Why do we see illusions? - Mark Changizi

127,074 views ใƒป 2013-03-20

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

00:00
Translator: Andrea McDonough Reviewer: Bedirhan Cinar
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ืชืจื’ื•ื: Shlomo Adam ืขืจื™ื›ื”: Ido Dekkers
00:15
Why do we see illusions?
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ืžื“ื•ืข ืื ื• ืจื•ืื™ื ืืฉืœื™ื•ืช?
00:16
I'm going to tell you about some of my research,
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ืืกืคืจ ืœื›ื ืงืฆืช ืขืœ ื”ืžื—ืงืจ ืฉืœื™
00:19
where I provided evidence for a different kind of hypothesis
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ืฉื‘ื• ืื ื™ ืžืกืคืง ื”ื•ื›ื—ื•ืช
ืœื”ื ื—ื” ืžืกื•ื’ ืฉื•ื ื”
00:22
than the one that might be in the book
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ืžื”ืกื•ื’ ืฉืื•ืœื™ ืžื•ืคื™ืข ื‘ืกืคืจ
00:25
on your coffee stand.
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ืฉื ืžืฆื ื‘ื“ื•ื›ืŸ ื”ืงืคื” ืฉืœื›ื.
00:28
Alright, so let's look at one of the illusions here.
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ืื– ื”ื‘ื” ื ืชื‘ื•ื ืŸ ื‘ืื—ืช ื”ืืฉืœื™ื•ืช ืฉื›ืืŸ.
00:31
And this is a stand-in for many, many kinds of illusions
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ื•ื”ื™ื ืžื™ื™ืฆื’ืช ื”ืžื•ืŸ ืกื•ื’ื™ ืืฉืœื™ื•ืช
00:34
that are explained by this hypothesis.
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ืฉื”ื”ื ื—ื” ื”ื–ื• ืžืกื‘ื™ืจื”.
ืืกื‘ื™ืจ ืœื›ื ืขืœ ื”ืืฉืœื™ื” ื”ืžืกื•ื™ืžืช ื”ื–ื•.
00:36
I'm just going to walk through it for this particular one.
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00:38
As usual in these things,
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ื›ืจื’ื™ืœ ื‘ื“ื‘ืจื™ื ื”ืืœื”,
ืฉื ื™ ื”ืงื•ื•ื™ื ื”ืืœื” ื‘ืขืฆื ืžืงื‘ื™ืœื™ื,
00:40
these two lines are, in fact, parallel,
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00:41
but you perceive them to bow outwards at their centers.
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ืืš ืืชื ืชื•ืคืฉื™ื ืื•ืชื ื›ืžืชืงืฉืชื™ื ื”ื—ื•ืฆื” ื‘ืžืจื›ื–ื™ื”ื.
00:45
At the center where those radial lines are,
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ื‘ืžืจื›ื– ืฉื‘ื• ื ืžืฆืื™ื ื”ืงื•ื•ื™ื ื”ืจื“ื™ืืœื™ื™ื ื”ืืœื”,
00:48
it's wider in your visual field than the parts above and below.
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ื–ื” ืจื—ื‘ ื™ื•ืชืจ ื‘ืฉื“ื” ื”ืจืื™ื” ืฉืœื›ื
ืžืืฉืจ ื‘ื—ืœืงื™ื ืžืขืœ ื•ืžืชื—ืช.
ื•ื–ื” ืจืื•ื™ ืœืฆื™ื•ืŸ
00:52
And this is remarkable,
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00:53
because it's a remarkably simple stimulus.
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ื›ื™ ื–ื”ื• ื’ื™ืจื•ื™ ืคืฉื•ื˜ ื‘ื™ื•ืชืจ.
00:55
It's just a bunch of straight lines.
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ื–ื• ืจืง ืงื‘ื•ืฆืช ืงื•ื•ื™ื ื™ืฉืจื™ื.
00:57
Why should one of the most complicated objects in the universe
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ืžื“ื•ืข ืื—ื“ ืžื”ืขืฆืžื™ื ื”ื›ื™ ืžื•ืจื›ื‘ื™ื ื‘ื™ืงื•ื
ืœื ื™ื•ื›ืœ ืœืชืคื•ืฉ ืฆื•ืจื” ืคืฉื•ื˜ื” ืœื”ื“ื”ื™ื ื›ื–ื•?
01:00
be unable to render this incredibly simple image?
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ื›ืฉื‘ืื™ื ืœืขื ื•ืช ืขืœ ืฉืืœื•ืช ื›ืืœื”,
01:04
When you want to answer questions like this,
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01:06
you need to ask,
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ื™ืฉ ืœืฉืื•ืœ,
"ืžื” ื–ื” ืขืฉื•ื™ ืœื•ืžืจ ืœืžื•ื—?"
01:08
well, what might this mean to your brain?
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01:11
And what your brain is going to think this is,
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ื•ืžื” ืฉื”ืžื•ื— ื™ื—ืฉื•ื‘ ืฉื–ื”,
01:13
is not some lines on a page.
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ืื™ื ื ื• ืงื•ื•ื™ื ืขืœ ื’ื‘ื™ ื ื™ื™ืจ,
01:15
Your brain has evolved to handle the kinds of natural stimuli
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ื”ืžื•ื— ืฉืœื›ื ื”ืชืคืชื— ื›ื“ื™ ืœื˜ืคืœ
ื‘ืกื•ื’ื™ ื”ื’ื™ืจื•ื™ ื”ื˜ื‘ืขื™ื™ื
01:18
that it encounters in real life.
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ืื•ืชื ื”ื•ื ืคื•ื’ืฉ ื‘ื—ื™ื™ื ื”ืืžื™ืชื™ื™ื.
01:20
So when does the brain encounter stimuli like this?
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ืžืชื™ ื”ืžื•ื— ื ืชืงืœ ื‘ื’ื™ืจื•ื™ื™ื ื›ืืœื”?
01:24
Well, it seems a bit odd, but in fact,
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ื–ื” ืื•ืœื™ ื™ื™ืจืื” ืžืขื˜ ืžื•ื–ืจ,
ืืš ืœืžืขืฉื” ื ืชืงืœืชื ื‘ื’ื™ืจื•ื™ ื”ื–ื” ื‘ืžืฉืš ื›ืœ ื”ื™ื•ื.
01:26
you've been encountering this stimulus all day long.
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01:29
Whenever you move,
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ื‘ื›ืœ ืคืขื ืฉื ืขืชื,
01:30
whenever you move forward, in particular.
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ื•ื‘ืžื™ื•ื—ื“ ื‘ื›ืœ ืคืขื ืฉื ืขืชื ืงื“ื™ืžื”.
01:32
When you move forward, you get optic flow,
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ื›ืฉืืชื ื ืขื™ื ืงื“ื™ืžื”, ืืชื ืžืงื‘ืœื™ื ื–ืจื ืื•ืคื˜ื™,
ืฉื–ื•ืจื ื›ืœืคื™ ื—ื•ืฅ ื‘ืฉื“ื” ื ืคืจื“
01:36
flowing outwards in your visual field,
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01:37
like when the Enterprise goes into warp.
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ื›ืžื• ื›ืฉื”"ืื ื˜ืจืคืจื™ื™ื–" ืขื•ื‘ืจืช ืœืžื”ื™ืจื•ืช ืขืœ-ื—ืœืœ.
01:40
All of these objects flow outwards
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ื›ืœ ื”ืขืฆืžื™ื ื”ืืœื” ื–ื•ืจืžื™ื ื”ื—ื•ืฆื”
ื•ืžื•ืชื™ืจื™ื ืขืงื‘ื•ืช, ืื• ืงื•ื•ื™ ื˜ืฉื˜ื•ืฉ, ืขืœ ื”ืจืฉืชื™ืช ืฉืœื›ื.
01:42
and they leave trails, or blur lines, on your retina.
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01:45
They're activating mini-neurons all in a row.
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ื”ื ืžืคืขื™ืœื™ื ืกื“ืจื” ืฉืœ ืžื™ื ื™-ื ื•ื™ืจื•ื ื™ื.
01:49
So, this is a version of what happens in real life
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ืื– ื–ืืช ื’ื™ืจืกื” ืฉืœ ืžื” ืฉืงื•ืจื” ื‘ื—ื™ื™ื ื”ืืžื™ืชื™ื™ื
01:52
and this another version of what happens in real life all the time.
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ื•ื–ื• ื’ื™ืจืกื” ื ื•ืกืคืช ืฉืœ ืžื” ืฉืงื•ืจื” ื‘ื—ื™ื™ื ื”ืืžื™ืชื™ื™ื ื›ืœ ื”ื–ืžืŸ.
01:55
In fact, cartoonists know about this.
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ืœืžืขืฉื”, ืืžื ื™ ืงื•ืžื™ืงืก ื™ื•ื“ืขื™ื ืขืœ ื–ื”.
01:58
They put these blur lines in their cartoons
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ื”ื ืžืฆื™ื™ืจื™ื ืงื•ื•ื™ ื˜ืฉื˜ื•ืฉ ื‘ืงื•ืžื™ืงืก ืฉืœื”ื
ื•ืœืžื•ื— ืฉืœื›ื ื–ื” ืื•ืžืจ "ืชื ื•ืขื”".
02:00
and it means to your brain: motion.
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02:02
Now, it's not that in real life you see blur lines.
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ื ื›ื•ืŸ ืฉื‘ื—ื™ื™ื ื”ืืžื™ืชื™ื™ื ืœื ืจื•ืื™ื ืืช ืงื•ื•ื™ ื”ื˜ืฉื˜ื•ืฉ,
02:04
The point is that it's the stimulus at the back of your eye
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ื”ืขื ื™ื™ืŸ ื”ื•ื ืฉื–ื” ื”ื’ื™ืจื•ื™ ืฉืงื•ืจื” ื‘ื—ืœืง ื”ืื—ื•ืจื™ ืฉืœ ื”ืขื™ืŸ
02:07
that has these optic blurs in them,
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ืฉื‘ื• ืžื•ืคื™ืข ื”ื˜ืฉื˜ื•ืฉ ื”ืื•ืคื˜ื™ ื”ื–ื”
02:10
and that's what tells your brain that you're moving.
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ื•ื–ื” ืžื” ืฉืื•ืžืจ ืœืžื•ื— ืฉืœื›ื ืฉืืชื ื‘ืชื ื•ืขื”.
02:12
When you move forward, your eyes fixate like cameras,
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ื›ืฉืืชื ื ืขื™ื ืงื“ื™ืžื”, ืขื™ื ื™ื›ื ืžืชืงื‘ืขื•ืช ื›ืžื• ืžืฆืœืžื•ืช,
02:15
like snapshot cameras,
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ื›ืžื• ืžืฆืœืžื•ืช ืฆื™ืœื•ื-ื‘ื–ืง,
02:17
it fixates, it fixates, little (Snapshot sound) camera shots,
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ื”ืŸ ืžืชืงื‘ืขื•ืช,
ื”ืŸ ืžืชืงื‘ืขื•ืช,
ืจืฆืฃ ืฆื™ืœื•ืžื™ื ืžื”ื™ืจื™ื,
ื•ื‘ื›ืœ ืคืขื ืฉื”ืŸ ืžืชืžืงื“ื•ืช,
02:20
and each time it fixates when you're moving forward,
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ื›ืฉืืชื ื ืขื™ื ืงื“ื™ืžื”,
ืืชื ื—ื•ื•ื™ื ืืช ื›ืœ ื”ื–ืจื™ืžื” ื”ื–ื• ื›ืœืคื™ ื—ื•ืฅ.
02:22
you get all this flowing outwards.
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02:24
So when you take a fixation,
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ืื– ื›ืฉืืชื ืœื•ืงื—ื™ื ื”ืชืงื‘ืขื•ืช ืื—ืช,
02:26
you end up with this weird optic blur stuff,
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ืืชื ืžืงื‘ืœื™ื ืืช ื”ื˜ืฉื˜ื•ืฉ ื”ืื•ืคื˜ื™ ื”ืžื•ื–ืจ ื”ื–ื”
02:28
and it tells you the direction you're moving.
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ื•ื–ื” ืื•ืžืจ ืœื›ื ืžื” ื”ื›ื™ื•ื•ืŸ ืฉื‘ื• ืืชื ื ืขื™ื.
02:30
Alright, that's half the story.
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ืื‘ืœ ื–ื” ืจืง ื—ืฆื™ ื”ืกื™ืคื•ืจ.
02:32
That's what this stimulus means.
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ื–ื• ื”ืžืฉืžืขื•ืช ืฉืœ ื”ื’ื™ืจื•ื™ ื”ื–ื”.
ื”ืžืฉืžืขื•ืช ื”ื™ื ืฉื”ืžื•ื— ืฉืœื›ื ื—ื•ืฉื‘
02:34
It means that your brain thinks,
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02:35
when it's looking at the first image,
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ื›ืฉื”ื•ื ืžื‘ื™ื˜ ื‘ืชืžื•ื ื” ื”ืจืืฉื•ื ื”
ืฉืืชื ื‘ืขืฆื ื‘ืชื ื•ืขื”,
02:37
that you're actually on your way, moving towards the center.
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ืœื›ื™ื•ื•ืŸ ื”ืžืจื›ื–.
02:40
It still doesn't explain
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ื–ื” ืขื“ื™ื™ืŸ ืœื ืžืกื‘ื™ืจ ืžื“ื•ืข ืืชื ืฆืจื™ื›ื™ื ืœืชืคื•ืฉ
02:41
why you should perceive these straight lines as bowed outwards.
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ืืช ื”ืงื•ื•ื™ื ื”ื™ืฉืจื™ื ื”ืืœื” ื›ืื™ืœื• ื”ื ืžืชืงืฉืชื™ื ื”ื—ื•ืฆื”.
02:44
To understand the rest of the story,
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ื›ื“ื™ ืœื”ื‘ื™ืŸ ืืช ืฉืืจ ื”ืกื™ืคื•ืจ,
02:46
you have to understand that our brains are slow.
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ืขืœื™ื›ื ืœื”ื‘ื™ืŸ ืฉื”ืžื•ื—ื•ืช ืฉืœื ื• ืื™ื˜ื™ื™ื.
ืžื” ืฉืืชื ืจื•ืฆื™ื ืฉื™ืงืจื” ื›ืฉืื•ืจ ืคื•ื’ืข ื‘ืขื™ืŸ,
02:50
What you would like is that when light hits your eye,
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02:53
then -- ping! -- immediately you have a perception
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ืคื™ื ื’!
ืžื™ื“ ืชืงื‘ืœื• ืชืคื™ืฉื”
02:56
of what the world is like.
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ืฉืœ ื”ืขื•ืœื.
ืื‘ืœ ื–ื” ืœื ืคื•ืขืœ ื›ืš.
02:58
But it doesn't work that way.
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02:59
It takes about a tenth of a second for your perception to be created.
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ื ื“ืจืฉืช ื‘ืขืจืš ืขืฉื™ืจื™ืช ืฉื ื™ื”
ืœื™ืฆื™ืจืช ื”ืชืคื™ืฉื”.
03:03
And a tenth of a second doesn't sound very long,
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ืขืฉื™ืจื™ืช ืฉื ื™ื” ืœื ื ืฉืžืขืช ื›ืžื• ื–ืžืŸ ืจื‘,
ืื‘ืœ ื–ื” ืื›ืŸ ื–ืžืŸ ืžืžื•ืฉืš ื‘ื”ืชื ื”ื’ื•ืช ื”ื ื•ืจืžืœื™ืช.
03:05
but it's a long time in normal behaviors.
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03:07
If you're moving just at one meter per second, which is fairly slow,
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ืื ืืชื ื ืขื™ื ื‘ืžื”ื™ืจื•ืช ืฉืœ ืžื˜ืจ ืื—ื“ ื‘ืฉื ื™ื” ื‘ืœื‘ื“,
ืฉื–ื” ืื™ื˜ื™ ืœืžื“ื™,
ืื– ื‘ืขืฉื™ืจื™ืช ืฉื ื™ื” ืขื‘ืจืชื 10 ืก"ืž.
03:11
then in a tenth of second, you've moved 10 centimeters.
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03:13
So if you didn't correct for this delay,
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ื•ืื ืœื ืชืคืฆื• ืขืœ ื”ื”ืฉื”ื™ื™ื” ื”ื–ื•,
ืื– ื›ืœ ืžื” ืฉืชืชืคืฉื•
03:16
then anything that you perceived to be within 10 centimeters of you,
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ื›ืื™ืœื• ื”ื•ื ื ืžืฆื ื‘ื˜ื•ื•ื— 10 ืก"ืž ืžื›ื,
03:20
by the time you perceived it,
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ื”ืจื™ ืฉื‘ื–ืžืŸ ืฉืชืชืคืฉื• ื–ืืช,
03:21
you would have bumped into it or just passed it.
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ืชืชื ื’ืฉื• ื‘ื• ืื• ืชื—ืœืคื• ืขืœ ืคื ื™ื•.
03:23
And of course, this is going to be much worse --
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ื•ื›ืžื•ื‘ืŸ, ื–ื” ื™ื”ื™ื” ื’ืจื•ืข ื‘ื”ืจื‘ื”,
03:26
(Laughter)
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ื’ืจื•ืข ื‘ื”ืจื‘ื”,
03:27
it's going to be much worse in a situation like this.
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ื‘ืžืฆื‘ ื›ื–ื”.
03:29
Your perception is behind.
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ื”ืชืคื™ืฉื” ืฉืœื›ื ืžืคื’ืจืช.
03:32
What you want is that your perception should look like this.
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ืืชื ืจื•ืฆื™ื ืฉื”ืชืคื™ืฉื” ืฉืœื›ื ืชื™ืจืื” ื›ืš.
03:35
You want your perceptions at any time T
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ืืชื ืจื•ืฆื™ื ืฉื”ืชืคื™ืฉื” ืฉืœื›ื ื‘ื–ืžืŸ "ื˜ื™" ื›ืœืฉื”ื•,
03:38
to be of the world at time T.
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ืชื”ื™ื” ืฉืœ ื”ืขื•ืœื ื‘ืื•ืชื• ื–ืžืŸ "ื˜ื™".
03:41
But the only way your brain can do that, is that it has to,
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ืืš ื”ื“ืจืš ื”ื™ื—ื™ื“ื” ื‘ื” ืžื•ื—ื›ื ื™ื›ื•ืœ ืœืขืฉื•ืช ื–ืืช,
ื”ื™ื ืฉื‘ืžืงื•ื ืœื”ืคื™ืง
03:44
instead of generating a perception of the way the world was
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ืชืคื™ืฉื” ืฉืœ ื”ืขื•ืœื ื›ืคื™ ืฉื”ื™ื”
03:48
when light hit your retina,
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ื›ืฉื”ืื•ืจ ืคื’ืข ื‘ืจืฉืชื™ืช,
03:49
it has to do something fancier.
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ืขืœื™ื• ืœืขืฉื•ืช ืžืฉื”ื• ืžืชื•ื—ื›ื ื™ื•ืชืจ.
03:51
It can't passively respond and create a best guess,
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ื”ื•ื ืœื ื™ื›ื•ืœ ืœื”ื’ื™ื‘ ื‘ืื•ืคืŸ ืกื‘ื™ืœ ื•ืœื™ืฆื•ืจ ืืช ื”ื ื™ื—ื•ืฉ ื”ื˜ื•ื‘ ื‘ื™ื•ืชืจ,
ืขืœื™ื• ืœื™ืฆื•ืจ ืืช ื”ื ื™ื—ื•ืฉ ื”ื˜ื•ื‘ ื‘ื™ื•ืชืจ ืœื’ื‘ื™ ื”ืจื’ืข ื”ื‘ื.
03:55
it has to create a best guess about the next moment.
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03:58
What will the world look like in a tenth of a second?
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ืื™ืš ื™ื™ืจืื” ื”ืขื•ืœื ื‘ืขื•ื“ ืขืฉื™ืจื™ืช ืฉื ื™ื”?
04:01
Build a perception of that,
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ืœื‘ื ื•ืช ืชืคื™ืฉื” ืฉืœ ื–ื”,
04:03
because by the time your perception of the near future occurs in your brain,
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ื›ื™ ืขื“ ืฉื”ืชืคื™ืฉื” ืฉืœืš
ืœื’ื‘ื™ ื”ืขืชื™ื“ ืชืชื’ื‘ืฉ ื‘ืžื•ื—ืš,
04:07
the near future will have arrived
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ื”ืขืชื™ื“ ื”ืงืจื•ื‘ ื™ื’ื™ืข
04:09
and you'll have a perception of the present,
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ื•ืชื”ื™ื” ืœืš ืชืคื™ืฉื” ืฉืœ ื”ื”ื•ื•ื”,
ื•ื–ื” ืžื” ืฉืืชื” ืจื•ืฆื”.
04:12
which is what you want.
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04:13
In my research,
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ื‘ืžื—ืงืจ ืฉืœื™ ื”ื‘ืืชื™ ื”ืžื•ืŸ ื”ื•ื›ื—ื•ืช ืœื›ืš,
04:14
I provided a lot of evidence -- and there's other research areas
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ื•ื™ืฉ ืชื—ื•ืžื™ ืžื—ืงืจ ื ื•ืกืคื™ื ืฉืกื™ืคืงื• ื’ื ื”ื ื”ื•ื›ื—ื•ืช,
04:17
that have provided evidence --
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ืฉื”ืžื•ื— ืžืœื ื‘ืžื ื’ื ื•ื ื™ื ื›ืืœื”
04:19
that the brain is filled with mechanisms
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ืฉืžื ืกื™ื ืœืคืฆื•ืช ืขืœ ื”ืื™ื˜ื™ื•ืช ืฉืœื•.
04:21
that try to compensate for its slowness.
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ื•ื”ืจืื™ืชื™ ืฉื–ื” ืžืกื‘ื™ืจ ื”ืžื•ืŸ ืืฉืœื™ื•ืช ืื•ืคื˜ื™ื•ืช,
04:23
And I've shown that huge swaths of illusions are explained by this,
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04:26
this just being one example.
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ื•ื–ื• ืจืง ื“ื•ื’ืžื” ืื—ืช.
04:27
But let me finish by saying,
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ืืกื™ื™ื ื‘ื›ืš ืฉืื•ืžืจ
ืื™ืš ื‘ื“ื™ื•ืง ื–ื” ืžืกื‘ื™ืจ ืืช ื”ื“ื•ื’ืžื” ื”ืžืกื•ื™ืžืช ื”ื–ื•.
04:29
how exactly does this explain this particular example?
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04:32
So, the question, really, we have to ask
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ืื– ื”ืฉืืœื” ืฉื‘ืขืฆื ืฆืจื™ื›ื” ืœื”ื™ืฉืืœ ื”ื™ื,
04:35
is: how do those two vertical lines in that first stimulus,
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ืื™ืš ืฉื ื™ ื”ืงื•ื•ื™ื ื”ืื ื›ื™ื™ื ื”ืืœื” ื‘ื’ื™ืจื•ื™ ื”ืจืืฉื•ืŸ,
04:39
how do they change in the next moment
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ืื™ืš ื”ื ืžืฉืชื ื™ื ื‘ืจื’ืข ื”ื‘ื
04:42
were I moving towards the center,
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ืื™ืœื• ื ืขืชื™ ืœื›ื™ื•ื•ืŸ ื”ืžืจื›ื–
04:44
that all those optical lines are suggesting that I'm moving.
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ืฉื›ืœ ื”ืงื•ื•ื™ื ื”ืื•ืคื˜ื™ื™ื ื”ืืœื” ืžืฆื‘ื™ืขื™ื ืขืœ ื›ืš ืฉืื ื™ ื‘ืชื ื•ืขื”,
04:47
What happens to them?
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ืžื” ืงื•ืจื” ืœื”ื?
04:48
Well, let's imagine.
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ื”ื‘ื” ืคืฉื•ื˜ ื ื“ืžื™ื™ืŸ.
ื“ืžื™ื™ื ื• ืฉื™ืฉ ืœื›ื ืฉืขืจ.
04:50
Imagine you've got a doorway.
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ื™ืฉ ืœื›ื ืฉืขืจ.
04:52
You've got a doorway.
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04:53
Imagine it's a cathedral doorway, to make it more concrete --
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ื“ืžื™ื™ื ื• ืฉื–ื”ื• ืคืชื— ืฉืœ ืงืชื“ืจืœื”
ืจืง ื›ื“ื™ ืฉื–ื” ื™ื”ื™ื” ื™ื•ืชืจ ืžื•ื—ืฉื™,
04:56
it'll be helpful in a second.
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ืžื™ื“ ืชื‘ื™ื ื•.
ื›ืฉืืชื ืจื—ื•ืงื™ื ืžืื“ ืžืžื ื•,
04:58
When you're very far away from it,
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04:59
the sides are perfectly parallel.
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ื”ืฆื“ื“ื™ื ืžืงื‘ื™ืœื™ื ืœื’ืžืจื™.
ืืš ื›ืขืช ื“ืžื™ื™ื ื• ืžื” ืงื•ืจื” ื›ืฉืืชื ืžืชืงืจื‘ื™ื.
05:02
But now imagine what happens when you get closer.
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05:04
It all flows outwards in your visual field,
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ื›ืฉืืชื ืžืžืฉ ืžืชืงืจื‘ื™ื,
ื”ื›ืœ ื–ื•ืจื ื”ื—ื•ืฆื” ื‘ืฉื“ื” ื”ืจืื™ื” ืฉืœื›ื,
05:07
flowing outwards.
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ื–ื•ืจื ื”ื—ื•ืฆื”,
05:08
But when you're really close --
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ืืš ื›ืฉืืชื ืžืžืฉ ืงืจื•ื‘ื™ื,
ื“ืžื™ื™ื ื• ืืช ืฆื™ื“ื™ ื”ืคืชื—, ื›ืืŸ ื•ื›ืืŸ,
05:10
imagine the sides of the doorway are here and here,
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05:12
but if you look up at this cathedral doorway and do your fingers like this,
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ืืš ืื ืืชื ืžื‘ื™ื˜ื™ื ืœืžืขืœื” ืืœ ืคืชื— ื”ืงืชื“ืจืœื” ื”ื–ื”
ื•ืžื ื™ืขื™ื ืืช ืืฆื‘ืขื•ืชื™ื›ื ื›ืš,
05:16
the sides of the doorway are going up,
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ืฆื™ื“ื™ ื”ืคืชื— ืขื•ืœื™ื ืœืžืขืœื”
05:18
like railroad tracks in the sky.
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ื›ืžื• ืคืกื™ ืžืกื™ืœืช ืจื›ื‘ืช ื‘ืฉืžื™ื.
05:20
What started off as two parallel lines,
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ืžื” ืฉื”ื—ืœ ื›ื–ื•ื’ ืงื•ื•ื™ื ืžืงื‘ื™ืœื™ื
05:22
in fact, bows outwards at eye level,
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ืœืžืขืฉื” ืžืชืงืฉืช ื”ื—ื•ืฆื” ื‘ื’ื•ื‘ื” ื”ืขื™ื ื™ื™ื
05:24
and doesn't go outwards nearly as much above.
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ื•ืœื ื ื•ื˜ื” ื”ื—ื•ืฆื” ื›ืœ-ื›ืš ื”ืจื‘ื” ืžืขืœ ืœื’ื•ื‘ื” ื–ื”.
05:27
So in the next moment,
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ืื– ื‘ืจื’ืข ื”ื‘ื,
05:28
you have a shape that's more like this next picture.
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ืืชื ืžืงื‘ืœื™ื ืฆื•ืจื” ืฉื ืจืื™ืช ื™ื•ืชืจ ื›ืžื• ื”ืชืžื•ื ื” ื”ื‘ืื”.
ืœืžืขืฉื” ื–ื” ืžืกืชื™ื™ื, ื”ื’ื™ืื•ืžื˜ืจื™ื” ื”ืžื•ืฉืœื›ืช,
05:32
The projective geometry -- that is, the way the things project,
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ื›ืš ื”ื“ื‘ืจื™ื ืžื•ืฉืœื›ื™ื
05:36
in fact, change in this way in the next moment.
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ืœืžืขืฉื” ืžืฉืชื ื™ื ื›ืš ื‘ืจื’ืข ื”ื‘ื.
05:38
So when you have a stimulus like this, well, your brain has no problem,
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ืื– ื›ืฉื™ืฉ ืœื›ื ื’ื™ืจื•ื™ ื›ืžื• ื–ื”,
ืœืžื•ื— ืฉืœื›ื ืื™ืŸ ืฉื•ื ื‘ืขื™ื”,
05:41
there's just two vertical lines
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ืืœื” ืจืง ืฉื ื™ ืงื•ื•ื™ื ืžืงื‘ื™ืœื™ื
05:43
and no cues that there'll be a change in the next moment,
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ื•ืื™ืŸ ืฉื•ื ืจืžื–
ืฉื‘ืจื’ืข ื”ื‘ื ืขื•ืžื“ ืœื”ืชืจื—ืฉ ืฉื™ื ื•ื™,
ืื– ืืชื ืงื•ืœื˜ื™ื ืื•ืชื ื›ืžื• ืฉื”ื.
05:46
so just render it as it is.
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05:47
But if you add cues --
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ืืš ืื ืชื•ืกื™ืคื• ืจืžื–ื™ื,
05:49
and this is just one of many kinds of cues
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ื•ื–ื” ืจืง ืื—ื“ ืžืกื•ื’ื™ื ืจื‘ื™ื ืฉืœ ืจืžื–ื™ื,
05:51
that can lead to these kinds of illusions,
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ืฉืขืฉื•ื™ื™ื ืœื”ื•ื‘ื™ืœ ืœืกื•ื’ื™ื ื›ืืœื” ืฉืœ ืืฉืœื™ื”,
05:53
this very strong optic blur cue --
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ืจืžื– ื”ื˜ืฉื˜ื•ืฉ ื”ืื•ืคื˜ื™ ื”ื—ื–ืง ืžืื“ ื”ื–ื”,
ื›ื™ ืื– ืืชื ืชื™ืฆืจื• ื‘ืžืงื•ื ื–ื” ืชืคื™ืฉื”
05:56
then you're going to perceive instead
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ืžื“ื•ื™ืงืช ืฉืœ ืื™ืš ื–ื” ื™ื™ืจืื” ื‘ืจื’ืข ื”ื‘ื.
05:58
exactly how it will appear in the next moment.
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06:00
All of our perceptions are always trying to be about the present,
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ื›ืœ ื”ืชืคื™ืฉื•ืช ืฉืœื ื• ืžื ืกื•ืช ืชืžื™ื“ ืœื”ืชื™ื™ื—ืก ืœื”ื•ื•ื”,
06:04
but you have to perceive the future to, in fact, perceive the present.
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ืื‘ืœ ืขืœื™ื›ื ืœืชืคื•ืฉ ืืช ื”ืขืชื™ื“
ื›ื“ื™ ื‘ืขืฆื ืœืชืคื•ืฉ ืืช ื”ื”ื•ื•ื”.
06:08
And these illusions are failed perceptions of the future,
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ื•ืืฉืœื™ื•ืช ืืœื” ื”ืŸ ืชืคื™ืฉื•ืช ืœืงื•ื™ื•ืช ืฉืœ ื”ืขืชื™ื“
06:11
because they're just static images on the page,
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ื›ื™ ื”ืŸ ืจืง ืชืžื•ื ื•ืช ืกื˜ื˜ื™ื•ืช ืขืœ ื’ื‘ื™ ื ื™ื™ืจ,
06:13
they're not changing like in real life.
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ื”ืŸ ืื™ื ืŸ ืžืฉืชื ื•ืช ื›ืžื• ื‘ื—ื™ื™ื ื”ืืžื™ืชื™ื™ื.
ื”ืจืฉื• ืœื™ ืœืกื™ื™ื ื‘ื”ืฆื’ืช ืืฉืœื™ื” ืื—ืช ื ื•ืกืคืช,
06:16
And let me just end by showing one illusion here.
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06:18
If I can, I'll quickly show two.
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ื•ืื ืืกืคื™ืง, ืืฆื™ื’ ืฉืชื™ื™ื.
06:20
This one's fun.
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ื–ื• ืžืฉืขืฉืขืช.
06:21
If you just fixate at the middle there,
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ืื ืจืง ืชืชืงื‘ืขื• ืขืœ ื”ืžืจื›ื–, ืฉื,
06:23
and make stabbing motions with your head,
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ื•ืชื‘ืฆืขื• ืชื ื•ืขื•ืช ื“ืงื™ืจื” ื‘ืขื–ืจืช ื”ืจืืฉ,
06:26
looming towards it like this.
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ืœื ืงืจ ืœืขื‘ืจ ื–ื”, ื›ืš,
06:28
Everybody do that.
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ื›ื•ืœื, ืขืฉื• ื–ืืช.
06:30
Make short, stabbing motions.
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ืขืฉื• ืชื ื•ืขื•ืช ื“ืงื™ืจื” ืงืฆืจื•ืช.
06:31
Because I've added blur to these optic flow lines,
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ื›ื™ ื”ื•ืกืคืชื™ ื˜ืฉื˜ื•ืฉ ืœืงื•ื•ื™ ื”ื–ืจื™ืžื” ื”ืื•ืคื˜ื™ื™ื ื”ืืœื”,
ื”ืžื•ื— ืฉืœื›ื ืื•ืžืจ, "ื”ื ื›ื ืจืื” ื›ื‘ืจ ื‘ืชื ื•ืขื”,
06:34
your brain says, "They're probably already moving,
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06:36
that's why they're blurry."
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ื‘ื’ืœืœ ื–ื” ื”ื ืžื˜ื•ืฉื˜ืฉื™ื."
06:37
When you do it, they should be bursting out in your visual field
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ื›ืฉืืชื ืขื•ืฉื™ื ื–ืืช, ื”ื ืืžื•ืจื™ื ืœื”ืชืคืจืฅ ื”ื—ื•ืฆื”
ื‘ืฉื“ื” ื”ืจืื™ื” ืฉืœื›ื ืžื”ืจ ื™ื•ืชืจ ืžืืฉืจ ื‘ืžืฆื™ืื•ืช.
06:40
faster than they should.
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ื”ื ืœื ืืžื•ืจื™ื ืœื ื•ืข ื›ืœ-ื›ืš ื”ืจื‘ื”.
06:42
They shouldn't be moving that much.
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06:43
And a final one I'll just leave in the background is this.
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ื•ืืช ื”ืื—ืจื•ืŸ ืืฉืื™ืจ ื‘ืจืงืข, ื•ื”ื ื” ื”ื•ื.
ื”ื ื” ืจืžื–ื™ ื”ืชื ื•ืขื”,
06:46
Here are the cues of motion,
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ืกื•ื’ ื”ืจืžื–ื™ื ืฉืืชื ื—ื•ื•ื™ื ืขืœ ื”ืจืฉืชื™ืช
06:49
the kinds of cues that you get on your retina when things are moving.
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ื›ืฉื“ื‘ืจื™ื ื ืขื™ื.
06:52
You don't have to do anything -- just look at it.
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ืื™ื ื›ื ืฆืจื™ื›ื™ื ืœืขืฉื•ืช ื›ืืŸ ื“ื‘ืจ,
ืืœื ืจืง ืœื”ืกืชื›ืœ.
ื•ืจื‘ื™ื ืžื›ื-- ื”ืจื™ืžื• ื™ื“
06:54
Raise your hand if things are moving when they shouldn't be.
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ืื ื“ื‘ืจื™ื ื–ื–ื™ื ื›ืฉื”ื ืœื ืืžื•ืจื™ื ืœื ื•ืข.
06:59
It's weird, right?
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ืžื•ื–ืจ, ื ื›ื•ืŸ?
07:00
But what you have now are the cues that, from your brain's point of view,
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ืื‘ืœ ื›ืืŸ ื™ืฉ ืœื›ื ืจืžื–ื™ื,
ืฉืžื ืงื•ื“ืช ื”ืžื‘ื˜ ืฉืœ ื”ืžื•ื— ืฉืœื›ื,
ืžืขื™ื ื™ื›ื,
07:03
you have the stimulus on your eyes, like, "Oh, these things are moving."
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ืžื•ืคืขืœ ืขืœ ืขื™ื ื™ื›ื ื’ื™ืจื•ื™ ืฉืื•ืžืจ,
"ื”ื“ื‘ืจื™ื ื”ืืœื” ื–ื–ื™ื."
ืฆืจื™ืš ืœื™ืฆื•ืจ ืชืคื™ืฉื” ืฉืœ ืžื” ืฉื”ื ื™ืขืฉื• ื‘ืจื’ืข ื”ื‘ื.
07:07
Render a perception of what they'll do in the next moment --
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ื‘ืจื’ืข ื”ื‘ื ื”ื ืืžื•ืจื™ื ืœื ื•ืข
07:09
they should be moving and they should have shifted.
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ื•ืœืฉื ื•ืช ืžื™ืงื•ื.
ื˜ื•ื‘. ืชื•ื“ื” ืจื‘ื” ืœื›ื.
07:12
Alright, thank you very much.
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07:13
(Applause)
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ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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