O t P outside

0:16:44.560 --> 0:16:46.800
<v Speaker 1>the perimeter, like you do not want to go O

0:16:46.960 --> 0:16:49.400
<v Speaker 1>t P even if you have a friend that lives

0:16:49.400 --> 0:16:51.560
<v Speaker 1>out there. God bless them, but they're O t P

0:16:51.760 --> 0:16:53.360
<v Speaker 1>and they just invited you to dinner. You might have

0:16:53.360 --> 0:16:55.400
<v Speaker 1>to make up an excuse that kind of thing. Uh.

0:16:55.440 --> 0:16:58.400
<v Speaker 1>And then inside the perimeter is is the preferred distance

0:16:58.440 --> 0:17:00.920
<v Speaker 1>of travel? Um? And then you think of it in

0:17:00.920 --> 0:17:03.840
<v Speaker 1>those those different sections. That's right. The mental map does

0:17:03.880 --> 0:17:07.320
<v Speaker 1>actually map to the system that is in place. And

0:17:07.359 --> 0:17:10.280
<v Speaker 1>apparently this London tube map was so important to so

0:17:10.320 --> 0:17:13.320
<v Speaker 1>many people that when they made changes to it, there

0:17:13.400 --> 0:17:15.480
<v Speaker 1>was a big oh, like whoa, what are you doing?

0:17:15.640 --> 0:17:18.800
<v Speaker 1>You've changed our reality. Basically, you've changed the thing that

0:17:18.880 --> 0:17:21.320
<v Speaker 1>forms the world that we live in. Even though this

0:17:21.359 --> 0:17:24.359
<v Speaker 1>map is inaccurate, right because it's not nothing that the

0:17:24.440 --> 0:17:26.720
<v Speaker 1>forty five degree angle that has picked it in, it

0:17:26.840 --> 0:17:28.920
<v Speaker 1>was still like, that's how I see London, at least

0:17:28.960 --> 0:17:32.359
<v Speaker 1>for some people. Other people sort of said this is fine,

0:17:32.359 --> 0:17:35.040
<v Speaker 1>it's more inaccurate, but you know, that's that's what happens

0:17:35.040 --> 0:17:37.440
<v Speaker 1>when something becomes iconic. I suppose, Well, I think that's

0:17:37.480 --> 0:17:40.760
<v Speaker 1>what's ultimately at heart when when people have this reaction

0:17:40.800 --> 0:17:45.480
<v Speaker 1>to Pluto losing its planet status, you know, like ultimately

0:17:45.560 --> 0:17:49.160
<v Speaker 1>nobody really cares about Pluto. Really, it's it's it's out there,

0:17:49.280 --> 0:17:52.199
<v Speaker 1>it's not really really has a stake in Pluto's a

0:17:52.240 --> 0:17:55.399
<v Speaker 1>long ways off and and pretty insignificant compared to the

0:17:55.440 --> 0:17:57.600
<v Speaker 1>other planets. But it was part of that map that

0:17:57.680 --> 0:18:00.320
<v Speaker 1>we grew up seeing. It was in that app was

0:18:00.359 --> 0:18:03.439
<v Speaker 1>how we defined our place in the Solar System and

0:18:03.440 --> 0:18:05.840
<v Speaker 1>in the the universe at large. And suddenly that changed

0:18:05.880 --> 0:18:08.760
<v Speaker 1>and people are like, whoa, that changes everything in a

0:18:08.840 --> 0:18:11.919
<v Speaker 1>small and perhaps in significant way to to normal life

0:18:12.119 --> 0:18:14.199
<v Speaker 1>and the way you live your daily life. But he's

0:18:14.200 --> 0:18:17.879
<v Speaker 1>still shifted your universe. Yeah. And it's funny because even

0:18:17.880 --> 0:18:22.320
<v Speaker 1>though we know life is uh something that is constantly

0:18:22.400 --> 0:18:25.280
<v Speaker 1>changing that we're just transience here, really, all of us,

0:18:25.680 --> 0:18:28.040
<v Speaker 1>we still can't help but try to nail things down

0:18:28.040 --> 0:18:29.879
<v Speaker 1>and say this is not going to change. So we're

0:18:29.920 --> 0:18:32.200
<v Speaker 1>gonna map it. Yeah, We're gonna look up at the

0:18:32.280 --> 0:18:35.040
<v Speaker 1>night sky and say that is belongs to us. And

0:18:35.200 --> 0:18:37.520
<v Speaker 1>you know, anytime sort of those things are tinkered with,

0:18:37.640 --> 0:18:40.920
<v Speaker 1>it reminds us of this transient quality of life. Yeah,

0:18:40.920 --> 0:18:43.600
<v Speaker 1>anyone who has a GPS device that's not attached to

0:18:43.640 --> 0:18:46.199
<v Speaker 1>their phone knows this steel because like like with me,

0:18:46.280 --> 0:18:47.840
<v Speaker 1>I know that there is a way to take it

0:18:47.880 --> 0:18:50.040
<v Speaker 1>and hook it up to a computer and probably pay

0:18:50.119 --> 0:18:52.760
<v Speaker 1>some stupid sum of money to get the maps updated.

0:18:53.160 --> 0:18:55.400
<v Speaker 1>But that's a lot of trouble and money I don't

0:18:55.400 --> 0:18:57.800
<v Speaker 1>want to spend, so I end up with old maps.

0:18:57.840 --> 0:19:00.880
<v Speaker 1>So you know, it'll occasionally send us in a direction

0:19:00.960 --> 0:19:03.879
<v Speaker 1>that towards the street that is no longer there, or

0:19:03.960 --> 0:19:06.280
<v Speaker 1>will ignore a street that it doesn't know exists yet

0:19:06.720 --> 0:19:09.040
<v Speaker 1>and there, but there's there is something troubling about it.

0:19:09.080 --> 0:19:11.639
<v Speaker 1>You're like, why are the roads changing? Why is the

0:19:11.640 --> 0:19:14.679
<v Speaker 1>world changing around me? The map should have kept it

0:19:14.720 --> 0:19:17.600
<v Speaker 1>as it is. Yeah, that happened to me recently. And

0:19:17.840 --> 0:19:21.320
<v Speaker 1>the road just dead ended and it was supposed to

0:19:21.359 --> 0:19:23.840
<v Speaker 1>go for like another twenty miles. And nothing makes you

0:19:23.880 --> 0:19:27.800
<v Speaker 1>feel more helpless than relying on, you know, a clunky GPS.

0:19:28.400 --> 0:19:30.080
<v Speaker 1>Uh to feel like a rube in the middle of

0:19:30.119 --> 0:19:34.560
<v Speaker 1>nowhere and appreciate maps, at least the written ones. So um,

0:19:34.600 --> 0:19:37.399
<v Speaker 1>I did want to bring this up about Americans and

0:19:37.560 --> 0:19:44.160
<v Speaker 1>their apparent ability to excel at directions. Okay, geographer hom

0:19:44.240 --> 0:19:49.280
<v Speaker 1>Debuge has made the claim that we Americans and he's Dutch, correct,

0:19:49.840 --> 0:19:52.800
<v Speaker 1>he's German, we have a better sense of direction than

0:19:52.840 --> 0:19:56.639
<v Speaker 1>our European counterparts that live in these sort of spaghetti

0:19:57.200 --> 0:20:02.639
<v Speaker 1>streeted cities, be because we have exercise that part of

0:20:02.640 --> 0:20:05.840
<v Speaker 1>our brain, because we are so used to this grid

0:20:05.920 --> 0:20:09.080
<v Speaker 1>like system in the United States, where most major cities

0:20:09.160 --> 0:20:12.440
<v Speaker 1>are very logical and planned out on this x y acxis.

0:20:13.640 --> 0:20:15.159
<v Speaker 1>I think you can make a case for that, certainly

0:20:15.200 --> 0:20:18.240
<v Speaker 1>in something like when you go to a city like Savannah, Georgia.

0:20:18.680 --> 0:20:20.960
<v Speaker 1>You know where they have to like it's pretty laid

0:20:20.960 --> 0:20:23.399
<v Speaker 1>out on a grid, or the main part of the

0:20:23.400 --> 0:20:26.199
<v Speaker 1>city is anyway, and you have here's a street, and

0:20:26.400 --> 0:20:28.600
<v Speaker 1>here's a street coming from the other direction, here's a park.

0:20:28.680 --> 0:20:30.120
<v Speaker 1>Here is I mean, it's just it's like a grid

0:20:30.119 --> 0:20:33.280
<v Speaker 1>where it's like a it's like a board for a

0:20:33.920 --> 0:20:37.000
<v Speaker 1>card game. Yeah, And even though they have the parks,

0:20:37.080 --> 0:20:39.439
<v Speaker 1>they have successive parks, and so there's a pattern of that,

0:20:39.720 --> 0:20:40.879
<v Speaker 1>and so you know that you're going to have to

0:20:40.920 --> 0:20:46.200
<v Speaker 1>go around these parks and x y Z configuration. So yeah,

0:20:46.280 --> 0:20:48.120
<v Speaker 1>there you go. But I think it's surprising to people

0:20:48.119 --> 0:20:51.520
<v Speaker 1>because when you think about Americans and you think about maps, um,

0:20:52.000 --> 0:20:54.920
<v Speaker 1>and our ability to actually find other countries on the map,

0:20:55.240 --> 0:20:57.800
<v Speaker 1>it's pretty dismal. Well, you know what we've talked before

0:20:57.800 --> 0:20:59.680
<v Speaker 1>about how much our brain likes to find patterns and

0:21:00.000 --> 0:21:04.040
<v Speaker 1>recognized patterns with these pattern recognition engines. So there's something

0:21:04.080 --> 0:21:08.480
<v Speaker 1>comfortably comforting about knowing that, all right, well in another street, UM,

0:21:08.520 --> 0:21:10.359
<v Speaker 1>I know, what about what's gonna happen. There's gonna be

0:21:10.400 --> 0:21:12.600
<v Speaker 1>a park up there, or another couple of streets, there's

0:21:12.600 --> 0:21:15.119
<v Speaker 1>gonna be this or that. You know, it's a you

0:21:15.119 --> 0:21:19.439
<v Speaker 1>want this regularity in your world around you. Yeah, and um,

0:21:19.600 --> 0:21:21.119
<v Speaker 1>for all the people out there when you go on

0:21:21.200 --> 0:21:23.840
<v Speaker 1>vacation and you're the map person, this is for you. UM.

0:21:23.880 --> 0:21:25.280
<v Speaker 1>I don't know if you guys like to do this,

0:21:25.320 --> 0:21:27.439
<v Speaker 1>but I love to study the map beforehand so that

0:21:27.520 --> 0:21:30.359
<v Speaker 1>I do start to create some sort of reality of

0:21:30.359 --> 0:21:34.080
<v Speaker 1>this new city for myself and my brain and orient

0:21:34.160 --> 0:21:37.359
<v Speaker 1>myself as quickly as possible. I tend to wait more

0:21:37.400 --> 0:21:39.240
<v Speaker 1>towards the last minute to do that, but I do

0:21:39.359 --> 0:21:41.600
<v Speaker 1>find something. There's something satisfying about it, Like when you're

0:21:41.640 --> 0:21:44.320
<v Speaker 1>actually on the like flying into this city and the

0:21:44.440 --> 0:21:46.240
<v Speaker 1>so the city in a sense is about to become

0:21:46.320 --> 0:21:49.720
<v Speaker 1>real to you. Then I engage with the map and

0:21:49.760 --> 0:21:51.840
<v Speaker 1>I started looking at it, and I see where I'm

0:21:51.840 --> 0:21:54.520
<v Speaker 1>going to be, what's around it, what where I can eat,

0:21:54.560 --> 0:21:57.199
<v Speaker 1>in the general vicinity and in the place becomes a

0:21:57.200 --> 0:22:00.800
<v Speaker 1>little more real before I get there. Uh, And I'm

0:22:00.840 --> 0:22:03.240
<v Speaker 1>already imagining that, which we'll talk about in a moment.

0:22:03.280 --> 0:22:05.480
<v Speaker 1>We're gonna take a break. When we get back, we

0:22:05.520 --> 0:22:10.160
<v Speaker 1>are going to talk about this idea of maps from

0:22:10.200 --> 0:22:18.479
<v Speaker 1>our imagination that become completely real to us. All right,

0:22:18.520 --> 0:22:20.520
<v Speaker 1>we're back, and we're going to talk about maps as

0:22:20.560 --> 0:22:25.040
<v Speaker 1>they relate to storytelling in the creation of unreal places

0:22:25.040 --> 0:22:28.800
<v Speaker 1>in memory and memory. We've talked before about the memory palace,

0:22:28.840 --> 0:22:31.200
<v Speaker 1>of course, and this is the method where you use

0:22:31.280 --> 0:22:36.879
<v Speaker 1>our fabulous gift for spatial processing and use that to

0:22:36.920 --> 0:22:39.960
<v Speaker 1>create an imagined place full of the things that you

0:22:40.000 --> 0:22:43.480
<v Speaker 1>need to memorize. Yeah, and think about it this way too.

0:22:43.880 --> 0:22:46.920
<v Speaker 1>When you go into a room and you perceive a room,

0:22:47.000 --> 0:22:49.560
<v Speaker 1>you're not just getting an image of your room. What

0:22:49.680 --> 0:22:53.359
<v Speaker 1>that you know, what you're perceiving is actually your mind

0:22:53.680 --> 0:22:57.760
<v Speaker 1>creating those dimensions of a room for you. So that's

0:22:57.880 --> 0:23:00.439
<v Speaker 1>very important in terms of how we remember things and

0:23:00.480 --> 0:23:03.159
<v Speaker 1>how we map at our worlds. Yeah, like the anytime

0:23:03.160 --> 0:23:06.200
<v Speaker 1>you check out a new restaurant, restaurant, right, your your

0:23:06.240 --> 0:23:08.879
<v Speaker 1>brain has to develop that map to the bathroom. And

0:23:08.920 --> 0:23:11.879
<v Speaker 1>then once you have that data, it's it's it's important,

0:23:12.240 --> 0:23:15.040
<v Speaker 1>it's it's valuable, and you share it with other people.

0:23:15.400 --> 0:23:16.880
<v Speaker 1>The other person the table goes to get up there,

0:23:16.880 --> 0:23:18.720
<v Speaker 1>like where's that You know where the bathroom is? And like, yeah,

0:23:18.840 --> 0:23:22.040
<v Speaker 1>let me share that mental map with you. Yeah, you're like, okay,

0:23:22.119 --> 0:23:25.240
<v Speaker 1>see that fabulous mustachioed man over there, take a right,

0:23:25.400 --> 0:23:27.600
<v Speaker 1>and so on to forth. See how it becomes a

0:23:27.680 --> 0:23:29.600
<v Speaker 1>very much a part of what sticks out to your

0:23:29.920 --> 0:23:32.919
<v Speaker 1>in your memory. And this is one of the uh

0:23:33.400 --> 0:23:37.640
<v Speaker 1>bedrocks of this memory palace idea of how you can

0:23:37.640 --> 0:23:41.479
<v Speaker 1>create a whole world in your mind and remember a

0:23:41.520 --> 0:23:45.160
<v Speaker 1>bunch of random things by tagging them to these surreal

0:23:45.240 --> 0:23:48.640
<v Speaker 1>objects of this story that you tell yourself. I also

0:23:48.680 --> 0:23:51.240
<v Speaker 1>can't help but be reminded of of the mandala, which

0:23:51.760 --> 0:23:54.119
<v Speaker 1>comes from the Sanskrit for circle. And this is a

0:23:54.160 --> 0:23:58.080
<v Speaker 1>motif you see again and again especially in the Tobetan Buddhism,

0:23:58.080 --> 0:24:01.359
<v Speaker 1>where it is the essentially one uses this image to

0:24:01.440 --> 0:24:04.720
<v Speaker 1>help build this virtual place in one's mind. You have

0:24:04.840 --> 0:24:08.560
<v Speaker 1>a map on on paper or on canvas or in sand,

0:24:09.000 --> 0:24:12.920
<v Speaker 1>and you use that to form this spiritually significant map

0:24:13.040 --> 0:24:16.520
<v Speaker 1>in your mind and it's and then that's used for uh,

0:24:16.560 --> 0:24:19.679
<v Speaker 1>you know, for meditation. So what I think is interesting

0:24:19.720 --> 0:24:22.919
<v Speaker 1>about this is that you're basically talking about the intersection

0:24:22.960 --> 0:24:28.560
<v Speaker 1>between reality and imagination. And we've seen this used not

0:24:28.680 --> 0:24:32.359
<v Speaker 1>necessarily the mandala per se, but the idea of this

0:24:32.920 --> 0:24:38.120
<v Speaker 1>transposing um, your imagination onto reality and fiction. Yes, um,

0:24:38.160 --> 0:24:43.160
<v Speaker 1>And I was thinking about token and how important that

0:24:43.359 --> 0:24:46.439
<v Speaker 1>is as a narrative device to create this world for

0:24:46.480 --> 0:24:49.720
<v Speaker 1>the readers that you can begin to reference because you're

0:24:49.720 --> 0:24:52.000
<v Speaker 1>taking a bird's eye view of this world that Token

0:24:52.040 --> 0:24:55.560
<v Speaker 1>has created. Yes, definitely, the maps of Middle Earth in

0:24:55.960 --> 0:24:58.080
<v Speaker 1>The Hobbit and The Lord of the Rings, those were

0:24:58.119 --> 0:25:00.200
<v Speaker 1>those are really big for me early on before where

0:25:00.200 --> 0:25:02.439
<v Speaker 1>I was able to read those books because my my

0:25:02.520 --> 0:25:05.360
<v Speaker 1>dad had him in these like tattered paperbacks. I remember,

0:25:05.400 --> 0:25:08.399
<v Speaker 1>like in third grade probably even younger, getting those out

0:25:08.400 --> 0:25:09.640
<v Speaker 1>and I would look at the maps and the maps

0:25:09.640 --> 0:25:12.119
<v Speaker 1>amazed me, you know, because you're you're pouring over this

0:25:12.240 --> 0:25:14.639
<v Speaker 1>data and you're looking at things like Mirkwood and uh,

0:25:14.880 --> 0:25:19.000
<v Speaker 1>you're looking at um at you know, the the place

0:25:19.000 --> 0:25:21.040
<v Speaker 1>where the Hobbits live. You're looking at where the the

0:25:21.040 --> 0:25:24.160
<v Speaker 1>the evil creatures live and more door and you're you're

0:25:24.200 --> 0:25:26.560
<v Speaker 1>forming this, uh, this world view. And then as you

0:25:26.560 --> 0:25:27.920
<v Speaker 1>you get older and you deal with these maps too,

0:25:27.920 --> 0:25:30.280
<v Speaker 1>you're trying to figure out, well, what what what is

0:25:30.320 --> 0:25:33.360
<v Speaker 1>this model? After it's what is this representing the real world,

0:25:33.440 --> 0:25:37.159
<v Speaker 1>either geographically or politically? Because you're building a players of

0:25:37.240 --> 0:25:39.840
<v Speaker 1>this world, right, Yeah, so you're you're looking like, all right,

0:25:40.160 --> 0:25:41.760
<v Speaker 1>how do I how do I interpret this map in

0:25:41.880 --> 0:25:45.000
<v Speaker 1>terms of of the actual earth? How do I interpret

0:25:45.040 --> 0:25:47.520
<v Speaker 1>it in terms of the world as as the author

0:25:47.640 --> 0:25:51.160
<v Speaker 1>was seeing it? Uh in those days. Uh, it's it's

0:25:51.200 --> 0:25:54.760
<v Speaker 1>really fascinating and it's become a hallmark, certainly of any

0:25:54.840 --> 0:25:59.320
<v Speaker 1>kind of world creating fantasy. Be it. Um. The works

0:25:59.359 --> 0:26:01.760
<v Speaker 1>of St. George are Martin is really big right now.

0:26:02.600 --> 0:26:06.080
<v Speaker 1>Game of Thrones, Uh, the TV series based on his work,

0:26:06.200 --> 0:26:09.120
<v Speaker 1>actually starts off with a map. It's like a sweeping

0:26:09.800 --> 0:26:12.600
<v Speaker 1>computer animated map of the world in which the show

0:26:12.680 --> 0:26:17.840
<v Speaker 1>takes place. UM. Other big examples of that are Scott

0:26:17.880 --> 0:26:22.200
<v Speaker 1>Baker's Um Second Apocalypse books. He has a really awesome

0:26:22.200 --> 0:26:24.880
<v Speaker 1>map with the three c's in there, so you're you're

0:26:24.880 --> 0:26:26.719
<v Speaker 1>pouring over that and you're trying to figure out, all right,

0:26:26.720 --> 0:26:28.600
<v Speaker 1>what is this this portion of the map. This is

0:26:28.640 --> 0:26:30.520
<v Speaker 1>kind of his Middle East, I guess, and this is

0:26:30.600 --> 0:26:33.080
<v Speaker 1>this is kind of his Baltic region. And then and

0:26:33.119 --> 0:26:36.360
<v Speaker 1>then this is where he's put the the the iconic

0:26:36.440 --> 0:26:40.399
<v Speaker 1>evil portion of the of the of the planet. UM.

0:26:40.400 --> 0:26:42.800
<v Speaker 1>It's it's it's fascinating to think of all that that stuff.

0:26:43.080 --> 0:26:45.520
<v Speaker 1>And also it's also interesting to think of the authors

0:26:45.520 --> 0:26:48.879
<v Speaker 1>who create a map but don't actually share that with

0:26:48.920 --> 0:26:52.160
<v Speaker 1>the readers. UM. Because certainly, if you're if you're creating,

0:26:52.160 --> 0:26:56.440
<v Speaker 1>you're engaging in world creation. You're you're creating a new planet,

0:26:56.480 --> 0:27:00.680
<v Speaker 1>new cultures, new geography. All of the stuff needs to

0:27:00.760 --> 0:27:03.080
<v Speaker 1>come together in a form that the author understands in

0:27:03.200 --> 0:27:05.840
<v Speaker 1>order to write about it. So, like a lot of

0:27:05.840 --> 0:27:08.359
<v Speaker 1>the stuff that that later came out from Tolkien, it's

0:27:08.400 --> 0:27:11.520
<v Speaker 1>stuff that he never intended for a wider audience to view.

0:27:11.560 --> 0:27:13.480
<v Speaker 1>He wrote that for himself so that he could create

0:27:13.520 --> 0:27:16.480
<v Speaker 1>these books. So a map for yourself so that you

0:27:16.600 --> 0:27:20.440
<v Speaker 1>the writer, could then write the story. I think it's fascinating. Yeah.

0:27:20.480 --> 0:27:23.000
<v Speaker 1>One of my favorite authors is a guy named Brian McNaughton,

0:27:23.160 --> 0:27:25.680
<v Speaker 1>and he wrote a book called Throne of Bones, which

0:27:25.720 --> 0:27:28.920
<v Speaker 1>all takes place in the same dark fantasy setting. And

0:27:30.040 --> 0:27:32.520
<v Speaker 1>I am told that he and I understand from from

0:27:32.560 --> 0:27:34.080
<v Speaker 1>what I've read about him, he did have a map

0:27:34.119 --> 0:27:36.800
<v Speaker 1>of this world that he'd created, but it's it's no

0:27:36.840 --> 0:27:39.320
<v Speaker 1>one's there. It's never been published. As far as I know,

0:27:39.320 --> 0:27:41.199
<v Speaker 1>no one outside of a small number of people have

0:27:41.280 --> 0:27:44.840
<v Speaker 1>ever seen it. Because his characters were not the kind

0:27:44.880 --> 0:27:47.880
<v Speaker 1>of people who engaged in a sweeping understanding of their

0:27:47.920 --> 0:27:51.399
<v Speaker 1>own world, whereas ay Gandalf, Lord of the Rings, like,

0:27:51.400 --> 0:27:54.119
<v Speaker 1>he's the kind of guy who would watch whatever Middle

0:27:54.119 --> 0:27:56.800
<v Speaker 1>Earth's version of BBC News was, you know, he he'd

0:27:56.800 --> 0:27:58.480
<v Speaker 1>be the one who tune anim I wonder the weather's

0:27:58.480 --> 0:28:01.119
<v Speaker 1>gonna be tomorrow, I wonder what's going on in uh

0:28:01.200 --> 0:28:02.960
<v Speaker 1>up there in Hobbit Country. You know, he would even

0:28:03.040 --> 0:28:06.399
<v Speaker 1>have that wider understanding, whereas the characters in um in

0:28:06.440 --> 0:28:08.800
<v Speaker 1>Brian McNaughton's book, they were more concerned with their day

0:28:08.800 --> 0:28:10.960
<v Speaker 1>to day and maybe figuring out what they were going

0:28:11.000 --> 0:28:13.840
<v Speaker 1>to eat in the next hour, or whatever their own

0:28:13.840 --> 0:28:16.040
<v Speaker 1>petty sufferings happened to be. The reader didn't need the

0:28:16.040 --> 0:28:19.440
<v Speaker 1>bird's eye in that sense. Um. I was thinking about

0:28:19.440 --> 0:28:22.760
<v Speaker 1>how places so incredibly important in fiction in our own

0:28:22.800 --> 0:28:26.119
<v Speaker 1>lives obviously, um. And then I was thinking about as

0:28:26.160 --> 0:28:29.800
<v Speaker 1>a guy named often Tappen right, and he is someone

0:28:29.920 --> 0:28:34.560
<v Speaker 1>who took his childhood creation of a country called Islandia

0:28:35.160 --> 0:28:38.760
<v Speaker 1>into adulthood with him. So I don't when you were younger,

0:28:38.800 --> 0:28:42.520
<v Speaker 1>did you ever create a sort of fantasy world or yes, um,

0:28:42.640 --> 0:28:44.960
<v Speaker 1>all the time, Because I m pretty early on I

0:28:45.000 --> 0:28:48.920
<v Speaker 1>got into Dungeons and Dragons, which the various supplements you

0:28:48.920 --> 0:28:50.959
<v Speaker 1>would get into dungeons for Dungeons and Dragons would come

0:28:50.960 --> 0:28:54.120
<v Speaker 1>with maps, which we're all pretty fascinating. I remember one

0:28:54.120 --> 0:28:58.080
<v Speaker 1>supplement in particular had had treasure maps. Yeah, that you

0:28:58.120 --> 0:29:01.200
<v Speaker 1>could do, and so I would. I wouldn't inevitably end

0:29:01.280 --> 0:29:04.480
<v Speaker 1>up plotting out my own little scenarios in a little world.

0:29:04.520 --> 0:29:06.520
<v Speaker 1>So I would draw out all these maps, and then

0:29:06.600 --> 0:29:09.240
<v Speaker 1>later when I got into actually writing and attempting to

0:29:09.240 --> 0:29:14.080
<v Speaker 1>write fiction, I would also envision these fantastic worlds and

0:29:14.080 --> 0:29:16.840
<v Speaker 1>try and map them out. On paper and also in

0:29:16.880 --> 0:29:19.200
<v Speaker 1>my own head and I guess i've I'm still doing that. Well.

0:29:19.240 --> 0:29:21.520
<v Speaker 1>My brother and I also did this, and we came

0:29:21.600 --> 0:29:25.280
<v Speaker 1>up with Marijuana Island. We did not know what marijuana meant.

0:29:25.520 --> 0:29:33.120
<v Speaker 1>But Cranga was this this ape who uh ruled this island. Well,

0:29:33.200 --> 0:29:35.440
<v Speaker 1>that sounds like that would be a great bit of

0:29:35.480 --> 0:29:40.360
<v Speaker 1>slang for it, you know, yeah, like going to Marijuana

0:29:40.400 --> 0:29:43.480
<v Speaker 1>Island to get some cronja. Yeah yeah. Um. But you know,

0:29:43.560 --> 0:29:46.680
<v Speaker 1>we never sort of took this world with us into adulthood.

0:29:47.000 --> 0:29:49.240
<v Speaker 1>But this guy that I talked about, Austin Tapp and

0:29:49.400 --> 0:29:52.840
<v Speaker 1>right his Islandia he took from his boyhood and he

0:29:52.920 --> 0:29:57.760
<v Speaker 1>spent twenty years off and on developing this world, um

0:29:57.840 --> 0:30:01.520
<v Speaker 1>and talking about it. It's really exhau postively, like the geography,

0:30:01.760 --> 0:30:05.720
<v Speaker 1>the people, the language he made up a language for them, um,

0:30:05.760 --> 0:30:11.720
<v Speaker 1>the politics, the laws and um. This he said was

0:30:11.760 --> 0:30:15.600
<v Speaker 1>a small kingdom at the southern tip of the Korean subcontinent.

0:30:15.720 --> 0:30:17.840
<v Speaker 1>And he really put a ton of thought into this.

0:30:17.920 --> 0:30:21.640
<v Speaker 1>He created maps for it. And at the time of

0:30:21.680 --> 0:30:23.239
<v Speaker 1>his death at forty eight, he was in a car

0:30:23.320 --> 0:30:27.880
<v Speaker 1>accident and unfortunately, um he had twenty three hundred long

0:30:28.000 --> 0:30:31.680
<v Speaker 1>hand pages dedicated to this world that he made up,

0:30:31.680 --> 0:30:35.160
<v Speaker 1>this country actually, and his wife and then later his

0:30:35.280 --> 0:30:38.640
<v Speaker 1>daughter paired it down to one thousand pages and published

0:30:38.680 --> 0:30:42.320
<v Speaker 1>it in ninety two. It was a sensation because it

0:30:42.400 --> 0:30:45.720
<v Speaker 1>really captured people's imaginations. I mean, here's someone who made

0:30:46.040 --> 0:30:49.280
<v Speaker 1>such an authentic world for others to enjoy. He did

0:30:49.280 --> 0:30:52.360
<v Speaker 1>not intend that, of course, it was his own personal obsession.

0:30:52.440 --> 0:30:54.680
<v Speaker 1>But I do think it's fascinating that he was able

0:30:54.720 --> 0:30:59.720
<v Speaker 1>to weave together uh this this uh country to the

0:30:59.760 --> 0:31:02.320
<v Speaker 1>point where people just wanted to go there. And and

0:31:02.440 --> 0:31:05.960
<v Speaker 1>he even said on his own travels across the world,

0:31:06.000 --> 0:31:07.760
<v Speaker 1>he would he would look at something and his family

0:31:08.160 --> 0:31:10.040
<v Speaker 1>said that he would look out at the mountains and say, oh,

0:31:10.080 --> 0:31:13.400
<v Speaker 1>that reminds me of Islandia. That's how real it was

0:31:13.440 --> 0:31:16.000
<v Speaker 1>in his brain. Well, and then it makes you wonder too.

0:31:16.120 --> 0:31:20.240
<v Speaker 1>We were talking about how the world around us forms

0:31:20.240 --> 0:31:22.160
<v Speaker 1>a map, but in the maps that we have formed

0:31:22.160 --> 0:31:25.440
<v Speaker 1>that world for us. So to what extent is this

0:31:25.520 --> 0:31:29.240
<v Speaker 1>created world of his more real than the real world

0:31:29.280 --> 0:31:32.160
<v Speaker 1>that he inhabits. You know, the more he knew, he

0:31:32.520 --> 0:31:36.360
<v Speaker 1>knew it better than the actual real world. I think

0:31:36.360 --> 0:31:38.120
<v Speaker 1>he did. I mean, think about this. It started in

0:31:38.280 --> 0:31:41.160
<v Speaker 1>his childhood, let's say, around ten years old up until

0:31:41.200 --> 0:31:45.239
<v Speaker 1>he was forty eight years old, dominated the most of

0:31:45.240 --> 0:31:47.440
<v Speaker 1>his life. He reminds me a little bit of this

0:31:48.400 --> 0:31:51.160
<v Speaker 1>author by the name of M. A. R. Barker, and

0:31:51.200 --> 0:31:54.480
<v Speaker 1>he was a professor of Urdu and South Asian studies.

0:31:55.000 --> 0:31:58.160
<v Speaker 1>Really really brilliant man, you know, just steeped in the

0:31:58.200 --> 0:32:02.760
<v Speaker 1>lore and history and geography of of Asia. And he

0:32:02.800 --> 0:32:06.560
<v Speaker 1>created in his spare time. His full time professor most

0:32:06.600 --> 0:32:08.320
<v Speaker 1>of his career, but in his spare time he created

0:32:08.320 --> 0:32:11.880
<v Speaker 1>a fantasy setting called uh Teco Mel and that's t

0:32:12.080 --> 0:32:14.960
<v Speaker 1>e Ku in the l is a really cool website

0:32:14.960 --> 0:32:16.760
<v Speaker 1>that has all the stuff on it, and he ended

0:32:16.800 --> 0:32:19.960
<v Speaker 1>up writing a few different sort of pulpy but very

0:32:20.040 --> 0:32:23.280
<v Speaker 1>creative fantasy novels set there, and also one of the

0:32:23.320 --> 0:32:27.320
<v Speaker 1>earliest like a contemporary of Dungeons and Dragons role playing game.

0:32:27.840 --> 0:32:30.840
<v Speaker 1>Uh And it's just like really really rich setting, kind

0:32:30.840 --> 0:32:33.440
<v Speaker 1>of like imagine Lord of the Rings, except instead of

0:32:33.440 --> 0:32:38.000
<v Speaker 1>based upon Western and Norse models of mythology, based entirely

0:32:38.080 --> 0:32:43.240
<v Speaker 1>upon Uh Eastern motifs and models. And that's basically the

0:32:43.280 --> 0:32:46.560
<v Speaker 1>world that M. A. R. Barker created. He sadly died

0:32:46.600 --> 0:32:50.000
<v Speaker 1>I think last year, but but certainly created one of

0:32:50.040 --> 0:32:51.880
<v Speaker 1>those worlds where you feel like this world was more

0:32:51.920 --> 0:32:55.880
<v Speaker 1>real for him, Um, maybe by by only a certain margin,

0:32:55.960 --> 0:32:59.280
<v Speaker 1>but still it almost as real as the real world

0:32:59.320 --> 0:33:01.840
<v Speaker 1>that he can earned himself with. And I think it's

0:33:01.880 --> 0:33:05.440
<v Speaker 1>interesting how we can't help but create this sort of map,

0:33:05.560 --> 0:33:07.880
<v Speaker 1>whether or not we're doing it. No, no, that we're

0:33:07.880 --> 0:33:09.160
<v Speaker 1>doing it, you know what I'm saying, Whether or not

0:33:09.240 --> 0:33:11.520
<v Speaker 1>we know that we're sitting down like Austin Tapp and

0:33:11.640 --> 0:33:15.280
<v Speaker 1>right and creating this whole mythology, or just in our

0:33:15.320 --> 0:33:18.440
<v Speaker 1>heads when we're randomly thinking about our lives, you know

0:33:18.440 --> 0:33:20.720
<v Speaker 1>how much of that is this sort of map construct

0:33:21.120 --> 0:33:23.920
<v Speaker 1>um And we will talk more about maps um, the

0:33:24.000 --> 0:33:27.200
<v Speaker 1>history of maps, and a bit more about the science

0:33:27.240 --> 0:33:29.840
<v Speaker 1>of it in a couple of their podcasts, but we

0:33:29.880 --> 0:33:34.760
<v Speaker 1>wanted to touch on this um idea of maps as storytelling,

0:33:35.320 --> 0:33:37.680
<v Speaker 1>So I'm gonna leave you with a little quote from

0:33:37.680 --> 0:33:40.880
<v Speaker 1>map head from Ken Jennings. He says, and he, of

0:33:40.920 --> 0:33:43.880
<v Speaker 1>course is someone who loves maps, is a map head

0:33:44.440 --> 0:33:47.560
<v Speaker 1>Um pieces maps are just too convenient and too tempting

0:33:47.560 --> 0:33:50.560
<v Speaker 1>a way to understand place. There's a tension in them.

0:33:50.600 --> 0:33:53.720
<v Speaker 1>Almost every map will show us two kinds of places,

0:33:54.040 --> 0:33:56.920
<v Speaker 1>places where we've been in places where we've never been. Been.

0:33:57.000 --> 0:34:00.560
<v Speaker 1>Nearby in the far away exists together in the same frame,

0:34:01.080 --> 0:34:04.920
<v Speaker 1>our world, undeniably connected to the new and unexpected. We

0:34:04.960 --> 0:34:07.560
<v Speaker 1>can understand at a glance our place in new universe,

0:34:07.600 --> 0:34:10.400
<v Speaker 1>our potential to go and see new things, and the

0:34:10.440 --> 0:34:14.319
<v Speaker 1>way to get back home afterward. Very nice. All right, Well,

0:34:14.360 --> 0:34:16.799
<v Speaker 1>let's call the robot over here and we'll read a

0:34:16.880 --> 0:34:20.839
<v Speaker 1>quick listener mail. All right, this one comes to us

0:34:20.880 --> 0:34:23.040
<v Speaker 1>from Scott, who's writing about our bats episodes. He s,

0:34:23.080 --> 0:34:25.319
<v Speaker 1>it's high guys. I love the podcast. I listen while

0:34:25.320 --> 0:34:27.040
<v Speaker 1>I'm at work all alone on the second shift, and

0:34:27.080 --> 0:34:30.080
<v Speaker 1>it informs me as well as entertains. I love the

0:34:30.320 --> 0:34:33.320
<v Speaker 1>show about bats. The first thing I thought of about

0:34:33.320 --> 0:34:35.360
<v Speaker 1>when I go mountain biking at night in the woods,

0:34:35.400 --> 0:34:37.799
<v Speaker 1>bats will swoop down and fly along in front of us,

0:34:38.040 --> 0:34:41.680
<v Speaker 1>staying in the beam of our head helmet lights. Sometimes

0:34:41.680 --> 0:34:44.239
<v Speaker 1>they are twenty feet away, and sometimes they are close

0:34:44.360 --> 0:34:46.560
<v Speaker 1>enough to see the hairs on their body and hear

0:34:46.640 --> 0:34:49.560
<v Speaker 1>their leathery wings flapping. It doesn't happen all the time,

0:34:49.960 --> 0:34:52.520
<v Speaker 1>but a half dozen times a year is thrilling. Second,

0:34:52.520 --> 0:34:54.320
<v Speaker 1>when we were kids, we would throw pebbles up in

0:34:54.360 --> 0:34:57.080
<v Speaker 1>the air at dusk and watch the bats come zipping

0:34:57.080 --> 0:34:59.680
<v Speaker 1>in to intercept the pebbles, probably thinking it was a

0:34:59.760 --> 0:35:02.319
<v Speaker 1>juice bug meal. I know it sounds cruel now, but

0:35:02.360 --> 0:35:04.400
<v Speaker 1>we were kids and we and we didn't hurt the bats.

0:35:04.520 --> 0:35:07.279
<v Speaker 1>We didn't throw anything at them. Last I live in

0:35:07.320 --> 0:35:09.640
<v Speaker 1>an old house and once every few years we'll have

0:35:09.680 --> 0:35:13.040
<v Speaker 1>a bat visitor, usually in early summer, flapping around the house.

0:35:13.280 --> 0:35:15.759
<v Speaker 1>My surefire way to safely remove them is to hold

0:35:15.800 --> 0:35:18.399
<v Speaker 1>up a sheet or blanket and slowly walk them into

0:35:18.400 --> 0:35:21.200
<v Speaker 1>a corner, and then gently lower the blanket before pick

0:35:21.280 --> 0:35:24.320
<v Speaker 1>it up and ever so gently bring it outside and unfurled.

0:35:24.520 --> 0:35:26.960
<v Speaker 1>I haven't lost a bat yet this way. Thanks again,

0:35:27.040 --> 0:35:32.040
<v Speaker 1>Scott all right catcher. Yeah, so, if if you guys

0:35:32.040 --> 0:35:34.360
<v Speaker 1>have anything you would like to share, certainly about bats

0:35:34.480 --> 0:35:36.799
<v Speaker 1>and catching bats safely in your household that kind of thing,

0:35:37.480 --> 0:35:40.560
<v Speaker 1>or about maps. What's your relationship with maps? Do you

0:35:40.560 --> 0:35:43.560
<v Speaker 1>have memories of like, like I feel a lot of

0:35:43.640 --> 0:35:45.319
<v Speaker 1>us do, of looking at these maps as a kid,

0:35:45.400 --> 0:35:48.319
<v Speaker 1>before you really had any understanding of the world, trying

0:35:48.360 --> 0:35:50.839
<v Speaker 1>to piece it together from that that map on the wall,

0:35:50.920 --> 0:35:53.759
<v Speaker 1>looking at far away places, wondering what it's like, or

0:35:53.800 --> 0:35:55.759
<v Speaker 1>certainly the old maps. I remember we had one of

0:35:55.760 --> 0:35:57.480
<v Speaker 1>these old world maps in the wall when I was

0:35:57.520 --> 0:35:59.880
<v Speaker 1>a kid, where all the all the all the continents

0:35:59.880 --> 0:36:02.480
<v Speaker 1>are kind of malformed and kind of weird, and there

0:36:02.480 --> 0:36:04.480
<v Speaker 1>may have been a dragon or two. Uh will therapy

0:36:04.560 --> 0:36:07.000
<v Speaker 1>dragons right? Um? Let us know what you think about

0:36:07.000 --> 0:36:09.279
<v Speaker 1>all that, And if you're into fantasy, what do you

0:36:09.320 --> 0:36:12.480
<v Speaker 1>think about about the fantasy worlds that your favorite authors create?

0:36:13.160 --> 0:36:16.160
<v Speaker 1>In that form, what are some of your favorite maps

0:36:16.200 --> 0:36:18.600
<v Speaker 1>of unreal places? We'd love to hear about it. You

0:36:18.640 --> 0:36:22.160
<v Speaker 1>can find us on Tumblr and Facebook. On both of

0:36:22.160 --> 0:36:24.360
<v Speaker 1>those we are stuff to Blow your Mind, and you

0:36:24.360 --> 0:36:27.080
<v Speaker 1>can also find us on Twitter, where our handle is

0:36:27.160 --> 0:36:29.360
<v Speaker 1>blow the Mind and you can always drop us a

0:36:29.360 --> 0:36:38.360
<v Speaker 1>line at blow the Mind at discovery dot com for

0:36:38.520 --> 0:36:40.840
<v Speaker 1>more on this and thousands of other topics. Does it

0:36:40.920 --> 0:36:46.680
<v Speaker 1>how Stuff Works dot com