1
00:00:01,533 --> 00:00:04,300
♪♪

2
00:00:04,333 --> 00:00:06,433
{\an1}-When you think of the senses,

3
00:00:06,466 --> 00:00:09,200
{\an1}you probably think
of five different ones.

4
00:00:09,233 --> 00:00:11,333
{\an1}Six, if you're into that.

5
00:00:11,366 --> 00:00:12,866
♪♪

6
00:00:12,900 --> 00:00:14,466
Sight...

7
00:00:14,500 --> 00:00:17,533
sound...

8
00:00:17,566 --> 00:00:20,133
taste, touch...

9
00:00:20,166 --> 00:00:22,966
and smell.

10
00:00:23,000 --> 00:00:26,800
{\an1}They are the building blocks
of experience,

11
00:00:26,833 --> 00:00:29,900
of creativity,
of happiness, even.

12
00:00:29,933 --> 00:00:33,200
{\an1}And for some reason,
we like to separate them.

13
00:00:33,233 --> 00:00:34,966
♪♪

14
00:00:35,000 --> 00:00:39,466
{\an1}Seeing a sunset versus tasting
a ripe peach --

15
00:00:39,500 --> 00:00:43,133
{\an1}equally inspiring,
but totally different.

16
00:00:43,166 --> 00:00:44,466
Right?

17
00:00:44,500 --> 00:00:46,633
{\an1}Well, not exactly.

18
00:00:46,666 --> 00:00:48,933
♪♪

19
00:00:48,966 --> 00:00:51,600
{\an1}The body is actually
like a sponge,

20
00:00:51,633 --> 00:00:53,866
{\an1}constantly absorbing
all these sensations

21
00:00:53,900 --> 00:00:55,866
{\an1}from the world around us.

22
00:00:55,900 --> 00:00:57,866
[ Trilling ]

23
00:00:57,900 --> 00:01:03,033
{\an1}And as they enter through
our eyes, ears, skin,

24
00:01:03,066 --> 00:01:06,433
{\an1}they begin to swirl together.

25
00:01:06,466 --> 00:01:10,466
{\an1}What emerges is our own
unique picture of reality,

26
00:01:10,500 --> 00:01:14,033
{\an1}one that we become
completely immersed in.

27
00:01:14,066 --> 00:01:22,700
♪♪

28
00:01:22,733 --> 00:01:29,833
♪♪

29
00:01:29,866 --> 00:01:37,633
♪♪

30
00:01:40,033 --> 00:01:45,266
♪♪

31
00:01:45,300 --> 00:01:47,400
-When we're going
out there on the ice

32
00:01:47,433 --> 00:01:49,900
{\an1}and Tarah's 8 feet
above my head,

33
00:01:49,933 --> 00:01:52,833
{\an1}you have to start to learn
to use another sense

34
00:01:52,866 --> 00:01:55,833
{\an1}of being able to know where
your partner's going to be.

35
00:01:55,866 --> 00:01:58,000
♪♪

36
00:01:58,033 --> 00:02:00,533
{\an1}-I am so focused on the task
at hand

37
00:02:00,566 --> 00:02:03,266
{\an1}and what is in front of me
at exactly that moment

38
00:02:03,300 --> 00:02:06,166
{\an1}that nothing else matters.

39
00:02:06,200 --> 00:02:09,033
{\an7}-My name is Tarah Kayne.
-And I'm Danny O'Shea.

40
00:02:09,066 --> 00:02:13,500
{\an7}-And we are pairs figure skaters
who train in Colorado Springs.

41
00:02:13,533 --> 00:02:16,800
♪♪

42
00:02:16,833 --> 00:02:21,666
{\an1}We have been skating together
for eight years.

43
00:02:21,700 --> 00:02:24,866
{\an1}-Danny and Tarah are at
the top of their game,

44
00:02:24,900 --> 00:02:26,933
{\an1}national champions
and real contenders

45
00:02:26,966 --> 00:02:28,433
{\an1}for the next Olympics...

46
00:02:28,466 --> 00:02:31,166
♪♪

47
00:02:31,200 --> 00:02:33,266
{\an1}...which means they can do
crazy stunts

48
00:02:33,300 --> 00:02:34,933
{\an1}in perfect unison...

49
00:02:34,966 --> 00:02:36,933
♪♪

50
00:02:36,966 --> 00:02:39,766
{\an1}...like clockwork.

51
00:02:39,800 --> 00:02:41,733
{\an1}And performing at that level

52
00:02:41,766 --> 00:02:45,000
{\an1}requires tapping into
all the senses

53
00:02:45,033 --> 00:02:46,666
and then some.

54
00:02:46,700 --> 00:02:48,533
{\an1}-Before the competition,

55
00:02:48,566 --> 00:02:53,933
{\an1}I make myself thoroughly
aware of the rink.

56
00:02:53,966 --> 00:02:57,500
{\an1}I see the whole rink and I smell
what the rink smells like,

57
00:02:57,533 --> 00:03:01,233
I feel how cold
it's going to be there.

58
00:03:01,266 --> 00:03:04,266
{\an1}-Our senses all interact
with each other.

59
00:03:04,300 --> 00:03:08,733
{\an7}Our sensory system is
a very complex system

60
00:03:08,766 --> 00:03:12,066
{\an8}that allows
the environmental stimuli

61
00:03:12,100 --> 00:03:15,200
to be converted
into electrical activity

62
00:03:15,233 --> 00:03:19,033
that our brain
and our spinal cord can process.

63
00:03:19,066 --> 00:03:21,966
♪♪

64
00:03:22,000 --> 00:03:25,966
{\an1}-On every cell of our body,
we maintain a little battery,

65
00:03:26,000 --> 00:03:27,333
{\an1}which has a voltage.

66
00:03:27,366 --> 00:03:29,400
{\an7}-In our fingertips, in our eyes,

67
00:03:29,433 --> 00:03:31,700
{\an8}and our ears,
we have the ability

68
00:03:31,733 --> 00:03:35,866
{\an1}to sense small changes
in our environment

69
00:03:35,900 --> 00:03:39,366
{\an1}that create small changes
of voltage.

70
00:03:39,400 --> 00:03:41,933
A bigger change
in the sensed world

71
00:03:41,966 --> 00:03:45,600
{\an1}creates a bigger change
across that cell membrane.

72
00:03:45,633 --> 00:03:49,533
{\an1}That is something that's
really good for sensation.

73
00:03:49,566 --> 00:03:51,800
♪♪

74
00:03:51,833 --> 00:03:54,033
-So, for example,
the sound of a blade

75
00:03:54,066 --> 00:03:55,300
{\an1}cutting through the ice...

76
00:03:55,333 --> 00:03:57,333
[ Sharp crack ]

77
00:03:57,366 --> 00:03:58,966
{\an1}...becomes electricity.

78
00:03:59,000 --> 00:04:01,133
♪♪

79
00:04:01,166 --> 00:04:03,133
Specialized cells
called neurons

80
00:04:03,166 --> 00:04:05,166
{\an1}transmit that information
to the brain...

81
00:04:05,200 --> 00:04:07,366
♪♪

82
00:04:07,400 --> 00:04:10,266
{\an1}...which instantly combines it
with other data,

83
00:04:10,300 --> 00:04:11,833
{\an1}like the rush of cold air...

84
00:04:11,866 --> 00:04:14,033
[ Whooshing ]

85
00:04:14,066 --> 00:04:15,333
{\an1}...and the blur of limbs

86
00:04:15,366 --> 00:04:18,933
{\an1}as the skaters move together
across the rink.

87
00:04:18,966 --> 00:04:23,766
♪♪

88
00:04:23,800 --> 00:04:26,333
{\an1}This all happens while
they are spinning,

89
00:04:26,366 --> 00:04:29,266
{\an1}jumping, and landing

90
00:04:29,300 --> 00:04:32,400
{\an1}on a piece of metal that's only
5 millimeters thick.

91
00:04:32,433 --> 00:04:34,300
♪♪

92
00:04:35,933 --> 00:04:38,433
{\an1}-Pairs figure skating
is definitely dangerous.

93
00:04:38,466 --> 00:04:40,866
♪♪

94
00:04:40,900 --> 00:04:42,900
You're skating on
a very hard surface.

95
00:04:42,933 --> 00:04:44,366
[ Blades clack ]

96
00:04:44,400 --> 00:04:47,133
{\an1}We have blades on the end
of our feet.

97
00:04:49,900 --> 00:04:52,566
{\an1}-Some of the major elements
in pair skating

98
00:04:52,600 --> 00:04:55,533
{\an1}is first the lift.

99
00:04:55,566 --> 00:04:59,233
{\an1}She's either upright or on
her stomach or on her back.

100
00:04:59,266 --> 00:05:02,066
{\an1}We have three and a half turns
in our lifts.

101
00:05:02,100 --> 00:05:05,066
♪♪

102
00:05:05,100 --> 00:05:08,266
{\an1}Then you have your jumps
next to each other

103
00:05:08,300 --> 00:05:11,866
{\an1}and landing in unison.

104
00:05:11,900 --> 00:05:13,866
{\an1}Then you have your throw
into the air.

105
00:05:13,900 --> 00:05:17,100
{\an1}She does the hard part,
rotates and lands.

106
00:05:19,266 --> 00:05:22,833
{\an1}We have spins connected
or side by side,

107
00:05:22,866 --> 00:05:25,466
{\an1}spinning in one spot on the ice.

108
00:05:26,966 --> 00:05:28,366
{\an1}Death spiral is another one.

109
00:05:28,400 --> 00:05:31,133
{\an8}♪♪

110
00:05:31,166 --> 00:05:33,766
{\an1}I put my toe pick in the ice
and do a pivot...

111
00:05:33,800 --> 00:05:35,533
♪♪

112
00:05:35,566 --> 00:05:37,066
{\an1}...and she holds my hand

113
00:05:37,100 --> 00:05:40,233
{\an1}and she spins around me
for a couple revolutions.

114
00:05:40,266 --> 00:05:46,800
♪♪

115
00:05:46,833 --> 00:05:50,700
{\an1}-When I'm on the ice,
it's just focus.

116
00:05:50,733 --> 00:05:53,700
♪♪

117
00:05:53,733 --> 00:05:56,366
{\an1}When we change venues,
the colors are all different

118
00:05:56,400 --> 00:05:58,666
{\an1}and all the sides of the rink
look the same,

119
00:05:58,700 --> 00:06:02,633
{\an1}so I don't really have
any visual points of reference.

120
00:06:02,666 --> 00:06:05,633
♪♪

121
00:06:05,666 --> 00:06:07,933
{\an7}-Our previous experience
always adds

122
00:06:07,966 --> 00:06:11,133
{\an7}onto our sensory experience.

123
00:06:11,166 --> 00:06:14,200
{\an1}This information has
to quickly integrate

124
00:06:14,233 --> 00:06:16,400
{\an1}with all the other senses.

125
00:06:18,700 --> 00:06:21,366
{\an1}-The performance becomes
so routine,

126
00:06:21,400 --> 00:06:24,700
{\an1}and the senses are like us

127
00:06:24,733 --> 00:06:26,866
{\an1}doing the elements
and feeling the elements...

128
00:06:26,900 --> 00:06:28,333
-Yeah.
-...instead of thinking through

129
00:06:28,366 --> 00:06:29,566
the elements.

130
00:06:29,600 --> 00:06:35,000
♪♪

131
00:06:35,033 --> 00:06:39,800
{\an1}-I have to know by
how I feel in the air.

132
00:06:39,833 --> 00:06:43,133
{\an1}A lot of times we practice
with my eyes closed

133
00:06:43,166 --> 00:06:45,233
{\an1}so that I don't get confused,

134
00:06:45,266 --> 00:06:48,200
{\an1}and then I try to come out
of the air at the wrong point

135
00:06:48,233 --> 00:06:50,366
{\an1}and that can get dangerous.

136
00:06:50,400 --> 00:06:55,200
♪♪

137
00:06:55,233 --> 00:06:57,800
{\an1}-At the speeds Danny and Tarah
are moving,

138
00:06:57,833 --> 00:07:00,166
{\an1}five senses just won't cut it.

139
00:07:00,200 --> 00:07:02,800
♪♪

140
00:07:02,833 --> 00:07:06,000
{\an1}So they rely on something
even more fundamental.

141
00:07:06,033 --> 00:07:08,366
{\an1}Some people call it
the sixth sense,

142
00:07:08,400 --> 00:07:11,600
{\an1}but it could just as easily
be called the first --

143
00:07:11,633 --> 00:07:13,166
proprioception.

144
00:07:13,200 --> 00:07:18,066
{\an1}In simple terms, the sense
of where your body is in space.

145
00:07:18,100 --> 00:07:22,833
{\an1}-So you can imagine there's
a two-way highway of signals

146
00:07:22,866 --> 00:07:25,800
{\an1}that constantly reaches areas
of your body

147
00:07:25,833 --> 00:07:28,133
that are far away
from the brain.

148
00:07:28,166 --> 00:07:30,500
{\an1}Those areas actually
tell something

149
00:07:30,533 --> 00:07:33,800
about the status
of your body to the brain.

150
00:07:35,466 --> 00:07:38,600
{\an1}-Wrapped around specialized
fibers inside every muscle

151
00:07:38,633 --> 00:07:41,766
are tiny springs

152
00:07:41,800 --> 00:07:44,033
{\an1}that stretch when we move.

153
00:07:44,066 --> 00:07:46,466
{\an1}The precise direction and speed
of that motion

154
00:07:46,500 --> 00:07:48,866
{\an1}activate receptors in the spring

155
00:07:48,900 --> 00:07:50,900
that create
an electrical signal.

156
00:07:50,933 --> 00:07:53,166
{\an1}-Those receptors send
that information

157
00:07:53,200 --> 00:07:55,566
{\an1}to different parts of the brain.

158
00:07:55,600 --> 00:07:59,266
{\an1}When the brain processes that,
it sends information back --

159
00:07:59,300 --> 00:08:03,500
{\an1}for example, our motor nerves,
to say, "Move your hand."

160
00:08:03,533 --> 00:08:11,366
♪♪

161
00:08:11,400 --> 00:08:14,300
{\an1}-All of us use this sense
constantly.

162
00:08:14,333 --> 00:08:16,833
♪♪

163
00:08:16,866 --> 00:08:19,633
{\an1}Without it, you wouldn't be able
to pick up a glass

164
00:08:19,666 --> 00:08:23,300
{\an1}or touch your nose in the dark.

165
00:08:23,333 --> 00:08:26,200
But on the ice,
it's critical

166
00:08:26,233 --> 00:08:28,533
for knowing
when to stop rotating,

167
00:08:28,566 --> 00:08:31,700
{\an1}or where to place your blade
so it doesn't nick your partner.

168
00:08:33,733 --> 00:08:35,366
{\an1}And yet, for pairs skaters,

169
00:08:35,400 --> 00:08:37,500
{\an1}there's still one more
challenge.

170
00:08:39,366 --> 00:08:41,566
{\an1}And it is the most elusive.

171
00:08:43,566 --> 00:08:46,866
{\an1}-We have to have such
synchronization and unison.

172
00:08:46,900 --> 00:08:50,300
♪♪

173
00:08:50,333 --> 00:08:53,333
{\an1}-You need to have chemistry
together as a team.

174
00:08:55,733 --> 00:08:58,200
{\an1}And physically, your bodies
need to match.

175
00:08:58,233 --> 00:09:02,766
♪♪

176
00:09:02,800 --> 00:09:06,700
{\an1}At this point in time,
I know every tap...

177
00:09:06,733 --> 00:09:08,133
♪♪

178
00:09:08,166 --> 00:09:11,433
...every squeeze.

179
00:09:11,466 --> 00:09:16,100
{\an1}I know almost what he's going
to do before he does it.

180
00:09:16,133 --> 00:09:19,700
{\an1}When we're doing lifts,
Danny will just slightly grip

181
00:09:19,733 --> 00:09:22,766
my body in a way
that communicates to me

182
00:09:22,800 --> 00:09:25,366
{\an1}that it's time for me
to change positions.

183
00:09:25,400 --> 00:09:28,066
And we've never
even discussed that.

184
00:09:28,100 --> 00:09:31,300
♪♪

185
00:09:31,333 --> 00:09:33,500
{\an1}-The synergy that Danny
and Tarah have created

186
00:09:33,533 --> 00:09:37,100
{\an1}over years of training
has a lot to do with touch,

187
00:09:37,133 --> 00:09:41,066
{\an1}and its unique ability
to deepen a physical connection.

188
00:09:41,100 --> 00:09:42,766
♪♪

189
00:09:42,800 --> 00:09:45,933
{\an1}-We have the mechanical
receptors in our skin

190
00:09:45,966 --> 00:09:48,066
{\an1}for physical touch,

191
00:09:48,100 --> 00:09:51,966
{\an1}and that information that's
converted to electrical activity

192
00:09:52,000 --> 00:09:54,000
ultimately feeds
through our spinal cord

193
00:09:54,033 --> 00:09:55,966
{\an1}and gets to parts in our brain

194
00:09:56,000 --> 00:09:59,333
{\an1}that senses that that was
a mechanical touch.

195
00:09:59,366 --> 00:10:02,200
♪♪

196
00:10:02,233 --> 00:10:07,400
{\an1}However, the signal also goes
to other parts of our brain...

197
00:10:07,433 --> 00:10:10,666
♪♪

198
00:10:10,700 --> 00:10:15,633
{\an1}...that encode an emotional
aspect to that touch.

199
00:10:15,666 --> 00:10:19,233
{\an1}And the brain can dissociate
a mechanical touch

200
00:10:19,266 --> 00:10:22,400
{\an1}and the emotional connectivity
of that touch.

201
00:10:22,433 --> 00:10:29,800
♪♪

202
00:10:29,833 --> 00:10:31,933
{\an1}-This duality helps us
sense the difference

203
00:10:31,966 --> 00:10:35,866
{\an1}between a hug and pinch.

204
00:10:35,900 --> 00:10:40,266
{\an1}But there are many more layers
of subtlety touch can uncover.

205
00:10:40,300 --> 00:10:43,266
{\an1}All it takes is the dedication
to learn them.

206
00:10:45,566 --> 00:10:47,500
{\an1}-We've worked a very long time

207
00:10:47,533 --> 00:10:50,733
{\an1}to have that second nature thing
where I can put my hand out

208
00:10:50,766 --> 00:10:53,733
{\an1}and she can just grab it,

209
00:10:53,766 --> 00:10:56,033
{\an1}and we're together.

210
00:10:58,300 --> 00:11:01,666
♪♪

211
00:11:01,700 --> 00:11:05,000
{\an1}-There's no doubt that emotions
depend on touch.

212
00:11:05,033 --> 00:11:07,466
There's a reason
they're called feelings.

213
00:11:07,500 --> 00:11:09,800
♪♪

214
00:11:09,833 --> 00:11:14,266
{\an1}But all of our senses
can create emotional responses.

215
00:11:14,300 --> 00:11:17,333
{\an1}And it has to do with
how different parts of the brain

216
00:11:17,366 --> 00:11:18,833
{\an1}speak to each other.

217
00:11:18,866 --> 00:11:22,200
[ Cheering ]
♪♪

218
00:11:22,233 --> 00:11:24,566
{\an1}-We're starting to finally
get a glimpse

219
00:11:24,600 --> 00:11:26,833
{\an1}into the inner workings
of the brain.

220
00:11:26,866 --> 00:11:29,166
{\an1}A really interesting field
called optogenetics

221
00:11:29,200 --> 00:11:32,566
{\an1}has been able to help us
study the brain

222
00:11:32,600 --> 00:11:35,766
{\an1}by getting parts of it
to light up

223
00:11:35,800 --> 00:11:38,333
{\an1}as it's functioning.

224
00:11:38,366 --> 00:11:39,900
{\an1}And so we're starting
to get a sense of

225
00:11:39,933 --> 00:11:41,933
{\an1}how is it that the cells
of the brain

226
00:11:41,966 --> 00:11:45,600
{\an1}can craft our emotional
experience of the world.

227
00:11:45,633 --> 00:11:49,033
♪♪

228
00:11:49,066 --> 00:11:52,333
{\an1}-One of the most potent
emotional triggers is smell.

229
00:11:52,366 --> 00:12:01,233
{\an8}♪♪

230
00:12:01,266 --> 00:12:06,766
{\an8}♪♪

231
00:12:06,800 --> 00:12:09,200
{\an1}Like dreams, smells have
the ability

232
00:12:09,233 --> 00:12:14,033
{\an1}to reveal things that are buried
deep in the unconscious mind.

233
00:12:14,066 --> 00:12:16,600
But it happens
while you're awake.

234
00:12:18,766 --> 00:12:21,600
{\an1}-Fragrance allows you
to armchair travel.

235
00:12:21,633 --> 00:12:23,566
♪♪

236
00:12:23,600 --> 00:12:25,600
{\an1}What's great about
using materials

237
00:12:25,633 --> 00:12:29,066
{\an1}like cilantro from Mexico
or Italian parsley...

238
00:12:29,100 --> 00:12:32,166
♪♪

239
00:12:32,200 --> 00:12:36,766
{\an1}...you can go to a place through
the voyage of olfaction.

240
00:12:36,800 --> 00:12:37,933
[ Sniffs ]

241
00:12:37,966 --> 00:12:40,100
♪♪

242
00:12:40,133 --> 00:12:42,666
{\an1}They spray that fragrance around
them, and then they think,

243
00:12:42,700 --> 00:12:46,700
{\an1}"Oh, my God, I'm suddenly
on a beach in Indonesia.

244
00:12:46,733 --> 00:12:47,833
I'm in Thailand."

245
00:12:47,866 --> 00:12:50,500
♪♪

246
00:12:50,533 --> 00:12:52,666
And that feeling
of giving someone

247
00:12:52,700 --> 00:12:56,566
{\an1}that ability to travel
momentarily to that place

248
00:12:56,600 --> 00:12:59,566
{\an1}is something so powerful
and so potent.

249
00:12:59,600 --> 00:13:02,566
{\an8}♪♪

250
00:13:02,600 --> 00:13:05,166
{\an8}I'm Yosh Han,

251
00:13:05,200 --> 00:13:08,533
{\an7}and I create fragrances
for a living.

252
00:13:08,566 --> 00:13:12,066
♪♪

253
00:13:12,100 --> 00:13:15,900
{\an1}-There's some senses
that are much more powerful.

254
00:13:15,933 --> 00:13:19,300
Smell actually is
a very powerful sense.

255
00:13:19,333 --> 00:13:23,000
♪♪

256
00:13:23,033 --> 00:13:25,066
{\an1}-We used to think that humans
could only detect

257
00:13:25,100 --> 00:13:29,800
{\an1}about 10,000 distinct smells.

258
00:13:29,833 --> 00:13:33,833
{\an1}Turns out, that number is
actually closer to a trillion.

259
00:13:33,866 --> 00:13:37,666
♪♪

260
00:13:37,700 --> 00:13:40,266
And it all starts
with tiny hairs.

261
00:13:42,966 --> 00:13:46,333
{\an1}Smells, as we know them,
don't really exist.

262
00:13:46,366 --> 00:13:50,033
{\an1}At first, they're just
pieces of air,

263
00:13:50,066 --> 00:13:53,133
{\an1}molecules that waft
into the nose.

264
00:13:53,166 --> 00:13:58,266
-Inside our nose
we have cells called cilia.

265
00:13:58,300 --> 00:14:01,466
{\an1}They're made of the same thing
that makes your hair.

266
00:14:01,500 --> 00:14:03,800
{\an1}These cilia have the ability

267
00:14:03,833 --> 00:14:08,366
{\an1}to pick up these molecules
that are around us.

268
00:14:08,400 --> 00:14:11,666
-The cilia direct
air molecules to receptors

269
00:14:11,700 --> 00:14:14,366
{\an1}underneath the lining
of the nostril.

270
00:14:14,400 --> 00:14:17,000
There are around
400 kinds of receptors

271
00:14:17,033 --> 00:14:18,600
{\an1}that pick up different scents,

272
00:14:18,633 --> 00:14:20,266
{\an1}and the same receptor
can be activated

273
00:14:20,300 --> 00:14:21,966
{\an1}by more than one odor --

274
00:14:22,000 --> 00:14:24,266
{\an1}like a lock that has
10 different keys.

275
00:14:24,300 --> 00:14:27,100
♪♪

276
00:14:27,133 --> 00:14:28,466
{\an1}Whatever you're smelling

277
00:14:28,500 --> 00:14:30,633
{\an1}lights up a unique pattern
of receptors,

278
00:14:30,666 --> 00:14:33,966
{\an1}and they send impulses
to the brain.

279
00:14:35,833 --> 00:14:37,866
{\an1}Think about the smell of coffee.

280
00:14:37,900 --> 00:14:41,566
{\an1}It's actually made up
of 800 different molecules.

281
00:14:41,600 --> 00:14:44,500
{\an1}It's only when this complex
mosaic of signals

282
00:14:44,533 --> 00:14:49,000
{\an1}reaches the brain that a smell
as we know it comes into being.

283
00:14:52,366 --> 00:14:55,433
♪♪

284
00:14:55,466 --> 00:14:58,400
{\an1}-I don't actually necessarily
sit in a lab

285
00:14:58,433 --> 00:15:00,133
{\an1}with a white lab coat.

286
00:15:00,166 --> 00:15:02,866
{\an1}That's just not my forte.

287
00:15:02,900 --> 00:15:06,366
{\an1}Rather, what I do is a much more
creative approach.

288
00:15:06,400 --> 00:15:10,533
{\an1}What I like to do is think about
using the olfactive materials

289
00:15:10,566 --> 00:15:13,400
{\an1}as kind of like paint
or an instrument,

290
00:15:13,433 --> 00:15:14,800
{\an1}if you were a musician.

291
00:15:14,833 --> 00:15:19,066
♪♪

292
00:15:19,100 --> 00:15:23,800
{\an1}Some people smell in numbers,
some people smell in colors,

293
00:15:23,833 --> 00:15:27,600
and I have more
that smell in textures.

294
00:15:27,633 --> 00:15:32,533
{\an1}I smell scratchy things.
I smell smooth things.

295
00:15:32,566 --> 00:15:35,133
{\an1}I view olfaction as a narrative.

296
00:15:35,166 --> 00:15:37,533
{\an1}I view ingredients
as characters,

297
00:15:37,566 --> 00:15:40,433
{\an1}and so I'm constantly
composing in my mind.

298
00:15:40,466 --> 00:15:47,233
♪♪

299
00:15:47,266 --> 00:15:50,866
{\an1}-Being a perfumer requires
some serious training.

300
00:15:50,900 --> 00:15:55,066
{\an1}Smell is 10,000 times more
sensitive than any other sense.

301
00:15:55,100 --> 00:15:59,066
{\an1}So a professional like Yosh
hones that over time,

302
00:15:59,100 --> 00:16:01,200
{\an1}and in the process,
learns how to tap

303
00:16:01,233 --> 00:16:04,733
{\an1}into the strong associations
that smells create in the brain.

304
00:16:04,766 --> 00:16:06,833
♪♪

305
00:16:06,866 --> 00:16:11,566
{\an1}-The sense of smell is
the strange guy in neuroscience.

306
00:16:11,600 --> 00:16:14,300
{\an1}If you look at how the sense
of smell works,

307
00:16:14,333 --> 00:16:16,833
we can identify
a variety of things

308
00:16:16,866 --> 00:16:21,766
{\an1}that are actually only specific
for the olfactory system.

309
00:16:21,800 --> 00:16:24,700
{\an1}Even the brain regions to which
our olfactory system

310
00:16:24,733 --> 00:16:28,766
{\an1}connects are very different
than the other senses.

311
00:16:28,800 --> 00:16:30,266
{\an1}-Most of our senses
are processed

312
00:16:30,300 --> 00:16:32,500
{\an1}by a part of the brain
called the thalamus.

313
00:16:32,533 --> 00:16:36,833
♪♪

314
00:16:36,866 --> 00:16:38,533
{\an1}The thalamus is like
a switchboard,

315
00:16:38,566 --> 00:16:41,866
{\an1}relaying those sensory signals
to other parts of the brain.

316
00:16:41,900 --> 00:16:45,966
♪♪

317
00:16:46,000 --> 00:16:48,600
{\an1}But for reasons that we're
still trying to uncover,

318
00:16:48,633 --> 00:16:53,400
{\an1}our smell signals initially
bypass the thalamus altogether

319
00:16:53,433 --> 00:16:55,900
and head straight
to the olfactory bulb...

320
00:16:55,933 --> 00:16:59,333
♪♪

321
00:16:59,366 --> 00:17:01,833
...which connects
to other, older regions

322
00:17:01,866 --> 00:17:04,066
{\an1}that are responsible
for emotion.

323
00:17:04,100 --> 00:17:07,900
♪♪

324
00:17:07,933 --> 00:17:11,866
{\an1}This gives smell a special
ability to create feelings

325
00:17:11,900 --> 00:17:13,533
{\an1}on a subconscious level.

326
00:17:13,566 --> 00:17:16,866
♪♪

327
00:17:16,900 --> 00:17:19,166
[ Door opens ]

328
00:17:19,200 --> 00:17:20,433
-Hi.
-Hey!

329
00:17:20,466 --> 00:17:21,766
-How are you?
-Good.

330
00:17:21,800 --> 00:17:23,266
-I'm Yosh.
-Yosh. I'm Sean.

331
00:17:23,300 --> 00:17:24,400
-Sean.
-Nice to meet you.

332
00:17:24,433 --> 00:17:25,500
-Welcome.
-How are you doing?

333
00:17:25,533 --> 00:17:26,733
-Good.

334
00:17:26,766 --> 00:17:28,533
{\an1}I make fragrances for myself,

335
00:17:28,566 --> 00:17:30,933
{\an1}I design fragrances for myself,

336
00:17:30,966 --> 00:17:32,666
but I also spend
a fair amount of time

337
00:17:32,700 --> 00:17:35,900
{\an1}creating custom fragrances
for individuals.

338
00:17:35,933 --> 00:17:37,666
{\an1}Do you like wearing fragrance?

339
00:17:37,700 --> 00:17:39,400
-I don't know.
This is an interesting gift.

340
00:17:39,433 --> 00:17:41,733
[ Laughs ]
-Oh, perfect. Perfect.

341
00:17:41,766 --> 00:17:43,566
{\an1}I'll do a little intake for him,

342
00:17:43,600 --> 00:17:46,133
{\an1}because I really want to know,
what does he like to eat?

343
00:17:46,166 --> 00:17:48,633
What does he like
to do on his off time?

344
00:17:48,666 --> 00:17:50,666
{\an1}Where did you grow up?
-I grew up in Hawaii.

345
00:17:50,700 --> 00:17:52,500
-Hawaii.
So, like, you've grown up

346
00:17:52,533 --> 00:17:56,900
{\an1}with salt, the waves,
and maybe some tropical fruits.

347
00:17:56,933 --> 00:18:00,566
{\an1}We have so many materials
that we can choose from.

348
00:18:00,600 --> 00:18:03,700
{\an1}So I'll show him a range.

349
00:18:03,733 --> 00:18:06,433
{\an1}What I'm looking for
is if someone really loves

350
00:18:06,466 --> 00:18:09,700
{\an1}the smell of something,
their whole body just lifts up,

351
00:18:09,733 --> 00:18:11,300
and that's really
what we're trying to capture

352
00:18:11,333 --> 00:18:12,766
{\an1}in a custom fragrance.

353
00:18:12,800 --> 00:18:14,366
-It's a Mojito.
[ Sniffs ]

354
00:18:14,400 --> 00:18:17,566
-Yum, okay.
And you like cocktails?

355
00:18:17,600 --> 00:18:19,166
-Love cocktails.
-[ Laughs ]

356
00:18:19,200 --> 00:18:20,666
-Yeah.

357
00:18:20,700 --> 00:18:23,200
-So let's move
into the fruit notes.

358
00:18:23,233 --> 00:18:24,966
{\an1}What looks good to you?

359
00:18:25,000 --> 00:18:26,266
-Number one,
I would go to the mango,

360
00:18:26,300 --> 00:18:27,433
{\an1}then I would go to the pear.

361
00:18:27,466 --> 00:18:28,833
I would've went
to the guava third.

362
00:18:28,866 --> 00:18:30,166
{\an1}-Okay, guava third.
-Mango, number one.

363
00:18:30,200 --> 00:18:31,733
{\an1}-Okay, that's good to know.

364
00:18:31,766 --> 00:18:33,800
♪♪

365
00:18:33,833 --> 00:18:35,766
{\an1}-Smells are visceral.

366
00:18:35,800 --> 00:18:38,200
We love some.
-[ Sniffs ]

367
00:18:38,233 --> 00:18:39,833
-We hate others.

368
00:18:39,866 --> 00:18:43,266
{\an1}And this immediate connection
between smell and emotion

369
00:18:43,300 --> 00:18:46,433
{\an1}points to our evolution
as a species.

370
00:18:46,466 --> 00:18:49,933
{\an1}At first, we needed
sensitive noses to survive.

371
00:18:49,966 --> 00:18:52,600
{\an1}And that is reflected
in the brain.

372
00:18:52,633 --> 00:18:54,700
{\an1}-The olfactory system
directly speaks

373
00:18:54,733 --> 00:18:57,966
to what we called
high-level regions,

374
00:18:58,000 --> 00:18:59,600
{\an1}like the amygdala,

375
00:18:59,633 --> 00:19:02,766
{\an1}related to the perception
of threats.

376
00:19:02,800 --> 00:19:05,700
♪♪

377
00:19:05,733 --> 00:19:08,433
{\an1}-Our amygdala is able
to look at the outside world

378
00:19:08,466 --> 00:19:10,600
and put it into
an emotional context,

379
00:19:10,633 --> 00:19:12,433
{\an1}and then communicate
with other parts of your brain

380
00:19:12,466 --> 00:19:13,866
{\an7}which will help you decide,

381
00:19:13,900 --> 00:19:15,366
{\an7}"Hey, you're in a safe
environment.

382
00:19:15,400 --> 00:19:17,666
Don't be afraid."

383
00:19:17,700 --> 00:19:19,633
{\an1}-It's a little bit primal.

384
00:19:19,666 --> 00:19:22,166
{\an1}That's how it originally
was experienced.

385
00:19:22,200 --> 00:19:24,500
{\an1}And I think over millennia,
it went from

386
00:19:24,533 --> 00:19:27,433
{\an1}you smell death, you smell
a winner, you smell a rat,

387
00:19:27,466 --> 00:19:29,766
{\an1}and then it became more of
a pleasure-seeking

388
00:19:29,800 --> 00:19:32,600
way to navigate
in the world.

389
00:19:32,633 --> 00:19:35,900
{\an1}We're gonna do top notes,
middle notes, and base notes.

390
00:19:35,933 --> 00:19:37,733
-Okay.
-We're gonna start with

391
00:19:37,766 --> 00:19:40,966
the green notes,
or the top notes, okay?

392
00:19:41,000 --> 00:19:42,300
Okay. Smell that
and tell me...

393
00:19:42,333 --> 00:19:43,766
{\an1}-That's gonna be --
[ Sniffs ]

394
00:19:43,800 --> 00:19:47,033
{\an1}Yeah. This right here is --
that's an 8.

395
00:19:47,066 --> 00:19:49,900
{\an1}-What about cucumber?

396
00:19:49,933 --> 00:19:52,266
{\an1}-This is going to be a 10.
I'll tell you right now.

397
00:19:52,300 --> 00:19:54,533
-With perfumes,
you can really access

398
00:19:54,566 --> 00:19:57,900
{\an1}someone's subconscious
and their inner deep emotions.

399
00:19:57,933 --> 00:20:00,066
{\an1}How we think, how we feel.

400
00:20:00,100 --> 00:20:03,633
♪♪

401
00:20:03,666 --> 00:20:05,633
{\an1}You can imagine a vista,

402
00:20:05,666 --> 00:20:09,700
{\an1}a landscape, especially,
of a certain place.

403
00:20:09,733 --> 00:20:11,933
{\an1}But what if that place
is an emotional place,

404
00:20:11,966 --> 00:20:14,333
{\an1}or personal space?

405
00:20:14,366 --> 00:20:16,333
{\an1}I can bring them from the past

406
00:20:16,366 --> 00:20:18,333
into the present
or into the future.

407
00:20:18,366 --> 00:20:27,966
♪♪

408
00:20:28,000 --> 00:20:31,433
{\an1}I'm going to actually have
you smell some flowers.

409
00:20:31,466 --> 00:20:33,033
{\an1}You mentioned that
you were from Hawaii.

410
00:20:33,066 --> 00:20:34,400
-Mm-hmm.
[ Sniffs ]

411
00:20:34,433 --> 00:20:36,266
{\an1}Oh, this reminds me
of my auntie.

412
00:20:36,300 --> 00:20:39,366
♪♪

413
00:20:39,400 --> 00:20:41,333
{\an1}I just got goose bumps, like,

414
00:20:41,366 --> 00:20:43,533
like this is
a pretty serious thing.

415
00:20:43,566 --> 00:20:45,633
{\an1}She passed away about
eight years ago from cancer

416
00:20:45,666 --> 00:20:48,133
and she was my --
she was like my mom.

417
00:20:48,166 --> 00:20:50,066
♪♪

418
00:20:50,100 --> 00:20:52,600
{\an1}[ Sniffs ] I haven't thought
about her in a while.

419
00:20:52,633 --> 00:20:55,100
It's, um...
it's pretty heavy.

420
00:20:57,733 --> 00:20:59,700
{\an1}-Part of the network
that smell moves through

421
00:20:59,733 --> 00:21:02,400
{\an1}is not just instinct
and feeling,

422
00:21:02,433 --> 00:21:04,800
{\an1}but a connection to the past.

423
00:21:04,833 --> 00:21:06,300
-[ Sniffs ]
-And that's the power

424
00:21:06,333 --> 00:21:08,600
{\an1}of fragrance, right?
-Yeah.

425
00:21:08,633 --> 00:21:10,466
♪♪

426
00:21:10,500 --> 00:21:14,000
-The brain keeps
all of these memories,

427
00:21:14,033 --> 00:21:16,133
{\an1}and you think that they're gone.

428
00:21:16,166 --> 00:21:18,366
{\an1}And something happens
in the environment,

429
00:21:18,400 --> 00:21:20,166
{\an1}and it triggers that memory,

430
00:21:20,200 --> 00:21:23,266
{\an1}and you can actually
smell something

431
00:21:23,300 --> 00:21:26,266
{\an1}from when you were a child.

432
00:21:26,300 --> 00:21:29,300
{\an1}All of the memories associated
with that initial odor,

433
00:21:29,333 --> 00:21:31,666
{\an1}whether it's good or bad,
are released,

434
00:21:31,700 --> 00:21:34,733
{\an1}and a lot of that is
because of the amygdala.

435
00:21:34,766 --> 00:21:41,400
{\an1}It stores not only negative,
but also positive, memories.

436
00:21:41,433 --> 00:21:43,700
♪♪

437
00:21:43,733 --> 00:21:48,700
{\an1}-So for your final creation,
we have some oud.

438
00:21:48,733 --> 00:21:50,600
{\an1}We also have salt.

439
00:21:50,633 --> 00:21:52,833
{\an1}And then we have waves.

440
00:21:52,866 --> 00:21:56,133
{\an1}Combined together,
we have Ride the Wave.

441
00:21:56,166 --> 00:21:57,400
-Excellent.

442
00:21:59,833 --> 00:22:02,600
{\an1}That's impressive.
-[ Laughs ]

443
00:22:02,633 --> 00:22:05,333
{\an1}At the end of the day,
they want the smell of home.

444
00:22:05,366 --> 00:22:06,666
{\an1}"This smells like me."

445
00:22:06,700 --> 00:22:11,600
♪♪

446
00:22:11,633 --> 00:22:14,533
{\an1}They want to feel like
they're really in their skin.

447
00:22:16,533 --> 00:22:19,233
{\an1}Fragrance allows me to tap
into that

448
00:22:19,266 --> 00:22:21,966
{\an1}in a way that no other thing
really does.

449
00:22:22,000 --> 00:22:28,533
♪♪

450
00:22:28,566 --> 00:22:35,833
♪♪

451
00:22:35,866 --> 00:22:37,733
{\an1}-Even as the brain changes,

452
00:22:37,766 --> 00:22:40,466
{\an1}memories of smells
remain etched in our minds.

453
00:22:40,500 --> 00:22:42,566
♪♪

454
00:22:42,600 --> 00:22:44,033
{\an1}Things we've seen?

455
00:22:44,066 --> 00:22:46,533
{\an1}Those memories can fade
after just a few hours.

456
00:22:46,566 --> 00:22:49,333
And yet, sight is
the primary sense

457
00:22:49,366 --> 00:22:52,400
{\an1}we use to navigate
through the world.

458
00:22:52,433 --> 00:22:55,166
{\an1}-We have a much better sense
of sight

459
00:22:55,200 --> 00:22:57,833
{\an1}than many other organisms
out there do.

460
00:22:57,866 --> 00:23:01,266
{\an1}We see a wider range of color,
our vision is more acute,

461
00:23:01,300 --> 00:23:04,233
{\an1}and we have depth perception.

462
00:23:04,266 --> 00:23:05,666
{\an7}It may be that we all have

463
00:23:05,700 --> 00:23:08,866
{\an7}sort of this ancient programming
to respond to images.

464
00:23:08,900 --> 00:23:11,000
♪♪

465
00:23:11,033 --> 00:23:15,233
{\an1}-80% of our reality
comes from vision.

466
00:23:15,266 --> 00:23:18,800
{\an1}So even though it's not as
immediate as other sensations,

467
00:23:18,833 --> 00:23:22,266
{\an1}it could be considered
the most important.

468
00:23:22,300 --> 00:23:23,866
{\an1}Which means that for us,

469
00:23:23,900 --> 00:23:26,433
almost nothing
is more disorienting...

470
00:23:28,466 --> 00:23:31,233
{\an1}than finding yourself
total darkness.

471
00:23:35,200 --> 00:23:36,933
♪♪

472
00:23:36,966 --> 00:23:40,866
{\an7}And yet, it's in the moments
that test us most

473
00:23:40,900 --> 00:23:44,033
{\an7}when the true power
of sensation emerges.

474
00:23:44,066 --> 00:23:45,866
♪♪

475
00:23:45,900 --> 00:23:50,833
{\an1}-Here on Vancouver Island,
there's a myriad of textures...

476
00:23:50,866 --> 00:23:53,900
♪♪

477
00:23:53,933 --> 00:23:56,733
...colors.

478
00:23:56,766 --> 00:23:59,800
{\an1}You see it on the reddish,
brownish bark

479
00:23:59,833 --> 00:24:01,633
{\an1}of the Arbutus tree.

480
00:24:01,666 --> 00:24:06,800
♪♪

481
00:24:06,833 --> 00:24:09,900
{\an1}All the green and many colors
on the flowers.

482
00:24:09,933 --> 00:24:17,466
♪♪

483
00:24:17,500 --> 00:24:22,733
{\an1}And then just feeling a breeze
off of the ocean.

484
00:24:22,766 --> 00:24:28,166
{\an1}Fresh air out for a hike,
lots of space, lots of freedom,

485
00:24:28,200 --> 00:24:31,500
{\an1}and you sense these things
in different ways above ground.

486
00:24:31,533 --> 00:24:34,233
{\an1}[ Birds chirping ]

487
00:24:36,300 --> 00:24:39,800
{\an1}This is where humans
are meant to be.

488
00:24:43,400 --> 00:24:47,233
{\an1}But when you go below ground,

489
00:24:47,266 --> 00:24:48,966
{\an1}there are things down there

490
00:24:49,000 --> 00:24:53,233
{\an1}telling you that you don't
really belong there.

491
00:24:53,266 --> 00:24:55,466
♪♪

492
00:24:55,500 --> 00:24:59,300
-Keep breathing!
Hands out! Come towards me!

493
00:24:59,333 --> 00:25:02,166
Come this way!

494
00:25:02,200 --> 00:25:05,333
{\an1}Stay up! Come on, Jason.

495
00:25:05,366 --> 00:25:10,366
♪♪

496
00:25:10,400 --> 00:25:13,533
{\an7}-My name is Jason Storie,
I'm an amateur caver,

497
00:25:13,566 --> 00:25:15,966
{\an8}and I live
in British Columbia, Canada.

498
00:25:17,633 --> 00:25:20,900
{\an1}When you go into a cave,
there's a certain smell.

499
00:25:20,933 --> 00:25:26,800
{\an1}It's kind of earthy and damp,
and everything's quiet.

500
00:25:26,833 --> 00:25:29,100
{\an1}[ Water dripping ]

501
00:25:29,133 --> 00:25:33,366
{\an1}The darkness is so absolute.

502
00:25:33,400 --> 00:25:36,333
{\an1}It's hard to explain to anyone
who's never experienced it.

503
00:25:40,500 --> 00:25:43,666
{\an1}You might have a very good
headlamp, but...

504
00:25:43,700 --> 00:25:46,266
{\an1}it only lets you see
so far ahead.

505
00:25:46,300 --> 00:25:48,466
Darkness is still
around the corner.

506
00:25:48,500 --> 00:25:51,166
♪♪

507
00:25:51,200 --> 00:25:53,200
{\an1}You just never know
what you're going to find.

508
00:25:53,233 --> 00:25:56,066
♪♪

509
00:25:56,100 --> 00:25:59,833
{\an1}-Caves have always been
dangerous places to explore.

510
00:25:59,866 --> 00:26:04,300
{\an1}One wrong turn, and you
could be lost for days...

511
00:26:04,333 --> 00:26:06,866
or forever.

512
00:26:06,900 --> 00:26:10,066
{\an1}But when you take that
first step into the void,

513
00:26:10,100 --> 00:26:14,900
{\an1}you're actually way better
equipped than you might think.

514
00:26:14,933 --> 00:26:18,266
{\an1}-One of the most remarkable
things of our visual system

515
00:26:18,300 --> 00:26:21,066
{\an1}is that our retina is
actually able to perform

516
00:26:21,100 --> 00:26:22,866
{\an1}two different things
at the same time.

517
00:26:22,900 --> 00:26:27,766
♪♪

518
00:26:27,800 --> 00:26:30,700
{\an1}One group of cells
called the cones

519
00:26:30,733 --> 00:26:35,933
{\an1}actually activates
in presence of light and color.

520
00:26:35,966 --> 00:26:37,833
{\an1}But there is another
type of cell.

521
00:26:37,866 --> 00:26:42,033
{\an1}These are called the rods,
which actually are specific

522
00:26:42,066 --> 00:26:45,966
{\an1}for situations in which
there is way less light.

523
00:26:46,000 --> 00:26:48,666
♪♪

524
00:26:48,700 --> 00:26:52,800
{\an1}These rods provide a vision
that is more black and white,

525
00:26:52,833 --> 00:26:58,733
{\an1}but still allows you to perceive
certain spatial relationships.

526
00:26:58,766 --> 00:27:00,366
{\an1}For example, you will be able

527
00:27:00,400 --> 00:27:05,266
{\an1}to identify certain
sharp objects around you.

528
00:27:05,300 --> 00:27:08,333
{\an1}You can just imagine
walking inside a cave

529
00:27:08,366 --> 00:27:12,066
in which
you don't have light available.

530
00:27:12,100 --> 00:27:14,066
{\an1}You are in complete darkness.

531
00:27:16,200 --> 00:27:19,433
And in these
kinds of scenarios,

532
00:27:19,466 --> 00:27:23,966
{\an1}we actually are remarkably good
at seeing things.

533
00:27:24,000 --> 00:27:28,433
♪♪

534
00:27:28,466 --> 00:27:32,966
{\an1}-When you go into a cave
and everything's unknown,

535
00:27:33,000 --> 00:27:36,266
{\an1}you don't know what's
around the next corner.

536
00:27:36,300 --> 00:27:38,400
{\an1}There's even the possibility
that you might discover

537
00:27:38,433 --> 00:27:40,766
{\an1}something in a cave
that someone just hasn't gone

538
00:27:40,800 --> 00:27:43,600
and dug out
that one little corner.

539
00:27:46,466 --> 00:27:49,400
{\an1}-The transition to night vision
isn't immediate.

540
00:27:51,366 --> 00:27:53,100
{\an1}It takes about 30 minutes

541
00:27:53,133 --> 00:27:56,933
for the retina
to adjust to darkness,

542
00:27:56,966 --> 00:28:00,533
so something else
happens even faster.

543
00:28:00,566 --> 00:28:03,266
{\an1}-The brain is like
a computer

544
00:28:03,300 --> 00:28:08,166
{\an1}and a movie projector
all at the same time.

545
00:28:08,200 --> 00:28:10,833
{\an1}And like any other
living system,

546
00:28:10,866 --> 00:28:12,366
{\an1}it's very adaptable.

547
00:28:12,400 --> 00:28:16,100
♪♪

548
00:28:16,133 --> 00:28:19,466
{\an1}-The brain is fascinating
when it's put in a situation

549
00:28:19,500 --> 00:28:22,333
{\an1}where it can't see.

550
00:28:22,366 --> 00:28:26,300
{\an1}You're put in pitch black,
and before your visual receptors

551
00:28:26,333 --> 00:28:28,000
{\an1}can start to acclimate,

552
00:28:28,033 --> 00:28:30,733
{\an1}the brain starts to put
its own images

553
00:28:30,766 --> 00:28:32,700
{\an1}of where things should be.

554
00:28:32,733 --> 00:28:36,366
♪♪

555
00:28:36,400 --> 00:28:39,033
{\an1}-Groups of specialized cells
deep within the brain

556
00:28:39,066 --> 00:28:41,400
{\an1}record distance...

557
00:28:41,433 --> 00:28:43,600
location...

558
00:28:43,633 --> 00:28:47,166
{\an1}direction, and speed.

559
00:28:47,200 --> 00:28:49,433
They light up
as we move around

560
00:28:49,466 --> 00:28:53,066
{\an1}and become projections that help
us navigate our environment.

561
00:28:53,100 --> 00:28:56,100
{\an1}Like an internal GPS.

562
00:28:56,133 --> 00:28:59,733
{\an1}But caves are still notoriously
difficult to chart.

563
00:28:59,766 --> 00:29:01,433
♪♪

564
00:29:01,466 --> 00:29:05,300
-Andrew Munoz
is a caving expert.

565
00:29:05,333 --> 00:29:07,366
{\an1}He was the one who got me
into caving.

566
00:29:07,400 --> 00:29:09,200
{\an1}We had become good friends.

567
00:29:09,233 --> 00:29:11,533
{\an1}-Show me what I'm doing.
-So I think we'll just get you

568
00:29:11,566 --> 00:29:14,233
{\an1}to find the wall, and we'll just
have this on as your backup.

569
00:29:14,266 --> 00:29:15,500
-Yeah.

570
00:29:15,533 --> 00:29:18,833
{\an1}-And on December 5th, 2015,

571
00:29:18,866 --> 00:29:22,100
Andrew and I
and three others went caving.

572
00:29:24,333 --> 00:29:27,966
{\an1}I had been in Cascade Cave
five weeks earlier with Andrew,

573
00:29:28,000 --> 00:29:31,233
{\an1}and it was definitely
the toughest cave I'd been in.

574
00:29:31,266 --> 00:29:33,233
Awesome!

575
00:29:33,266 --> 00:29:35,966
It involved
some very tight squeezes,

576
00:29:36,000 --> 00:29:38,200
{\an1}places where you have to
sort of go on your back,

577
00:29:38,233 --> 00:29:40,733
upside down,
and worm your way through

578
00:29:40,766 --> 00:29:42,366
{\an1}to the next passage.

579
00:29:42,400 --> 00:29:46,433
♪♪

580
00:29:46,466 --> 00:29:48,600
♪♪

581
00:29:48,633 --> 00:29:52,600
{\an1}You have caves that have
water systems in them.

582
00:29:52,633 --> 00:29:56,200
{\an1}You'll get drips or trickles
or even waterfalls

583
00:29:56,233 --> 00:29:58,433
that can be
a little more thunderous.

584
00:29:58,466 --> 00:30:00,333
{\an1}[ Water crashing ]

585
00:30:00,366 --> 00:30:02,633
{\an1}You can be in one passage

586
00:30:02,666 --> 00:30:07,800
{\an1}and hear thunderous water
roaring nearby,

587
00:30:07,833 --> 00:30:11,566
{\an1}and then within 90 seconds
have crawled through a tunnel

588
00:30:11,600 --> 00:30:16,033
{\an1}and be in a big open chamber,
and there's complete silence.

589
00:30:17,833 --> 00:30:19,933
{\an1}[ Wind whistling ]

590
00:30:19,966 --> 00:30:23,100
{\an1}[ Thunder crashing ]

591
00:30:23,133 --> 00:30:25,033
{\an1}[ Thunder rumbling ]

592
00:30:28,066 --> 00:30:31,566
{\an1}We maybe didn't quite read
all of the signs

593
00:30:31,600 --> 00:30:34,666
{\an1}that the water level
was on the rise,

594
00:30:34,700 --> 00:30:38,133
{\an1}and that storm of the year
was brewing outside.

595
00:30:39,700 --> 00:30:42,333
-[ Bleep ]

596
00:30:42,366 --> 00:30:44,200
-Stop!
[ Bleep ]

597
00:30:44,233 --> 00:30:45,666
{\an1}That's [bleep] awful.

598
00:30:45,700 --> 00:30:47,833
{\an1}-I got a little bit confused

599
00:30:47,866 --> 00:30:50,000
{\an7}about which direction
I was supposed to go in.

600
00:30:53,733 --> 00:30:56,033
{\an1}-So I turned around
and went back down the tunnel

601
00:30:56,066 --> 00:30:58,266
{\an1}to go and ask for directions.

602
00:31:00,033 --> 00:31:03,166
{\an1}And that's when everything
went sideways.

603
00:31:04,366 --> 00:31:07,666
{\an1}-Okay, okay, just relax.
Just relax, J.

604
00:31:07,700 --> 00:31:10,133
His head up?
His head still up?

605
00:31:10,166 --> 00:31:11,433
-[ Shouts ]
-Yeah?

606
00:31:11,466 --> 00:31:15,600
{\an1}-I got stuck in the tunnel,
like a cork in a bottle.

607
00:31:15,633 --> 00:31:18,800
{\an1}-A few wrong moves
left Jason in the midst

608
00:31:18,833 --> 00:31:21,966
{\an1}of sensory chaos that was
about to push his brain

609
00:31:22,000 --> 00:31:24,633
{\an1}and body to the limit.

610
00:31:24,666 --> 00:31:26,766
{\an1}-Don't make any fast
moves, okay, J?

611
00:31:26,800 --> 00:31:28,600
{\an1}You have to keep your head up.
-Yes.

612
00:31:28,633 --> 00:31:30,800
{\an1}-And we're going to
do this slowly, okay?

613
00:31:30,833 --> 00:31:32,333
{\an1}-My helmet was against
the ceiling.

614
00:31:32,366 --> 00:31:35,733
{\an1}Water was coming up over
my shoulders and over my ears.

615
00:31:35,766 --> 00:31:37,333
-Not much left.

616
00:31:37,366 --> 00:31:39,566
-It's in my ears
-Keep coming, dude.

617
00:31:39,600 --> 00:31:41,566
{\an1}This way, towards me.

618
00:31:41,600 --> 00:31:44,333
{\an1}-The air around my face
and around my mouth

619
00:31:44,366 --> 00:31:46,500
{\an1}was only about an inch.

620
00:31:46,533 --> 00:31:49,200
{\an1}-Keep coming, dude.

621
00:31:49,233 --> 00:31:53,233
You're not stuck.
You're not stuck.

622
00:31:53,266 --> 00:31:56,900
{\an1}-I had the combination
of sensory deprivation

623
00:31:56,933 --> 00:31:59,600
{\an1}and sensory overload
all at once.

624
00:32:01,266 --> 00:32:03,466
{\an1}With the sound of the water

625
00:32:03,500 --> 00:32:06,333
{\an1}basically drowning out
everything,

626
00:32:06,366 --> 00:32:08,700
{\an1}with our headlamps off,
I had no sight

627
00:32:08,733 --> 00:32:13,033
{\an1}and no hearing of anything apart
from the canons of water.

628
00:32:13,066 --> 00:32:14,766
[ Water rushing ]

629
00:32:14,800 --> 00:32:17,633
-That's you?

630
00:32:17,666 --> 00:32:19,800
{\an1}-Jason was experiencing
a two-pronged assault

631
00:32:19,833 --> 00:32:21,533
on his senses.

632
00:32:21,566 --> 00:32:25,033
{\an1}First, by entering the darkness
of the cave at all.

633
00:32:27,233 --> 00:32:30,400
{\an1}Then, by getting trapped
in the flooding passage.

634
00:32:33,400 --> 00:32:35,100
{\an1}-You got good hands?
-Yeah.

635
00:32:35,133 --> 00:32:36,666
{\an1}-Talk to me, dude.
You got good hands?

636
00:32:36,700 --> 00:32:38,400
-Yes.
-Okay.

637
00:32:38,433 --> 00:32:41,900
{\an1}Lift your hands up
and [bleep] float, Jase.

638
00:32:41,933 --> 00:32:43,866
Come on.

639
00:32:43,900 --> 00:32:45,933
Try!
[ Bleep ]

640
00:32:45,966 --> 00:32:47,800
Okay?

641
00:32:47,833 --> 00:32:50,000
{\an1}Dude, [bleep]. Jase?

642
00:32:50,033 --> 00:32:51,500
{\an1}[Bleep] look at me, okay?

643
00:32:51,533 --> 00:32:53,166
{\an1}You made it, all right?
-Yep.

644
00:32:53,200 --> 00:32:55,933
-It's scary.
You made it, okay?

645
00:32:55,966 --> 00:32:58,533
{\an1}-As soon as Andrew
had gotten me through

646
00:32:58,566 --> 00:33:00,200
and we'd gotten
our legs untangled

647
00:33:00,233 --> 00:33:01,633
{\an1}and I was sort of free,

648
00:33:01,666 --> 00:33:04,666
I felt like,
"Yes, I've made it out.

649
00:33:04,700 --> 00:33:07,766
{\an1}He's saved my life and now we're
going to get out of the cave."

650
00:33:07,800 --> 00:33:09,800
{\an1}But everything slowed down.

651
00:33:09,833 --> 00:33:13,633
♪♪

652
00:33:13,666 --> 00:33:18,666
We were trapped
for about 12 hours.

653
00:33:18,700 --> 00:33:22,000
{\an1}-Andrew managed to free
Jason from the direct path

654
00:33:22,033 --> 00:33:25,200
{\an1}of the water pouring in
from the storm above.

655
00:33:25,233 --> 00:33:28,900
{\an1}But the flooded tunnels
made an escape impossible

656
00:33:28,933 --> 00:33:30,533
for the team.

657
00:33:30,566 --> 00:33:33,500
{\an1}-I knew something was wrong

658
00:33:33,533 --> 00:33:38,100
{\an1}because when I went to speak,
my speech was slurred.

659
00:33:38,133 --> 00:33:40,933
{\an1}-My left leg is...
-It's okay, I'm gonna move you.

660
00:33:40,966 --> 00:33:42,866
Don't move, okay?
Just relax.

661
00:33:45,066 --> 00:33:48,533
-I definitely had
stage 1 hypothermia.

662
00:33:52,133 --> 00:33:54,333
{\an1}The sound of the roaring water

663
00:33:54,366 --> 00:33:58,300
{\an1}would cause slight sort
of auditory hallucinations.

664
00:33:58,333 --> 00:34:02,300
{\an1}-[ Eerie voices whispering ]

665
00:34:02,333 --> 00:34:05,566
{\an1}-I would think that I could
hear voices in the water.

666
00:34:05,600 --> 00:34:10,233
{\an1}-[ Eerie voices whispering ]

667
00:34:10,266 --> 00:34:13,333
♪♪

668
00:34:13,366 --> 00:34:15,666
{\an1}-When it's overwhelmed,
the brain's power

669
00:34:15,700 --> 00:34:18,633
{\an1}can become debilitating.

670
00:34:18,666 --> 00:34:20,766
If sensory inputs
are out of whack...

671
00:34:20,800 --> 00:34:23,200
-Go.

672
00:34:23,233 --> 00:34:26,566
{\an1}-...the brain goes haywire
trying to piece things together.

673
00:34:26,600 --> 00:34:28,833
{\an1}You might end up experiencing
things that are

674
00:34:28,866 --> 00:34:32,633
outside reality,
like phantom sounds.

675
00:34:32,666 --> 00:34:35,233
{\an1}And when that happens,
the only thing left to do

676
00:34:35,266 --> 00:34:37,933
is try to take in
less information.

677
00:34:37,966 --> 00:34:39,933
♪♪

678
00:34:39,966 --> 00:34:45,333
{\an1}-Lying there, trapped and cold
and shivering uncontrollably,

679
00:34:45,366 --> 00:34:47,000
{\an1}I knew I had to do something.

680
00:34:47,033 --> 00:34:49,933
♪♪

681
00:34:49,966 --> 00:34:54,100
{\an1}So I turned to deep
breathing meditation.

682
00:34:54,133 --> 00:34:56,766
♪♪

683
00:34:56,800 --> 00:35:00,900
{\an1}I pulled my sweatshirt up
over my head

684
00:35:00,933 --> 00:35:05,233
and I took deep,
deep, long breaths.

685
00:35:05,266 --> 00:35:11,600
♪♪

686
00:35:11,633 --> 00:35:15,633
{\an1}-In the past 10 years,
we started studying meditation

687
00:35:15,666 --> 00:35:19,833
{\an1}as a way to understand
what happens when you direct

688
00:35:19,866 --> 00:35:23,133
{\an1}all your resources
towards something that is

689
00:35:23,166 --> 00:35:26,800
{\an1}as internally generated
as possible.

690
00:35:26,833 --> 00:35:30,000
{\an1}The first rule of meditating
is to somehow

691
00:35:30,033 --> 00:35:32,600
{\an1}try not to process

692
00:35:32,633 --> 00:35:35,900
{\an1}anything that comes
from the outside.

693
00:35:35,933 --> 00:35:38,466
{\an1}-And I concentrated.

694
00:35:38,500 --> 00:35:42,133
{\an1}I really focused on each
and every breath.

695
00:35:42,166 --> 00:35:44,300
When I exhaled,

696
00:35:44,333 --> 00:35:47,900
{\an1}I found I could try
to stave off the shivers

697
00:35:47,933 --> 00:35:52,166
{\an1}by focusing on what my chest
and chin could sense

698
00:35:52,200 --> 00:35:54,533
{\an1}instead of what the rest
of my body could sense.

699
00:35:54,566 --> 00:35:57,866
♪♪

700
00:35:57,900 --> 00:36:00,666
{\an1}There's a lot the brain
can be trained to do.

701
00:36:00,700 --> 00:36:02,533
{\an1}Being able to control
our thoughts can even help us

702
00:36:02,566 --> 00:36:06,100
with things like
chronic pain and suffering.

703
00:36:06,133 --> 00:36:07,933
{\an1}That's really the best way

704
00:36:07,966 --> 00:36:10,133
{\an1}for us to manage stress

705
00:36:10,166 --> 00:36:12,266
{\an1}and for our brains
to function optimally.

706
00:36:13,900 --> 00:36:15,933
-Ironically,
Jason's survival instinct

707
00:36:15,966 --> 00:36:19,300
{\an1}was to detach himself
completely from his environment.

708
00:36:19,333 --> 00:36:22,433
♪♪

709
00:36:22,466 --> 00:36:24,866
To try to cut off
all of his senses,

710
00:36:24,900 --> 00:36:26,633
and turn inward.

711
00:36:26,666 --> 00:36:28,133
And in the end,

712
00:36:28,166 --> 00:36:30,700
{\an1}that might've been
what saved him.

713
00:36:30,733 --> 00:36:32,933
-Keep fighting.

714
00:36:32,966 --> 00:36:35,600
{\an1}-At about 3:00 in the morning,

715
00:36:35,633 --> 00:36:39,233
the water was
starting to recede.

716
00:36:42,166 --> 00:36:45,766
{\an1}It was sort of now or never,
and I knew this was our chance.

717
00:36:45,800 --> 00:36:47,966
♪♪

718
00:36:48,000 --> 00:36:49,633
{\an1}Andrew went through first,

719
00:36:49,666 --> 00:36:52,500
{\an1}and then he sort of guided me
through the tunnel.

720
00:36:52,533 --> 00:36:54,233
-[ Groans ]

721
00:36:54,266 --> 00:36:56,033
{\an1}-There was a tight squeeze
to get through

722
00:36:56,066 --> 00:36:59,400
to the next sort
of big, open chamber.

723
00:36:59,433 --> 00:37:01,400
{\an1}We made it through.

724
00:37:01,433 --> 00:37:03,600
{\an1}That was the point
where we saw

725
00:37:03,633 --> 00:37:07,366
{\an1}lights coming down from above,
and I could hear voices.

726
00:37:07,400 --> 00:37:08,933
-Hello?

727
00:37:08,966 --> 00:37:10,433
-I love you!

728
00:37:10,466 --> 00:37:13,866
-Ha ha!
-Oh, my God!

729
00:37:13,900 --> 00:37:16,266
{\an1}-I was very, very grateful
that they were there to --

730
00:37:16,300 --> 00:37:18,133
to pull us out.

731
00:37:18,166 --> 00:37:21,400
♪♪

732
00:37:21,433 --> 00:37:24,466
{\an1}Search and rescue medics
checked us over

733
00:37:24,500 --> 00:37:27,133
{\an1}and told us that we were fine.

734
00:37:27,166 --> 00:37:31,466
{\an1}And then it was sort of over,
which was surreal.

735
00:37:31,500 --> 00:37:34,366
{\an1}My senses were definitely
having a hard time

736
00:37:34,400 --> 00:37:39,333
{\an1}computing that this world
existed and is normal.

737
00:37:39,366 --> 00:37:45,933
♪♪

738
00:37:45,966 --> 00:37:49,900
{\an1}I had to sort of pinch myself
to believe that, yes,

739
00:37:49,933 --> 00:37:51,533
{\an1}we had made it out.

740
00:37:51,566 --> 00:37:56,066
{\an1}And here I was standing amongst
the everyday chatter

741
00:37:56,100 --> 00:37:59,166
{\an1}that your ears normally
take for granted.

742
00:37:59,200 --> 00:38:03,833
♪♪

743
00:38:03,866 --> 00:38:05,966
{\an1}-The sensory blackout
Jason lived through

744
00:38:06,000 --> 00:38:08,666
was terrifying
but temporary.

745
00:38:08,700 --> 00:38:11,766
♪♪

746
00:38:11,800 --> 00:38:15,433
{\an1}Sometimes it's more permanent.

747
00:38:15,466 --> 00:38:17,800
Like a condition
called anosmia,

748
00:38:17,833 --> 00:38:20,866
{\an1}or smell blindness.

749
00:38:20,900 --> 00:38:23,533
{\an1}But for people whose
senses are reduced,

750
00:38:23,566 --> 00:38:26,700
{\an1}the drive to adapt
is even stronger.

751
00:38:26,733 --> 00:38:30,566
{\an1}-We as a species are constantly
evolving in diverse environments

752
00:38:30,600 --> 00:38:31,866
around the world.

753
00:38:31,900 --> 00:38:38,700
♪♪

754
00:38:38,733 --> 00:38:42,033
{\an1}There's a whole island
of people in Polynesia,

755
00:38:42,066 --> 00:38:44,433
{\an1}and there's a really
high incidence of people

756
00:38:44,466 --> 00:38:46,733
{\an1}who don't see color.

757
00:38:46,766 --> 00:38:51,533
♪♪

758
00:38:51,566 --> 00:38:55,066
{\an1}What they do see is
a whole lot of texture

759
00:38:55,100 --> 00:38:58,100
{\an1}that a lot of "normally sighted"
people don't see.

760
00:38:58,133 --> 00:39:04,433
♪♪

761
00:39:04,466 --> 00:39:06,966
{\an1}So you could argue
in an environment rich

762
00:39:07,000 --> 00:39:11,266
{\an1}with flora and fauna,
the ability to see and discern

763
00:39:11,300 --> 00:39:12,900
the differences
of different plants

764
00:39:12,933 --> 00:39:17,933
{\an1}that emerge when you can see
these different textures...

765
00:39:17,966 --> 00:39:21,000
{\an1}what's an ability,
and what's a disability?

766
00:39:21,033 --> 00:39:23,466
♪♪

767
00:39:23,500 --> 00:39:27,866
{\an1}-The genius of human sensation
is that it learns with us,

768
00:39:27,900 --> 00:39:30,133
{\an1}especially when we figure out
how to harness it

769
00:39:30,166 --> 00:39:33,033
{\an1}in an entirely new way.

770
00:39:33,066 --> 00:39:37,133
♪♪

771
00:39:37,166 --> 00:39:38,666
{\an1}-Sound is a beautiful thing

772
00:39:38,700 --> 00:39:41,200
{\an1}that I think we don't pay
enough attention to.

773
00:39:41,233 --> 00:39:45,400
♪♪

774
00:39:45,433 --> 00:39:49,333
{\an7}The body is basically
a water bottle.

775
00:39:49,366 --> 00:39:52,433
♪♪

776
00:39:52,466 --> 00:39:56,666
{\an7}And all of these vibrations
are smacking into your system

777
00:39:56,700 --> 00:39:59,100
{\an7}and leaving imprints everywhere.

778
00:39:59,133 --> 00:40:02,666
♪♪

779
00:40:02,700 --> 00:40:05,166
{\an7}I like to feel the world
around me.

780
00:40:05,200 --> 00:40:11,066
{\an8}♪♪

781
00:40:11,100 --> 00:40:15,066
{\an7}[ Kick drum beating ]

782
00:40:15,100 --> 00:40:20,733
{\an7}-♪ And as I saw the sky
I wish the clouds ♪

783
00:40:20,766 --> 00:40:23,600
{\an7}♪ Could catch me

784
00:40:23,633 --> 00:40:28,800
{\an7}♪ So I could stay up high
and view the world ♪

785
00:40:28,833 --> 00:40:30,400
♪ From above

786
00:40:30,433 --> 00:40:34,200
♪♪

787
00:40:34,233 --> 00:40:35,666
{\an7}My name is Mandy Harvey.

788
00:40:35,700 --> 00:40:37,633
{\an7}I am a singer-songwriter.

789
00:40:37,666 --> 00:40:39,500
{\an7}I happen to be deaf.

790
00:40:39,533 --> 00:40:43,500
♪♪

791
00:40:43,533 --> 00:40:45,566
♪ Pray to be

792
00:40:45,600 --> 00:40:48,300
♪ Just sleep

793
00:40:48,333 --> 00:40:52,266
♪ And it won't

794
00:40:52,300 --> 00:40:59,500
♪♪

795
00:40:59,533 --> 00:41:01,833
-So the sights,

796
00:41:01,866 --> 00:41:03,733
sounds,

797
00:41:03,766 --> 00:41:06,066
{\an1}and feelings we encounter
are absorbed

798
00:41:06,100 --> 00:41:08,500
by our cells
in exactly the same way.

799
00:41:08,533 --> 00:41:11,833
♪♪

800
00:41:11,866 --> 00:41:13,566
{\an1}It's all electricity.

801
00:41:13,600 --> 00:41:16,700
{\an1}[ Electricity crackling ]

802
00:41:16,733 --> 00:41:18,233
{\an1}And if that is true,

803
00:41:18,266 --> 00:41:22,333
{\an1}couldn't we experience the same
stimulus in more than one way?

804
00:41:22,366 --> 00:41:24,800
♪♪

805
00:41:24,833 --> 00:41:27,966
{\an1}-I was born with hearing issues.

806
00:41:28,000 --> 00:41:30,966
{\an7}Throughout my childhood, it was
a very tumultuous experience.

807
00:41:31,000 --> 00:41:34,900
{\an7}There were constant infections
and surgeries,

808
00:41:34,933 --> 00:41:38,700
{\an1}and there was almost a full year

809
00:41:38,733 --> 00:41:42,033
where my eardrums
would just stop vibrating.

810
00:41:42,066 --> 00:41:45,333
{\an1}[ Echoing drum beat ]

811
00:41:45,366 --> 00:41:50,433
♪♪

812
00:41:50,466 --> 00:41:53,033
{\an1}And it just kept getting worse
and worse and worse.

813
00:41:53,066 --> 00:41:57,000
{\an7}I realized that no matter
what was going to happen,

814
00:41:57,033 --> 00:41:59,566
{\an7}it was not going to be what
I thought it was going to be.

815
00:41:59,600 --> 00:42:02,633
♪♪

816
00:42:02,666 --> 00:42:05,466
{\an1}But music was always the passion
and the love,

817
00:42:05,500 --> 00:42:10,000
{\an1}so there was this mix of,
this is my reality,

818
00:42:10,033 --> 00:42:14,433
but this is what
I want to do with my life.

819
00:42:14,466 --> 00:42:17,833
{\an1}-It's really interesting to me
how adaptive we are as humans.

820
00:42:17,866 --> 00:42:21,200
♪♪

821
00:42:21,233 --> 00:42:25,333
{\an1}When we have a reduction
of sensory input

822
00:42:25,366 --> 00:42:27,966
{\an1}and what that means
in terms of neuroplasticity

823
00:42:28,000 --> 00:42:31,766
{\an1}and how our other senses
give us even more nuance.

824
00:42:31,800 --> 00:42:35,066
♪♪

825
00:42:35,100 --> 00:42:38,000
{\an1}A single base pair deletion
on your DNA

826
00:42:38,033 --> 00:42:39,333
could mean boom.

827
00:42:39,366 --> 00:42:41,933
♪♪

828
00:42:41,966 --> 00:42:43,700
You're going
to lose your vision

829
00:42:43,733 --> 00:42:45,466
{\an1}in the course of a lifetime.

830
00:42:45,500 --> 00:42:48,233
And yet vision,
it's just another input.

831
00:42:48,266 --> 00:42:50,966
♪♪

832
00:42:51,000 --> 00:42:54,033
{\an1}And we as humans can adapt
to all kinds of things.

833
00:42:54,066 --> 00:42:57,433
♪♪

834
00:42:57,466 --> 00:42:59,600
{\an1}-When you lose a sense,
everybody says

835
00:42:59,633 --> 00:43:01,700
{\an1}that your other ones heighten.

836
00:43:01,733 --> 00:43:03,633
{\an1}I don't really feel
that that's true.

837
00:43:03,666 --> 00:43:06,133
{\an1}I think you just start
paying attention to them more.

838
00:43:06,166 --> 00:43:10,500
♪♪

839
00:43:10,533 --> 00:43:14,133
{\an1}I started paying attention
to other things

840
00:43:14,166 --> 00:43:16,100
{\an1}to support my dream.

841
00:43:16,133 --> 00:43:20,533
♪♪

842
00:43:20,566 --> 00:43:24,266
{\an7}At the very beginning, I would
hold the balloon and talk

843
00:43:24,300 --> 00:43:27,366
{\an7}or play the radio next to it

844
00:43:27,400 --> 00:43:30,133
{\an1}and feel all of the vibrations

845
00:43:30,166 --> 00:43:33,300
elevated through
this conduit balloon.

846
00:43:33,333 --> 00:43:34,633
♪♪

847
00:43:34,666 --> 00:43:38,033
♪ And I fall

848
00:43:38,066 --> 00:43:40,800
♪ Again

849
00:43:40,833 --> 00:43:44,133
♪ I fall

850
00:43:44,166 --> 00:43:46,000
♪ Again

851
00:43:46,033 --> 00:43:48,666
♪♪

852
00:43:48,700 --> 00:43:52,966
{\an1}You can feel the difference
from your own voice

853
00:43:53,000 --> 00:43:58,566
{\an7}compared to like a really bass-y
guy talking at the same time.

854
00:44:01,000 --> 00:44:06,166
{\an7}And it's just a way for you to
be able to shut off your brain

855
00:44:06,200 --> 00:44:08,600
{\an7}of what it's supposed to be.

856
00:44:08,633 --> 00:44:10,366
♪♪

857
00:44:10,400 --> 00:44:15,700
♪ I fall

858
00:44:15,733 --> 00:44:18,033
♪ Again

859
00:44:18,066 --> 00:44:22,333
♪♪

860
00:44:22,366 --> 00:44:24,233
{\an1}-I think we're also learning
quite a lot

861
00:44:24,266 --> 00:44:28,133
about the ability
of our minds to adapt

862
00:44:28,166 --> 00:44:32,366
{\an1}to the information input that
may be shifting over time.

863
00:44:32,400 --> 00:44:35,766
♪♪

864
00:44:35,800 --> 00:44:39,266
{\an1}We've seen, for example,
with folks who are blindfolded

865
00:44:39,300 --> 00:44:42,300
{\an1}for a period of days,
that their brain's ability

866
00:44:42,333 --> 00:44:45,933
{\an1}to transduce sound
becomes enhanced.

867
00:44:45,966 --> 00:44:48,766
♪♪

868
00:44:48,800 --> 00:44:51,566
{\an1}-The more that we consciously
tap into alternative ways

869
00:44:51,600 --> 00:44:54,800
{\an1}of experiencing sensation,
the better our brains get

870
00:44:54,833 --> 00:44:58,766
at interpreting
that sensation -- and using it.

871
00:44:58,800 --> 00:45:00,400
{\an1}In the case of music, though,

872
00:45:00,433 --> 00:45:03,466
{\an1}there are many different levels
to harness,

873
00:45:03,500 --> 00:45:07,066
{\an1}and not all of them are
as simple as holding a balloon.

874
00:45:07,100 --> 00:45:11,200
-[ Vocalizing ]

875
00:45:11,233 --> 00:45:14,866
{\an1}With singing and not being able
to hear yourself,

876
00:45:14,900 --> 00:45:17,666
{\an7}the part that's difficult
is pitch.

877
00:45:17,700 --> 00:45:21,533
[ Vocalizing ]

878
00:45:21,566 --> 00:45:25,200
{\an1}What I do now is sit
in front of a mirror

879
00:45:25,233 --> 00:45:28,133
{\an1}and put my hand on my throat
with a visual tuner,

880
00:45:28,166 --> 00:45:29,633
find a note,

881
00:45:29,666 --> 00:45:34,033
{\an7}and then feel where those
vibrations are the strongest.

882
00:45:34,066 --> 00:45:38,200
{\an1}It's actually here today.
It moved.

883
00:45:38,233 --> 00:45:42,933
{\an1}And then draw a line or shape
based off of the texture

884
00:45:42,966 --> 00:45:45,166
{\an1}and then the note to dictate it.

885
00:45:45,200 --> 00:45:47,466
[ Vocalizing ]

886
00:45:47,500 --> 00:45:50,866
{\an1}And there's a little tickle
over here as well.

887
00:45:50,900 --> 00:45:53,266
♪♪

888
00:45:53,300 --> 00:45:55,300
This one is D,

889
00:45:55,333 --> 00:45:57,833
{\an1}but it feels like it rotates.

890
00:45:59,433 --> 00:46:01,533
{\an1}I kind of ground myself

891
00:46:01,566 --> 00:46:05,266
{\an7}moving up and down the scale,
marking from about here

892
00:46:05,300 --> 00:46:08,033
{\an7}to sometimes all over my face.

893
00:46:08,066 --> 00:46:11,633
{\an1}The E feels like it's bouncing
in two different places

894
00:46:11,666 --> 00:46:15,666
{\an1}and kind of washing over
at this whole side.

895
00:46:15,700 --> 00:46:20,233
Where those notes
tickle or rumble

896
00:46:20,266 --> 00:46:23,566
{\an7}or have like a gummy,
weird feeling --

897
00:46:23,600 --> 00:46:26,566
{\an7}there's so many different things
back and forth

898
00:46:26,600 --> 00:46:28,900
{\an7}that create the whole picture.

899
00:46:30,866 --> 00:46:35,966
{\an1}Middle C, it's always, for me,
a feeling around my neck,

900
00:46:36,000 --> 00:46:37,566
{\an1}right up this crease.

901
00:46:37,600 --> 00:46:38,766
♪ Ooh

902
00:46:38,800 --> 00:46:40,900
{\an1}And then when I'm writing songs,

903
00:46:40,933 --> 00:46:45,100
{\an7}if it's something that causes me
an annoyance or a frustration,

904
00:46:45,133 --> 00:46:47,800
{\an7}I'll put that note
specifically in a song

905
00:46:47,833 --> 00:46:51,533
{\an7}that's about frustration
or angst or falling.

906
00:46:51,566 --> 00:46:53,433
{\an7}♪ I know I'm falling again

907
00:46:53,466 --> 00:46:56,566
{\an7}♪ I see the ground

908
00:46:56,600 --> 00:46:58,500
{\an8}♪ Approaching

909
00:46:58,533 --> 00:47:01,733
{\an7}I'm not trying to create
a new wheel.

910
00:47:01,766 --> 00:47:03,100
{\an7}It's already there.

911
00:47:03,133 --> 00:47:05,733
{\an7}♪ Maybe if I close my eyes

912
00:47:05,766 --> 00:47:09,200
{\an7}♪ I will fly away

913
00:47:09,233 --> 00:47:12,700
{\an7}I just need to take the pieces
apart to paint it out

914
00:47:12,733 --> 00:47:14,533
{\an8}so I know exactly
what's happening.

915
00:47:14,566 --> 00:47:17,666
{\an8}♪ All

916
00:47:17,700 --> 00:47:19,466
{\an8}♪ A dream

917
00:47:19,500 --> 00:47:22,266
♪♪

918
00:47:22,300 --> 00:47:24,333
{\an1}-Most human languages
rely primarily

919
00:47:24,366 --> 00:47:25,766
{\an1}on the production of sound,

920
00:47:25,800 --> 00:47:28,400
{\an1}so obviously hearing
is important in that sense.

921
00:47:28,433 --> 00:47:31,833
♪♪

922
00:47:31,866 --> 00:47:34,233
{\an1}In terms of whether we're
particularly good

923
00:47:34,266 --> 00:47:37,600
{\an1}at hearing things compared to
how good our visual system is,

924
00:47:37,633 --> 00:47:39,866
{\an1}is interesting because
it's relatively weak,

925
00:47:39,900 --> 00:47:41,833
{\an1}while our visual system
is quite strong.

926
00:47:41,866 --> 00:47:43,300
{\an1}There are many other ways
to communicate,

927
00:47:43,333 --> 00:47:44,733
{\an1}and obviously we use
body language.

928
00:47:44,766 --> 00:47:47,800
♪♪

929
00:47:47,833 --> 00:47:50,500
{\an1}-When I'm playing on stage,
there's so many things

930
00:47:50,533 --> 00:47:52,300
{\an1}that are happening
at the same time.

931
00:47:52,333 --> 00:47:54,733
{\an7}You're looking for the head nod

932
00:47:54,766 --> 00:47:57,000
{\an7}from whoever's playing
the rhythm.

933
00:47:57,033 --> 00:48:00,133
{\an1}You're looking at their faces

934
00:48:00,166 --> 00:48:02,466
when one person's
taking the lead.

935
00:48:02,500 --> 00:48:05,233
♪♪

936
00:48:05,266 --> 00:48:09,266
{\an1}You have bare feet
on hard floor

937
00:48:09,300 --> 00:48:13,733
{\an7}so that you can feel the rhythms
of what's going on around you.

938
00:48:13,766 --> 00:48:17,533
♪♪

939
00:48:17,566 --> 00:48:20,333
{\an7}It feels a lot like kind of
like we're dancing.

940
00:48:20,366 --> 00:48:23,200
♪♪

941
00:48:23,233 --> 00:48:25,600
{\an1}The weird thing for me now

942
00:48:25,633 --> 00:48:27,433
{\an1}is that everything vibrates...

943
00:48:27,466 --> 00:48:29,766
{\an1}[ Echoing rumble ]

944
00:48:29,800 --> 00:48:33,566
...and it can be
very exhausting.

945
00:48:33,600 --> 00:48:35,933
{\an1}Every once in a while,
you just want to shut it off

946
00:48:35,966 --> 00:48:38,233
and just be numb
for a little bit,

947
00:48:38,266 --> 00:48:40,500
{\an1}to close your eyes and sleep
and just breathe.

948
00:48:40,533 --> 00:48:44,433
♪♪

949
00:48:44,466 --> 00:48:47,766
{\an7}I have this beautiful
hanging chair.

950
00:48:47,800 --> 00:48:50,333
♪♪

951
00:48:50,366 --> 00:48:55,566
{\an1}It just kind of shuts off
the ability to feel so much.

952
00:48:55,600 --> 00:48:58,766
♪♪

953
00:48:58,800 --> 00:49:03,166
{\an1}You get the movement
and the feeling of the wind.

954
00:49:03,200 --> 00:49:06,566
♪♪

955
00:49:06,600 --> 00:49:08,733
{\an1}I like to write in that chair

956
00:49:08,766 --> 00:49:11,800
{\an1}because I'm more focused
on the calm,

957
00:49:11,833 --> 00:49:15,400
{\an7}and it allows my brain
to just go.

958
00:49:15,433 --> 00:49:18,200
♪♪

959
00:49:18,233 --> 00:49:20,566
{\an1}-So it's not about
only processing

960
00:49:20,600 --> 00:49:23,700
{\an1}the environmental stimuli

961
00:49:23,733 --> 00:49:27,100
{\an1}and helping us to navigate
through our world.

962
00:49:27,133 --> 00:49:28,933
The individuality
of the brain

963
00:49:28,966 --> 00:49:32,633
{\an1}and the creativity
of the brain is profound.

964
00:49:32,666 --> 00:49:34,566
{\an1}But it's not equal.

965
00:49:34,600 --> 00:49:38,433
{\an1}Each of us have different
levels of creativity.

966
00:49:38,466 --> 00:49:44,700
♪♪

967
00:49:44,733 --> 00:49:48,733
♪♪

968
00:49:48,766 --> 00:49:51,266
{\an1}-Experiencing my own music
without being able to hear it

969
00:49:51,300 --> 00:49:55,166
{\an1}is different than what
I imagined it would have been,

970
00:49:55,200 --> 00:49:58,000
{\an7}but it's beautiful
in its own way.

971
00:49:58,033 --> 00:50:00,100
{\an1}♪ I know I'm falling again

972
00:50:00,133 --> 00:50:03,233
{\an1}♪ I see the ground

973
00:50:03,266 --> 00:50:06,000
♪ Approaching

974
00:50:06,033 --> 00:50:08,600
{\an1}A lot of people expect that
I should be sad

975
00:50:08,633 --> 00:50:13,666
{\an8}that I can't hear
how beautiful my voice is.

976
00:50:13,700 --> 00:50:15,633
♪ And as I peek

977
00:50:15,666 --> 00:50:17,833
{\an1}♪ I scream aloud

978
00:50:17,866 --> 00:50:21,400
{\an8}Who cares?
I get to feel what's happening

979
00:50:21,433 --> 00:50:24,500
{\an7}and I'm paying attention
to things that you ignore.

980
00:50:24,533 --> 00:50:27,066
{\an8}♪ I fall

981
00:50:27,100 --> 00:50:28,666
{\an8}♪ Again

982
00:50:28,700 --> 00:50:30,833
{\an8}♪ I fall

983
00:50:30,866 --> 00:50:32,366
{\an8}♪ Again

984
00:50:32,400 --> 00:50:34,266
{\an7}♪ Fool-heartedly

985
00:50:34,300 --> 00:50:37,100
{\an8}♪♪

986
00:50:37,133 --> 00:50:40,466
{\an8}So in my eyes,
I feel bad for you

987
00:50:40,500 --> 00:50:45,366
{\an7}for not being able
to experience music in this way.

988
00:50:45,400 --> 00:50:50,200
♪♪

989
00:50:50,233 --> 00:50:52,566
{\an1}-The human capacity
to experience the world

990
00:50:52,600 --> 00:50:56,800
{\an1}in infinitely diverse ways
is astounding.

991
00:50:56,833 --> 00:51:00,400
♪♪

992
00:51:00,433 --> 00:51:03,266
{\an1}And it's not only a testament
to sensation,

993
00:51:03,300 --> 00:51:07,100
{\an1}but to our profound
creativity as a species.

994
00:51:07,133 --> 00:51:10,166
{\an1}-It's not just the five senses.

995
00:51:10,200 --> 00:51:12,533
{\an1}It's not just a real world
that's out there.

996
00:51:12,566 --> 00:51:16,266
Our brains
actually create things.

997
00:51:16,300 --> 00:51:20,333
{\an1}That aspect of creativity
makes each of us individuals,

998
00:51:20,366 --> 00:51:22,533
{\an1}and therefore very special.

999
00:51:22,566 --> 00:51:25,266
♪♪

1000
00:51:25,300 --> 00:51:28,466
-Molecules...

1001
00:51:28,500 --> 00:51:31,533
and light...

1002
00:51:31,566 --> 00:51:33,466
and vibrations...
[ Rumbling ]

1003
00:51:33,500 --> 00:51:35,300
♪♪

1004
00:51:35,333 --> 00:51:38,933
{\an1}...become memories...

1005
00:51:38,966 --> 00:51:41,366
and thoughts...

1006
00:51:41,400 --> 00:51:42,833
and inventions.

1007
00:51:42,866 --> 00:51:44,866
♪♪

1008
00:51:44,900 --> 00:51:47,866
{\an1}Not only do our senses
define our reality...

1009
00:51:47,900 --> 00:51:50,200
♪♪

1010
00:51:50,233 --> 00:51:53,866
{\an1}but they help us create
entirely new worlds...

1011
00:51:53,900 --> 00:51:57,033
♪♪

1012
00:51:57,066 --> 00:51:58,500
...all the time.

1013
00:52:04,100 --> 00:52:09,666
{\an8}♪♪

1014
00:52:09,700 --> 00:52:15,866
{\an8}♪♪

1015
00:52:15,900 --> 00:52:18,700
{\an8}-To order "Human:
The World Within" on DVD,

1016
00:52:18,733 --> 00:52:20,866
{\an8}visit shopPBS.org

1017
00:52:20,900 --> 00:52:23,166
{\an7}or call 1-800-PLAY-PBS.

1018
00:52:23,200 --> 00:52:32,700
{\an8}♪♪