Browse content similar to Who's in Charge Here Anyway?. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Watch this. I've been practising at least two months. | 0:00:02 | 0:00:04 | |
Why won't my brain let me juggle? | 0:00:08 | 0:00:11 | |
APPLAUSE | 0:00:37 | 0:00:39 | |
Welcome to the 2011 Royal Institution Christmas lectures. | 0:00:53 | 0:00:57 | |
I'm Bruce Hood. I'm a scientist, not a juggler, as you've just seen. | 0:00:57 | 0:01:01 | |
In tonight's lecture we're going to look at how the brain works. | 0:01:01 | 0:01:05 | |
I wasn't born to juggle and it is hard | 0:01:05 | 0:01:07 | |
because it requires coordination, and if you lose concentration everything falls apart. | 0:01:07 | 0:01:13 | |
But it is a skill you can acquire. All of us have the potential to gain new skills like juggling, | 0:01:13 | 0:01:17 | |
or improve on the ones that we have. | 0:01:17 | 0:01:21 | |
This is because we have brains that are flexible, that are adaptive. | 0:01:21 | 0:01:24 | |
Brains that can learn. | 0:01:24 | 0:01:27 | |
In tonight's lecture, we're going to look at how the brain learns | 0:01:27 | 0:01:30 | |
because learning is what makes us intelligent. | 0:01:30 | 0:01:33 | |
As human beings, much of who we are is how we learn. | 0:01:33 | 0:01:36 | |
All the memories, all the actions, all the experiences shape us. | 0:01:36 | 0:01:41 | |
There's a lot of stuff out there to learn and we have to make choices. | 0:01:41 | 0:01:44 | |
So how does our brain make those decisions? | 0:01:44 | 0:01:47 | |
Who's in charge here anyway? | 0:01:47 | 0:01:49 | |
We're going to start by investigating a key aspect of this - our memory. | 0:01:49 | 0:01:53 | |
Ladies and gentlemen, give a very warm welcome | 0:01:53 | 0:01:56 | |
to someone who has one of the world's best memories. | 0:01:56 | 0:01:58 | |
He has been world memory champion eight times. Dominic O'Brien! | 0:01:58 | 0:02:03 | |
APPLAUSE | 0:02:03 | 0:02:04 | |
Dominic, we gave out a pack of 52 cards to the children before the lecture started. | 0:02:15 | 0:02:20 | |
We got them to write their name and birthday on that card. | 0:02:20 | 0:02:24 | |
-Then we gave the same cards to you to memorise. -Yes. | 0:02:24 | 0:02:28 | |
-So do you think you've been able to do that? -Well, in the time I had, | 0:02:28 | 0:02:31 | |
there was a lot of information there. | 0:02:31 | 0:02:33 | |
Three lots of sequences and dates | 0:02:33 | 0:02:35 | |
so it's all jumbled up in my head but I think I've got a hold of it. | 0:02:35 | 0:02:39 | |
OK, let's put you to the test. | 0:02:39 | 0:02:41 | |
I am going to blindfold you, just so you don't recognise the children. | 0:02:41 | 0:02:44 | |
-Would you mind taking the blindfold, and pop that on. -All right. | 0:02:44 | 0:02:48 | |
When that's on, I'm going to get the children who had the playing cards earlier to stand up. | 0:02:48 | 0:02:53 | |
So the children that had the playing cards, stand up, please. | 0:02:53 | 0:02:57 | |
Oh, wow, OK. So I'm just going to select one at random. How about you? | 0:03:01 | 0:03:07 | |
-Just hold up your card, say what the card is. -Nine of hearts. | 0:03:07 | 0:03:11 | |
-The nine of hearts, Dominic. The nine of hearts. -The nine of hearts. | 0:03:11 | 0:03:16 | |
-Is your name...Iona? -Yes. | 0:03:16 | 0:03:22 | |
-And is your birthday the 30th... of September? -Yes. | 0:03:22 | 0:03:29 | |
-Is that correct? -Yes. -OK, let's try another. | 0:03:29 | 0:03:34 | |
Hold up your card. | 0:03:34 | 0:03:36 | |
-Eight of clubs. -Eight of clubs. -Oh, we're doing it that way round. | 0:03:36 | 0:03:41 | |
-OK. Eight of clubs. Is your name Nick? -Yes. | 0:03:41 | 0:03:43 | |
And your birthday, I think, is in December, is that right? | 0:03:43 | 0:03:46 | |
-Is it the 6th December? -Yes. -OK. -Good, well done. | 0:03:46 | 0:03:52 | |
-Sir, with the white T-shirt. What's your card? -The three of clubs. | 0:03:54 | 0:03:58 | |
-OK. -The three of clubs, let's start with your birthday. | 0:03:58 | 0:04:02 | |
-I think you were born in J... January. -Yes. | 0:04:02 | 0:04:07 | |
The 19th January, and your name is Charlie. | 0:04:07 | 0:04:10 | |
-Yes. -Is that right? Round of applause. | 0:04:10 | 0:04:14 | |
APPLAUSE | 0:04:14 | 0:04:15 | |
OK, congratulations. That's amazing. We're going to have to find out how you do that. | 0:04:15 | 0:04:19 | |
Would you mind coming back later on and explaining? | 0:04:19 | 0:04:22 | |
I'll reveal some of the secrets later. | 0:04:22 | 0:04:24 | |
A round of applause for Dominic! | 0:04:24 | 0:04:26 | |
APPLAUSE | 0:04:26 | 0:04:28 | |
Please take a seat, everyone. So, does Dominic have a special brain? | 0:04:32 | 0:04:37 | |
Is he from outer space? No, he has a normal brain. | 0:04:37 | 0:04:39 | |
And you all have the potential to train your brain to be as good, to acquire new information. | 0:04:39 | 0:04:44 | |
But how do you go about this? Well, it's all to do with learning. | 0:04:44 | 0:04:48 | |
Learning takes place whenever we remember experiences from the past. | 0:04:48 | 0:04:52 | |
Each time you encounter an experience, | 0:04:52 | 0:04:54 | |
this creates a pattern of electrical activity in your brain. | 0:04:54 | 0:04:57 | |
Memories are patterns of electrical activity in the connections between the brain cells, called the neurons. | 0:04:57 | 0:05:03 | |
When you repeat experiences, you're repeating the patterns of firing until it becomes familiar. | 0:05:03 | 0:05:08 | |
Your brain is simply recognising similar events. | 0:05:08 | 0:05:10 | |
This explains why you often don't notice things that you've encountered many times | 0:05:10 | 0:05:14 | |
because your brain has got it well encoded and got used to it. | 0:05:14 | 0:05:18 | |
But it also explains why you suddenly notice something that you didn't expect. | 0:05:18 | 0:05:23 | |
LOUD BANG | 0:05:30 | 0:05:31 | |
SURPRISED SHRIEKS | 0:05:31 | 0:05:32 | |
LAUGHTER AND APPLAUSE | 0:05:39 | 0:05:42 | |
So your brain was alerted to this new experience. | 0:05:49 | 0:05:52 | |
Warning bells were set off, telling you to pay special attention | 0:05:52 | 0:05:56 | |
to deal with what could be a potential problem. | 0:05:56 | 0:06:00 | |
However, if I do it again - shall I? | 0:06:00 | 0:06:02 | |
Yes? Ready? | 0:06:04 | 0:06:07 | |
LOUD BANG | 0:06:09 | 0:06:10 | |
So this time you expected it and were less bothered. | 0:06:13 | 0:06:17 | |
Eventually, if I kept pressing it, you wouldn't respond at all. | 0:06:17 | 0:06:21 | |
This is because you've learnt it. It's a form of learning called habituation. | 0:06:21 | 0:06:25 | |
Your brain has become familiar with the event and you anticipate it. | 0:06:25 | 0:06:29 | |
Even animals with very simple brains can learn through habituation | 0:06:29 | 0:06:33 | |
and we know this learning is due to changing connections in the brain. | 0:06:33 | 0:06:37 | |
But you don't have to be aware. Habituation is a type of learning that's unconscious, | 0:06:37 | 0:06:41 | |
you don't have to think about it. | 0:06:41 | 0:06:42 | |
The brain is simply processing | 0:06:42 | 0:06:44 | |
and storing experiences without you even realising it. | 0:06:44 | 0:06:47 | |
But what's remarkable is that this kind of unconscious learning | 0:06:47 | 0:06:51 | |
is at the very heart of one of our most sophisticated | 0:06:51 | 0:06:54 | |
and unique abilities as a species, our ability to learn language. | 0:06:54 | 0:06:59 | |
If you think about it, we don't teach our babies to speak at first, | 0:06:59 | 0:07:02 | |
and yet most babies learn their first words by their first birthdays. | 0:07:02 | 0:07:06 | |
In fact, any baby has the potential to learn any language | 0:07:06 | 0:07:09 | |
wherever it is raised in the world. | 0:07:09 | 0:07:12 | |
Is the baby really trying to learn the language? | 0:07:12 | 0:07:14 | |
I don't think so. I think their brains are programmed | 0:07:14 | 0:07:17 | |
to rapidly encode the languages they hear, but this ability deteriorates as you get older. | 0:07:17 | 0:07:22 | |
So I'm going to test this audience. | 0:07:22 | 0:07:24 | |
Let's test how good you are at telling the difference between languages you may have never heard. | 0:07:24 | 0:07:30 | |
First of all, listen to the sounds from the English language. This is me speaking. | 0:07:30 | 0:07:34 | |
See if they're the same or different. | 0:07:34 | 0:07:36 | |
Ba. Da. | 0:07:36 | 0:07:38 | |
Are they the same? Hands up if you think they're the same. | 0:07:38 | 0:07:41 | |
Hands up if you think they're different. | 0:07:41 | 0:07:44 | |
OK, let's try these next two. | 0:07:44 | 0:07:47 | |
TWO SIMILAR SOUNDS | 0:07:49 | 0:07:50 | |
Are they the same? | 0:07:50 | 0:07:53 | |
Or are they different? | 0:07:53 | 0:07:55 | |
Now actually, do we have any Hindi speakers here? | 0:07:56 | 0:07:59 | |
-Are they the same or different? -Different. -Your name is? -Preeta. | 0:08:01 | 0:08:05 | |
-Preesal. -Preeta. -Preeta. What's the first word? | 0:08:05 | 0:08:09 | |
SHE SAYS HINDI WORD | 0:08:09 | 0:08:10 | |
Can you say it, we can't hear it very well? | 0:08:10 | 0:08:12 | |
SHE SAYS HINDI WORD | 0:08:12 | 0:08:15 | |
And the second one is... | 0:08:15 | 0:08:17 | |
And what do they mean? | 0:08:17 | 0:08:19 | |
-The first one means till tomorrow. -Till tomorrow. -Yeah, and the second one doesn't mean anything. | 0:08:19 | 0:08:24 | |
It doesn't mean anything at all? It's not even a word? | 0:08:24 | 0:08:28 | |
Can we hear it one more time? | 0:08:28 | 0:08:30 | |
HINDI WORDS | 0:08:30 | 0:08:32 | |
So the first sound means till, as in till tomorrow, and the second word is just nonsense. | 0:08:32 | 0:08:37 | |
But to us, we can't hear the difference. It's quite remarkable. | 0:08:37 | 0:08:41 | |
Unless you heard Hindi as a baby, you wouldn't know it. | 0:08:41 | 0:08:44 | |
This ability to encode information and early experiences is called plasticity, brain plasticity, | 0:08:44 | 0:08:50 | |
which comes from the Greek "to be moulded". | 0:08:50 | 0:08:52 | |
So when you're born, | 0:08:52 | 0:08:54 | |
you have almost all the neurons you'll ever have in your brain. | 0:08:54 | 0:08:57 | |
There's about 100 billion of them, but they're not connected up yet. | 0:08:57 | 0:09:01 | |
So let me show you with a diagram, a model of my brain. | 0:09:01 | 0:09:04 | |
So this is a picture of me as a baby. Let's see if I can get it. | 0:09:06 | 0:09:10 | |
-AUDIENCE: Ahhh! -Yes. | 0:09:10 | 0:09:12 | |
It's my christening dress. As you can see, I'm very happy(!) | 0:09:12 | 0:09:17 | |
It is actually me. Here's a model of my brain. | 0:09:17 | 0:09:20 | |
Each one of these little nodes here, these are the neurons I was telling you about, the brain cells. | 0:09:20 | 0:09:25 | |
Between the neurons are the connections, the dendrites, | 0:09:25 | 0:09:28 | |
which are the ways the neurons talk to each other. | 0:09:28 | 0:09:31 | |
When you're born as a newborn, there's very few connections. | 0:09:31 | 0:09:35 | |
Now this is me at six months. Now don't laugh. | 0:09:35 | 0:09:39 | |
LAUGHTER | 0:09:39 | 0:09:41 | |
I knew that was coming! OK, now here's the brain model of my brain. | 0:09:42 | 0:09:47 | |
Again, we have these same neurons, | 0:09:47 | 0:09:51 | |
but there's actually many more connections now. | 0:09:51 | 0:09:54 | |
It's as if the neurons are wiring themselves up. The brain is sending out the communications | 0:09:54 | 0:09:59 | |
telling the brain cells to talk to each other. | 0:09:59 | 0:10:01 | |
In fact, there's almost the same number of brain cells. | 0:10:01 | 0:10:04 | |
You have almost all the brain cells you'll ever have, as a baby. | 0:10:04 | 0:10:08 | |
Here's me as a three-year-old. | 0:10:08 | 0:10:11 | |
There's something about me not wearing clothes, OK? I get it. It was hot, it was! | 0:10:13 | 0:10:17 | |
Now look at the brain mould here. | 0:10:17 | 0:10:20 | |
Again, we have the same number of brain cells, | 0:10:20 | 0:10:23 | |
but the connections are much thicker because the brain cells are communicating. | 0:10:23 | 0:10:27 | |
As they communicate, these connections become thicker. | 0:10:27 | 0:10:30 | |
This connection, this thickening reflects the experience | 0:10:30 | 0:10:34 | |
as the brain is moulding itself to the world around it. | 0:10:34 | 0:10:40 | |
But whether it actually forms connections or not depends on experience. | 0:10:40 | 0:10:43 | |
If you never experience events, the connections never come. | 0:10:43 | 0:10:48 | |
This is because you lose them. | 0:10:48 | 0:10:50 | |
Effectively... The brain, if it doesn't get the experience, | 0:10:51 | 0:10:55 | |
prunes back those connections to make it more efficient. | 0:10:55 | 0:10:59 | |
In this way, the brain is moulding itself | 0:10:59 | 0:11:02 | |
and becoming much more tuned into the environment. | 0:11:02 | 0:11:05 | |
Many aspects of pruning happen early in childhood, | 0:11:05 | 0:11:07 | |
which is one of the reasons why brains are better when you're younger | 0:11:07 | 0:11:11 | |
for learning new skills than older brains. | 0:11:11 | 0:11:13 | |
This partly explains the saying, "It's hard to teach an old dog new tricks". | 0:11:13 | 0:11:17 | |
When it comes to neural connections, the brain needs to keep them active or they wither away. | 0:11:17 | 0:11:23 | |
In other words, you have to use them or you lose them. | 0:11:23 | 0:11:27 | |
Someone mentioned earlier the urban myth that you only use 10% of your brain. | 0:11:27 | 0:11:32 | |
It can't possibly be true because, if you weren't using those parts of your brain, they would wither away. | 0:11:32 | 0:11:37 | |
And without 90% of your brain, you'd be in a lot of trouble. | 0:11:37 | 0:11:42 | |
When early connections are formed, they can lead to long-term consequences. | 0:11:42 | 0:11:46 | |
What happens when I play this...? | 0:11:46 | 0:11:48 | |
GREENSLEEVES PLAYS | 0:11:48 | 0:11:51 | |
Anybody else fancy an ice cream? | 0:11:51 | 0:11:53 | |
Well to me, when I hear that, I think about ice cream | 0:11:53 | 0:11:57 | |
and my mouth starts to water and salivate. | 0:11:57 | 0:11:59 | |
That's because, when I was a child, I used to buy ice creams from a van, | 0:11:59 | 0:12:02 | |
they used to play those sorts of jingles. | 0:12:02 | 0:12:05 | |
So just the sound of that stays with me, | 0:12:05 | 0:12:06 | |
and when I'm an adult now my mouth starts to water. | 0:12:06 | 0:12:10 | |
Because I'm anticipating the ice cream I'm about to have. | 0:12:10 | 0:12:13 | |
It's a classic Pavlovian response, named after the famous Russian scientist, Ivan Pavlov. | 0:12:13 | 0:12:19 | |
Ivan Pavlov was working on the digestion system of dogs | 0:12:19 | 0:12:23 | |
when he discovered that if you flashed a light or rang a bell | 0:12:23 | 0:12:26 | |
at the same time you delivered the food, the dogs would associate | 0:12:26 | 0:12:30 | |
the light to the food and begin to salivate, even though there was no food there. | 0:12:30 | 0:12:35 | |
Pavlov proved that sights and sounds that don't normally signal food can be learned by repeated association | 0:12:35 | 0:12:41 | |
to trigger our stomachs and mouths and make our mouths water. | 0:12:41 | 0:12:44 | |
So the brain has learnt by associating different neural patterns, | 0:12:44 | 0:12:47 | |
one thing should lead to another. | 0:12:47 | 0:12:50 | |
This explains why you feel hungry when you're in the playground and you hear the dinner bell ringing. | 0:12:50 | 0:12:55 | |
Salivating is an automatic behaviour. | 0:12:55 | 0:12:57 | |
However, many behaviours, especially those in higher animals, aren't automatic. | 0:12:57 | 0:13:01 | |
They can be shaped through training, so let's meet one of Britain's best examples of training. | 0:13:01 | 0:13:06 | |
Ladies and gentlemen, a big round of applause for Morgan and Venetia. | 0:13:06 | 0:13:10 | |
APPLAUSE | 0:13:10 | 0:13:11 | |
-Good boy. Wait. -So this is Morgan. -Yes. | 0:13:18 | 0:13:21 | |
-Let's see what Morgan can really do. -Right. | 0:13:21 | 0:13:23 | |
Round. | 0:13:26 | 0:13:27 | |
Round. | 0:13:28 | 0:13:30 | |
Ready? Good. | 0:13:30 | 0:13:33 | |
Good boy. | 0:13:35 | 0:13:36 | |
Weave. | 0:13:36 | 0:13:37 | |
Weave. | 0:13:38 | 0:13:39 | |
Quick. Weave. | 0:13:43 | 0:13:45 | |
Wiggle. | 0:13:45 | 0:13:47 | |
Wiggle. | 0:13:47 | 0:13:49 | |
Wiggle. Good. | 0:13:49 | 0:13:51 | |
Walk. Come. Round. Middle. | 0:13:58 | 0:14:02 | |
APPLAUSE | 0:14:16 | 0:14:18 | |
-Very good. -Thank you. -So everyone would like to know, | 0:14:22 | 0:14:26 | |
-what kind of breed is Morgan? -He's a border collie. -And how old is he? | 0:14:26 | 0:14:30 | |
-Three-and-a-half. -Right, and you've trained him to dance, I take it? | 0:14:30 | 0:14:33 | |
-Yes, from a puppy. -How do you do that? | 0:14:33 | 0:14:36 | |
I use a clicker, and from eight weeks old we just teach him | 0:14:36 | 0:14:41 | |
the basics of sit, give a paw, and any other commands. | 0:14:41 | 0:14:46 | |
-Something very simple. -So when he hears the click, what do you do? | 0:14:46 | 0:14:51 | |
While he's actually doing the process... Twist. CLICK | 0:14:51 | 0:14:54 | |
You've got to do it while they're in the middle of the process | 0:14:54 | 0:14:58 | |
rather than wait until the end. Twirly. Good boy. | 0:14:58 | 0:15:03 | |
So Morgan has learned to associate the sound with the reward, | 0:15:03 | 0:15:07 | |
and you can use this to shape his behaviour? | 0:15:07 | 0:15:09 | |
Yes, yes, and once they've learned from the clicker, I use my voice, | 0:15:09 | 0:15:14 | |
and I don't need to use the clicker after that. | 0:15:14 | 0:15:17 | |
-He gets to know the commands. -That's fascinating. | 0:15:17 | 0:15:20 | |
Can we give a big round of applause? | 0:15:20 | 0:15:22 | |
APPLAUSE | 0:15:22 | 0:15:24 | |
Well, that's one dog that can learn new tricks. | 0:15:32 | 0:15:35 | |
Morgan learnt his amazing skills through training. | 0:15:35 | 0:15:38 | |
I mean, after all, he'd never have taught himself to dance on his own. | 0:15:38 | 0:15:41 | |
He's learnt this because Venetia has trained him with a clicker and association. | 0:15:41 | 0:15:46 | |
Humans can also be trained, but as a social animal there's also other things that motivate our learning, | 0:15:46 | 0:15:51 | |
such as rewards, seeking praise from other people. | 0:15:51 | 0:15:55 | |
In fact, as humans, our behaviour is often motivated by our own personal goals. | 0:15:55 | 0:15:59 | |
So the skills and information are stored as memories in our brain. | 0:15:59 | 0:16:03 | |
Initially the first stage of storage is in the short-term memory. | 0:16:03 | 0:16:07 | |
It's a sort of temporary holding bay, but there's a limit | 0:16:07 | 0:16:10 | |
to how much information you can hold and how long you can hold it for. | 0:16:10 | 0:16:14 | |
So let's test someone's short-term memory. | 0:16:14 | 0:16:16 | |
Who wants to be a volunteer in a memory test? | 0:16:16 | 0:16:20 | |
I think we're going to go for the gentleman in the orange. | 0:16:20 | 0:16:24 | |
Would you like to come on down? | 0:16:24 | 0:16:26 | |
APPLAUSE | 0:16:26 | 0:16:28 | |
-So what's your name, sir? -I'm Tom. -And how old are you, Tom? | 0:16:35 | 0:16:39 | |
-I'm 11. -OK, Tom. Would you like to take a seat? | 0:16:39 | 0:16:42 | |
Because we're going to test your memory. | 0:16:42 | 0:16:44 | |
We're going to show you a lot of items and I want you to remember as many as possible, | 0:16:44 | 0:16:48 | |
and I will be assisted by Talia, who will keep track of all the items you've remembered. | 0:16:48 | 0:16:52 | |
After you've seen them, I will ask you to recall as many as possible. | 0:16:52 | 0:16:56 | |
-Do you think you're up to that? -I'll try. -Try your best. Are you ready? | 0:16:56 | 0:17:00 | |
-Yep. -OK, I'll stand back and let's start the game. | 0:17:00 | 0:17:04 | |
A pound coin. | 0:17:06 | 0:17:07 | |
A diamond lattice. | 0:17:08 | 0:17:10 | |
A skull. | 0:17:12 | 0:17:14 | |
A cuddly toy. | 0:17:14 | 0:17:16 | |
A hose. | 0:17:16 | 0:17:18 | |
A pair of die. | 0:17:20 | 0:17:22 | |
A broom. | 0:17:24 | 0:17:27 | |
A hat. | 0:17:27 | 0:17:28 | |
A ball. | 0:17:30 | 0:17:32 | |
A red hat. | 0:17:32 | 0:17:34 | |
A yellow bucket. | 0:17:35 | 0:17:37 | |
A garden blaster thing. | 0:17:38 | 0:17:40 | |
A kettle. | 0:17:40 | 0:17:41 | |
A camcorder. | 0:17:44 | 0:17:46 | |
A truck. | 0:17:48 | 0:17:49 | |
A mirror. | 0:17:50 | 0:17:52 | |
Juggling balls. | 0:17:53 | 0:17:54 | |
An alarm clock. | 0:17:56 | 0:17:57 | |
The world. | 0:17:59 | 0:18:00 | |
A tyre. | 0:18:01 | 0:18:03 | |
A member of the audience! | 0:18:03 | 0:18:05 | |
OK, well done. | 0:18:07 | 0:18:09 | |
I'm going to test your memory. OK, quiet everyone | 0:18:09 | 0:18:11 | |
because this will be very hard. Are you ready? | 0:18:11 | 0:18:14 | |
In 30 seconds, can you remember as many items as possible. | 0:18:14 | 0:18:17 | |
-OK. -Ready? | 0:18:18 | 0:18:20 | |
-Go. -A tie. A skull. | 0:18:20 | 0:18:22 | |
A broom. Erm, a coin. | 0:18:22 | 0:18:26 | |
-There was a member of the audience. -Yes. | 0:18:26 | 0:18:28 | |
There was a kind of atom thing at the beginning. | 0:18:30 | 0:18:32 | |
Atom thing at the beginning. | 0:18:32 | 0:18:35 | |
Diamond lattice. 15 seconds. | 0:18:35 | 0:18:38 | |
-There was a blower thing. -Blower thing. The odd thing. | 0:18:38 | 0:18:40 | |
There was a... | 0:18:40 | 0:18:43 | |
-It's really hard. -It's hard. | 0:18:47 | 0:18:50 | |
Oh, well done! Didn't he do well? | 0:18:51 | 0:18:53 | |
APPLAUSE | 0:18:53 | 0:18:55 | |
I've been dying to say that! | 0:18:55 | 0:18:57 | |
Will you return to your seat? | 0:19:00 | 0:19:02 | |
OK, so let's see how Tom did. | 0:19:02 | 0:19:05 | |
OK, let's turn it around. | 0:19:05 | 0:19:06 | |
Now, this is very interesting. | 0:19:08 | 0:19:10 | |
This is very typical for this kind of test. What Tom remembered was everything at the beginning | 0:19:10 | 0:19:16 | |
because he'd just begun the test. | 0:19:16 | 0:19:18 | |
He also remembered the item at the end, partly because it was funny, | 0:19:18 | 0:19:23 | |
but also because it was the last item in the list. | 0:19:23 | 0:19:26 | |
He forgot many things in the middle. The odd thing he remembered was a leaf blower, | 0:19:26 | 0:19:30 | |
which is an odd thing to see. | 0:19:30 | 0:19:32 | |
This reflects the fact that you tend to remember things right at the beginning and at the end, | 0:19:32 | 0:19:36 | |
and odd things which are novel stand out like a sore thumb. | 0:19:36 | 0:19:41 | |
So, other items like a cuddly toy, when we used to watch this programme, | 0:19:41 | 0:19:46 | |
was always the thing people remembered. It's a strange thing to have. | 0:19:46 | 0:19:49 | |
This is a very interesting learning lesson because, | 0:19:49 | 0:19:52 | |
if you, for example, want to be remembered and you're taking part in an audition | 0:19:52 | 0:19:57 | |
or you're trying to get a job, | 0:19:57 | 0:19:58 | |
it's good to be at the beginning of the list or the end | 0:19:58 | 0:20:01 | |
because we remember the people who start off the interview, and at the end. | 0:20:01 | 0:20:05 | |
If you can't be at the beginning or the end, well just be outstanding because... | 0:20:05 | 0:20:09 | |
-Hey! Stop! Thief! -What the...?! Oh I don't know, another problem tonight! | 0:20:09 | 0:20:15 | |
Did anyone see that? How many of you saw that? Hands up if you saw that. | 0:20:15 | 0:20:19 | |
OK, clearly we have some very dodgy characters around the Royal Institution Christmas lecture. | 0:20:19 | 0:20:25 | |
I need to get on with the lecture. Where was I? Oh yes, memory. | 0:20:25 | 0:20:30 | |
Memory of course can be easily distracted | 0:20:30 | 0:20:34 | |
and it's not that good, quite poor. | 0:20:34 | 0:20:37 | |
So, if our short-term memory is so poor and easily disrupted, | 0:20:37 | 0:20:41 | |
how did our memory expert at the beginning of the lecture succeed in remembering all those cards? | 0:20:41 | 0:20:46 | |
I mean, that's really quite remarkable. | 0:20:46 | 0:20:49 | |
Well, the secret to his success is learning through organisation. | 0:20:49 | 0:20:54 | |
Try this out. How many of you can remember this number...? | 0:20:54 | 0:20:58 | |
191 4191. | 0:20:58 | 0:21:02 | |
Hands up if you think you've got that. Let's test you out. | 0:21:02 | 0:21:05 | |
I'm going to try you. | 0:21:05 | 0:21:08 | |
-191 4191. -OK, good. What about if I give you a second number? | 0:21:08 | 0:21:14 | |
How about 819 391 945? | 0:21:14 | 0:21:17 | |
819 315...? | 0:21:17 | 0:21:21 | |
Anyone help him out? | 0:21:21 | 0:21:24 | |
391 945. | 0:21:24 | 0:21:27 | |
So the first one, what was the first number, by the way? | 0:21:27 | 0:21:31 | |
-I've completely forgotten! -You see! | 0:21:31 | 0:21:34 | |
This demonstrates how short-term memory is very limited, | 0:21:34 | 0:21:38 | |
and when you have to remember items that are very similar | 0:21:38 | 0:21:41 | |
you get confused and easily forget them. | 0:21:41 | 0:21:43 | |
One way to improve that is to chunk them together | 0:21:43 | 0:21:46 | |
so if we look up here, these are the numbers I was reading to you. | 0:21:46 | 0:21:50 | |
1914191819391945. | 0:21:50 | 0:21:53 | |
Now, can anyone see some patterns? | 0:21:53 | 0:21:55 | |
Let's just chunk them into smaller groups. | 0:21:55 | 0:21:58 | |
There we've got 1914 1918 1939 1945. | 0:21:58 | 0:22:03 | |
Is there any historians in the audience? What are those numbers? | 0:22:03 | 0:22:07 | |
What do they stand for? | 0:22:07 | 0:22:10 | |
-Shout it out. -AUDIENCE: The World Wars. | 0:22:10 | 0:22:12 | |
That's right, they just happen to be the start and the end of the World Wars. | 0:22:12 | 0:22:16 | |
Now, of course, not all numbers just happen to fall into place as being memorable, | 0:22:16 | 0:22:22 | |
but you can organise information into more meaningful patterns to make them easier to remember. | 0:22:22 | 0:22:27 | |
If they don't readily fall into a more memorable pattern, | 0:22:27 | 0:22:31 | |
you can learn them to associate them with a pattern that's easier. This technique is called mnemonics. | 0:22:31 | 0:22:36 | |
I've got one... Richard Of York Gave Battle In Vain. | 0:22:36 | 0:22:39 | |
Does anybody know what that is? Sir? The colours of the rainbow. | 0:22:39 | 0:22:43 | |
-Has anyone got a mnemonic? Yes? With the hat. -Never Eat Shredded Wheat. -Never Eat Shredded Wheat. | 0:22:43 | 0:22:49 | |
-What does Never Eat Shredded Wheat mean? -North East South West. | 0:22:49 | 0:22:54 | |
So as you can see, if you organise difficult lists into more memorable phrases, | 0:22:54 | 0:22:58 | |
they're much easier to record, or recall. | 0:22:58 | 0:23:01 | |
That's because you can remember them much easier. | 0:23:01 | 0:23:04 | |
This technique, even the word "mnemonics" is difficult to spell, | 0:23:04 | 0:23:08 | |
but I've got a sentence that makes it easier. | 0:23:08 | 0:23:11 | |
For example, if I use "my new experience memorising odd names is clearly selective", | 0:23:11 | 0:23:15 | |
then you have how to spell the word mnemonics. | 0:23:15 | 0:23:18 | |
So let's get back our memory expert, Dominic, | 0:23:18 | 0:23:21 | |
to find out what he's been doing to make such an incredible memory of his. | 0:23:21 | 0:23:25 | |
Welcome back, Dominic. | 0:23:25 | 0:23:27 | |
APPLAUSE | 0:23:27 | 0:23:28 | |
You've been listening to explanations about improving memory and how we can organise memory. | 0:23:33 | 0:23:38 | |
-What's the secret of your amazing memory? -Exactly as you've been explaining. | 0:23:38 | 0:23:42 | |
-I use mnemonics myself, Dominic's mnemonics. -Dominic's mnemonics! | 0:23:42 | 0:23:46 | |
So I turn difficult information like playing cards, names, dates | 0:23:46 | 0:23:50 | |
into colourful images and I also use journeys, sequences, | 0:23:50 | 0:23:54 | |
to remember the order of whatever it is I'm trying to remember. | 0:23:54 | 0:23:57 | |
For example, I use a golf course to remember all these names. | 0:23:57 | 0:24:01 | |
I imagine them at each tee along the golf course. | 0:24:01 | 0:24:04 | |
-So let's say we've got the jack of clubs. -Yes. | 0:24:04 | 0:24:07 | |
And I've got to remember Kate is connected with this and her birthday is 20th October. | 0:24:07 | 0:24:11 | |
So what I think about is an old girlfriend of mine called Kate, many years ago, | 0:24:11 | 0:24:15 | |
and she's skiing on the first tee. Why is she skiing? | 0:24:15 | 0:24:19 | |
Because I associate the jack of clubs with an old friend of mine who used to be a ski instructor. | 0:24:19 | 0:24:24 | |
That's the first two bits of information. | 0:24:24 | 0:24:26 | |
To remember the date, the 20th, I think of Barack Obama | 0:24:26 | 0:24:31 | |
because the second letter of the alphabet is B and zero is 0 - BO. | 0:24:31 | 0:24:37 | |
Not body odour, that's Barack Obama. | 0:24:37 | 0:24:40 | |
And to remember October, I imagine him wrestling with an octopus. | 0:24:40 | 0:24:44 | |
You've got to put it all together. It requires a bit of imagination and put it together | 0:24:44 | 0:24:48 | |
but I had to do that 52 times. | 0:24:48 | 0:24:51 | |
And that takes a lot of practise and a lot of organisation. | 0:24:51 | 0:24:54 | |
Ladies and gentlemen, another big round of applause for Dominic. | 0:24:54 | 0:24:58 | |
Thank you. | 0:24:58 | 0:24:59 | |
APPLAUSE | 0:24:59 | 0:25:01 | |
When you organise your memory like this, you're making it work for you, | 0:25:05 | 0:25:09 | |
which is why we sometimes call it a working memory. | 0:25:09 | 0:25:12 | |
By working our memory, we can prepare information for storage into long-term memory. | 0:25:12 | 0:25:17 | |
This is really part of a system in this part of the brain that we call the hippocampus. | 0:25:17 | 0:25:21 | |
I'm just going to take this brain apart to show you because it is inside the structure here. | 0:25:21 | 0:25:27 | |
There we go. This is one hemisphere. | 0:25:27 | 0:25:30 | |
This is the front part of the brain, | 0:25:30 | 0:25:34 | |
and inside is all these internal structures. | 0:25:34 | 0:25:36 | |
Let me just pop off the front of my brain here. | 0:25:36 | 0:25:39 | |
This is the structure we're really interested in. Let's get this bit out. | 0:25:39 | 0:25:43 | |
This is called the hippocampus. | 0:25:43 | 0:25:46 | |
It's shaped a little bit like a seahorse, which is why it's called hippocampus, | 0:25:46 | 0:25:50 | |
because that comes from the Greek word for seahorse. | 0:25:50 | 0:25:54 | |
It's the hippocampus we think, well we know, | 0:25:54 | 0:25:56 | |
is really where your long-term memories are stored. | 0:25:56 | 0:25:59 | |
I'm not sure exactly how all the memories get encoded | 0:25:59 | 0:26:02 | |
but we know this structure must be used because, for example, | 0:26:02 | 0:26:06 | |
if you damage it you lose your long-term memories, and taxi drivers in London, for example, | 0:26:06 | 0:26:10 | |
are very proud of their hippocampi, because there are two of them, | 0:26:10 | 0:26:13 | |
because taxi drivers have enlarged hippocampi. | 0:26:13 | 0:26:17 | |
Not only are they larger, but they're more active. | 0:26:17 | 0:26:20 | |
We think this must be due to the fact that | 0:26:20 | 0:26:22 | |
when they have to memorise the whole of the streets of London, | 0:26:22 | 0:26:26 | |
you know, the Knowledge, they're encoding this information. | 0:26:26 | 0:26:29 | |
What's remarkable is the hippocampus or the hippocampi are one of the few structures in the brain | 0:26:29 | 0:26:35 | |
where you can actually grow new brain cells. | 0:26:35 | 0:26:38 | |
When you damage this area, you lose your memories. | 0:26:38 | 0:26:41 | |
The consequences of damaging your long-term memory can be quite devastating. | 0:26:41 | 0:26:46 | |
I'm sure many of you may have some relatives who are starting to lose their memory | 0:26:46 | 0:26:50 | |
and it can be a very devastating type of experience, | 0:26:50 | 0:26:53 | |
because when you lose your memory you effectively lose your identity. | 0:26:53 | 0:26:57 | |
Because who we are is really a sum of our memories. | 0:26:57 | 0:27:00 | |
So let's consider our own memories. | 0:27:00 | 0:27:03 | |
You guys, what about your autobiographical memories? | 0:27:03 | 0:27:07 | |
What's the first thing you can remember? Hands up if you can remember being six years of age. | 0:27:07 | 0:27:12 | |
Pretty good. Five? | 0:27:12 | 0:27:15 | |
Keep them up. Four? | 0:27:15 | 0:27:18 | |
Three? | 0:27:18 | 0:27:19 | |
Two? | 0:27:20 | 0:27:22 | |
One? | 0:27:22 | 0:27:24 | |
We've got one person with a memory less than one. Do you remember what that was, by any chance? | 0:27:24 | 0:27:29 | |
It was my first birthday and I had a party, | 0:27:29 | 0:27:32 | |
and it was like my friends from when I was... | 0:27:32 | 0:27:36 | |
It was your first birthday and you remember the party, is that right? | 0:27:36 | 0:27:39 | |
-Yes. -Most of you put your hands down when I said 2 to 3 years of age. | 0:27:39 | 0:27:44 | |
Why is it that very few of us can remember anything before our second or third birthday? | 0:27:44 | 0:27:49 | |
It's not because babies don't have memories. We know they can learn | 0:27:49 | 0:27:52 | |
so it can't be simply the fact they haven't got memory. | 0:27:52 | 0:27:56 | |
It might be related to the fact the brain isn't very mature in a very young baby, | 0:27:56 | 0:28:00 | |
but I think a more interesting possibility is that very young babies | 0:28:00 | 0:28:04 | |
don't fully understand the world yet so it is difficult for them | 0:28:04 | 0:28:07 | |
to organise their memories, their information, into useful memories. | 0:28:07 | 0:28:10 | |
Because organisation is really important when it comes to storing these things. | 0:28:10 | 0:28:15 | |
SIREN WAILS | 0:28:15 | 0:28:16 | |
Hold on a second. | 0:28:18 | 0:28:19 | |
Oh, I've just heard, | 0:28:19 | 0:28:21 | |
the police have apprehended a suspect in the robbery of the soft toy. | 0:28:21 | 0:28:26 | |
Do you remember the robbery we had just a moment ago? | 0:28:26 | 0:28:28 | |
Hands up if you saw that robbery. | 0:28:28 | 0:28:31 | |
Good, and you all got a good luck at the witness... | 0:28:31 | 0:28:34 | |
Er, the suspect? OK. Yes, they're coming through now. So you think you can identify the suspect? | 0:28:34 | 0:28:39 | |
Hands up if you think you can. That's almost all of you. | 0:28:39 | 0:28:42 | |
Good, all right, let's test you out because the police need to do a line-up | 0:28:42 | 0:28:46 | |
and you're going to have to pick out who the suspect is. OK? Bring them in, Sergeant. | 0:28:46 | 0:28:51 | |
You 'orrible lot, get in here now! | 0:28:51 | 0:28:54 | |
Form an orderly line, quick as you can. Thank you! | 0:28:54 | 0:28:59 | |
All present and correct, sir. | 0:28:59 | 0:29:00 | |
-Over to you, Professor. -Thank you very much, Sergeant. | 0:29:00 | 0:29:04 | |
So, these are the suspects who are in the line-up. | 0:29:04 | 0:29:07 | |
One of them committed the crime, | 0:29:07 | 0:29:09 | |
so let's see if you can identify the criminal. | 0:29:09 | 0:29:13 | |
I'm going to ask each suspect to step forward and then I want a show of hands if you think it's them. | 0:29:13 | 0:29:17 | |
Will subject A step forward? Miss Behaving. | 0:29:17 | 0:29:21 | |
How many of you think it is Miss Behaving? | 0:29:21 | 0:29:24 | |
OK. Step back, please. Subject B, Miss Demeanour. | 0:29:24 | 0:29:28 | |
Hmm. That's a pretty good show of hands. Subject C, Miss Placed. | 0:29:28 | 0:29:34 | |
Not so many. Subject D. Miss Understood. | 0:29:34 | 0:29:40 | |
Quite a few for Miss Understood. And subject E, Miss Take. | 0:29:40 | 0:29:45 | |
So the majority of you thought it was B. | 0:29:47 | 0:29:51 | |
That's very interesting. Not everyone agreed, but let's see if you were right. | 0:29:51 | 0:29:55 | |
Will the real culprit step forward, please? | 0:29:55 | 0:29:59 | |
It was subject A! | 0:30:01 | 0:30:04 | |
Big round of applause for those who got subject A. | 0:30:04 | 0:30:07 | |
-Take him away! -All right, you, you're nicked! | 0:30:10 | 0:30:13 | |
The rest of you, sorry for the inconvenience. Be on your way. | 0:30:13 | 0:30:16 | |
Get out of here. | 0:30:16 | 0:30:18 | |
It was a set-up! | 0:30:18 | 0:30:20 | |
Even though you got a good look at the thief | 0:30:20 | 0:30:22 | |
and you thought you'd recognise them, our memory can be very poor. | 0:30:22 | 0:30:26 | |
Studies show eyewitness testimonies are notoriously unreliable and this is quite important | 0:30:26 | 0:30:30 | |
because in some countries, they use this technique to put people into prison, | 0:30:30 | 0:30:34 | |
so we really have to question this as a major legal issue. | 0:30:34 | 0:30:38 | |
So, memory's not like a photograph. | 0:30:39 | 0:30:41 | |
It's not a picture in your mind that you can review - | 0:30:41 | 0:30:44 | |
memories are much more fluid. | 0:30:44 | 0:30:46 | |
And that was a test of face recognition, but I want to test | 0:30:46 | 0:30:49 | |
you all, and those of you at home, with a different type of test - | 0:30:49 | 0:30:53 | |
I want to test your memory for words. | 0:30:53 | 0:30:55 | |
Again, everyone will be involved. | 0:30:55 | 0:30:57 | |
I'm going to read out a list of words and I want you to try | 0:30:57 | 0:31:00 | |
and concentrate and see if you can remember the list, OK? | 0:31:00 | 0:31:03 | |
Simple enough? Let's start. | 0:31:03 | 0:31:05 | |
Thorn. | 0:31:11 | 0:31:12 | |
Thimble. | 0:31:13 | 0:31:15 | |
Point. | 0:31:15 | 0:31:17 | |
Pin. | 0:31:17 | 0:31:19 | |
Eye. | 0:31:19 | 0:31:20 | |
Sharp. | 0:31:20 | 0:31:21 | |
Injection. | 0:31:22 | 0:31:24 | |
Cloth. | 0:31:24 | 0:31:26 | |
Haystack. | 0:31:26 | 0:31:28 | |
Sewing. | 0:31:28 | 0:31:29 | |
Syringe. | 0:31:29 | 0:31:32 | |
Knitting. Hurt. | 0:31:32 | 0:31:34 | |
Thread. | 0:31:35 | 0:31:37 | |
Now let's test your memory. | 0:31:37 | 0:31:40 | |
Hands up if you think I said the word thread. | 0:31:40 | 0:31:42 | |
Very good. Hands up if I said the word banana. | 0:31:44 | 0:31:47 | |
How about the word needle? | 0:31:50 | 0:31:52 | |
Are you sure about the word needle? Hands up if you're sure I said needle. | 0:31:53 | 0:31:57 | |
Well, you're in for a surprise. | 0:31:59 | 0:32:02 | |
Here are the actual words I said, | 0:32:05 | 0:32:08 | |
and nowhere on this list is the word needle. | 0:32:08 | 0:32:11 | |
And yet, you're convinced that I said the word needle. | 0:32:11 | 0:32:13 | |
I implanted a false memory, because the word needle was triggered | 0:32:13 | 0:32:17 | |
by all these other words which are related to the word needle. | 0:32:17 | 0:32:21 | |
So, in your brain, this association with the word needle was stimulated. | 0:32:21 | 0:32:27 | |
So, what I did was I implanted a false memory. | 0:32:27 | 0:32:30 | |
Every time you have to remember something, you have to reconstruct it, | 0:32:30 | 0:32:33 | |
build it back from the fragments of information stored in the neural networks of your brain. | 0:32:33 | 0:32:37 | |
We've shown that the brain can have false memories, | 0:32:37 | 0:32:40 | |
which raises the original question we asked at the beginning of the lecture, | 0:32:40 | 0:32:43 | |
because who's in control anyway? | 0:32:43 | 0:32:46 | |
If your own memories can be wrong and you don't even realise it, | 0:32:46 | 0:32:49 | |
and the memories are the key to your identity, well...who are you? | 0:32:49 | 0:32:53 | |
That's a big question and philosophers have been thinking about this for a long time, | 0:32:55 | 0:32:59 | |
but we know that the answer must lie with the brain. | 0:32:59 | 0:33:04 | |
We know this because people can be changed | 0:33:04 | 0:33:06 | |
when their brains get damaged. | 0:33:06 | 0:33:07 | |
Back in 1838... | 0:33:10 | 0:33:12 | |
TRAIN WHISTLES | 0:33:14 | 0:33:17 | |
..Phineas Gage was working on a railroad as an engineer | 0:33:17 | 0:33:19 | |
and was blasting the rocks with gunpowder to clear the path | 0:33:19 | 0:33:23 | |
for the rail track when a colleague distracted him and he accidentally... | 0:33:23 | 0:33:27 | |
..put the rod onto gunpowder and it shot the rod straight through | 0:33:29 | 0:33:34 | |
his skull and out the top and landed 25 metres away. | 0:33:34 | 0:33:39 | |
Now, remarkably, Phineas survived. | 0:33:39 | 0:33:44 | |
Now, according to the records, | 0:33:45 | 0:33:48 | |
he'd lost the front part of his brain. | 0:33:48 | 0:33:51 | |
Before the accident, he'd been a mild-mannered man, | 0:33:51 | 0:33:54 | |
but afterwards his personality changed. | 0:33:54 | 0:33:57 | |
He swore more frequently, he became more irritable, | 0:33:57 | 0:34:01 | |
and he became emotionally unstable. | 0:34:01 | 0:34:04 | |
In short, Phineas Gage was no longer Phineas Gage. | 0:34:04 | 0:34:08 | |
The region that had been damaged was the frontal lobes | 0:34:08 | 0:34:12 | |
and his accident provided a clue to what the frontal lobes do | 0:34:12 | 0:34:16 | |
and how important they are to our personality and identity. | 0:34:16 | 0:34:20 | |
The frontal lobes are also responsible for flexible thinking and creativity | 0:34:20 | 0:34:25 | |
and regulating behaviours that coordinate our activities. | 0:34:25 | 0:34:29 | |
The frontal lobes are in effect delegating, prioritising jobs, | 0:34:29 | 0:34:32 | |
like a chief in your head office, but of course there's no-one in there. | 0:34:32 | 0:34:36 | |
It just feels as if someone is in there making decisions, | 0:34:36 | 0:34:39 | |
and that's because our brain generates a sense of our self, | 0:34:39 | 0:34:43 | |
the person in control, the YOU in your head. | 0:34:43 | 0:34:47 | |
You don't have to have a metal rod shot through your head | 0:34:47 | 0:34:51 | |
to see the effects of frontal lobe damage. | 0:34:51 | 0:34:53 | |
Frontal lobes can be impaired by disease and drugs, | 0:34:53 | 0:34:57 | |
and one of the most commonly used drugs is alcohol. | 0:34:57 | 0:35:00 | |
Who wants to try out the effects of alcohol? | 0:35:00 | 0:35:02 | |
That's the quickest response I've had for a long time! | 0:35:03 | 0:35:06 | |
I'm going to choose...sir, would you come down? | 0:35:06 | 0:35:09 | |
Let's get someone from this side. Any more volunteers? | 0:35:16 | 0:35:19 | |
Young lady, come on down. | 0:35:20 | 0:35:23 | |
Young lady, come this side. OK, let's find out who you are. | 0:35:27 | 0:35:31 | |
-I'm Flory. -Flory, OK. And how old are you? | 0:35:31 | 0:35:34 | |
11. | 0:35:34 | 0:35:36 | |
11? | 0:35:36 | 0:35:38 | |
And you want to drink alcohol? | 0:35:38 | 0:35:39 | |
-LAUGHTER -OK, and you are? | 0:35:39 | 0:35:41 | |
-Oliver. -Oliver, and how old are you? -13. | 0:35:41 | 0:35:44 | |
13... Ah, we have a bit of a problem, don't we? | 0:35:44 | 0:35:47 | |
We can't give you alcohol in this country. | 0:35:47 | 0:35:50 | |
-You were hoping for some, yes? -LAUGHTER | 0:35:50 | 0:35:52 | |
Yes? Right, well, OK, we'll have to improvise. | 0:35:52 | 0:35:55 | |
Let's imagine... What I'll do, let me take you to Paris to a cafe, OK? | 0:35:55 | 0:36:00 | |
Join me in this cafe. If you come this side. | 0:36:00 | 0:36:03 | |
Flory, here. Oliver, here. | 0:36:03 | 0:36:06 | |
-IN FRENCH ACCENT: -Now, I'll be your wine waiter. | 0:36:06 | 0:36:09 | |
And, sir, | 0:36:09 | 0:36:10 | |
I am...going to pour you some wine | 0:36:10 | 0:36:13 | |
and I want you to celebrate. | 0:36:13 | 0:36:15 | |
If I just pour the wine here. | 0:36:18 | 0:36:20 | |
Would sir like to try the wine, make sure it's tasty? | 0:36:20 | 0:36:23 | |
It's not wine, of course, it's apple juice, but let's go for it. | 0:36:23 | 0:36:27 | |
Is it good enough? Right, it's obviously good enough to drink. | 0:36:27 | 0:36:31 | |
Would you like to drink some as well? OK. | 0:36:31 | 0:36:34 | |
So that's very easy, isn't it? Now, let's imagine this is wine | 0:36:34 | 0:36:38 | |
and you've had a few more bottles, OK? | 0:36:38 | 0:36:41 | |
Let's see what the effects of alcohol could do to your coordination. | 0:36:41 | 0:36:44 | |
Would you like to pop on these goggles? | 0:36:44 | 0:36:47 | |
Sir? If I may, they're a little bit... | 0:36:47 | 0:36:50 | |
Are they tight enough for you? OK. | 0:36:50 | 0:36:54 | |
All right. Now, would you like to again have a glass of your wine? | 0:36:54 | 0:36:57 | |
LAUGHTER | 0:36:57 | 0:37:00 | |
OK, no, that's the bottle! OK, oh, all right! | 0:37:02 | 0:37:04 | |
Have a little drink again. | 0:37:04 | 0:37:07 | |
Maybe you'd like to say cheers and clink your glasses together? Oh, OK! | 0:37:07 | 0:37:11 | |
-LAUGHTER -Oh, all right, OK. | 0:37:11 | 0:37:14 | |
You've both had a bit too much to drink. Well done, round of applause! | 0:37:14 | 0:37:18 | |
Let's see if we can give the viewers at home and the audience what | 0:37:27 | 0:37:30 | |
an impression of wearing these goggles is really like. | 0:37:30 | 0:37:33 | |
You see, it's distorting everything, isn't it? | 0:37:33 | 0:37:36 | |
And as you try to reach your glass, | 0:37:36 | 0:37:39 | |
you lose all your coordination. | 0:37:39 | 0:37:43 | |
The goggles are really producing a distortion of your vision. | 0:37:43 | 0:37:46 | |
Thank you very much, David. | 0:37:46 | 0:37:48 | |
It doesn't make you drunk, it just creates what it's like | 0:37:48 | 0:37:51 | |
to be drunk, as far as your vision's concerned. | 0:37:51 | 0:37:54 | |
But alcohol doesn't just affect vision, it affects your movement, your decision-making, | 0:37:54 | 0:37:58 | |
all of your coordination is disrupted by that. | 0:37:58 | 0:38:01 | |
And that's why drinking, of course, is very dangerous | 0:38:01 | 0:38:04 | |
if you're controlling a large machine like a car | 0:38:04 | 0:38:07 | |
because your coordination, and also your judgment, is impaired. | 0:38:07 | 0:38:11 | |
Now, we also know that frontal lobes are the last part | 0:38:11 | 0:38:14 | |
of your brain to mature and this explains why often very young | 0:38:14 | 0:38:18 | |
children can be very uncoordinated and very impulsive in many ways. | 0:38:18 | 0:38:23 | |
As teenagers, you're currently also experiencing some of the most | 0:38:23 | 0:38:26 | |
dramatic rewiring of your frontal lobes so your control systems aren't yet up to speed, | 0:38:26 | 0:38:31 | |
but don't worry, you guys are coming up to your prime. | 0:38:31 | 0:38:34 | |
When you get to my age, it's all downhill from here. | 0:38:34 | 0:38:38 | |
I'm afraid so. The frontal lobes are not just responsible for judgment and control, | 0:38:38 | 0:38:42 | |
but they also allow you to see into the future, or at least imagine what a future might be like. | 0:38:42 | 0:38:47 | |
So let's see if any of you can tell the future, | 0:38:47 | 0:38:50 | |
because I have a tale of terror to tell and I need a fortune teller. | 0:38:50 | 0:38:54 | |
LIGHTNING | 0:38:54 | 0:38:56 | |
And I want to take you to... | 0:38:56 | 0:38:59 | |
Zombie Island. | 0:38:59 | 0:39:01 | |
OK, so prepare to be amazed. | 0:39:02 | 0:39:05 | |
So we selected some volunteers earlier on and here they are. | 0:39:05 | 0:39:09 | |
Hello, guys, how are you doing? | 0:39:09 | 0:39:11 | |
-So, who's going to be my research assistant? Your name is? -Liam. | 0:39:11 | 0:39:14 | |
-Liam, you're going to be Igor for tonight, OK? -Yeah. | 0:39:14 | 0:39:17 | |
We have a zombie. Who are you? | 0:39:17 | 0:39:19 | |
-Louise. -This is Louise, the zombie, | 0:39:19 | 0:39:22 | |
-and you're a typical child, aren't you? -Yeah. -What are you, typical child? -Jessica. | 0:39:22 | 0:39:26 | |
Jessica will be our typical child. And you're a bar of chocolate. | 0:39:26 | 0:39:29 | |
-Who are you? -Alice. -Alice is our bar of chocolate. | 0:39:29 | 0:39:33 | |
Now, Igor, you're my trusty research assistant, aren't you? | 0:39:33 | 0:39:38 | |
I need you to transport all the bars of chocolate and the children | 0:39:38 | 0:39:41 | |
and zombies to my laboratory, which is over on Zombie Island there. | 0:39:41 | 0:39:45 | |
Let's take all the items from my laboratory and stand over there. | 0:39:45 | 0:39:49 | |
OK, you stand there. OK. | 0:39:49 | 0:39:52 | |
Now, what we have to do here, | 0:39:52 | 0:39:54 | |
this is a real task and a real problem | 0:39:54 | 0:39:56 | |
where Igor has to use his frontal lobes to figure out and solve the problem. | 0:39:56 | 0:40:02 | |
Because the problem is, Igor, | 0:40:02 | 0:40:03 | |
you can only carry one person at a time, or one zombie | 0:40:03 | 0:40:07 | |
or one bar of chocolate | 0:40:07 | 0:40:08 | |
over to my island. | 0:40:08 | 0:40:10 | |
So you must transport it on the raft and get it over to there. | 0:40:10 | 0:40:14 | |
The problem is, you can't leave children with chocolate | 0:40:14 | 0:40:17 | |
because children eat the chocolate | 0:40:17 | 0:40:19 | |
and you can't leave the zombie alone with the child | 0:40:19 | 0:40:22 | |
because what do zombies eat? | 0:40:22 | 0:40:23 | |
Brains! | 0:40:25 | 0:40:26 | |
OK, so, remember. Don't muck up. | 0:40:26 | 0:40:29 | |
Don't leave them together if they'll eat each other. | 0:40:29 | 0:40:32 | |
-You've got it? -Yep. | 0:40:32 | 0:40:33 | |
OK, so let's see how Igor gets on. He's got to figure this problem out. | 0:40:33 | 0:40:36 | |
Who are you going to bring over first of all on the raft? | 0:40:36 | 0:40:39 | |
-The child. -Let's see you do it, then. | 0:40:39 | 0:40:41 | |
Pop on the child, and we'll give you some help here. | 0:40:41 | 0:40:44 | |
Are you thinking the solution, are you working it out in your heads? | 0:40:44 | 0:40:47 | |
See if Igor's going to get it right. | 0:40:47 | 0:40:50 | |
Here we go. | 0:40:50 | 0:40:51 | |
OK. So that's the right solution, | 0:40:52 | 0:40:54 | |
because you left the zombie with the chocolate. | 0:40:54 | 0:40:57 | |
Now, Igor, what are you going to get for me next? | 0:40:57 | 0:41:00 | |
-The chocolate. -Chocolate, OK. | 0:41:02 | 0:41:04 | |
You see how he's working it out? | 0:41:06 | 0:41:08 | |
He's thinking how to solve the problem. | 0:41:08 | 0:41:10 | |
THUNDER CRASHES | 0:41:14 | 0:41:16 | |
Very good. | 0:41:16 | 0:41:17 | |
Now, Igor. | 0:41:18 | 0:41:20 | |
You left something on the mainland. | 0:41:20 | 0:41:22 | |
I need the rest. | 0:41:22 | 0:41:23 | |
Can you go and get me my zombies? | 0:41:23 | 0:41:25 | |
Can I bring back the child? | 0:41:25 | 0:41:27 | |
OK. That seems a good idea. | 0:41:27 | 0:41:29 | |
OK. On you pop. | 0:41:32 | 0:41:34 | |
Safely down. Very good. | 0:41:34 | 0:41:36 | |
-Is he getting it right? -Yes. -Yep? | 0:41:42 | 0:41:44 | |
Very good. Come on, Igor. | 0:41:44 | 0:41:47 | |
What are you going to bring next? | 0:41:47 | 0:41:48 | |
-The zombie. -The zombie? | 0:41:48 | 0:41:50 | |
THUNDER CRASHES | 0:41:52 | 0:41:53 | |
There we go. Well done, Igor. | 0:41:53 | 0:41:56 | |
Of course, all you need left is... | 0:41:56 | 0:41:59 | |
There we go. The child. | 0:42:00 | 0:42:02 | |
I think it's a solution there. Big round of applause. Well done. | 0:42:02 | 0:42:06 | |
APPLAUSE | 0:42:06 | 0:42:07 | |
Let's come back with zombie. There we go. OK. | 0:42:12 | 0:42:15 | |
We can let you go. Thank you. | 0:42:15 | 0:42:16 | |
So what they were doing there is using their frontal lobes, | 0:42:16 | 0:42:20 | |
because they had to anticipate the consequences of the actions. | 0:42:20 | 0:42:23 | |
If a person with frontal lobe damage was trying to solve Zombie Island, | 0:42:23 | 0:42:27 | |
they would muck up and probably leave the wrong combination | 0:42:27 | 0:42:30 | |
because they can't anticipate what's going to happen next. | 0:42:30 | 0:42:33 | |
It requires planning. Of course, planning becomes more difficult | 0:42:33 | 0:42:37 | |
when you do more than one thing at the same time, | 0:42:37 | 0:42:39 | |
especially if you're under time pressure. | 0:42:39 | 0:42:41 | |
You need to be able to focus your attention on the task at hand | 0:42:41 | 0:42:44 | |
because complicated tasks require coordination. | 0:42:44 | 0:42:47 | |
Now, this coordination enables us | 0:42:47 | 0:42:50 | |
to do more than one thing at the same time, | 0:42:50 | 0:42:52 | |
such as texting your friends or watching television. | 0:42:52 | 0:42:55 | |
So long as the different tasks do not compete | 0:42:55 | 0:42:58 | |
for the same neural parts of your brain, everything should be OK. | 0:42:58 | 0:43:02 | |
But what happens if they do? | 0:43:02 | 0:43:04 | |
Can I get four volunteers for the next one? | 0:43:04 | 0:43:07 | |
OK, let's get some people from the back here. | 0:43:07 | 0:43:09 | |
Uh, lady with the stripy top on the end there. | 0:43:09 | 0:43:12 | |
OK, down you come. | 0:43:12 | 0:43:13 | |
Uh, chap there on the end there. Down you come. | 0:43:13 | 0:43:16 | |
Let's choose someone from over here. | 0:43:16 | 0:43:18 | |
Uh, sir with the red top, down you come. | 0:43:18 | 0:43:21 | |
And let's get someone... | 0:43:21 | 0:43:24 | |
Lady there, with the heart on your sleeve. There we go. | 0:43:24 | 0:43:27 | |
Come on down. Well done. So, who are you? | 0:43:27 | 0:43:30 | |
APPLAUSE | 0:43:30 | 0:43:31 | |
Stand in front of each chair. | 0:43:33 | 0:43:35 | |
You stand there. | 0:43:35 | 0:43:37 | |
Let's find out who our guests are, first of all. | 0:43:37 | 0:43:39 | |
-Nick. -Nick. | 0:43:39 | 0:43:41 | |
-Emma. -Emma. | 0:43:41 | 0:43:42 | |
-Sam. -Sam. -Isabel. | 0:43:42 | 0:43:44 | |
Isabel. OK. | 0:43:44 | 0:43:45 | |
Why don't you all have a seat, please? Make yourself comfortable. | 0:43:45 | 0:43:49 | |
This is a very simple test of control of your frontal lobes. | 0:43:49 | 0:43:52 | |
I want you to just, with your left leg, | 0:43:52 | 0:43:55 | |
lift it up and rotate it clockwise. | 0:43:55 | 0:43:57 | |
You can try this at home, everyone. | 0:43:57 | 0:43:59 | |
Just rotate your legs clockwise. | 0:43:59 | 0:44:03 | |
In big circles. | 0:44:03 | 0:44:04 | |
Come on, let's see big circles. | 0:44:04 | 0:44:07 | |
Clockwise. There we go. You've got it all now? Very good. | 0:44:07 | 0:44:10 | |
Very easy. OK, now, stop. | 0:44:10 | 0:44:12 | |
Now, with your left hand, | 0:44:12 | 0:44:13 | |
I want you to draw the number six. | 0:44:13 | 0:44:16 | |
OK? That's quite easy, isn't it? | 0:44:16 | 0:44:19 | |
Now, look what happens when we put these things together. | 0:44:19 | 0:44:22 | |
Let's start off with your left leg, | 0:44:22 | 0:44:24 | |
clockwise. | 0:44:24 | 0:44:25 | |
Everyone can have a go. | 0:44:25 | 0:44:27 | |
Now, draw the letter six. | 0:44:27 | 0:44:29 | |
LAUGHTER | 0:44:31 | 0:44:33 | |
It looks like it's all falling to pieces, isn't it? | 0:44:34 | 0:44:37 | |
It's very, very hard. | 0:44:37 | 0:44:39 | |
Yeah? How are you finding it? | 0:44:39 | 0:44:42 | |
OK, very good. Round of applause for our guests. | 0:44:44 | 0:44:46 | |
Thank you very much, volunteers. | 0:44:46 | 0:44:48 | |
APPLAUSE | 0:44:48 | 0:44:50 | |
OK, we're going to make this work. This is called interference. | 0:44:52 | 0:44:56 | |
It's because different parts of the body, when you move them, | 0:44:56 | 0:45:00 | |
you're trying to coordinate them. | 0:45:00 | 0:45:01 | |
They're both trying to work with the same area | 0:45:01 | 0:45:04 | |
so moving your leg in one direction | 0:45:04 | 0:45:05 | |
interferes with moving your hands in the opposite direction. | 0:45:05 | 0:45:08 | |
You need your frontal lobes to be able to coordinate. | 0:45:08 | 0:45:11 | |
It's hard to coordinate those movements. | 0:45:11 | 0:45:13 | |
But hark! I think I hear a man who can. | 0:45:13 | 0:45:16 | |
MUSIC: HARMONICA, BANJO, DRUM | 0:45:16 | 0:45:19 | |
Hello, sir! | 0:45:35 | 0:45:36 | |
Hello! | 0:45:36 | 0:45:38 | |
-Big round of applause! -APPLAUSE | 0:45:38 | 0:45:41 | |
Let me introduce Jake Rodriguez, | 0:45:41 | 0:45:43 | |
a one-man band. Jake, how long have you been playing this one-man band? | 0:45:43 | 0:45:46 | |
-I did my first one-man band when I was about 18. -18? | 0:45:46 | 0:45:50 | |
-Yes. -And how many instruments do you have now? | 0:45:50 | 0:45:52 | |
Erm... I've got two jingle bells... | 0:45:52 | 0:45:54 | |
-Two jingle bells. -DRUM BANGS | 0:45:54 | 0:45:56 | |
That foot's attached to the bass pedal. | 0:45:56 | 0:45:58 | |
HORN TOOTS This one's attached to, uh, the... | 0:45:58 | 0:46:02 | |
the cymbals on the top and the tambourine. | 0:46:02 | 0:46:04 | |
So that's one, two, three, four...five. | 0:46:04 | 0:46:07 | |
Banjo, harmonica, couple of these. | 0:46:07 | 0:46:10 | |
Oh, it's about eight, nine, ten, round about that. | 0:46:10 | 0:46:12 | |
Horns and things. | 0:46:12 | 0:46:13 | |
Eight, nine or ten instruments? Obviously when you learnt them, | 0:46:13 | 0:46:16 | |
did you start with all of them, or did you pick them up one at a time? | 0:46:16 | 0:46:21 | |
Um, yes. Especially the horn, | 0:46:21 | 0:46:24 | |
took a lot of work, that one, to get that together. | 0:46:24 | 0:46:27 | |
And do you find, when you think about what you're doing, | 0:46:27 | 0:46:31 | |
does it get complicated? Do you just go for the rhythm? How do you do it? | 0:46:31 | 0:46:34 | |
-Well, it's quite instinctive to do a walking rhythm. -Right. | 0:46:34 | 0:46:39 | |
-What's harder is to add a few more bits to it. -Right. | 0:46:39 | 0:46:44 | |
So, if you get yourself in a bit of a pickle, | 0:46:44 | 0:46:48 | |
you've got to be playing at the same time and unpickling your head | 0:46:48 | 0:46:52 | |
-at the same time. -I've got it. -That's not the hardest thing. | 0:46:52 | 0:46:55 | |
So the automatic things, you don't have to think about, like walking, | 0:46:55 | 0:46:59 | |
-so that's easy. -Yes. -And things which need a lot of thought, | 0:46:59 | 0:47:02 | |
-they require more of your frontal lobes working, is that right? -Yes. | 0:47:02 | 0:47:06 | |
Give a big round of applause to Jake Rodriguez. | 0:47:06 | 0:47:08 | |
APPLAUSE | 0:47:08 | 0:47:10 | |
MUSIC RESUMES | 0:47:10 | 0:47:11 | |
HORN HONKS | 0:47:17 | 0:47:19 | |
LAUGHTER | 0:47:19 | 0:47:21 | |
He wouldn't make a very good robber, would he? | 0:47:21 | 0:47:24 | |
Jake coordinated all these through practice. | 0:47:24 | 0:47:26 | |
He was using his frontal lobes. | 0:47:26 | 0:47:28 | |
Things which didn't need much thought, like walking, | 0:47:28 | 0:47:31 | |
he didn't have to really monitor or consciously control, | 0:47:31 | 0:47:34 | |
and all the other things, he had to really pay attention | 0:47:34 | 0:47:37 | |
to make them work together. | 0:47:37 | 0:47:38 | |
So when he gets really good at this, he doesn't have to think about it. | 0:47:38 | 0:47:42 | |
Some activities are not under conscious control, | 0:47:42 | 0:47:44 | |
like breathing and walking. Other activities, | 0:47:44 | 0:47:47 | |
like doing your homework and sitting in front of the television, | 0:47:47 | 0:47:50 | |
that requires the executives in your frontal lobes, | 0:47:50 | 0:47:53 | |
when you have to concentrate. | 0:47:53 | 0:47:55 | |
But in some cases your brain has to block out information too. | 0:47:55 | 0:47:59 | |
When you stop yourself doing something, | 0:47:59 | 0:48:01 | |
you have to make a real effort, especially if the behaviour is automatic. | 0:48:01 | 0:48:05 | |
In other words, not doing something | 0:48:05 | 0:48:07 | |
often requires you doing something. | 0:48:07 | 0:48:10 | |
And that's what your frontal lobes are doing. | 0:48:10 | 0:48:13 | |
So let's see if all of you can stop doing a very automatic behaviour | 0:48:13 | 0:48:16 | |
using your frontal lobes and mental effort. | 0:48:16 | 0:48:19 | |
For this test, I want you to turn to the person next to you. | 0:48:19 | 0:48:23 | |
I want you to try and stare at them without blinking, | 0:48:23 | 0:48:25 | |
and I want you to take turns trying to make them blink | 0:48:25 | 0:48:29 | |
by simply poking their eyes. | 0:48:29 | 0:48:32 | |
We'll try this. OK, you try and stare. | 0:48:32 | 0:48:34 | |
And...try and not stare. | 0:48:34 | 0:48:36 | |
There we go. OK. See if you can break their stares. | 0:48:36 | 0:48:39 | |
OK. OK. | 0:48:39 | 0:48:42 | |
What you'll notice | 0:48:42 | 0:48:44 | |
is that, actually, it's really quite hard to do. | 0:48:44 | 0:48:47 | |
Some of them, some of you are very good at this. One of the reasons, | 0:48:47 | 0:48:51 | |
typically, if you're used to putting mascara on | 0:48:51 | 0:48:54 | |
or anything near your eyes, | 0:48:54 | 0:48:55 | |
you don't have a problem. Or if you have contact lenses, | 0:48:55 | 0:48:59 | |
you often stick these in your eye. But if you don't do this often, | 0:48:59 | 0:49:02 | |
it's difficult to avoid, because that blink is a reflex. | 0:49:02 | 0:49:05 | |
That's the brain trying to protect your eyes | 0:49:05 | 0:49:08 | |
from anything damaging them. | 0:49:08 | 0:49:09 | |
And that requires conscious effort to try and stop it. | 0:49:09 | 0:49:12 | |
It's not just reflexes if you think about it. | 0:49:12 | 0:49:14 | |
The world is full of distractions. | 0:49:14 | 0:49:16 | |
It's like being a kid in a candy store. There are too many things | 0:49:16 | 0:49:20 | |
trying to grab your attention. | 0:49:20 | 0:49:21 | |
Sometimes, we need the ability | 0:49:21 | 0:49:23 | |
to stop doing one thing in order to do something else. | 0:49:23 | 0:49:26 | |
The frontal lobe has to work out | 0:49:26 | 0:49:28 | |
which bits of information to block out. | 0:49:28 | 0:49:30 | |
So let me try another test with you. | 0:49:30 | 0:49:32 | |
This is something that's going to be a surprisingly difficult task, | 0:49:32 | 0:49:36 | |
and again, you can try this at home. | 0:49:36 | 0:49:38 | |
In this task, I want you just to read the colour of the ink. | 0:49:38 | 0:49:41 | |
I don't want you to read the word. | 0:49:41 | 0:49:43 | |
And I want you to do it as fast as you possibly can. | 0:49:43 | 0:49:46 | |
So let's see if you're ready yet. | 0:49:46 | 0:49:48 | |
-Go. -Red! | 0:49:48 | 0:49:50 | |
Green! | 0:49:50 | 0:49:51 | |
Blue! | 0:49:51 | 0:49:52 | |
Green! | 0:49:52 | 0:49:53 | |
Red! | 0:49:53 | 0:49:54 | |
Blue! | 0:49:54 | 0:49:55 | |
-Black... -Black, very good! | 0:49:55 | 0:49:58 | |
Very good. That wasn't bad, actually. So let's try that again. | 0:49:58 | 0:50:01 | |
I'll try and go a bit faster. | 0:50:01 | 0:50:03 | |
Red! | 0:50:03 | 0:50:05 | |
Blue! | 0:50:05 | 0:50:06 | |
Red! | 0:50:06 | 0:50:07 | |
Green! Green! | 0:50:07 | 0:50:09 | |
Blue! | 0:50:09 | 0:50:10 | |
Black! | 0:50:10 | 0:50:11 | |
LAUGHTER | 0:50:11 | 0:50:13 | |
Royal Institution crowd. | 0:50:13 | 0:50:15 | |
Very smart. OK. | 0:50:15 | 0:50:16 | |
So you're really good at this, aren't you? OK, ready? | 0:50:16 | 0:50:19 | |
Blue! | 0:50:20 | 0:50:22 | |
Red! Green! | 0:50:22 | 0:50:24 | |
Red! Blue! | 0:50:24 | 0:50:25 | |
Green! | 0:50:25 | 0:50:26 | |
Black! | 0:50:26 | 0:50:28 | |
Well, I found it very hard, but you did very well, I must confess. | 0:50:28 | 0:50:33 | |
APPLAUSE | 0:50:33 | 0:50:34 | |
Give yourselves a round of applause. | 0:50:34 | 0:50:37 | |
That's called a Stroop test | 0:50:40 | 0:50:41 | |
and a Stroop test reveals that | 0:50:41 | 0:50:43 | |
reading is such an automatic behaviour, | 0:50:43 | 0:50:46 | |
when you're very good at it, you don't think about it much. | 0:50:46 | 0:50:49 | |
So when you see the word written in one colour, | 0:50:49 | 0:50:52 | |
you tend to read the word, not say the colour of the ink, | 0:50:52 | 0:50:55 | |
which you don't normally do. | 0:50:55 | 0:50:56 | |
And if you have damage to your frontal lobe, | 0:50:56 | 0:50:59 | |
it's very difficult to do the Stroop test | 0:50:59 | 0:51:02 | |
because it reveals that this part is controlling behaviours. | 0:51:02 | 0:51:05 | |
So our frontal lobes are important for vigilance and attention. | 0:51:05 | 0:51:08 | |
Throughout evolution, we've had to look out for danger. | 0:51:08 | 0:51:11 | |
In the olden days, it was things like sabre-tooth tigers. | 0:51:11 | 0:51:14 | |
Today, it's Jaguars travelling at 40mph up Mayfair. | 0:51:14 | 0:51:18 | |
Avoiding danger requires attention. | 0:51:18 | 0:51:21 | |
When not paying attention, | 0:51:21 | 0:51:23 | |
you can easily miss things that are right in front of your very eyes. | 0:51:23 | 0:51:27 | |
So, I'm going to show you a scene outside San Francisco. | 0:51:27 | 0:51:31 | |
I want you to watch the scene. | 0:51:31 | 0:51:33 | |
Does anyone notice anything different here? | 0:51:33 | 0:51:35 | |
Let's see. | 0:51:37 | 0:51:38 | |
Does it look like the same scene to you, each time it flicks on? | 0:51:38 | 0:51:42 | |
Put your hands up if you think it's the same scene. | 0:51:42 | 0:51:45 | |
Yeah. Oh, yes, no, yes. | 0:51:45 | 0:51:48 | |
It's the same thing, isn't it? | 0:51:48 | 0:51:50 | |
Or is it? Are you sure? | 0:51:50 | 0:51:52 | |
Well, let me show you what happens when I remove the blink. | 0:51:53 | 0:51:56 | |
There we go. That's what's actually happening. | 0:51:56 | 0:51:59 | |
You can see now that when I take the blink away, | 0:51:59 | 0:52:01 | |
every frame has a different change. | 0:52:01 | 0:52:04 | |
Things you would never believe that you would ever miss. | 0:52:04 | 0:52:07 | |
For example, there goes...the tree! | 0:52:07 | 0:52:09 | |
SURPRISED GASPS | 0:52:09 | 0:52:11 | |
And then, when I put the blank in, | 0:52:11 | 0:52:13 | |
you no longer see the changes. Look. | 0:52:13 | 0:52:16 | |
Isn't that remarkable? | 0:52:19 | 0:52:22 | |
And then I put it back in again. | 0:52:23 | 0:52:25 | |
There they go. | 0:52:28 | 0:52:30 | |
This is really a very strong proof that if you're not paying attention, | 0:52:30 | 0:52:34 | |
you miss things happening right in front of your eyes. | 0:52:34 | 0:52:37 | |
It's called change blindness. | 0:52:37 | 0:52:38 | |
Every time your world disappears in the blink of an eye, | 0:52:38 | 0:52:41 | |
your brain doesn't notice anything different | 0:52:41 | 0:52:43 | |
unless you pay special attention. Your brain is regulating behaviour, | 0:52:43 | 0:52:47 | |
deciding what we pay attention to, | 0:52:47 | 0:52:49 | |
how we learn and what we remember, | 0:52:49 | 0:52:51 | |
all without us even realising. | 0:52:51 | 0:52:53 | |
We started this lecture with the question "Who's in charge?" | 0:52:53 | 0:52:57 | |
And actually, I'm still not really sure. | 0:52:57 | 0:52:59 | |
Is it my memory? My frontal lobes? | 0:52:59 | 0:53:01 | |
They all play an important part, | 0:53:01 | 0:53:03 | |
but there is no individual "me" taking control. | 0:53:03 | 0:53:06 | |
So let's put everything together that we've learnt tonight | 0:53:06 | 0:53:09 | |
into one final demonstration. | 0:53:09 | 0:53:11 | |
I began with juggling, not very good, | 0:53:11 | 0:53:13 | |
but I'd like to introduce you to some really great jugglers | 0:53:13 | 0:53:16 | |
all the way from Croydon. | 0:53:16 | 0:53:18 | |
Ladies and gentlemen, Croydon Juggling Club. | 0:53:18 | 0:53:20 | |
APPLAUSE | 0:53:20 | 0:53:22 | |
CIRCUS MUSIC | 0:53:22 | 0:53:25 | |
OK, right. | 0:53:36 | 0:53:37 | |
So, I'm going to get the audience to try out their frontal lobes here. | 0:53:37 | 0:53:42 | |
I'm going to test them on a task of concentration. | 0:53:42 | 0:53:44 | |
-To juggle takes a lot of concentration. -Absolutely. | 0:53:44 | 0:53:47 | |
Can you show us a single juggle where you toss the orange batons? | 0:53:47 | 0:53:51 | |
And I want you to count the number of times they toss, OK? | 0:53:51 | 0:53:55 | |
So let's see, give us an example of this. | 0:53:55 | 0:53:58 | |
One. Two. | 0:53:58 | 0:54:01 | |
Three. | 0:54:01 | 0:54:02 | |
Four. | 0:54:02 | 0:54:04 | |
Five. OK, six. | 0:54:04 | 0:54:06 | |
Can we stop there a moment? That's the task for tonight. | 0:54:06 | 0:54:08 | |
I want you to count the number of times the baton passes. | 0:54:08 | 0:54:11 | |
I want to find the person who has the best memory. | 0:54:11 | 0:54:14 | |
The best observation skills, the best vigilance. | 0:54:14 | 0:54:17 | |
Keep the answer to yourself. At the same time, | 0:54:17 | 0:54:19 | |
I'll get the back jugglers to juggle to confuse you. | 0:54:19 | 0:54:22 | |
And so, as the orange baton crosses, | 0:54:22 | 0:54:25 | |
I want you to count the number of times | 0:54:25 | 0:54:27 | |
and remember it. So pay special attention. OK. | 0:54:27 | 0:54:31 | |
On your mark. | 0:54:31 | 0:54:34 | |
You can start. | 0:54:34 | 0:54:35 | |
Don't shout it out, keep the answer to yourself. | 0:54:35 | 0:54:37 | |
CIRCUS MUSIC | 0:54:37 | 0:54:38 | |
OK. | 0:55:11 | 0:55:12 | |
OK. | 0:55:14 | 0:55:16 | |
Round of applause. | 0:55:16 | 0:55:17 | |
APPLAUSE | 0:55:17 | 0:55:19 | |
So, um... | 0:55:19 | 0:55:21 | |
OK, so, um... | 0:55:21 | 0:55:23 | |
who thought the answer was, um... | 0:55:23 | 0:55:28 | |
24? | 0:55:28 | 0:55:30 | |
Um... | 0:55:30 | 0:55:33 | |
Well, you're right. So, 24, stand up. | 0:55:33 | 0:55:35 | |
OK. | 0:55:37 | 0:55:39 | |
So, young lady. | 0:55:41 | 0:55:43 | |
Did you, um...did you notice that... | 0:55:43 | 0:55:47 | |
Did you notice anything strange when you were counting there? | 0:55:47 | 0:55:50 | |
Did you notice anything strange, for example, about me? | 0:55:53 | 0:55:56 | |
You'd taken your jacket off. | 0:55:56 | 0:55:58 | |
Taken my jacket off. Anything else, about the stage? | 0:55:58 | 0:56:02 | |
The skull, yeah. Did you notice the skull had changed? | 0:56:03 | 0:56:07 | |
That the top hat had gone? No? | 0:56:07 | 0:56:09 | |
Did everyone get the top hat going? | 0:56:09 | 0:56:11 | |
And of course...did you notice this? Have a look at the video. | 0:56:11 | 0:56:14 | |
Did you see the gorilla? | 0:56:14 | 0:56:16 | |
Have a look. | 0:56:17 | 0:56:18 | |
LAUGHTER | 0:56:20 | 0:56:22 | |
You didn't see the gorilla? | 0:56:25 | 0:56:27 | |
All right, big round of applause. | 0:56:27 | 0:56:30 | |
I know some of you know this demonstration, but hands up | 0:56:30 | 0:56:34 | |
if you honestly didn't see the gorilla. | 0:56:34 | 0:56:36 | |
I think that's a pretty dramatic demonstration | 0:56:36 | 0:56:39 | |
that you don't always notice everything in the world. | 0:56:39 | 0:56:42 | |
Thank you, Croydon Juggling Club. | 0:56:42 | 0:56:44 | |
APPLAUSE | 0:56:44 | 0:56:45 | |
When you focus your attention, it's difficult to miss everything. | 0:56:50 | 0:56:54 | |
We began by asking who's in charge, and ended up questioning | 0:56:54 | 0:56:57 | |
if there's a single "you" inside your head in the first place. | 0:56:57 | 0:57:00 | |
In the final lecture, we'll explore whether we are individuals | 0:57:00 | 0:57:04 | |
or rather individuals born with a social brain | 0:57:04 | 0:57:06 | |
to learn from each other and coexist in groups. | 0:57:06 | 0:57:10 | |
So, thank you for watching so attentively. | 0:57:10 | 0:57:13 | |
And it's goodnight from me, | 0:57:13 | 0:57:14 | |
or rather it's goodnight from my frontal lobes, | 0:57:14 | 0:57:17 | |
goodnight from my hippocampus. | 0:57:17 | 0:57:19 | |
In fact, it's goodnight from my brain. Thank you. | 0:57:19 | 0:57:22 | |
APPLAUSE AND CHEERING | 0:57:22 | 0:57:24 | |
Subtitles by Red Bee Media Ltd | 0:57:46 | 0:57:49 | |
E-mail [email protected] | 0:57:49 | 0:57:51 |