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Inside every head, in every home, | 0:00:09 | 0:00:13 | |
is the most complex object we've discovered in the universe. | 0:00:13 | 0:00:18 | |
The human brain. | 0:00:18 | 0:00:19 | |
I've spent many years of my life trying to decipher | 0:00:21 | 0:00:24 | |
the mysteries of the brain, and yet I'm still in awe | 0:00:24 | 0:00:28 | |
every time I hold one. And that's because although this | 0:00:28 | 0:00:32 | |
marvel of biology seems so alien to us, | 0:00:32 | 0:00:36 | |
somehow it IS us. | 0:00:36 | 0:00:38 | |
Until recently, activity coursed through these cells. | 0:00:40 | 0:00:46 | |
This was Barbara. | 0:00:46 | 0:00:49 | |
She had opinions and passions. | 0:00:49 | 0:00:52 | |
She loved, | 0:00:52 | 0:00:55 | |
she had her own life. | 0:00:55 | 0:00:57 | |
And this is where all of that happened. | 0:00:59 | 0:01:03 | |
Just as it does for each one of us. | 0:01:03 | 0:01:06 | |
This three-pound organ is made up of hundreds of billions of cells | 0:01:06 | 0:01:11 | |
with a quadrillion connections between them. | 0:01:11 | 0:01:14 | |
These cells fire trillions of electrochemical signals every | 0:01:14 | 0:01:18 | |
second of your life. | 0:01:18 | 0:01:20 | |
Somehow all this wet biological stuff | 0:01:21 | 0:01:26 | |
results in the experience of being you. | 0:01:26 | 0:01:29 | |
I'm going to explore a fundamental question about our lives. | 0:01:31 | 0:01:35 | |
What shapes who you become? | 0:01:37 | 0:01:40 | |
This is the story of how your life shapes your brain. | 0:01:48 | 0:01:52 | |
And how your brain shapes your life. | 0:01:54 | 0:01:57 | |
What makes you you? | 0:02:11 | 0:02:14 | |
For a long time the answer was an immortal soul, or spirit, | 0:02:14 | 0:02:18 | |
something that goes beyond mere matter and gives you your life | 0:02:18 | 0:02:21 | |
and your identity. | 0:02:21 | 0:02:24 | |
But the modern study of the brain tells a different story. | 0:02:24 | 0:02:27 | |
Who we are can only be understood in terms of the three-pound | 0:02:27 | 0:02:32 | |
organ in our heads. | 0:02:32 | 0:02:34 | |
The story of becoming you begins with a remarkable fact. | 0:02:36 | 0:02:40 | |
We are born utterly helpless. | 0:02:42 | 0:02:44 | |
And this helplessness lasts longer in humans than in any other species. | 0:02:46 | 0:02:51 | |
Compare human babies to our cousins across the animal kingdom. | 0:02:53 | 0:02:57 | |
Many newborn animals arrive ready for the world. | 0:03:01 | 0:03:05 | |
They have life skills built in right from birth. | 0:03:06 | 0:03:10 | |
A baby zebra can run when it's just 45 minutes old. | 0:03:13 | 0:03:17 | |
Baby giraffes learn how to stand within hours. | 0:03:18 | 0:03:21 | |
Dolphins are born swimming. | 0:03:23 | 0:03:25 | |
Now, that would seem to be an advantage, but put any of these | 0:03:28 | 0:03:33 | |
animals in an ecosystem not tailored to them and they won't survive. | 0:03:33 | 0:03:38 | |
Whoa, look at that animal. What is that? | 0:03:38 | 0:03:42 | |
In contrast, my son, Ari, is two, and he is still dependent on me. | 0:03:42 | 0:03:47 | |
But one day he could live in Alaska. Or in the Sahara | 0:03:47 | 0:03:51 | |
or on the moon. | 0:03:51 | 0:03:53 | |
In other words, he can adapt to any environment. | 0:03:53 | 0:03:57 | |
All right. That was fun. | 0:03:57 | 0:03:58 | |
And that's thanks to the unique and spectacular way that the | 0:03:58 | 0:04:02 | |
human brain can mould to fit the world around it. | 0:04:02 | 0:04:06 | |
Humans come to the table pre-programmed for certain | 0:04:08 | 0:04:10 | |
things like absorbing language or mimicking facial expressions. | 0:04:10 | 0:04:14 | |
But the thing that's really remarkable about humans is the degree to | 0:04:14 | 0:04:18 | |
which their brains are unfinished. | 0:04:18 | 0:04:21 | |
And this leads to a period of prolonged helplessness, | 0:04:21 | 0:04:24 | |
but the plan is simple. | 0:04:24 | 0:04:26 | |
Instead of hard-wiring everything, the way a rhino does, | 0:04:26 | 0:04:29 | |
let life experience wire up the rest of the brain. | 0:04:29 | 0:04:34 | |
Arrive with something that's a little bit sloppy and tune it up on the fly. | 0:04:34 | 0:04:38 | |
We learn on the job. | 0:04:43 | 0:04:45 | |
It sounds risky, but that's exactly what young human brains do. | 0:04:45 | 0:04:49 | |
And it gives us an extraordinary advantage...as we grow | 0:04:51 | 0:04:55 | |
and learn and adapt. | 0:04:55 | 0:04:57 | |
What's the secret behind the flexibility of young brains? | 0:04:59 | 0:05:04 | |
Well, it's not about growing new cells. | 0:05:04 | 0:05:07 | |
The number of cells is the same in children and in adults. | 0:05:07 | 0:05:10 | |
Instead, the secret lies in how those cells are connected. | 0:05:14 | 0:05:19 | |
This five-year-old has essentially all of the brain | 0:05:21 | 0:05:23 | |
cells he's going to have. | 0:05:23 | 0:05:25 | |
But what's happening inside his head is very different to what is | 0:05:25 | 0:05:29 | |
happening inside mine. | 0:05:29 | 0:05:31 | |
In the brain of a newborn baby, | 0:05:33 | 0:05:35 | |
the neurons are only starting to communicate. But then, over the first | 0:05:35 | 0:05:40 | |
two years of life, those neurons begin connecting extremely rapidly, | 0:05:40 | 0:05:46 | |
forming as many as two million new connections every second. | 0:05:46 | 0:05:51 | |
By age two, a typical neuron has more than 15,000 connections. | 0:05:53 | 0:05:58 | |
That is almost twice as many as found in an adult. | 0:06:00 | 0:06:03 | |
So what happens in between? | 0:06:10 | 0:06:12 | |
Well, after the age of two, the growth is halted. | 0:06:13 | 0:06:17 | |
The process of becoming someone is about pruning back | 0:06:22 | 0:06:25 | |
the possibilities that are already present. | 0:06:25 | 0:06:29 | |
You become who you are not because of what grows in your brain, | 0:06:29 | 0:06:32 | |
but because of what is removed. | 0:06:32 | 0:06:34 | |
As we grow and learn new skills, | 0:06:37 | 0:06:40 | |
we reduce the number of connections in our brain, | 0:06:40 | 0:06:43 | |
in favour of focusing on a smaller number of stronger connections. | 0:06:43 | 0:06:48 | |
As you learn to read, | 0:06:52 | 0:06:54 | |
your circuitry gets carved to interpret squiggles on a page. | 0:06:54 | 0:06:58 | |
The connections go from being universal to being specific. | 0:07:00 | 0:07:04 | |
Those links you don't use, you lose. | 0:07:04 | 0:07:08 | |
Over the course of childhood, brain circuitry is wired up | 0:07:10 | 0:07:14 | |
according to experience... | 0:07:14 | 0:07:16 | |
and interaction with the environment. | 0:07:16 | 0:07:19 | |
But this dependence on the outside world is a gamble. | 0:07:21 | 0:07:25 | |
The outside world won't always provide what a brain needs. | 0:07:28 | 0:07:33 | |
I'm going to try... | 0:07:41 | 0:07:43 | |
This is the Jensen family from Milwaukee. | 0:07:46 | 0:07:48 | |
Carol, Bill, their sons, Tom and John, | 0:07:52 | 0:07:55 | |
and daughter, Victoria. | 0:07:55 | 0:07:57 | |
These are no ordinary children. | 0:08:00 | 0:08:03 | |
All three were adopted from a Romanian orphanage | 0:08:03 | 0:08:06 | |
when they were just four years old. | 0:08:06 | 0:08:08 | |
So it was 1996 when we came to the United States. | 0:08:12 | 0:08:16 | |
And then that's when I turned almost four, on August 5, 1996. | 0:08:16 | 0:08:21 | |
So...yeah. | 0:08:21 | 0:08:23 | |
In 1989, at the fall of Nicolae Ceausecu's regime, | 0:08:28 | 0:08:32 | |
there were 170,000 children in Romanian orphanages. | 0:08:32 | 0:08:37 | |
The children were often kept in appalling conditions, | 0:08:42 | 0:08:46 | |
left to cry without human contact. | 0:08:46 | 0:08:49 | |
You would walk into a room | 0:08:54 | 0:08:55 | |
and you'd be surrounded by little kids who you've never seen before. | 0:08:55 | 0:08:59 | |
And they would want to jump in your arms or sit in your lap or | 0:09:00 | 0:09:03 | |
hold your hand or walk off with you. | 0:09:03 | 0:09:07 | |
And this sort of indiscriminate behaviour is | 0:09:07 | 0:09:08 | |
sort of the hallmark feature of kids who've grown up in an institution. | 0:09:08 | 0:09:12 | |
It is so overwhelming that your tendency is to get very | 0:09:15 | 0:09:18 | |
emotional, and so we'd have to keep that in check | 0:09:18 | 0:09:20 | |
because you didn't want to do that in front of the kids. | 0:09:20 | 0:09:23 | |
Dr Charles Nelson witnessed the children's behaviour | 0:09:25 | 0:09:29 | |
and wondered if it went beyond mere loneliness or distress. | 0:09:29 | 0:09:34 | |
Had all that neglect impacted the physical structure of their brains? | 0:09:34 | 0:09:38 | |
Particularly postnatally, brains need experience in order to develop. | 0:09:40 | 0:09:44 | |
The developing brain is seeking out information | 0:09:46 | 0:09:48 | |
and seeking out experiences, and if they don't get those, | 0:09:48 | 0:09:51 | |
the brain doesn't know how to get wired up and built correctly. | 0:09:51 | 0:09:56 | |
The kids in the institution, they have IQs in the 60s and 70s, | 0:09:56 | 0:09:59 | |
their language is very delayed. | 0:09:59 | 0:10:01 | |
They have severe attachment problems, | 0:10:01 | 0:10:03 | |
and they show signs of an underdeveloped brain. | 0:10:03 | 0:10:06 | |
They had small heads and their EEG activity was very reduced. | 0:10:06 | 0:10:09 | |
Dr Nelson began looking at the electrical activity in these | 0:10:12 | 0:10:15 | |
children's brains. | 0:10:15 | 0:10:17 | |
He was astounded to discover that the children had dramatically | 0:10:17 | 0:10:21 | |
reduced neural activity. | 0:10:21 | 0:10:25 | |
But there was more. | 0:10:25 | 0:10:27 | |
He found evidence that children placed into families | 0:10:27 | 0:10:30 | |
before the age of two generally recovered. | 0:10:30 | 0:10:34 | |
But for those who didn't leave the institution | 0:10:35 | 0:10:38 | |
until older than two, their brain development was compromised. | 0:10:38 | 0:10:42 | |
The lack of experiences leads the brain to wire incorrectly, | 0:10:44 | 0:10:48 | |
because it doesn't have any input into it. | 0:10:48 | 0:10:51 | |
And as a result, | 0:10:51 | 0:10:53 | |
neurons don't know which other neurons it should be communicating with. | 0:10:53 | 0:10:57 | |
Nelson's work revealed that | 0:10:58 | 0:10:59 | |
when the brain is starved of the things it needs, like touch, | 0:10:59 | 0:11:04 | |
stimulation, love, a child's development is stunted. | 0:11:04 | 0:11:08 | |
The only record the Jensen family have of their early years is | 0:11:14 | 0:11:18 | |
a couple of Polaroids. | 0:11:18 | 0:11:20 | |
In the orphanage, I really didn't speak any known language. | 0:11:27 | 0:11:32 | |
So when my mom asked the taxi driver what we were speaking, | 0:11:32 | 0:11:36 | |
the taxi driver was like, "Gibberish." | 0:11:36 | 0:11:39 | |
The Jensens were all adopted after the age of two. | 0:11:43 | 0:11:46 | |
In the orphanage, it's hard. | 0:11:48 | 0:11:50 | |
It was rough. It was... It wasn't easy. | 0:11:50 | 0:11:55 | |
Kids didn't get much attention. | 0:11:55 | 0:11:58 | |
Almost 20 years have passed since they left Romania. | 0:11:58 | 0:12:02 | |
They still live with the consequences of that early neglect. | 0:12:02 | 0:12:06 | |
Tom has ADHD, | 0:12:08 | 0:12:11 | |
and he has learning disabilities. | 0:12:11 | 0:12:14 | |
But not to the same extent that John has. | 0:12:14 | 0:12:18 | |
For John, I think it started out hard and it continues to be hard. | 0:12:19 | 0:12:23 | |
We went to doctors, psychiatrists, physicians, helping me out | 0:12:25 | 0:12:31 | |
through the tough times I have right now. So, it is working, so I like it. | 0:12:31 | 0:12:36 | |
With the support of a loving family, the Jensen children are finding | 0:12:38 | 0:12:43 | |
ways to cope with the scars of their early childhood. | 0:12:43 | 0:12:46 | |
What we experience in our early years goes a long way towards | 0:12:49 | 0:12:53 | |
defining who we become. | 0:12:53 | 0:12:56 | |
Experience prunes the brain, | 0:13:02 | 0:13:04 | |
but that's not the only thing that shapes who you are. | 0:13:04 | 0:13:08 | |
Because no matter what kind of life you've led, | 0:13:08 | 0:13:11 | |
the brain is also on a predetermined schedule dictated by genetics, | 0:13:11 | 0:13:16 | |
and that means there are major changes in store. | 0:13:16 | 0:13:21 | |
In our teenage years, hormones course around our bodies, | 0:13:28 | 0:13:32 | |
causing dramatic physical transformations. | 0:13:32 | 0:13:35 | |
But out of sight, | 0:13:37 | 0:13:39 | |
our brains are undergoing equally monumental changes. | 0:13:39 | 0:13:43 | |
Ones that profoundly affect how we behave | 0:13:43 | 0:13:46 | |
and react to the world around us. | 0:13:46 | 0:13:48 | |
We all intuit that teenagers have a different view on the world | 0:13:51 | 0:13:55 | |
than children or adults, but what's not always obvious is that the | 0:13:55 | 0:13:59 | |
way teens see the world is not simply a choice or an attitude. | 0:13:59 | 0:14:04 | |
Instead, it is the consequence of a changing brain that's | 0:14:04 | 0:14:07 | |
right on schedule. | 0:14:07 | 0:14:09 | |
Who they are right now is biological and inevitable. | 0:14:09 | 0:14:13 | |
To get a sense of the teen brain at work, we are running an experiment. | 0:14:19 | 0:14:23 | |
With the help of my graduate student, Ricky Savjani, we are | 0:14:26 | 0:14:30 | |
going to rig up volunteers of different ages to a machine that | 0:14:30 | 0:14:34 | |
measures stress levels by gauging changes in their sweat glands. | 0:14:34 | 0:14:39 | |
Then we have them | 0:14:41 | 0:14:42 | |
sit in a shop window to be gawked at by passers-by. | 0:14:42 | 0:14:46 | |
OK, cue the curtain. | 0:14:49 | 0:14:51 | |
First up, an adult. | 0:14:54 | 0:14:56 | |
Louise's stress response seems to be holding about steady, | 0:15:01 | 0:15:05 | |
at a pretty low level. | 0:15:05 | 0:15:07 | |
It's clear that she's responding to people being there, | 0:15:07 | 0:15:11 | |
but her stress response is simply not going up. | 0:15:11 | 0:15:15 | |
But in the same situation, the teen brain responds very differently. | 0:15:18 | 0:15:22 | |
'Oh, wow, that is a big response.' | 0:15:32 | 0:15:35 | |
I'm just going to auto-scale her heartbeat because it has gone up so much. | 0:15:35 | 0:15:39 | |
Her galvanic skin response is really high now, it just keeps going up. | 0:15:42 | 0:15:46 | |
It suggests she is stressed out. | 0:15:46 | 0:15:49 | |
-Hi, Xander. -Hi. -How are you? -I'm good. -Good. | 0:15:54 | 0:15:57 | |
The more that he averts his gaze, | 0:15:59 | 0:16:02 | |
the higher his stress response is going. | 0:16:02 | 0:16:05 | |
So this is presumably his response, is to pretend like he's not there. | 0:16:05 | 0:16:09 | |
-What words would you use to describe how it felt? -Awkward. | 0:16:15 | 0:16:19 | |
-Weird, pretty much. -It was different. | 0:16:19 | 0:16:23 | |
Having people just, like, stare at you and not knowing what they were thinking. | 0:16:23 | 0:16:28 | |
So why the big difference in response between the adults | 0:16:31 | 0:16:34 | |
and the teenagers? | 0:16:34 | 0:16:36 | |
The answer involves an area of the brain called the | 0:16:36 | 0:16:39 | |
medial prefrontal cortex. | 0:16:39 | 0:16:42 | |
It becomes active when you think about yourself, especially | 0:16:47 | 0:16:51 | |
the emotional significance of a situation to yourself. | 0:16:51 | 0:16:55 | |
As one grows from childhood into adolescence, | 0:16:56 | 0:17:00 | |
the activity in this area rises, peaking around 15 years old. | 0:17:00 | 0:17:05 | |
Now, social situations carry a lot of emotional weight. | 0:17:05 | 0:17:09 | |
In adults, the stress response from that | 0:17:12 | 0:17:14 | |
feeling of being looked at is relatively modest. | 0:17:14 | 0:17:17 | |
But in teenagers, | 0:17:19 | 0:17:21 | |
that same experience causes social emotions to go into overdrive. | 0:17:21 | 0:17:25 | |
The result is a stress response of high intensity. | 0:17:27 | 0:17:31 | |
It's not just about self-consciousness. | 0:17:35 | 0:17:38 | |
The development of the teen brain has other consequences. | 0:17:38 | 0:17:41 | |
Including poor impulse control. | 0:17:44 | 0:17:47 | |
Parts of the prefrontal cortex are still developing. | 0:17:48 | 0:17:51 | |
Those parts are involved in simulating the consequences | 0:17:51 | 0:17:54 | |
of actions, and that translates into greater risk-taking. | 0:17:54 | 0:17:59 | |
But what happens when things calm down? | 0:18:06 | 0:18:08 | |
Once the rush of our teenage years is over, | 0:18:10 | 0:18:12 | |
do our brains stop changing? | 0:18:12 | 0:18:14 | |
Is who we are fixed in stone once we reach adulthood? | 0:18:16 | 0:18:19 | |
Well, it's true that most of the dramatic shifts in | 0:18:21 | 0:18:24 | |
brain structure are done by our early 20s, | 0:18:24 | 0:18:29 | |
and for a long time, researchers thought that was that... | 0:18:29 | 0:18:32 | |
..but I've come to London, to look at a pioneering study | 0:18:35 | 0:18:38 | |
that reveals how, even in adulthood, | 0:18:38 | 0:18:40 | |
our brains can undergo radical physical changes. | 0:18:40 | 0:18:44 | |
The study of the Knowledge is 640 quarter-mile-radius areas. | 0:18:58 | 0:19:03 | |
24,000 streets and roads that need to be learnt. | 0:19:03 | 0:19:08 | |
50,000 places of interest. | 0:19:08 | 0:19:10 | |
What is known as "the Knowledge" | 0:19:12 | 0:19:14 | |
is a test of recall of all the streets in London. | 0:19:14 | 0:19:20 | |
The driver of every black cab has to pass it to get a licence. | 0:19:20 | 0:19:25 | |
Bayswater Road, before Marble Arch. | 0:19:25 | 0:19:27 | |
Right at Park Lane. Left, Hyde Park Corner... | 0:19:27 | 0:19:29 | |
It's one of the world's most difficult feats of memory | 0:19:31 | 0:19:36 | |
and completing it usually takes over four years of intensive study. | 0:19:36 | 0:19:41 | |
People will spend three to four hours a day | 0:19:43 | 0:19:47 | |
reciting pretend journeys. | 0:19:47 | 0:19:49 | |
That starts to make them - "see it" is the term we use - | 0:19:51 | 0:19:55 | |
how to get around London. | 0:19:55 | 0:19:56 | |
The unique mental challenge of passing the Knowledge | 0:19:58 | 0:20:01 | |
made it of particular interest to a group of neuroscientists. | 0:20:01 | 0:20:05 | |
They began doing brain scans of the drivers | 0:20:08 | 0:20:11 | |
before, during and after the rigorous training. | 0:20:11 | 0:20:15 | |
They were interested in an area of the brain | 0:20:17 | 0:20:20 | |
called the posterior hippocampus. | 0:20:20 | 0:20:23 | |
It underpins spatial memory. | 0:20:23 | 0:20:25 | |
At the beginning, it looked just like everyone else's, | 0:20:27 | 0:20:30 | |
but by the end of the training, | 0:20:30 | 0:20:32 | |
it had grown physically larger. | 0:20:32 | 0:20:34 | |
All the map-memorising, all the driving, | 0:20:37 | 0:20:39 | |
all the simulation of future routes - | 0:20:39 | 0:20:42 | |
this reshaped their brain anatomy to match the task at hand. | 0:20:42 | 0:20:46 | |
The longer a cabbie had been doing his job, | 0:20:48 | 0:20:50 | |
the bigger the change in that brain region. | 0:20:50 | 0:20:53 | |
Even when we're adults, our brains can still change. | 0:20:55 | 0:20:59 | |
Something that can be shaped, and hold on to that shape, | 0:21:02 | 0:21:05 | |
is what we call "plastic", | 0:21:05 | 0:21:07 | |
and that's how it goes with the adult brain. | 0:21:07 | 0:21:09 | |
Experience changes it and it retains that change. | 0:21:09 | 0:21:13 | |
It's malleable. It has plasticity. | 0:21:13 | 0:21:16 | |
That means that who you are and who you can be is a work in progress. | 0:21:16 | 0:21:22 | |
Many activities can cause the brain to transform. | 0:21:27 | 0:21:30 | |
For example, learning a musical instrument | 0:21:34 | 0:21:36 | |
can produce dramatic changes. | 0:21:36 | 0:21:38 | |
Musicians can learn languages more quickly | 0:21:41 | 0:21:44 | |
and have improved memory, | 0:21:44 | 0:21:46 | |
as a result of the way years of practise have altered their brains. | 0:21:46 | 0:21:50 | |
Albert Einstein's brain was examined after death by researchers. | 0:21:53 | 0:21:57 | |
They were hunting for signs of genius | 0:21:57 | 0:22:02 | |
but, instead, they discovered the brain area devoted to | 0:22:02 | 0:22:05 | |
operating the fingers of the left-hand was much larger | 0:22:05 | 0:22:08 | |
than normal, all thanks to his less commonly known | 0:22:08 | 0:22:11 | |
passion for playing the violin. | 0:22:11 | 0:22:14 | |
-Hello, sir. -Paddington Station? -Sure, jump in. -OK. | 0:22:14 | 0:22:17 | |
'In fact, everything we experience will alter the physical | 0:22:20 | 0:22:24 | |
'structure of our brain in some way, | 0:22:24 | 0:22:27 | |
'meaning that, for as long as we're alive, | 0:22:27 | 0:22:29 | |
'our identities aren't fixed but constantly changing. | 0:22:29 | 0:22:33 | |
'From our jobs to falling in love, | 0:22:35 | 0:22:40 | |
'having kids and spending time with friends.' | 0:22:40 | 0:22:44 | |
All of these change the wiring of your brain to make you | 0:22:46 | 0:22:49 | |
who you are, and who you can become. | 0:22:49 | 0:22:53 | |
But the brain can also change in ways that we have no control over... | 0:23:02 | 0:23:06 | |
..ways that can have a terrible impact | 0:23:10 | 0:23:12 | |
on our personality and actions. | 0:23:12 | 0:23:15 | |
We see this in a letter, | 0:23:20 | 0:23:21 | |
discovered by police in the wake of a violent tragedy | 0:23:21 | 0:23:24 | |
that happened in Austin, Texas, in the summer of 1966. | 0:23:24 | 0:23:29 | |
25-year-old Charles Whitman was a model citizen. | 0:23:33 | 0:23:37 | |
He had been an Eagle Scout. | 0:23:37 | 0:23:39 | |
He had been honourably discharged from the military. | 0:23:39 | 0:23:42 | |
He was working as a bank teller and studying as an engineering student. | 0:23:42 | 0:23:46 | |
Yet, what he'd written pointed to | 0:23:48 | 0:23:50 | |
a disturbing change in his personality. | 0:23:50 | 0:23:52 | |
"I don't really understand myself these days. | 0:23:55 | 0:23:58 | |
"I'm supposed to be an average, reasonable | 0:23:58 | 0:24:00 | |
"and intelligent young man. | 0:24:00 | 0:24:02 | |
"However, lately - I can't recall when it started - | 0:24:02 | 0:24:06 | |
"I've been a victim of many unusual and irrational thoughts." | 0:24:06 | 0:24:11 | |
What Whitman was describing were thoughts that would lead to killing. | 0:24:13 | 0:24:18 | |
Death and terror stalk the campus of the University of Texas in Austin, | 0:24:19 | 0:24:23 | |
as a sniper's bullets force people to scurry for cover. | 0:24:23 | 0:24:26 | |
GUNSHOT | 0:24:26 | 0:24:29 | |
A stream of deadly, accurate fire | 0:24:29 | 0:24:31 | |
sends bodies crumbling to the ground everywhere... | 0:24:31 | 0:24:33 | |
On August 1st, 1966, | 0:24:33 | 0:24:36 | |
Whitman took an elevator to the top of the University of Texas Tower. | 0:24:36 | 0:24:41 | |
An armoured truck... | 0:24:41 | 0:24:42 | |
There, he started firing indiscriminately | 0:24:42 | 0:24:45 | |
at the people below. | 0:24:45 | 0:24:46 | |
Victims were being hit at a rate of more than one every three minutes. | 0:24:46 | 0:24:50 | |
13 people were killed and 33 wounded, | 0:24:50 | 0:24:54 | |
until Whitman himself was finally shot dead by the police. | 0:24:54 | 0:24:57 | |
His tower arsenal included three rifles, | 0:24:57 | 0:24:59 | |
a shotgun, two pistols and a knife. | 0:24:59 | 0:25:02 | |
When police reached his house, they discovered that | 0:25:02 | 0:25:04 | |
he'd killed his wife and his mother the night before. | 0:25:04 | 0:25:08 | |
There was only one thing more surprising than this | 0:25:09 | 0:25:13 | |
random act of violence, and that is, | 0:25:13 | 0:25:15 | |
there was nothing really about Charles Whitman | 0:25:15 | 0:25:17 | |
that suggested he would do something like this. | 0:25:17 | 0:25:22 | |
It seemed completely senseless, | 0:25:22 | 0:25:25 | |
but the letter they'd found in his home, | 0:25:25 | 0:25:27 | |
written prior to the killings, | 0:25:27 | 0:25:29 | |
suggested a possible explanation for his actions. | 0:25:29 | 0:25:32 | |
In the note, he made an unusual request. | 0:25:34 | 0:25:37 | |
"After my death, I wish that an autopsy would be | 0:25:37 | 0:25:40 | |
"performed on me, to see if there is any visible physical disorder." | 0:25:40 | 0:25:45 | |
Whitman's wish was granted. | 0:25:46 | 0:25:48 | |
During the autopsy, | 0:25:49 | 0:25:51 | |
the pathologists found that Whitman had a brain tumour. | 0:25:51 | 0:25:54 | |
It was about the size of a nickel | 0:25:57 | 0:25:59 | |
and it was pressing against a part of his brain | 0:25:59 | 0:26:01 | |
called the amygdala, which is involved in fear and aggression. | 0:26:01 | 0:26:05 | |
This pressure on the amygdala led to a cascade of consequences | 0:26:06 | 0:26:10 | |
in Whitman's brain, resulting in him taking actions | 0:26:10 | 0:26:15 | |
that would otherwise be completely out of character. | 0:26:15 | 0:26:18 | |
His brain matter had been changing, | 0:26:19 | 0:26:22 | |
and who he was changed with it. | 0:26:22 | 0:26:24 | |
Whitman's example is extreme, | 0:26:26 | 0:26:28 | |
but other less dramatic changes in the brain | 0:26:28 | 0:26:30 | |
also alter the fabric of who we are. | 0:26:30 | 0:26:33 | |
Parkinson's disease can lead some people, even the most devout, | 0:26:36 | 0:26:41 | |
to lose their faith, | 0:26:41 | 0:26:44 | |
and a medication for Parkinson's can lead to compulsive gambling, | 0:26:44 | 0:26:51 | |
and it's not just disease drugs that can change us. | 0:26:51 | 0:26:55 | |
From the things we consume, | 0:26:55 | 0:26:57 | |
to the simple process of ageing - | 0:26:57 | 0:27:00 | |
everything contributes to continually reshaping | 0:27:00 | 0:27:04 | |
the neural networks that amount to us. | 0:27:04 | 0:27:07 | |
So, who we are changes in the course of our life, as our brain changes, | 0:27:15 | 0:27:23 | |
but, thankfully, | 0:27:23 | 0:27:24 | |
there's one constant that links it all together. | 0:27:24 | 0:27:28 | |
It's a pillar of our personality - | 0:27:28 | 0:27:33 | |
memory. | 0:27:33 | 0:27:34 | |
Memory sits right at the core of our identity. | 0:27:37 | 0:27:40 | |
It gives our lives a narrative - | 0:27:40 | 0:27:42 | |
one that we can share, one that has meaning. | 0:27:42 | 0:27:46 | |
But there's a problem - memory isn't always reliable. | 0:27:46 | 0:27:50 | |
To understand how it alters, and why, | 0:27:52 | 0:27:55 | |
I've come up with a little thought experiment. | 0:27:55 | 0:27:59 | |
Meet 35-year-old Daisy. | 0:27:59 | 0:28:02 | |
So, imagine Daisy could meet her five-year-old self. | 0:28:02 | 0:28:05 | |
Same person, same life experiences, a subset of her memories. | 0:28:05 | 0:28:12 | |
Or what if Daisy could meet her 85-year-old self? | 0:28:12 | 0:28:16 | |
The same person, but experience is played out more. | 0:28:16 | 0:28:20 | |
Imagine that Daisy could meet all of her selves | 0:28:20 | 0:28:23 | |
across the spectrum of her lifetime. | 0:28:23 | 0:28:26 | |
You might think that all these Daisys | 0:28:29 | 0:28:31 | |
would share the exact same memories, | 0:28:31 | 0:28:35 | |
but although their memories relate back to the same events, | 0:28:35 | 0:28:39 | |
in fact, what they remember is likely to be quite different. | 0:28:39 | 0:28:45 | |
And that's because of what a memory actually is. | 0:28:45 | 0:28:49 | |
'So, a few years ago, I went out for dinner to celebrate | 0:28:53 | 0:28:57 | |
'my friend Cheryl's birthday, | 0:28:57 | 0:28:58 | |
'with her boyfriend Joe. | 0:28:58 | 0:29:00 | |
'I remember it distinctly because it was so enjoyable. | 0:29:00 | 0:29:03 | |
'Everything I experienced that evening triggered particular | 0:29:06 | 0:29:09 | |
'patterns of activity in my brain, | 0:29:09 | 0:29:12 | |
'lighting up constellations of cells. | 0:29:12 | 0:29:14 | |
'The conversation between Joe and Cheryl, | 0:29:16 | 0:29:19 | |
'the smell of the coffee, | 0:29:19 | 0:29:22 | |
'the taste of this little French cake. | 0:29:22 | 0:29:25 | |
'All of these constellations became linked with one another | 0:29:25 | 0:29:29 | |
'in a vast, associative network of neurons, | 0:29:29 | 0:29:33 | |
'that the hippocampus replayed over and over | 0:29:33 | 0:29:36 | |
'until the association became fixed, | 0:29:36 | 0:29:39 | |
'and that was the unique signature of this experience. | 0:29:39 | 0:29:44 | |
'That would become my memory of Cheryl's birthday. | 0:29:44 | 0:29:47 | |
'So, is a memory simply like watching an old video recording | 0:29:50 | 0:29:53 | |
'that we just call up and replay? | 0:29:53 | 0:29:57 | |
'It feels like that, but in reality, it's quite different. | 0:29:57 | 0:30:00 | |
'Memories are actually brain states from a bygone time | 0:30:02 | 0:30:06 | |
'that we have to resurrect.' | 0:30:06 | 0:30:08 | |
So, here I am, six months later, in a totally different city, | 0:30:13 | 0:30:15 | |
and I taste one of these little French cakes again, | 0:30:15 | 0:30:18 | |
and it's just like the one that I had at Cheryl's birthday party. | 0:30:18 | 0:30:21 | |
And, in my brain, this very specific trigger | 0:30:21 | 0:30:24 | |
lights up a whole web of associations, | 0:30:24 | 0:30:27 | |
like the lights of a city coming online, | 0:30:27 | 0:30:29 | |
and suddenly I'm back in that memory. | 0:30:29 | 0:30:31 | |
'But it's not as rich as I would have imagined.' | 0:30:34 | 0:30:36 | |
I know that Joe and Cheryl were there, | 0:30:39 | 0:30:41 | |
and Cheryl, I think, was wearing a blue shirt, | 0:30:41 | 0:30:44 | |
or maybe it was purple. | 0:30:44 | 0:30:47 | |
Actually, maybe it was green. | 0:30:47 | 0:30:48 | |
'The memory of Cheryl's birthday, in my brain, has started to fade. | 0:30:50 | 0:30:54 | |
'Our memories fade gradually | 0:30:55 | 0:30:57 | |
'because our brain only has | 0:30:57 | 0:30:58 | |
'a finite number of neurons, | 0:30:58 | 0:31:00 | |
'which, over time, | 0:31:00 | 0:31:01 | |
'get used for other memories. | 0:31:01 | 0:31:04 | |
'It means that the details have now become a little hazy.' | 0:31:04 | 0:31:08 | |
What matters is that I remember that we had a great time, | 0:31:10 | 0:31:15 | |
but even that's not totally certain, | 0:31:15 | 0:31:17 | |
because, in the intervening months, | 0:31:17 | 0:31:20 | |
Joe and Cheryl have broken up, | 0:31:20 | 0:31:23 | |
and so, now, I'm wondering, | 0:31:23 | 0:31:24 | |
did I sense any red flags there? | 0:31:24 | 0:31:29 | |
The state of my emotions right now | 0:31:29 | 0:31:31 | |
changes the network that corresponds to then. | 0:31:31 | 0:31:35 | |
My present colours my past. | 0:31:35 | 0:31:37 | |
What this means for all of us | 0:31:41 | 0:31:43 | |
is that the same event will be remembered differently, | 0:31:43 | 0:31:46 | |
depending on where you are at that point in your life. | 0:31:46 | 0:31:49 | |
So, how reliable are our memories? | 0:31:52 | 0:31:55 | |
How far can they be altered and why do our brains work that way? | 0:31:55 | 0:31:59 | |
'The first suggestion about how vulnerable our memory is | 0:32:05 | 0:32:09 | |
'came with the ground-breaking work of Professor Elizabeth Loftus.' | 0:32:09 | 0:32:13 | |
TYRES SCREECH | 0:32:15 | 0:32:17 | |
'She devised a simple experiment, | 0:32:19 | 0:32:21 | |
'in which volunteers watched films of car crashes. | 0:32:21 | 0:32:24 | |
'She then asked them a series of questions, | 0:32:24 | 0:32:27 | |
'to test what they remembered.' | 0:32:27 | 0:32:28 | |
So, if I ask you a question, you know, | 0:32:30 | 0:32:33 | |
"How fast were the cars going when they hit each other?" | 0:32:33 | 0:32:36 | |
-TYRES SCREECH -Versus, | 0:32:36 | 0:32:38 | |
"How fast were the cars going when they smashed into each other?" | 0:32:38 | 0:32:41 | |
CARS SMASH | 0:32:41 | 0:32:43 | |
Witnesses give different estimates of speed. | 0:32:43 | 0:32:46 | |
They think the cars were going faster | 0:32:46 | 0:32:48 | |
-if you use the word "smashed". -CARS SMASH | 0:32:48 | 0:32:51 | |
And so, this was one of my earliest examples showing that | 0:32:51 | 0:32:54 | |
leading questions can distort the answers | 0:32:54 | 0:32:57 | |
and can contaminate a person's memory. | 0:32:57 | 0:33:00 | |
The discovery that existing memories could be distorted | 0:33:03 | 0:33:07 | |
led Loftus to ask a more radical question - | 0:33:07 | 0:33:11 | |
would it be possible to implant entirely false memories? | 0:33:11 | 0:33:16 | |
To find out, she devised another experiment. | 0:33:19 | 0:33:22 | |
She recruited volunteers and then had her team | 0:33:25 | 0:33:29 | |
call their families for information about events from their past. | 0:33:29 | 0:33:34 | |
The researchers then put together | 0:33:34 | 0:33:36 | |
a number of stories about their childhoods. | 0:33:36 | 0:33:40 | |
Three were true but, one, while sounding plausible, | 0:33:40 | 0:33:44 | |
was entirely made up. | 0:33:44 | 0:33:45 | |
The story involved the volunteer | 0:33:51 | 0:33:53 | |
getting lost in a shopping mall as a child... | 0:33:53 | 0:33:55 | |
..then being found by a kind old person | 0:34:00 | 0:34:05 | |
and then reunited with her parent. | 0:34:05 | 0:34:07 | |
When told the four stories, | 0:34:13 | 0:34:15 | |
at least a quarter of the participants | 0:34:15 | 0:34:18 | |
claimed they could remember being lost in the mall, | 0:34:18 | 0:34:21 | |
-even though it never happened... -I was really young. | 0:34:21 | 0:34:24 | |
I would have been about six at the time. | 0:34:24 | 0:34:25 | |
Six, five, something like that. | 0:34:25 | 0:34:27 | |
Yeah, no, I did cry. I cried a lot. | 0:34:27 | 0:34:29 | |
..and the experiment didn't stop there. | 0:34:29 | 0:34:32 | |
They may start to remember a little bit about it, | 0:34:32 | 0:34:35 | |
but when they come back a week later, | 0:34:35 | 0:34:38 | |
they are starting to remember more. | 0:34:38 | 0:34:40 | |
Maybe they'll talk about the older woman who rescued them. | 0:34:40 | 0:34:44 | |
"I think I heard my name over a loudspeaker." | 0:34:44 | 0:34:47 | |
Over time, more and more detail crept into their false memory. | 0:34:48 | 0:34:53 | |
"The old lady was wearing this crazy hat. | 0:34:54 | 0:34:57 | |
"I had my favourite toy. | 0:34:57 | 0:35:00 | |
"My mum was so mad." | 0:35:00 | 0:35:02 | |
The invention of these new details that go way beyond anything | 0:35:02 | 0:35:06 | |
we presented to them as coming from their mother | 0:35:06 | 0:35:09 | |
were pretty impressive to us. | 0:35:09 | 0:35:11 | |
'Loftus had discovered that not only is it possible to implant | 0:35:12 | 0:35:16 | |
'entirely new memories in the brain,' | 0:35:16 | 0:35:19 | |
we naturally embrace and embellish them, | 0:35:19 | 0:35:22 | |
unknowingly weaving fantasy into the very fabric of who we are... | 0:35:22 | 0:35:28 | |
..and we're all susceptible, even Loftus herself. | 0:35:30 | 0:35:34 | |
My mother had drowned when I was 14... | 0:35:37 | 0:35:40 | |
..and years later I had gone to a birthday celebration, | 0:35:44 | 0:35:49 | |
and one of my other relatives started to talk about my mother, | 0:35:49 | 0:35:55 | |
and this relative started to tell me | 0:35:55 | 0:35:58 | |
that I was the one that found my mother's body in the swimming pool, | 0:35:58 | 0:36:02 | |
and he was so convincing that I went home from that birthday | 0:36:02 | 0:36:05 | |
and I started to think, "Maybe I did." | 0:36:05 | 0:36:08 | |
I started to think about other things that I did remember, | 0:36:11 | 0:36:13 | |
like when the firemen came, they gave me oxygen. | 0:36:13 | 0:36:16 | |
Maybe, maybe I needed the oxygen cos I was so upset that | 0:36:16 | 0:36:19 | |
had I found the body, | 0:36:19 | 0:36:21 | |
and I could almost visualise my mother in the swimming pool. | 0:36:21 | 0:36:25 | |
But then something happened that would make Loftus realise | 0:36:28 | 0:36:32 | |
her memory had been tricked. | 0:36:32 | 0:36:34 | |
The relative called and said, | 0:36:36 | 0:36:37 | |
"I made a mistake. It wasn't you. It was the aunt who found the body." | 0:36:37 | 0:36:42 | |
And so, I thought, "Boy..." | 0:36:42 | 0:36:43 | |
That's... That's what it feels like when you're on your way to... | 0:36:43 | 0:36:48 | |
to developing such a rich false memory. | 0:36:48 | 0:36:51 | |
Our past is not a faithful record but, instead, it's a reconstruction. | 0:36:55 | 0:37:00 | |
In part, it's a mythology, | 0:37:00 | 0:37:02 | |
so what does this mean for who we are? | 0:37:02 | 0:37:05 | |
Well, think about your life memories. | 0:37:05 | 0:37:07 | |
Not all the details are accurate. | 0:37:07 | 0:37:09 | |
Some came from things that people told you about yourself. | 0:37:09 | 0:37:13 | |
Other details were filled in by what you think must have happened, | 0:37:13 | 0:37:17 | |
but that's OK - | 0:37:17 | 0:37:19 | |
it's all part of the evolving story that is you. | 0:37:19 | 0:37:23 | |
So, why do we have memories that are so unreliable? | 0:37:28 | 0:37:31 | |
Well, as strange as it sounds, | 0:37:33 | 0:37:34 | |
memory isn't just used for recording our past. | 0:37:34 | 0:37:37 | |
It also serves another important function. | 0:37:42 | 0:37:44 | |
That function would be revealed by a singular case | 0:37:47 | 0:37:50 | |
that revolutionised neuroscience. | 0:37:50 | 0:37:53 | |
How long have you had trouble remembering things? | 0:38:01 | 0:38:05 | |
I don't know, myself. | 0:38:05 | 0:38:07 | |
I can't tell you because I don't remember. | 0:38:07 | 0:38:10 | |
But do you think it's been more than a year | 0:38:10 | 0:38:12 | |
that you've had this problem? | 0:38:12 | 0:38:14 | |
I think it's about...about that, | 0:38:14 | 0:38:16 | |
cos this is just a thought that I'm having myself | 0:38:16 | 0:38:21 | |
that I possibly have had an operation or something. | 0:38:21 | 0:38:26 | |
Henry Molaison was born in 1926. | 0:38:26 | 0:38:30 | |
His early life was like any other young boy's, | 0:38:30 | 0:38:34 | |
until his tenth birthday, | 0:38:34 | 0:38:35 | |
when he suffered his first epileptic seizure. | 0:38:35 | 0:38:39 | |
By 16, his epilepsy had worsened, | 0:38:39 | 0:38:42 | |
and by 27, he could no longer function normally. | 0:38:42 | 0:38:46 | |
These major seizures increased in frequency, | 0:38:47 | 0:38:51 | |
up to the point where his life was pretty much on hold. | 0:38:51 | 0:38:54 | |
His doctors proposed an experimental surgery that would remove | 0:38:56 | 0:39:00 | |
the hippocampus on both sides of Henry's brain, | 0:39:00 | 0:39:04 | |
leaving two yawning, black holes. | 0:39:04 | 0:39:07 | |
The operation proceeded without incident, | 0:39:09 | 0:39:12 | |
and within a few days, he recovered. | 0:39:12 | 0:39:16 | |
Henry's epilepsy was cured. | 0:39:17 | 0:39:19 | |
That was when they realised that he couldn't remember anything. | 0:39:20 | 0:39:24 | |
For the remaining 55 years of his life, | 0:39:26 | 0:39:29 | |
he never formed a single new long-term memory... | 0:39:29 | 0:39:33 | |
..and there was something more. | 0:39:40 | 0:39:44 | |
What do you think you'll do tomorrow? | 0:39:44 | 0:39:46 | |
Whatever's beneficial. | 0:39:50 | 0:39:52 | |
You might think, when you'd say to him, | 0:39:53 | 0:39:56 | |
"What do you think you'll do tomorrow?" | 0:39:56 | 0:39:58 | |
He might say, "Well, you know, I'll get up, as usual, | 0:39:58 | 0:40:01 | |
"and get dressed and shave and have breakfast." | 0:40:01 | 0:40:05 | |
But he didn't even come up with that. | 0:40:05 | 0:40:07 | |
It was like he was absolutely stuck in the present moment. | 0:40:07 | 0:40:11 | |
Henry Molaison's misfortune had revealed something profound. | 0:40:13 | 0:40:17 | |
The brain areas that underlie memory are the same as those | 0:40:19 | 0:40:23 | |
that are used to simulate what's coming next. | 0:40:23 | 0:40:26 | |
Both the past and the future are creations in the brain. | 0:40:27 | 0:40:32 | |
Who we are, at any moment in time, is an ongoing narrative. | 0:40:33 | 0:40:38 | |
As we live longer than ever before, | 0:40:43 | 0:40:46 | |
this presents real problems for brain health. | 0:40:46 | 0:40:49 | |
Diseases like Alzheimer's and Parkinson's attack our brain tissue, | 0:40:50 | 0:40:54 | |
and with it, who we are... | 0:40:54 | 0:40:56 | |
..but in the same way that your environment | 0:40:59 | 0:41:01 | |
and behaviour shape your brain when you're younger, | 0:41:01 | 0:41:04 | |
they're just as important in your later years. | 0:41:04 | 0:41:07 | |
If you don't mind me asking, how old are you this year? | 0:41:13 | 0:41:15 | |
Oh, I'm just 94. | 0:41:15 | 0:41:17 | |
OK. For how long have you been here? | 0:41:17 | 0:41:20 | |
Well, I've been in the convent over 70 years. | 0:41:20 | 0:41:22 | |
Do people live into their 100s or something, here? | 0:41:22 | 0:41:26 | |
Oh, we had one - one I know that went over 100. | 0:41:26 | 0:41:29 | |
How was she doing cognitively at that age? | 0:41:29 | 0:41:31 | |
She was very smart. | 0:41:31 | 0:41:33 | |
She was very smart, OK. | 0:41:33 | 0:41:35 | |
She sure was and she didn't miss anything. | 0:41:35 | 0:41:37 | |
OK. | 0:41:37 | 0:41:38 | |
Quite alert. | 0:41:38 | 0:41:39 | |
Across the US, more than 1,200 nuns, priests and brothers | 0:41:41 | 0:41:46 | |
have been taking part in a unique research study, | 0:41:46 | 0:41:49 | |
exploring the effects of ageing on the brain. | 0:41:49 | 0:41:53 | |
Well, they figure the sisters are a good study group | 0:41:54 | 0:41:57 | |
because we're kind of stable. | 0:41:57 | 0:41:59 | |
You know where to find us. | 0:41:59 | 0:42:00 | |
Each year, the participants have to provide detailed records | 0:42:02 | 0:42:06 | |
of how they spend their time. | 0:42:06 | 0:42:09 | |
They also commit to | 0:42:09 | 0:42:10 | |
extensive physical, genetic and cognitive tests, | 0:42:10 | 0:42:14 | |
and it doesn't end there. | 0:42:14 | 0:42:16 | |
When I first heard about the study, | 0:42:17 | 0:42:19 | |
I said, "Well, even after I die, | 0:42:19 | 0:42:23 | |
"whatever I'm contributing can still go on." | 0:42:23 | 0:42:27 | |
After they die, all the participants will give up their brains. | 0:42:27 | 0:42:33 | |
My staff in Chicago is on call 24 hours a day, | 0:42:36 | 0:42:39 | |
seven days a week. | 0:42:39 | 0:42:41 | |
When someone dies in New York, they call us. | 0:42:41 | 0:42:45 | |
The researchers carefully examine the brains for the telltale | 0:42:45 | 0:42:49 | |
microscopic evidence of age-related brain disease. | 0:42:49 | 0:42:53 | |
They're looking to establish links between brain degeneration | 0:42:56 | 0:43:00 | |
and cognitive performance, | 0:43:00 | 0:43:03 | |
but the first set of results was entirely unexpected. | 0:43:03 | 0:43:07 | |
When we first started publishing it, | 0:43:08 | 0:43:11 | |
a lot of people were surprised. | 0:43:11 | 0:43:14 | |
It turned out that nearly a third of the brains tested | 0:43:14 | 0:43:18 | |
had characteristic signs of full-blown Alzheimer's... | 0:43:18 | 0:43:22 | |
# When I fall on my knees... # | 0:43:22 | 0:43:28 | |
..but the cognitive tests revealed that the brain owners | 0:43:29 | 0:43:33 | |
had shown no symptoms of this terrible disease. | 0:43:33 | 0:43:37 | |
Their brains were sick, yet they remain unaffected. | 0:43:37 | 0:43:43 | |
It didn't make sense. | 0:43:43 | 0:43:45 | |
What had happened? | 0:43:45 | 0:43:46 | |
I have a game on my smartphone - Ruzzle. | 0:43:49 | 0:43:52 | |
And some of our sisters have been involved in teaching and nursing. | 0:43:55 | 0:44:01 | |
Having responsibilities and learning new skills, | 0:44:01 | 0:44:04 | |
keeping the brain active - | 0:44:04 | 0:44:06 | |
this was protecting the nuns | 0:44:06 | 0:44:08 | |
from the cognitive symptoms of the disease. | 0:44:08 | 0:44:12 | |
I am interested in, very much, in science. | 0:44:12 | 0:44:15 | |
I love Scrabble. | 0:44:15 | 0:44:17 | |
I drive the sisters to the doctor's. | 0:44:17 | 0:44:19 | |
Mass every day, and that's... | 0:44:21 | 0:44:23 | |
If I didn't have that, I'd be completely nuts. | 0:44:23 | 0:44:26 | |
Even as parts of the brain tissue degenerate, | 0:44:27 | 0:44:30 | |
mental and physical activity can build new pathways | 0:44:30 | 0:44:33 | |
for solving problems. | 0:44:33 | 0:44:37 | |
This is called cognitive reserve. | 0:44:37 | 0:44:40 | |
Think of the brain like a tool box. | 0:44:45 | 0:44:48 | |
If it's a good tool box, you have all the tools you need, | 0:44:48 | 0:44:50 | |
so I might choose a ratchet to disengage this bolt here, | 0:44:50 | 0:44:55 | |
but what if I didn't have access to this ratchet? | 0:44:55 | 0:44:57 | |
I might be able to find something else, | 0:44:57 | 0:44:59 | |
like, this wrench would do the trick, | 0:44:59 | 0:45:02 | |
and if I didn't have the wrench, I could find something else, | 0:45:02 | 0:45:05 | |
like this adjustable wrench, | 0:45:05 | 0:45:08 | |
and it's the same idea in an active, cognitively-fit brain. | 0:45:08 | 0:45:12 | |
Even as parts of the brain degenerate, | 0:45:12 | 0:45:15 | |
the brain can find other solutions. | 0:45:15 | 0:45:17 | |
By making sure our mental tool box is equipped with | 0:45:21 | 0:45:24 | |
a variety of working tools, | 0:45:24 | 0:45:27 | |
we may be able to slow down the effects of our ageing brains, | 0:45:27 | 0:45:31 | |
and hold on to who we are for as long as possible... | 0:45:31 | 0:45:34 | |
..but who we are is more than just the tasks we can accomplish. | 0:45:37 | 0:45:41 | |
There's something else - | 0:45:43 | 0:45:45 | |
something that's perhaps the greatest mystery | 0:45:45 | 0:45:47 | |
about how the brain works. | 0:45:47 | 0:45:50 | |
It's the sense of "I" - | 0:45:50 | 0:45:53 | |
of "me". | 0:45:53 | 0:45:55 | |
I am a conscious being. | 0:45:56 | 0:45:58 | |
When I think about who I am, | 0:45:58 | 0:46:00 | |
it's taking place inside this head, through these eyes, | 0:46:00 | 0:46:03 | |
from this particular point of view. | 0:46:03 | 0:46:05 | |
Conscious experience is at once the most familiar | 0:46:08 | 0:46:12 | |
and the most perplexing aspect of our identity. | 0:46:12 | 0:46:16 | |
How does the physical stuff of the brain | 0:46:19 | 0:46:22 | |
equal the mental experience of being a conscious human? | 0:46:22 | 0:46:26 | |
How do billions of brain cells produce the extraordinary, | 0:46:28 | 0:46:33 | |
unique feeling of being alive? | 0:46:33 | 0:46:37 | |
Of being me? | 0:46:37 | 0:46:39 | |
I'm made up of 100 billion neurons, | 0:46:39 | 0:46:42 | |
and when I die, | 0:46:42 | 0:46:44 | |
they'll still be there, | 0:46:44 | 0:46:45 | |
but I won't be me any more - | 0:46:45 | 0:46:47 | |
I'll be dead. | 0:46:47 | 0:46:48 | |
So that means who I am is not about the existence of the neurons - | 0:46:48 | 0:46:53 | |
it's about what they do and how they interact. | 0:46:53 | 0:46:56 | |
Imagine that the neurons in your brain | 0:46:56 | 0:46:58 | |
are like a collection of drummers. | 0:46:58 | 0:47:01 | |
THEY DRUM CHAOTICALLY | 0:47:01 | 0:47:04 | |
If each drummer plays completely independently, | 0:47:07 | 0:47:10 | |
the noise that emerges is just that - noise... | 0:47:10 | 0:47:13 | |
..but if they start listening to one another, something more emerges. | 0:47:18 | 0:47:23 | |
THEY DRUM IN TIME WITH EACH OTHER | 0:47:23 | 0:47:26 | |
Out of cacophony appears a rhythm - a performance - | 0:47:29 | 0:47:33 | |
a complex interaction in which all the drummers are playing | 0:47:33 | 0:47:36 | |
both as individuals and as something greater. | 0:47:36 | 0:47:40 | |
And in the same way, | 0:47:42 | 0:47:44 | |
this is how the experience of consciousness arises in the brain. | 0:47:44 | 0:47:49 | |
Billions of interacting neurons work in concert, | 0:47:49 | 0:47:54 | |
and under the right circumstances, | 0:47:54 | 0:47:56 | |
they hit a sweet spot - | 0:47:56 | 0:47:58 | |
the place where the singular, | 0:47:58 | 0:48:01 | |
private experience of being you emerges. | 0:48:01 | 0:48:05 | |
Consciousness is a performance our brain puts on for us | 0:48:09 | 0:48:13 | |
throughout our day. | 0:48:13 | 0:48:15 | |
But there comes a time - in fact, once a day - | 0:48:19 | 0:48:22 | |
when the character of that drumming changes, and it takes me with it. | 0:48:22 | 0:48:27 | |
The best way for me to show you how is for me to go to sleep... | 0:48:27 | 0:48:30 | |
..wearing this. | 0:48:33 | 0:48:35 | |
I'm wearing an electroencephalogram, or EEG. | 0:48:37 | 0:48:42 | |
It records my brain's activity, | 0:48:42 | 0:48:44 | |
giving an idea of how my neurons are interacting while I sleep. | 0:48:44 | 0:48:48 | |
SWITCH CLICKS | 0:48:50 | 0:48:52 | |
When you go to sleep, | 0:48:52 | 0:48:53 | |
your body seems to shut down, | 0:48:53 | 0:48:55 | |
so you might think that the drumbeat in your brain would do the same... | 0:48:55 | 0:48:59 | |
BIRDS TWITTER | 0:49:01 | 0:49:03 | |
..but the reality is quite different. | 0:49:03 | 0:49:06 | |
So, at the beginning of the night, this is my brain activity. | 0:49:08 | 0:49:11 | |
I was still awake. | 0:49:11 | 0:49:12 | |
But if I go a little bit later, | 0:49:12 | 0:49:15 | |
I have activity that looks as though I'm still awake, | 0:49:15 | 0:49:17 | |
but in fact, I wasn't. | 0:49:17 | 0:49:19 | |
I was in dream sleep here, | 0:49:19 | 0:49:21 | |
which is a form of consciousness full of vision and sounds | 0:49:21 | 0:49:25 | |
and strange situations and magnified emotions. | 0:49:25 | 0:49:29 | |
It's me, but a bizarre form of me, but things get stranger. | 0:49:29 | 0:49:34 | |
At this part of the night, I'm in deep sleep. | 0:49:34 | 0:49:37 | |
SLOW, STEADY DRUMBEAT | 0:49:37 | 0:49:39 | |
My brain is still there, and it's still active, | 0:49:39 | 0:49:43 | |
but I am gone. | 0:49:43 | 0:49:45 | |
In deep sleep, our neurons become more synchronised. | 0:49:48 | 0:49:53 | |
It's impossible for a complex rhythm to emerge from this, | 0:49:53 | 0:49:58 | |
which means, in this brain state, | 0:49:58 | 0:50:00 | |
there's no hope of conscious experience. | 0:50:00 | 0:50:05 | |
No identity, no personality - nothing. | 0:50:05 | 0:50:09 | |
ONE LAST BEAT AND DRUMMING STOPS | 0:50:11 | 0:50:14 | |
I am the relationship between my neurons. | 0:50:14 | 0:50:17 | |
Change their interaction just a little bit, | 0:50:17 | 0:50:19 | |
and then I find myself in a dream world, | 0:50:19 | 0:50:22 | |
where I disappear... LIGHT DRUMMING | 0:50:22 | 0:50:25 | |
..or I return. | 0:50:25 | 0:50:27 | |
When the neurons find themselves back in their proper rhythm, | 0:50:27 | 0:50:31 | |
I miraculously come back online. | 0:50:31 | 0:50:33 | |
Consciousness, in the sense of being "me", | 0:50:36 | 0:50:39 | |
somehow emerges from the complex rhythms of our neurons firing... | 0:50:39 | 0:50:44 | |
..but why consciousness emerges at all still remains | 0:50:50 | 0:50:54 | |
one of the great unsolved mysteries of modern science. | 0:50:54 | 0:50:58 | |
After I finished graduate school, | 0:51:00 | 0:51:02 | |
I had the opportunity to work with one of my scientific heroes - | 0:51:02 | 0:51:05 | |
Francis Crick, who had codiscovered the structure of DNA. | 0:51:05 | 0:51:09 | |
By the time I met him, | 0:51:10 | 0:51:11 | |
he had turned his attention to the question of consciousness - | 0:51:11 | 0:51:14 | |
why does it feel like anything to be alive? | 0:51:14 | 0:51:17 | |
And I remember when I went into his office that he had | 0:51:17 | 0:51:20 | |
a lot of writing on the chalkboard, | 0:51:20 | 0:51:21 | |
but there was one word that was written in the middle, | 0:51:21 | 0:51:24 | |
and it was bigger than the rest. | 0:51:24 | 0:51:25 | |
That word was "meaning". | 0:51:25 | 0:51:28 | |
You see, we know a lot about the mechanics of neurons | 0:51:28 | 0:51:31 | |
and networks and brain regions, but what we don't know | 0:51:31 | 0:51:34 | |
about those signals coursing around in the brain, | 0:51:34 | 0:51:36 | |
is why we care about any of them - | 0:51:36 | 0:51:38 | |
why anything carries meaning. | 0:51:38 | 0:51:40 | |
How can the physical cells in my brain | 0:51:42 | 0:51:45 | |
cause me to care about anything? | 0:51:45 | 0:51:48 | |
The "meaning" problem is not yet solved, | 0:51:49 | 0:51:52 | |
but here's what I think we can say. | 0:51:52 | 0:51:54 | |
The meaning of something to you | 0:51:54 | 0:51:56 | |
is all about your web of associations, | 0:51:56 | 0:51:59 | |
based on your whole history of experiences. | 0:51:59 | 0:52:02 | |
Just imagine I were to take a piece of cloth | 0:52:02 | 0:52:04 | |
and put some coloured pigments on it, | 0:52:04 | 0:52:06 | |
and then put that in front of your visual system. | 0:52:06 | 0:52:09 | |
Is that likely to trigger memories and fire up your imagination? | 0:52:09 | 0:52:13 | |
Well, probably not, because it's just a piece of cloth, right? | 0:52:13 | 0:52:16 | |
Here it is - | 0:52:21 | 0:52:22 | |
pigments arranged on a cloth in the pattern of a national flag. | 0:52:22 | 0:52:26 | |
Presumably, this triggers something for you, | 0:52:30 | 0:52:33 | |
but the meaning is unique to your history of experiences. | 0:52:33 | 0:52:36 | |
We don't perceive objects as they are. | 0:52:41 | 0:52:44 | |
We perceive them as we are. | 0:52:44 | 0:52:47 | |
Each of us is on our own trajectory, | 0:52:50 | 0:52:53 | |
steered by our genes and our experiences, and as a result, | 0:52:53 | 0:52:57 | |
every brain has a different neural reality. | 0:52:57 | 0:53:00 | |
Brains end up being as unique as snowflakes. | 0:53:00 | 0:53:04 | |
Your story plays out across a lifetime. | 0:53:07 | 0:53:10 | |
Trillions of new connections are continually forming | 0:53:10 | 0:53:14 | |
and reforming, as we learn, and create memories | 0:53:14 | 0:53:19 | |
and become who we are. | 0:53:19 | 0:53:21 | |
The unique connections in your brain | 0:53:23 | 0:53:26 | |
mean no-one like you has ever existed... | 0:53:26 | 0:53:29 | |
..or will ever exist again. | 0:53:32 | 0:53:34 | |
For me, the wonder of the human brain is that, | 0:53:36 | 0:53:39 | |
from a vast network of physical pieces and parts, | 0:53:39 | 0:53:42 | |
the experience of being you or me emerges, | 0:53:42 | 0:53:47 | |
and because the physical stuff is changing, we are too. | 0:53:47 | 0:53:51 | |
We're not fixed. | 0:53:51 | 0:53:53 | |
From cradle to grave, we are works in progress. | 0:53:53 | 0:53:57 | |
Next time on The Brain... | 0:54:13 | 0:54:15 | |
I'm going to investigate the weird ways our brain | 0:54:15 | 0:54:18 | |
secretly controls everything that we do. | 0:54:18 | 0:54:21 | |
Oh, God, that was amazing. | 0:54:22 | 0:54:25 | |
This is the story of everything the brain does | 0:54:26 | 0:54:30 | |
that remains hidden from us. | 0:54:30 | 0:54:32 | |
How, without our awareness, the brain makes decisions | 0:54:33 | 0:54:37 | |
and controls the complex machinery of the body. | 0:54:37 | 0:54:40 | |
ALARM BEEPS | 0:54:45 | 0:54:47 | |
This is the birth of you. | 0:54:47 | 0:54:50 | |
Waking up is the moment when our conscious brains come online, | 0:54:51 | 0:54:56 | |
but it's also the beginning of a great deception. | 0:54:56 | 0:54:59 | |
But here's the surprise - | 0:55:00 | 0:55:02 | |
all of that conscious you | 0:55:02 | 0:55:05 | |
makes up the smallest bit of the activity in your brain. | 0:55:05 | 0:55:08 | |
The conscious you thinks it's the captain of the ship, | 0:55:10 | 0:55:15 | |
but in truth, it's nothing more than a stowaway. | 0:55:15 | 0:55:18 | |
This is the story of everything the brain does | 0:55:20 | 0:55:23 | |
that remains hidden from us. | 0:55:23 | 0:55:27 | |
It is the story of who's really in control. | 0:55:27 | 0:55:31 |