How optical illusions trick your brain - Nathan S. Jacobs

1,258,397 views ใƒป 2014-08-12

TED-Ed


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

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Tal Dekkers
00:08
Check this out:
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ืชืจืื• ืืช ื–ื”:
00:10
Here's a grid, nothing special, just a basic grid, very grid-y.
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ื”ื ื” ื’ืจื™ื“, ืœื ืžืฉื”ื• ืžื™ื•ื—ื“, ืคืฉื•ื˜ ื’ืจื™ื“ ื‘ืกื™ืกื™, ืžืื•ื“ ื’ืจื™ื“ื™.
00:14
But look closer, into this white spot at the center
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ืื‘ืœ ืชื‘ื™ื˜ื• ื™ื•ืชืจ ืžืงืจื•ื‘, ืœืชื•ืš ื”ื›ืชื ื”ืœื‘ืŸ ื‘ืžืจื›ื–
00:18
where the two central vertical and horizontal lines intersect.
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ืฉื ืฉื ื™ ื”ืงื•ื•ื™ื ื”ืื ื›ื™ ื•ื”ืื•ืคืงื™ ื”ืžืจื›ื–ื™ื™ื ื ื—ืชื›ื™ื.
00:22
Look very closely. Notice anything funny about this spot?
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ืชื‘ื™ื˜ื• ืžืื•ื“ ืžืงืจื•ื‘. ืฉืžื™ื ืœื‘ ืœืžืฉื”ื• ืžื•ื–ืจ ื‘ื ืงื•ื“ื”?
00:26
Yeah, nothing.
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ื›ืŸ, ื›ืœื•ื.
00:27
But keep looking. Get weird and stare at it.
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ืื‘ืœ ืชืžืฉื™ื›ื• ืœื”ื‘ื™ื˜, ืชื”ื™ื• ืžื•ื–ืจื™ื ื•ืชื‘ื”ื• ื‘ื”.
00:30
Now, keeping your gaze fixed on this white spot,
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ืขื›ืฉื™ื•, ืชืฉืื™ืจื• ืืช ื”ืžื‘ื˜ ืฉืœื›ื ืขืœ ื”ื ืงื•ื“ื” ื”ื–ื•,
00:33
check what's happening in your peripheral vision.
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ืชืจืื• ืžื” ืงื•ืจื” ื‘ืจืื™ื” ื”ื”ืงืคื™ืช ืฉืœื›ื.
00:36
The other spots, are they still white? Or do they show weird flashes of grey?
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ื”ื ืงื•ื“ื•ืช ื”ืื—ืจื•ืช, ื”ืื ื”ืŸ ืขื“ื™ื™ืŸ ืœื‘ื ื•ืช? ืื• ืฉื”ืŸ ืžืจืื•ืช ื”ื‘ื”ื•ื‘ื™ื ืžื•ื–ืจื™ื ืฉืœ ืืคื•ืจ?
00:43
Now look at this pan for baking muffins.
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ืขื›ืฉื™ื• ืชื‘ื™ื˜ื• ื‘ืชื‘ื ื™ืช ืืคื™ื™ืช ื”ืžืืคื™ื ืก ื”ื–ื•.
00:46
Oh, sorry, one of the cups is inverted. It pops up instead of dipping down.
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ืื•ื”, ืกืœื™ื—ื”, ืื—ืช ื”ืงืขืจื•ืช ื”ืคื•ื›ื”. ื”ื™ื ื‘ื•ืœื˜ืช ืœืžืขืœื” ื‘ืžืงื•ื ืœืฉืงื•ืข ืคื ื™ืžื”.
00:50
Wait, no spin the pan. The other five are domed now?
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ืจื’ืข, ืœื, ืชืกื•ื‘ื‘ื• ืืช ื”ืชื‘ื ื™ืช ื”ื–ื•. ืขื›ืฉื™ื• ื”ื—ืžืฉ ื”ืื—ืจื•ืช ื‘ื•ืœื˜ื•ืช?
00:54
Whichever it is, this pan's defective.
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ืžื” ืฉื–ื” ืœื ื™ื”ื™ื”, ื”ืชื‘ื ื™ืช ื”ื–ื• ืชืงื•ืœื”.
00:58
Here's a photo of Abraham Lincoln, and here's one upside down.
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ื”ื–ื” ืชืžื•ื ื” ืฉืœ ืื‘ืจื”ื ืœื™ื ืงื•ืœืŸ, ื•ื”ื ื” ืื—ืช ื”ืคื•ื›ื”.
01:02
Nothing weird going on here.
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ืฉื•ื ื“ื‘ืจ ืžื•ื–ืจ ืคื”.
01:03
Wait, turn that upside down one right side up. What have they done to Abe?
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ื—ื›ื•, ืชื”ืคื›ื• ื‘ื—ื–ืจื” ืืช ื”ื”ืคื•ื›ื”. ืžื” ื”ื ืขืฉื• ืœืื™ื™ื‘?
01:09
Those are just three optical illusions, images that seem to trick us.
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ืืœื• ืจืง ืฉืœื•ืฉ ืืฉืœื™ื•ืช ืื•ืคื˜ื™ื•ืช, ืชืžื•ื ื•ืช ืฉื ืจืื” ืฉืžืฉื˜ื•ืช ื‘ื ื•.
01:13
How do they work?
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ืื™ืš ื”ืŸ ืขื•ื‘ื“ื•ืช?
01:15
Are magical things happening in the images themselves?
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ื”ืื ื“ื‘ืจื™ื ืงืกื•ืžื™ื ืžืชืจื—ืฉื™ื ื‘ืชืžื•ื ื•ืช ื”ืืœื•?
01:18
While we could certainly be sneaking flashes of grey
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ื‘ืขื•ื“ ืื ื• ื‘ื”ื—ืœื˜ ื™ื›ื•ืœื™ื ืœื”ื’ื ื™ื‘ ื”ื‘ื”ื•ื‘ื™ื ืืคื•ืจื™ื
01:20
into the peripheral white spots of our animated grid,
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ืœืชื•ืš ื”ื ืงื•ื“ื•ืช ื”ืœื‘ื ื•ืช ื‘ืจืื™ื” ื”ื”ืงืคื™ืช ืฉืœ ื”ื’ืจื™ื“ ื”ืžื•ื ืคืฉ ืฉืœื ื•,
01:24
first off, we promise we aren't.
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ืจืืฉื™ืช, ืื ื—ื ื• ืžื‘ื˜ื™ื—ื™ื ืฉืื ื—ื ื• ืœื.
01:26
You'll see the same effect with a grid printed on a plain old piece of paper.
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ืืชื ืชืจืื• ืืช ืื•ืชื• ืืคืงื˜ ืขื ื’ืจื™ื“ ืฉืžื•ื“ืคืก ืขืœ ืคื™ืกืช ื ื™ื™ืจ ืจื’ื™ืœื”.
01:30
In reality, this grid really is just a grid. But not to your brain's visual system.
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ื‘ืžืฆื™ืื•ืช, ื”ื’ืจื™ื“ ื”ื–ื” ื‘ืืžืช ื”ื•ื ื‘ืืžืช ืจืง ื’ืจื™ื“. ืื‘ืœ ืœื ืœืžืขืจื›ืช ื”ืจืื™ื” ืฉืœ ื”ืžื•ื— ืฉืœื›ื.
01:35
Here's how it interprets the light information you call this grid.
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ื”ื ื” ืื™ืš ืฉื”ื•ื ืžืคืจืฉ ืืช ืžื™ื“ืข ื”ืื•ืจ ืฉืืชื ืงื•ืจืื™ื ืœื• ื’ืจื™ื“.
01:40
The white intersections are surrounded by relatively more white on all four sides
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ื”ืžืคื’ืฉื™ื ื”ืœื‘ื ื™ื ืžื•ืงืคื™ื ืขืœ ื™ื“ื™ ืขื•ื“ ืœื‘ืŸ ื™ื—ืกื™ืช ืžื›ืœ ืืจื‘ืข ื”ืคื™ื ื•ืช
01:46
than any white point along a line segment.
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ืžื›ืœ ื ืงื•ื“ื” ืœื‘ื ื” ืœืื•ืจืš ืงื˜ืข ื”ืงื•.
01:49
Your retinal ganglion cells notice that there is more white around the intersections
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ืชืื™ ื”ื’ื ื’ืœื™ื•ืŸ ื”ืจืฉืชื™ ืฉืœื›ื ืžื‘ื—ื™ื ื™ื ืฉื™ืฉ ื™ื•ืชืจ ืœื‘ืŸ ืกื‘ื™ื‘ ื”ืฆืžืชื™ื
01:54
because they are organized to increase contrast with lateral inhibition.
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ืžืคื ื™ ืฉื”ื ืžืื•ืจื’ื ื™ื ืœื”ื’ื‘ื™ืจ ืืช ื”ื ื™ื’ื•ื“ื™ื•ืช ืขื ืขื›ื‘ื” ืฆื™ื“ื™ืช.
01:59
Better contrast means it's easier to see the edge of something.
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ื ื™ื’ื•ื“ื™ื•ืช ื˜ื•ื‘ื” ื™ื•ืชืจ ืžืฉืžืขื” ืฉื™ื•ืชืจ ืงืœ ืœืจืื•ืช ืืช ื”ืงืฆื•ื•ืช ืฉืœ ืžืฉื”ื•.
02:03
And things are what your eyes and brain have evolved to see.
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ื•ื“ื‘ืจื™ื ื”ื ืžื” ืฉื”ืขื™ื ื™ื™ื ื•ื”ืžื•ื— ื”ืชืคืชื—ื• ืœืจืื•ืช.
02:07
Your retinal ganglion cells don't respond as much at the crossings
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ืชืื™ ื”ื’ื ื’ืœื™ื•ืŸ ื”ืจืฉืชื™ ืฉืœื›ื ืœื ืžื’ื™ื‘ื™ื ื›ืœ ื›ืš ื‘ืžืคื’ืฉื™ื
02:11
because there is more lateral inhibition for more white spots nearby
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ืžืคื ื™ ืฉื™ืฉ ื™ื•ืชืจ ืขื›ื‘ื” ืฆื™ื“ื™ืช ืœื™ื•ืชืจ ื›ืชืžื™ื ืœื‘ื ื™ื ื‘ืื–ื•ืจ
02:15
compared to the lines, which are surrounded by black.
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ื™ื—ืกื™ืช ืœืงื•ื™ื, ืฉืžื•ืงืคื™ื ื‘ืฉื—ื•ืจ.
02:20
This isn't just a defect in your eyes;
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ื–ื” ืœื ืจืง ืคื’ื ื‘ืขื™ื ื™ื™ื ืฉืœื›ื;
02:22
if you can see, then optical illusions can trick you with your glasses on
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ืื ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช, ืื– ื”ืืฉืœื™ื” ื”ืื•ืคื˜ื™ืช ื™ื›ื•ืœื” ืœืฉื˜ื•ืช ื‘ื›ื ื’ื ืขื ืžืฉืงืคื™ื™ื
02:26
or with this paper or computer screen right up in your face.
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ืื• ืขื ื”ื ื™ื™ืจ ื”ื–ื” ืื• ืžืกื›ื™ ืžื—ืฉื‘ ืžืžืฉ ืžื•ืœ ืคื ื™ื›ื.
02:30
What optical illusions show us
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ืžื” ืฉืืฉืœื™ื•ืช ืื•ืคื˜ื™ื•ืช ืžืจืื•ืช ืœื ื•
02:32
is the way your photo receptors and brain assemble visual information
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ื–ื• ื”ื“ืจืš ื‘ื” ืงื•ืœื˜ื ื™ ื”ืื•ืจ ื•ื”ืžื•ื— ืžืจื›ื™ื‘ื™ื ืžื™ื“ืข ื•ื™ื–ื•ืืœื™
02:37
into the three-dimensional world you see around you,
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ืœืขื•ืœื ื”ืชืœืช ืžื™ืžื“ื™ ืฉืืชื ืจื•ืื™ื ืกื‘ื™ื‘ื›ื,
02:39
where edges should get extra attention
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ืฉื ื”ืงืฆื•ื•ืช ืฆืจื™ื›ื™ื ืœืงื‘ืœ ื™ื•ืชืจ ืชืฉื•ืžืช ืœื‘
02:42
because things with edges can help you or kill you.
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ืžืคื ื™ ืฉื“ื‘ืจื™ื ืขื ืงืฆื•ื•ืช ื™ื›ื•ืœื™ื ืœืขื–ื•ืจ ืื• ืœื”ืจื•ื’ ืืชื›ื.
02:45
Look at that muffin pan again. You know what causes confusion here?
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ื”ื‘ื™ื˜ื• ื‘ืชื‘ื ื™ืช ื”ืžืืคื™ื ืก ืฉื•ื‘. ืืชื ื™ื•ื“ืขื™ื ืžื” ื’ื•ืจื ืœื‘ืœื‘ื•ืœ ืคื”?
02:49
Your brain's visual cortex operates on assumptions about the lighting of this image.
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ื”ืžืจื›ื– ื”ืจืื™ื™ืชื™ ื‘ืžื•ื— ืฉืœื›ื ืคื•ืขืœ ืขืœ ื”ื ื—ื•ืช ื‘ื ื•ื’ืข ืœืชืื•ืจื” ืฉืœ ื”ืชืžื•ื ื” ื”ื–ื•.
02:54
It expects light to come from a single source, shining down from above.
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ื”ื•ื ืžืฆืคื” ืฉืื•ืจ ื™ื‘ื•ื ืžืžืงื•ืจ ื™ื—ื™ื“, ืฉื™ื’ื™ืข ืžืœืžืขืœื”.
02:59
And so these shading patterns could only have been caused by light shining down
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ื•ื›ืš ืชื‘ื ื™ื•ืช ื”ืฆืœ ื”ืืœื• ื™ื›ื•ืœื•ืช ื”ื™ื• ืœื”ื’ืจื ืจืง ืžืื•ืจ ืฉื–ื•ืจื— ืœืžื˜ื”
03:03
on the sloping sides of a dome, or the bottom of a hole.
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ืขืœ ืฆื“ื“ื™ื ื ื•ื˜ื™ื ืฉืœ ื›ื™ืคื”, ืื• ื”ืชื—ืชื™ืช ืฉืœ ื—ื•ืจ.
03:07
If we carefully recreate these clues by drawing shading patterns,
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ืื ื ื™ืฆื•ืจ ื‘ื–ื”ื™ืจื•ืช ืืช ื”ืจืžื–ื™ื ื”ืืœื” ืขืœ ื™ื“ื™ ืฆื™ื•ืจ ืชื‘ื ื™ื•ืช ืฆืœ,
03:10
even on a flat piece of paper,
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ืืคื™ืœื• ืขืœ ืคื™ืกืช ื ื™ื™ืจ ืฉื˜ื•ื—ื”,
03:12
our brain reflexively creates the 3D concave or convex shape.
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ื”ืžื•ื— ืฉืœื ื• ื™ื•ืฆืจ ื‘ื’ืžื™ืฉื•ืช ืืช ื”ืฆื•ืจื•ืช ื”ืชืœืช ืžื™ืžื“ื™ื•ืช ื”ืงืขื•ืจื•ืช ืื• ื”ืงืžื•ืจื•ืช.
03:17
Now for that creepy Lincoln upside down face.
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ืขื›ืฉื™ื• ืœืคื ื™ื ื”ืžื•ื–ืจื•ืช ื”ื”ืคื•ื›ื•ืช ืฉืœ ืœื™ื ืงื•ืœืŸ.
03:20
Faces trigger activity in areas of the brain
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ืคื ื™ื ืžืขื•ืจืจื•ืช ืคืขื™ืœื•ืช ื‘ืื–ื•ืจื™ื ืฉืœ ื”ืžื•ื—
03:23
that have specifically evolved to help us recognize faces.
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ืฉื”ืชืคืชื—ื• ื‘ืžื™ื•ื—ื“ ื›ื“ื™ ืœืขื–ื•ืจ ืœื ื• ืœื”ื›ื™ืจ ืคื ื™ื.
03:27
Like the fusiform face area and others in the occipital and temporal lobes.
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ื›ืžื• ืื–ื•ืจ ื”ืคื•ืกื™ืคื•ืจื ื•ืื–ื•ืจื™ื ืื—ืจื™ื ื‘ืื•ื ื•ืช ื”ืงื“ืžื™ื•ืช ื•ื”ืจืงืชื™ื•ืช.
03:31
It makes sense, too, we're very social animals
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ื–ื” ื’ื ื”ื’ื™ื•ื ื™, ืื ื—ื ื• ื™ื•ื ืงื™ื ืžืื•ื“ ื—ื‘ืจื•ืชื™ื™ื
03:34
with highly complex ways of interacting with each other.
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ืขื ื“ืจื›ื™ื ืžืื•ื“ ืžื•ืจื›ื‘ื•ืช ืœืชืงืฉืจ ืื—ื“ ืขื ื”ืฉื ื™.
03:37
When we see faces, we have to recognize they are faces
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ื›ืฉืื ื—ื ื• ืจื•ืื™ื ืคื ื™ื, ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื”ื‘ื™ืŸ ืฉื”ืŸ ืคื ื™ื
03:41
and figure out what they're expressing very quickly.
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ื•ืœื–ื”ื•ืช ืžื” ื”ืŸ ืžื‘ื™ืขื•ืช ืžืื•ื“ ืžื”ืจ.
03:44
And what we focus on most are the eyes and mouth.
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ื•ืžื” ืฉืื ื—ื ื• ืžืชืžืงื“ื™ื ืขืœื™ื• ื”ื›ื™ ื”ืจื‘ื” ื”ืŸ ื”ืขื™ื ื™ื™ื ื•ื”ืคื”.
03:47
That's how we figure out if someone is mad at us or wants to be our friend.
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ื›ื›ื” ืื ื—ื ื• ืžื‘ื™ื ื™ื ืื ืžื™ืฉื”ื• ืขืฆื‘ื ื™ ืขืœื™ื ื• ืื• ืจื•ืฆื” ืœื”ื™ื•ืช ื—ื‘ืจ ืฉืœื ื•.
03:51
In the upside down Lincoln face,
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ื‘ืคื ื™ื ื”ื”ืคื•ื›ื•ืช ืฉืœ ืœื™ื ืงื•ืœืŸ,
03:53
the eyes and mouth were actually right side up,
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ื”ืขื™ื ื™ื™ื ื•ื”ืคื” ื”ื™ื• ืœืžืขืฉื” ื‘ื›ื™ื•ื•ืŸ ื”ื ื›ื•ืŸ,
03:56
so you didn't notice anything was off.
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ืื– ืœื ืฉืžืชื ืœื‘ ืฉืžืฉื”ื• ืœื ื”ื™ื” ื‘ืกื“ืจ.
03:58
But when we flipped the whole image over, the most important parts of the face,
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ืื‘ืœ ื›ืฉื”ืคื›ื ื• ืืช ื›ืœ ื”ืชืžื•ื ื”, ื”ื—ืœืงื™ื ื”ื›ื™ ื—ืฉื•ื‘ื™ื ื‘ืคื ื™ื,
04:01
the eyes and mouth, were now upside down, and you realized something fishy was up.
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ื”ืขื™ื ื™ื™ื ื•ื”ืคื”, ื”ื™ื• ืขื›ืฉื™ื• ื”ืคื•ื›ื™ื, ื•ื”ื‘ื ืชื ืฉืžืฉื”ื• ืžื•ื–ืจ ืงืจื”.
04:06
You realized your brain had taken a short cut and missed something.
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ื”ื‘ื ืชื ืฉื”ืžื•ื— ืฉืœื›ื ืœืงื— ืงื™ืฆื•ืจ ื“ืจืš ื•ืคื™ืกืคืก ืžืฉื”ื•.
04:10
But your brain wasn't really being lazy, it's just very busy.
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ืื‘ืœ ื”ืžื•ื— ืฉืœื›ื ืœื ื‘ืืžืช ื”ื™ื” ืขืฆืœืŸ, ื”ื•ื ืคืฉื•ื˜ ืžืื•ื“ ืขืกื•ืง.
04:14
So it spends cognitive energy as efficiently as possible,
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ืื– ื”ื•ื ืžื•ืฆื™ื ืื ืจื’ื™ืช ื”ื›ืจื” ื‘ืฆื•ืจื” ื”ื›ื™ ื™ืขื™ืœื” ืฉื”ื•ื ื™ื›ื•ืœ,
04:18
using assumptions about visual information to create a tailored, edited vision of the world.
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ืขืœ ื™ื“ื™ ืฉื™ืžื•ืฉ ื‘ื”ืฉืขืจื•ืช ืขืœ ืžื™ื“ืข ื•ื™ื–ื•ืืœื™ ื›ื“ื™ ืœื™ืฆื•ืจ ื’ืจืกื” ืžื•ืชืืžืช ื•ืขืจื•ื›ื” ืฉืœ ื”ืขื•ืœื.
04:24
Imagine your brain calling out these edits on the fly:
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ื“ืžื™ื™ื ื• ืืช ื”ืžื•ื— ืฉืœื›ื ืงื•ืจื ืืช ื”ืขืจื™ื›ื•ืช ื”ืืœื• ื‘ื–ืžืŸ ืืžืช:
04:27
"Okay, those squares could be objects.
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"ืื•ืงื™ื™, ื”ืจื™ื‘ื•ืขื™ื ื”ืืœื” ื™ื›ื•ืœื™ื ืœื”ื™ื•ืช ืขืฆืžื™ื.
04:29
Let's enhance that black-white contrast on the sides with lateral inhibition.
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ื‘ื•ืื• ื ื’ื‘ื™ืจ ืืช ื ื™ื’ื•ื“ื™ื•ืช ื”ืฉื—ื•ืจ ืœื‘ืŸ ื‘ืฆื“ื“ื™ื ืขื ืขื›ื‘ื” ืฆื™ื“ื™ืช.
04:33
Darken those corners!
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ื”ื›ื”ื• ืืช ื”ืคื™ื ื•ืช ื”ืืœื•!
04:34
Dark grey fading into light grey?
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ืืคื•ืจ ื›ื”ื” ืขื•ื‘ืจ ืœืืคื•ืจ ื‘ื”ื™ืจ?
04:36
Assume overhead sunlight falling on a sloping curve. Next!
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ื”ื ื™ื—ื• ืฉืื•ืจ ืฉืžืฉ ืžืœืžืขืœื” ื ื•ืคืœ ืขืœ ื”ืขืงื•ืžื” ื”ื™ื•ืจื“ืช. ื”ื‘ื!
04:39
Those eyes look like most eyes I've seen before, nothing weird going on here."
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ื”ืขื™ื ื™ื™ื ื”ืืœื• ื ืจืื•ืช ื›ืžื• ืจื•ื‘ ื”ืขื™ื ื™ื™ื ืฉืจืื™ืชื™ ื‘ืขื‘ืจ, ืœื ืงื•ืจื” ืคื” ืฉื•ื ื“ื‘ืจ ืžื•ื–ืจ."
04:43
See? Our visual tricks have revealed your brain's job
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ืจื•ืื™ื? ื”ื˜ืจื™ืงื™ื ื”ื•ื™ื–ื•ืืœื™ื™ื ืฉืœื ื• ื’ื™ืœื• ืืช ืขื‘ื•ื“ืช ื”ืžื•ื— ืฉืœื›ื
04:47
as a busy director of 3D animation in a studio inside your skull,
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ื›ื‘ืžืื™ ืขืกื•ืง ืฉืœ ืื ื™ืžืฆื™ื™ืช ืชืœืช ืžื™ืžื“ ื‘ืกื˜ื•ื“ื™ื• ื‘ืชื•ืš ื”ื’ื•ืœื’ื•ืœืช ืฉืœื›ื,
04:52
allocating cognitive energy and constructing a world on the fly
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ืžืงืฆื” ืžืฉืื‘ื™ื ื”ื›ืจืชื™ื™ื ื•ื‘ื•ื ื” ืขื•ืœื ืชื•ืš ื›ื“ื™ ืชื ื•ืขื”
04:56
with tried and mostly -- but not always -- true tricks of its own.
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ืขื ื˜ืจื™ืงื™ื ื‘ื“ื•ืงื™ื ืœืจื•ื‘ -- ืื‘ืœ ืœื ืชืžื™ื“ -- ืขื•ื‘ื“ื™ื ืžืฉืœื•.
ื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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