Optical illusions show how we see | Beau Lotto

3,263,809 views ใƒป 2009-10-08

TED


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Avihu Turzion
00:13
I want to start with a game. Okay?
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ืื ื™ ืจื•ืฆื” ืœื”ืชื—ื™ืœ ื‘ืžืฉื—ืง
00:16
And to win this game,
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ื•ื›ื“ื™ ืœื–ื›ื•ืช ื‘ืžืฉื—ืง
00:18
all you have to do is see the reality that's in front of you
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ื›ืœ ืžื” ืฉืชืฆื˜ืจื›ื• ืœืขืฉื•ืช ื”ื•ื ืœืจืื•ืช ืืช ื”ืžืฆื™ืื•ืช ืฉืœืคื ื™ื›ื
00:21
as it really is, all right?
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ื›ืžื• ืฉื”ื™ื ื‘ืืžืช. ื‘ืกื“ืจ?
00:23
So we have two panels here, of colored dots.
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ืื–, ื™ืฉ ืœื ื• ืคื” ืฉื ื™ ืœื•ื—ื•ืช
ืขืœื™ื”ื ืขื™ื’ื•ืœื™ื ืฆื‘ืขื•ื ื™ื™ื.
00:27
And one of those dots is the same in the two panels.
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ืฆื‘ืข ืื—ื“ ื”ืขื™ื’ื•ืœื™ื ื–ื”ื”
ื‘ืฉื ื™ ื”ืœื•ื—ื•ืช, ืื•ืงื™ื™?
00:33
And you have to tell me which one.
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ื•ืืชื ืฆืจื™ื›ื™ื ืœื•ืžืจ ืœื™ ืื™ื–ื” ืžื”ื.
00:35
Now, I narrowed it down
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ืขื›ืฉื™ื• ื ืฆืžืฆื ืืช ื”ืืคืฉืจื•ื™ื•ืช
00:37
to the gray one, the green one, and, say, the orange one.
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ื”ืืคื•ืจ, ื”ื™ืจื•ืง ื ื’ื™ื“ ื’ื ื”ื›ืชื•ื.
00:41
So by a show of hands, we'll start with the easiest one.
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ืื–, ื‘ื”ืจืžืช ื™ื“ - ื ืชื—ื™ืœ ืขื ื”ืงืœ ื™ื•ืชืจ -
00:44
Show of hands: how many people think it's the gray one?
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ื™ืจื™ืžื• ื™ื“ื™ื™ื: ื›ืžื” ื—ื•ืฉื‘ื™ื ืฉื–ื” ื”ืืคื•ืจ?
00:48
Really? Okay.
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ื‘ืืžืช? ืื•ืงื™ื™.
00:50
How many people think it's the green one?
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ื›ืžื” ื—ื•ืฉื‘ื™ื ืฉื–ื” ื”ื™ืจื•ืง?
00:54
And how many people think it's the orange one?
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ื•ื›ืžื” ื—ื•ืฉื‘ื™ื ืฉื–ื” ื”ื›ืชื•ื?
00:59
Pretty even split.
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ื”ื—ืœื•ืงื” ืฉื•ื•ื” ื‘ืขืจืš.
01:02
Let's find out what the reality is.
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ืื– ื‘ื•ืื• ื•ื ืจืื” ืžื” ื”ืžืฆื™ืื•ืช ื‘ืืžืช.
01:04
Here is the orange one.
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ื”ื ื” ื”ื›ืชื•ื.
01:07
(Laughter)
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(ืฆื—ื•ืง)
01:10
Here is the green one.
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ื”ื ื” ื”ื™ืจื•ืง.
01:13
And here is the gray one.
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ื•ื”ื ื” ื”ืืคื•ืจ.
01:16
(Laughter)
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(ืฆื—ื•ืง)
01:20
So for all of you who saw that, you're complete realists.
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ืื–, ืœืžื™ ืžื™ื›ื ืฉืจืื” ืืช ื–ื”, ืืชื ืจืืœื™ืกื˜ื™ื ืœื’ืžืจื™. ื‘ืกื“ืจ?
01:23
All right?
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01:24
(Laughter)
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(ืฆื—ื•ืง)
01:26
So this is pretty amazing, isn't it?
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ืื–, ื–ื” ื“ื™ ืžื“ื”ื™ื ื‘ืขืฆื, ืœื?
01:27
Because nearly every living system
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ืžืคื ื™ ืฉื›ืžืขื˜ ื›ืœ ื™ืฆื•ืจ ื—ื™
01:29
has evolved the ability to detect light in one way or another.
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ืคื™ืชื— ืืช ื”ื™ื›ื•ืœืช ืœื’ืœื•ืช ืื•ืจ ื‘ื“ืจืš ื–ื• ืื• ืื—ืจืช.
01:33
So for us, seeing color
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ืœื›ืŸ, ื‘ืฉื‘ื™ืœื ื•, ืœืจืื•ืช ืฆื‘ืข ื–ื” ืื—ื“ ื”ื“ื‘ืจื™ื ื”ืคืฉื•ื˜ื™ื ืฉื”ืžื•ื— ืขื•ืฉื”.
01:35
is one of the simplest things the brain does.
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01:37
And yet, even at this most fundamental level,
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ื•ื‘ื›ืœ ื–ืืช, ืืคื™ืœื• ื‘ืจืžื” ื”ื‘ืกื™ืกื™ืช ื”ื–ื•,
01:40
context is everything.
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ื”ื”ืงืฉืจ ื”ื•ื ื”ื›ืœ.
01:43
What I'm going to talk about is not that context is everything,
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ืžื” ืฉืื ื™ ืจื•ืฆื” ืœื“ื‘ืจ ืขืœื™ื• ื–ื” ืœื ืฉื”ื”ืงืฉืจ ื”ื•ื ื”ื›ืœ,
01:46
but why context is everything.
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ืืœื ืœืžื” ื”ื”ืงืฉืจ ื”ื•ื ื”ื›ืœ.
01:48
Because it's answering that question
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ืžืคื ื™ ืฉืชืฉื•ื‘ื” ืœืฉืืœื” ื–ื• ืื•ืžืจืช ืœื ื• ืœื ืจืง
01:50
that tells us not only why we see what we do,
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ืœืžื” ืื ื• ืจื•ืื™ื ืžื” ืฉืื ื• ืขื•ืฉื™ื,
01:54
but who we are as individuals,
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ืืœื ืžื™ ืื ื—ื ื• ื›ืคืจื˜,
01:56
and who we are as a society.
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ื•ืžื™ ืื ื—ื ื• ื›ื—ื‘ืจื”.
01:59
But first, we have to ask another question,
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ืื‘ืœ ืจืืฉื™ืช, ืขืœื™ื ื• ืœืฉืื•ืœ ืฉืืœื” ื ื•ืกืคืช,
02:01
which is, "What is color for?"
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ื•ื”ื™ื, "ืœืžื” ื™ืฉ ืฆื‘ืข?"
02:03
And instead of telling you, I'll just show you.
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ื•ื‘ืžืงื•ื ืœืืžืจ ืœื›ื, ืื ื™ ืคืฉื•ื˜ ืืจืื” ืœื›ื.
02:05
What you see here is a jungle scene,
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ืžื” ืฉืืชื ืจื•ืื™ื ื›ืืŸ ื–ื• ืชืžื•ื ื” ืฉืœ ื’'ื•ื ื’ืœ.
02:08
and you see the surfaces according to the amount of light
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ื•ืืชื ืจื•ืื™ื ืืช ื”ืžืฉื˜ื—ื™ื ืœืคื™ ื›ืžื•ืช ื”ืื•ืจ
02:10
that those surfaces reflect.
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ืฉืžืฉื˜ื—ื™ื ืืœื” ืžื—ื–ื™ืจื™ื.
02:12
Now, can any of you see the predator that's about to jump out at you?
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ืขื›ืฉื™ื•, ื”ืื ืžื™ืฉื”ื• ืžื›ื ื™ื›ื•ืœ ืœืจืื•ืช ืืช ื”ื˜ื•ืจืฃ ืฉืžืชื›ื•ื•ืŸ ืœืงืคื•ืฅ ืขืœื™ื›ื?
02:17
And if you haven't seen it yet, you're dead, right?
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ื•ืื ืขื“ื™ื™ืŸ ืœื ืจืื™ืชื ืื•ืชื•, ืืชื ืžืชื™ื. ื‘ืกื“ืจ?
(ืฆื—ื•ืงื™ื ื‘ืงื”ืœ)
02:20
(Laughter)
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02:21
Can anyone see it? Anyone? No?
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ื”ืื ืžื™ืฉื”ื• ื™ื›ื•ืœ ืœืจืื•ืช ืื•ืชื•? ืžื™ืฉื”ื•? ืœื?
02:23
Now let's see the surfaces
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ืขื›ืฉื™ื•, ื”ื‘ื” ื ืจืื” ืืช ื”ืžืฉื˜ื—ื™ื ืœืคื™ ืกื•ื’ ื”ืื•ืจ ืฉื”ื ืžื—ื–ื™ืจื™ื.
02:24
according to the quality of light that they reflect.
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02:27
And now you see it.
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ื•ืขื›ืฉื™ื• ืืชื ืจื•ืื™ื ืื•ืชื•.
02:30
So, color enables us to see
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ืื–, ืฆื‘ืข ืžืืคืฉืจ ืœื ื• ืœืจืื•ืช.
02:32
the similarities and differences between surfaces,
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ืืช ื”ื“ืžื™ื•ืŸ ื•ื”ื”ื‘ื“ืœื™ื ื‘ื™ืŸ ื”ืžืฉื˜ื—ื™ื,
02:35
according to the full spectrum of light that they reflect.
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ืœืคื™ ื”ืžื ืขื“ ื”ืžืœื ืฉืœ ื”ืื•ืจ ืฉื”ื ืžื—ื–ื™ืจื™ื.
02:38
But what you've just done
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ืื‘ืœ ืžื” ืฉืขืฉื™ืชื ื›ืจื’ืข, ื‘ืžื•ื‘ื ื™ื ืจื‘ื™ื, ื”ื•ื ื‘ืœืชื™ ืืคืฉืจื™ ืžืชืžื˜ื™ืช.
02:39
is in many respects mathematically impossible.
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02:42
Why?
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ืœืžื”? ืžืคื ื™ ืฉื›ืžื• ืฉื‘ืจืงืœื™ ืžืกืคืจ ืœื ื•,
02:44
Because, as Berkeley tells us,
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02:45
we have no direct access to our physical world,
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ืื™ืŸ ืœื ื• ื’ื™ืฉื” ื™ืฉื™ืจื” ืœืขื•ืœื ื”ืคื™ื–ื™,
02:48
other than through our senses.
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ืืœื ื“ืจืš ื”ื—ื•ืฉื™ื ืฉืœื ื•.
02:50
And the light that falls onto our eyes
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ื•ื”ืื•ืจ ืฉืžื’ื™ืข ืœืขื™ื ื™ื™ื ืฉืœื ื•
02:51
is determined by multiple things in the world,
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ื ืงื‘ืข ืขืœ ื™ื“ื™ ื“ื‘ืจื™ื ืจื‘ื™ื ื‘ืขื•ืœื -
02:54
not only the color of objects,
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ืœื ืจืง ืฆื‘ืข ื”ืื•ื‘ื™ื™ืงื˜
02:56
but also the color of their illumination,
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ืืœื ื’ื ืขืœ ื™ื“ื™ ืฆื‘ืข ื”ืื•ืจ,
02:58
and the color of the space between us and those objects.
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ื•ืฆื‘ืข ื”ืžืจื—ื‘ ื‘ื™ื ื™ื ื• ื•ื‘ื™ืŸ ื”ืื•ื‘ื™ืงื˜ื™ื.
03:00
You vary any one of those parameters,
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ืื ืชืฉื ื• ื›ืœ ืื—ื“ ืžื”ืคืจืžื˜ืจื™ื ื”ืืœื”,
03:03
and you'll change the color of the light that falls onto your eye.
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ืชืฉื ื• ืืช ืฆื‘ืข ื”ืื•ืจ ื”ืžื’ื™ืข ืœืขื™ื ื™ื ื•.
03:08
This is a huge problem,
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ื–ื• ื‘ืขื™ื” ื’ื“ื•ืœื” ืžืคื ื™ ืฉื–ื” ืื•ืžืจ
03:09
because it means that the same image
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ืฉืœืื•ืชื” ืชืžื•ื ื” ื™ื›ื•ืœื•ืช ืœื”ื™ื•ืช ืžืกืคืจ ืื™ื ืกื•ืคื™
03:12
could have an infinite number of possible real-world sources.
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ืฉืœ ืžืงื•ืจื•ืช ืืคืฉืจื™ื™ื ื‘ืขื•ืœื ื”ืืžื™ืชื™.
03:16
Let me show you what I mean.
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ืื– ื”ื‘ื” ืืจืื” ืœื›ื ืœืžื” ืื ื™ ืžืชื›ื•ืŸ. ื“ืžื™ื ื• ืฉื–ื” ื”ื—ืœืง ื”ืื—ื•ืจื™ ืฉืœ ื”ืขื™ืŸ ืฉืœื›ื.
03:17
Imagine that this is the back of your eye, okay?
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ื•ืืœื” ืฉื ื™ ื”ืงืจื ื•ืช ืžื”ืขื•ืœื.
03:20
And these are two projections from the world.
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03:22
They're identical in every single way.
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ื”ืŸ ื–ื”ื•ืช ื‘ื›ืœ ืžื•ื‘ืŸ.
03:25
Identical in shape, size, spectral content.
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ื–ื”ื•ืช ื‘ืฆื•ืจื”, ื’ื•ื“ืœ, ื•ืชื•ื›ืŸ ืกืคืงื˜ืจืœื™.
03:29
They are the same, as far as your eye is concerned.
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ื”ืŸ ื–ื”ื•ืช ื›ื›ืœ ืฉื”ืขื™ืŸ ื™ื›ื•ืœื” ืœืจืื•ืช.
03:33
And yet they come from completely different sources.
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ื•ืขื“ื™ื™ืŸ ื”ืŸ ืžื’ื™ืขื•ืช ืžืฉื ื™ ืžืงื•ืจื•ืช ืฉื•ื ื™ื ืœื—ืœื•ื˜ื™ืŸ.
03:38
The one on the right comes from a yellow surface,
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ื–ื• ืฉืžื™ืžื™ืŸ
ืžื’ื™ืขื” ืžืžืฉื˜ื— ืฆื”ื•ื‘,
03:42
in shadow, oriented facing the left,
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ื‘ืฆืœ, ืคื•ื ื” ืœืฉืžืืœ,
03:45
viewed through a pinkish medium.
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ื“ืจืš ืชื•ื•ืš ื•ืจื“ืจื“.
03:48
The one on the left comes from an orange surface,
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ื–ื• ืžืฉืžืืœ ืžื’ื™ืขื” ืžืžืฉื˜ื— ื›ืชื•ื,
03:51
under direct light, facing to the right,
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ื‘ืชืื•ืจื” ื™ืฉื™ืจื”, ืคื•ื ื” ืœื™ืžื™ืŸ,
03:53
viewed through sort of a bluish medium.
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ื•ื ืฆืคืช ื“ืจืš ืชื•ื•ืš ื›ื—ืœื—ืœ.
03:55
Completely different meanings,
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ืฉืชื™ ืžืฉืžืขื•ื™ื•ืช ืฉื•ื ื•ืช ืœื—ืœื•ื˜ื™ืŸ,
03:57
giving rise to the exact same retinal information.
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ืฉืžื‘ื™ืื•ืช ืœืžื™ื“ืข ื–ื”ื” ืขืœ ื”ืจืฉืชื™ืช.
04:01
And yet it's only the retinal information that we get.
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ื•ืขื ื–ืืช ื–ื” ื”ืžื™ื“ืข ื”ืจื™ืฉืชื™ ื‘ืœื‘ื“
ืฉืื ื• ืžืงื‘ืœื™ื.
04:05
So how on Earth do we even see?
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ืื– ืื™ืš ืื ื—ื ื• ืจื•ืื™ื ื‘ื›ืœืœ?
04:08
So if you remember anything in this next 18 minutes,
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ืื–, ืื ืชื–ื›ืจื• ืžืฉื”ื• ืž 18 ื”ื“ืงื•ืช ื”ืงืจื•ื‘ื•ืช,
04:11
remember this:
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ืชื–ื›ืจื• : ืืช ื”ืขื•ื‘ื“ื” ืฉื”ืื•ืจ ืฉืžื’ื™ืข ืœืขื™ื ื›ื,
04:13
that the light that falls onto your eye,
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04:15
sensory information, is meaningless,
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ื”ืžื™ื“ืข ื”ื—ื•ืฉื™, ื”ื•ื ื—ืกืจ ืžืฉืžืขื•ืช.
04:17
because it could mean literally anything.
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ืžืคื ื™ ืฉื”ื•ื ื™ื›ื•ืœ ืœื”ื‘ื™ืข ื›ืœ ื“ื‘ืจ.
04:20
And what's true for sensory information is true for information generally.
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ื•ืžื” ืฉื ื›ื•ืŸ ืœืžื™ื“ืข ื—ื•ืฉื™ ื ื›ื•ืŸ ื’ื ืœืžื™ื“ืข ื‘ื›ืœืœ.
04:23
There's no inherent meaning in information.
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ืื™ืŸ ืžืฉืžืขื•ืช ื˜ื‘ื•ืขื” ื‘ืžื™ื“ืข.
04:25
It's what we do with that information that matters.
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ื–ื” ืžื” ืฉืื ื• ืขื•ืฉื™ื ื‘ืžื™ื“ืข ืฉืžืฉื ื”.
04:28
So, how do we see? Well, we see by learning to see.
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ืื–, ืื™ืš ืื ื—ื ื• ืจื•ืื™ื? ืื ื—ื ื• ืจื•ืื™ื ืขืœ ื™ื“ื™ ืœืžื™ื“ื” ืœืจืื•ืช.
04:32
The brain evolved the mechanisms for finding patterns,
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ื”ืžื•ื— ืคื™ืชื— ืืช ื”ืžื’ื ื•ืŸ ืœืžืฆื™ืืช ืชื‘ื ื™ื•ืช,
04:36
finding relationships in information,
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ืžืฆื™ืืช ื™ื—ืกื™ื, ื‘ืžื™ื“ืข
04:38
and associating those relationships with a behavioral meaning,
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ื•ืฉื™ื•ืš ื‘ื™ืŸ ื”ื™ื—ืกื™ื
ืœืžืฉืžืขื•ืช ื”ืชื ื”ื’ื•ืชื™ืช,
04:42
a significance, by interacting with the world.
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ืžืฉืžืขื•ืช, ืขืœ ื™ื“ื™ ืื™ื ื˜ืจืืงืฆื™ื” ืขื ื”ืขื•ืœื.
04:45
We're very aware of this
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ืื ื—ื ื• ืžืื•ื“ ืžื•ื“ืขื™ื ืœื–ื”
04:47
in the form of more cognitive attributes, like language.
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ื‘ืชื›ื•ื ื•ืช ื™ื•ืชืจ ืงื•ื’ื ื™ื˜ื™ื‘ื™ื•ืช, ื›ืžื• ืฉืคื”.
04:50
I'm going to give you some letter strings,
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ืื ื™ ืขื•ืžื“ ืœืชืช ืœื›ื ื›ืžื” ืžื—ืจื•ื–ื•ืช ืฉืœ ืื•ืชื™ื•ืช. ื•ืื ื™ ืจื•ืฆื” ืฉืชืงืจืื• ืื•ืชืŸ ื‘ืฉื‘ื™ืœื™,
04:52
and I want you to read them out for me, if you can.
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ืื ืชื•ื›ืœื•.
04:54
Audience: "Can you read this?"
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ืงื”ืœ: "ื”ืื ืืชื ื™ื›ื•ืœื™ื ืœืงืจื•ื ืืช ื–ื”?"
04:57
"You are not reading this."
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"ืืชื ืœื ืงื•ืจืื™ื ืืช ื–ื”"
04:59
"What are you reading?"
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"ืžื” ืืชื ืงื•ืจืื™ื?"
05:01
Beau Lotto: "What are you reading?" Half the letters are missing, right?
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ื‘ืื• ืœื•ื˜ื•: "ืžื” ืืชื ืงื•ืจืื™ื?" ื—ืฆื™ ืžื”ืื•ืชื™ื•ืช ื—ืกืจื•ืช. ื ื›ื•ืŸ?
05:04
There's no a priori reason
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ืื™ืŸ ืกื™ื‘ื” ืงื•ื“ืžืช ืžื“ื•ืข H ืฆืจื™ืš ืœื”ื•ืคื™ืข
05:05
why an "H" has to go between that "W" and "A."
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ื‘ื™ืŸ ื”"W" ื•ื” "A".
05:08
But you put one there. Why?
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ืื‘ืœ ืืชื ืฉืžืชื ืื—ืช ืฉื. ืœืžื”?
05:09
Because in the statistics of your past experience,
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ืžืคื ื™ ืฉืœืคื™ ื”ืกื˜ื˜ื™ืกื˜ื™ืงื” ืฉืœ ื ืกื™ื•ืŸ ื”ืขื‘ืจ ืฉืœื›ื
05:12
it would have been useful to do so.
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ื”ื™ื” ืžื•ืขื™ืœ ืœื ื”ื•ื’ ื›ืš. ืœื›ืŸ ืขืฉื™ืชื ื–ืืช ืฉื•ื‘.
05:13
So you do so again.
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05:15
And yet you don't put a letter after that first "T."
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ื•ืขื“ื™ืŸ ืืชื ืœื ืžื•ืกื™ืคื™ื ืื•ืช ืื—ืจื™ ื” "T" ื”ืจืืฉื•ืŸ.
05:18
Why? Because it wouldn't have been useful in the past.
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ืžื“ื•ืข? ืžืคื ื™ ืฉื–ื” ืœื ื”ื™ื” ืžื•ืขื™ืœ ื‘ืขื‘ืจ.
05:21
So you don't do it again.
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ืœื›ืŸ ืœื ืชืขืฉื• ื–ืืช ืฉื•ื‘.
05:23
So, let me show you how quickly our brains can redefine normality,
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ืื– ืชื ื• ืœื™ ืœื”ืจืื•ืช ืœื›ื ื‘ืื™ื–ื• ืžื”ื™ืจื•ืช ื”ืžื•ื— ืฉืœื ื• ืžื’ื“ื™ืจ ืžื—ื“ืฉ ื ื•ืจืžืœื™ื•ืช.
05:27
even at the simplest thing the brain does, which is color.
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ืืคื™ืœื• ื‘ื“ื‘ืจ ื”ืคืฉื•ื˜ ื‘ื™ื•ืชืจ ืฉื”ืžื•ื— ืฉืœื ื• ืขื•ืฉื”, ืฆื‘ืข.
05:29
So if I could have the lights down up here.
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ืื–, ืื ืื•ื›ืœ ืœืงื‘ืœ ืืช ื”ืื•ืจื•ืช ืžื•ื—ืฉื›ื™ื ื›ืืŸ.
05:32
I want you to first notice that those two desert scenes are physically the same.
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ื”ื™ื™ืชื™ ืจื•ืฆื” ืฉืชืฉื™ืžื• ืœื‘ ืœื›ืš ืฉืฉืชื™ ืกืฆื ื•ืช ื”ืžื“ื‘ืจ ื–ื”ื•ืช ืœื—ืœื•ื˜ื™ืŸ.
ืื—ืช ื”ื™ื ืคืฉื•ื˜ ืชืžื•ื ืช ืจืื™ ืฉืœ ื”ืฉื ื™ื”. ื‘ืกื“ืจ?
05:36
One is simply the flipping of the other.
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05:40
Now I want you to look at that dot
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ืขื›ืฉื™ื• ื”ื™ื™ืชื™ ืจื•ืฆื” ืฉืชื‘ื™ื˜ื• ื‘ื ืงื•ื“ื” ื”ื”ื™ื
05:42
between the green and the red.
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ื‘ื™ืŸ ื”ื™ืจื•ืง ื•ื”ืื“ื•ื. ื‘ืกื“ืจ?
05:45
And I want you to stare at that dot. Don't look anywhere else.
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ื•ืื ื™ ืจื•ืฆื” ืฉืชื‘ื”ื• ื‘ื ืงื•ื“ื”. ืืœ ืชื‘ื™ื˜ื• ื‘ืฉื•ื ื“ื‘ืจ ืื—ืจ.
05:48
We're going to look at it for about 30 seconds,
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ื•ืื ื• ื ื‘ื™ื˜ ื‘ื” ืœืžืฉืš ื›30 ืฉื ื™ื•ืช.
ืฉื–ื” ืžืขื˜ ื‘ื–ื‘ื•ื– ื‘ื”ืจืฆืื” ืฉืœ 18 ื“ืงื•ืช.
05:50
which is a bit of a killer in an 18-minute talk.
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05:52
(Laughter)
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(ืฆื—ื•ืง)
ืื‘ืœ ืื ื™ ื‘ืืžืช ืจื•ืฆื” ืฉืชืœืžื“ื•.
05:54
But I really want you to learn.
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05:55
And I'll tell you -- don't look anywhere else --
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ื•ืื ื™ ืืกื‘ื™ืจ ืœื›ื - ืืœ ืชืกืชื›ืœื• ืœืฉื•ื ืžืงื•ื ืื—ืจ -
05:58
I'll tell you what's happening in your head.
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ื•ืื ื™ ืืกื‘ื™ืจ ืœื›ื ืžื” ืงื•ืจื” ื‘ืชื•ืš ื”ืจืืฉ ืฉืœื›ื.
06:00
Your brain is learning,
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ื”ืžื•ื— ืฉืœื›ื ืœื•ืžื“. ื•ื”ื•ื ืœื•ืžื“ ืฉืฉื“ื” ื”ืจืื™ื” ื”ื™ืžื ื™
06:01
and it's learning that the right side of its visual field
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ื ืžืฆื ื‘ืชืื•ืจื” ืื“ื•ืžื”;
06:04
is under red illumination;
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06:05
the left side of its visual field is under green illumination.
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ืฉื“ื” ื”ืจืื™ื” ื”ืฉืžืืœื™ ื ืžืฆื ื‘ืชืื•ืจื” ื™ืจื•ืงื”.
06:08
That's what it's learning. Okay?
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ื–ื” ืžื” ืฉื”ื•ื ืœื•ืžื“. ื‘ืกื“ืจ?
06:11
Now, when I tell you, I want you to look at the dot between the two desert scenes.
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ืขื›ืฉื™ื•, ื›ืฉืื’ื™ื“ ืœื›ื, ืื ื™ ืจื•ืฆื” ืฉืชื‘ื™ื˜ื• ื‘ื ืงื•ื“ื” ื‘ื™ืŸ ืฉืชื™ ืชืžื•ื ื•ืช ื”ืžื“ื‘ืจ.
06:16
So why don't you do that now?
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ืื– ืœืžื” ืฉืœื ืชืขืฉื• ื–ืืช ืขื›ืฉื™ื•?
06:18
(Laughter)
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(ืฆื—ื•ืง)
06:21
Can I have the lights up again?
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ืืคืฉืจ ืœืงื‘ืœ ืืช ื”ืื•ืจื•ืช ื‘ื—ื–ืจื”?
06:23
I take it from your response they don't look the same anymore, right?
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ืื ื™ ืžื‘ื™ืŸ ืžื”ืชื’ื•ื‘ื” ืฉื”ืŸ ื›ื‘ืจ ืœื ื ืจืื•ืช ื–ื”ื•ืช. ื ื›ื•ืŸ?
06:26
(Applause)
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(ืชืฉื•ืื•ืช)
06:28
Why? Because your brain is seeing that same information
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ืžื“ื•ืข? ืžืคื ื™ ืฉื”ืžื•ื— ืฉืœื›ื ืจื•ืื” ืืช ืื•ืชื• ืžื™ื“ืข
06:31
as if the right one is still under red light,
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ื›ืื™ืœื• ื”ื™ืžื ื™ ืขื“ื™ื™ืŸ ื‘ืชืื•ืจื” ืื“ื•ืžื”.
06:33
and the left one is still under green light.
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ื•ื”ืฉืžืืœื™ ืขื“ื™ื™ืŸ ื‘ืชืื•ืจื” ื™ืจื•ืงื”.
ื–ื” ื”ื ื•ืจืžืœื™ ื”ื—ื“ืฉ ืฉืœื›ื.
06:36
That's your new normal.
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06:37
Okay? So, what does this mean for context?
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ืื–, ืžื” ื–ื” ืื•ืžืจ ืขืœ ื”ื”ืงืฉืจ?
06:39
It means I can take two identical squares,
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ื–ื” ืื•ืžืจ ืฉืื ื™ ื™ื›ื•ืœ ืœืงื—ืช ืืช ืฉื ื™ ื”ืจื™ื‘ื•ืขื™ื ื”ื–ื”ื™ื ื”ืืœื”,
06:41
put them in light and dark surrounds,
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ืื ื™ ื™ื›ื•ืœ ืœืฉื™ื ืื•ืชื ื‘ืกื‘ื™ื‘ื•ืช ื›ื”ื•ืช ื•ื‘ื”ื™ืจื•ืช.
06:43
and the one on the dark surround looks lighter than on the light surround.
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ื•ืขื›ืฉื™ื• ื–ื” ืฉื‘ืกื‘ื™ื‘ื” ื”ื›ื”ื” ื ืจืื” ื‘ื”ื™ืจ ืžื–ื” ื‘ืกื‘ื™ื‘ื” ื”ื‘ื”ื™ืจื”.
ืžื” ืฉืžืฉืžืขื•ืชื™ ื”ื•ื ืœื ืฉืคืฉื•ื˜ ื”ืกื‘ื™ื‘ื•ืช ื”ื›ื”ื” ื•ื”ื‘ื”ื™ืจื” ืžืฉื ื•ืช.
06:47
What's significant is not simply the light and dark surrounds that matter.
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06:50
It's what those light and dark surrounds meant for your behavior in the past.
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ืืœื ืžื” ื”ืžืฉืžืขื•ื™ื•ืช ื‘ืขื‘ืจ ืฉืœ ื”ืกื‘ื™ื‘ื” ื”ื›ื”ื” ื•ื”ื‘ื”ื™ืจื”.
06:54
So I'll show you what I mean.
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ืื– ืืจืื” ืœื›ื ืœืžื” ืื ื™ ืžืชื›ื•ื•ืŸ. ื›ืืŸ ื™ืฉ ืœื ื•
06:55
Here we have that exact same illusion.
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ืืช ืื•ืชื” ืืฉืœื™ื™ื” ื‘ื“ื™ื•ืง.
06:57
We have two identical tiles on the left,
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ื™ืฉ ืœื ื• ื›ืืŸ ืฉืชื™ ืœื•ื—ื™ื•ืช ื–ื”ื•ืช, ื‘ืฆื“ ืฉืžืืœ,
07:00
one in a dark surround, one in a light surround.
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ืื—ืช ื‘ืกื‘ื™ื‘ื” ื›ื”ื”.
07:02
And the same thing over on the right.
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ื•ืื•ืชื• ื“ื‘ืจ ื‘ืฆื“ ื™ืžื™ืŸ.
07:04
Now, I'll reveal those two scenes,
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ืขื›ืฉื™ื•, ืžื” ืฉืื ื™ ืขื•ืžื“ ืœืขืฉื•ืช ื–ื” ืœืจืื•ืช ืืช ืฉืชื™ ื”ืกืฆื ื•ืช.
07:07
but I'm not going to change anything within those boxes,
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ืื‘ืœ ืื ื™ ืœื ืขื•ืžื“ ืœืฉื ื•ืช ื“ื‘ืจ ื‘ืฉืชื™ ื”ืงื•ืคืกืื•ืช.
ื—ื•ืฅ ืžื”ืžืฉืžืขื•ืช ืฉืœื”ืŸ.
07:10
except their meaning.
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07:11
And see what happens to your perception.
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ื•ืชืจืื• ืžื” ืงื•ืจื” ืœืชืคื™ืกื” ืฉืœื›ื.
07:13
Notice that on the left
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ืฉืžื• ืœื‘ ืฉื‘ืฆื“ ืฉืžืืœ
07:15
the two tiles look nearly completely opposite:
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ืฉืชื™ ื”ืœื•ื—ื™ื•ืช ื ืจืื•ืช ื›ืžืขื˜ ืœื—ืœื•ื˜ื™ืŸ ื”ืคื•ื›ื•ืช:
07:17
one very white and one very dark, right?
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ืื—ืช ืžืื•ื“ ื‘ื”ื™ืจื” ื•ืื—ืช ืžืื•ื“ ื›ื”ื”.
ื‘ืกื“ืจ? ืœืขื•ืžืช ื–ืืช, ื‘ืฆื“ ื™ืžื™ืŸ,
07:21
Whereas on the right, the two tiles look nearly the same.
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ืฉืชื™ ื”ืœื•ื—ื™ื•ืช ื ืจืื•ืช ื›ืžืขื˜ ื–ื”ื•ืช.
07:24
And yet there is still one on a dark surround,
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ื•ืขื“ื™ื™ืŸ ื™ืฉ ืื—ืช ืขืœ ืจืงืข ื›ื”ื”, ื•ืื—ืช ืขืœ ืจืงืข ื‘ื”ื™ืจ.
07:26
and one on a light surround.
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07:28
Why?
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ืœืžื”? ืžืคื ื™ ืฉืื ื”ืœื•ื—ื™ืช ื‘ืฆืœ ื”ื”ื•ื
07:29
Because if the tile in that shadow were in fact in shadow,
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ื”ื™ื• ื‘ืืžืช ื‘ืฆืœ,
07:33
and reflecting the same amount of light to your eye
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ื•ืžื—ื–ื™ืจื•ืช ืืช ืื•ืชื” ื›ืžื•ืช ืฉืœ ืื•ืจ ืœืขื™ืŸ
07:35
as the one outside the shadow,
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ื›ืžื• ื–ื• ืฉืžื—ื•ืฅ ืœืฆืœ,
07:37
it would have to be more reflective -- just the laws of physics.
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ื”ื™ื ื”ื™ืชื” ืฆืจื™ื›ื” ืœื”ื™ื•ืช ืžื—ื–ื™ืจืช ืื•ืจ ื˜ื•ื‘ื” ื™ื•ืชืจ - ืคืฉื•ื˜ ื—ื•ืงื™ ื”ืคื™ื–ื™ืงื”.
07:40
So you see it that way.
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ืœื›ืŸ ืืชื ืจื•ืื™ื ืืช ื–ื” ื›ืš.
07:42
Whereas on the right, the information is consistent
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ืœืขื•ืžืช ืฆื“ ื™ืžื™ืŸ, ืฉื ื”ืžื™ื“ืข ืื—ื™ื“
07:45
with those two tiles being under the same light.
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ื›ืฉืฉืชื™ ื”ืœื•ื—ื™ื•ืช ื ืžืฆืื•ืช ืชื—ืช ืื•ืชื• ืื•ืจ.
07:47
If they're under the same light reflecting the same amount of light to your eye,
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ืื ื”ืŸ ื ืžืฆืื•ืช ืชื—ืช ืื•ืชื• ืื•ืจ, ื•ืžื—ื–ื™ืจื•ืช ืืช ืื•ืชื” ื›ืžื•ืช ืื•ืจ
ืœืขื™ืŸ ืฉืœื›ื,
07:51
then they must be equally reflective.
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ืื– ื”ืŸ ืฆืจื™ื›ื•ืช ืœื”ื™ื•ืช ืžื—ื–ื™ืจื•ืช ืื•ืจ ื‘ืื•ืชื” ืžื™ื“ื”.
07:53
So you see it that way.
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ืœื›ืŸ ืืชื ืจื•ืื™ื ืื•ืชืŸ ื›ืš.
07:54
Which means we can bring all this information together
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ืžื” ืฉืื•ืžืจ ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืื—ื“ ืืช ื›ืœ ื”ืžื™ื“ืข ื”ื–ื”
07:57
to create some incredibly strong illusions.
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ื•ืœื™ืฆื•ืจ ืืฉืœื™ื•ืช ืžืื•ื“ ื—ื–ืงื•ืช.
07:59
This is one I made a few years ago.
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ืืช ื–ื• ื™ืฆืจืชื™ ืœืคื ื™ ื›ืžื” ืฉื ื™ื.
08:01
And you'll notice you see a dark brown tile at the top,
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ื•ืชืฉื™ืžื• ืœื‘ ืฉืจื•ืื™ื ืœื•ื—ื™ืช ื—ื•ืžื” ื›ื”ื” ืขืœ ื”ืคืŸ ื”ืขืœื™ื•ืŸ.
08:04
and a bright orange tile at the side.
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ื•ืœื•ื—ื™ืช ื›ืชื•ืžื” ื‘ื”ื™ืจื” ื‘ืฆื“.
08:07
That is your perceptual reality.
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ื–ื• ื”ืžืฆื™ืื•ืช ื”ืชืคื™ืกืชื™ืช ืฉืœื›ื. ื”ืžืฆื™ืื•ืช ื”ืคื™ืกื™ืช
08:08
The physical reality is that those two tiles are the same.
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ื”ื™ื ืฉืฉืชื™ ื”ืœื•ื—ื™ื•ืช ื–ื”ื•ืช.
08:14
Here you see four gray tiles on your left,
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ื›ืืŸ ืชืจืื• ืืจื‘ืข ืœื•ื—ื™ื•ืช ืืคื•ืจื•ืช ื‘ืฆื“ ืฉืžืืœ,
08:17
seven gray tiles on the right.
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ืฉื‘ืข ืœื•ื—ื™ื•ืช ืืคื•ืจื•ืช ื‘ืฆื“ ื™ืžื™ืŸ.
08:19
I'm not going to change those tiles at all,
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ืื ื™ ืœื ืขื•ืžื“ ืœืฉื ื•ืช ืืช ื”ืœื•ื—ื™ื•ืช ื”ืืœื” ื‘ื›ืœืœ.
08:21
but I'm going to reveal the rest of the scene.
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ืื‘ืœ ืื ื™ ืขื•ืžื“ ืœื—ืฉื•ืฃ ืืช ืฉืืจ ื”ืกืฆื ื”.
08:23
And see what happens to your perception.
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ื•ืชืจืื• ืžื” ืงื•ืจื” ืœืชืคื™ืกื” ืฉืœื›ื.
08:26
The four blue tiles on the left are gray.
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ืืจื‘ืข ื”ืœื•ื—ื™ื•ืช ื”ื›ื—ื•ืœื•ืช ืžืฉืžืืœ ื”ืŸ ืืคื•ืจื•ืช.
08:30
The seven yellow tiles on the right are also gray.
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ื•ืฉื‘ืข ื”ืœื•ื—ื™ื•ืช ื”ืฆื”ื•ื‘ื•ืช ืœื™ืžื™ืŸ ื”ืŸ ื’ื ืืคื•ืจื•ืช.
08:33
They are the same. Okay?
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ื”ืŸ ื–ื”ื•ืช. ื‘ืกื“ืจ?
08:35
Don't believe me? Let's watch it again.
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ืœื ืžืืžื™ื ื™ื ืœื™? ื‘ื• ื ืจืื” ืฉื•ื‘.
08:39
What's true for color is also true for complex perceptions of motion.
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ืžื” ืฉื ื›ื•ืŸ ืœืฆื‘ืข ื ื›ื•ืŸ ื’ื ืœืชืคื™ืกื” ื”ืžื•ืจื›ื‘ืช ืฉืœ ืชื ื•ืขื”.
08:43
So, here we have --
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ืื– ื›ืืŸ ื™ืฉ ืœื ื• -
08:46
let's turn this around -- a diamond.
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ื‘ื ื ืกื•ื‘ื‘ ืืช ื–ื” - ื™ื”ืœื•ื.
08:51
And what I'm going to do is, I'm going to hold it here,
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ื•ืžื” ืฉืื ื™ ืขื•ืžื“ ืœืขืฉื•ืช, ืื ื™ ืื—ื–ื™ืง ืืช ื–ื” ื›ืืŸ,
08:53
and I'm going to spin it.
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ื•ืื ื™ ืืกื•ื‘ื‘ ืื•ืชื•.
08:56
And for all of you, you'll see it probably spinning this direction.
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ื•ื›ื•ืœื›ื, ื›ื ืจืื” ืชืจืื• ืื•ืชื• ืžืกืชื•ื‘ื‘ ืœื›ื™ื•ื•ืŸ ื”ื–ื”.
09:00
Now I want you to keep looking at it.
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ืขื›ืฉื™ื• ืื ื™ ืจื•ืฆื” ืฉืชืžืฉื™ื›ื• ืœื”ื‘ื™ื˜ ื‘ื•.
09:02
Move your eyes around, blink, maybe close one eye.
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ื”ื–ื™ื–ื• ืืช ื”ืขื™ื ื™ื™ื ืฉืœื›ื, ืžืฆืžืฆื•, ืื•ืœื™ ืชืขืฆืžื• ืขื™ื™ืŸ ืื—ืช.
09:05
And suddenly it will flip, and start spinning the opposite direction.
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ื•ืคืชืื•ื ื”ื•ื ื™ืชื”ืคืš ื•ื™ืชื—ื™ืœ ืœื”ืกืชื•ื‘ื‘ ืœื›ื™ื•ื•ืŸ ื”ืฉื ื™.
09:09
Yes? Raise your hand if you got that. Yes?
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ื›ืŸ? ื”ืจื™ืžื• ืืช ื”ื™ื“ื™ื™ื ืื ืจืื™ืชื ืืช ื–ื”. ื›ืŸ?
09:12
Keep blinking.
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ื”ืžืฉื™ื›ื• ืœืžืฆืžืฅ. ื›ืœ ืคืขื ืฉืชืžืฆืžืฆื• ื”ื•ื ื™ื—ืœื™ืฃ ื›ื™ื•ื•ืŸ. ื‘ืกื“ืจ?
09:13
Every time you blink, it will switch.
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09:16
So I can ask you, which direction is it rotating?
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ืื– ืื ื™ ื™ื›ื•ืœ ืœืฉืื•ืœ ืืชื›ื, ืœืื™ื–ื” ื›ื™ื•ื•ืŸ ื”ื•ื ืžืกืชื•ื‘ื‘?
09:20
How do you know?
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ืื™ืš ืืชื ื™ื•ื“ืขื™ื?
09:22
Your brain doesn't know, because both are equally likely.
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ื”ืžื•ื— ืฉืœื›ื ืœื ื™ื•ื“ืข. ืžืคื ื™ ืฉืฉื ื™ ื”ื›ื™ื•ื•ื ื™ื ืืคืฉืจื™ื™ื ื‘ืžื™ื“ื” ืฉื•ื•ื”.
09:25
So depending on where it looks,
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ืื– ืชืœื•ื™ ืœื ืืชื ืžืกืชื›ืœื™ื, ื–ื” ืžืชื—ืœืฃ
09:26
it flips between the two possibilities.
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ื‘ื™ืŸ ืฉืชื™ ื”ืืคืฉืจื•ื™ื•ืช.
09:30
Are we the only ones that see illusions?
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ื”ืื ืื ื—ื ื• ื”ื™ื—ื™ื“ื™ื ืฉืจื•ืื™ื ืืฉืœื™ื•ืช ?
09:32
The answer to this question is no.
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ื”ืชืฉื•ื‘ื” ืœืฉืืœื” ื”ื™ื ืœื.
09:34
Even the beautiful bumblebee,
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ืืคื™ืœื• ื”ื“ื‘ื•ืจื” ื”ื™ืคื™ืคื™ื”,
09:35
with its mere one million brain cells,
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ืขื ืžืœื™ื•ืŸ ืชืื™ ืžื•ื— ื‘ืœื‘ื“,
09:38
which is 250 times fewer cells than you have in one retina,
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ืฉื–ื” ืคื™ 250 ืชืื™ื ืคื—ื•ืช ืžืžื” ืฉื™ืฉ ืœื›ื ืขืœ ื”ืจืฉืชื™ืช,
09:41
sees illusions, does the most complicated things
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ืจื•ืื” ืืฉืœื™ื•ืช, ื•ืขื•ืฉื” ื“ื‘ืจื™ื ืžืกื•ื‘ื›ื™ื
09:44
that even our most sophisticated computers can't do.
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ืฉืืคื™ืœื• ื”ืžื—ืฉื‘ื™ื ื”ืžืฉื•ื›ืœืœื™ื ื‘ื™ื•ืชืจ ืฉืœื ื• ืœื ื™ื›ื•ืœื™ื ืœืขืฉื•ืช.
09:47
So in my lab we work on bumblebees,
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ืื– ื‘ืžืขื‘ื“ื” ืฉืœื™, ืื ื—ื ื• ื›ืžื•ื‘ืŸ ืขื•ื‘ื“ื™ื ืขื ื“ื‘ื•ืจื™ื.
09:49
because we can completely control their experience,
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ืžืคื ื™ ืฉืื ื—ื ื• ื™ื›ืœื™ื ืœืฉืœื•ื˜ ื‘ื—ื•ื•ื™ื” ืฉืœื”ืŸ ื‘ืื•ืคืŸ ืžืœื,
09:51
and see how it alters the architecture of their brain.
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ื•ืœืจืื•ืช ืื™ืš ื–ื” ืžืฉื ื” ืืช ืžื‘ื ื” ื”ืžื•ื— ืฉืœื”ืŸ.
ื•ืื ื—ื ื• ืขื•ืฉื™ื ื–ืืช ื‘ืžื” ืฉืื ื—ื ื• ืงื•ืจืื™ื ืœื• ืžื˜ืจื™ืฆืช ื”ื“ื‘ื•ืจื™ื.
09:54
We do this in what we call the Bee Matrix.
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09:56
Here you have the hive.
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ื•ื›ืืŸ ื™ืฉ ืœื›ื ืืช ื”ื›ื•ื•ืจืช. ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืืช ื”ืžืœื›ื”,
09:57
You can see the queen bee, the large bee in the middle.
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ื”ื“ื‘ื•ืจื” ื”ื’ื“ื•ืœื” ื‘ืžืจื›ื–. ื›ืœ ืืœื• ื”ืŸ ื‘ื ื•ืชื™ื”, ื”ื‘ื™ืฆื™ื.
10:00
Those are her daughters, the eggs.
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ื•ื”ื• ื”ื•ืœื›ื•ืช ื”ืœื•ืš ื•ืฉื•ื‘ ื‘ื™ืŸ ื”ื›ื•ื•ืจืช
10:02
They go back and forth between this hive and the arena, via this tube.
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ื•ื”ื–ื™ืจื”, ื“ืจืš ื”ืฆื™ื ื•ืจ ื”ื–ื”.
10:09
You'll see one of the bees come out here.
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ื•ืืชื ืชืจืื• ืื—ืช ืžื”ื“ื‘ื•ืจื™ื ื™ื•ืฆืืช ืžื›ืืŸ.
10:11
You see how she has a little number on her?
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ืืชื ืจื•ืื™ื ืฉื™ืฉ ืขืœื™ื” ืžืกืคืจ ืงื˜ืŸ?
10:14
There's another one coming out, she also has a number on her.
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ื›ืŸ ื™ืฉ ืขื•ื“ ืื—ืช ืฉื™ื•ืฆืืช. ื’ื ืขืœื™ื” ื™ืฉ ืžืกืคืจ.
10:17
Now, they're not born that way, right?
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ืขื›ืฉื™ื•, ื”ืŸ ืœื ื ื•ืœื“ื•ืช ื›ื›ื”. ื‘ืกื“ืจ?
10:19
We pull them out, put them in the fridge, and they fall asleep.
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ืื ื—ื ื• ืžื•ืฆื™ืื™ื ืื•ืชืŸ, ืฉืžื™ื ืื•ืชืŸ ื‘ืžืงืจืจ, ื•ื”ืŸ ื ืจื“ืžื•ืช.
10:22
Then you can superglue little numbers on them.
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ื•ืื– ืืคืฉืจ ืœื”ื“ื‘ื™ืง ืžืกืคืจื™ื ืงื˜ื ื™ื ืขืœื™ื”ืŸ.
(ืฆื—ื•ืง)
10:25
(Laughter)
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10:26
And now, in this experiment they get a reward if they go to the blue flowers.
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ื•ืขื›ืฉื™ื• ื‘ื ื™ืกื•ื™ ื”ื–ื” ื”ืŸ ืžืชื•ื’ืžืœื•ืช ืื ื”ืŸ ืขืคื•ืช ืœืคืจื— ื”ื›ื—ื•ืœ.
10:30
They land on the flower,
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ื•ื”ืŸ ื ื•ื—ืชื•ืช ืขืœ ื”ืคืจื—. ื”ืŸ ืžื›ื ื™ืกื•ืช ืืช ื”ืœืฉื•ืŸ ืฉืœื”ืŸ,
10:31
stick their tongue in there, called a proboscis, and drink sugar water.
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ืฉื ืงืจืืช ืคืจื•ื‘ื•ืกื™ืก, ื•ื”ืŸ ืฉื•ืชื•ืช ืžื™ ืกื•ื›ืจ.
10:34
She's drinking a glass of water that's about that big to you and I,
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ืขื›ืฉื™ื• ื”ื™ื ืฉื•ืชื” ื›ื•ืก ืžื™ื ืฉื”ื™ื ื›ื–ืืช ื’ื“ื•ืœื” ืœื ื•,
10:38
will do that about three times, then fly.
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ื”ื™ื ืชืขืฉื” ื–ืืช ืฉืœื•ืฉ ืคืขืžื™ื, ื•ืื– ืชืขื•ืฃ.
10:44
And sometimes they learn not to go to the blue,
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ื•ืœืคืขืžื™ื ื”ืŸ ืœื•ืžื“ื•ืช ืœื ืœืขื•ืฃ ืœื›ื—ื•ืœ,
10:46
but to go where the other bees go.
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ืืœื ืœืžืงื•ื ืฉืืœื™ื• ืขืคื•ืช ื”ื“ื‘ื•ืจื™ื ื”ืื—ืจื•ืช.
10:48
So they copy each other.
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ืื– ื”ืŸ ืžื—ืงื•ืช ืื—ืช ืืช ื”ืฉื ื™ื”. ื”ืŸ ื™ื›ื•ืœื•ืช ืœืกืคื•ืจ ืขื“ ื—ืžืฉ. ื”ืŸ ืžืกื•ื’ืœื•ืช ืœื–ื”ื•ืช ืคืจืฆื•ืคื™ื.
10:49
They can count to five. They can recognize faces.
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10:51
And here she comes down the ladder.
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ื•ื›ืืŸ ื”ื™ื ื™ื•ืจื“ืช ื‘ืกื•ืœื.
10:53
And she'll come into the hive, find an empty honey pot,
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ื•ื”ื™ื ืชื›ื ืก ืœื›ื•ื•ืจืช, ื•ืชืžืฆื ืชื ื“ื‘ืฉ ืจื™ืง,
10:56
and throw up, and that's honey.
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ื•ืชืงื™ื ืœืชื•ื›ื•, ื•ื–ื” ื“ื‘ืฉ.
10:58
(Laughter)
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(ืฆื—ื•ืง)
10:59
Now remember, she's supposed to be going to the blue flowers,
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ืขื›ืฉื™ื• ืชื–ื›ืจื• - (ืฆื—ื•ืง)
- ื”ื™ื ืืžื•ืจื” ืœืœื›ืช ืœืคืจื—ื™ื ื”ื›ื—ื•ืœื™ื.
11:04
but what are these bees doing in the upper right corner?
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ืื‘ืœ ืžื” ื”ื“ื‘ื•ืจื™ื ื”ืืœื” ืขื•ืฉื•ืช ื‘ืคื™ื ื” ื”ื™ืžื ื™ืช ื”ืขืœื™ื•ื ื”?
11:07
It looks like they're going to green flowers.
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ื ืจืื” ืฉื”ืŸ ืขืคื•ืช ืœืคืจื—ื™ื ื”ื™ืจื•ืงื™ื.
11:09
Now, are they getting it wrong?
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ืขื›ืฉื™ื•, ื”ืื ื”ืŸ ื˜ื•ืขื•ืช?
11:12
And the answer to the question is no. Those are actually blue flowers.
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ื•ื”ืชืฉื•ื‘ื” ืœืฉืืœื” ื”ื™ื ืœื. ืืœื” ื‘ืขืฆื ืคืจื—ื™ื ื›ื—ื•ืœื™ื.
11:15
But those are blue flowers under green light.
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ืื‘ืœ ืืœื” ืคืจื—ื™ื ื›ื—ื•ืœื™ื ืชื—ืช ืชืื•ืจื” ื™ืจื•ืงื”.
11:19
So they're using the relationships between the colors to solve the puzzle,
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ืื– ื”ืŸ ืžืฉืชืžืฉื•ืช ื‘ื™ื—ืก ื‘ื™ืŸ ื”ืฆื‘ืขื™ื ื›ื“ื™ ืœืคืชื•ืจ ืืช ื”ื‘ืขื™ื”.
11:23
which is exactly what we do.
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ืฉื–ื” ื‘ื“ื™ื•ืง ืžื” ืฉืื ื—ื ื• ืขื•ืฉื™ื.
11:25
So, illusions are often used,
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ืื–, ืืฉืœื™ื•ืช ืžืฉืžืฉื•ืช ืื•ืชื ื• ืคืขืžื™ื ืจื‘ื•ืช,
11:27
especially in art, in the words of a more contemporary artist,
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ื‘ื™ื—ื•ื“ ื‘ืื•ืžื ื•ืช, ื‘ืžื™ืœื™ื ืฉืœ ืื•ืžืŸ ืขื›ืฉื•ื™ ื™ื•ืชืจ,
11:31
"to demonstrate the fragility of our senses."
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"ืœื”ื“ื’ื™ื ืืช ื”ืฉื‘ืจื™ืจื™ื•ืช ืฉืœ ื”ื—ื•ืฉื™ื ืฉืœื ื•."
11:33
Okay, this is complete rubbish.
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ื‘ืกื“ืจ, ื–ื” ืฉื˜ื•ืช ืœื—ืœื•ื˜ื™ืŸ.
11:36
The senses aren't fragile. And if they were, we wouldn't be here.
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ื”ื—ื•ืฉื™ื ืœื ืฉื‘ืจื™ืจื™ื™ื. ื•ืื ื”ื ื”ื™ื•, ืื ื—ื ื• ืœื ื”ื™ื™ื ื• ื›ืืŸ.
ื‘ืžืงื•ื ื–ืืช, ืฆื‘ืขื™ื ืžืกืคืจื™ื ืœื ื• ืžืฉื”ื• ืฉื•ื ื” ืœื—ืœื•ื˜ื™ืŸ,
11:40
Instead, color tells us something completely different,
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11:43
that the brain didn't actually evolve to see the world the way it is.
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ืฉื”ืžื•ื— ืœื ื”ืชืคืชื— ืœืจืื•ืช ืืช ื”ืขื•ืœื ื›ืžื• ืฉื”ื•ื.
11:46
We can't.
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ืื ื—ื ื• ืœื ื™ื›ื•ืœื™ื. ื‘ืžืงื•ื ื–ืืช, ื”ืžื•ื— ื”ืชืคืชื— ืœืจืื•ืช ืืช ื”ืขื•ืœื
11:47
Instead, the brain evolved to see the world
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11:50
the way it was useful to see in the past.
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ื‘ืฆื•ืจื” ืฉื”ื™ืชื” ื™ืขื™ืœื” ื‘ืฉื‘ื™ืœื ื• ื‘ืขื‘ืจ.
11:53
And how we see is by continually redefining normality.
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ื•ื”ืฆื•ืจื” ืฉืื ื• ืจื•ืื™ื ื”ื™ื ืขืœ ื™ื“ื™ ื”ื’ื“ืจื” ืงื‘ื•ืขื” ืžื—ื“ืฉ ืฉืœ ื ื•ืจืžืœื™ื•ืช.
11:59
So, how can we take this incredible capacity of plasticity of the brain
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ืื– ืื™ืš ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืงื—ืช
ืืช ื”ืคืœืกื˜ื™ื•ืช ื”ืžื“ื”ื™ืžื” ืฉืœ ื”ืžื•ื—
12:06
and get people to experience their world differently?
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ื•ืœื’ืจื•ื ืœืื ืฉื™ื ืœื—ื•ื•ืช ืืช ื”ืขื•ืœื ื‘ืฆื•ืจื” ืื—ืจืช?
12:09
Well, one of the ways we do it in my lab and studio
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ื•ื‘ื›ืŸ, ืื—ืช ื”ื“ืจื›ื™ื ืฉืื ื• ืขื•ืฉื™ื ื–ืืช ื‘ืžืขื‘ื“ื” ื•ื”ืกื˜ื•ื“ื™ื• ืฉืœื™
12:11
is we translate the light into sound,
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ื”ื™ื ืœืชืจื’ื ืืช ื”ืื•ืจ ืœืฆืœื™ืœ
12:15
and we enable people to hear their visual world.
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ื•ืื ื—ื ื• ืžืืคืฉืจื™ื ืœืื ืฉื™ื ืœืฉืžื•ืข ืืช ื”ืขื•ืœื ื”ื•ื™ื–ื•ืืœื™.
12:19
And they can navigate the world using their ears.
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ื•ื”ื ื™ื›ื•ืœื™ื ืœื ื•ื•ื˜ ื‘ืขื•ืœื ื‘ืขื–ืจืช ื”ืื•ื–ื ื™ื™ื.
12:22
Here's David on the right, and he's holding a camera.
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ื”ื ื” ื“ื•ื“, ื‘ืฆื“ ื™ืžื™ืŸ. ื•ื”ื•ื ืžื—ื–ื™ืง ืžืฆืœืžื”.
12:25
On the left is what his camera sees.
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ื‘ืฆื“ ืฉืžืืœ ืจื•ืื™ื ืืช ืžื” ืฉื”ืžืฆืœืžื” ืจื•ืื”.
12:27
And you'll see there's a faint line going across that image.
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ื•ืืชื ืชืจืื• ืงื•, ืงื• ื—ืœืฉ ืขื•ื‘ืจ ืœืจื•ื—ื‘ ื”ืชืžื•ื ื”.
12:30
That line is broken up into 32 squares.
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ื”ืงืŸ ืžื—ื•ืœืง ืœ32 ืจื™ื‘ื•ืขื™ื.
12:33
In each square, we calculate the average color.
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ื‘ื›ืœ ืจื™ื‘ื•ืข ืื ื—ื ื• ืžื—ืฉื‘ื™ื ืืช ื”ืฆื‘ืข ื”ืžืžื•ืฆืข.
12:35
And then we just simply translate that into sound.
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ื•ืื– ืื ื—ื ื• ืคืฉื•ื˜ ืžืชืจื’ืžื™ื ืื•ืชื• ืœืฆืœื™ืœ.
12:37
And now he's going to turn around,
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ื•ืขื›ืฉื™ื• ื”ื•ื ืขื•ืžื“
ืœื”ืกืชื•ื‘ื‘, ืœืขืฆื•ื ืืช ืขื™ื ื™ื•,
12:41
close his eyes,
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12:43
and find a plate on the ground with his eyes closed.
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ื•ืœืžืฆื•ื ืฆืœื—ืช ืขืœ ื”ืจืฆืคื”, ืขื ืขื™ื ื™ื™ื ืขืฆื•ืžื•ืช.
12:47
(Continuous sound)
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12:50
(Sound changes momentarily)
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12:52
(Sound changes momentarily)
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12:55
(Sound changes momentarily)
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12:59
(Sound changes momentarily)
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13:03
(Sound changes momentarily)
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13:05
Beau Lotto: He finds it. Amazing, right?
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ื”ื•ื ืžื•ืฆื ืื•ืชื”. ืžื“ื”ื™ื. ื ื›ื•ืŸ?
13:07
So not only can we create a prosthetic for the visually impaired,
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ืื– ืœื ืจืง ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื ืœื™ืฆื•ืจ ืชื•ืชื‘ ืœืื ืฉื™ื ืขื ื‘ืขื™ื•ืช ืจืื™ื”,
13:10
but we can also investigate
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ืื ื—ื ื• ื’ื ื™ื›ื•ืœื™ื ืœื—ืงื•ืจ ืื™ืš ืื ืฉื™ื
13:13
how people literally make sense of the world.
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ืคืฉื•ื˜ื• ื›ืžืฉืžืขื• ืžื‘ื™ื ื™ื ืืช ื”ืขื•ืœื.
13:16
But we can also do something else.
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ืื‘ืœ ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ื“ื‘ืจ ื ื•ืกืฃ, ืื ื—ื ื• ื™ื›ื•ืœื™ื ืœื™ืฆื•ืจ ืžื•ืกื™ืงื” ืขื ืฆื‘ืข.
13:17
We can also make music with color.
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13:20
So, working with kids,
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ืื–, ื‘ืขื‘ื•ื“ื” ืขื ื™ืœื“ื™ื,
13:22
they created images,
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ื”ื ื™ื•ืฆืจื™ื ืชืžื•ื ื•ืช,
13:24
thinking about what might the images you see
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ื‘ืžื—ืฉื‘ื” ืขืœ ืื™ืš ื”ืชืžื•ื ื•ืช ืฉืืชื ืจื•ืื™ื
13:26
sound like if we could listen to them.
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ื™ืฉืžืขื• ืื ืชื•ื›ืœื• ืœื”ืื–ื™ืŸ ืœื”ืŸ.
13:28
And then we translated these images.
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ื•ืื– ืื ื—ื ื• ืžืชืจื’ืžื™ื ืืช ื”ืชืžื•ื ื•ืช ื”ืืœื”.
13:30
And this is one of those images.
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ื•ื–ื• ืื—ืช ืžื”ืชืžื•ื ื•ืช.
13:32
And this is a six-year-old child composing a piece of music
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ื•ื–ื” ื™ืœื“ ื‘ืŸ ืฉืฉ ืฉืžืœื—ื™ืŸ ืžื•ื–ื™ืงื”
13:35
for a 32-piece orchestra.
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ืœืชื–ืžื•ืจืช 32 ื›ืœื™ื.
13:38
And this is what it sounds like.
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ื•ื›ืš ื–ื” ื ืฉืžืข.
13:40
(Electronic representation of orchestral music)
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14:06
So, a six-year-old child. Okay?
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ืื–, ื™ืœื“ ื‘ืŸ ืฉืฉ. ื‘ืกื“ืจ?
14:09
Now, what does all this mean?
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ืขื›ืฉื™ื•, ืžื” ื›ืœ ื–ื” ืื•ืžืจ?
14:12
What this suggests is that no one is an outside observer of nature, okay?
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ืžื” ืฉื–ื” ืžืฆื™ืข ื–ื” ืฉืืฃ ืื—ื“ ืœื ืฆื•ืคื” ืžื—ื•ืฅ
ืœื˜ื‘ืข. ื‘ืกื“ืจ?
14:17
We're not defined by our central properties,
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ืื ื—ื ื• ืœื ืžื•ื’ื“ืจื™ื ืขืœ ื™ื“ื™ ื”ืชื›ื•ื ื•ืช ื”ืžืจื›ื–ื™ื•ืช ืฉืœื ื•,
14:19
by the bits that make us up.
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ืขืœ ื™ื“ื™ ื”ื—ืœืงื™ื ืฉืžืจื›ื™ื‘ื™ื ืื•ืชื ื•.
14:20
We're defined by our environment and our interaction with that environment,
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ืื ื—ื ื• ืžื•ื’ื“ืจื™ื ืขืœ ื™ื“ื™ ื”ืกื‘ื™ื‘ื” ื•ื”ืื™ื ื˜ืจืืงืฆื™ื” ืฉืœื ื• ืขื ื”ืกื‘ื™ื‘ื”
14:24
by our ecology.
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ืขืœ ื™ื“ื™ ื”ืืงื•ืœื•ื’ื™ื” ืฉืœื ื•.
14:26
And that ecology is necessarily relative, historical and empirical.
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ื•ื”ืืงื•ืœื•ื’ื™ื” ื”ื™ื ื‘ื”ื›ืจื— ื™ื—ืกื™ืช,
ื”ืกื˜ื•ืจื™ืช ื•ืืžืคื™ืจื™ืช.
ืื– ืžื” ืฉืืจืฆื” ืœืกื™ื™ื ืื™ืชื• ื ืžืฆื ื›ืืŸ.
14:34
So, what I'd like to finish with is this over here.
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14:38
Because what I've been trying to do is really celebrate uncertainty.
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ืžืคื ื™ ืฉืžื” ืฉืื ื™ ื‘ืืžืช ืžื ืกื” ืœืขืฉื•ืช ื”ื•ื ืœื—ื’ื•ื’ ืืช ืื™ ื”ื•ื“ืื•ืช.
14:41
Because I think only through uncertainty is there potential for understanding.
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ืžืคื ื™ ืฉืื ื™ ื—ื•ืฉื‘ ืฉืจืง ื“ืจืš ืื™ ื”ื•ื“ืื•ืช ืžื’ื™ืข ืคื•ื˜ื ืฆื™ืืœ ื”ื”ื‘ื ื” ืฉืœื ื•.
14:45
So, if some of you are still feeling a bit too certain,
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ืื–, ืื ื—ืœืง ืžื›ื ืขื“ื™ื™ืŸ ืžืจื’ื™ืฉื™ื ื™ื•ืชืจ ืžื“ื™ ื‘ื˜ื•ื—ื™ื,
14:48
I'd like to do this one.
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ื”ื™ื™ืชื™ ืจื•ืฆื” ืœื”ื“ื’ื™ื ืืช ื–ื”.
14:50
So, if we have the lights down.
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ืื–, ืื ื ื•ื›ืœ ืœื”ื—ืœื™ืฉ ืืช ื”ืื•ืจื•ืช.
14:52
And what we have here --
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ื•ืžื” ืฉื™ืฉ ืœื ื• ื›ืืŸ -
14:58
Can everyone see 25 purple surfaces on your left,
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ื”ืื ื›ื•ืœื ื™ื›ื•ืœื™ื ืœืจืื•ืช 25 ืžืฉื˜ื—ื™ื ืกื’ื•ืœื™ื
ื‘ืฆื“ ืฉืžืืœ,
15:03
and 25, call it yellowish, surfaces on your right?
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ื• 25 ืžืฉื˜ื—ื™ื, ื ืงืจื ืœื”ื ืฆื”ื‘ื”ื‘ื™ื, ื‘ืฆื“ ื™ืžื™ืŸ?
15:07
So now, what I want to do,
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ืื–, ืขื›ืฉื™ื• ืžื” ืฉื”ื™ื™ืชื™ ืจื•ืฆื” ืœืขืฉื•ืช:
15:08
I'm going to put the middle nine surfaces here
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ืื ื™ ืขื•ืžื“ ืœืฉื™ื ืืช ืชืฉืขืช ื”ืžืฉื˜ื—ื™ื ื”ืืžืฆืขื™ื™ื ื›ืืŸ
15:11
under yellow illumination,
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ืชื—ืช ืชืื•ืจื” ืฆื”ื•ื‘ื”
15:13
by simply putting a filter behind them.
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ืข"ื™ ื”ื•ืกืคืช ืคื™ืœื˜ืจ ืžืื—ื•ืจื™ื”ื.
ื‘ืกื“ืจ, ืขื›ืฉื™ื• ืืชื ื™ื›ื•ืœื™ื ืœืจืื•ืช ืฉื–ื” ืžืฉื ื” ืืช ื”ืื•ืจ
15:18
Now you can see that changes the light that's coming through there, right?
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ืฉื™ื•ืฆื ืžืฉื. ื ื›ื•ืŸ?
15:22
Because now the light is going through a yellowish filter
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ืžืคื ื™ ืฉื”ืื•ืจ ืขื•ื‘ืจ ืขื›ืฉื™ื• ื“ืจืš ืคื™ืœื˜ืจ ืฆื”ื‘ื”ื‘
ื•ืื– ื“ืจืš ืคื™ืœื˜ืจ ืกื’ืœื’ืœ.
15:25
and then a purplish filter.
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15:26
I'm going to do the opposite on the left here.
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ืื ื™ ืขื•ืžื“ ืœืขืฉื•ืช ืืช ื”ื”ืคืš ื‘ืฆื“ ืฉืžืืœ.
15:31
I'm going to put the middle nine under a purplish light.
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ืื ื™ ืขื•ืžื“ ืœืฉื™ื ืืช ืชืฉืขืช ื”ืžืฉื˜ื—ื™ื ื‘ืืžืฆืข ืชื—ืช ืชืื•ืจื” ืกื’ื•ืœื”.
15:38
Now, some of you will have noticed that the consequence
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ืขื›ืฉื™ื•, ื—ืœืง ืžื›ื ื™ื‘ื—ื™ื ื• ืฉื”ืชื•ืฆืื” ืฉืœ ื–ื” ื”ื™ื
15:42
is that the light coming through those middle nine on the right,
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ืฉื”ืื•ืจ ืฉื™ื•ืฆื ื“ืจืš ืชืฉืขืช ื”ืืžืฆืขื™ื™ื ื‘ืฆื“ ื™ืžื™ืŸ,
15:45
or your left, is exactly the same as the light
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ื”ืฉืžืืœ ืฉืœื›ื,
ื–ื”ื” ืœื—ืœื•ื˜ื™ืŸ ืœืื•ืจ ืฉื™ื•ืฆื ื“ืจืš
15:48
coming through the middle nine on your right.
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ืชืฉืขืช ื”ืืžืฆืขื™ื™ื ืžื™ืžื™ืŸ.
15:51
Agreed? Yes?
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ื”ืกื›ืžื ื•? ื›ืŸ?
15:53
Okay. So they are physically the same.
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ื‘ืกื“ืจ, ืื– ื”ื ื–ื”ื™ื ืœื—ืœื•ื˜ื™ืŸ.
15:56
Let's pull the covers off.
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ื”ื‘ื” ื ืžืฉื•ืš ืืช ื”ื›ื™ืกื•ื™ื™ื.
16:02
Now remember --
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ืขื›ืฉื™ื• ืชื–ื›ืจื•,
16:05
you know that the middle nine are exactly the same.
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ืืชื ื™ื•ื“ืขื™ื ืฉืชืฉืขืช ื”ืืžืฆืขื™ื™ื ื–ื”ื™ื ืœื—ืœื•ื˜ื™ืŸ.
16:09
Do they look the same?
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ื”ืื ื”ื ื ืจืื™ื ื–ื”ื™ื? ืœื.
16:12
No.
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16:13
The question is, "Is that an illusion?"
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ื”ืฉืืœื” ื”ื™ื, "ื”ืื ื–ื• ืืฉืœื™ื”?"
16:15
And I'll leave you with that.
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ื•ืื ื™ ืืฉืื™ืจ ืืชื›ื ืขื ื–ื”.
16:17
So, thank you very much.
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ืื–, ืชื•ื“ื” ืจื‘ื” ืœื›ื
16:18
(Laughter)
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16:19
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ื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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