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Help everyone explore
new worlds and ideas.
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Support your PBS station.
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DAVID EAGLEMAN: THE MOST COMPLEX
THING WE'VE DISCOVERED
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00:00:11,233 --> 00:00:16,033
IN THE UNIVERSE
IS THE HUMAN BRAIN.
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FOR THE PAST 20 YEARS,
I'VE BEEN TRYING TO UNDERSTAND
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HOW WHAT HAPPENS IN 3 POUNDS
OF JELL-O-LIKE MATERIAL
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SOMEHOW BECOMES US.
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WHAT WE FEEL,
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WHAT MATTERS TO US,
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00:00:36,633 --> 00:00:38,800
OUR BELIEFS, AND OUR HOPES--
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EVERYTHING WE ARE
HAPPENS IN HERE...
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AND, FOR ME,
THERE'S ONE MYSTERY
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THAT'S ABSOLUTELY FUNDAMENTAL--
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WHAT IS REALITY?
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WHAT IF I TOLD YOU THAT
THIS WORLD AROUND US,
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THIS RICHLY TEXTURED WORLD,
WERE ALL JUST AN ILLUSION
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00:01:03,200 --> 00:01:05,700
CONSTRUCTED IN YOUR HEAD?
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WHAT IF I SAID
THAT THE REAL WORLD
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HAS NO SMELL OR TASTE,
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NO SOUND?
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[SILENCE]
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WHAT IF I SAID
THERE'S NO COLOR?
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IF YOU COULD PERCEIVE REALITY
AS IT REALLY IS OUT THERE,
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YOU WOULDN'T
RECOGNIZE IT AT ALL.
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I WANT TO SHOW YOU HOW THE BRAIN
TAKES IN INFORMATION,
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SIFTS THROUGH IT
TO FIND PATTERNS,
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AND USES IT TO BUILD
THE MULTISENSORY,
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TECHNICOLOR SHOW
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THAT IS YOUR REALITY.
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WHEN I'M IN THE WORLD,
MY SENSES ARE FLOODED
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WITH SIGHTS AND SOUNDS
AND SMELLS,
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AND IT SEEMS OBVIOUS
THAT REALITY IS JUST OUT THERE.
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THERE'S A PERSON. THERE'S A CAB.
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ALL I HAVE TO DO IS SHOW UP,
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AND MY SENSES LET ME
EXPERIENCE IT ALL...
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BUT THERE'S A TWIST
TO THIS STORY.
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LET ME SHOW YOU SOMETHING.
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SO TAKE A LOOK
AT THIS MIDDLE SQUARE HERE.
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DOES THAT LOOK MORE SIMILAR
TO THE LIGHT SQUARE OR THE DARK?
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WELL, IT LOOKS LIKE
A LIGHT SQUARE, YEAH?
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YOU MIGHT BE SURPRISED
IF I MOVE IT.
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NOW IT LOOKS LIKE A DARK SQUARE.
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OH, MY GOD,
IT IS THE SAME.
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WOMAN: OH.
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IT'S SURPRISING,
RIGHT?
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HA HA HA! IT IS.
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WOMAN:
AH! OH, MY GOODNESS.
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WOW.
YOU'RE BA--HA HA HA!
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SERIOUSLY?
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YEAH. HA HA HA!
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DO YOU HAVE A GUESS AS TO
WHY THERE'S AN ILLUSION HERE?
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WELL, IT SEEMS LIKE
THERE'S A SHADOW,
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SO IT MAKES
THIS DARKER.
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THAT'S EXACTLY RIGHT.
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YOUR BRAIN IS TRYING TO
UNDERSTAND THE COLORS OF THINGS
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IRRESPECTIVE OF
THE LIGHTING OR THE SHADOWS,
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SO SOMEHOW IT'S NOT ABOUT
WHAT'S HITTING YOUR EYES.
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IT'S ABOUT YOUR BRAIN'S
INTERPRETATION.
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THAT'S
REALLY TRIPPY.
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YOU'VE JUST MESSED UP
MY WHOLE DAY.
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HA HA HA!
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EAGLEMAN:
NOW, THIS IS ABOUT MORE
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THAN JUST A VISUAL ILLUSION.
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IT'S ABOUT A FACT
THAT'S CENTRAL TO OUR LIVES.
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OUR PERCEPTION OF REALITY
HAS LESS TO DO
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WITH WHAT'S HAPPENING OUT THERE
AND MORE TO DO
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WITH WHAT'S HAPPENING IN HERE.
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[CREAKING]
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TO UNDERSTAND WHAT'S GOING ON,
WE FIRST NEED TO KNOW
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HOW INFORMATION FROM THE WORLD
AROUND US GETS INTO THE BRAIN.
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IT FEELS AS IF SIGHTS AND SOUNDS
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JUST STREAM IN THROUGH OUR EYES
AND OUR EARS,
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BUT IMAGINE IF YOU COULD CLIMB
INSIDE A HUMAN SKULL.
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WHEN YOU STEP INTO THE SKULL,
YOU'LL FIND THERE'S NO WAY
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FOR LIGHT OR SOUND OR SMELLS
TO GET DIRECTLY IN HERE.
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THIS IS A SEALED CHAMBER...
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SO THE BRAIN SITS IN DARKNESS
AND IN SILENCE.
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IT'S IN TOTAL ISOLATION.
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YOUR BRAIN'S NEVER SEEN
THE OUTSIDE WORLD,
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BUT SOMEHOW YOU EXPERIENCE IT.
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NOW, THIS MIGHT SEEM
STRAIGHTFORWARD
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BECAUSE WE HAVE PORTALS
TO THE OUTSIDE WORLD,
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LIKE YOUR EYES AND EARS,
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BUT THESE AREN'T JUST PIPING IN
SIGHTS AND SOUNDS.
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INSTEAD, PHOTONS OF LIGHT
OR AIR COMPRESSION WAVES,
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00:05:04,133 --> 00:05:07,133
THESE ARE GETTING CONVERTED
INTO THE COMMON CURRENCY
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OF THE BRAIN--
ELECTROCHEMICAL SIGNALS.
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THESE SIGNALS TRAVEL
THROUGH DENSE NETWORKS
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OF BRAIN CELLS CALLED NEURONS.
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THERE ARE A HUNDRED BILLION
NEURONS IN THE HUMAN BRAIN,
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AND IN EVERY SECOND
OF YOUR LIFE,
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EACH ONE OF THESE IS SENDING
TENS OR HUNDREDS
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OF ELECTRICAL PULSES
TO THOUSANDS OF OTHER NEURONS,
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AND SOMEHOW ALL OF THIS ACTIVITY
PRODUCES YOUR SENSE OF REALITY,
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SO WHETHER
IT'S THE BARK OF A DOG
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OR THE SMELL OF COFFEE
OR A VIEW OF A BEAUTIFUL SUNSET,
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IT'S ALL MADE
OF THE SAME STUFF IN HERE,
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AND THIS IS THE STUFF
OF REALITY...
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00:06:03,667 --> 00:06:07,667
BUT HOW DOES THE BRAIN TURN IT
INTO SOMETHING MEANINGFUL?
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WELL, IT DOES IT BY SIFTING
THROUGH THE NONSTOP STREAM
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OF INCOMING DATA
TO FIND PATTERNS
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WHICH IT THEN ASSEMBLES
INTO A REALITY.
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IT'S AN OPERATION
WHICH IS THE PRODUCT
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OF MILLIONS OF YEARS
OF EVOLUTION,
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SO EFFICIENT, SO POWERFUL
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THAT ITS WORK SEEMS EFFORTLESS
AND INSTANTANEOUS.
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TAKE AS AN EXAMPLE SIGHT.
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THE ACT OF SEEING
FEELS SO NATURAL
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THAT IT'S HARD TO APPRECIATE
THE VAST,
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SOPHISTICATED MACHINERY
RUNNING UNDER THE HOOD.
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FOR US TO SEE CLEARLY,
MANY DIFFERENT SYSTEMS
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NEED TO BE OPERATING IN CONCERT.
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IT'S ABOUT MORE
THAN JUST THE EYES.
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THE BEST WAY TO UNDERSTAND THIS
IS TO LOOK
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AT THE EXTRAORDINARY CASE
OF A MAN WHO LOST HIS SIGHT...
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AND THEN WAS GIVEN THE CHANCE
TO GET IT BACK.
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MAN: I LOST MY SIGHT
WHEN I WAS 3 1/2 YEARS OLD
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AS THE RESULT
OF A CHEMICAL EXPLOSION,
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AND ODDLY, IT DIDN'T SEEM
LIKE IT WAS A BIG DEAL.
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I GUESS AS A 3 1/2-YEAR-OLD,
MY WORLD ACCORDING TO VISION
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WAS NOT AS WELL-ESTABLISHED
AS IT WOULD BE FOR SOMEBODY
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WHO LOST THEIR VISION
LATER IN LIFE.
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EAGLEMAN, VOICE-OVER: AFTER OVER
40 YEARS OF BLINDNESS,
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MIKE MAY HAD PIONEERING
STEM CELL TREATMENT
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THAT WOULD REPAIR
THE PHYSICAL DAMAGE
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THAT THE EXPLOSION
CAUSED TO HIS EYES.
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CAMERAS WERE THERE
TO WITNESS THE MOMENT
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WHEN, FOR THE FIRST TIME,
THE BANDAGES CAME OFF.
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MAY, VOICE-OVER: DR. GOODMAN
DOES THE CORNEA TRANSPLANT...
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00:08:02,533 --> 00:08:05,267
AND HE PEELS BACK THE BANDAGES.
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SURE CAN.
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HE GETS THEM ALL THE WAY OFF,
AND THERE'S THIS WHOOSH
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OF LIGHT AND BOMBARDING
OF IMAGES ONTO MY EYE.
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HOLY SMOKE.
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EAGLEMAN, VOICE-OVER:
IN SURGICAL TERMS,
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THE OPERATION
WAS A TOTAL SUCCESS...
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WHAT'S ACROSS THE ROOM
OVER HERE?
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EAGLEMAN, VOICE-OVER:
BUT TO MIKE, IT WASN'T.
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THERE WAS SOMETHING WRONG.
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ALL OF A SUDDEN,
YOU TURN ON THIS FLOOD
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OF VISUAL INFORMATION,
IT'S OVERWHELMING.
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MY BRAIN, IT'S JUST GOING,
"OH, MY GOSH"...
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SO THAT'S HOW
THE WORLD PROCEEDED,
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ONE IMAGE AT A TIME,
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SEEING CARS AS THEY WHIZZED BY,
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AND THEN I WOULD SEE
A SIGN AHEAD OF US,
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AND IT LOOKED LIKE WE WERE
GONNA SMACK RIGHT INTO IT,
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00:08:57,933 --> 00:09:00,667
AND, IN FACT, IT'S A SIGN
OVER THE FREEWAY,
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00:09:00,767 --> 00:09:04,167
AND WE'RE NOT GONNA RUN
INTO IT--WE'RE GOING UNDER IT--
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AND THAT WAS ONLY
THE FIRST HOUR.
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EAGLEMAN: IT WAS GOING
TO GET WORSE WHEN MIKE GOT HOME.
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MAY: IF YOU PUT
4 BLOND BOYS TOGETHER,
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ALL ROUGHLY THE SAME HEIGHT,
AND I LOOKED AT THEM,
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I COULDN'T TELL YOU
WHICH TWO WERE MINE.
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DON'T GO AWAY.
I'M NOT FINISHED LOOKING AT YOU.
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EAGLEMAN, VOICE-OVER: MIKE'S NEW
EYES WERE FUNCTIONING PERFECTLY,
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AND THEY WERE SENDING SIGNALS
TO THE BRAIN
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JUST LIKE YOURS OR MINE DO,
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00:09:30,467 --> 00:09:35,633
BUT HE COULDN'T SEE HIS SONS
IN ANY MEANINGFUL WAY.
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00:09:35,733 --> 00:09:39,600
I HAD NO FACE RECOGNITION
WHATSOEVER, NONE.
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EAGLEMAN, VOICE-OVER:
WHEN HE'D BEEN TOTALLY BLIND,
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MIKE WAS A PARALYMPIC SKIER,
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00:09:45,533 --> 00:09:49,633
BUT HIS FIRST SIGHTED ATTEMPT AT
SKIING WAS A COMPLETE FAILURE.
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MAY, VOICE-OVER: WHEN I SKIED
FOR THE FIRST TIME,
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00:09:52,633 --> 00:09:55,267
BECAUSE OF MY DEPTH PERCEPTION
DIFFICULTY,
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I HAD NO TIME TO FIGURE OUT THE
DIFFERENCE BETWEEN 4 DARK THINGS
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ON THE WHITE SNOW--A PERSON,
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A TREE,
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SHADOW,
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OR A HOLE.
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EAGLEMAN, VOICE-OVER:
10 YEARS ON,
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00:10:19,233 --> 00:10:22,200
MIKE STILL NEEDS HIS GUIDE DOG
TO GET AROUND.
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00:10:22,300 --> 00:10:27,267
HE CAN DETECT LIGHT AND MOTION
AND IDENTIFY COLORS,
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00:10:27,367 --> 00:10:31,367
BUT HE STRUGGLES TO GAUGE
HOW FAR AWAY THINGS ARE.
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00:10:31,467 --> 00:10:36,000
HE STILL CAN'T READ THE
EXPRESSIONS ON HIS SON'S FACES.
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00:10:36,100 --> 00:10:38,633
HE STILL CAN'T READ
WORDS ON A PAGE.
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00:10:42,400 --> 00:10:46,167
WHAT MIKE'S STORY GIVES US
IS A GLIMPSE OF ALL THE ELEMENTS
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THAT HAVE TO BE IN PLACE
FOR THE BRAIN
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00:10:48,333 --> 00:10:51,433
TO CONSTRUCT A VISUAL REALITY.
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00:10:52,833 --> 00:10:56,767
MANY REGIONS OF THE BRAIN
ARE INVOLVED IN VISION.
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00:10:56,867 --> 00:10:59,300
THEY SPECIALIZE
IN DIFFERENT ASPECTS,
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00:10:59,400 --> 00:11:05,133
SUCH AS MOTION, EDGES,
COLORS, FACE RECOGNITION.
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00:11:05,233 --> 00:11:08,067
SOMEHOW THE BRAIN
WEAVES ALL OF THIS TOGETHER,
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00:11:08,167 --> 00:11:12,800
UNIFIES IT TO FORM
WHAT WE EXPERIENCE AS AN IMAGE.
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00:11:14,067 --> 00:11:16,567
IN MIKE'S CASE,
DECADES OF BLINDNESS
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00:11:16,667 --> 00:11:19,400
CAUSED THESE REGIONS
OF HIS BRAIN TO BE TAKEN OVER
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00:11:19,500 --> 00:11:22,600
FOR OTHER TASKS,
LIKE HEARING AND TOUCH.
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00:11:22,700 --> 00:11:26,067
THEY JUST WEREN'T AVAILABLE
FOR HIM TO USE,
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00:11:26,167 --> 00:11:29,433
EVEN WHEN HE WAS GIVEN
A PAIR OF NEW EYES.
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00:11:39,267 --> 00:11:42,867
WE OFTEN GET OUR BEST VIEW
OF HOW THE BRAIN OPERATES
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00:11:42,967 --> 00:11:45,533
WHEN THAT OPERATION
IS DISRUPTED.
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00:11:48,000 --> 00:11:50,400
HEY, BRIAN.
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00:11:50,500 --> 00:11:51,467
HEY.
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00:11:51,567 --> 00:11:53,300
EAGLEMAN, VOICE-OVER:
THAT'S WHY NEUROSCIENTISTS
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00:11:53,400 --> 00:11:56,567
SOMETIMES DISRUPT THINGS
DELIBERATELY.
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00:11:57,533 --> 00:12:01,100
BRIAN IS PART OF AN EXPERIMENT
BEING CONDUCTED
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00:12:01,200 --> 00:12:03,400
BY ALYSSA BREWER
AT THE UNIVERSITY OF CALIFORNIA.
198
00:12:03,500 --> 00:12:04,233
NICE TO MEET YOU.
199
00:12:04,333 --> 00:12:05,467
SO GOOD TO SEE YOU.
WELCOME.
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00:12:05,567 --> 00:12:06,800
YOU READY TO TRY
SOME GOGGLES ON TODAY?
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00:12:06,900 --> 00:12:08,100
OH, I'M READY.
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00:12:08,200 --> 00:12:10,000
EAGLEMAN, VOICE-OVER:
VOLUNTEERS WEAR THESE GOGGLES
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00:12:10,100 --> 00:12:11,400
FOR WEEKS AT A TIME.
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00:12:11,500 --> 00:12:15,167
THEIR BRAINS ARE FORCED TO COPE
WITH A NEW VIEW OF THE WORLD
205
00:12:15,267 --> 00:12:16,500
THAT'S DRAMATICALLY ALTERED.
206
00:12:16,600 --> 00:12:19,467
BREWER: WHAT THESE HAVE INSIDE
ARE TWO PRISMS
207
00:12:19,567 --> 00:12:21,600
THAT TAKE THE WHOLE VISUAL WORLD
AND FLIP IT
208
00:12:21,700 --> 00:12:23,533
SO WHATEVER YOU SEE NORMALLY
IN THE LEFT SIDE OF THE WORLD
209
00:12:23,633 --> 00:12:25,800
WILL NOW BE ON THE RIGHT SIDE
OF THE WORLD,
210
00:12:25,900 --> 00:12:27,433
SO AS YOU MOVE
THROUGH THE WORLD,
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00:12:27,533 --> 00:12:29,900
YOU'RE GOING TO HAVE A PROBLEM
FIGURING OUT WHERE THINGS ARE
212
00:12:30,000 --> 00:12:31,400
AS YOU SEE THEM IN ONE SIDE
213
00:12:31,500 --> 00:12:33,600
BUT REACH FOR THEM
ON THE OPPOSITE SIDE.
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00:12:33,700 --> 00:12:36,633
EAGLEMAN, VOICE-OVER: WHAT
THE WORLD LOOKS LIKE IS THIS,
215
00:12:36,733 --> 00:12:41,300
BUT WHAT I'M SEEING...IS THIS.
216
00:12:41,400 --> 00:12:43,167
IT'S A STRAIGHTFORWARD CHANGE,
217
00:12:43,267 --> 00:12:46,033
BUT IT'S ALSO
A MASSIVE MIND MASH.
218
00:12:48,700 --> 00:12:52,200
THE VISUAL DATA STREAMING IN
THROUGH MY EYES
219
00:12:52,300 --> 00:12:55,133
NO LONGER MAKES
ANY INTUITIVE SENSE,
220
00:12:55,233 --> 00:12:57,767
AND I'M STRUGGLING.
221
00:12:57,867 --> 00:12:59,333
BREWER: HA HA!
222
00:12:59,433 --> 00:13:03,567
SO, YEAH, BECAUSE THE WORLD
IS LEFT-RIGHT FLIPPED, UM,
223
00:13:03,667 --> 00:13:06,533
I--I KNOW COGNITIVELY
I'M SUPPOSED TO REACH OUT
224
00:13:06,633 --> 00:13:08,200
IN THE OTHER DIRECTION,
BUT, OF COURSE, I'VE HAD
225
00:13:08,300 --> 00:13:10,200
A LIFETIME OF TRAINING
TELLING ME TO REACH OUT
226
00:13:10,300 --> 00:13:12,400
IN A--IN A PARTICULAR
DIRECTION,
227
00:13:12,500 --> 00:13:14,800
SO I FEEL LIKE
THIS IS GONNA TAKE
228
00:13:14,900 --> 00:13:16,333
A LITTLE
GETTING USED TO.
229
00:13:16,433 --> 00:13:18,500
BREWER: CAN YOU SEE MY HAND
IN YOUR VISUAL FIELD?
230
00:13:18,600 --> 00:13:20,900
YEP, SO IT LOOKS LIKE IF
I REACH OUT THIS WAY--
231
00:13:21,000 --> 00:13:24,100
AND THIS WAY.
HA HA HA!
232
00:13:24,200 --> 00:13:26,867
EAGLEMAN, VOICE-OVER:
EVEN THOUGH I'M CONSCIOUSLY
233
00:13:26,967 --> 00:13:28,967
TRYING TO GET IT RIGHT...
234
00:13:29,067 --> 00:13:31,233
LOOK OVER HERE. OK.
HA HA!
235
00:13:31,333 --> 00:13:33,567
EAGLEMAN, VOICE-OVER:
I CAN'T HELP BUT RESPOND
236
00:13:33,667 --> 00:13:35,700
IN A CERTAIN WAY.
237
00:13:35,800 --> 00:13:38,967
AND OVER HERE.
HA HA HA!
238
00:13:39,067 --> 00:13:40,800
HA HA!
HA HA HA!
239
00:13:40,900 --> 00:13:42,333
THERE YOU GO.
VERY GOOD. HA HA!
240
00:13:42,433 --> 00:13:44,400
WELCOME TO
THE PRISM WORLD.
241
00:13:44,500 --> 00:13:45,600
YES.
242
00:13:45,700 --> 00:13:49,333
EAGLEMAN, VOICE-OVER: OF COURSE,
THIS IS ALL NEW TO ME,
243
00:13:49,433 --> 00:13:52,433
BUT BRIAN'S BEEN WEARING
HIS GOGGLES FOR A WEEK,
244
00:13:52,533 --> 00:13:57,300
SO HOW WELL
HAS HIS BRAIN ADAPTED?
245
00:14:01,333 --> 00:14:02,367
BREWER: IT'S VERY
DIFFICULT TO FIGURE OUT
246
00:14:02,467 --> 00:14:05,067
WHICH WAY TO GO,
AND SO HIS MOTOR SYSTEM
247
00:14:05,167 --> 00:14:07,333
AND HIS FEELING OF TOUCH
ARE SENDING HIM
248
00:14:07,433 --> 00:14:09,033
ONE DIRECTION
WHILE HIS VISUAL SYSTEM
249
00:14:09,133 --> 00:14:11,367
IS SENDING HIM
THE OTHER DIRECTION.
250
00:14:21,700 --> 00:14:24,933
EAGLEMAN, VOICE-OVER:
BRIAN'S DOING WELL,
251
00:14:25,033 --> 00:14:27,433
UNLIKE ME.
252
00:14:28,600 --> 00:14:32,533
I HAVE TO CONSCIOUSLY
RECONSTRUCT MY REALITY.
253
00:14:32,633 --> 00:14:36,900
THIS MORNING, MY BRAIN COULD
RELY ON AUTOMATED INTERACTIONS,
254
00:14:37,000 --> 00:14:40,167
BUT NOW IT CAN'T.
255
00:14:40,267 --> 00:14:41,633
INTERESTINGLY,
I'VE BROKEN OUT IN A SWEAT,
256
00:14:41,733 --> 00:14:46,200
AND I'M HOT, AND I'M SUPER DIZZY
AND NAUSEATED.
257
00:14:46,300 --> 00:14:48,067
OH, YOU KNOW,
I GOT TO TAKE A BREAK.
258
00:14:48,167 --> 00:14:49,167
I'M SO SORRY.
259
00:14:49,267 --> 00:14:50,633
I GOT TO TAKE THESE OFF
FOR A SECOND.
260
00:14:50,733 --> 00:14:54,000
IS THAT OK?
OH, WHEW.
261
00:14:54,100 --> 00:14:57,233
BOY, THAT IS
REALLY NAUSEATING.
262
00:14:57,333 --> 00:15:00,033
BREWER: WE'RE GOING TO GO
DOWN THE MAZE DOWN HERE
263
00:15:00,133 --> 00:15:02,400
AND SEE HOW YOU GUYS DO
NAVIGATING YOUR WAY
264
00:15:02,500 --> 00:15:05,033
THROUGH A SPATIAL
MAP THAT'S--
265
00:15:05,133 --> 00:15:06,033
DAVID, YOU'RE GOING
TO START OUT
266
00:15:06,133 --> 00:15:07,333
GOING FORWARD
THIS WAY...
267
00:15:07,433 --> 00:15:08,200
OK.
268
00:15:08,300 --> 00:15:09,700
AND, BRIAN,
YOU'RE GOING TO--
269
00:15:09,800 --> 00:15:11,033
OOF. GOD.
HA HA HA!
270
00:15:11,133 --> 00:15:14,333
I'M JUST TRYING
TO GET MY HEAD START.
271
00:15:14,433 --> 00:15:17,500
EAGLEMAN, VOICE-OVER: SO HOW
DO I GET AS GOOD AS BRIAN?
272
00:15:18,967 --> 00:15:22,167
WELL, IT HAPPENS INTUITIVELY.
273
00:15:24,233 --> 00:15:26,267
JUST LOOK AT MY HANDS.
274
00:15:26,367 --> 00:15:30,700
I CROSS-REFERENCE WHAT I SEE
WITH WHAT I CAN TOUCH.
275
00:15:32,267 --> 00:15:35,533
IN FACT, ALL MY SENSES
COME INTO PLAY.
276
00:15:35,633 --> 00:15:39,633
THIS IS WHAT BRIAN'S BEEN DOING
FOR THE LAST 7 DAYS...
277
00:15:44,567 --> 00:15:47,933
AND THE RESULT IS THAT HIS BRAIN
IS NOW STARTING
278
00:15:48,033 --> 00:15:52,567
TO DECODE THAT NEW VISUAL INPUT
AUTOMATICALLY.
279
00:15:56,067 --> 00:15:58,700
BRIAN'S NOT SIMPLY
GETTING BETTER
280
00:15:58,800 --> 00:16:00,900
AT MAKING CONSCIOUS ADJUSTMENTS.
281
00:16:01,000 --> 00:16:03,533
HIS WHOLE REALITY IS CHANGING.
282
00:16:13,833 --> 00:16:15,800
NOW, IF YOU
TAKE THOSE SUBJECTS
283
00:16:15,900 --> 00:16:17,300
AND PUT GOGGLES ON THEM
FOR TWO WEEKS,
284
00:16:17,400 --> 00:16:19,200
WE FIND THAT IT TAKES
ABOUT A WEEK
285
00:16:19,300 --> 00:16:21,267
TO START
BEHAVING NORMALLY.
286
00:16:21,367 --> 00:16:24,067
THEY START BEING ABLE
TO, UH, FIGURE OUT
287
00:16:24,167 --> 00:16:25,567
HOW TO INTERACT
WITH THE WORLD.
288
00:16:25,667 --> 00:16:27,200
THEY'RE CONSTRUCTING
A NEW REALITY AROUND THEM,
289
00:16:27,300 --> 00:16:30,033
A NEW WAY OF DEALING WITH
THESE INCOMING PERCEPTIONS,
290
00:16:30,133 --> 00:16:31,867
AND THEY SAY THAT
INITIALLY, THEY CAN TELL
291
00:16:31,967 --> 00:16:33,067
THERE'S A NEW LEFT,
AN OLD LEFT
292
00:16:33,167 --> 00:16:37,067
AND NEW RIGHT
AND OLD RIGHT.
293
00:16:37,167 --> 00:16:38,933
BY ABOUT A WEEK IN,
THEY EVEN LOSE THE CONCEPT
294
00:16:39,033 --> 00:16:40,833
OF WHICH RIGHT AND LEFT
WERE THE OLD ONES
295
00:16:40,933 --> 00:16:42,133
AND THE NEW ONES,
SO IT'S LIKE
296
00:16:42,233 --> 00:16:44,200
THEIR WHOLE SPATIAL MAP
OF THE WORLD IS ALTERING,
297
00:16:44,300 --> 00:16:46,200
AND BY TWO WEEKS IN,
THEY WILL WRITE WELL,
298
00:16:46,300 --> 00:16:48,933
READ WITHOUT A PROBLEM,
DO ALL OF OUR WALKING TASKS
299
00:16:49,033 --> 00:16:51,067
AND REACHING TASKS,
UM, AND THEN WHEN THEY
300
00:16:51,167 --> 00:16:53,133
REMOVE THE GOGGLES,
IT ACTUALLY TAKES THEM
301
00:16:53,233 --> 00:16:54,933
ABOUT A DAY TO GO BACK
TO NORMAL BEHAVIOR.
302
00:16:55,033 --> 00:16:58,167
WHAT THIS EXPOSES FOR ME
IS HOW MUCH EFFORT
303
00:16:58,267 --> 00:17:00,400
THE BRAIN GOES THROUGH
TO CONSTRUCT OUR WORLD
304
00:17:00,500 --> 00:17:03,433
BECAUSE NORMALLY,
YOU'RE WALKING
305
00:17:03,533 --> 00:17:05,133
THROUGH THE WORLD,
AND IT FEELS LIKE
306
00:17:05,233 --> 00:17:08,833
THERE'S REALITY
OUT THERE, BUT, IN FACT,
307
00:17:08,933 --> 00:17:11,033
THERE'S SO MUCH
WORK HAPPENING
308
00:17:11,133 --> 00:17:13,667
BEHIND THE SCENES
TO ALLOW
309
00:17:13,767 --> 00:17:16,000
THAT REALITY
TO HAPPEN.
310
00:17:16,100 --> 00:17:17,933
EAGLEMAN, VOICE-OVER:
SEEING REQUIRES
311
00:17:18,033 --> 00:17:20,233
AN INTENSIVE TRAINING PROGRAM,
312
00:17:20,333 --> 00:17:23,967
BUT NEW RECRUITS COME ON BOARD
EVERY DAY.
313
00:17:24,067 --> 00:17:27,200
WE CALL THEM BABIES.
314
00:17:29,300 --> 00:17:32,200
WHEN BABIES REACH OUT TO TOUCH
WHAT'S IN FRONT OF THEM,
315
00:17:32,300 --> 00:17:35,000
THEY'RE NOT JUST LEARNING
WHAT AN OBJECT FEELS LIKE.
316
00:17:35,100 --> 00:17:38,100
THEY'RE LEARNING HOW TO SEE.
317
00:17:38,200 --> 00:17:41,200
THEY'RE ESTABLISHING
PATHWAYS IN THE BRAIN
318
00:17:41,300 --> 00:17:44,133
THAT'LL BE USED
FOR THE REST OF THEIR LIVES.
319
00:17:45,167 --> 00:17:49,467
BECAUSE VISION
IS A WHOLE-BODY EXPERIENCE...
320
00:17:51,800 --> 00:17:54,000
THE DATA COMING IN FROM OUR EYES
321
00:17:54,100 --> 00:17:58,333
ONLY MEANS SOMETHING
IF WE CAN CROSS-REFERENCE IT.
322
00:18:00,367 --> 00:18:03,333
IF, FROM BIRTH, YOU WEREN'T ABLE
TO INTERACT WITH THE WORLD,
323
00:18:03,433 --> 00:18:05,367
IF YOU COULDN'T WORK OUT
THROUGH FEEDBACK
324
00:18:05,467 --> 00:18:08,300
WHAT THE SENSORY
INFORMATION MEANT,
325
00:18:08,400 --> 00:18:12,567
IN THEORY, YOU'D NEVER
BE ABLE TO SEE.
326
00:18:14,933 --> 00:18:19,767
THIS CROSS-REFERENCING DOESN'T
STOP WHEN WE'RE FULLY GROWN.
327
00:18:22,900 --> 00:18:25,733
IT CONTINUES
THROUGHOUT OUR LIVES.
328
00:18:28,000 --> 00:18:32,133
WHAT WE TOUCH
INFLUENCES HOW WE SEE.
329
00:18:35,100 --> 00:18:38,833
TASTE IS AFFECTED
BY OUR SENSE OF SMELL.
330
00:18:38,933 --> 00:18:43,233
OUR SIGHT INFORMS HOW WE HEAR.
331
00:18:44,400 --> 00:18:47,333
OUR SENSES DEPEND
ON EACH OTHER,
332
00:18:47,433 --> 00:18:52,633
AND OUR REALITY IS BUILT BY
COMPARING THESE STREAMS OF DATA.
333
00:18:53,733 --> 00:18:56,000
WHEN THEY'RE WOVEN TOGETHER,
334
00:18:56,100 --> 00:18:59,467
WE GET OUR PERCEPTION
OF THIS MOMENT.
335
00:19:01,367 --> 00:19:04,333
IT'S AN ASTONISHING FEAT
TO PULL OFF,
336
00:19:04,433 --> 00:19:09,267
BUT THERE'S ONE FACTOR
WHICH REALLY ADDS COMPLICATION--
337
00:19:09,367 --> 00:19:11,333
TIMING.
338
00:19:13,300 --> 00:19:16,267
ALL THOSE STREAMS
OF SENSORY DATA
339
00:19:16,367 --> 00:19:19,733
ARE PROCESSED BY THE BRAIN
AT DIFFERENT SPEEDS.
340
00:19:19,833 --> 00:19:22,600
FOR OUR REALITY
TO BE CONSTRUCTED,
341
00:19:22,700 --> 00:19:24,667
THEY HAVE TO BE SYNCHRONIZED.
342
00:19:26,900 --> 00:19:28,767
WHAT DO I MEAN
BY THIS?
343
00:19:28,867 --> 00:19:30,267
WELL, THE EASIEST WAY
FOR ME TO SHOW YOU
344
00:19:30,367 --> 00:19:33,633
IS RIGHT HERE
ON A RACETRACK.
345
00:19:33,733 --> 00:19:35,767
GET SET.
346
00:19:37,400 --> 00:19:39,533
EAGLEMAN, VOICE-OVER:
WHEN THERE'S A LOUD SOUND,
347
00:19:39,633 --> 00:19:42,700
IT FEELS AS THOUGH YOU
REACT TO IT INSTANTLY...
348
00:19:45,167 --> 00:19:47,300
BUT YOU DON'T.
349
00:19:53,067 --> 00:19:55,833
WATCHING SPRINTERS
IN SLOW MOTION,
350
00:19:55,933 --> 00:19:57,967
WE CAN SEE THAT THERE'S A GAP
351
00:19:58,067 --> 00:20:01,533
BETWEEN THE GUN GOING OFF
AND THEIR START.
352
00:20:07,167 --> 00:20:11,200
THEY MAY TRAIN TO MAKE THIS GAP
AS SMALL AS POSSIBLE,
353
00:20:11,300 --> 00:20:14,867
BUT THEIR BIOLOGY
IMPOSES LIMITS.
354
00:20:14,967 --> 00:20:17,233
PROCESSING THAT SOUND,
355
00:20:17,333 --> 00:20:20,400
THEN SENDING OUT SIGNALS
TO THE MUSCLES TO MOVE
356
00:20:20,500 --> 00:20:23,400
WILL TAKE AROUND
2/10 OF A SECOND...
357
00:20:25,967 --> 00:20:28,400
[GUNSHOT]
358
00:20:29,433 --> 00:20:32,633
AND THAT TIME
REALLY CAN'T BE IMPROVED ON.
359
00:20:36,067 --> 00:20:39,267
IN A SPORT WHERE THOUSANDTHS OF
A SECOND CAN BE THE DIFFERENCE
360
00:20:39,367 --> 00:20:43,733
BETWEEN WINNING AND LOSING,
IT SEEMS SURPRISINGLY SLOW...
361
00:20:46,633 --> 00:20:49,400
SO WHY DO WE USE A PISTOL
TO START SPRINTERS?
362
00:20:49,500 --> 00:20:52,833
EVERYONE KNOWS THAT LIGHT
TRAVELS FASTER THAN SOUND,
363
00:20:52,933 --> 00:20:55,567
SO WHY NOT USE A LIGHT?
364
00:20:57,733 --> 00:21:00,167
MAN: SET.
365
00:21:00,267 --> 00:21:02,633
EAGLEMAN, VOICE-OVER:
WE SET UP A TEST TO SHOW YOU.
366
00:21:02,733 --> 00:21:06,267
IN THE TOP SCREEN,
WE'RE TRIGGERED BY A LIGHT.
367
00:21:06,367 --> 00:21:09,433
IN THE BOTTOM SCREEN,
WE'RE TRIGGERED BY THE GUN.
368
00:21:12,067 --> 00:21:14,300
YOU CAN SEE THAT WHEN
OUR START IS TRIGGERED
369
00:21:14,400 --> 00:21:18,367
BY A FLASH OF LIGHT,
WE RESPOND MORE SLOWLY.
370
00:21:21,367 --> 00:21:26,267
IT TAKES 40 MILLISECONDS
LONGER TO PROCESS.
371
00:21:26,367 --> 00:21:28,300
WHY?
372
00:21:28,400 --> 00:21:32,400
BECAUSE THE VISUAL SYSTEM
IS MORE COMPLEX.
373
00:21:33,767 --> 00:21:35,000
IT'S BIGGER.
374
00:21:35,100 --> 00:21:37,533
IT INVOLVES ALMOST
A THIRD OF THE BRAIN,
375
00:21:37,633 --> 00:21:41,100
SO WHILE ALL OF THE ELECTRICAL
SIGNALS INSIDE THE BRAIN
376
00:21:41,200 --> 00:21:45,033
TRAVEL AT THE SAME SPEED,
THE ONES RELATED TO SIGHT
377
00:21:45,133 --> 00:21:48,133
GO THROUGH
MORE COMPLEX PROCESSING,
378
00:21:48,233 --> 00:21:50,567
AND THAT TAKES TIME...
379
00:21:54,700 --> 00:21:58,800
AND THIS ISN'T JUST
ABOUT HEARING AND SEEING.
380
00:21:58,900 --> 00:22:01,367
EVERY TYPE
OF SENSORY INFORMATION
381
00:22:01,467 --> 00:22:04,400
TAKES A DIFFERENT AMOUNT
OF TIME TO PROCESS.
382
00:22:07,167 --> 00:22:10,833
YOU'LL REACT SLOWER
TO A TOUCH ON THE FOOT
383
00:22:10,933 --> 00:22:13,367
THAN ONE ON THE HAND.
384
00:22:13,467 --> 00:22:14,567
[GUNSHOT]
385
00:22:14,667 --> 00:22:19,500
THE ASTONISHING THING IS THAT
OUR BRAINS HIDE ALL THIS.
386
00:22:23,600 --> 00:22:28,267
WHEN I CLAP MY HANDS,
EVERYTHING SEEMS SYNCHRONIZED.
387
00:22:28,367 --> 00:22:29,500
WHY?
388
00:22:29,600 --> 00:22:32,867
WELL, YOUR BRAIN IS PULLING OFF
FANCY EDITING TRICKS.
389
00:22:32,967 --> 00:22:37,300
WHAT IT TAKES TO BE REALITY
IS ACTUALLY A DELAYED VERSION.
390
00:22:37,400 --> 00:22:40,333
IT COLLECTS UP ALL
THE INFORMATION FROM THE SENSES
391
00:22:40,433 --> 00:22:44,000
BEFORE IT DECIDES ON A STORY
OF WHAT HAPPENED,
392
00:22:44,100 --> 00:22:47,333
AND THAT MEANS
YOU LIVE IN THE PAST.
393
00:22:47,433 --> 00:22:50,033
BY THE TIME YOU THINK
THE MOMENT NOW OCCURS,
394
00:22:50,133 --> 00:22:52,567
IT'S ALREADY LONG GONE.
395
00:22:52,667 --> 00:22:56,900
TO CONJURE A REALITY FROM
ALL THAT SENSORY INFORMATION,
396
00:22:57,000 --> 00:23:00,467
YOUR BRAIN NEEDS
AROUND HALF A SECOND.
397
00:23:01,733 --> 00:23:03,933
THAT'S THE UNBRIDGEABLE GAP
398
00:23:04,033 --> 00:23:06,033
BETWEEN AN EVENT OCCURRING,
399
00:23:06,133 --> 00:23:09,267
AND YOUR CONSCIOUS
EXPERIENCE OF IT.
400
00:23:10,667 --> 00:23:13,167
IN THAT HALF A SECOND,
401
00:23:13,267 --> 00:23:15,733
A LOT OF THINGS NEED TO HAPPEN.
402
00:23:20,233 --> 00:23:23,267
SOMETIMES IT'S EASY TO ASSUME
THAT THERE'S A SINGLE SPOT
403
00:23:23,367 --> 00:23:26,167
IN THE BRAIN THAT TAKES CARE
OF THIS OR THAT FUNCTION,
404
00:23:26,267 --> 00:23:31,000
LIKE AN AREA FOR MEMORY
OR GENEROSITY OR EMPATHY,
405
00:23:31,100 --> 00:23:33,200
BUT, IN FACT,
THE VAST NETWORKS OF THE BRAIN
406
00:23:33,300 --> 00:23:35,867
ARE SO MUCH MORE COMPLEX
THAN THAT.
407
00:23:35,967 --> 00:23:39,100
THINK OF THE BRAIN LIKE A CITY.
408
00:23:45,233 --> 00:23:48,700
IF YOU WERE TO LOOK OUT
OVER A CITY AND ASK,
409
00:23:48,800 --> 00:23:51,200
"WHERE IS THE ECONOMY LOCATED?"
410
00:23:51,300 --> 00:23:54,033
YOU'D SEE THAT THERE'S
NO SINGLE ANSWER TO THAT.
411
00:23:54,133 --> 00:23:56,367
INSTEAD, THE ECONOMY EMERGES
412
00:23:56,467 --> 00:24:00,600
AS AN INTERACTION
OF ALL THE ELEMENTS...
413
00:24:01,900 --> 00:24:05,000
AND SO IT IS WITH REALITY.
414
00:24:05,100 --> 00:24:07,300
THE RAW MATERIALS OF PERCEPTION
415
00:24:07,400 --> 00:24:10,500
ARE GATHERED
BY OUR SENSORY RECEPTORS.
416
00:24:12,900 --> 00:24:15,133
THEY'RE TURNED
INTO ELECTRICAL SIGNALS
417
00:24:15,233 --> 00:24:17,867
AND TRANSPORTED
AROUND OUR BRAINS
418
00:24:17,967 --> 00:24:21,033
ALONG SUPERHIGHWAYS OF NEURONS.
419
00:24:21,133 --> 00:24:25,167
PROCESSED,
THEY BECOME OUR REALITY.
420
00:24:26,533 --> 00:24:31,000
SOME PARTS OF BRAIN CITY
SPECIALIZE IN VISION.
421
00:24:31,100 --> 00:24:33,933
OTHER DISTRICTS
CARE ABOUT HEARING,
422
00:24:34,033 --> 00:24:36,567
SOME ABOUT TOUCH, AND SO ON...
423
00:24:38,100 --> 00:24:40,933
AND EVEN WITHIN A SENSE,
LIKE VISION,
424
00:24:41,033 --> 00:24:46,500
YOU HAVE STREETS THAT SPECIALIZE
IN COLORS OR EDGES OR MOTION...
425
00:24:50,967 --> 00:24:54,300
BUT, JUST LIKE IN A CITY,
426
00:24:54,400 --> 00:24:57,467
NO NEIGHBORHOOD
OPERATES IN ISOLATION.
427
00:24:57,567 --> 00:25:00,867
INSTEAD, THE LIFE OF A CITY
DEPENDS ON THE INTERACTION
428
00:25:00,967 --> 00:25:03,900
BETWEEN RESIDENTS
AT ALL DIFFERENT SCALES,
429
00:25:04,000 --> 00:25:08,133
AND SOMEHOW OUT OF ALL
OF THIS INTERACTION
430
00:25:08,233 --> 00:25:11,067
EMERGES YOUR PERSONAL REALITY.
431
00:25:16,133 --> 00:25:19,567
REALITY IS THE BRAIN'S
ULTIMATE CONSTRUCTION.
432
00:25:19,667 --> 00:25:23,700
IT'S BASED ON ALL THE STREAMS
OF DATA FROM OUR SENSES,
433
00:25:23,800 --> 00:25:26,633
BUT IT'S NOT DEPENDANT ON THEM.
434
00:25:26,733 --> 00:25:28,233
HOW DO WE KNOW?
435
00:25:28,333 --> 00:25:31,000
BECAUSE WHEN YOU
TAKE IT ALL AWAY,
436
00:25:31,100 --> 00:25:34,167
REALITY DOESN'T STOP.
437
00:25:34,967 --> 00:25:37,533
IT JUST GETS STRANGER.
438
00:25:40,900 --> 00:25:43,167
THIS IS ALCATRAZ...
439
00:25:44,500 --> 00:25:50,100
A JAIL BUILT ON THE PRINCIPLE
OF ISOLATION.
440
00:25:50,200 --> 00:25:53,133
BETWEEN ITS INMATES
AND THE REST OF SOCIETY
441
00:25:53,233 --> 00:25:56,467
STOOD NOT ONLY STONE WALLS,
442
00:25:56,567 --> 00:26:01,533
BUT THE COLD, DANGEROUS WATERS
OF THE SAN FRANCISCO BAY.
443
00:26:02,600 --> 00:26:04,167
[CREAK]
444
00:26:04,267 --> 00:26:08,800
PRISONERS WERE COMPLETELY
AND DELIBERATELY CUT OFF...
445
00:26:11,633 --> 00:26:15,233
AND THERE WAS ONE PLACE
INSIDE THE PRISON
446
00:26:15,333 --> 00:26:18,567
WHERE THAT SECLUSION
WENT EVEN FURTHER.
447
00:26:18,667 --> 00:26:21,200
[CELL DOOR SLAMS]
448
00:26:23,533 --> 00:26:26,467
THIS IS THE HOLE,
AND PRISONERS WHO WERE SENT HERE
449
00:26:26,567 --> 00:26:29,800
WERE COMPLETELY ISOLATED
FROM THE OUTSIDE WORLD.
450
00:26:29,900 --> 00:26:32,300
THEY HAD NO INTERACTIONS
WITH PEOPLE.
451
00:26:32,400 --> 00:26:35,133
THERE WAS NO SOUND,
AND THERE WAS NO LIGHT.
452
00:26:37,500 --> 00:26:43,433
ROBERT LUKE WAS SENT TO ALCATRAZ
IN 1954 FOR ARMED ROBBERY.
453
00:26:43,533 --> 00:26:48,100
HE WAS KNOWN BY THE NICKNAME
"COLD BLUE" LUKE.
454
00:26:49,000 --> 00:26:51,733
LUKE: EVERYBODY KNEW
ABOUT THE DARK HOLE.
455
00:26:51,833 --> 00:26:54,400
THE DARK HOLE WAS A BAD PLACE.
456
00:26:56,800 --> 00:26:58,400
SOME GUYS COULDN'T TAKE THAT.
457
00:26:58,500 --> 00:27:00,367
I MEAN, THEY WERE IN THERE,
AND WITHIN A COUPLE OF DAYS,
458
00:27:00,467 --> 00:27:03,467
THEY WERE BANGING THEIR HEAD
ON THE WALL.
459
00:27:03,567 --> 00:27:07,033
EAGLEMAN: AS PUNISHMENT
FOR SMASHING UP HIS CELL,
460
00:27:07,133 --> 00:27:11,500
HE WAS SENT TO THE HOLE
FOR 29 STRAIGHT DAYS.
461
00:27:13,267 --> 00:27:16,500
LUKE: YOU DIDN'T KNOW HOW YOU
WOULD ACT WHEN YOU GOT IN THERE,
462
00:27:16,600 --> 00:27:19,300
DIDN'T WANT TO FIND OUT.
463
00:27:19,400 --> 00:27:21,633
WHEN THEY CLOSE THAT DOOR...
464
00:27:21,733 --> 00:27:23,567
[SLAM]
465
00:27:23,667 --> 00:27:25,700
THERE'S JUST NOTHING THERE.
466
00:27:25,800 --> 00:27:27,733
IT'S PITCH BLACK.
467
00:27:27,833 --> 00:27:30,633
EAGLEMAN: BUT IT DIDN'T
STAY THAT WAY FOR LONG.
468
00:27:32,833 --> 00:27:35,933
STARVED OF INPUT, LUKE'S BRAIN
469
00:27:36,033 --> 00:27:40,033
STARTED TO PRODUCE
ITS OWN REALITY.
470
00:27:41,100 --> 00:27:44,133
LUKE: I REMEMBER
I'D GO ON THESE TRIPS
471
00:27:44,233 --> 00:27:47,267
ONE I USED TO REMEMBER
WAS FLYING A KITE...
472
00:27:48,700 --> 00:27:51,700
BUT IT GOT PRETTY REAL,
473
00:27:51,800 --> 00:27:54,167
BUT IT WAS ALL IN MY HEAD.
474
00:27:55,300 --> 00:27:56,867
EAGLEMAN: WHAT LUKE FELT
WAS SOMETHING THAT'S ALSO
475
00:27:56,967 --> 00:28:01,000
BEEN REPORTED BY OTHER PRISONERS
KEPT IN THE SAME CONDITIONS.
476
00:28:03,400 --> 00:28:04,533
[CREAK]
477
00:28:05,600 --> 00:28:08,733
DEPRIVED OF NEW
SENSORY INFORMATION,
478
00:28:08,833 --> 00:28:12,433
THEY SAID THEY WENT BEYOND
DREAMING OR DAYDREAMING.
479
00:28:12,533 --> 00:28:16,500
THEY DIDN'T JUST
IMAGINE PICTURES.
480
00:28:16,600 --> 00:28:18,600
THEY SAW.
481
00:28:21,467 --> 00:28:24,900
THIS TESTIMONY GOES TO THE HEART
OF THE RELATIONSHIP
482
00:28:25,000 --> 00:28:28,733
BETWEEN THE OUTSIDE WORLD,
THE BRAIN,
483
00:28:28,833 --> 00:28:31,267
AND WHAT WE CALL REALITY.
484
00:28:32,000 --> 00:28:33,767
TO UNDERSTAND IT,
485
00:28:33,867 --> 00:28:37,433
WE NEED TO LOOK MORE DEEPLY
INTO THE VISUAL SYSTEM.
486
00:28:42,300 --> 00:28:44,100
THIS IS THE THALAMUS,
487
00:28:44,200 --> 00:28:46,567
ONE OF THE BRAIN'S
MAJOR JUNCTIONS.
488
00:28:46,667 --> 00:28:49,233
MOST SENSORY INFORMATION
CONNECTS THROUGH HERE
489
00:28:49,333 --> 00:28:54,000
ON ITS WAY TO THE OUTER SURFACE
OF THE BRAIN--THE CORTEX,
490
00:28:54,100 --> 00:28:57,100
SO DATA COLLECTED
FROM THE EYES STOPS HERE
491
00:28:57,200 --> 00:29:00,467
BEFORE GOING
TO THE VISUAL CORTEX.
492
00:29:00,567 --> 00:29:04,867
NOW, YOU'D EXPECT A HEAVY FLOW
OF INFORMATION FROM THE THALAMUS
493
00:29:04,967 --> 00:29:08,800
TO THE VISUAL CORTEX,
AND THERE IS,
494
00:29:08,900 --> 00:29:11,500
BUT THERE'S 6 TIMES
AS MUCH TRAFFIC
495
00:29:11,600 --> 00:29:14,067
FLOWING IN
THE OPPOSITE DIRECTION,
496
00:29:14,167 --> 00:29:18,567
AND THAT DWARFS THE AMOUNT
COMING FROM THE EYES...
497
00:29:23,333 --> 00:29:25,967
AND THAT SUGGESTS THAT
IN ANY ONE MOMENT,
498
00:29:26,067 --> 00:29:29,833
WHAT WE EXPERIENCE AS SEEING
RELIES LESS
499
00:29:29,933 --> 00:29:32,200
ON THE LIGHT
STREAMING INTO OUR EYES
500
00:29:32,300 --> 00:29:37,400
AND MORE ON WHAT'S
ALREADY INSIDE OUR HEADS.
501
00:29:37,500 --> 00:29:41,033
EVEN WHEN BRAINS ARE UNANCHORED
FROM EXTERNAL DATA,
502
00:29:41,133 --> 00:29:44,567
THEY CONTINUE TO GENERATE
THEIR OWN IMAGERY.
503
00:29:44,667 --> 00:29:46,200
IN OTHER WORDS,
504
00:29:46,300 --> 00:29:49,533
REMOVE THE WORLD,
AND THE SHOW STILL GOES ON.
505
00:29:51,433 --> 00:29:56,600
WE ALL HAVE THIS
INTERNALLY GENERATED REALITY.
506
00:29:56,700 --> 00:29:59,200
INCREDIBLE AS IT MAY SOUND,
507
00:29:59,300 --> 00:30:03,333
THIS WORLD LIVES
INSIDE YOUR BRAIN.
508
00:30:05,467 --> 00:30:09,900
IT'S CONSTANTLY UPDATED
BY INFORMATION FROM OUR SENSES,
509
00:30:10,000 --> 00:30:12,167
BUT MOMENT TO MOMENT,
WHAT WE EXPERIENCE
510
00:30:12,267 --> 00:30:15,333
ISN'T WHAT'S REALLY OUT THERE.
511
00:30:15,433 --> 00:30:20,000
INSTEAD, IT'S A BEAUTIFULLY
RENDERED SIMULATION.
512
00:30:21,100 --> 00:30:23,800
THIS IS A SURPRISING WAY
TO UNDERSTAND
513
00:30:23,900 --> 00:30:26,167
HOW YOU SEE THE WORLD.
514
00:30:26,267 --> 00:30:29,900
IT'S CALLED THE INTERNAL MODEL,
515
00:30:30,000 --> 00:30:33,600
AND IT'S VITAL TO OUR ABILITY
TO FUNCTION.
516
00:30:33,700 --> 00:30:38,167
AS I WALK DOWN THIS CITY STREET,
I SEEM TO AUTOMATICALLY KNOW
517
00:30:38,267 --> 00:30:41,700
WHAT THINGS ARE WITHOUT
HAVING TO WORK OUT THE DETAILS.
518
00:30:41,800 --> 00:30:44,233
FOR EXAMPLE, I DON'T HAVE
TO WORK OUT THE DETAIL
519
00:30:44,333 --> 00:30:46,600
WHAT THIS RECTANGULAR,
METALLIC THING IS
520
00:30:46,700 --> 00:30:49,933
OR THIS GIANT, GREEN,
FLUFFY THING BEHIND ME
521
00:30:50,033 --> 00:30:53,667
OR THIS HUGE OBJECT
WITH REFLECTIVE PANES ON IT
522
00:30:53,767 --> 00:30:56,967
OR THIS THING WITH 4 APPENDAGES.
523
00:30:57,067 --> 00:31:00,033
MY BRAIN MAKES ASSUMPTIONS
ABOUT WHAT I'M SEEING
524
00:31:00,133 --> 00:31:03,233
BASED ON MY INTERNAL MODEL,
AND THAT'S BEEN BUILT UP
525
00:31:03,333 --> 00:31:06,500
FROM YEARS OF EXPERIENCE
OF WALKING CITY STREETS
526
00:31:06,600 --> 00:31:08,167
JUST LIKE THIS ONE.
527
00:31:08,267 --> 00:31:12,267
INSTEAD OF USING MY SENSES
TO REBUILD MY REALITY
528
00:31:12,367 --> 00:31:14,733
FROM SCRATCH EVERY MOMENT,
529
00:31:14,833 --> 00:31:17,300
I'M COMPARING
SENSORY INFORMATION
530
00:31:17,400 --> 00:31:20,233
WITH A MODEL THAT
I'VE ALREADY CONSTRUCTED...
531
00:31:22,433 --> 00:31:24,533
UPDATING IT,
532
00:31:24,633 --> 00:31:27,967
REFINING IT, CORRECTING IT.
533
00:31:28,067 --> 00:31:30,000
EAGLEMAN: OUR BRAINS
ARE SO GOOD AT DOING THIS
534
00:31:30,100 --> 00:31:32,867
THAT WE'RE NORMALLY
UNAWARE OF IT,
535
00:31:32,967 --> 00:31:36,667
BUT SOMETIMES
UNDER CERTAIN CONDITIONS,
536
00:31:36,767 --> 00:31:39,600
WE CAN SEE THE PROCESS AT WORK.
537
00:31:41,067 --> 00:31:46,033
LOOK AT THIS HOLLOW MASK
OF EINSTEIN'S FACE.
538
00:31:46,133 --> 00:31:51,000
YOUR BRAIN TELLS YOU
IT'S COMING OUT AT YOU,
539
00:31:51,100 --> 00:31:54,133
AND EVEN WHEN YOU KNOW
IT'S AN ILLUSION,
540
00:31:54,233 --> 00:31:57,033
YOU CAN'T HELP BUT FALL FOR IT.
541
00:32:01,200 --> 00:32:04,467
WHAT YOU'RE SEEING
IS THE INTERNAL MODEL,
542
00:32:04,567 --> 00:32:08,133
NOT THE RAW INFORMATION
THAT'S COMING IN FROM YOUR EYES.
543
00:32:10,367 --> 00:32:14,700
YOUR INTERNAL MODEL IS BUILT
ON A LIFETIME OF EXPERIENCE
544
00:32:14,800 --> 00:32:17,500
WITH FACES THAT STICK OUT.
545
00:32:17,600 --> 00:32:20,633
WHEN YOU'RE CONFRONTED
WITH ONE THAT'S HOLLOW,
546
00:32:20,733 --> 00:32:24,267
YOUR MODEL SIMPLY SEES
WHAT IT EXPECTS TO SEE.
547
00:32:29,200 --> 00:32:32,400
THE VISUAL CORTEX SENDS
ITS INTERNAL EXPECTATIONS
548
00:32:32,500 --> 00:32:35,833
TO THE THALAMUS,
AND THE THALAMUS COMPARES THOSE
549
00:32:35,933 --> 00:32:39,000
TO WHAT'S COMING IN
THROUGH THE EYES.
550
00:32:39,100 --> 00:32:44,100
THE DIFFERENCE BETWEEN THE TWO
IS WHAT THE THALAMUS SENDS BACK
551
00:32:44,200 --> 00:32:47,533
SO THE CORTEX
CAN UPDATES ITS MODEL.
552
00:32:53,733 --> 00:32:56,167
THANKS TO THE INTERNAL MODEL,
553
00:32:56,267 --> 00:32:59,800
THE WORLD OUT THERE
REMAINS STABLE,
554
00:32:59,900 --> 00:33:02,267
EVEN WHEN I'M MOVING.
555
00:33:04,733 --> 00:33:06,733
LET ME SHOW YOU WHAT I MEAN.
556
00:33:06,833 --> 00:33:10,067
SO IMAGINE THAT I REALLY LOVE
THIS SCENE BEHIND ME
557
00:33:10,167 --> 00:33:11,900
AND I WANT TO GO AHEAD
AND CAPTURE IT
558
00:33:12,000 --> 00:33:13,267
SO I CAN VIEW IT LATER.
559
00:33:13,367 --> 00:33:16,533
SO I'M GONNA GO AHEAD
AND VIDEOTAPE THE SCENE,
560
00:33:16,633 --> 00:33:19,533
AND I'M CHECKING OUT
ALL THE BUILDINGS,
561
00:33:19,633 --> 00:33:23,067
OK, AND NOW I'M GONNA
PLAY THIS BACK.
562
00:33:23,167 --> 00:33:28,067
NOT SURPRISINGLY, THE RESULTING
VIDEO IS NAUSEATING.
563
00:33:29,967 --> 00:33:32,900
SO WHY DOES THIS VIDEO
LOOK SO TERRIBLE,
564
00:33:33,000 --> 00:33:35,267
GIVEN THAT WHEN I LOOK
AT THE BUILDINGS,
565
00:33:35,367 --> 00:33:39,200
MY EYES ARE MAKING
THE SAME JERKY MOVEMENTS?
566
00:33:40,333 --> 00:33:42,433
ALTHOUGH YOU'RE
NOT GENERALLY AWARE OF IT,
567
00:33:42,533 --> 00:33:46,300
YOUR EYES MOVE
ABOUT 4 TIMES A SECOND,
568
00:33:46,400 --> 00:33:49,733
BUT YOUR INTERNAL MODEL OPERATES
UNDER THE ASSUMPTION
569
00:33:49,833 --> 00:33:52,633
THAT THE WORLD OUTSIDE
IS STABLE,
570
00:33:52,733 --> 00:33:55,000
SO MY EYES AREN'T TAKING
A VIDEO.
571
00:33:55,100 --> 00:33:57,200
THEY'RE SIMPLY GATHERING
BITS OF DATA
572
00:33:57,300 --> 00:34:02,833
TO UPDATE THE CITY
THAT'S ALREADY INSIDE MY HEAD.
573
00:34:02,933 --> 00:34:06,967
HAVING AN INTERNAL MODEL HELPS
ME MAKE SENSE OF MY ENVIRONMENT,
574
00:34:07,067 --> 00:34:09,533
AND THAT'S ITS
PRIMARY FUNCTION--
575
00:34:09,633 --> 00:34:11,700
TO NAVIGATE THE WORLD.
576
00:34:15,167 --> 00:34:18,267
THE BRAIN DOESN'T BOTHER
PICKING UP EVERY DETAIL,
577
00:34:18,367 --> 00:34:20,867
JUST ENOUGH TO GET US THROUGH,
578
00:34:20,967 --> 00:34:24,033
BUT IT PLAYS THE TRICK
OF MAKING US FEEL
579
00:34:24,133 --> 00:34:26,433
AS THOUGH WE HAVE SEEN IT ALL...
580
00:34:28,800 --> 00:34:31,733
AS ANOTHER FAMOUS
EXPERIMENT SHOWS.
581
00:34:35,767 --> 00:34:39,333
IN THE 1960s, THE RUSSIAN
PSYCHOLOGIST PAUL YARBUS
582
00:34:39,433 --> 00:34:43,767
USED THIS PAINTING CALLED
"THE UNEXPECTED VISITOR"
583
00:34:43,867 --> 00:34:46,100
IN AN EXPERIMENT.
584
00:34:46,200 --> 00:34:49,800
HE DEVISED A WAY TO TRACK
THE EYE MOVEMENTS OF VOLUNTEERS
585
00:34:49,900 --> 00:34:52,400
WHO WERE SEEING IT
FOR THE FIRST TIME.
586
00:34:53,633 --> 00:34:54,967
HI, JENNIFER.
HELLO.
587
00:34:55,067 --> 00:34:57,367
I'M GONNA ASK YOU
TO PUT THESE GLASSES ON.
588
00:34:57,467 --> 00:35:01,700
EAGLEMAN, VOICE-OVER:
WE'RE GONNA RERUN WHAT HE DID.
589
00:35:01,800 --> 00:35:07,067
MY VOLUNTEERS HAVE A FEW SECONDS
TO TAKE IN THE IMAGE.
590
00:35:08,833 --> 00:35:10,333
EAGLEMAN: DINA,
LOOK AT THIS PAINTING,
591
00:35:10,433 --> 00:35:13,600
AND I WANT YOU TO GATHER
WHAT'S GOING ON IN THE SCENE.
592
00:35:13,700 --> 00:35:16,067
EAGLEMAN, VOICE-OVER:
WE CAN WATCH IN REAL TIME
593
00:35:16,167 --> 00:35:19,767
EXACTLY WHERE
EACH PERSON'S EYES GO.
594
00:35:21,900 --> 00:35:23,967
EAGLEMAN: TELL ME WHAT YOU THINK
IS GOING ON IN THIS PAINTING.
595
00:35:24,067 --> 00:35:25,767
JENNIFER: I THINK
THE MAN IN THE BROWN
596
00:35:25,867 --> 00:35:27,233
IS THE UNEXPECTED
VISITOR.
597
00:35:27,333 --> 00:35:29,433
EAGLEMAN, VOICE-OVER:
ONE BRIEF LOOK IS ENOUGH
598
00:35:29,533 --> 00:35:31,067
FOR THE BRAIN TO MODEL
THE PICTURE,
599
00:35:31,167 --> 00:35:34,333
BUT JUST HOW DETAILED
IS THAT MODEL?
600
00:35:36,000 --> 00:35:36,900
EAGLEMAN: HOW MANY
CHILDREN WERE THERE?
601
00:35:37,000 --> 00:35:38,367
UH, THERE WERE TWO.
OK.
602
00:35:38,467 --> 00:35:39,867
SO GO AHEAD AND LOOK
BACK AT THE PAINTING
603
00:35:39,967 --> 00:35:41,433
AND ASK THAT
QUESTION AGAIN.
604
00:35:41,533 --> 00:35:42,267
OH, QUITE DIFFERENT.
605
00:35:42,367 --> 00:35:44,367
HOW MANY CHILDREN
ARE THERE?
606
00:35:44,467 --> 00:35:46,033
I CONSIDER IT 3.
607
00:35:46,133 --> 00:35:47,900
EAGLEMAN, VOICE-OVER:
EVERYONE WHO'D SEEN THE PAINTING
608
00:35:48,000 --> 00:35:49,967
THOUGHT THEY KNEW
WHAT WAS IN IT,
609
00:35:50,067 --> 00:35:52,967
BUT MY SPECIFIC QUESTIONS
HIGHLIGHTED BLANKS
610
00:35:53,067 --> 00:35:55,133
THAT THE BRAIN
HAD NEVER FILLED IN
611
00:35:55,233 --> 00:35:59,600
BECAUSE THE DETAILS
WEREN'T NEEDED.
612
00:35:59,700 --> 00:36:02,233
HOW MANY PAINTINGS ARE
ON WALL IN THEIR HOUSE?
613
00:36:02,333 --> 00:36:03,833
MAYBE TWO OR 3.
OK.
614
00:36:03,933 --> 00:36:05,533
GO AHEAD AND LOOK
BACK AT THE PAINTING
615
00:36:05,633 --> 00:36:06,533
AND ANSWER
THAT QUESTION.
616
00:36:06,633 --> 00:36:08,000
OH, GOD, THERE'S
A MILLION, YEAH, A MAP
617
00:36:08,100 --> 00:36:09,667
AND THEN ANOTHER,
AND THEN THERE'S--HA HA!--
618
00:36:09,767 --> 00:36:12,700
7 ON THE OTHER WALL AND THEN
ONE SMALL ONE AND THE MAP.
619
00:36:12,800 --> 00:36:14,333
OK. THERE'S A TON.
620
00:36:14,433 --> 00:36:17,767
EAGLEMAN, VOICE-OVER: THIS
IS NOT A FAILURE OF THE BRAIN.
621
00:36:17,867 --> 00:36:22,267
IT DOESN'T TRY TO PRODUCE A
PERFECT SIMULATION OF THE WORLD.
622
00:36:22,367 --> 00:36:26,300
THE INTERNAL MODEL IS
A HASTILY DRAWN APPROXIMATION,
623
00:36:26,400 --> 00:36:31,067
AND MORE DETAILS ARE ADDED
ON A NEED-TO-KNOW BASIS.
624
00:36:31,167 --> 00:36:33,333
WHEN YOU LOOKED AT THE
PAINTING THE FIRST TIME,
625
00:36:33,433 --> 00:36:35,467
YOU SAW SORT OF
A ROUGH DRAFT
626
00:36:35,567 --> 00:36:37,867
OF WHAT WAS GOING ON,
AND WHEN I ASKED YOU
627
00:36:37,967 --> 00:36:40,033
SPECIFIC QUESTIONS,
YOU HAD TO GO
628
00:36:40,133 --> 00:36:41,967
AND ANSWER THOSE
BY LOOKING,
629
00:36:42,067 --> 00:36:43,333
BY TURNING
YOUR ATTENTION
630
00:36:43,433 --> 00:36:45,133
ONTO SPECIFIC PARTS
OF THE PAINTING,
631
00:36:45,233 --> 00:36:48,233
AND ONLY THEN DID
YOU ACTUALLY SEE IT.
632
00:36:48,333 --> 00:36:51,233
EAGLEMAN, VOICE-OVER: SO PLACING
YOUR EYES ON AN OBJECT
633
00:36:51,333 --> 00:36:54,167
IS NO GUARANTEE OF SEEING IT...
634
00:36:55,400 --> 00:36:57,833
BUT THERE'S SOMETHING ELSE
WE'RE UNAWARE OF
635
00:36:57,933 --> 00:37:01,067
HAPPENING EVERY TIME WE LOOK
AT ANY PICTURE
636
00:37:01,167 --> 00:37:03,133
OR PERSON OR THING...
637
00:37:04,733 --> 00:37:07,633
ANY TIME WE LOOK AT ALL.
638
00:37:09,800 --> 00:37:14,200
WE MIGHT THINK OF COLOR AS
A FUNDAMENTAL DEFINING QUALITY
639
00:37:14,300 --> 00:37:16,700
OF THE WORLD AROUND US--
640
00:37:16,800 --> 00:37:19,900
AFTER ALL, IT'S EVERYWHERE--
641
00:37:20,000 --> 00:37:22,433
BUT HERE'S THE STARTLING THING.
642
00:37:22,533 --> 00:37:25,767
IN THE OUTSIDE WORLD,
643
00:37:25,867 --> 00:37:30,100
COLOR DOESN'T ACTUALLY EXIST.
644
00:37:31,233 --> 00:37:34,100
EAGLEMAN: WHEN ELECTRO-MAGNETIC
RADIATION HITS AN OBJECT,
645
00:37:34,200 --> 00:37:38,900
SOME OF IT BOUNCES OFF,
AND IS CAPTURED BY OUR EYES.
646
00:37:39,000 --> 00:37:41,633
WE CAN DISTINGUISH
BETWEEN MILLIONS
647
00:37:41,733 --> 00:37:44,233
OF COMBINATIONS OF WAVELENGTHS,
648
00:37:44,333 --> 00:37:50,033
BUT IT'S ONLY INSIDE OUR HEADS
THAT ANY OF THIS BECOMES COLOR.
649
00:37:52,067 --> 00:37:54,067
EAGLEMAN: ADD TO THAT THE FACT
THAT THE WAVELENGTHS
650
00:37:54,167 --> 00:37:59,400
WE CAN DETECT ARE ONLY A SMALL
PART OF WHAT'S OUT THERE.
651
00:38:02,567 --> 00:38:05,933
YOU EXPERIENCE REALITY AS
IT'S PRESENTED BY YOUR SENSES,
652
00:38:06,033 --> 00:38:08,067
AND IT DOESN'T
TYPICALLY STRIKE YOU
653
00:38:08,167 --> 00:38:11,733
THAT THINGS
COULD BE VERY DIFFERENT.
654
00:38:11,833 --> 00:38:14,000
WHAT WE'VE BEEN
TALKING ABOUT SO FAR
655
00:38:14,100 --> 00:38:16,733
IS WHAT WE CALL
THE VISIBLE SPECTRUM OF LIGHT,
656
00:38:16,833 --> 00:38:19,467
WHICH IS A SPECTRUM
OF WAVELENGTHS
657
00:38:19,567 --> 00:38:23,800
THAT RUNS FROM
WHAT WE CALL RED TO VIOLET...
658
00:38:25,133 --> 00:38:29,033
BUT IT TURNS OUT THAT
THIS ONLY CONSTITUTES
659
00:38:29,133 --> 00:38:33,800
A TINY FRACTION OF
THE ELECTROMAGNETIC SPECTRUM--
660
00:38:33,900 --> 00:38:38,233
IN FACT, LESS THAN
1/10,000,000,000 OF IT--
661
00:38:38,333 --> 00:38:39,933
SO ALL THE REST
OF THE SPECTRUM--
662
00:38:40,033 --> 00:38:41,700
INCLUDING RADIO WAVES
AND MICROWAVES
663
00:38:41,800 --> 00:38:46,067
AND X-RAYS AND GAMMA RAYS,
ALL OF THIS STUFF--
664
00:38:46,167 --> 00:38:48,100
IS FLOWING THROUGH OUR BODIES
RIGHT NOW,
665
00:38:48,200 --> 00:38:50,233
AND WE'RE COMPLETELY
UNAWARE OF IT
666
00:38:50,333 --> 00:38:53,800
BECAUSE WE DON'T HAVE ANY
SPECIALIZED BIOLOGICAL RECEPTORS
667
00:38:53,900 --> 00:38:55,900
TO PICK UP ON IT,
SO WHAT THIS MEANS
668
00:38:56,000 --> 00:38:58,900
IS THAT THE PART OF REALITY
THAT WE CAN SEE
669
00:38:59,000 --> 00:39:02,867
IS TOTALLY LIMITED
BY OUR BIOLOGY,
670
00:39:02,967 --> 00:39:05,733
AND THIS ISN'T JUST ABOUT SIGHT.
671
00:39:05,833 --> 00:39:07,700
ALL OUR SENSES
ARE ONLY PICKING UP
672
00:39:07,800 --> 00:39:13,367
A SMALL PART OF THE INFORMATION
THAT'S OUT THERE...
673
00:39:13,467 --> 00:39:15,667
[SNIFFING]
674
00:39:17,533 --> 00:39:20,233
SO FOR A DOG, HE'S TUNED
INTO A WHOLE WORLD
675
00:39:20,333 --> 00:39:22,700
OF SCENT MOLECULES
THAT I'M NOT.
676
00:39:22,800 --> 00:39:24,367
[SNIFFING CONTINUES]
677
00:39:24,467 --> 00:39:29,533
HIS EXPERIENCE OF SMELL IS AS
RICH AS MY EXPERIENCE OF VISION.
678
00:39:29,633 --> 00:39:32,033
[DOG PANTING]
679
00:39:32,133 --> 00:39:33,900
EAGLEMAN, VOICE-OVER:
IN THE BLIND AND DEAF WORLD
680
00:39:34,000 --> 00:39:36,200
OF THE TICK,
THE IMPORTANT SIGNALS
681
00:39:36,300 --> 00:39:38,833
ARE TEMPERATURE AND BODY ODOR.
682
00:39:38,933 --> 00:39:41,667
FOR CAVE DWELLING BATS,
IT'S ALL ABOUT
683
00:39:41,767 --> 00:39:46,200
AIR COMPRESSION WAVES
THAT ALLOW THEM TO ECHOLOCATE...
684
00:39:49,267 --> 00:39:52,833
BUT NO ONE'S HAVING AN
EXPERIENCE OF OBJECTIVE REALITY
685
00:39:52,933 --> 00:39:55,867
OF THE WORLD
THAT REALLY TRULY EXISTS.
686
00:39:55,967 --> 00:39:58,333
INSTEAD, EACH CREATURE PERCEIVES
687
00:39:58,433 --> 00:40:02,467
ONLY WHAT IT HAS EVOLVED
TO PERCEIVE...
688
00:40:04,233 --> 00:40:07,633
AND THIS ISN'T JUST ABOUT
VARIATION BETWEEN SPECIES.
689
00:40:07,733 --> 00:40:10,667
IF WE'RE EACH EXPERIENCING
A PERSONAL REALITY
690
00:40:10,767 --> 00:40:13,767
CONSTRUCTED INSIDE OUR BRAINS,
691
00:40:13,867 --> 00:40:17,467
HOW DO I KNOW THAT MY REALITY
IS AT ALL LIKE YOURS?
692
00:40:17,567 --> 00:40:23,133
MOST OF THE TIME, IT SEEMS AS IF
WE OPERATE ALONG THE SAME LINES,
693
00:40:23,233 --> 00:40:27,633
AS IF YOU AND I AGREE
WHAT A BLUE SKY IS,
694
00:40:27,733 --> 00:40:29,300
AS IF THE SOUND OF A DOG BARK
695
00:40:29,400 --> 00:40:33,000
PROVOKES THE SAME SORT
OF RESPONSE IN BOTH OF US...
696
00:40:33,100 --> 00:40:35,133
[BARKING]
697
00:40:40,467 --> 00:40:42,767
EAGLEMAN, VOICE-OVER: BUT
THERE'S A SMALL GROUP OF PEOPLE
698
00:40:42,867 --> 00:40:47,067
WHOSE PERCEPTION IS
MEASURABLY DIFFERENT FROM OURS.
699
00:40:49,300 --> 00:40:53,800
WOMAN: FOR ME, ANY TIME
I SEE A LETTER OR A NUMBER
700
00:40:53,900 --> 00:40:55,933
OR THINK OF A WORD
OR SAY SOMEONE'S NAME,
701
00:40:56,033 --> 00:40:58,300
THERE IS A LOT OF COLOR
ASSOCIATED WITH THAT.
702
00:40:58,400 --> 00:41:02,667
EAGLEMAN, VOICE-OVER: HANNAH IS
ONE OF 6,000 PEOPLE I'VE STUDIED
703
00:41:02,767 --> 00:41:05,800
WHO HAVE SYNESTHESIA.
704
00:41:05,900 --> 00:41:09,667
I STUDY SYNESTHESIA BECAUSE
IT'S ONE OF THE FEW CONDITIONS
705
00:41:09,767 --> 00:41:13,167
IN WHICH IT'S CLEAR
THAT SOMEONE ELSE'S REALITY
706
00:41:13,267 --> 00:41:16,067
IS DIFFERENT FROM MINE
AND IT MAKES IT OBVIOUS
707
00:41:16,167 --> 00:41:21,167
THAT HOW WE PERCEIVE THE WORLD
IS NOT ONE SIZE FITS ALL.
708
00:41:21,267 --> 00:41:24,767
HANNAH, VOICE-OVER: IN MY MIND,
I ASSOCIATE EACH LETTER
709
00:41:24,867 --> 00:41:27,767
WITH ITS OWN COLOR,
SO, FOR EXAMPLE,
710
00:41:27,867 --> 00:41:30,700
THE LETTER "A" IS ALWAYS RED,
711
00:41:30,800 --> 00:41:32,767
"B" IS ALWAYS BLUE,
712
00:41:32,867 --> 00:41:36,267
"C" IS ALWAYS ORANGE EVERY TIME,
SO THEY NEVER CHANGE,
713
00:41:36,367 --> 00:41:39,833
BUT WHAT'S INTERESTING IS,
WHEN THEY'RE FORMED INTO WORDS
714
00:41:39,933 --> 00:41:43,033
IN DIFFERENT ORDERS,
THE CONFIGURATION OF THE COLORS
715
00:41:43,133 --> 00:41:46,200
CHANGES, AND THAT CAN BE
SORT OF INTERESTING,
716
00:41:46,300 --> 00:41:49,800
SO IN THE WORD "HANNAH,"
MY NAME,
717
00:41:49,900 --> 00:41:53,200
IT LOOKS LIKE A SUNSET.
718
00:41:53,300 --> 00:41:57,900
IT'S YELLOW FADING INTO RED
FADING INTO KIND OF A CLEAR--
719
00:41:58,000 --> 00:42:03,033
LIKE CLOUDS, ALMOST--AND THEN
GOES BACK TO RED AND TO YELLOW.
720
00:42:09,000 --> 00:42:11,167
EAGLEMAN:
THESE EXPERIENCES COME ABOUT
721
00:42:11,267 --> 00:42:15,100
BECAUSE OF THE SIMPLE FACT
THAT INSIDE THE BRAIN,
722
00:42:15,200 --> 00:42:19,800
ALL SENSORY INFORMATION
IS MADE FROM THE SAME STUFF--
723
00:42:19,900 --> 00:42:22,200
ELECTROCHEMICAL SIGNALS.
724
00:42:25,000 --> 00:42:27,467
SYNESTHESIA IS THE RESULT
OF CROSS-TALK
725
00:42:27,567 --> 00:42:31,033
BETWEEN SENSORY AREAS
OF THE BRAIN.
726
00:42:32,533 --> 00:42:36,400
THINK OF THE BLURRED BORDERS
BETWEEN CITY DISTRICTS.
727
00:42:37,800 --> 00:42:41,367
SYNESTHESIA SHOWS US THAT EVEN
MINUTE CHANGES IN BRAIN WIRING
728
00:42:41,467 --> 00:42:44,767
CAN LEAD TO DIFFERENT REALITIES.
729
00:42:47,967 --> 00:42:51,300
THERE ARE DIFFERENT KINDS
OF SYNAESTHESIA.
730
00:42:52,767 --> 00:42:57,400
SOME PEOPLE PERCEIVE WEEKDAYS
TO HAVE LOCATIONS IN SPACE.
731
00:42:57,500 --> 00:42:59,567
SOME TASTE WORDS.
732
00:42:59,667 --> 00:43:01,733
OTHERS SEE MUSIC,
733
00:43:01,833 --> 00:43:05,500
AND EVERY TIME I MEET SOMEONE
WHO HAS THIS KIND OF EXPERIENCE,
734
00:43:05,600 --> 00:43:08,633
IT'S A REMINDER THAT
FROM PERSON TO PERSON,
735
00:43:08,733 --> 00:43:10,533
BRAIN TO BRAIN,
736
00:43:10,633 --> 00:43:14,767
OUR EXPERIENCES OF REALITY
CAN BE QUITE DIFFERENT.
737
00:43:16,067 --> 00:43:18,733
FOR A SMALL SECTION
OF THE POPULATION,
738
00:43:18,833 --> 00:43:23,167
THAT DIFFERENCE CAN BE
EXTREME AND TERRIFYING.
739
00:43:24,900 --> 00:43:28,300
WE ALL KNOW WHAT IT'S LIKE
TO HAVE DREAMS AT NIGHT,
740
00:43:28,400 --> 00:43:30,667
TO HAVE BIZARRE,
UNBIDDEN THOUGHTS
741
00:43:30,767 --> 00:43:32,600
THAT TAKE US ON JOURNEYS,
742
00:43:32,700 --> 00:43:34,433
SOMETIMES JOURNEYS
THAT WE SUFFER THROUGH,
743
00:43:34,533 --> 00:43:36,400
BUT WHEN WE WAKE UP,
WE'RE LUCKY ENOUGH
744
00:43:36,500 --> 00:43:38,167
TO BE ABLE
TO COMPARTMENTALIZE THAT,
745
00:43:38,267 --> 00:43:42,633
TO SAY, "OK. THAT WAS A DREAM,
AND THIS IS MY WAKING LIFE"...
746
00:43:44,100 --> 00:43:46,467
BUT JUST IMAGINE
WHAT IT WOULD BE LIKE
747
00:43:46,567 --> 00:43:49,167
IF THESE WERE MORE AND MORE
INTERTWINED
748
00:43:49,267 --> 00:43:50,800
AND IT WAS MORE
AND MORE DIFFICULT
749
00:43:50,900 --> 00:43:53,533
TO TELL THEM APART
FROM ONE ANOTHER.
750
00:43:53,633 --> 00:43:55,800
[WHISPERING VOICES]
751
00:43:55,900 --> 00:43:58,633
WOMAN, VOICE-OVER:
I FELT LIKE THE HOUSES
752
00:43:58,733 --> 00:44:00,967
WERE COMMUNICATING WITH ME--
753
00:44:01,067 --> 00:44:04,033
"YOU ARE SPECIAL."
"YOU ARE ESPECIALLY BAD."
754
00:44:04,133 --> 00:44:07,267
"REPENT." "STOP." "GO,"
YOU KNOW, KIND OF--
755
00:44:07,367 --> 00:44:09,767
I DID NOT HEAR THESE AS WORDS,
BUT I HEARD THEM AS THOUGHTS
756
00:44:09,867 --> 00:44:11,567
PUT IN MY HEAD,
BUT I KNEW THEY WERE
757
00:44:11,667 --> 00:44:14,533
THE HOUSES' THOUGHTS,
AND NOT MY THOUGHTS.
758
00:44:14,633 --> 00:44:18,233
I THINK THAT EXPLOSIONS
ARE BEING SET OFF IN MY BRAIN,
759
00:44:18,333 --> 00:44:20,800
AND I'M AFRAID THAT
IT'S GONNA HURT OTHER PEOPLE,
760
00:44:20,900 --> 00:44:22,033
NOT JUST ME.
761
00:44:22,133 --> 00:44:24,500
I ONCE HAD A FANTASY
THAT, UH, MY BRAINS
762
00:44:24,600 --> 00:44:27,333
WERE GONNA LEAK OUT OF MY EARS
AND DROWN PEOPLE.
763
00:44:27,433 --> 00:44:30,100
WHAT--WHAT IS THAT,
YOU KNOW ,BUT--
764
00:44:30,200 --> 00:44:33,100
EAGLEMAN, VOICE-OVER:
ELYN SAKS IS A PROFESSOR OF LAW
765
00:44:33,200 --> 00:44:35,567
AT THE UNIVERSITY
OF SOUTHERN CALIFORNIA.
766
00:44:35,667 --> 00:44:39,067
SHE'S BEEN EXPERIENCING
SCHIZOPHRENIC EPISODES
767
00:44:39,167 --> 00:44:41,767
SINCE SHE WAS 16 YEARS OLD.
768
00:44:41,867 --> 00:44:45,400
SAKS, VOICE-OVER: IT'S SCARY.
IT'S UNPREDICTABLE.
769
00:44:45,500 --> 00:44:46,733
[WHISPERING VOICES]
770
00:44:46,833 --> 00:44:49,800
IT'S SORT OF INTERESTING BECAUSE
THERE ARE DIFFERENT THEORIES
771
00:44:49,900 --> 00:44:51,267
ABOUT PSYCHOTIC SYMPTOMS.
772
00:44:51,367 --> 00:44:53,867
FOR SOME PEOPLE, THEY'RE JUST
RANDOM FIRINGS OF NEURONS.
773
00:44:53,967 --> 00:44:57,100
I DO THINK THEY TELL THE TRUTH
ABOUT YOUR PSYCHIC REALITY,
774
00:44:57,200 --> 00:44:59,033
SO WHEN I SAY I'VE KILLED
HUNDREDS OF THOUSANDS OF PEOPLE
775
00:44:59,133 --> 00:45:02,100
WITH MY THOUGHTS, THAT'S JUST
AN ARCHAIC AND EXTREME WAY
776
00:45:02,200 --> 00:45:04,400
OF SAYING I FEEL
LIKE I AM A BAD PERSON.
777
00:45:04,500 --> 00:45:07,533
[WHISPERING VOICES]
778
00:45:08,633 --> 00:45:11,933
EAGLEMAN: SCHIZOPHRENIA
IS STILL NOT FULLY UNDERSTOOD,
779
00:45:12,033 --> 00:45:14,433
BUT IT INVOLVES CHEMICAL
IMBALANCES IN THE BRAIN
780
00:45:14,533 --> 00:45:16,767
WHICH CAUSE PROBLEMS
IN THE SENDING
781
00:45:16,867 --> 00:45:19,800
AND RECEIVING OF SIGNALS.
782
00:45:19,900 --> 00:45:21,667
[STATIC]
783
00:45:25,500 --> 00:45:28,167
THANKS TO MEDICATION
AND THERAPY,
784
00:45:28,267 --> 00:45:33,033
ELYN HAS BEEN ABLE TO LECTURE
AND TEACH FOR OVER 25 YEARS.
785
00:45:36,467 --> 00:45:38,333
SO WHEN YOU WERE
AT THE BOTTOM IN ONE
786
00:45:38,433 --> 00:45:41,400
OF YOUR WORST
PSYCHOTIC EPISODES,
787
00:45:41,500 --> 00:45:43,167
YOU TOOK THAT
TO BE REALITY?
788
00:45:43,267 --> 00:45:44,800
I REALLY BELIEVE WHAT'S
HAPP--I THINK IS HAPPENING
789
00:45:44,900 --> 00:45:46,600
IS HAPPENING,
AND ITS TERRIFYING.
790
00:45:46,700 --> 00:45:48,333
IT'S LIKE
A WAKING NIGHTMARE--
791
00:45:48,433 --> 00:45:51,367
CONFUSION, BIZARRE IMAGES,
VIOLENCE, TERRORS.
792
00:45:51,467 --> 00:45:53,967
I WOULDN'T
WISH IT ON ANYONE.
793
00:45:54,067 --> 00:45:57,433
THAT SAID, UM,
EVERYBODY'S REALITY
794
00:45:57,533 --> 00:45:59,233
IS CONSTRUCTED, RIGHT?
795
00:45:59,333 --> 00:46:02,000
YOU FILTER IT
THROUGH YOUR BELIEFS
796
00:46:02,100 --> 00:46:06,667
AND VALUES, UM, AND ISSUES,
UM, AND THIS IS TRUE
797
00:46:06,767 --> 00:46:08,467
FOR PEOPLE WHO HAVE
MENTAL ILLNESS
798
00:46:08,567 --> 00:46:10,033
AND PEOPLE WHO DON'T
HAVE MENTAL ILLNESSES.
799
00:46:10,133 --> 00:46:11,633
IT'S ALL A SPECTRUM.
800
00:46:14,567 --> 00:46:18,167
EAGLEMAN: REALITY DIFFERS
FROM PERSON TO PERSON...
801
00:46:19,500 --> 00:46:23,567
AND, MORE THAN THAT, IT CHANGES
FROM MOMENT TO MOMENT.
802
00:46:24,333 --> 00:46:26,300
THERE ARE TIMES IN ALL OUR LIVES
803
00:46:26,400 --> 00:46:30,133
WHEN IT CAN SEEM ENHANCED,
INTENSIFIED.
804
00:46:33,633 --> 00:46:37,267
EVEN THE ONE GREAT CONSTANT
WHICH WE ALL THINK WE SHARE
805
00:46:37,367 --> 00:46:39,267
AND WHICH SHOULD NEVER CHANGE
806
00:46:39,367 --> 00:46:42,700
SOMEHOW BECOMES STRETCHED
AND DISTORTED.
807
00:46:44,133 --> 00:46:46,767
I'M TALKING ABOUT TIME.
808
00:46:53,800 --> 00:46:57,600
TIME IS SOMETHING THAT WE RARELY
STOP TO CONSIDER,
809
00:46:57,700 --> 00:47:02,367
BUT OUR BRAIN'S EXPERIENCE
OF TIME IS OFTEN QUITE STRANGE.
810
00:47:02,467 --> 00:47:04,967
IT DOESN'T ALWAYS SEEM
IN CERTAIN SITUATIONS
811
00:47:05,067 --> 00:47:07,267
THAT TIME IS RUNNING
AT AN EVEN PACE.
812
00:47:07,367 --> 00:47:11,100
SOMETIMES IT RUNS MORE SLOWLY
OR MORE QUICKLY.
813
00:47:14,167 --> 00:47:16,233
WHEN I WAS 8 YEARS OLD,
I FELL OFF OF THE ROOF
814
00:47:16,333 --> 00:47:18,667
OF A HOUSE ABOUT THIS HEIGHT,
815
00:47:18,767 --> 00:47:22,500
AND THE FALL SEEMED TO ME
TO TAKE A VERY LONG TIME...
816
00:47:27,067 --> 00:47:29,600
BUT WHEN I GOT TO HIGH SCHOOL,
I LEARNED PHYSICS,
817
00:47:29,700 --> 00:47:33,600
AND I CALCULATED HOW LONG
DID THE FALL ACTUALLY TAKE,
818
00:47:33,700 --> 00:47:37,233
AND IT TURNS OUT IT WAS ONLY
8/10 OF A SECOND,
819
00:47:37,333 --> 00:47:39,833
SO THAT SET ME OFF
ON A QUEST TO UNDERSTAND
820
00:47:39,933 --> 00:47:42,167
WHY DID IT SEEM TO TAKE SO LONG
821
00:47:42,267 --> 00:47:47,033
AND WHAT DID THIS TELL ME
ABOUT OUR PERCEPTION OF REALITY.
822
00:47:48,100 --> 00:47:50,733
EAGLEMAN: MANY PEOPLE
HAVE REPORTED THE SENSATION
823
00:47:50,833 --> 00:47:53,333
DURING MOMENTS OF TERROR.
824
00:47:55,133 --> 00:47:57,733
PROFESSIONAL WINGSUIT FLIER
JEB CORLISS
825
00:47:57,833 --> 00:48:00,200
EXPERIENCED IT
IN AN EXTREME WAY.
826
00:48:00,300 --> 00:48:03,433
MAN: HOW YOU DOING, JEB?
OK.
827
00:48:03,533 --> 00:48:06,200
EAGLEMAN, VOICE-OVER: AND
BECAUSE HE FALLS FOR A LIVING,
828
00:48:06,300 --> 00:48:10,800
THE EVENT HE DESCRIBES WAS
CAPTURED ON MULTIPLE CAMERAS.
829
00:48:15,433 --> 00:48:18,400
ON THIS DAY, I DECIDED
TO AIM FOR A TARGET,
830
00:48:18,500 --> 00:48:21,767
LIKE A SET OF BALLOONS,
AND COME IN AND HIT BALLOONS...
831
00:48:27,333 --> 00:48:29,067
AND I WAS FLYING
TOWARDS THE BALLOONS...
832
00:48:31,767 --> 00:48:34,567
AND AS I WAS COMING IN TO HIT
THE BLACK BALLOON,
833
00:48:34,667 --> 00:48:36,700
I MISJUDGED.
834
00:48:43,833 --> 00:48:47,567
I IMPACTED FLAT, SOLID, GRANITE
835
00:48:47,667 --> 00:48:50,267
AT 120 MILES AN HOUR.
836
00:48:53,800 --> 00:48:55,933
EAGLEMAN, VOICE-OVER: 6 SECONDS
ELAPSED BETWEEN THE MOMENT
837
00:48:56,033 --> 00:49:00,167
THAT JEB HIT THE ROCK AND THE
MOMENT HE PULLED HIS RIP CORD.
838
00:49:01,467 --> 00:49:05,300
HE BROKE HIS LEG AND BOTH ANKLES
IN THE FALL.
839
00:49:06,733 --> 00:49:09,200
UHH...
840
00:49:10,367 --> 00:49:12,400
EAGLEMAN, VOICE-OVER:
FROM JEB'S PERSPECTIVE,
841
00:49:12,500 --> 00:49:17,267
THOSE 6 SECONDS
SEEM TO LAST A LONG TIME.
842
00:49:20,100 --> 00:49:22,967
CORLISS, VOICE-OVER:
YOU'VE GOT TWO OPTIONS.
843
00:49:23,067 --> 00:49:26,333
ONE IS YOU CAN NOT PULL
844
00:49:26,433 --> 00:49:28,233
AND, YOU KNOW, JUST BE DEAD
RIGHT NOW--
845
00:49:28,333 --> 00:49:30,633
GOES, LIKE, REALLY QUICK,
SEMI-PAINLESS,
846
00:49:30,733 --> 00:49:32,700
YOU KNOW, OVER FAST--
847
00:49:32,800 --> 00:49:35,533
OR YOU CAN PULL, YOU KNOW,
848
00:49:35,633 --> 00:49:38,800
GET A PARACHUTE OVER YOUR HEAD,
IMPACT A SECOND TIME,
849
00:49:38,900 --> 00:49:42,000
AND THEN BLEED TO DEATH
WHILE YOU'RE WAITING FOR RESCUE.
850
00:49:42,833 --> 00:49:46,000
THESE TWO SEPARATE
THOUGHTS PROCESSES
851
00:49:46,100 --> 00:49:48,700
FELT LIKE MINUTES OF TIME.
852
00:49:49,633 --> 00:49:52,233
IT FEELS LIKE YOU'RE
OPERATING SO FAST
853
00:49:52,333 --> 00:49:54,000
THAT YOUR PERCEPTION
OF EVERYTHING ELSE
854
00:49:54,100 --> 00:49:55,400
SEEMS TO SLOW DOWN,
855
00:49:55,500 --> 00:49:59,233
EVERYTHING JUST GETS STRETCHED.
856
00:49:59,333 --> 00:50:00,600
UHH...
857
00:50:00,700 --> 00:50:03,400
EAGLEMAN, VOICE-OVER:
BUT WHAT WAS REALLY HAPPENING
858
00:50:03,500 --> 00:50:05,300
IN JEB'S BRAIN?
859
00:50:05,400 --> 00:50:09,533
I DESIGNED AN EXPERIMENT
TO FIND OUT.
860
00:50:09,633 --> 00:50:13,333
IT DEPENDED ON INDUCING
EXTREME FEAR IN PEOPLE
861
00:50:13,433 --> 00:50:17,600
BY DROPPING THEM
FROM 150 FEET IN THE AIR.
862
00:50:18,933 --> 00:50:22,967
THEY FELL WITH A DIGITAL DISPLAY
STRAPPED TO THEIR WRIST.
863
00:50:23,067 --> 00:50:25,533
ITS NUMBERS WERE CHANGING
AT A RATE FASTER
864
00:50:25,633 --> 00:50:29,200
THAN HUMAN VISION
CAN NORMALLY HANDLE.
865
00:50:29,300 --> 00:50:32,400
IF PERCEPTUAL TIME DID SLOW,
866
00:50:32,500 --> 00:50:35,000
THEN THEY WOULD BE ABLE
TO READ THE NUMBERS,
867
00:50:35,100 --> 00:50:38,267
BUT NO ONE COULD,
868
00:50:38,367 --> 00:50:41,167
SO WHY DID JEB RECALL
HIS ACCIDENT
869
00:50:41,267 --> 00:50:43,767
AS HAPPENING IN SLOW MOTION?
870
00:50:49,233 --> 00:50:51,633
CORLISS, VOICE-OVER: IT WAS
A TIME DISTORTION ON A LEVEL
871
00:50:51,733 --> 00:50:53,867
I'VE NEVER EXPERIENCED BEFORE.
872
00:50:53,967 --> 00:50:57,467
I LEARNED LATER THAT THE RESCUE
TOOK ABOUT 2 1/2 HOURS,
873
00:50:57,567 --> 00:51:00,967
BUT AT THE TIME,
IT FELT LIKE WEEKS.
874
00:51:01,067 --> 00:51:04,333
IT DIDN'T FEEL LIKE MINUTES
OR HOURS OR EVEN DAYS.
875
00:51:04,433 --> 00:51:06,867
IT FELT LIKE--
IT FELT LIKE LITTLE ETERNITIES.
876
00:51:06,967 --> 00:51:09,233
IT FELT LIKE FOREVER.
877
00:51:11,300 --> 00:51:13,667
EAGLEMAN:
THE ANSWER SEEMS TO LIE
878
00:51:13,767 --> 00:51:16,333
WITH HOW OUR MEMORIES ARE MADE.
879
00:51:16,433 --> 00:51:19,000
IN A CRITICAL SITUATION,
AN AREA OF THE BRAIN
880
00:51:19,100 --> 00:51:22,733
CALLED THE AMYGDALA
KICKS INTO HIGH GEAR.
881
00:51:22,833 --> 00:51:26,100
IT COMMANDEERS THE RESOURCES
OF THE REST OF THE BRAIN,
882
00:51:26,200 --> 00:51:31,133
FORCING EVERYTHING TO ATTEND
TO THE SITUATION AT HAND.
883
00:51:31,233 --> 00:51:34,467
WHEN THE AMYGDALA IS IN PLAY,
MEMORIES ARE LAID DOWN
884
00:51:34,567 --> 00:51:38,767
WITH FAR MORE DETAIL
THAN UNDER NORMAL CIRCUMSTANCES.
885
00:51:43,400 --> 00:51:46,400
THESE MEMORIES ARE RICHER
AND MORE VIVID.
886
00:51:46,500 --> 00:51:49,500
IF YOU'RE EVER
IN A SIMILAR SITUATION,
887
00:51:49,600 --> 00:51:52,667
YOU HAVE MORE INFORMATION
AT YOUR DISPOSAL
888
00:51:52,767 --> 00:51:56,267
TO WORK OUT HOW TO STAY ALIVE,
889
00:51:56,367 --> 00:51:58,033
BUT THERE'S
A FASCINATING CONSEQUENCE.
890
00:51:58,133 --> 00:52:01,867
WHEN THE EVENTS ARE REPLAYED
IN YOUR MEMORY,
891
00:52:01,967 --> 00:52:05,600
THEY APPEAR TO HAVE TAKEN
A LONGER TIME.
892
00:52:05,700 --> 00:52:09,100
[INDISTINCT CONVERSATION]
893
00:52:09,200 --> 00:52:11,433
[HELICOPTER IDLING]
894
00:52:11,533 --> 00:52:14,033
OW! OW, OW, OW!
895
00:52:14,133 --> 00:52:16,200
EAGLEMAN, VOICE-OVER:
JEB'S TIME DISTORTION
896
00:52:16,300 --> 00:52:19,133
IS SOMETHING THAT HAPPENED
IN RETROSPECT...
897
00:52:20,667 --> 00:52:25,267
A TRICK OF THE MEMORY THAT WROTE
THE STORY OF HIS REALITY.
898
00:52:33,100 --> 00:52:38,300
THE BRAIN IS THE UNIVERSE'S
ULTIMATE STORYTELLER.
899
00:52:38,400 --> 00:52:42,733
WE BELIEVE WHATEVER OUR BRAINS
SERVE UP TO US.
900
00:52:42,833 --> 00:52:45,067
THE REALITY WE TAKE FOR GRANTED
901
00:52:45,167 --> 00:52:49,667
REQUIRES INTENSIVE TRAINING
TO INTERPRET THE WORLD.
902
00:52:50,933 --> 00:52:54,700
IT TAKES TIME TO PROCESS
SENSORY INFORMATION,
903
00:52:54,800 --> 00:52:57,233
SO WE LIVE IN THE PAST...
904
00:52:59,833 --> 00:53:01,867
AND BECAUSE ALL THAT INFORMATION
905
00:53:01,967 --> 00:53:05,233
IS ULTIMATELY JUST
ELECTROCHEMICAL SIGNALS
906
00:53:05,333 --> 00:53:09,900
TO BE SORTED, MATCHED,
RENDERED AND PACKAGED,
907
00:53:10,000 --> 00:53:14,600
REALITY IS SOMETHING CREATED
INSIDE OUR HEAD.
908
00:53:19,267 --> 00:53:24,067
OUR BRAIN SCULPTS OUR REALITY
USING THE NARROW TRICKLE OF DATA
909
00:53:24,167 --> 00:53:27,067
THAT IT CAN GATHER
THROUGH THE SENSES,
910
00:53:27,167 --> 00:53:30,900
AND FROM THAT TRICKLE, IT TELLS
A STORY ABOUT OUR WORLD.
911
00:53:31,000 --> 00:53:35,667
IT'S POSSIBLE THAT EVERY BRAIN
TELLS A DIFFERENT NARRATIVE...
912
00:53:37,667 --> 00:53:41,233
AND WITH 7 BILLION HUMAN BRAINS
WANDERING THE PLANET...
913
00:53:44,167 --> 00:53:46,900
TRILLIONS OF ANIMAL BRAINS,
914
00:53:47,000 --> 00:53:50,233
NO ONE IS TAPPED
INTO THE FULL PICTURE.
915
00:53:53,333 --> 00:53:56,867
EACH BRAIN CARRIES
ITS OWN UNIQUE MODEL
916
00:53:56,967 --> 00:54:00,233
OF THE WORLD AROUND US.
917
00:54:00,333 --> 00:54:02,500
THAT IS WHAT WE EXPERIENCE.
918
00:54:04,000 --> 00:54:06,167
WE HAVE NO CHOICE.
919
00:54:09,533 --> 00:54:11,400
SO WHAT IS REALITY?
920
00:54:11,500 --> 00:54:16,500
IT'S WHATEVER YOUR BRAIN
TELLS YOU IT IS.
72825
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