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Mini: Magic Eye · Why We Do What We Do

• 0:03
  Speaker 1: You're listening to Why We Do what we Do. Welcome
• 0:16
  Speaker 1: to Why We Do what we Do?
• 0:17
  Speaker 2: Mini.
• 0:18
  Speaker 1: I'm your host Abraham, and I'm your host Shane. We
• 0:21
  Speaker 1: are a psychology podcast. We talk about the things that
• 0:23
  Speaker 1: humans and non human animals do, and sometimes we talk
• 0:26
  Speaker 1: about art that we make that makes our brains go fuzzy.
• 0:31
  Speaker 3: Yes, and I love this topic so much because it
• 0:34
  Speaker 3: is so quintessential nineties. It feels like I feel like
• 0:37
  Speaker 3: this was like ever present, and I'm super starked to
• 0:40
  Speaker 3: get into it.
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  Speaker 1: Fact, and also feel like it never quite went away
• 0:43
  Speaker 1: in all reality of things. Yeah, So I realize that
• 0:46
  Speaker 1: we have not even introduced our topic. And before I
• 0:49
  Speaker 1: do that, like I'm going to leave you all hanging
• 0:51
  Speaker 1: on the edge here, what I would like to say
• 0:53
  Speaker 1: is that thank you for joining us. I hope that
• 0:55
  Speaker 1: you enjoy what you hear in this discussion today, and
• 0:57
  Speaker 1: if you didn't already look at the title, you probably
• 0:59
  Speaker 1: do know what we're talking about otherwise, But if you
• 1:02
  Speaker 1: are joining us for the first time, or if you're returning,
• 1:04
  Speaker 1: then we're happy that you are here. We hope that
• 1:06
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• 1:08
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  Speaker 1: I'll talk more about the ways that you can support
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  Speaker 1: us at the end of this discussion. But as I
• 1:24
  Speaker 1: said at the top, this is a mini which means
• 1:26
  Speaker 1: it's short. We're just going to do a quick discussion
• 1:28
  Speaker 1: of this topic and then let you go about the
• 1:30
  Speaker 1: rest of your day until we hit you with some big,
• 1:33
  Speaker 1: long topic a few days from now, because we release
• 1:35
  Speaker 1: our full length episodes on Wednesdays, Yes we do. So
• 1:39
  Speaker 1: this is a discussion about magic eye pictures and illusions
• 1:45
  Speaker 1: or puzzles other words that you can put next to
• 1:47
  Speaker 1: that and have that makes some amount of sense to you.
• 1:50
  Speaker 1: But as you said, Shane, this is kind of a
• 1:52
  Speaker 1: This feels very nineties, although it also never really went away.
• 1:56
  Speaker 1: But we're talking about these magic ie illusions and if
• 1:58
  Speaker 1: you're not familiar with these and how but.
• 2:01
  Speaker 2: This is how'd you miss that boat?
• 2:05
  Speaker 1: Essentially an image when if you look at it in
• 2:07
  Speaker 1: a very particular way, it creates a three D picture
• 2:12
  Speaker 1: that you can see that it feels like it's coming
• 2:15
  Speaker 1: right out of the page. Yes, and we'll talk about
• 2:17
  Speaker 1: how all that works. And these are called magic eye
• 2:19
  Speaker 1: and we want to talk about how they work. Why
• 2:22
  Speaker 1: do we enjoy them some extent? And are they bad
• 2:25
  Speaker 1: for your eyes?
• 2:26
  Speaker 2: Yeah?
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  Speaker 3: I remember doing these as a kid, and I always
• 2:30
  Speaker 3: had a problem with them because supposedly you're supposed to
• 2:34
  Speaker 3: see a three D image emerge coming out of the page,
• 2:38
  Speaker 3: and I can never see that. It always sunk in
• 2:40
  Speaker 3: for me, so like you would do the opposite.
• 2:43
  Speaker 2: Effect that we'll actually discuss that. Okay, good, okay, thank you.
• 2:46
  Speaker 3: I get answers finally, because I was so so concerned
• 2:49
  Speaker 3: about that. So yeah, okay, all right, let's get into
• 2:52
  Speaker 3: it then. So magic eye puzzles are wildly colorful flat
• 2:56
  Speaker 3: images that, when looked at in a particular way, result
• 2:58
  Speaker 3: in the illusion a three D image inside of the
• 3:02
  Speaker 3: picture or emerging from it.
• 3:04
  Speaker 1: Yes, it kind of just looks like so many colors,
• 3:10
  Speaker 1: almost like white noise, visualized in a way where it's
• 3:13
  Speaker 1: just like, yes, a whole bunch of shapes repeated on
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  Speaker 1: a page. And actually turns out they don't need to
• 3:18
  Speaker 1: be that small. You can have actually fairly large images
• 3:21
  Speaker 1: and still be able to get away with this. But
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  Speaker 1: before we even get into the magic eye illusions themselves,
• 3:27
  Speaker 1: let's go back. It's worth understanding the history here because
• 3:30
  Speaker 1: people have been attempting to create sort of a three
• 3:32
  Speaker 1: D like image in art for a while, and there
• 3:37
  Speaker 1: was this thing called a stereoscope that was discovered as
• 3:40
  Speaker 1: having been invented sometime in or prior to the eighteen hundreds,
• 3:45
  Speaker 1: and this was a way to create three D illusions
• 3:47
  Speaker 1: of pictures. And the stereoscope required the user to look
• 3:50
  Speaker 1: through lenses and sort of a wooden sort of pseudo
• 3:54
  Speaker 1: goggles almost they look like goggles, but they're made of woods,
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  Speaker 1: so they're very rigid. They sit on your face. They've
• 3:59
  Speaker 1: got these lenses in them, and then there are two
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  Speaker 1: different pictures for each lens. It's the same picture, but
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  Speaker 1: slightly different angles for each picture, so like one of
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  Speaker 1: them was slightly to the left and one of them
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  Speaker 1: was slightly to the right. Pages barely just barely off
• 4:12
  Speaker 1: from each other, but looking at it through these lenses
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  Speaker 1: made it appear as though there was just a single image,
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  Speaker 1: but that it had more depth than should have been
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  Speaker 1: possible by looking at that image. It sort of made
• 4:24
  Speaker 1: it look like you had an image where it had
• 4:26
  Speaker 1: depth to it, even though it was just an image,
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  Speaker 1: and it was because you were looking at two images
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  Speaker 1: that were so close that through these lenses it looked
• 4:34
  Speaker 1: like one. But it created the illusion of depth.
• 4:36
  Speaker 3: If that makes sense, Yeah, yeah, for sure. Now, doctor
• 4:39
  Speaker 3: Bella Jueliz Julie's something like that, something like that discovered
• 4:43
  Speaker 3: a way to use computers to generate simple two D
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  Speaker 3: images that could create a three D illusion, and these
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  Speaker 3: were called auto stereograms.
• 4:51
  Speaker 1: Yes, up to this point, researchers believed that the perception
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  Speaker 1: of depth lay within our eyeballs, specifically, like our eyeballs
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  Speaker 1: were what did it? But j this is work inspired
• 5:02
  Speaker 1: a whole new line of research that instead concluded that
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  Speaker 1: three D vision, this ability for us to detect things
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  Speaker 1: in three D space, must be happening in our brains
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  Speaker 1: because like, there weren't actual three D images to see
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  Speaker 1: or even like tricks like lenses that would create them.
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  Speaker 1: This is just a flat picture, just a flat picture,
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  Speaker 1: and all of a sudden you can see what appears
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  Speaker 1: to be a three D image on that picture.
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  Speaker 2: Yeah.
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  Speaker 3: So he and a student created the first ever image
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  Speaker 3: that could be seen in three D without the use
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  Speaker 3: of special glasses or other equipment. They started with random
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  Speaker 3: dots and patterns of relatively uniform size, and from this
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  Speaker 3: there came three general forms of illusions random dots, random text,
• 5:42
  Speaker 3: and texture. But these were generally black and white.
• 5:45
  Speaker 1: Yes, Now, the way that these work this I had
• 5:50
  Speaker 1: to like look into this because I was finding unsatisfactory descriptions.
• 5:54
  Speaker 1: But essentially what happens is you have just a complex
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  Speaker 1: array of repeating patterns and shapes and usually any more colors, okay,
• 6:02
  Speaker 1: and around this picture there is a slight, almost imperceptible
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  Speaker 1: shift in the images in these repeating patterns, such that
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  Speaker 1: when the eyes are relaxed, you're sort of looking past
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  Speaker 1: the picture or through the picture. In a way. What
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  Speaker 1: you do is you see the small shifts in the color.
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  Speaker 1: We start to perceive them as depth, We see them
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  Speaker 1: as shadows. Essentially, that allows some designed image in the
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  Speaker 1: art to appear as a three D shape coming out
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  Speaker 1: of or hovering in front of the image of the background,
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  Speaker 1: which is the sort of repeated image. Sure, that is
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  Speaker 1: the general experience of this, and we will talk about
• 6:42
  Speaker 1: the perception of seeing it instead look like an indentation
• 6:45
  Speaker 1: here in a moment. But yeah, this is essentially the
• 6:47
  Speaker 1: way that they work is like there's just these very small,
• 6:52
  Speaker 1: almost imperceptible changes in the image of these repeated patterns,
• 6:56
  Speaker 1: where like just those small shifts in the pattern create
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  Speaker 1: what appears to our eyes to be shadow edges, which
• 7:04
  Speaker 1: creates the illusion of depth, so that if you're looking
• 7:07
  Speaker 1: at it just the right way, it looks like like
• 7:11
  Speaker 1: you can actually see the image sort of pop out.
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  Speaker 1: Otherwise it just looks like nothing. You just look at
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  Speaker 1: like a whole bunch of repeated pattern and an image
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  Speaker 1: no idea what it is.
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  Speaker 2: Yeah, it looks a little bit nebulous and stuff like that.
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  Speaker 1: You know.
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  Speaker 3: I wish that, like we're talking about imperceivable patterns, Like
• 7:24
  Speaker 3: I wish ads were imperceivable. All right, So we are
• 7:35
  Speaker 3: back and we're talking about this magic eye thing. In
• 7:37
  Speaker 3: nineteen ninety one, a year that Nevermind dropped and destroyed
• 7:43
  Speaker 3: hair Metal, and then that's the year punk broke if
• 7:45
  Speaker 3: you will, a guy named Tom Batchier Batchie Bassier Sure
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  Speaker 3: and artist Sherry Smith teamed up to leverage the new
• 7:53
  Speaker 3: color and sophisticated technology afforded by computers and created the
• 7:56
  Speaker 3: brand Magic Eye. So just so everybody is aware Magic
• 7:59
  Speaker 3: Eye is an actual brand. It's not because this this
• 8:03
  Speaker 3: existed before Magic Eye showed up, Yeah, at least on
• 8:06
  Speaker 3: some level.
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  Speaker 2: Yeah.
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  Speaker 1: Yeah. Essentially they were these like autostereogram illusions, which is
• 8:10
  Speaker 1: a very catchy name and I don't understand how it
• 8:13
  Speaker 1: didn't catch.
• 8:13
  Speaker 2: On, Yeah just rolls off the top.
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  Speaker 1: But calling it Magic Eye like that that became pretty
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  Speaker 1: much universal, almost like like calling a tissue of Kleenex
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  Speaker 1: in that in.
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  Speaker 3: That way, or calling a band aid a band aid
• 8:24
  Speaker 3: exactly a band aid.
• 8:25
  Speaker 2: That's the bandage.
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  Speaker 1: Yeah, like some kind of medical bandage, rap band aid,
• 8:29
  Speaker 1: uh huh yeah, which also like then it worked its
• 8:32
  Speaker 1: way into metaphorical context like rip the band aid off,
• 8:36
  Speaker 1: Like there's like sugubiquitous term. They could not be happier
• 8:39
  Speaker 1: about that. Thanks capitalism anyway, now thinking about this, like
• 8:44
  Speaker 1: this is sort of the why we enjoyed these. I
• 8:45
  Speaker 1: think part of the appeal of Magic Eye visual puzzles
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  Speaker 1: is that they cannot be instantly seen, like you have
• 8:51
  Speaker 1: to work for it. Yeah, so there's kind of a
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  Speaker 1: game like element if you're around other people and trying
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  Speaker 1: to be the first to see the image it gives
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  Speaker 1: you privileged inform that others don't have. And of course,
• 9:02
  Speaker 1: even if there's not other people around, there's still simply
• 9:04
  Speaker 1: the fun of solving a challenging puzzle, like you just
• 9:07
  Speaker 1: were able to work through it and make it happen,
• 9:10
  Speaker 1: and like that can be its own sort of reward.
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  Speaker 1: And so I can sort of see the game like
• 9:15
  Speaker 1: nature of this being a challenge because it's not so easy,
• 9:19
  Speaker 1: I think is very appealing and feels like a form
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  Speaker 1: of play for a lot of people.
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  Speaker 3: Yeah, and it's important to understand that this requires two
• 9:26
  Speaker 3: working eyes. Because our eyes have slightly different angles from
• 9:30
  Speaker 3: which to view objects, we get enough information to behave
• 9:32
  Speaker 3: with respect to the field of depth that is created
• 9:35
  Speaker 3: by having two side by side visual inputs. Three D
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  Speaker 3: images exploit the history of fluency developed with dual vision
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  Speaker 3: to allow most people in the world to respond to
• 9:43
  Speaker 3: visual stimuli or visual information similar to one one another,
• 9:47
  Speaker 3: although not identical. So basically, simply put, because our eyes
• 9:51
  Speaker 3: effectively just have two different views of the world, we
• 9:55
  Speaker 3: need that. That's like an essential prerequisite to be able
• 9:57
  Speaker 3: to see the three D images in these autostereo.
• 10:00
  Speaker 1: And we have to have some fluency with that, like,
• 10:01
  Speaker 1: there is some evidence that shows that, like people who
• 10:04
  Speaker 1: are born without vision or lose their vision early on,
• 10:06
  Speaker 1: even if they recover it later, they will struggle to
• 10:09
  Speaker 1: be able to use the stereo vision that we are
• 10:11
  Speaker 1: otherwise accustomed to, so like our ability to and also
• 10:15
  Speaker 1: like young young babies also like their vision kind of sucks.
• 10:18
  Speaker 1: Like we are our brains come equipped for us to
• 10:20
  Speaker 1: learn to process visual information, but we do learn it,
• 10:24
  Speaker 1: like we do learn those things, and so this is
• 10:26
  Speaker 1: like fluency with behaving with respect to visual information is
• 10:30
  Speaker 1: an aspect of our learning and development early on, and
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  Speaker 1: that this essentially exploits that fluency because we're sort of
• 10:37
  Speaker 1: used to responding to things in this way. Yeah, okay,
• 10:39
  Speaker 1: so here's the how too portion of this. If you're
• 10:41
  Speaker 1: someone who is trying to look at a three D image,
• 10:43
  Speaker 1: I looked at so many of these in preparation for this.
• 10:47
  Speaker 1: I like my eyes were actually starting to get a
• 10:49
  Speaker 1: little bit fatigued because I was like, I hadn't done
• 10:51
  Speaker 1: this in a long time, and I was like, does
• 10:52
  Speaker 1: this work on a computer screen? Totally does By the way,
• 10:55
  Speaker 1: any flat surface is totally fine.
• 10:56
  Speaker 2: Nice, all right.
• 10:57
  Speaker 1: The recommendation generally is to try and relax your eyes
• 11:01
  Speaker 1: and look past the image. Like the image is right
• 11:04
  Speaker 1: in front of you, but you want to try and
• 11:06
  Speaker 1: visualize as if you're looking through it to something behind it.
• 11:09
  Speaker 1: Try and imagine I'm focusing on a point at some
• 11:12
  Speaker 1: place behind the image, even just six inches past the image.
• 11:15
  Speaker 1: Just try me looking past it. I find that the
• 11:18
  Speaker 1: more the further past it I look, the easier, the
• 11:21
  Speaker 1: more quickly it comes to me. So like, just try
• 11:23
  Speaker 1: and look all the way past it. Honestly, like when
• 11:26
  Speaker 1: I'm doing it, my image is my vision is so
• 11:29
  Speaker 1: blurry relative to the image because I'm looking so far
• 11:32
  Speaker 1: past it that like it almost looks like it's double
• 11:34
  Speaker 1: image for a second. Sure, and this can be tricky.
• 11:37
  Speaker 1: We naturally want to try and focus on the image,
• 11:40
  Speaker 1: so it takes practice influency to build the skill to
• 11:44
  Speaker 1: recognize the feeling of how you focus your eyes to
• 11:47
  Speaker 1: expose the hidden images. And so yeah, I've sort of,
• 11:51
  Speaker 1: like as I said, I've done this a couple different ways.
• 11:53
  Speaker 1: We'll talk about it, but like that's my way. Is
• 11:55
  Speaker 1: I sort of like I guess you could say I'm
• 11:57
  Speaker 1: focusing on the point. In a difference, it's more like
• 11:58
  Speaker 1: I'm allowing my eyes to become completely unfocused as more
• 12:02
  Speaker 1: like it, like I just allow them to get super blurry.
• 12:04
  Speaker 1: And if you can sort of just imagine you're just
• 12:06
  Speaker 1: not focusing on anything, but you're also not really moving
• 12:08
  Speaker 1: your eyes around. It's kind of hard to do, but
• 12:10
  Speaker 1: if you do it like that is the strategy that
• 12:13
  Speaker 1: I use. And a lot of people do this sort
• 12:15
  Speaker 1: of look past that thing, and I do that as well,
• 12:16
  Speaker 1: but like mine's mostly like I just unFocus my eyes.
• 12:19
  Speaker 3: Yeah, that's so funny because I was always taught to
• 12:22
  Speaker 3: cross your eyes.
• 12:23
  Speaker 2: That you're supposed to cross your eyes and then pull
• 12:25
  Speaker 2: out and then you can see it.
• 12:26
  Speaker 1: That's actually why you see the inverted image.
• 12:28
  Speaker 3: Ah oh okay, so yeah, so we're right, we're right
• 12:33
  Speaker 3: about to get there.
• 12:33
  Speaker 1: I'll let you take this next point here.
• 12:34
  Speaker 2: Okay, all right, all right.
• 12:36
  Speaker 3: So, as Abraham said, this could take a while to learn,
• 12:38
  Speaker 3: and so people never really figure it out. So another
• 12:40
  Speaker 3: method is to cross your eyes like I did, and
• 12:42
  Speaker 3: this creates a focal point in front of the picture
• 12:45
  Speaker 3: that can thus find depth in the lines in the image. However,
• 12:49
  Speaker 3: this will create an inverted image like I have seen
• 12:51
  Speaker 3: my entire life, and I thought something was wrong with me. No,
• 12:54
  Speaker 3: my entire life, I was so concerned. Rather than it
• 12:57
  Speaker 3: looking like it's popping out of the picture, it looks
• 12:59
  Speaker 3: like it's cut out of the image, like a silhouette,
• 13:01
  Speaker 3: or like sinking into the image, And is what I
• 13:03
  Speaker 3: have experienced. That has been my experience with Magic Guy
• 13:06
  Speaker 3: posters and Magic Guy images. My entire life. I thought,
• 13:09
  Speaker 3: I thought that my brain was broken. So thank you
• 13:11
  Speaker 3: for giving me the letting me know what happened here.
• 13:14
  Speaker 1: It has entirely to do with where the focal point is,
• 13:16
  Speaker 1: because it then changes the perception of the lines as
• 13:19
  Speaker 1: them being shadows and like creating depth. So if the
• 13:22
  Speaker 1: focal point is in front of the picture, then the
• 13:25
  Speaker 1: lines look like they're moving away from you, and versus
• 13:27
  Speaker 1: if you focal point is behind the picture, it looks
• 13:29
  Speaker 1: like they're coming towards you. It's kind of a backwards
• 13:32
  Speaker 1: way of thinking about it, but that's how it works.
• 13:33
  Speaker 1: And because like I've had the same experience where I
• 13:35
  Speaker 1: also figured out that a very quick way to see
• 13:38
  Speaker 1: it is to cross your eyes, but it creates an
• 13:39
  Speaker 1: inverted image. Yeah, and so I prefer generally to go
• 13:43
  Speaker 1: with the like unfocused vision way of seeing it because
• 13:46
  Speaker 1: the feeling about popping out feels like it has more texture,
• 13:49
  Speaker 1: and I feel like I usually get a clearer look
• 13:51
  Speaker 1: at the picture too. But you can do the cross
• 13:53
  Speaker 1: eyed version of it. It will work, that's wild. Another
• 13:56
  Speaker 1: strategy is if the image is behind glass or if
• 13:58
  Speaker 1: it's printed on glossy paper, you can try and find
• 14:00
  Speaker 1: a position so that there is a glare on the
• 14:02
  Speaker 1: image and focus on the glare. That can again help
• 14:05
  Speaker 1: you relax your focus to see the hidden image that
• 14:07
  Speaker 1: grabs your attention. But again, because your focal point will
• 14:09
  Speaker 1: be in front of the image, you'll likely get the
• 14:11
  Speaker 1: inverted image by doing that trick.
• 14:13
  Speaker 2: Sure.
• 14:13
  Speaker 3: Another trick listed is to look at two side by
• 14:16
  Speaker 3: side images until they start to merge into your vision,
• 14:19
  Speaker 3: and then you can look around the image to see
• 14:21
  Speaker 3: the three D art within those and.
• 14:23
  Speaker 1: Then the final recommendation and this is how I used
• 14:25
  Speaker 1: to do it before I could start doing it by
• 14:27
  Speaker 1: just unfocusing my eyes, is to hold the image close
• 14:29
  Speaker 1: to your face, like so close that it's basically touching
• 14:31
  Speaker 1: your nose, and at that distance it's too close for
• 14:34
  Speaker 1: you to focus on the image, so you're kind of
• 14:36
  Speaker 1: forced to look past it. And then you slowly pull
• 14:38
  Speaker 1: back while trying to maintain that lack of focus and
• 14:41
  Speaker 1: eventually like it'll sort of snap into view or like
• 14:44
  Speaker 1: fuzz into view and your image and that can help
• 14:46
  Speaker 1: you start to teach you how to create the relaxed
• 14:49
  Speaker 1: focus that allows the depth lines to pop out.
• 14:52
  Speaker 2: Yeah, most definitely.
• 14:53
  Speaker 3: So if you're not seeing the image, it can be
• 14:55
  Speaker 3: frustrating and probably feel like people making it up, at
• 14:58
  Speaker 3: least to some of the time. So we're really sorry
• 15:01
  Speaker 3: for those of you who have to deal with this.
• 15:02
  Speaker 3: It's not fun to be on the receiving end of that.
• 15:05
  Speaker 3: But if you're able to figure this out, it is fun.
• 15:07
  Speaker 3: You're not missing the greatest thing on earth. It can
• 15:09
  Speaker 3: be moderately entertaining, and it could be a way that
• 15:11
  Speaker 3: you can kind of like commiserate with folks. So like
• 15:13
  Speaker 3: that's kind of a fun experience to have around these.
• 15:16
  Speaker 1: Yeah, I just want to say, like, you know, it's
• 15:18
  Speaker 1: a bummer, but like you're also not missing like that
• 15:20
  Speaker 1: big of a thing, and sorry, you don't get to
• 15:22
  Speaker 1: say it. It's cool, I guess. But it's like a gimmick,
• 15:25
  Speaker 1: a novelty gimmick, so right, exactly, all right, as far
• 15:28
  Speaker 1: as this being like how this relates to the quality
• 15:31
  Speaker 1: of your vision in your eyes. Generally, research scenes to
• 15:34
  Speaker 1: suggest that these are pretty benign. If you spend a
• 15:36
  Speaker 1: lot of time doing it, you might start to experience
• 15:38
  Speaker 1: eye strain or stu or like struggle focusing your vision
• 15:41
  Speaker 1: clearly again. And if that happens, take a break, stop
• 15:44
  Speaker 1: doing what you're doing. You might want to consult your
• 15:46
  Speaker 1: eye doctor if you're really having trouble. If you are
• 15:48
  Speaker 1: really having trouble, you'll probably also have to have your
• 15:51
  Speaker 1: friend who wasn't also starting in a magic guy help
• 15:54
  Speaker 1: drive you to your appointment if you're because you don't
• 15:55
  Speaker 1: want to be driving away focus. Sure, yes, if you
• 15:59
  Speaker 1: are experiencing that love of distress from this, to go
• 16:01
  Speaker 1: see an eye doctor. But generally speaking, the research has
• 16:03
  Speaker 1: shown that like, you're not going to see permanent damage
• 16:06
  Speaker 1: from this. It's not really going to hurt you in
• 16:07
  Speaker 1: any way right now.
• 16:09
  Speaker 3: Some suggest that it may even be helpful by allowing
• 16:11
  Speaker 3: you to practice coordinating your eyes and working together, and
• 16:14
  Speaker 3: by practicing relaxations. So like, these are just I think,
• 16:17
  Speaker 3: you know, when I try to look at a magic eye,
• 16:19
  Speaker 3: like I feel like I have some sense of being
• 16:21
  Speaker 3: able to relax my eyes and like relax my focus
• 16:24
  Speaker 3: and kind of do that, and it's one of those
• 16:26
  Speaker 3: things where you start to kind of get like a
• 16:28
  Speaker 3: perception of what that feels. Like it's worth just practicing
• 16:31
  Speaker 3: that just for the sake of like understanding your body better.
• 16:34
  Speaker 1: Yeah, yeah, very much. So. It's it's like I learned
• 16:36
  Speaker 1: to flare my nostrils and it was just by like
• 16:38
  Speaker 1: I practiced doing things with my face until I was
• 16:40
  Speaker 1: planning my nostrils and then I learned what that muscle
• 16:42
  Speaker 1: felt like, and now I can control it. Yeah, but
• 16:44
  Speaker 1: like that took practice, like I had to figure it out.
• 16:46
  Speaker 1: So the sort of final point here is just don't
• 16:48
  Speaker 1: overdo it, Like you know, as far as health goes,
• 16:51
  Speaker 1: like respond to your body's cues. It seems like there
• 16:53
  Speaker 1: is an aspect of this that might be somewhat beneficial.
• 16:56
  Speaker 1: Plus they're fun, but they aren't for everyone. And if
• 16:58
  Speaker 1: you don't do it, it's not like you we're missing
• 17:00
  Speaker 1: out on some critical feature of development that would have
• 17:02
  Speaker 1: your eyes be a lot better than they are. Both
• 17:04
  Speaker 1: of us were classes and we've done magic guys, so
• 17:07
  Speaker 1: certainly didn't prevent us from good reaching this point right,
• 17:11
  Speaker 1: but we count ran along on this mini So that's
• 17:12
  Speaker 1: magic eye images, illusions, puzzles and how they work. If
• 17:16
  Speaker 1: you would like to tell us about those things you
• 17:18
  Speaker 1: can't reach us, you can email us directly info at
• 17:20
  Speaker 1: wwdwwdpodcast dot com or on the social media platforms we
• 17:24
  Speaker 1: do look y look forward to hearing from you. Join
• 17:27
  Speaker 1: us on our full length episodes. There we will also
• 17:29
  Speaker 1: add recommendations and we thank all of our patron supporters.
• 17:32
  Speaker 1: Speaking of which, if you liked to join that list
• 17:34
  Speaker 1: and have your name read aloud on our full length episodes,
• 17:36
  Speaker 1: you can head over to Patreon dot com slash wwdwwdpodcast.
• 17:40
  Speaker 1: There you'll get ad free content, bonus content, early episodes,
• 17:43
  Speaker 1: all kinds of goodies over there, and it really helps
• 17:45
  Speaker 1: us continue being a podcast. Otherwise, you can like subscribe,
• 17:48
  Speaker 1: leave a rating and review, particularly if it's gonna be
• 17:50
  Speaker 1: that five stars and nice kind words, that really helps
• 17:52
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• 17:55
  Speaker 1: And of course you can tell a friend and like
• 17:57
  Speaker 1: just make them subscribe to our podcast so that they
• 17:59
  Speaker 1: at least sometimes feel compelled to pick it up. Thank
• 18:02
  Speaker 1: you so much to my team of people to help
• 18:03
  Speaker 1: make this episode this podcast it all happen. Is there
• 18:06
  Speaker 1: anything that I misred that you'd like to add before
• 18:08
  Speaker 1: we wrap up this mini?
• 18:09
  Speaker 2: Uh No, I think that covers it perfect.
• 18:11
  Speaker 1: Thank you for recording with me today, Shane. Thank you
• 18:13
  Speaker 1: to everyone who is listening. I think that is the
• 18:16
  Speaker 1: way I have to say about this. This is Abraham
• 18:17
  Speaker 1: and this is a Shane. Why We Do what we
• 18:19
  Speaker 1: Do mini is out.
• 18:20
  Speaker 2: Bye. You've been listening to Why We Do What We Do.
• 18:24
  Speaker 3: You can learn more about this and other episodes by
• 18:27
  Speaker 3: going to WWDWWD podcast dot com. Thanks for listening, and
• 18:32
  Speaker 3: we hope you have an awesome day.