WEBVTT - From the Vault: The Bonsai Tree

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<v Speaker 1>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 1>is Robert Lamb and I'm Joe McCormick, and it's Saturday.

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<v Speaker 1>Time for a vault episode. This is about the Bond

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<v Speaker 1>Side Tree. It originally published January. Yeah, that's right. I

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<v Speaker 1>think there's also some discussion in here about the TV

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<v Speaker 1>show Cobra Kai Oki Doki. Welcome to Stuff to Blow

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<v Speaker 1>Your Mind, production of My Heart Radio. Hey you welcome

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<v Speaker 1>to Stuff to Blow your Mind. My name is Robert

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<v Speaker 1>Lamb and I'm Joe McCormick, and today we're gonna be

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<v Speaker 1>talking about Bond Side Now, Brob, I hope you don't

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<v Speaker 1>mind if I share a bit of trivia about you

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<v Speaker 1>with the listeners. I don't know if you've ever made

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<v Speaker 1>clear on this show before, but you are a very

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<v Speaker 1>caring plant keeper. You've for a long time I am

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<v Speaker 1>at work, had a wonderful little flower on your desk,

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<v Speaker 1>and often, like if you're out of town, you would

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<v Speaker 1>ask me to drop an ice cube on it, which

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<v Speaker 1>I think I always remembered to do whenever you asked me. Um,

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<v Speaker 1>but but yeah, I appreciate the care and tenderness you

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<v Speaker 1>show for the plant kingdom. Well, Um, I appreciate that, Joe.

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<v Speaker 1>I guess you could also say I just I managed

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<v Speaker 1>not to kill an orchid, uh that that I was

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<v Speaker 1>charged with. Um it was my my father in law's orchid.

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<v Speaker 1>And yeah, I say so. I lived on my desk

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<v Speaker 1>at work there, and it would have an ice cube

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<v Speaker 1>every now and then to keep it hydrated. And I

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<v Speaker 1>would ask you or sometimes a uh Scott who sat

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<v Speaker 1>next to me, to to do it. Um, And uh, yeah,

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<v Speaker 1>I managed not to kill it. And there is something

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<v Speaker 1>kind of satisfying about having this kind of like long

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<v Speaker 1>term relationship with a plant. This this nurturing, you know,

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<v Speaker 1>even if it's very slight nurturing and not like a

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<v Speaker 1>you know, not a real high maintenance plant. Um. You know,

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<v Speaker 1>it seems like a pretty sturdy speed sees that I

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<v Speaker 1>had grown there and now it's growing in my bathroom,

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<v Speaker 1>uh since I'm not in office anymore. But yeah, it's

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<v Speaker 1>it is very very satisfying to to be involved in

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<v Speaker 1>a in a nurturing relationship with a plant like that,

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<v Speaker 1>just as it is so frustrating and potentially depressing to

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<v Speaker 1>have the opposite relationship with the plant. You know, I

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<v Speaker 1>think we've all had that as well, where like, oh

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<v Speaker 1>my gosh, I cannot keep this thing alive, this plant

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<v Speaker 1>just wants to die or I am just horrible at it. Now.

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<v Speaker 1>One thing you may not have considered, and I apologize

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<v Speaker 1>if this is an overly intimate thought, but whenever you

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<v Speaker 1>have a plant growing in a bathroom, and we have

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<v Speaker 1>plants growing in our bathrooms, you have to assume that

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<v Speaker 1>they are making their cells as they continue to photosynthesize

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<v Speaker 1>from the lights over the sink. They are making their

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<v Speaker 1>cells out of some percentage of carbon that comes out

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<v Speaker 1>of your like toilet emissions and so forth, probably, right,

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<v Speaker 1>I guess. So, I mean that's I mean, that's I

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<v Speaker 1>guess that's good. Right, You're you're exposing them to to

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<v Speaker 1>more of the natural world even though they're an indoor plant. Yeah,

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<v Speaker 1>I never thought about that before. Um well, I mean,

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<v Speaker 1>so if it's mainly carbon dioxide, I assume it's probably

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<v Speaker 1>more what you're breathing out. But I don't know. Farts

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<v Speaker 1>probably have some CO two content, right I guess. But

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<v Speaker 1>then again, if it's if it's farts the plants want,

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<v Speaker 1>then they really want a fully packed office environment again, right,

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<v Speaker 1>I mean, I mean there's I can't possibly offer it

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<v Speaker 1>the the you know, the kind of volume it was

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<v Speaker 1>probably accustomed to. Well, so I'm excited to talk about

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<v Speaker 1>bondside today. I have never myself taken care of a

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<v Speaker 1>bonsai tree. I have, uh, I have tried to. I

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<v Speaker 1>guess I don't know if this was this would count.

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<v Speaker 1>I have tried to take care of a sort of

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<v Speaker 1>potted tree of sorts. I don't know if it would

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<v Speaker 1>actually count as bonsai. But I failed. I just I

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<v Speaker 1>killed it. And that's why I'm partially envious of of

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<v Speaker 1>the dedicated and regular care that you always showed to

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<v Speaker 1>your orchid. Well, I would say that, you know, well, whatever,

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<v Speaker 1>however you classify that care, Bonds I certainly on a

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<v Speaker 1>on an entirely different level. It is up on the

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<v Speaker 1>top of the mountain. We're talking about the pinnacle of

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<v Speaker 1>of caring for a plant, and uh, yeah, this is

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<v Speaker 1>this is one. This is an episode I've wanted to

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<v Speaker 1>do for a while. I think my experience with Bonds

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<v Speaker 1>I have never owned a bonds I or cared for

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<v Speaker 1>a bonsai, but my experience with him with them is

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<v Speaker 1>probably similar to a lot of people's out there. My

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<v Speaker 1>first exposure was almost certainly watching the karate kid as

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<v Speaker 1>a child. Uh, and seeing that, oh Mr Miyagi has

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<v Speaker 1>has bonsai plants, those are neat uh. And then maybe

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<v Speaker 1>I don't know, maybe they popped up on a reading

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<v Speaker 1>rainbow or something at some point I don't recall. But

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<v Speaker 1>then much much later, uh, I you know, I was,

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<v Speaker 1>I was traveling and I was visiting, but believe one

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<v Speaker 1>place in San Francisco, in another place in San Diego

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<v Speaker 1>where I got to see a multitude of bonsai plants,

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<v Speaker 1>uh with you know, identification information as well as age.

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<v Speaker 1>And it was just really amazing to behold these things,

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<v Speaker 1>these these ancient trees that that you feel should be

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<v Speaker 1>gi panic, but they are in miniature and they are alive,

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<v Speaker 1>and they are just meticulously cared for and crafted. Uh.

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<v Speaker 1>And yeah there's this there's this kind of magical aura

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<v Speaker 1>to them and this and this age, this kind of

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<v Speaker 1>condensed age, you know. Um, so they're they're really special

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<v Speaker 1>to just behold. And then when you read a little

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<v Speaker 1>bit about caring for them, Yeah, it also Uh that

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<v Speaker 1>just adds to your level of appreciation when you read

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<v Speaker 1>about the culture involved in it. And uh. And so yeah,

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<v Speaker 1>I wanted to do an episode on this for a while,

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<v Speaker 1>and then I've kind of forgotten about it. I think

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<v Speaker 1>we pitched it as part of a deal with a UM,

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<v Speaker 1>a Japanese automobile company that was gonna advertise for this,

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<v Speaker 1>and and then that didn't happen. I forgot about it.

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<v Speaker 1>But then I ended up watching Cobra Kai on Netflix,

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<v Speaker 1>which also has the Bonsai trees in it, and uh,

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<v Speaker 1>and I was reminded, Oh, yeah, we we should do

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<v Speaker 1>a bonsaie episode. Got bonds I bouncing around in the brain. Okay,

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<v Speaker 1>so maybe you can answer a question that I'm sure

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<v Speaker 1>a lot of people are wondering, What is it? What

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<v Speaker 1>makes the strict definition of a Bondsai tree? What makes

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<v Speaker 1>a bonds I tree different than any potted plant. Well, um,

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<v Speaker 1>based on my understanding of it, I would say that

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<v Speaker 1>the big thing to do is you sort of have

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<v Speaker 1>to back up and think about it not just as

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<v Speaker 1>caring for a tree and growing for a tree and

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<v Speaker 1>nurturing a tree, but it's also just it's also steeped

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<v Speaker 1>in just like the basics of art and design, you know,

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<v Speaker 1>because art in design, you know, very often sent around

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<v Speaker 1>the manipulation of the natural world or natural resources into

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<v Speaker 1>some form that is esthetically pleasing and perhaps even philosophical

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<v Speaker 1>or theologically engaging as well. You know, we take stone

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<v Speaker 1>and we craft into the likeness of a human or

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<v Speaker 1>some sort of humanoid figure of myth or legend. Trees

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<v Speaker 1>are cut down in hun and then the raw material

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<v Speaker 1>is carved into all manner of forms and functions. But

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<v Speaker 1>as for the control of living plants, that brings us,

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<v Speaker 1>of course to agriculture and cultivation. Um and and human

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<v Speaker 1>works are pretty grand in this realm as well. I mean,

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<v Speaker 1>you look at what we have done for generations and

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<v Speaker 1>generations with agriculture and cultivation. But the bonds depening bonds

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<v Speaker 1>eye tree. It is the pinnacle of plant cultivation. Uh

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<v Speaker 1>And and I think that Brad Dunning described this exceptionally

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<v Speaker 1>well for the New York Times back in two thousand two.

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<v Speaker 1>Uh they wrote, quote, but it's more than just an

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<v Speaker 1>issue of control, simple for it simply for the sake

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<v Speaker 1>of control. As nature spins wildly downward, there is an

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<v Speaker 1>example of man controlling, conquering, nurturing, and respecting nature on

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<v Speaker 1>an extremely uh reverential level. By constantly thwarting the growth

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<v Speaker 1>of new saplings. The Bonsai gardener through pinching cutting and

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<v Speaker 1>splitting new growth forces the tree's branches to strain in

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<v Speaker 1>any direction to succeed. With additional help from restraining wires,

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<v Speaker 1>the tree is manipulated into prematurely aged shape over time.

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<v Speaker 1>Sometimes a lot of time. Prize specimens can be several

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<v Speaker 1>hundred years old. So bonds is not just a potted plant,

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<v Speaker 1>but it's a tree that's grown in a confined environment

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<v Speaker 1>with this spirit of artistic shaping. Yes, yeah, and uh

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<v Speaker 1>and and along and you know, certain traditional like you

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<v Speaker 1>get into like what kind of pot is used, etcetera.

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<v Speaker 1>And then it of also noted what species is used. Uh,

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<v Speaker 1>you know, as as is often the case with with

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<v Speaker 1>this particularly you know, Japanese artistry, there are a lot

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<v Speaker 1>of very particular details in the cultivation and it you know,

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<v Speaker 1>it comes down to things like what are their traditional

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<v Speaker 1>shears that one should use, what are the best shears? Uh,

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<v Speaker 1>that sort of thing. Um. Another thing that's interesting about

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<v Speaker 1>bonsai trees to me, and I think this comes through

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<v Speaker 1>through all this pruning and shaping and everything, is that, Um,

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<v Speaker 1>a bonsai tree does not just look like a sapling

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<v Speaker 1>or like a young tree. There is a particular style

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<v Speaker 1>of miniaturization that comes about through the long sustained care

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<v Speaker 1>of this this small plant, which is that it is

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<v Speaker 1>a tiny version of a tree that looks like a

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<v Speaker 1>shrunken adult version of the same tree, a round other

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<v Speaker 1>than just a sapling or young growth. Does that make sense? Yeah?

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<v Speaker 1>And exactly that they're like this ancient dwarf and uh

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<v Speaker 1>and it and it a lot of the reasons that

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<v Speaker 1>this is attractive to us. I feel like they almost

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<v Speaker 1>deny or that they defy rather um, you know, easy explanation.

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<v Speaker 1>You know, there's something obviously about the world at large

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<v Speaker 1>made small that we're always fascinated. And you know, we

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<v Speaker 1>love miniatures, be it, you know, miniature miniature soldiers, miniature tanks,

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<v Speaker 1>miniature cities, maps, etcetera. Uh. And in fact, one of

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<v Speaker 1>the the the origin stories for the Bonsai trees that

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<v Speaker 1>will touch on has to do with that, like the

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<v Speaker 1>idea of like make make the world at large small

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<v Speaker 1>enough for me to behold it. Uh. But then also

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<v Speaker 1>there is something too about like the ancient made small

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<v Speaker 1>like it it reminds me of so many myths of

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<v Speaker 1>like tiny little old men, you know, that have some

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<v Speaker 1>sort of magical powers, you know, little folks. Yeah. Yeah,

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<v Speaker 1>And there's something of the of the fairy world, you know,

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<v Speaker 1>in that that you know, non culturally distinct manner to

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<v Speaker 1>the bonds eye tree. Now, um, there are of course

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<v Speaker 1>true bonds eyes created in accordance with the Japanese tradition. Uh.

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<v Speaker 1>And there are various tears that follow that fall below

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<v Speaker 1>the standard, with one of the most notorious being the

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<v Speaker 1>sort of bonds eye that sometimes is sold at malls,

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<v Speaker 1>grocery stores and street fairs. And these, according to Stephen

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<v Speaker 1>Or in New York Times Garden Q and A in

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<v Speaker 1>two thousand nine, are a curse upon the name of

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<v Speaker 1>bonds ie. Uh. These are typically young rooted juniper tree

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<v Speaker 1>cuttings in a decorative pot. Uh. So not true bonds eyes.

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<v Speaker 1>Will get into what true bonds I really consists of

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<v Speaker 1>in a bit. But people will buy these, they think

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<v Speaker 1>they have a bonds eye. It looks neat, they bring

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<v Speaker 1>it home, and then they're devastated when it dies in

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<v Speaker 1>a few months. So not a not an ancient dwarf

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<v Speaker 1>tree or something that will become an ancient dwarf tree,

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<v Speaker 1>but just a short lived trick. And this made me

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<v Speaker 1>think of Cobra Kai actually because in the TV show

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<v Speaker 1>UM Ralph Macchio's character, uh, you know from the first film,

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<v Speaker 1>is now a a car dealer and he has a

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<v Speaker 1>car dealers shop, and part of his whole gimmick in

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<v Speaker 1>the show is when you buy a car, you also

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<v Speaker 1>get this little bonds eye plant that he prepares. And

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<v Speaker 1>I guess it's supposed to you know, he's he's very

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<v Speaker 1>meticulous character and he's all into the tradition, So I

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<v Speaker 1>guess it's supposed to be the case that these are

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<v Speaker 1>legitimate bonds eye trees that he's handing out to customers.

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<v Speaker 1>But it makes me wonder how many. I mean, yeah,

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<v Speaker 1>he sells nice cars, but I wonder it does the

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<v Speaker 1>cynical side of me um leaning into sort of the

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<v Speaker 1>sort of the cynical notes to that character in that show,

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<v Speaker 1>is like, I wonder if these are just the cheap

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<v Speaker 1>roadside bonds eyes that he's handing out. You know, that

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<v Speaker 1>would be very car dealery. But you can always blame

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<v Speaker 1>user error, right, You can always just say like, I

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<v Speaker 1>must not have taken care of it, right, Yeah, better

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<v Speaker 1>bring it back into the shop. We'll apply that undercoating

0:11:51.960 --> 0:11:55.040
<v Speaker 1>the true code. Yeah, you're gonna want that true code

0:11:55.080 --> 0:12:01.800
<v Speaker 1>on your bonds. Eye. Yeah. Uh, it's a fun show. Um.

0:12:01.880 --> 0:12:04.640
<v Speaker 1>Well yeah, let's well, let's keep going talking about bonds eyes. Then.

0:12:04.960 --> 0:12:07.240
<v Speaker 1>So at the heart of the bonsai practice is just

0:12:07.320 --> 0:12:10.920
<v Speaker 1>pure artistic manipulation of the tree's growth. Trees, as you've

0:12:10.960 --> 0:12:14.440
<v Speaker 1>probably notice, everyone grow in accordance to their genes, but

0:12:14.520 --> 0:12:17.680
<v Speaker 1>also in accordance to their surroundings. So this means the

0:12:17.720 --> 0:12:21.440
<v Speaker 1>dictates of water, soil, and sun, various other limiting factors

0:12:21.440 --> 0:12:24.439
<v Speaker 1>in their immediate surroundings as well, such as other trees,

0:12:24.880 --> 0:12:29.000
<v Speaker 1>human structures, power lines. Uh. You know, as I think

0:12:29.000 --> 0:12:31.440
<v Speaker 1>we all can attest to, you can you can see

0:12:31.440 --> 0:12:33.960
<v Speaker 1>some pretty wonky trees out in the world, out in

0:12:34.000 --> 0:12:37.760
<v Speaker 1>the forest in urban environments, you know, where they do

0:12:37.800 --> 0:12:40.240
<v Speaker 1>the best they can with the with the constraints that

0:12:40.280 --> 0:12:45.079
<v Speaker 1>are there. Um. And indeed they can produce natural examples

0:12:45.320 --> 0:12:48.000
<v Speaker 1>of what you can at least roughly classify as a

0:12:48.040 --> 0:12:51.559
<v Speaker 1>bonsai tree. For instance, if you were to travel down

0:12:51.880 --> 0:12:56.160
<v Speaker 1>to a place called Tate's Hell and uh, Tate's Hell

0:12:56.280 --> 0:12:59.679
<v Speaker 1>State Forest near Tallahassee, Florida, and I have to say

0:12:59.720 --> 0:13:01.559
<v Speaker 1>I have driven through it. I can't say I've actually

0:13:01.640 --> 0:13:04.199
<v Speaker 1>visited that. I did drive through it. Uh, there there

0:13:04.280 --> 0:13:07.720
<v Speaker 1>is a forest apparently of miniature cypress trees hundreds of

0:13:07.800 --> 0:13:12.640
<v Speaker 1>years old, covering acres and none more than fifteen feet tall. Which, granted,

0:13:12.679 --> 0:13:14.679
<v Speaker 1>that's far bigger than what you might think of as

0:13:14.679 --> 0:13:17.120
<v Speaker 1>the bonds I tree, a true bonds I tree, um.

0:13:17.280 --> 0:13:20.080
<v Speaker 1>But bear in mind that cypress trees of this variety

0:13:20.360 --> 0:13:23.320
<v Speaker 1>and age can reach heights of a hundred and fifty feet. Yes,

0:13:23.400 --> 0:13:26.760
<v Speaker 1>old cypress trees can can be towering, and so there

0:13:26.760 --> 0:13:30.920
<v Speaker 1>are special conditions at work that keep this ancient forest

0:13:31.000 --> 0:13:32.840
<v Speaker 1>as short as it is. I was reading that most

0:13:32.880 --> 0:13:36.280
<v Speaker 1>of these trees are between um like six and fifteen

0:13:36.360 --> 0:13:38.480
<v Speaker 1>feet at maturity. I think a lot of them around

0:13:38.480 --> 0:13:42.000
<v Speaker 1>ten feet or so. Uh, and it's very strange looking.

0:13:42.040 --> 0:13:44.720
<v Speaker 1>I found one picture that's like an aerial shot of

0:13:44.760 --> 0:13:49.679
<v Speaker 1>this dwarf cypress forest that is surrounded by many other trees.

0:13:49.720 --> 0:13:51.839
<v Speaker 1>I think the story goes that at some point there

0:13:51.840 --> 0:13:54.400
<v Speaker 1>was a company that was harvesting a lot of the

0:13:54.440 --> 0:13:56.679
<v Speaker 1>trees from the area. I think maybe for logging or

0:13:56.720 --> 0:13:59.600
<v Speaker 1>maybe to clear land for something. But um, but when

0:13:59.640 --> 0:14:03.240
<v Speaker 1>they the dwarf cypress forests, they realized that that they

0:14:03.280 --> 0:14:06.720
<v Speaker 1>that this was something unusual and worth preserving, so they

0:14:06.760 --> 0:14:09.880
<v Speaker 1>they stopped a lot of their their shaping of the

0:14:09.960 --> 0:14:11.480
<v Speaker 1>land at the edge of this thing, and it did

0:14:11.640 --> 0:14:13.720
<v Speaker 1>end up getting preserved when the state bought it and

0:14:13.760 --> 0:14:17.360
<v Speaker 1>turned it into a state forest. But a sidebar on

0:14:17.520 --> 0:14:20.440
<v Speaker 1>Tate's Hell, because I had to know what was up

0:14:20.440 --> 0:14:22.880
<v Speaker 1>with that name, and I looked into it, and I

0:14:22.920 --> 0:14:28.160
<v Speaker 1>actually was rewarded with some very excellent Florida swamp lore. Alright,

0:14:28.200 --> 0:14:30.920
<v Speaker 1>let's have it. Well, So I was reading about it

0:14:30.960 --> 0:14:35.000
<v Speaker 1>in this book called Florida Lore by Karen Schnuir Neil

0:14:35.720 --> 0:14:39.360
<v Speaker 1>published in tween, and she points out, first of all,

0:14:39.400 --> 0:14:42.480
<v Speaker 1>there is a song by the old Florida folk singer

0:14:42.560 --> 0:14:45.960
<v Speaker 1>Will McLean about tates Hell, and it it tells the

0:14:46.000 --> 0:14:49.400
<v Speaker 1>same story as the legend that I'm about to explain.

0:14:49.680 --> 0:14:52.360
<v Speaker 1>But it's also one of those old style folk songs

0:14:52.440 --> 0:14:55.200
<v Speaker 1>that starts with a section that is not singing, but

0:14:55.240 --> 0:14:57.320
<v Speaker 1>it's kind of rapping, I don't know exactly what you

0:14:57.400 --> 0:15:02.040
<v Speaker 1>call it, like fast rhythmic rhyming talking before the tune

0:15:02.120 --> 0:15:05.680
<v Speaker 1>kicks in where he says, like, listen, good people to

0:15:05.680 --> 0:15:07.680
<v Speaker 1>a story I'll tell of a great swamp in Florida

0:15:07.760 --> 0:15:10.600
<v Speaker 1>place called Tate's Hell. Yeah, yeah, it's sort of like

0:15:10.640 --> 0:15:13.520
<v Speaker 1>the pre folk song ramble. Sometimes I guess it rhymes,

0:15:13.640 --> 0:15:17.080
<v Speaker 1>oftentimes it does not, but you hear it from from

0:15:17.120 --> 0:15:19.440
<v Speaker 1>a number of practitioners of the craft. I know phil

0:15:19.440 --> 0:15:20.760
<v Speaker 1>Oaks would do it a lot, you know, where he's

0:15:20.800 --> 0:15:22.240
<v Speaker 1>kind of working up. He's like, all right, I listening

0:15:22.240 --> 0:15:24.160
<v Speaker 1>this tune and I got a little and sometimes it's

0:15:24.200 --> 0:15:25.920
<v Speaker 1>even like a bit. It's almost like a little comedy

0:15:25.920 --> 0:15:29.280
<v Speaker 1>bit and I guess, I guess off, yeah, yeah, and

0:15:29.320 --> 0:15:31.880
<v Speaker 1>I guess that's what uh oh, what's their name? Is

0:15:31.920 --> 0:15:33.680
<v Speaker 1>kind of leaned into this a lot and their act.

0:15:34.360 --> 0:15:39.320
<v Speaker 1>Uh the famous folk comedy duo Oh, I can't think

0:15:39.320 --> 0:15:42.080
<v Speaker 1>of their names offhand. Um, I don't know. I don't

0:15:42.120 --> 0:15:43.480
<v Speaker 1>know who one of them is, Bob, one of them

0:15:43.520 --> 0:15:47.520
<v Speaker 1>has a beard, soft spoken Garfunkel and notes no it's

0:15:47.520 --> 0:15:49.640
<v Speaker 1>not Garfunkle notes though, I think they probably have like

0:15:49.720 --> 0:15:52.480
<v Speaker 1>more of a modern version of this, and it's it's

0:15:52.520 --> 0:15:55.920
<v Speaker 1>not the Flight of the Concords. Those are the two

0:15:55.920 --> 0:15:58.320
<v Speaker 1>folk comedy duos I know. These are the one They

0:15:58.360 --> 0:16:02.760
<v Speaker 1>were on TV all the time. Um oh man um

0:16:02.920 --> 0:16:05.680
<v Speaker 1>Smothers Brothers, the Smothers brothers. I don't know why I was.

0:16:05.760 --> 0:16:09.600
<v Speaker 1>I was trying. Yeah, Well, will McLean tells us that

0:16:09.840 --> 0:16:12.240
<v Speaker 1>Tate's Hell is a place where the bull gators beller

0:16:12.360 --> 0:16:14.640
<v Speaker 1>and the panthers squall. Now, this is a place that

0:16:14.640 --> 0:16:18.560
<v Speaker 1>should be shunned by all. And so the legend goes

0:16:18.600 --> 0:16:20.960
<v Speaker 1>like this, But this is the version that I was

0:16:21.000 --> 0:16:23.680
<v Speaker 1>reading in the book by um by Neil, not by

0:16:24.040 --> 0:16:27.160
<v Speaker 1>not in will McLean's song, though they're similar. The legend

0:16:27.240 --> 0:16:31.200
<v Speaker 1>goes that in the year eighteen there was a homesteader

0:16:31.280 --> 0:16:34.760
<v Speaker 1>named CB Tate who had staked a claim for a

0:16:34.880 --> 0:16:37.320
<v Speaker 1>ranch in the Panhandle of Florida. And that's where Tate's

0:16:37.360 --> 0:16:40.120
<v Speaker 1>Hell is. It's up in the Panhandle. It's uh, I

0:16:40.120 --> 0:16:44.080
<v Speaker 1>think it's near Wacola Springs, isn't it. Um Perhaps, I mean,

0:16:44.160 --> 0:16:47.520
<v Speaker 1>certainly I've been to Wacola or Waccola. I'm not sure

0:16:47.680 --> 0:16:50.880
<v Speaker 1>exactly what the preferred pronunciation there is. Uh. Yeah, I've

0:16:50.880 --> 0:16:54.040
<v Speaker 1>been there, but I guess I don't remember how I

0:16:54.040 --> 0:16:55.840
<v Speaker 1>even came through Tate's Hell. It was just we were

0:16:55.880 --> 0:16:57.960
<v Speaker 1>on the way to somewhere else and we had to

0:16:57.960 --> 0:17:00.400
<v Speaker 1>pass through it. Well, it's near a place the is

0:17:00.440 --> 0:17:04.720
<v Speaker 1>now called Sumatra, Florida. It's an unincorporated community about thirty

0:17:04.720 --> 0:17:07.320
<v Speaker 1>miles from the city of Carabelle. And the context for

0:17:07.400 --> 0:17:10.040
<v Speaker 1>this is that there was the Homestead Act of eighteen

0:17:10.119 --> 0:17:13.719
<v Speaker 1>sixty two, which meant that settlers could get a grant

0:17:13.800 --> 0:17:16.560
<v Speaker 1>of supposedly free land from the government if they would

0:17:16.560 --> 0:17:18.879
<v Speaker 1>agree to stay there and develop it for five years.

0:17:19.320 --> 0:17:22.600
<v Speaker 1>And cbtit is one of these homesteaders. So he's got

0:17:22.600 --> 0:17:24.920
<v Speaker 1>a he's got a ranch or a farm that he's

0:17:24.920 --> 0:17:27.919
<v Speaker 1>trying to run, and one morning he discovers that a

0:17:27.960 --> 0:17:31.280
<v Speaker 1>panther has mauled several of his cows. So he sets

0:17:31.280 --> 0:17:33.280
<v Speaker 1>off in the forest with his hunting dogs and the

0:17:33.320 --> 0:17:36.200
<v Speaker 1>implements of death, as Will McLean says, an old long

0:17:36.280 --> 0:17:39.760
<v Speaker 1>tom shotgun and a sharp barlow knife. That panther would

0:17:39.760 --> 0:17:43.280
<v Speaker 1>sure have the chase of his life. And so Tate's

0:17:43.359 --> 0:17:45.400
<v Speaker 1>dogs they get the scent on the panther and they

0:17:45.440 --> 0:17:48.600
<v Speaker 1>take off after it, but Tate himself falls behind and

0:17:48.600 --> 0:17:52.240
<v Speaker 1>he gets separated from his hunting dogs. Unfortunately, as we've

0:17:52.280 --> 0:17:55.040
<v Speaker 1>discussed in the podcast last October, when there is no

0:17:55.200 --> 0:17:58.840
<v Speaker 1>visible landmark to navigate by, it's surprisingly easy to get

0:17:58.840 --> 0:18:01.679
<v Speaker 1>lost in the woods, and that appears to be what

0:18:01.800 --> 0:18:04.960
<v Speaker 1>happens here. He's wandering in the swampy forest and he

0:18:05.000 --> 0:18:07.399
<v Speaker 1>gets lost and at some point he gets bitten by

0:18:07.400 --> 0:18:10.880
<v Speaker 1>a snake and he loses his gun. And to read

0:18:10.960 --> 0:18:14.320
<v Speaker 1>from Karen schnurneil here quote, for seven days and nights

0:18:14.359 --> 0:18:18.000
<v Speaker 1>he roamed the ancient trees in ominous swampland, more often

0:18:18.040 --> 0:18:20.920
<v Speaker 1>than not, dazed with hunger and heat, forced to live

0:18:20.960 --> 0:18:24.359
<v Speaker 1>on nothing but roots and muddy water. To make matters worse,

0:18:24.400 --> 0:18:27.639
<v Speaker 1>the mosquitoes swarmed around him until every inch of his

0:18:27.720 --> 0:18:33.240
<v Speaker 1>body was bitten. That's worse than the snake bite to me. Yeah. Uh.

0:18:33.280 --> 0:18:35.639
<v Speaker 1>And the story says that over the course of the

0:18:35.680 --> 0:18:38.200
<v Speaker 1>week that he was lost, his hair turned white. But

0:18:38.280 --> 0:18:41.080
<v Speaker 1>then after seven days, just when he was convinced he

0:18:41.119 --> 0:18:43.320
<v Speaker 1>was going to die, Tate ran into a couple of

0:18:43.359 --> 0:18:46.080
<v Speaker 1>a couple of hunters from Carabelle, and they asked him

0:18:46.080 --> 0:18:47.760
<v Speaker 1>who are you and where do you come from? And

0:18:47.760 --> 0:18:49.960
<v Speaker 1>he says, my name is CB Tate, and I come

0:18:50.040 --> 0:18:54.000
<v Speaker 1>from Hell. Probably not exactly true, but it is a

0:18:54.000 --> 0:18:57.560
<v Speaker 1>good story. But anyway, if the story were true, it's

0:18:57.600 --> 0:19:01.159
<v Speaker 1>possible that many of the cypress trees that are still

0:19:01.160 --> 0:19:03.600
<v Speaker 1>no more than ten or fifteen feet tall today in

0:19:03.640 --> 0:19:06.920
<v Speaker 1>the cypress forest of Tate's Hell would have been there

0:19:06.920 --> 0:19:09.960
<v Speaker 1>to watch Cbta get snake bit, you know, a middle

0:19:09.960 --> 0:19:12.359
<v Speaker 1>of the bull gator bellers. Because again a lot of

0:19:12.359 --> 0:19:15.000
<v Speaker 1>these these trees are are quite old there, you know,

0:19:15.119 --> 0:19:17.840
<v Speaker 1>hundreds of years old, even though they're still so small.

0:19:18.240 --> 0:19:20.480
<v Speaker 1>And I was reading a post about the dwarf cypress

0:19:20.520 --> 0:19:23.600
<v Speaker 1>forest on the blog of a local conservation organization called

0:19:23.600 --> 0:19:26.840
<v Speaker 1>the Appalachicola River Keeper, and the author of this blog

0:19:26.880 --> 0:19:30.840
<v Speaker 1>post writes that quote, these dwarf pond cypress trees may

0:19:30.840 --> 0:19:34.000
<v Speaker 1>have become stunted due to a hard layer of clay

0:19:34.080 --> 0:19:37.679
<v Speaker 1>that prevents roots from growing deeper, similar to planting a

0:19:37.720 --> 0:19:41.480
<v Speaker 1>tree in a bond said pot. So that's one possibility.

0:19:41.520 --> 0:19:45.199
<v Speaker 1>Another they go on. Also, the soil is low and nutrients,

0:19:45.280 --> 0:19:48.639
<v Speaker 1>as evidenced by the carnivorous plants in the area. You

0:19:48.680 --> 0:19:51.920
<v Speaker 1>can also find dwarf cypress trees near the picture plant

0:19:52.000 --> 0:19:56.280
<v Speaker 1>Boggs north of Sumatra, so there may be some correlation. Now,

0:19:56.320 --> 0:20:00.080
<v Speaker 1>remember we've discussed carnivorous plants on the show before. The

0:20:00.119 --> 0:20:03.600
<v Speaker 1>reason that carnivorous plants eat insects, or at least most

0:20:03.600 --> 0:20:06.480
<v Speaker 1>carnivorous plants, I would assume all uh, the reason they

0:20:06.480 --> 0:20:09.919
<v Speaker 1>eat insects is not the same as the main reason

0:20:10.000 --> 0:20:12.600
<v Speaker 1>that we would eat plants or animals. You know, we

0:20:12.680 --> 0:20:15.159
<v Speaker 1>need to eat things to get you know, protein and energy.

0:20:15.480 --> 0:20:19.080
<v Speaker 1>Plants photosynthesized sunlight to get the energy they need to live.

0:20:19.200 --> 0:20:23.880
<v Speaker 1>So carnivorous plants eat for specific nutrients that are lacking

0:20:24.119 --> 0:20:27.840
<v Speaker 1>in barren and often swampy soil. What other plants would

0:20:27.880 --> 0:20:32.520
<v Speaker 1>get from the soil around them, carnivorous plants get from insects.

0:20:33.000 --> 0:20:36.560
<v Speaker 1>And in human terms, when plants eat an insect there

0:20:36.560 --> 0:20:38.840
<v Speaker 1>it's not like devouring a loaf of bread. It's like

0:20:38.880 --> 0:20:42.240
<v Speaker 1>they're taking their vitamins. So, according to this source, at

0:20:42.320 --> 0:20:46.080
<v Speaker 1>least that same type of nutrient poor soil could be

0:20:46.119 --> 0:20:49.480
<v Speaker 1>one thing preventing the cypress trees from growing taller. Or

0:20:49.840 --> 0:20:52.600
<v Speaker 1>it could be a hard layer of sediment that blocks

0:20:52.720 --> 0:20:55.119
<v Speaker 1>root growth, which in turn shapes the body of the

0:20:55.160 --> 0:20:57.920
<v Speaker 1>tree as a whole, which is very much what happens

0:20:57.960 --> 0:21:02.399
<v Speaker 1>when you plant a tree in a pot. And this

0:21:02.480 --> 0:21:04.720
<v Speaker 1>also ties into something else interesting that I was reading

0:21:04.760 --> 0:21:06.240
<v Speaker 1>that that I guess I'll come back to in a

0:21:06.240 --> 0:21:10.960
<v Speaker 1>few minutes. But yeah, so bonsai trees are there, their

0:21:11.040 --> 0:21:13.800
<v Speaker 1>growth is constrained by several factors, but one of the

0:21:13.800 --> 0:21:17.440
<v Speaker 1>main ones being the pot that they're confined to help

0:21:17.640 --> 0:21:21.120
<v Speaker 1>shape the not just where the roots go, but the

0:21:21.119 --> 0:21:24.480
<v Speaker 1>the overall shape of the tree as a whole. That's interest. Yeah,

0:21:24.480 --> 0:21:26.560
<v Speaker 1>that and that ties directly into what we're talking about

0:21:26.560 --> 0:21:29.640
<v Speaker 1>with the with the bonsai. Um. Now, I will say

0:21:29.680 --> 0:21:31.600
<v Speaker 1>that as far as Tate's Helle goes, I do remember

0:21:31.640 --> 0:21:34.320
<v Speaker 1>how I wound up there. I was midway upon the

0:21:34.400 --> 0:21:36.800
<v Speaker 1>journey of our life, and I found myself within a

0:21:36.840 --> 0:21:40.840
<v Speaker 1>forest dart uh for the far straightforward pathway had been lost.

0:21:41.080 --> 0:21:43.720
<v Speaker 1>Uh oh and what and you ran into three beasts,

0:21:43.720 --> 0:21:46.480
<v Speaker 1>one of which was a panther ye yeah, maybe another

0:21:46.560 --> 0:21:49.040
<v Speaker 1>was a bull gator. Yeah. And then Virgil jumped out

0:21:49.080 --> 0:21:51.400
<v Speaker 1>and there was a big action scene. He defeated them,

0:21:51.480 --> 0:21:53.240
<v Speaker 1>and then we yeah, then we went into Tate's hell

0:21:53.760 --> 0:22:04.280
<v Speaker 1>Floridian Virgil though Poppy Satan Leppie. Yeah. Alright, so yeah,

0:22:04.280 --> 0:22:07.360
<v Speaker 1>back the bonds eyes here bonsai proper. So yeah, in need.

0:22:07.440 --> 0:22:10.640
<v Speaker 1>Some of the models for bonsai trees are actually trees

0:22:11.080 --> 0:22:15.840
<v Speaker 1>found growing in the natural environment, uh, particularly growing over

0:22:15.920 --> 0:22:18.320
<v Speaker 1>water or on the sides of mountains, you know, in

0:22:18.359 --> 0:22:23.000
<v Speaker 1>the rocky crags, forced by their inform environment into dwarf

0:22:23.080 --> 0:22:27.480
<v Speaker 1>forms like we're talking about here. So again, the bonsai

0:22:27.680 --> 0:22:31.040
<v Speaker 1>treatment is trying to do is doing what nature does

0:22:31.200 --> 0:22:34.560
<v Speaker 1>in constraining the growth of a tree, but then taking

0:22:34.600 --> 0:22:37.280
<v Speaker 1>it to the next level, you know, involving just absolute

0:22:37.520 --> 0:22:42.000
<v Speaker 1>artistic manipulation of the form. Bonsai means roughly tree in

0:22:42.040 --> 0:22:46.200
<v Speaker 1>a pot in Japanese. Uh. Specifically, we're talking plants grown

0:22:46.280 --> 0:22:51.160
<v Speaker 1>in shallow containers and via the exact tenants of bonsai

0:22:51.280 --> 0:22:54.600
<v Speaker 1>pruning and training. So it's it's worth stressing that a

0:22:54.680 --> 0:22:59.520
<v Speaker 1>bonsai is not genetically a dwarf plant, nor is it

0:22:59.600 --> 0:23:02.439
<v Speaker 1>kept all three some sort of reginative torture or anything

0:23:02.520 --> 0:23:05.720
<v Speaker 1>like that. No, it's these physical constraints we've been talking about,

0:23:05.720 --> 0:23:09.000
<v Speaker 1>which as shown in one possible explanation of the dwarf

0:23:09.080 --> 0:23:11.960
<v Speaker 1>Cyprus in in the swamp there that that can happen

0:23:12.000 --> 0:23:14.440
<v Speaker 1>in nature. It happens, like you're saying, on cliff faces

0:23:14.480 --> 0:23:18.000
<v Speaker 1>and other times, when the physical forces around a plant

0:23:18.080 --> 0:23:20.240
<v Speaker 1>shape its growth. Though, I do want to say, while

0:23:20.280 --> 0:23:25.159
<v Speaker 1>bonsai trees are not not generally genetically dwarfed plants, the

0:23:25.200 --> 0:23:28.959
<v Speaker 1>subject of actual genetic dwarf plant strains actually has a

0:23:29.000 --> 0:23:32.359
<v Speaker 1>massive impact on the recent history of the world. This

0:23:32.400 --> 0:23:36.440
<v Speaker 1>is something that is a fact that's actually little appreciated

0:23:36.520 --> 0:23:39.600
<v Speaker 1>by many people, considering how consequential it has been in

0:23:39.640 --> 0:23:42.200
<v Speaker 1>the world, and something that goes beyond the art and

0:23:42.359 --> 0:23:46.360
<v Speaker 1>esthetics of plant keeping. Dwarf plants and what are sometimes

0:23:46.400 --> 0:23:50.359
<v Speaker 1>known as semi dwarf plants have played a shockingly powerful

0:23:50.480 --> 0:23:53.640
<v Speaker 1>role in the economics and practicalities of food crops over

0:23:53.680 --> 0:23:57.920
<v Speaker 1>the last I guess like sixty seventy years, so uh

0:23:58.560 --> 0:24:01.840
<v Speaker 1>Dwarf or semi dwarfs strains of crop plants like wheat

0:24:01.880 --> 0:24:05.480
<v Speaker 1>and rice especially have very much change the world, and

0:24:05.560 --> 0:24:07.119
<v Speaker 1>if you want to learn more about this, you can

0:24:07.119 --> 0:24:10.600
<v Speaker 1>look up the Green Revolution. Basically, this refers to a

0:24:10.640 --> 0:24:15.680
<v Speaker 1>suite of new technologies and techniques and agriculture, especially new

0:24:15.800 --> 0:24:19.320
<v Speaker 1>dwarf strains of staple crops like wheat and rice that

0:24:19.440 --> 0:24:23.199
<v Speaker 1>were developed and deployed throughout the nineteen fifties and sixties,

0:24:23.560 --> 0:24:27.000
<v Speaker 1>and of course new agricultural techniques and transgenic plants and

0:24:27.040 --> 0:24:30.120
<v Speaker 1>things like that. Have lots of modern critics, but all

0:24:30.119 --> 0:24:33.159
<v Speaker 1>of those criticisms considered, it is widely acknowledged that the

0:24:33.160 --> 0:24:37.560
<v Speaker 1>Green Revolution played an unprecedented role in decreasing world hunger

0:24:37.640 --> 0:24:40.720
<v Speaker 1>and has probably saved at least a billion human lives.

0:24:41.240 --> 0:24:44.560
<v Speaker 1>Now you might immediately wonder why, like why would physically

0:24:44.760 --> 0:24:48.280
<v Speaker 1>smaller strains of crop plants like wheat and rice actually

0:24:48.320 --> 0:24:51.200
<v Speaker 1>make a difference. How could they? How could smaller plants

0:24:51.200 --> 0:24:55.000
<v Speaker 1>help save millions or billions of lives? Well, one paper

0:24:55.040 --> 0:24:57.359
<v Speaker 1>I was looking at in the journal Plant Physiology had

0:24:57.400 --> 0:24:59.919
<v Speaker 1>a good short summary of this in its background section.

0:25:00.080 --> 0:25:03.240
<v Speaker 1>This was by any a Elias at All. It was

0:25:03.240 --> 0:25:06.879
<v Speaker 1>published in and so they note that semi dwarf is

0:25:06.960 --> 0:25:10.080
<v Speaker 1>um in plants results in a few things, one of

0:25:10.200 --> 0:25:13.359
<v Speaker 1>the which is decreased lodging. Lodging is a term in

0:25:13.400 --> 0:25:17.919
<v Speaker 1>agriculture where tall crop plants like wheat stalks can bend

0:25:18.040 --> 0:25:20.600
<v Speaker 1>over at the base. You've probably actually seen this before

0:25:20.680 --> 0:25:23.320
<v Speaker 1>in wheat fields, where they just sort of like fold

0:25:23.400 --> 0:25:26.560
<v Speaker 1>over into the ground, making the grain difficult to harvest.

0:25:26.960 --> 0:25:30.040
<v Speaker 1>And the shorter stalks do this far less, but there's

0:25:30.119 --> 0:25:34.360
<v Speaker 1>also just an increased yield of grain and improved harvest index.

0:25:34.400 --> 0:25:37.800
<v Speaker 1>The harvest index is the percent of the above ground

0:25:37.840 --> 0:25:40.879
<v Speaker 1>biomass represented by the harvest herble part of the plant.

0:25:40.920 --> 0:25:43.919
<v Speaker 1>In other words, like what percentage of the part of

0:25:43.920 --> 0:25:46.720
<v Speaker 1>the plant that's above ground is actually grain and not

0:25:46.800 --> 0:25:51.000
<v Speaker 1>just you know, unusable stalk or husk. But in addition

0:25:51.040 --> 0:25:55.000
<v Speaker 1>to these enormously consequential changes in strains of cereal crops,

0:25:55.280 --> 0:25:58.400
<v Speaker 1>the authors point out that semi dwarf is um has

0:25:58.560 --> 0:26:01.840
<v Speaker 1>big benefits in fruit tree production. So, you know, tree

0:26:01.960 --> 0:26:05.000
<v Speaker 1>trees that produce fruits like apples or peaches can have

0:26:05.080 --> 0:26:08.560
<v Speaker 1>semi dwarf varieties that are that are very useful to farmers.

0:26:08.560 --> 0:26:12.080
<v Speaker 1>In certain cases, they might bear fruit earlier in the season,

0:26:12.240 --> 0:26:16.400
<v Speaker 1>have higher yields of fruit. Um be easier to harvest

0:26:16.440 --> 0:26:18.480
<v Speaker 1>because the fruit is just like closer to the grounds,

0:26:18.480 --> 0:26:21.879
<v Speaker 1>so it's easier to pick um. But of course semi

0:26:21.920 --> 0:26:25.159
<v Speaker 1>dwarf species play a big role in pure aesthetics to quote.

0:26:25.480 --> 0:26:29.960
<v Speaker 1>Semi dwarf woody species are also extensively used in ornamental horticulture,

0:26:30.280 --> 0:26:33.200
<v Speaker 1>where they allow more compact forms to be fit into

0:26:33.240 --> 0:26:36.840
<v Speaker 1>small areas around homes and on streets to reduce the

0:26:36.880 --> 0:26:41.359
<v Speaker 1>need for pruning to avoid interference with structures and transmission lines.

0:26:41.960 --> 0:26:45.960
<v Speaker 1>I've never considered that before. Yeah, I mean, you do

0:26:46.040 --> 0:26:50.680
<v Speaker 1>hear about problems with with roots interfering with structures and

0:26:51.040 --> 0:26:53.560
<v Speaker 1>plumbing and so forth, So it makes sense. I am

0:26:53.680 --> 0:26:56.800
<v Speaker 1>intimately familiar with that, as is anybody else out there

0:26:56.800 --> 0:26:59.320
<v Speaker 1>who has ever had to replace a sewer line that

0:26:59.440 --> 0:27:02.520
<v Speaker 1>was being traded by the roots of an ornamental plant.

0:27:02.840 --> 0:27:06.520
<v Speaker 1>It's real, folks, The anguish is profound when when your

0:27:06.520 --> 0:27:11.639
<v Speaker 1>toilets won't flush. But anyway, this paper in particular, that

0:27:11.960 --> 0:27:14.440
<v Speaker 1>was just stuff that it talks about in its background section.

0:27:14.440 --> 0:27:17.160
<v Speaker 1>The actual point of this paper is making the case

0:27:17.200 --> 0:27:21.159
<v Speaker 1>for using semi dwarf strains of trees in forestry. Uh

0:27:21.240 --> 0:27:24.520
<v Speaker 1>the author's right quote. Although against the current orthodoxy of

0:27:24.560 --> 0:27:27.919
<v Speaker 1>forest tree breeding, where height growth is emphasized. You know,

0:27:28.080 --> 0:27:30.439
<v Speaker 1>usually you want trees to be tall, they say that

0:27:30.480 --> 0:27:33.040
<v Speaker 1>semi dwarf is um might also have benefits for wood

0:27:33.080 --> 0:27:36.320
<v Speaker 1>and biomass production. Such trees could be useful if they

0:27:36.359 --> 0:27:39.159
<v Speaker 1>were less prone to wind throw due to their shorter,

0:27:39.280 --> 0:27:44.440
<v Speaker 1>stockier forms and expected greater allocation to roots. Reduced stature

0:27:44.480 --> 0:27:47.560
<v Speaker 1>could also result in less bending and slanting of trunks

0:27:47.920 --> 0:27:50.320
<v Speaker 1>in the face of wind and gravity on hill slopes,

0:27:50.600 --> 0:27:54.240
<v Speaker 1>and thus reduced the extent of reaction would formation, which

0:27:54.320 --> 0:27:57.600
<v Speaker 1>degrades the performance and value of solid wood and pulp products.

0:27:58.000 --> 0:28:01.080
<v Speaker 1>Reduced height and increased allocation of growth to roots might

0:28:01.200 --> 0:28:07.400
<v Speaker 1>enhance stress tolerance, soil nutrient uptake, bio remediation, and carbon sequestration. Um.

0:28:07.760 --> 0:28:10.360
<v Speaker 1>So again, this was published in twelve. I'm not sure

0:28:10.400 --> 0:28:13.359
<v Speaker 1>how their argument about the use of dwarf strains in

0:28:13.440 --> 0:28:18.000
<v Speaker 1>forestry holds up since then, but it's a really interesting

0:28:18.040 --> 0:28:20.800
<v Speaker 1>idea to appreciate how much of a difference in the

0:28:20.840 --> 0:28:24.640
<v Speaker 1>world has just been made by not just new agricultural

0:28:24.640 --> 0:28:27.000
<v Speaker 1>techniques and irrigation and things like that, but just the

0:28:27.040 --> 0:28:32.560
<v Speaker 1>introduction of smaller plants. It's literally changed human civilization, uh

0:28:32.600 --> 0:28:35.800
<v Speaker 1>and elsewhere. Just as one note, I read about some

0:28:36.080 --> 0:28:39.640
<v Speaker 1>dwarf crops strains potentially being developed for use in space flight,

0:28:39.720 --> 0:28:43.480
<v Speaker 1>which I thought was pretty funny. You can see it's interesting. Yeah,

0:28:43.560 --> 0:28:46.360
<v Speaker 1>I remember getting into this. I don't know they were

0:28:46.680 --> 0:28:48.280
<v Speaker 1>well you would classify as a dwarf plant. But I

0:28:48.280 --> 0:28:51.800
<v Speaker 1>remember in our episode about tomatoes, we touched on tomato

0:28:53.120 --> 0:28:57.280
<v Speaker 1>varieties that have been developed potentially for use in a

0:28:57.360 --> 0:29:01.400
<v Speaker 1>low gravity environment. Yeah. Yeah, so it could be similar

0:29:01.440 --> 0:29:04.200
<v Speaker 1>things here. I imagine, not trees for forestry, but you know,

0:29:04.760 --> 0:29:08.440
<v Speaker 1>food bearing plants I would assume. But but to bring

0:29:08.440 --> 0:29:12.000
<v Speaker 1>things back to bons I again. As you emphasized earlier,

0:29:12.440 --> 0:29:15.120
<v Speaker 1>with Bonsai, were generally talking about trees that are tiny

0:29:15.160 --> 0:29:17.880
<v Speaker 1>by way of nurture, not nature right there, These are

0:29:17.920 --> 0:29:23.000
<v Speaker 1>not genetically dwarf strains. There are. There are constraints imposed

0:29:23.080 --> 0:29:27.760
<v Speaker 1>upon them by their their human cultivators that keep them

0:29:27.880 --> 0:29:31.840
<v Speaker 1>in this tiny shape. And one thing that's really interesting

0:29:31.880 --> 0:29:35.880
<v Speaker 1>about plants is that it's striking how much nurture can

0:29:36.040 --> 0:29:39.520
<v Speaker 1>look like nature when it comes to the plant kingdom.

0:29:39.560 --> 0:29:41.360
<v Speaker 1>And this brings me to one last thing I wanted

0:29:41.400 --> 0:29:44.040
<v Speaker 1>to talk about briefly. It was a really interesting essay

0:29:44.080 --> 0:29:47.640
<v Speaker 1>I was reading, uh published an Eon magazine. It was

0:29:47.680 --> 0:29:50.680
<v Speaker 1>called Rooted from October twenty nineteen, and it's about the

0:29:50.920 --> 0:29:55.760
<v Speaker 1>concept of of how trees embody history, that that time

0:29:55.960 --> 0:29:59.360
<v Speaker 1>is really shown through a tree and uh it was

0:29:59.400 --> 0:30:02.600
<v Speaker 1>written by Alia Nasser, who is a lecturer and philosophy

0:30:02.600 --> 0:30:05.680
<v Speaker 1>at the University of Sydney, and by Margaret M. Barber,

0:30:05.680 --> 0:30:08.800
<v Speaker 1>who is a professor of plant physiology at the at

0:30:08.840 --> 0:30:11.240
<v Speaker 1>the University of Sydney. And so I just want to

0:30:11.240 --> 0:30:14.600
<v Speaker 1>read a quote from their their article here. While all

0:30:14.680 --> 0:30:17.640
<v Speaker 1>living beings carry their past with them into their present

0:30:17.680 --> 0:30:21.280
<v Speaker 1>and future selves, Trees embody their history in a way

0:30:21.280 --> 0:30:24.520
<v Speaker 1>that is far more explicit and with greater detail and

0:30:24.640 --> 0:30:28.720
<v Speaker 1>visibility than any other living being. The history of any

0:30:28.760 --> 0:30:32.640
<v Speaker 1>particular tree is not hidden in an interior part, nor

0:30:32.760 --> 0:30:35.920
<v Speaker 1>is it found in only one of its parts. As such,

0:30:36.120 --> 0:30:40.360
<v Speaker 1>trees call attention to the historicity of life, demanding that

0:30:40.400 --> 0:30:43.000
<v Speaker 1>we think of life not as static and machine like,

0:30:43.360 --> 0:30:47.800
<v Speaker 1>but as a dynamic context. Sensitive and plastic trees are

0:30:47.840 --> 0:30:52.080
<v Speaker 1>not only embodied recorders of their history, but also shape shifters,

0:30:52.360 --> 0:30:56.520
<v Speaker 1>whose structure transforms in relation to their environment. Put simply,

0:30:56.840 --> 0:31:01.240
<v Speaker 1>trees express their context in their physical warm. Trees of

0:31:01.280 --> 0:31:04.520
<v Speaker 1>the same species can look significantly different depending on their

0:31:04.560 --> 0:31:09.280
<v Speaker 1>growth environment, and even within an individual tree, the leaves

0:31:09.320 --> 0:31:12.920
<v Speaker 1>at the shady bottom of the canopy are anatomically different,

0:31:13.200 --> 0:31:16.960
<v Speaker 1>meaning larger and thinner from those at the top, smaller

0:31:17.000 --> 0:31:21.600
<v Speaker 1>and thicker. When densely planted, trees grow long, straight trunks

0:31:21.640 --> 0:31:25.240
<v Speaker 1>and small canopies, but when planted in a grass field

0:31:25.440 --> 0:31:28.800
<v Speaker 1>that grow shorter stems and broad crowns. The crown of

0:31:28.800 --> 0:31:32.440
<v Speaker 1>a solitary oak spreads out in all directions, eventually achieving

0:31:32.480 --> 0:31:35.360
<v Speaker 1>a dome shape, while an oak growing in a forest

0:31:35.560 --> 0:31:38.640
<v Speaker 1>develops a small crown and its growth is patterned on

0:31:38.680 --> 0:31:42.280
<v Speaker 1>the growth of surrounding trees, or think of a bond

0:31:42.320 --> 0:31:46.120
<v Speaker 1>said tree in contrast to its full size sibling. Trees

0:31:46.160 --> 0:31:49.600
<v Speaker 1>are so adaptive to their surroundings that a human equivalent

0:31:49.640 --> 0:31:53.360
<v Speaker 1>to tree plasticity would be certain people growing large webbed

0:31:53.440 --> 0:31:57.160
<v Speaker 1>feet like diving flippers simply because they swim a lot.

0:31:58.360 --> 0:32:00.560
<v Speaker 1>And they go on to point out other examples of

0:32:00.600 --> 0:32:03.360
<v Speaker 1>this that, uh this actually would tie back into the

0:32:03.960 --> 0:32:07.800
<v Speaker 1>dwarf cypress example from Tate's Hell that the soil quality,

0:32:07.840 --> 0:32:11.520
<v Speaker 1>for example, can shape a tree. And uh so all

0:32:11.800 --> 0:32:16.400
<v Speaker 1>these different features of the natural environment come through in

0:32:16.680 --> 0:32:20.400
<v Speaker 1>the shape and form and physiology of a tree that

0:32:20.440 --> 0:32:24.040
<v Speaker 1>could start genetically identical but end up looking so far

0:32:24.080 --> 0:32:28.320
<v Speaker 1>apart they would be unrecognizable. Wow. I I really love

0:32:28.400 --> 0:32:31.000
<v Speaker 1>that the idea of the especially the way time is

0:32:31.040 --> 0:32:33.400
<v Speaker 1>wound up in a tree, because that does seem to

0:32:33.440 --> 0:32:37.320
<v Speaker 1>be a huge part of of Bonsai tree tradition, because

0:32:37.360 --> 0:32:41.400
<v Speaker 1>these are things that that very often outlive the individual

0:32:41.480 --> 0:32:43.400
<v Speaker 1>who is caring for them. You know, it's it's a

0:32:43.440 --> 0:32:46.280
<v Speaker 1>thing that has to be passed on. It is that

0:32:46.320 --> 0:32:50.560
<v Speaker 1>they're sometimes described as being like children, you know, Um,

0:32:50.600 --> 0:32:53.880
<v Speaker 1>and I was thinking about this, especially when I watched

0:32:53.920 --> 0:32:58.760
<v Speaker 1>a Great Big Story video about bonsai shares. Great Big

0:32:58.760 --> 0:33:02.200
<v Speaker 1>Story is sadly funk now. But they before they went out,

0:33:02.600 --> 0:33:05.479
<v Speaker 1>they made a whole bunch of videos about various various

0:33:05.520 --> 0:33:08.960
<v Speaker 1>cultural things and practices, and a number of these relate

0:33:09.000 --> 0:33:13.680
<v Speaker 1>to Japanese cultural um things and topics. But there's one

0:33:13.760 --> 0:33:17.840
<v Speaker 1>titled making thirty five thousand dollar Bonsaie Scissors that I

0:33:17.880 --> 0:33:20.680
<v Speaker 1>recommend checking out, and it's about this, uh, this guy

0:33:20.760 --> 0:33:24.880
<v Speaker 1>who is the the Saska brand of of bonsaie scissors,

0:33:24.880 --> 0:33:28.320
<v Speaker 1>which I think are the only traditional bonsaie scissors uh

0:33:28.480 --> 0:33:32.360
<v Speaker 1>that are still created in um in Japan. And you

0:33:32.360 --> 0:33:34.560
<v Speaker 1>can look them up. Look look this uh this guy

0:33:34.600 --> 0:33:36.680
<v Speaker 1>up online. It's it's like s a s u k

0:33:36.880 --> 0:33:40.600
<v Speaker 1>e um bonsai shears or look up the video and

0:33:40.640 --> 0:33:43.120
<v Speaker 1>it's it's really insightful. But in this particular video, you

0:33:43.120 --> 0:33:46.040
<v Speaker 1>have this this older Japanese man talking about the crafting

0:33:46.040 --> 0:33:48.280
<v Speaker 1>of the scissors and how long it takes. You know,

0:33:48.400 --> 0:33:50.600
<v Speaker 1>like you'll get in, someone will put in a request,

0:33:50.600 --> 0:33:52.320
<v Speaker 1>You'll be like, okay, I need I need a half

0:33:52.360 --> 0:33:54.760
<v Speaker 1>a year or so to uh to figure out what

0:33:54.880 --> 0:33:57.360
<v Speaker 1>kind of shears to make for you, you know, and

0:33:57.360 --> 0:33:59.760
<v Speaker 1>then he's making it for somebody who is a bonds

0:34:00.480 --> 0:34:03.280
<v Speaker 1>uh practition or somebody who's deeply immersed in the culture.

0:34:03.520 --> 0:34:06.040
<v Speaker 1>And you get the sense of human being sort of

0:34:06.120 --> 0:34:09.160
<v Speaker 1>living to a certain extent too, as to as to

0:34:09.360 --> 0:34:11.799
<v Speaker 1>whatever extent is possible for a human being to live

0:34:11.880 --> 0:34:14.000
<v Speaker 1>on the time scale of the trees they care for,

0:34:14.280 --> 0:34:16.800
<v Speaker 1>you know. Uh. And it's really really kind of beautiful

0:34:16.800 --> 0:34:19.799
<v Speaker 1>and does get into, I guess, the the meditative aspects

0:34:20.239 --> 0:34:23.400
<v Speaker 1>of bonsai tree care. I like the idea that a

0:34:23.480 --> 0:34:27.120
<v Speaker 1>lot of these sasuke shears they've got kind of like,

0:34:27.239 --> 0:34:29.280
<v Speaker 1>at least the ones I was looking at online often

0:34:29.320 --> 0:34:32.719
<v Speaker 1>have like these long roping kind of handles instead of

0:34:32.719 --> 0:34:36.680
<v Speaker 1>just the normal functional sort of like grippy handles of

0:34:37.040 --> 0:34:40.520
<v Speaker 1>garden shears you buy it lows, and the long looping

0:34:40.560 --> 0:34:43.319
<v Speaker 1>handles actually make it look like it's kind of made

0:34:43.320 --> 0:34:45.800
<v Speaker 1>out of plant growth, you know, it's like the their

0:34:46.040 --> 0:34:49.000
<v Speaker 1>roots in your fingers. Yeah. Yeah, they're very they're beautiful

0:34:49.040 --> 0:34:52.399
<v Speaker 1>to behold. Uh, you have these big looping handles, and

0:34:52.400 --> 0:34:54.800
<v Speaker 1>and of course part of it, too, I'm to understand,

0:34:55.120 --> 0:34:58.800
<v Speaker 1>is that you want very precise, very sharp shears because

0:34:58.840 --> 0:35:01.359
<v Speaker 1>the cleaner cut that you get, the healthier it is

0:35:01.440 --> 0:35:04.120
<v Speaker 1>for the organism. Oh yeah, that makes sense. You want

0:35:04.120 --> 0:35:09.600
<v Speaker 1>to you wanna like sheer very cleanly instead of crushing, right. Yeah,

0:35:09.680 --> 0:35:11.120
<v Speaker 1>And so that's one of the reasons you tend to

0:35:11.120 --> 0:35:13.319
<v Speaker 1>see if not sheers like this, then at least some

0:35:13.360 --> 0:35:15.759
<v Speaker 1>other fancy variety of sheers. You know, You're not just

0:35:15.760 --> 0:35:18.680
<v Speaker 1>getting in there with your old rusty garden pruners and

0:35:18.960 --> 0:35:22.040
<v Speaker 1>chopping away, you know, you want something very precise. Uh.

0:35:22.080 --> 0:35:23.840
<v Speaker 1>And then also I think it's one of those situations

0:35:23.880 --> 0:35:26.520
<v Speaker 1>where the tools are part of the practice, you know. Um.

0:35:27.520 --> 0:35:30.520
<v Speaker 1>But as far as the organism goes, various tree species

0:35:30.560 --> 0:35:33.919
<v Speaker 1>can be bonds eye trees. But there are essentially two

0:35:33.960 --> 0:35:39.120
<v Speaker 1>broad categories here, um, indoor and outdoor. Though uh this

0:35:39.200 --> 0:35:41.120
<v Speaker 1>was in the writing of of Or, who did that

0:35:41.320 --> 0:35:43.480
<v Speaker 1>piece for New York Times which I mentioned earlier. I

0:35:43.960 --> 0:35:47.080
<v Speaker 1>will point out that I have seen other people sort

0:35:47.120 --> 0:35:50.160
<v Speaker 1>of shy away from the idea of indoor bonds I

0:35:50.480 --> 0:35:53.400
<v Speaker 1>and it seemed to imply that true bonds I are

0:35:53.239 --> 0:35:57.319
<v Speaker 1>are all outdoor bonds. I. So I'm not sure where

0:35:57.360 --> 0:36:00.319
<v Speaker 1>to land on that. But or at any rate, So okay,

0:36:00.320 --> 0:36:02.160
<v Speaker 1>first of all, you have outdoor bonds ie to do

0:36:02.280 --> 0:36:06.240
<v Speaker 1>best in temperate regions featuring species such as pine cedar, ginko,

0:36:06.400 --> 0:36:10.480
<v Speaker 1>Japanese maple, horn beam, and juniper, and they often require

0:36:10.520 --> 0:36:13.720
<v Speaker 1>a cool dormant period like a you know, winter period,

0:36:14.120 --> 0:36:17.680
<v Speaker 1>and species like the juniper will require overwintering, often in

0:36:17.719 --> 0:36:20.840
<v Speaker 1>a greenhouse or a sunroom. And then if you're dealing

0:36:20.880 --> 0:36:24.000
<v Speaker 1>with indoor bonds eye according to Or, these are typically

0:36:24.200 --> 0:36:28.840
<v Speaker 1>tropical and subtropical plant plants such as uh Ficus, uming

0:36:29.400 --> 0:36:34.360
<v Speaker 1>rivia um potocarpus, and dwarf jade. And Or writes that

0:36:34.440 --> 0:36:37.799
<v Speaker 1>these require something similar to normal indoor house plant care,

0:36:38.080 --> 0:36:40.880
<v Speaker 1>but they also require you know, of course all the

0:36:41.000 --> 0:36:45.319
<v Speaker 1>various aspects of bonsai, uh pruning, etcetera. But also they

0:36:45.360 --> 0:36:49.040
<v Speaker 1>require more watering due to those shallow pots. Well, so

0:36:49.080 --> 0:36:52.480
<v Speaker 1>we've discussed how the shallow pots can help shelter shape

0:36:52.520 --> 0:36:54.840
<v Speaker 1>the body of the tree, But obviously another major feature

0:36:54.960 --> 0:36:57.560
<v Speaker 1>is what comes in with the pruning itself. So like,

0:36:57.880 --> 0:37:02.360
<v Speaker 1>what is the process us of this ongoing care? Okay,

0:37:02.400 --> 0:37:04.279
<v Speaker 1>so some of these will be obvious to folks who

0:37:04.360 --> 0:37:07.280
<v Speaker 1>engage in any level of like treat care and outdoor stuff,

0:37:07.320 --> 0:37:09.840
<v Speaker 1>but but other stuff is more specific to bonds. I so,

0:37:09.880 --> 0:37:13.120
<v Speaker 1>first of all, trimming is the removal of outer branch tips,

0:37:13.640 --> 0:37:18.080
<v Speaker 1>while pruning is the specific removal of individual branches, stems,

0:37:18.200 --> 0:37:20.600
<v Speaker 1>or even parts of the trunk. On top of that

0:37:20.680 --> 0:37:23.000
<v Speaker 1>you have things like wiring and clamping, and this is

0:37:23.040 --> 0:37:25.640
<v Speaker 1>a way to physically guide the growth and shape of

0:37:25.640 --> 0:37:30.239
<v Speaker 1>the tree via physical constraints. On top of this, grafting

0:37:30.360 --> 0:37:33.399
<v Speaker 1>is also used. Um as are that you can also

0:37:33.520 --> 0:37:35.920
<v Speaker 1>do a certain amount of defoliation, you know, the removal

0:37:36.080 --> 0:37:39.840
<v Speaker 1>of of leaves and then deadwood. Bonds Ie techniques involved

0:37:39.880 --> 0:37:43.839
<v Speaker 1>the creation, shaping, and preservation of dead wood on a

0:37:43.880 --> 0:37:48.120
<v Speaker 1>living bond's eye tree to enhance this sense of age.

0:37:48.360 --> 0:37:51.120
<v Speaker 1>Oh yes, I I so, I've seen bonsai trees like this,

0:37:51.200 --> 0:37:54.600
<v Speaker 1>I think. And there's a very particular aesthetic that is

0:37:54.760 --> 0:37:57.360
<v Speaker 1>that actually exists in the natural world, not just in

0:37:57.360 --> 0:38:02.280
<v Speaker 1>in human horticulture that that is mimicking that I find

0:38:02.440 --> 0:38:04.840
<v Speaker 1>very beautiful. I think a lot of other people do too,

0:38:04.880 --> 0:38:08.439
<v Speaker 1>and I wonder why exactly it is, but it's the Uh,

0:38:08.440 --> 0:38:11.759
<v Speaker 1>it's the aesthetic you see in the natural growth of

0:38:11.840 --> 0:38:15.840
<v Speaker 1>bristle cone pine trees, where they often have the appearance

0:38:15.960 --> 0:38:22.520
<v Speaker 1>of a live tree growing on or within this ancient warped,

0:38:22.680 --> 0:38:25.319
<v Speaker 1>twirling piece of dead wood. Do you know what I'm

0:38:25.320 --> 0:38:27.560
<v Speaker 1>talking about? Yeah, yeah, I think I know what you're

0:38:27.560 --> 0:38:29.040
<v Speaker 1>talking about. Can picture in my head. Yeah, And there

0:38:29.080 --> 0:38:32.839
<v Speaker 1>is something just intrinsically attractive about it. I don't know,

0:38:33.160 --> 0:38:36.720
<v Speaker 1>it's it doesn't apply to um animals, Like the idea

0:38:36.719 --> 0:38:40.120
<v Speaker 1>of like a human coming up dressed in bones generally

0:38:40.160 --> 0:38:43.839
<v Speaker 1>not as attractive. But but but this is this is

0:38:44.640 --> 0:38:48.600
<v Speaker 1>bristle cone pines, by the way, are they're particularly known

0:38:48.680 --> 0:38:52.439
<v Speaker 1>I think for for achieving tremendous ages, Like they get

0:38:52.520 --> 0:38:55.839
<v Speaker 1>really really old. There are some of the oldest living organisms,

0:38:56.360 --> 0:38:58.480
<v Speaker 1>and and they really do look like it because again, yeah,

0:38:58.560 --> 0:39:01.880
<v Speaker 1>you can see like um, there will be parts of

0:39:01.920 --> 0:39:04.920
<v Speaker 1>a tree that are producing foliage, so there's still green,

0:39:05.000 --> 0:39:08.160
<v Speaker 1>they're still growing, you know, they're still producing new growth seasonally,

0:39:08.200 --> 0:39:11.400
<v Speaker 1>I guess. But down below that it will just be

0:39:11.800 --> 0:39:16.200
<v Speaker 1>what looks like a ten million year old skeleton that's

0:39:16.200 --> 0:39:19.640
<v Speaker 1>got these like lollipop twirls of color in it or

0:39:19.680 --> 0:39:23.000
<v Speaker 1>like a sorry, like a peppermint twist type of color,

0:39:23.160 --> 0:39:26.960
<v Speaker 1>and the branches or these snaking witch fingers without any leaves.

0:39:27.560 --> 0:39:30.080
<v Speaker 1>H it's very very cool. So if you're not familiar

0:39:30.120 --> 0:39:39.600
<v Speaker 1>with bristle cone pines. Look them up. Now. Another thing

0:39:39.600 --> 0:39:41.600
<v Speaker 1>I want to drive them about the bond's eyes again.

0:39:41.719 --> 0:39:45.160
<v Speaker 1>The the upkeep and care of a bond's I are

0:39:45.239 --> 0:39:48.239
<v Speaker 1>are in their their own way, like a delicate art form.

0:39:48.280 --> 0:39:50.040
<v Speaker 1>I was reading a piece in the New York Times

0:39:50.080 --> 0:39:54.200
<v Speaker 1>by Makiko in a way and Daniel Victor Um. Apparently

0:39:54.600 --> 0:39:59.000
<v Speaker 1>New York Times is just prime reporting uh source for Bonsai. Uh.

0:39:59.280 --> 0:40:01.840
<v Speaker 1>But they this is an article about a story that

0:40:01.880 --> 0:40:05.520
<v Speaker 1>was making the rounds at the time. In um this

0:40:05.640 --> 0:40:08.200
<v Speaker 1>was bonds I are like our children. Couple pleads for

0:40:08.280 --> 0:40:11.040
<v Speaker 1>return of stolen trees. Uh. And this one had to

0:40:11.040 --> 0:40:14.359
<v Speaker 1>do with a four year old bonds e that had

0:40:14.360 --> 0:40:18.680
<v Speaker 1>been stolen that was worth an estimated ninety dollars uh.

0:40:19.120 --> 0:40:21.040
<v Speaker 1>The theft was again covered by a number of different

0:40:21.040 --> 0:40:23.200
<v Speaker 1>news sources at the time, Bonds I can fetch a

0:40:23.200 --> 0:40:26.120
<v Speaker 1>hefty price on the black market. Sadly, I didn't run

0:40:26.160 --> 0:40:29.480
<v Speaker 1>across any reporting about this tree being recovered. I mean

0:40:29.480 --> 0:40:31.240
<v Speaker 1>maybe it did, and that just didn't make a snazzy

0:40:32.080 --> 0:40:35.080
<v Speaker 1>news story for most sources. UM. But one of the

0:40:35.120 --> 0:40:37.320
<v Speaker 1>things that they pointed out is that, like if you

0:40:37.360 --> 0:40:41.759
<v Speaker 1>were to steal a m high value bonds I tree

0:40:41.840 --> 0:40:44.879
<v Speaker 1>like this, if you didn't know how to care for it, Uh,

0:40:44.920 --> 0:40:47.560
<v Speaker 1>if you didn't know the particular things you needed to do,

0:40:47.800 --> 0:40:50.040
<v Speaker 1>it could die within a week, you know. So there's

0:40:50.080 --> 0:40:53.799
<v Speaker 1>a there's a delicacy to these um these organisms as well.

0:40:54.239 --> 0:40:56.680
<v Speaker 1>But I'm also interested in the statement of these people

0:40:56.760 --> 0:41:00.680
<v Speaker 1>saying that the bonds are like our children, because it

0:41:01.040 --> 0:41:02.920
<v Speaker 1>I mean, you can totally see how that would be

0:41:02.960 --> 0:41:05.479
<v Speaker 1>the case, that it's not just like somebody stole any

0:41:05.520 --> 0:41:08.040
<v Speaker 1>other high value item within a home. I don't know,

0:41:08.120 --> 0:41:11.440
<v Speaker 1>you know, an expensive painting or something. It is in

0:41:11.480 --> 0:41:13.480
<v Speaker 1>some ways like a child. I mean obviously not that

0:41:13.600 --> 0:41:15.400
<v Speaker 1>you know, and it doesn't have a brain or anything,

0:41:15.400 --> 0:41:17.719
<v Speaker 1>but it does require care. Well, I like the idea

0:41:17.760 --> 0:41:20.200
<v Speaker 1>of comparing it to something like a painting, because yeah,

0:41:20.280 --> 0:41:23.600
<v Speaker 1>painting certainly requires a certain amount of care and any

0:41:24.040 --> 0:41:29.239
<v Speaker 1>key an occasionally occasionally restoration. But there is and but

0:41:29.280 --> 0:41:31.640
<v Speaker 1>there is I guess when it comes to like the bonds,

0:41:31.640 --> 0:41:33.319
<v Speaker 1>eye tree and the painting, like, yeah, there's probably a

0:41:33.320 --> 0:41:35.920
<v Speaker 1>tipping point with the painting if it's degraded and it's

0:41:35.960 --> 0:41:39.040
<v Speaker 1>not cared for, you know, a point past which you

0:41:39.080 --> 0:41:42.080
<v Speaker 1>cannot be brought back in a meaningful way, but with

0:41:42.120 --> 0:41:44.680
<v Speaker 1>a bonds eye tree, Like, there's definitely that point, you know,

0:41:44.840 --> 0:41:47.399
<v Speaker 1>like there's no there's no gray area, there's a point

0:41:47.400 --> 0:41:50.120
<v Speaker 1>where the tree is no longer alive and will not

0:41:50.280 --> 0:41:54.360
<v Speaker 1>live again. And yeah, and it's ultimately it is a

0:41:54.400 --> 0:41:56.440
<v Speaker 1>living thing. It is a it is a thing that

0:41:56.560 --> 0:41:58.360
<v Speaker 1>is cared for, that is nurtured, and you see it

0:41:58.400 --> 0:42:00.560
<v Speaker 1>growing and you know that you have a role in

0:42:00.640 --> 0:42:03.520
<v Speaker 1>its growth. Well, I wonder how did all this get started?

0:42:03.600 --> 0:42:08.080
<v Speaker 1>Like who first had the idea to grow tiny versions

0:42:08.239 --> 0:42:11.920
<v Speaker 1>of adult shaped trees in pots? Yeah, the history is

0:42:11.920 --> 0:42:15.760
<v Speaker 1>pretty fascinating. So in a broader sense and really broad sense,

0:42:15.760 --> 0:42:18.040
<v Speaker 1>we can just say, okay, what how far back to

0:42:18.160 --> 0:42:21.799
<v Speaker 1>ornamental gardens go? And it seems like they date back

0:42:21.880 --> 0:42:26.120
<v Speaker 1>at least as far as c in ancient Egypt because

0:42:26.120 --> 0:42:29.680
<v Speaker 1>we see them depicted in tomb paintings from that period. Uh.

0:42:29.719 --> 0:42:33.080
<v Speaker 1>There are also some interesting connections to Babylonian and air

0:42:33.160 --> 0:42:35.719
<v Speaker 1>Vedic traditions. Uh. So you know, it's probably one of

0:42:35.760 --> 0:42:37.880
<v Speaker 1>the things that's ultimately lost in history because it basically

0:42:37.960 --> 0:42:40.840
<v Speaker 1>comes down to all right, people people messing around with

0:42:40.880 --> 0:42:44.920
<v Speaker 1>plants and people creating ceramics. Uh, And I guess not

0:42:44.960 --> 0:42:47.080
<v Speaker 1>just ceramics, but also like you know, I guess you

0:42:47.120 --> 0:42:50.120
<v Speaker 1>can make a wooden pot as well, obviously, but people

0:42:50.160 --> 0:42:52.880
<v Speaker 1>messing around with materials, messing around with plants and getting

0:42:52.880 --> 0:42:55.040
<v Speaker 1>to the point where they realize, oh, I can I

0:42:55.040 --> 0:42:56.440
<v Speaker 1>can put this in a pot. I can take it

0:42:56.520 --> 0:42:59.080
<v Speaker 1>with me, uh, you know, instead of just depending say

0:42:59.120 --> 0:43:01.799
<v Speaker 1>on dried or maybe I might try and bring this

0:43:01.880 --> 0:43:04.000
<v Speaker 1>plant with me as I travel somewhere else, bring it

0:43:04.040 --> 0:43:07.080
<v Speaker 1>alive and uh and do something you know with it

0:43:07.120 --> 0:43:09.920
<v Speaker 1>when I get there. I would not be surprised if

0:43:09.960 --> 0:43:13.959
<v Speaker 1>that was tied into ancient beliefs about herbal medicine. Yeah,

0:43:14.000 --> 0:43:15.680
<v Speaker 1>good point, And I think I think maybe that's where

0:43:15.680 --> 0:43:18.880
<v Speaker 1>some of the air Vedic traditions also come into play.

0:43:18.920 --> 0:43:22.480
<v Speaker 1>But the immediate predecessor to the bonsai practice in Japan

0:43:23.000 --> 0:43:26.200
<v Speaker 1>takes us to China around the year one thousand CE.

0:43:26.320 --> 0:43:29.960
<v Speaker 1>I've also seen a date of seven hundred CE. Uh.

0:43:30.000 --> 0:43:32.480
<v Speaker 1>So there may be some disagreement about you know, when

0:43:32.520 --> 0:43:36.040
<v Speaker 1>exactly we're looking at here, but uh, for instance, I

0:43:36.080 --> 0:43:38.040
<v Speaker 1>was looking at a source on this by Jack doth.

0:43:38.120 --> 0:43:42.520
<v Speaker 1>It often recognized as a Western authority on bonsai practices. Uh.

0:43:42.600 --> 0:43:45.759
<v Speaker 1>He has a book titled Bonsai The Art of Living Sculpture,

0:43:46.320 --> 0:43:50.719
<v Speaker 1>and he dates the beginnings of Bonsa i uh to

0:43:51.120 --> 0:43:53.440
<v Speaker 1>the Han dynasty over two thousand years ago, or not

0:43:53.480 --> 0:43:56.200
<v Speaker 1>the beginning of bonsai, but the beginning of this predecessor

0:43:56.880 --> 0:43:59.880
<v Speaker 1>um he wrote. He writes the following in bond the

0:44:00.000 --> 0:44:03.000
<v Speaker 1>Anzai Survival Manual. Quote. Legend has it that at one

0:44:03.040 --> 0:44:06.520
<v Speaker 1>point an ancient Chinese emperor commissioned the construction in his

0:44:06.560 --> 0:44:10.799
<v Speaker 1>courtyard of vast miniature landscapes, complete with mountains, lakes, and

0:44:10.840 --> 0:44:15.000
<v Speaker 1>of course miniature trees. These landscapes were designed to represent

0:44:15.080 --> 0:44:17.520
<v Speaker 1>all the parts of his empire, so in this way

0:44:17.520 --> 0:44:22.080
<v Speaker 1>he could stand on his balcony and survey his entire domain. WHOA,

0:44:22.680 --> 0:44:24.719
<v Speaker 1>and again that I like that story because it gets

0:44:24.760 --> 0:44:27.960
<v Speaker 1>back to what we're talking about, like the the irresistible

0:44:28.000 --> 0:44:32.120
<v Speaker 1>allure of the world at large made miniature. I absolutely

0:44:32.160 --> 0:44:34.480
<v Speaker 1>see that, and you know it comes through in plenty

0:44:34.480 --> 0:44:37.360
<v Speaker 1>of other ways too. I think, Uh, this is actually

0:44:37.360 --> 0:44:39.760
<v Speaker 1>a primary motivator. I think for a lot of people

0:44:39.800 --> 0:44:44.959
<v Speaker 1>who have model train hobbies. Not everyone, but I think

0:44:45.080 --> 0:44:48.160
<v Speaker 1>a lot of people who are into model trains. It's

0:44:48.239 --> 0:44:51.600
<v Speaker 1>not even so much about the train. I mean, that's

0:44:51.640 --> 0:44:55.760
<v Speaker 1>part of it, but it's about it's about a driving

0:44:55.840 --> 0:45:01.400
<v Speaker 1>excuse to create these miniature landscapes because the miniature landscapes

0:45:01.440 --> 0:45:04.400
<v Speaker 1>are so appealing for some reason. I mean, I love them.

0:45:04.400 --> 0:45:08.680
<v Speaker 1>I love dioramas, and um, I love like a good

0:45:08.760 --> 0:45:12.520
<v Speaker 1>museum that has carefully painted dioramas. I know, you paint miniatures,

0:45:12.520 --> 0:45:15.600
<v Speaker 1>so you have this appreciation. Sometimes I wonder if if

0:45:15.640 --> 0:45:17.360
<v Speaker 1>some of the people who are into like the model

0:45:17.400 --> 0:45:21.600
<v Speaker 1>train thing, or like or like miniature diorama recreations of

0:45:21.640 --> 0:45:24.480
<v Speaker 1>historic battle scenes or whatever like that, are are it's

0:45:24.520 --> 0:45:28.080
<v Speaker 1>basically the same impulse that drives uh, you know, people

0:45:28.080 --> 0:45:30.440
<v Speaker 1>who would do D and D or tabletop miniatures, but

0:45:30.480 --> 0:45:33.279
<v Speaker 1>for people who don't like magic and wizards. Yeah, I

0:45:33.280 --> 0:45:35.279
<v Speaker 1>think it's absolutely the case. Yeah, I mean you see

0:45:35.280 --> 0:45:38.360
<v Speaker 1>it in wargaming because there's a lot of that that

0:45:38.480 --> 0:45:41.440
<v Speaker 1>same energy that goes into creating the environments in trains.

0:45:41.719 --> 0:45:44.120
<v Speaker 1>You see it in creating environments to have your little

0:45:44.200 --> 0:45:47.319
<v Speaker 1>battles on. You see it in the Lego pastime among

0:45:47.400 --> 0:45:51.640
<v Speaker 1>both children and adult fans of Legos, where they'll create

0:45:51.640 --> 0:45:54.640
<v Speaker 1>whole little worlds. And that's that's part of it. Yeah,

0:45:54.719 --> 0:45:58.200
<v Speaker 1>And and indeed diorama creation can just be so incredible.

0:45:58.200 --> 0:46:03.640
<v Speaker 1>I love a great diorama at at a museum. The

0:46:03.640 --> 0:46:05.040
<v Speaker 1>the met has some of the bat I think it's

0:46:05.080 --> 0:46:06.359
<v Speaker 1>the Met. Is it the met that has some really

0:46:06.400 --> 0:46:08.880
<v Speaker 1>good ones? At any rate, I know I've seen some

0:46:09.400 --> 0:46:13.960
<v Speaker 1>dioramas in in New York. But anyway, this particular Chinese

0:46:14.520 --> 0:46:18.040
<v Speaker 1>predecessor to the bonsai this is that was the art

0:46:18.080 --> 0:46:21.799
<v Speaker 1>of punsai. Uh. These were luxury items of the day

0:46:22.040 --> 0:46:27.440
<v Speaker 1>and around roughly Buddhist monks brought the tradition to Japan,

0:46:28.200 --> 0:46:30.120
<v Speaker 1>and is often the case, as is off the case

0:46:30.120 --> 0:46:33.080
<v Speaker 1>in Japanese culture. They took an outside art form, they

0:46:33.080 --> 0:46:36.080
<v Speaker 1>refined it, and they made it their own. As doth

0:46:36.120 --> 0:46:39.320
<v Speaker 1>It points out, the main drivers here were the Japanese

0:46:39.320 --> 0:46:43.880
<v Speaker 1>people's love of nature uh, but also increasingly in increasing

0:46:43.960 --> 0:46:48.160
<v Speaker 1>artistic awareness, and this coupled with the minimalist teachings of

0:46:48.280 --> 0:46:51.359
<v Speaker 1>Zen Buddhism. So all of this gets reflected uh in

0:46:51.440 --> 0:46:53.440
<v Speaker 1>it uh and so so yeah, as part of the

0:46:53.520 --> 0:46:56.239
<v Speaker 1>Zen Buddhism movement of the time, it takes root in

0:46:56.320 --> 0:47:00.759
<v Speaker 1>Japanese culture and becomes you know, not only the this

0:47:00.880 --> 0:47:05.359
<v Speaker 1>sort of you know, meditative pastime, that is associated again

0:47:05.360 --> 0:47:08.200
<v Speaker 1>with Zin Buddhism, but also it becomes the ultimate pastime

0:47:08.440 --> 0:47:11.160
<v Speaker 1>of the upper classes. Like it is this the uh

0:47:11.200 --> 0:47:14.000
<v Speaker 1>you know, this is a luxury item to have and

0:47:14.080 --> 0:47:17.160
<v Speaker 1>to care for and to just keep as a symbol

0:47:17.239 --> 0:47:19.719
<v Speaker 1>of of who you are and where you are in society.

0:47:20.320 --> 0:47:23.839
<v Speaker 1>According to Robert J. Barron, writing for Bonzai Empire dot

0:47:23.920 --> 0:47:28.440
<v Speaker 1>com quote finding beauty and severe austerity, Zen monks with

0:47:28.560 --> 0:47:32.239
<v Speaker 1>less land forms as a model developed their tree landscapes

0:47:32.440 --> 0:47:34.880
<v Speaker 1>along certain lines so that a single tree in a

0:47:34.960 --> 0:47:39.000
<v Speaker 1>pot could represent the universe. So a connection here again

0:47:39.120 --> 0:47:41.440
<v Speaker 1>is made between the tree and miniature, and not just

0:47:41.480 --> 0:47:43.799
<v Speaker 1>the world at large, but the universe at what led large,

0:47:43.840 --> 0:47:46.879
<v Speaker 1>you know, not just the world as a physical thing,

0:47:46.880 --> 0:47:49.719
<v Speaker 1>but also the world as as far as our you know,

0:47:49.760 --> 0:47:53.520
<v Speaker 1>perceptions of self and reality and the soul are concerned. Um.

0:47:53.719 --> 0:47:56.520
<v Speaker 1>A connection is also frequently made between the traditions of

0:47:56.560 --> 0:47:59.920
<v Speaker 1>caring for the plant and meditation. And during the mid

0:48:00.080 --> 0:48:02.640
<v Speaker 1>nineteenth century, as Japan began to make contact with the

0:48:02.680 --> 0:48:06.080
<v Speaker 1>outside world again in major ways, the bonds ie tradition

0:48:06.120 --> 0:48:08.880
<v Speaker 1>began to spread as well. And so yeah, now you

0:48:08.920 --> 0:48:12.120
<v Speaker 1>can find bonds i literally all over the world. That's

0:48:12.120 --> 0:48:15.719
<v Speaker 1>interesting to see, especially for certain kinds of meditation, you know,

0:48:15.760 --> 0:48:18.800
<v Speaker 1>the kind of meditation that are focused on the control

0:48:18.840 --> 0:48:22.480
<v Speaker 1>of attention, for example, you know, mindfulness types of meditation.

0:48:23.320 --> 0:48:25.520
<v Speaker 1>What they have in common, it seems to me, is

0:48:25.560 --> 0:48:30.799
<v Speaker 1>that there is this never ending balance between sort of

0:48:30.840 --> 0:48:34.600
<v Speaker 1>the the natural growing chaos of life, which is sort

0:48:34.600 --> 0:48:37.400
<v Speaker 1>of like your wandering attention as a as a meditator,

0:48:37.560 --> 0:48:41.080
<v Speaker 1>or the growth of a plant in a pot, versus

0:48:41.080 --> 0:48:43.480
<v Speaker 1>like all of these sort of like methods of shaping.

0:48:43.600 --> 0:48:46.600
<v Speaker 1>You know, you could kind of think of meditation in

0:48:46.640 --> 0:48:49.080
<v Speaker 1>one way as a as a shaping of the attention

0:48:49.160 --> 0:48:51.640
<v Speaker 1>that naturally wants to grow in one way or another,

0:48:51.680 --> 0:48:54.200
<v Speaker 1>but you're just sort of like pruning it down and

0:48:54.200 --> 0:48:57.759
<v Speaker 1>and making it harmonious. Yeah. I can't help but to

0:48:57.840 --> 0:48:59.800
<v Speaker 1>compare it, first of all, to creating, say like a

0:48:59.840 --> 0:49:01.879
<v Speaker 1>modal tank. You know, you put a lot of care

0:49:01.920 --> 0:49:04.480
<v Speaker 1>into creating that tank, but then once it's done, you

0:49:04.520 --> 0:49:06.480
<v Speaker 1>can basically put it on a shelf. Yeah, you might

0:49:06.520 --> 0:49:08.160
<v Speaker 1>have to dust it off from time to time, maybe

0:49:08.160 --> 0:49:10.040
<v Speaker 1>you'll go back and tweak something on it, but it's

0:49:10.120 --> 0:49:13.560
<v Speaker 1>essentially complete. Uh. And then I think of of, say

0:49:13.600 --> 0:49:16.560
<v Speaker 1>having a you know, an actual child. You know, like

0:49:16.600 --> 0:49:20.799
<v Speaker 1>that that is a case where you you're continually help

0:49:20.880 --> 0:49:23.560
<v Speaker 1>helping this child to grow, but but in a way

0:49:23.600 --> 0:49:25.640
<v Speaker 1>that eventually that child is going to leave you. That

0:49:25.760 --> 0:49:27.480
<v Speaker 1>child is going to go on and have this this

0:49:27.680 --> 0:49:30.080
<v Speaker 1>larger life and is no longer going to be a

0:49:30.080 --> 0:49:34.640
<v Speaker 1>part of your household. The bonds Eye tree is uh,

0:49:34.680 --> 0:49:36.560
<v Speaker 1>he is always going to be there, you know, unless

0:49:36.600 --> 0:49:39.160
<v Speaker 1>of course, you you you know, you you give it

0:49:39.200 --> 0:49:40.920
<v Speaker 1>to somebody else, pass into the care of another, or

0:49:41.080 --> 0:49:43.319
<v Speaker 1>or of course ultimately have to make plans for it

0:49:43.400 --> 0:49:47.360
<v Speaker 1>to continue living after you have died. But you were,

0:49:47.400 --> 0:49:51.080
<v Speaker 1>you were keeping it in this constrained, a dwarf environment,

0:49:51.200 --> 0:49:53.800
<v Speaker 1>you know, like you wouldn't want to have you wouldn't

0:49:53.800 --> 0:49:56.200
<v Speaker 1>want to have a Bond's eye child, you know that

0:49:56.200 --> 0:49:58.840
<v Speaker 1>that would be that would be monstrous. But the Bonds

0:49:58.840 --> 0:50:01.200
<v Speaker 1>Eye tree different matter. I don't know. Some people do

0:50:01.239 --> 0:50:04.200
<v Speaker 1>sort of prune and wire their children. Well you do

0:50:04.280 --> 0:50:06.640
<v Speaker 1>want to wire your children, yeah, you want to. You

0:50:06.680 --> 0:50:10.200
<v Speaker 1>want to to to to manipulate their development as much

0:50:10.239 --> 0:50:14.240
<v Speaker 1>as possible towards um you know, the positive models of being.

0:50:14.880 --> 0:50:16.960
<v Speaker 1>But then you know, eventually you want to, you know,

0:50:17.000 --> 0:50:19.680
<v Speaker 1>let him out of the Greenhouse. I don't know, it's

0:50:19.719 --> 0:50:23.799
<v Speaker 1>not a perfect metaphor for rearing a child, but at

0:50:23.800 --> 0:50:26.880
<v Speaker 1>any rate, I I do see like so much of

0:50:26.880 --> 0:50:29.440
<v Speaker 1>the Bonds that is about about control, but not just

0:50:29.480 --> 0:50:33.960
<v Speaker 1>control for control's sake, but control for artistic purposes. So um, yeah,

0:50:34.000 --> 0:50:35.800
<v Speaker 1>you wouldn't want to take that approach to creating a

0:50:35.880 --> 0:50:39.319
<v Speaker 1>child or to growing a child, etcetera. But then again,

0:50:39.320 --> 0:50:41.239
<v Speaker 1>also yeah, it doesn't apply the same sort of model

0:50:41.280 --> 0:50:43.560
<v Speaker 1>doesn't apply to other forms of art where you do

0:50:43.760 --> 0:50:47.040
<v Speaker 1>reach some level of completion. Um if I mean even

0:50:47.080 --> 0:50:49.279
<v Speaker 1>if you were saying, if you were to compare it

0:50:49.320 --> 0:50:52.080
<v Speaker 1>to say, writing, um, an epic poem, you know, and

0:50:52.120 --> 0:50:54.960
<v Speaker 1>perhaps it's an epic poem you work on your entire life,

0:50:55.480 --> 0:50:58.000
<v Speaker 1>and then towards the end of your life, uh, you know,

0:50:58.040 --> 0:51:00.880
<v Speaker 1>you're still tinkering with it. Maybe you never get quite finished.

0:51:01.080 --> 0:51:03.239
<v Speaker 1>But then does that pass on to another person to

0:51:03.320 --> 0:51:06.919
<v Speaker 1>get finished and then onto another like generally you're only

0:51:06.920 --> 0:51:09.400
<v Speaker 1>going to see, like maybe what a couple of generations

0:51:09.400 --> 0:51:14.120
<v Speaker 1>of tinkering with a particular work of literature. Well, this

0:51:14.160 --> 0:51:16.560
<v Speaker 1>is very interesting and how it ties into epic poetry

0:51:16.560 --> 0:51:18.879
<v Speaker 1>in particular, because it depends on which epic poem you're

0:51:18.880 --> 0:51:21.239
<v Speaker 1>talking about. So if it's the a need, you could

0:51:21.239 --> 0:51:23.400
<v Speaker 1>just have Virgial the author sits down to write the

0:51:23.440 --> 0:51:26.120
<v Speaker 1>epic poem and they you know, Virgil can decide when

0:51:26.160 --> 0:51:29.160
<v Speaker 1>he's done tinkering on it mainly. But um, if it

0:51:29.239 --> 0:51:31.640
<v Speaker 1>is something like the Odyssey or the Iliad that grows

0:51:31.680 --> 0:51:34.399
<v Speaker 1>out of an oral tradition in which every telling of

0:51:34.440 --> 0:51:38.280
<v Speaker 1>the tale was different originally, So like the written versions

0:51:38.400 --> 0:51:41.040
<v Speaker 1>that we have of the Iliad and the Odyssey are

0:51:41.160 --> 0:51:44.680
<v Speaker 1>very is it's extremely unlikely that that was in any

0:51:44.719 --> 0:51:48.839
<v Speaker 1>way a fixed form of the poem from antiquity. It's

0:51:48.840 --> 0:51:51.040
<v Speaker 1>going to be something that grow out of an oral

0:51:51.120 --> 0:51:56.000
<v Speaker 1>storytelling tradition that that had infinite different variations and was

0:51:56.040 --> 0:51:58.880
<v Speaker 1>told by different tellers, and at some point some version

0:51:59.000 --> 0:52:01.800
<v Speaker 1>of it got written down. Now that's a great point. Yeah. So,

0:52:01.840 --> 0:52:03.759
<v Speaker 1>and in a way you could compare the Bond's Eye

0:52:03.880 --> 0:52:07.120
<v Speaker 1>rather favorably to the creation of a myth and a legend,

0:52:07.440 --> 0:52:09.959
<v Speaker 1>you know, because you know, beyond the mere epic poem,

0:52:10.000 --> 0:52:13.000
<v Speaker 1>the Iliot is something that is continually retold time and

0:52:13.000 --> 0:52:15.759
<v Speaker 1>time again. It continues to live in different forms. We're

0:52:16.040 --> 0:52:20.200
<v Speaker 1>we're perpetually trimming it and caring for it, um, letting

0:52:20.239 --> 0:52:22.759
<v Speaker 1>it grow out a bit, and maybe braining it back in.

0:52:23.080 --> 0:52:24.600
<v Speaker 1>And we see this with other forms as well. I mean,

0:52:24.600 --> 0:52:26.439
<v Speaker 1>you could even make an argument for something like Star

0:52:26.480 --> 0:52:28.800
<v Speaker 1>Wars being the case. You know, like for a while

0:52:28.880 --> 0:52:31.919
<v Speaker 1>it was George Lucas's bonds eye and uh, and then

0:52:32.320 --> 0:52:34.399
<v Speaker 1>in different phases it has been passed on to other

0:52:34.400 --> 0:52:38.120
<v Speaker 1>people to care for and if it remains popular, this

0:52:38.200 --> 0:52:42.640
<v Speaker 1>will continue for centuries even now. To come back to

0:52:42.760 --> 0:52:44.680
<v Speaker 1>just a little bit here at the end to two science,

0:52:44.719 --> 0:52:47.319
<v Speaker 1>I do want to point to a scientific paper that

0:52:47.360 --> 0:52:49.719
<v Speaker 1>I came across, and it deals with the science of

0:52:49.800 --> 0:52:52.839
<v Speaker 1>root pruning. So this is pretty neat. I mean, I'm

0:52:52.840 --> 0:52:54.640
<v Speaker 1>not gonna get super into the details of the study,

0:52:54.880 --> 0:52:58.320
<v Speaker 1>but it does make some great points just about uh,

0:52:58.480 --> 0:53:02.160
<v Speaker 1>the wondrous um qualities of a plant's roots. So, plant

0:53:02.200 --> 0:53:06.040
<v Speaker 1>roots are naturally robust and regenerative since they're a vital

0:53:06.160 --> 0:53:08.600
<v Speaker 1>they're they're vital for water and nutrient absorption. They have

0:53:08.680 --> 0:53:11.040
<v Speaker 1>to be able to bounce back from injury really well,

0:53:11.520 --> 0:53:14.920
<v Speaker 1>so they have impressive plasticity, which also helps them adapt

0:53:14.920 --> 0:53:18.959
<v Speaker 1>to changing environmental circumstances such as drought. And this plasticity

0:53:19.040 --> 0:53:22.360
<v Speaker 1>is harnessed in root pruning uh in bonsai as a

0:53:22.360 --> 0:53:26.359
<v Speaker 1>way to control size and vigor and industry. Interestingly enough,

0:53:26.520 --> 0:53:31.000
<v Speaker 1>there was a seventeen study from Hokkaido University that looked

0:53:31.000 --> 0:53:34.399
<v Speaker 1>at the molecular mechanism behind root regeneration to figure out

0:53:34.400 --> 0:53:37.400
<v Speaker 1>exactly what's going on, because prior to this there was

0:53:37.480 --> 0:53:39.400
<v Speaker 1>you know, there was definitely some strong theories, but the

0:53:39.480 --> 0:53:43.880
<v Speaker 1>exact molecular mechanism was largely unknown. That study, published in

0:53:44.000 --> 0:53:48.000
<v Speaker 1>Plant and Sell Physiology, identified for the first time that

0:53:48.120 --> 0:53:52.000
<v Speaker 1>YUCA nine, one of the eleven Yucca genes involved in

0:53:52.200 --> 0:53:57.799
<v Speaker 1>oxen synthesis, plays a primary role in roots system regeneration. So,

0:53:57.880 --> 0:54:01.200
<v Speaker 1>oxen is a plant hormone which causes the elongation of

0:54:01.239 --> 0:54:04.719
<v Speaker 1>cells and shoots and is and is involved in regulating

0:54:04.800 --> 0:54:08.080
<v Speaker 1>plant growth. Now, to be clear, this particular study didn't

0:54:08.280 --> 0:54:11.120
<v Speaker 1>use Bond's eye trees, but they were part of the

0:54:11.120 --> 0:54:13.840
<v Speaker 1>title and even the cover art for this edition of

0:54:13.920 --> 0:54:17.040
<v Speaker 1>Plant and Sell Physiology has this beautiful photograph of a

0:54:17.080 --> 0:54:20.600
<v Speaker 1>Bond's eye on the cover. Okay, so root regeneration is

0:54:20.640 --> 0:54:24.160
<v Speaker 1>related to this gene that stimulates the production of this

0:54:24.280 --> 0:54:30.239
<v Speaker 1>hormone that causes cells to elongate. Um. And the elongation

0:54:30.280 --> 0:54:33.839
<v Speaker 1>of plant cells, by the way, is something that's very interesting. Uh,

0:54:33.840 --> 0:54:35.640
<v Speaker 1>And I think a lot of people don't appreciate how

0:54:35.719 --> 0:54:39.040
<v Speaker 1>much that comes in, even in things as mundane as cooking.

0:54:39.239 --> 0:54:41.880
<v Speaker 1>You know, when we think about body cells, we think

0:54:41.920 --> 0:54:44.560
<v Speaker 1>about cells that are I don't know, I mean, I

0:54:44.560 --> 0:54:46.480
<v Speaker 1>don't know what's the best way to think of them

0:54:46.480 --> 0:54:48.960
<v Speaker 1>in a three dimensional sense, but in the microscope slide

0:54:48.960 --> 0:54:51.040
<v Speaker 1>since you think of them is basically like round or

0:54:51.080 --> 0:54:54.920
<v Speaker 1>kind of like a little square fried egg. Right. Plant

0:54:54.920 --> 0:54:58.520
<v Speaker 1>cells can be very elongated. And this is one reason

0:54:58.640 --> 0:55:02.480
<v Speaker 1>that if say you're cutting an onion, uh, the direction

0:55:02.680 --> 0:55:05.600
<v Speaker 1>along which you cut the onion can make a big

0:55:05.640 --> 0:55:09.640
<v Speaker 1>difference in how much of the compounds that induced tears

0:55:09.680 --> 0:55:11.480
<v Speaker 1>are released when you're cutting the onions. So if you're

0:55:11.520 --> 0:55:15.440
<v Speaker 1>slicing an onion cross wise, UM, so you're going you know,

0:55:15.480 --> 0:55:18.719
<v Speaker 1>you're creating the rings. You tend to shear a lot

0:55:18.760 --> 0:55:21.960
<v Speaker 1>more cells because the cells are elongated from poll to

0:55:22.040 --> 0:55:25.040
<v Speaker 1>pull along the onion. So you're cutting more cells open,

0:55:25.120 --> 0:55:27.560
<v Speaker 1>releasing more of that juice. It's gonna make you cry more.

0:55:27.920 --> 0:55:29.759
<v Speaker 1>If you turn the onion around and you cut it

0:55:29.760 --> 0:55:32.960
<v Speaker 1>in the pole to pole direction, you're cutting parallel to

0:55:33.000 --> 0:55:36.840
<v Speaker 1>the elongated cells instead of across them. Fewer cells are ruptured,

0:55:36.960 --> 0:55:40.120
<v Speaker 1>less juice is released, and there's less crying. I don't

0:55:40.160 --> 0:55:42.719
<v Speaker 1>really have a problem crying while cutting onions, but I

0:55:43.120 --> 0:55:45.400
<v Speaker 1>definitely need to watch a video on cutting onions because

0:55:45.520 --> 0:55:50.279
<v Speaker 1>I know I'm doing it very incorrectly. I'm very slapdash

0:55:50.280 --> 0:55:52.640
<v Speaker 1>with my onion cutting, and this has been pointed out before.

0:55:52.920 --> 0:55:55.880
<v Speaker 1>I'll give you a trainer someday. Okay, I do a

0:55:55.960 --> 0:55:58.640
<v Speaker 1>lot of onion cutting. I wonder how many onions I've

0:55:58.640 --> 0:56:02.600
<v Speaker 1>cut up in my life, Like thousands? Yeah? Which which

0:56:02.600 --> 0:56:04.760
<v Speaker 1>color onion do you think you've cut the most off? Oh?

0:56:04.800 --> 0:56:08.960
<v Speaker 1>I guess regular yellow onions probably? Yeah, but do them all?

0:56:09.280 --> 0:56:12.080
<v Speaker 1>I like the purple onions, red onions, oh yeah, yeah,

0:56:12.560 --> 0:56:14.600
<v Speaker 1>those are really good for pickling. You'll ever make pickled

0:56:14.600 --> 0:56:17.920
<v Speaker 1>onions at home? Um? We have maybe have made some

0:56:18.000 --> 0:56:20.440
<v Speaker 1>like fridge pickles or sort of like I don't know,

0:56:20.640 --> 0:56:23.000
<v Speaker 1>bold pickles for recipes. I don't know what you call

0:56:23.040 --> 0:56:25.279
<v Speaker 1>that when you sort of you pickle something for an

0:56:25.280 --> 0:56:29.520
<v Speaker 1>hour or less. Yeah, not like full lacto fermentation, yeah,

0:56:29.600 --> 0:56:33.120
<v Speaker 1>just simple like vinegar pickling. Um. Yeah, yeah, yeah, that's great.

0:56:33.560 --> 0:56:36.200
<v Speaker 1>One of the one of the most versatile things you

0:56:36.239 --> 0:56:38.680
<v Speaker 1>can have in your kitchen is just just a nice

0:56:38.719 --> 0:56:41.120
<v Speaker 1>container of pickled onions. And red onions are great for that.

0:56:41.160 --> 0:56:44.000
<v Speaker 1>So you just make like a brine solutions like half water,

0:56:44.040 --> 0:56:46.759
<v Speaker 1>half vinegar, add some salt sugar if you want it,

0:56:46.840 --> 0:56:49.480
<v Speaker 1>and then pour boil that, pour it over some sliced

0:56:49.480 --> 0:56:53.200
<v Speaker 1>red onions and then put that on everything. All right, Well,

0:56:53.200 --> 0:56:54.520
<v Speaker 1>well there you haven't. I feel like we covered a

0:56:54.560 --> 0:56:56.040
<v Speaker 1>lot of a lot of ground in this episode, and

0:56:56.360 --> 0:56:58.600
<v Speaker 1>obviously we'd love to hear from everybody out there about

0:56:58.640 --> 0:57:03.480
<v Speaker 1>bonsai trees specifically, but also uh, dwarf trees in the

0:57:03.520 --> 0:57:09.160
<v Speaker 1>strange Fluoridian wilderness, onion cutting uh uh you know, all

0:57:09.200 --> 0:57:11.200
<v Speaker 1>of it is on the table. But yes, specifically, if

0:57:11.200 --> 0:57:14.640
<v Speaker 1>anybody out there has expertise with bonsai trees or uh

0:57:14.680 --> 0:57:16.680
<v Speaker 1>you know it has more more experience with them, we'd

0:57:16.720 --> 0:57:19.600
<v Speaker 1>love to hear from you. Uh, so please ride in

0:57:19.960 --> 0:57:23.160
<v Speaker 1>and uh and tell us all about it. Um. And

0:57:23.440 --> 0:57:26.920
<v Speaker 1>I do want to just yea remind everybody when when

0:57:27.000 --> 0:57:31.360
<v Speaker 1>it becomes safe to do so, I do recommend going

0:57:31.400 --> 0:57:33.680
<v Speaker 1>out and seeing some Bond's eyes in real life. You know,

0:57:33.720 --> 0:57:37.560
<v Speaker 1>if uh again, I saw them when I was in

0:57:37.840 --> 0:57:39.640
<v Speaker 1>I think I saw some of the San Diego Zoo,

0:57:39.680 --> 0:57:42.160
<v Speaker 1>and I saw some in the San Francisco somewhere, maybe

0:57:42.160 --> 0:57:45.880
<v Speaker 1>a botanical garden there. But they're all over, and wherever

0:57:45.920 --> 0:57:48.240
<v Speaker 1>you live, there's bound to be some place that will

0:57:48.280 --> 0:57:50.960
<v Speaker 1>be offering you a chance to view them in the

0:57:51.000 --> 0:57:53.440
<v Speaker 1>near future. In the meantime, if you would like to

0:57:53.560 --> 0:57:55.280
<v Speaker 1>check out other episodes of Stuff to Blow Your Mind,

0:57:55.400 --> 0:57:57.720
<v Speaker 1>you'll find the Stuff to Blow your Mind podcast feed

0:57:57.880 --> 0:58:00.560
<v Speaker 1>wherever you get your podcasts and where ever that happens

0:58:00.600 --> 0:58:03.160
<v Speaker 1>to be. We just asked you rate, review, and subscribe.

0:58:03.440 --> 0:58:06.240
<v Speaker 1>Huge thanks as always to our excellent audio producer Seth

0:58:06.320 --> 0:58:08.680
<v Speaker 1>Nicholas Johnson. If you would like to get in touch

0:58:08.720 --> 0:58:10.800
<v Speaker 1>with us with feedback on this episode or any other,

0:58:10.840 --> 0:58:13.160
<v Speaker 1>to suggest a topic for the future, or just to

0:58:13.240 --> 0:58:16.400
<v Speaker 1>say hi, you can email us at contact at stuff

0:58:16.440 --> 0:58:26.360
<v Speaker 1>to Blow your Mind dot com. Stuff to Blow Your

0:58:26.360 --> 0:58:29.320
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0:58:29.320 --> 0:58:32.480
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0:58:32.560 --> 0:58:46.160
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