Browse content similar to Christmas Special 1975. Check below for episodes and series from the same categories and more!
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Welcome to our Tomorrow's World Christmas fair, complete with | 0:00:25 | 0:00:28 | |
sideshows, replete with magic, mystery and scientific illusion. | 0:00:28 | 0:00:33 | |
And to probe our mysteries, we have once again a group of hard-eyed | 0:00:33 | 0:00:37 | |
professional experts waiting and panting | 0:00:37 | 0:00:40 | |
and ready to start on our magical mystery tour, and our first guide | 0:00:40 | 0:00:45 | |
will be the impresario of the changing face, | 0:00:45 | 0:00:47 | |
the charming Miss Judith Hann, | 0:00:47 | 0:00:50 | |
and she has her own speciality in transformation scenes. | 0:00:50 | 0:00:54 | |
And then, to mystify us all with his anamorphic art, and I bet you don't | 0:00:54 | 0:00:59 | |
know what that means, Mr William Woollard, an old friend of audience. | 0:00:59 | 0:01:03 | |
And now come over here, | 0:01:03 | 0:01:05 | |
television's first mathemagician whom we have | 0:01:05 | 0:01:08 | |
lured from his beautiful country seat at Ludlow and he, | 0:01:08 | 0:01:13 | |
Mr Michael Holt, is going to baffle us with every conceivable | 0:01:13 | 0:01:18 | |
kind of mystery, so you'd better keep an eye on him. | 0:01:18 | 0:01:21 | |
Then, lured from the halls of academia, | 0:01:21 | 0:01:24 | |
which means he's very clever, Dr Stuart Anstis, | 0:01:24 | 0:01:28 | |
and anyone who's brave enough to participate in his experiments | 0:01:28 | 0:01:31 | |
will be, literally, electrified, | 0:01:31 | 0:01:33 | |
and finally, to get us under way with his ghoulie ghosties, | 0:01:33 | 0:01:37 | |
Michael Rodd to prove beyond peradventure that now you see it, | 0:01:37 | 0:01:42 | |
now you don't. | 0:01:42 | 0:01:44 | |
Never a truer word. Who wants to meet a ghost? Follow me, then. | 0:01:44 | 0:01:48 | |
Right across the fairground, over here. | 0:01:48 | 0:01:51 | |
Leave some room for me in the middle or the spell won't work. | 0:01:51 | 0:01:55 | |
Now, we need a little ghostly gloom. | 0:01:55 | 0:01:59 | |
Young William here is looking into the mirror, but he's not | 0:02:00 | 0:02:04 | |
thinking about himself. He's thinking about the lovely Susan. | 0:02:04 | 0:02:08 | |
Now, in all the best stories, Susan would be his girlfriend. | 0:02:08 | 0:02:12 | |
-Are you William's girlfriend? -No. -That's a pity, | 0:02:12 | 0:02:16 | |
because we could use this magic mirror to show Susan and William | 0:02:16 | 0:02:20 | |
what their children might look like if they decided to get married. | 0:02:20 | 0:02:24 | |
-Shall we do it anyway? -Yes. | 0:02:24 | 0:02:26 | |
We've got to do some magic words and it goes like this - | 0:02:26 | 0:02:28 | |
mirror, mirror, on the table, show me their children if you're able. | 0:02:28 | 0:02:32 | |
Ready? All together. | 0:02:32 | 0:02:34 | |
-ALL: -Mirror, mirror, on the table, | 0:02:34 | 0:02:36 | |
show me their children if you're able. | 0:02:36 | 0:02:41 | |
Very, very weird and there it was, Pepper's ghost | 0:02:52 | 0:02:57 | |
named after the Victorian gentleman Mr Pepper | 0:02:57 | 0:03:00 | |
who invented the technique. He was the original. | 0:03:00 | 0:03:02 | |
It's all done with mirrors, man, | 0:03:02 | 0:03:04 | |
and his work was used by such magicians as the Great Masculine | 0:03:04 | 0:03:08 | |
to make people appear and disappear, | 0:03:08 | 0:03:10 | |
and indeed Mr Pepper himself had great fun doing what we've | 0:03:10 | 0:03:13 | |
just done, showing Victorian couples what their children | 0:03:13 | 0:03:16 | |
might look like if they got married. Now, this is how it works. | 0:03:16 | 0:03:19 | |
William isn't looking into a mirror at all. He's looking through a plain | 0:03:19 | 0:03:22 | |
piece of glass and on the other side is Susan, and when the light is | 0:03:22 | 0:03:26 | |
shining brightly on Susan, William can see Susan through the glass. | 0:03:26 | 0:03:30 | |
But if Susan's light goes out and William's light comes on, | 0:03:30 | 0:03:34 | |
what Williams sees is his own, much brighter, reflection | 0:03:34 | 0:03:38 | |
in the pane of glass. | 0:03:38 | 0:03:40 | |
But what is really interesting is what happens | 0:03:40 | 0:03:42 | |
when we put both lights on at the same time. | 0:03:42 | 0:03:44 | |
A strange blend of faces emerges called Pepper's ghost. | 0:03:44 | 0:03:51 | |
You changed your mind about getting married, perhaps? | 0:03:51 | 0:03:55 | |
Right, over here, everybody. Come on. Enough of Pepper's ghost. | 0:03:55 | 0:03:58 | |
Come and look at yourselves in these mirrors over here. Over here. | 0:03:58 | 0:04:01 | |
There's nothing mystical or marital about these like Michael's mirrors. | 0:04:01 | 0:04:05 | |
They're just plain distorting mirrors. | 0:04:05 | 0:04:07 | |
And if you stand in front of them, you can change. | 0:04:07 | 0:04:09 | |
See, this one gives you legs ten-feet long. | 0:04:09 | 0:04:11 | |
If you hold your hands up, you get great long, sort of, claws. | 0:04:11 | 0:04:14 | |
This one makes you into a dwarf and this one, | 0:04:14 | 0:04:17 | |
this one gives you a strange mouth. See that, Karen? | 0:04:17 | 0:04:22 | |
Now, what they can't do is to make you look anything like you really are, but here | 0:04:22 | 0:04:25 | |
we've got mirrors that can make things clearer than | 0:04:25 | 0:04:27 | |
they really are. If you come over here, we can see. | 0:04:27 | 0:04:30 | |
Stand round the front there, round the front, everybody. | 0:04:30 | 0:04:32 | |
Enough of those mirrors. | 0:04:32 | 0:04:33 | |
What do you think that is, anybody? Any idea? | 0:04:33 | 0:04:36 | |
Worms? Lipstick marks, perhaps? No? | 0:04:36 | 0:04:41 | |
Red slugs. | 0:04:41 | 0:04:43 | |
Well, if I put it down here | 0:04:43 | 0:04:46 | |
and put this cylindrical mirror over that circle, what have we got? | 0:04:46 | 0:04:50 | |
Yes, the ten of hearts and hearts are trumps today. | 0:04:50 | 0:04:54 | |
Let's try this one. Go round the front again. | 0:04:54 | 0:04:56 | |
What do you think that is? Yes? Mountains? | 0:04:56 | 0:04:59 | |
Valley? Moon? A face, you say. | 0:04:59 | 0:05:02 | |
Let's see. Shall we put it down? | 0:05:02 | 0:05:04 | |
Get that, Jackie, and put it over the circle and what have we got? | 0:05:04 | 0:05:08 | |
A witch in a green coat. | 0:05:08 | 0:05:10 | |
OK, over to here, and this idea of hidden art that can only be | 0:05:10 | 0:05:14 | |
revealed in a particular way has fascinated artists for centuries. | 0:05:14 | 0:05:18 | |
-Here's another example of it. Any idea what that is? -Swamps? -Swamps. | 0:05:18 | 0:05:23 | |
A road? Just a series of lines. | 0:05:23 | 0:05:26 | |
But look at that, Jackie, from one side. | 0:05:26 | 0:05:29 | |
Look on the edge. Can you, Jonathan, you have a look? Along the edge. | 0:05:29 | 0:05:34 | |
-That's right, there are four faces. -Upside down. -Indeed. | 0:05:34 | 0:05:37 | |
It's an idea that's also fascinated scientists, of course, | 0:05:37 | 0:05:40 | |
they call it making transformations. | 0:05:40 | 0:05:41 | |
We remember the astronomer Copernicus, | 0:05:41 | 0:05:43 | |
because he made an enormous transformation | 0:05:43 | 0:05:45 | |
thinking of the stars and the planets, imagining himself to be | 0:05:45 | 0:05:48 | |
standing not on the Earth, but on the sun, | 0:05:48 | 0:05:50 | |
but let's get back to these pictures. | 0:05:50 | 0:05:52 | |
Yes. Dougal. Florence. | 0:05:52 | 0:05:55 | |
-A trumpeter. -Let's see. Yes, it's a monkey blowing a trumpet. | 0:05:55 | 0:06:00 | |
And one final go over here. What about this view of the Earth from... | 0:06:00 | 0:06:05 | |
-That's the moon. -Is it? Put the mirror on. | 0:06:05 | 0:06:08 | |
Come on, Jackie, put the mirror on. | 0:06:08 | 0:06:10 | |
It's a pink tiger, isn't it? Yes. Something you don't want to catch | 0:06:10 | 0:06:13 | |
by the tail. Right, finished mirrors, | 0:06:13 | 0:06:15 | |
over to Judith who's got a competition. Follow me. | 0:06:15 | 0:06:17 | |
First of all, something really easy. | 0:06:17 | 0:06:19 | |
-Can anyone tell me what this is? -A face. | 0:06:19 | 0:06:22 | |
A face, that's right, it is a face, yes. | 0:06:22 | 0:06:25 | |
Now, a scientist called Gerald Fisher has discovered how | 0:06:25 | 0:06:28 | |
to turn a face like that into something else. | 0:06:28 | 0:06:31 | |
Not another face, something really different. | 0:06:31 | 0:06:33 | |
Now, I want you to listen to what you've got to do. | 0:06:33 | 0:06:36 | |
I'm going to walk behind these statues and take these things off | 0:06:36 | 0:06:39 | |
and when you see the face changing into something else, | 0:06:39 | 0:06:42 | |
and when you're sure you know what it is, I want you to run over | 0:06:42 | 0:06:45 | |
and sit on the chair underneath the statute. | 0:06:45 | 0:06:48 | |
If there's somebody there, just sit on top of him, pile yourselves up. | 0:06:48 | 0:06:51 | |
-Right. Are you ready to go? -Yes. | 0:06:51 | 0:06:54 | |
No, you wait over there and just watch. | 0:06:54 | 0:06:58 | |
Anybody can see? No? | 0:06:58 | 0:07:01 | |
Number two. | 0:07:01 | 0:07:03 | |
Onto number three. | 0:07:03 | 0:07:05 | |
Ah, John's seen a change. | 0:07:05 | 0:07:08 | |
On to number four. | 0:07:08 | 0:07:09 | |
Five. Can you all see it now? | 0:07:12 | 0:07:15 | |
And number six. Two left. Jackie's just coming on there. | 0:07:15 | 0:07:20 | |
Now, as you can see, they've all seen the change at a different time. | 0:07:20 | 0:07:23 | |
John was the first one. Jackie here was the last. | 0:07:23 | 0:07:25 | |
We don't see it at the same time. | 0:07:25 | 0:07:27 | |
To some people it changes into a girl much earlier | 0:07:27 | 0:07:30 | |
and if any of the men watching at home found that the face | 0:07:30 | 0:07:33 | |
became a girl much earlier, down at that end, it's tempting to | 0:07:33 | 0:07:36 | |
read into that something your wives might not approve of! | 0:07:36 | 0:07:38 | |
Haha! Well, I don't know about that, Judith, | 0:07:38 | 0:07:41 | |
but certainly, wild horses wouldn't get me to confess how soon I saw it. | 0:07:41 | 0:07:45 | |
Come with me and see what we have over here. | 0:07:45 | 0:07:49 | |
We had a very quick look at Mr Michael Holt, the mathemagician, | 0:07:49 | 0:07:53 | |
but now watch closely and see what he has to show you. | 0:07:53 | 0:07:56 | |
Thank you, Raymond. | 0:07:56 | 0:07:57 | |
Now, would somebody like to try on a waistcoat and... | 0:07:57 | 0:08:01 | |
Oh, here you are. Would you try on this waistcoat? | 0:08:01 | 0:08:04 | |
We've met, haven't we? It's Sanjay, yes? Right. | 0:08:04 | 0:08:07 | |
And here is the coat. Your arm out, that's it. | 0:08:07 | 0:08:10 | |
In with that arm and in with that arm. | 0:08:10 | 0:08:13 | |
Now, here is a challenge which you might like to try at home | 0:08:13 | 0:08:17 | |
and that is to see if you can take the waistcoat off without | 0:08:17 | 0:08:20 | |
taking the jacket off, without taking your arms out of the sleeve. | 0:08:20 | 0:08:23 | |
Off you go. See if you can try, come on. | 0:08:23 | 0:08:25 | |
HE CHUCKLES | 0:08:25 | 0:08:27 | |
No? Do you give up? | 0:08:27 | 0:08:30 | |
Well, look, shall I show you? | 0:08:35 | 0:08:37 | |
-Shall I show you how to do it? -I can't do it. -You can't do it. | 0:08:37 | 0:08:41 | |
Well, very well tried, anyway. Very well tried. Would you sit down? | 0:08:41 | 0:08:44 | |
-That's it. -APPLAUSE | 0:08:44 | 0:08:46 | |
Give him a good hand. That's terrific. | 0:08:46 | 0:08:48 | |
-Now I'll show you how it's done. -MUSIC PLAYS | 0:08:48 | 0:08:50 | |
You see, you undo the waistcoat like this | 0:08:50 | 0:08:52 | |
and we've got the right kind of music for this. | 0:08:52 | 0:08:55 | |
And you take this arm here | 0:08:55 | 0:08:57 | |
and you put it through the waistcoat like that, you see? | 0:08:57 | 0:09:00 | |
And then you feed the waistcoat all the way through, but I'm going | 0:09:00 | 0:09:03 | |
to turn round so as you can see | 0:09:03 | 0:09:04 | |
what's happening at the back, like that. | 0:09:04 | 0:09:06 | |
And you just feed the coat through, making sure you haven't got | 0:09:06 | 0:09:10 | |
anything in the pockets. | 0:09:10 | 0:09:11 | |
If you've got an awful lot in the pockets, | 0:09:11 | 0:09:13 | |
you're never going to do this. | 0:09:13 | 0:09:15 | |
And then you get the waistcoat right over onto the side | 0:09:15 | 0:09:17 | |
and you just slip the elbow through, like that. | 0:09:17 | 0:09:20 | |
Now, we've now got the waistcoat entirely on this | 0:09:20 | 0:09:23 | |
side of the jacket, you see. Here it is. All here. | 0:09:23 | 0:09:26 | |
Now, all I have to do is put the waistcoat right down | 0:09:26 | 0:09:29 | |
the sleeve here. That's it, it's going down. | 0:09:29 | 0:09:32 | |
And then try and get it down right past the elbow. | 0:09:32 | 0:09:36 | |
Put my hand up the sleeve here to pull the waistcoat down, like this. | 0:09:36 | 0:09:39 | |
And here we are. | 0:09:39 | 0:09:40 | |
And I pull it out. Oh, Christmas! | 0:09:40 | 0:09:44 | |
Ah! There we are. Thank you very much. | 0:09:44 | 0:09:47 | |
And there you are. | 0:09:47 | 0:09:49 | |
Now, I would like somebody to help me bring out these three dice here. | 0:09:52 | 0:09:57 | |
Could I have you, you, Mark. And could I have you, Sue, isn't it? | 0:09:57 | 0:10:01 | |
Out you come. Will you bring the dice out here? | 0:10:01 | 0:10:04 | |
I'm not going to watch what you do while you turn them. | 0:10:04 | 0:10:08 | |
Turn them round. Michael is going to see fair play. | 0:10:08 | 0:10:12 | |
And then would you stack them up into a tower? Have you done that? | 0:10:12 | 0:10:17 | |
-Nice big tower, that's it. -Yes, nice big tower. | 0:10:18 | 0:10:21 | |
What do you want us to do now? | 0:10:21 | 0:10:23 | |
Can I just turn around and show you what I want you to do next. | 0:10:23 | 0:10:26 | |
What I'm going to do, can I move around here. | 0:10:26 | 0:10:29 | |
What I want you to do is to look at the bottom face, then | 0:10:29 | 0:10:34 | |
look at the hidden faces in there, the two, | 0:10:34 | 0:10:37 | |
and the two hidden faces in there, add them all up, that face, | 0:10:37 | 0:10:41 | |
that one and that one and the bottom one, add them up | 0:10:41 | 0:10:44 | |
but don't tell me what the total is | 0:10:44 | 0:10:46 | |
and I am going to try and find out. All right? You know what to do? | 0:10:46 | 0:10:50 | |
I'm going to turn my back and I won't watch what you do. | 0:10:50 | 0:10:53 | |
Let everybody see. | 0:11:00 | 0:11:02 | |
I don't think your maths is very good! | 0:11:04 | 0:11:07 | |
THEY WHISPER AND CONFER | 0:11:07 | 0:11:09 | |
Right, are we agreed? | 0:11:09 | 0:11:12 | |
We had a little bit of trouble making sure | 0:11:12 | 0:11:14 | |
we had the right total, are we all agreed that that is the total? | 0:11:14 | 0:11:19 | |
We are. I'll now hide it. | 0:11:19 | 0:11:22 | |
Sit down, then and we'll see if the mathemagician... | 0:11:22 | 0:11:25 | |
-Can I turn around? -You can. | 0:11:25 | 0:11:27 | |
Right, thank you very much. Here are the dice. | 0:11:27 | 0:11:30 | |
And I've got to look at them and I will try and read your mind. | 0:11:30 | 0:11:33 | |
I know it's like the key of a door less one. It's 20. | 0:11:33 | 0:11:38 | |
-Is that right? -Yes! -There you are. | 0:11:38 | 0:11:42 | |
Now, you want to know how that's done? I'll tell you. | 0:11:43 | 0:11:46 | |
It's absurdly simple. | 0:11:46 | 0:11:48 | |
You see, I know that the opposite faces of a dice add up to seven. | 0:11:48 | 0:11:52 | |
Four and three. Add up to seven. | 0:11:52 | 0:11:54 | |
And so do all the other faces. | 0:11:54 | 0:11:57 | |
So all I have to do is add up the faces on three dice making 21 | 0:11:57 | 0:12:02 | |
and then I take away what is on the top dice, | 0:12:02 | 0:12:05 | |
the top face of the top dice and it is as simple as that. | 0:12:05 | 0:12:08 | |
Now, see if you can work out the next trick. | 0:12:08 | 0:12:11 | |
Now look, this is an ordinary gyroscope top | 0:12:11 | 0:12:17 | |
and if I pull this string, with a bit of luck | 0:12:17 | 0:12:20 | |
we will be able to spin it up like that. | 0:12:20 | 0:12:25 | |
Take it in your hand. Now turn it about. Does that feel funny? | 0:12:25 | 0:12:30 | |
What does it feel? Does it feel as if it wants to move itself? | 0:12:30 | 0:12:34 | |
Feels kind of alive, does it? If you turn it like that? | 0:12:34 | 0:12:38 | |
Very strange things, gyroscopes. | 0:12:38 | 0:12:40 | |
They don't like being moved, do they? | 0:12:40 | 0:12:44 | |
Right... Now, here we've got a disc of paper | 0:12:44 | 0:12:47 | |
and if I spin that up very fast | 0:12:47 | 0:12:50 | |
that is now being a gyroscope, too. | 0:12:50 | 0:12:53 | |
But not a stiff gyroscope like the metal top. | 0:12:53 | 0:12:57 | |
Watch what happens when I turn this. | 0:12:57 | 0:13:00 | |
Isn't that extraordinary? | 0:13:02 | 0:13:05 | |
You see how it's all distorted? | 0:13:05 | 0:13:07 | |
Now that may give you some idea of the problems which face | 0:13:07 | 0:13:11 | |
engineers when they have to make things spin very fast | 0:13:11 | 0:13:16 | |
and these things then start to behave like gyroscopes. | 0:13:16 | 0:13:19 | |
Suppose, for instance, | 0:13:19 | 0:13:20 | |
that disc of paper was the spinning rotors of a helicopter. | 0:13:20 | 0:13:24 | |
Well, none of us would want to go for a ride | 0:13:24 | 0:13:26 | |
in a wobbly helicopter like that, would we? | 0:13:26 | 0:13:29 | |
What have we got here? A circle with an ordinary pendulum. | 0:13:29 | 0:13:33 | |
If I flick it, it swings backwards and forwards, doesn't it? | 0:13:33 | 0:13:37 | |
If I turn this motor on... | 0:13:37 | 0:13:39 | |
it jumps about all over the place. | 0:13:39 | 0:13:42 | |
If I turn the motor off, | 0:13:42 | 0:13:44 | |
and hold it up here, | 0:13:44 | 0:13:45 | |
what would you expect to happen if I turned the motor on now? | 0:13:45 | 0:13:48 | |
What would happen? | 0:13:48 | 0:13:49 | |
It would go around, would it? Shall we try it? Shall we? | 0:13:49 | 0:13:53 | |
Hold it up, turn the motor on. And it doesn't go around. | 0:13:53 | 0:13:56 | |
If I flick it slightly, it becomes a very stable upside-down pendulum. | 0:13:58 | 0:14:03 | |
That's remarkable, we can explain that mathematically, | 0:14:04 | 0:14:07 | |
but no-one has yet been able to explain that physically. | 0:14:07 | 0:14:09 | |
There's no physical, watertight explanation. | 0:14:09 | 0:14:13 | |
Let's leave those noisy pendulums alone | 0:14:13 | 0:14:15 | |
and try two other pendulums, these swings. | 0:14:15 | 0:14:18 | |
If you stand over there, we have Susan and Sue on the swings. | 0:14:18 | 0:14:22 | |
They are going to sit right still without swinging at all | 0:14:22 | 0:14:25 | |
themselves, I'm going to swing one of them | 0:14:25 | 0:14:29 | |
and let's see what happens to Susan over there. | 0:14:29 | 0:14:32 | |
Don't move, either of you. I'll just swing Sue here. | 0:14:32 | 0:14:35 | |
They're connected by that loose strap up ahead. What happens? | 0:14:35 | 0:14:40 | |
Sue starts slowing down and Susan speeds up. Mind your head. | 0:14:42 | 0:14:47 | |
And then Susan starts slowing down and Sue speeds up again. | 0:14:50 | 0:14:54 | |
Susan has now stopped. | 0:14:58 | 0:15:00 | |
And now Sue is slowing down and off goes Susan again. | 0:15:00 | 0:15:04 | |
Great idea for having in a park. Stop. End of swings. | 0:15:04 | 0:15:08 | |
Let's go across to Raymond.. Off you get, kids. There we go. | 0:15:08 | 0:15:11 | |
Raymond has another stall going over here. | 0:15:11 | 0:15:14 | |
Look what's coming now. | 0:15:14 | 0:15:16 | |
Now, the trouble with these mechanical toys, | 0:15:16 | 0:15:21 | |
although they're very charming, is that they run into things. | 0:15:21 | 0:15:24 | |
And when they run into things, | 0:15:24 | 0:15:26 | |
they get stopped and it always happens under the piano, | 0:15:26 | 0:15:29 | |
or behind a cupboard, or something awkward like that. | 0:15:29 | 0:15:32 | |
So let's put this little pussycat in a cage and then see how he makes out. | 0:15:32 | 0:15:38 | |
Let's start him up before we put him in. | 0:15:38 | 0:15:41 | |
This is the most difficult part of all. | 0:15:43 | 0:15:46 | |
Right, now... | 0:15:46 | 0:15:49 | |
In it goes. Now... | 0:15:49 | 0:15:51 | |
See? You can't stop him! | 0:15:53 | 0:15:54 | |
Do you see? What he does is he climbs up the wall | 0:15:59 | 0:16:05 | |
of the ball and manages to keep going. | 0:16:05 | 0:16:10 | |
And that has all to do with something called feedback control. | 0:16:10 | 0:16:17 | |
It's a very simple example of it, but without feedback control, | 0:16:17 | 0:16:21 | |
there would be no television, no space flight, | 0:16:21 | 0:16:24 | |
and indeed, no living creatures, | 0:16:24 | 0:16:26 | |
because robbed of feedback control, none of us could even exist. | 0:16:26 | 0:16:31 | |
To learn more about it, over to Dr Stuart Anstis. | 0:16:31 | 0:16:34 | |
Here's a nice piece of feedback. Tucked away inside this little box | 0:16:34 | 0:16:39 | |
is an electronic eye, | 0:16:39 | 0:16:40 | |
looking through this large, square lens at this picture tube. | 0:16:40 | 0:16:43 | |
But it's not only looking at the television tube, | 0:16:43 | 0:16:46 | |
it's also controlling the picture on its face in a most remarkable way. | 0:16:46 | 0:16:49 | |
Unfortunately, at the moment, the eye is confused by all the studio lights | 0:16:49 | 0:16:52 | |
and so let's get, Stuart, first of all, | 0:16:52 | 0:16:55 | |
to cover the eye up with a black cloth, | 0:16:55 | 0:16:57 | |
so it can only see the screen, and if we get the gallery to take the | 0:16:57 | 0:17:00 | |
studio lights down, we might be able to conjure up some electronic magic. | 0:17:00 | 0:17:03 | |
Right. Now, can everybody see that line on the screen? | 0:17:03 | 0:17:06 | |
That white flashing line? Yes, of course you can. | 0:17:06 | 0:17:09 | |
Now, so can the electronic eye, but more than us. | 0:17:09 | 0:17:12 | |
It's rather cleverer than our eyes. | 0:17:12 | 0:17:13 | |
It can not only see the line, it can actually tell the line where | 0:17:13 | 0:17:17 | |
to go, so that it can go on seeing it. | 0:17:17 | 0:17:19 | |
So if I try to cover up that line with my hand, | 0:17:19 | 0:17:21 | |
then the line won't allow me to do that. | 0:17:21 | 0:17:25 | |
The eye will control it to stop it happening. | 0:17:25 | 0:17:27 | |
So you see, I get an outline of my hand. | 0:17:27 | 0:17:29 | |
Even if I open my fingers and close them like scissors, | 0:17:29 | 0:17:33 | |
there the line very cleverly follows the outline. | 0:17:33 | 0:17:35 | |
It never gets concealed. Now, have a go at that, William. | 0:17:35 | 0:17:39 | |
That's a very nice name you've got. | 0:17:39 | 0:17:41 | |
Put your hand in gently. Open the fingers, very gently. | 0:17:41 | 0:17:45 | |
And close them again. | 0:17:45 | 0:17:46 | |
You see? The line still follows your hand, take it out. | 0:17:46 | 0:17:49 | |
In you go again. Open the fingers, close them. | 0:17:49 | 0:17:52 | |
Take this shape, this cut out of a face we've got, push it in cos | 0:17:52 | 0:17:55 | |
that line always wants to run away. It's frightened of reflected light. | 0:17:55 | 0:17:59 | |
In goes the face. And there we can see the outline of that cut-out face. | 0:17:59 | 0:18:04 | |
Now, can you hear anything else happening? | 0:18:04 | 0:18:06 | |
BUZZING As that face goes in? | 0:18:06 | 0:18:09 | |
TONE CHANGES | 0:18:09 | 0:18:10 | |
-What can you hear? -A noise. -A noise, yes. | 0:18:10 | 0:18:13 | |
Now, that noise depends upon the shape of that line. | 0:18:13 | 0:18:16 | |
Stuart's keeping it on the screen for us. There it is. | 0:18:16 | 0:18:18 | |
Now, have you ever heard the sound of your own face? | 0:18:18 | 0:18:21 | |
You haven't, have you? No, neither have I. | 0:18:21 | 0:18:24 | |
But if we're very careful, you might be able to achieve that. | 0:18:24 | 0:18:26 | |
Kneel down... See, the line's frightened, | 0:18:26 | 0:18:29 | |
it runs away as soon as you go near it. | 0:18:29 | 0:18:31 | |
Now, if you put your head carefully between the electronic eye | 0:18:31 | 0:18:34 | |
and the line, the screen, there's your face. | 0:18:34 | 0:18:37 | |
Stick your tongue out. And again. | 0:18:37 | 0:18:40 | |
Stick your tongue out. | 0:18:40 | 0:18:42 | |
That's your face, I can see your tongue out. | 0:18:42 | 0:18:44 | |
Now, that, for the very first time, live on television, | 0:18:44 | 0:18:47 | |
the sound of William's face with his tongue out. | 0:18:47 | 0:18:51 | |
This feedback business works the other way round, as well. | 0:18:51 | 0:18:55 | |
Not only do we need the right information to enable us | 0:18:55 | 0:18:58 | |
to do whatever we do normally, | 0:18:58 | 0:19:00 | |
if we feed ourselves the wrong information, | 0:19:00 | 0:19:03 | |
we can make life impossible, | 0:19:03 | 0:19:05 | |
we might even find we were unable to stand up, for instance. | 0:19:05 | 0:19:08 | |
Now, how are we going to prove that? | 0:19:08 | 0:19:10 | |
Well, here in the studio, we've got a room with a trolley in the middle | 0:19:10 | 0:19:14 | |
of it and the trolley is on wheels, but this is no ordinary room. | 0:19:14 | 0:19:18 | |
The walls of this room are not connected to the floor. | 0:19:18 | 0:19:22 | |
And with the help of the strong arm of Stuart Anstis, I can show | 0:19:22 | 0:19:25 | |
you that we can move the walls without moving the floor. | 0:19:25 | 0:19:30 | |
In other words, this room behaves in a way that our mind will find | 0:19:30 | 0:19:34 | |
difficult to cope with. | 0:19:34 | 0:19:36 | |
Right, Stuart, let's see who's had a heavy tea. | 0:19:36 | 0:19:39 | |
Come on, Martin. Try an experiment and we see | 0:19:39 | 0:19:42 | |
if we can make you behave in a strange fashion. | 0:19:42 | 0:19:45 | |
Stand in the trolley, on the rubber. Now, face the other way. | 0:19:45 | 0:19:49 | |
That's right, turn yourself round. | 0:19:49 | 0:19:51 | |
And look up perhaps at one of those pictures. Lovely. Now then... | 0:19:51 | 0:19:56 | |
You tell me what you think is happening. | 0:19:56 | 0:19:59 | |
I don't want you to sway. Stand still, whatever happens. | 0:20:02 | 0:20:05 | |
You're swaying, aren't you? | 0:20:08 | 0:20:10 | |
Now, what do you think it is that's moving? | 0:20:10 | 0:20:13 | |
-The floor? -The floor! | 0:20:13 | 0:20:15 | |
Well, turn round and have a look and see what is happening. | 0:20:15 | 0:20:19 | |
The floor isn't moving, is it? What is? | 0:20:19 | 0:20:22 | |
-The wall. -That's right. | 0:20:22 | 0:20:23 | |
So now you know what's going on, turn round and see | 0:20:23 | 0:20:25 | |
if you can stand still again. | 0:20:25 | 0:20:27 | |
Look up at the wall, hands by your side. | 0:20:27 | 0:20:30 | |
Do you think he's standing still? | 0:20:32 | 0:20:34 | |
He's not, is he? It's jolly difficult. Well done, Martin. | 0:20:34 | 0:20:37 | |
Even when you knew what was happening, | 0:20:37 | 0:20:40 | |
you found it impossible to stand still and I can hardly blame you. | 0:20:40 | 0:20:43 | |
Come on, Helen. We'll try something else with you. | 0:20:43 | 0:20:47 | |
Have you had a heavy tea? | 0:20:47 | 0:20:49 | |
You have? Oh, dear. We might have a problem here. | 0:20:49 | 0:20:51 | |
Step up, then. | 0:20:51 | 0:20:53 | |
Hands by side. Don't touch the rails. | 0:20:53 | 0:20:55 | |
Now, Stuart's made a few adjustments. | 0:20:55 | 0:20:58 | |
You see if you can tell me what's happening. | 0:20:58 | 0:21:01 | |
You tell me if you think she's going to fall over. | 0:21:05 | 0:21:09 | |
She's not doing very well, is she? | 0:21:09 | 0:21:10 | |
What do you think is happening, Helen? | 0:21:10 | 0:21:13 | |
It's very confusing, isn't it? Let's try something else. | 0:21:16 | 0:21:19 | |
If I told you I was moving, would you believe me? | 0:21:19 | 0:21:22 | |
Really and truly? | 0:21:25 | 0:21:27 | |
Yet everybody else can see I'm the one that's standing still. | 0:21:27 | 0:21:31 | |
You're the one that's moving! | 0:21:31 | 0:21:34 | |
Feels funny, doesn't it? | 0:21:34 | 0:21:36 | |
Yes, they did it to me on Tomorrow's World not so long ago. | 0:21:36 | 0:21:38 | |
Thank you very much. | 0:21:38 | 0:21:40 | |
Have you ever wondered why your ears are where | 0:21:40 | 0:21:42 | |
they are on the side of your head? | 0:21:42 | 0:21:44 | |
You haven't? It's something I ponder every day. | 0:21:44 | 0:21:46 | |
But not all living creatures do have ears where ours are. | 0:21:46 | 0:21:49 | |
Some, like the cricket, for example, have theirs on their legs. | 0:21:49 | 0:21:52 | |
Well, that, for the time being, is what we've done to Sophie here. | 0:21:52 | 0:21:56 | |
Now, with her, we can find out what the cricket's world would sound like | 0:21:56 | 0:21:59 | |
or what our world would sound like if we had our ears around our ankles. | 0:21:59 | 0:22:02 | |
If Sophie will jump, if Stuart will hold her satchel, | 0:22:02 | 0:22:06 | |
jump a little bit, Sophie. Hear that sound? | 0:22:06 | 0:22:09 | |
It's quite deafening! | 0:22:09 | 0:22:10 | |
Right, back you go on the target, Sophie, | 0:22:10 | 0:22:12 | |
and Stuart will help you put your ears where they should be. | 0:22:12 | 0:22:15 | |
Meanwhile, over here, we've got | 0:22:15 | 0:22:17 | |
William with ears in an even stranger place, on his hands. | 0:22:17 | 0:22:20 | |
How does that feel, William... | 0:22:20 | 0:22:22 | |
Matthew! ..to have your ears on your hands? | 0:22:22 | 0:22:23 | |
-Not very different. -Not very strange. | 0:22:23 | 0:22:26 | |
Wave your arms around, so we can hear what it feels like. | 0:22:26 | 0:22:29 | |
Move one past me as I speak. | 0:22:29 | 0:22:30 | |
Move one past my face as I go on speaking. | 0:22:30 | 0:22:33 | |
VOLUME FLUCTUATES Can you hear my voice dying away | 0:22:33 | 0:22:36 | |
-and building up again? -Yes. -You can? Right. | 0:22:36 | 0:22:38 | |
Now, all of you, how would you like best to have your ears? | 0:22:38 | 0:22:41 | |
On your hands, like Matthew here, or where the rest of us are? | 0:22:41 | 0:22:45 | |
Come with me, Matthew. On your ears. | 0:22:45 | 0:22:48 | |
-Where would you like to have your ears? -Where they are. | 0:22:48 | 0:22:51 | |
I just want a trial to see. Are you ready, Sophie? Right. | 0:22:51 | 0:22:54 | |
All these boxes are empty, except for two. | 0:22:54 | 0:22:57 | |
They've got something ticking in them. | 0:22:57 | 0:22:59 | |
What you're going to have to do | 0:22:59 | 0:23:00 | |
when I say go is to run down the side of the table, as | 0:23:00 | 0:23:03 | |
fast as you can, try and find a box that's got something ticking in it. | 0:23:03 | 0:23:06 | |
Now, be very quiet, everybody, | 0:23:06 | 0:23:07 | |
cos we've never done this experiment before. Excuse me, Stuart. | 0:23:07 | 0:23:10 | |
And we're not quite sure it's going to work. | 0:23:10 | 0:23:12 | |
Right, when I say go, off you go. Find the ticking thing. | 0:23:12 | 0:23:15 | |
Listen with your ears, Sophie. | 0:23:15 | 0:23:17 | |
Listen with your ears. | 0:23:17 | 0:23:19 | |
LOUD TICKING Any luck? | 0:23:19 | 0:23:23 | |
BOX RATTLES She's right! She's right! | 0:23:23 | 0:23:26 | |
So it seems better, doesn't it, to have your ears up here? | 0:23:26 | 0:23:29 | |
Just before we make sure, let's run another test. | 0:23:29 | 0:23:32 | |
Matthew, you go back to your target. Sophie, go back to Stuart. | 0:23:32 | 0:23:35 | |
You've got to close your eyes, | 0:23:35 | 0:23:37 | |
mustn't open your eyes during this one, | 0:23:37 | 0:23:39 | |
so you can't see where you're going, | 0:23:39 | 0:23:41 | |
and they're going to spin you round, so you don't know where you are. | 0:23:41 | 0:23:44 | |
Blow a trumpet. | 0:23:44 | 0:23:46 | |
Everybody? John? You have a go. Stand on this target. | 0:23:46 | 0:23:50 | |
When I say blow, you blow your trumpet and these two are going | 0:23:50 | 0:23:53 | |
to try and find their way to you with their ears. | 0:23:53 | 0:23:56 | |
Now, Matthew, it would be better | 0:23:56 | 0:23:57 | |
if you hold your arms out sideways, like a bird, give you a better sound. | 0:23:57 | 0:24:01 | |
Right, are you ready? Right, blow. | 0:24:01 | 0:24:04 | |
BLOWS TRUMPET | 0:24:04 | 0:24:06 | |
Now, we've crossed over Matthew's ears. | 0:24:06 | 0:24:09 | |
We've connected his left hand to his right ear | 0:24:09 | 0:24:12 | |
and his right hand to his left ear. | 0:24:12 | 0:24:14 | |
But he still seems to be doing very well. | 0:24:14 | 0:24:16 | |
Judith is stopping him bump into things. | 0:24:18 | 0:24:22 | |
Oh, a dead heat! | 0:24:22 | 0:24:24 | |
Open your eyes. Absolutely dead heat. Well done! | 0:24:24 | 0:24:27 | |
Well, I think you deserve to have the things you found in those boxes. | 0:24:27 | 0:24:31 | |
Those things that were ticking. Let's open it and see what they were. | 0:24:31 | 0:24:34 | |
Shall I open it for you? | 0:24:34 | 0:24:36 | |
Right, here's a Christmas riddle for you. | 0:24:37 | 0:24:40 | |
What musical instrument starts life encased in a mixture of horse | 0:24:40 | 0:24:45 | |
hair and cow dung | 0:24:45 | 0:24:47 | |
and ends up being played by someone standing 30 or 40 feet away? | 0:24:47 | 0:24:52 | |
Who knows? | 0:24:52 | 0:24:54 | |
Yes, of course. A church bell. | 0:24:54 | 0:24:57 | |
This one weighs 500 weight, but guess how much Big Ben weighs. Any guesses? | 0:24:57 | 0:25:02 | |
13 tonnes, 1,000 weights, three-quarters and 15 pounds, | 0:25:02 | 0:25:08 | |
so that's a pretty big bell. | 0:25:08 | 0:25:10 | |
But you know, to the scientist, a bell is a machine for transforming | 0:25:10 | 0:25:15 | |
the energy of something moving into the energy of musical sound. | 0:25:15 | 0:25:19 | |
One large lump of metal, the clapper, | 0:25:19 | 0:25:22 | |
hitting another large lump of metal, the bell. | 0:25:22 | 0:25:26 | |
And actually, what that makes is a most unmusical crash. | 0:25:26 | 0:25:32 | |
Just listen. BIG BEN SOUNDS | 0:25:32 | 0:25:35 | |
Now did anyone hear an unmusical crash? Be honest. | 0:25:35 | 0:25:40 | |
No, you didn't, did you? Not one of you. | 0:25:40 | 0:25:44 | |
It doesn't sound noisy. It sounds beautiful and musical. | 0:25:44 | 0:25:49 | |
Because our brains are so quickly overwhelmed by the sheer | 0:25:49 | 0:25:53 | |
music that the bell makes that we miss the awful noise. | 0:25:53 | 0:25:57 | |
So now, let's play a recording of the bell backwards, | 0:25:57 | 0:26:00 | |
so that the crash comes at the end, | 0:26:00 | 0:26:03 | |
instead of the beginning, and | 0:26:03 | 0:26:06 | |
then let's listen and see if we can | 0:26:06 | 0:26:07 | |
hear this crash I'm talking about. | 0:26:07 | 0:26:09 | |
Listen. BELL SOUNDS BACKWARDS | 0:26:09 | 0:26:12 | |
Did you hear it? | 0:26:12 | 0:26:15 | |
And what the body of the bell is designed to do is to soak up | 0:26:15 | 0:26:19 | |
the energy of the crash as quickly as possible | 0:26:19 | 0:26:22 | |
and channel all that energy into beautiful musical notes. | 0:26:22 | 0:26:28 | |
Now, we're going to play you a recording of Big Ben a little | 0:26:28 | 0:26:32 | |
bit at a time and we'll show you the sound on this screen, too. | 0:26:32 | 0:26:38 | |
Look. Watch. | 0:26:38 | 0:26:39 | |
THUMP | 0:26:39 | 0:26:41 | |
Do you see? Just like an explosion. THUMP | 0:26:41 | 0:26:44 | |
That's that tremendous impact of that huge clapper hitting that huge bell. | 0:26:44 | 0:26:50 | |
Now, by modern electronic means, you can in fact find 30 or 40 notes in a | 0:26:50 | 0:26:56 | |
big bell like this and I can show you what I mean by ringing the individual | 0:26:56 | 0:27:01 | |
notes in this bell, not with a great big clapper, | 0:27:01 | 0:27:06 | |
but by a tiny electronic vibrator here. | 0:27:06 | 0:27:10 | |
LOW NOTE HUMS | 0:27:12 | 0:27:15 | |
Can you hear that? | 0:27:15 | 0:27:16 | |
Now that's the low note. | 0:27:16 | 0:27:18 | |
Now, let's increase the frequency of the vibrator and see | 0:27:18 | 0:27:22 | |
if we can get the next... | 0:27:22 | 0:27:24 | |
NOTE GETS HIGHER | 0:27:26 | 0:27:29 | |
See? That's an octave above. Another pure musical note. | 0:27:29 | 0:27:33 | |
Now we can get some harmonics. MULTIPLE NOTES HUM | 0:27:33 | 0:27:36 | |
See, I'm using this little vibrator | 0:27:36 | 0:27:39 | |
instead of the big hammer and picking out the individual | 0:27:39 | 0:27:42 | |
notes of this bell, which has already been tuned. | 0:27:42 | 0:27:45 | |
MORE NOTES HUM Listen to that. | 0:27:45 | 0:27:48 | |
-Do you think we can find any more? Let's try. -Yes! | 0:27:48 | 0:27:51 | |
HIGH NOTE HUMS There's a high note. | 0:27:51 | 0:27:54 | |
MORE NOTES HUM That's a lovely note. | 0:27:54 | 0:27:57 | |
HIGHER NOTES SOUND | 0:27:57 | 0:27:59 | |
Now, of course, we can hear them all at once, the old | 0:27:59 | 0:28:03 | |
fashioned way, by striking the bell and now, | 0:28:03 | 0:28:06 | |
we shall hear all those individual notes as one beautiful chord. | 0:28:06 | 0:28:12 | |
Listen. | 0:28:12 | 0:28:13 | |
BELL HUMS You can hear the individual notes. | 0:28:13 | 0:28:16 | |
But of course, you don't | 0:28:16 | 0:28:17 | |
need a great big piece of metal like that to produce such beautiful music. | 0:28:17 | 0:28:22 | |
Ring out, wild bells! | 0:28:22 | 0:28:24 | |
THEY PLAY GOOD KING WENCESLAS | 0:28:25 | 0:28:30 | |
Come on, let's all join in, come on. | 0:28:30 | 0:28:32 | |
Let's all stand around. Come in, let's have the whole cast. | 0:28:32 | 0:28:35 | |
Yes, thank you, William, bringing in the music. | 0:28:35 | 0:28:38 | |
Michael, the other Michael. | 0:28:38 | 0:28:41 | |
Stuart, right. | 0:28:41 | 0:28:42 | |
Have you all got your music? | 0:28:42 | 0:28:44 | |
What better note on which to end our programme. | 0:28:44 | 0:28:48 | |
On behalf of all of us in the studio, a magical Christmas to you all. | 0:28:48 | 0:28:53 | |
Right, ready? | 0:28:53 | 0:28:56 | |
One, two! | 0:28:56 | 0:28:58 | |
# Good King Wenceslas last looked out | 0:28:58 | 0:29:01 | |
# On the feast of Stephen | 0:29:01 | 0:29:05 | |
# When the snow lay round about | 0:29:05 | 0:29:09 | |
# Deep and crisp and even | 0:29:09 | 0:29:12 | |
# Brightly shone the moon that night | 0:29:12 | 0:29:16 | |
# Though the frost was cruel | 0:29:16 | 0:29:20 | |
# When a poor man came in sight | 0:29:20 | 0:29:23 | |
# Gathering winter fuel. # | 0:29:23 | 0:29:29 |