| 00:02 | e think we're cool? I'm 100 e don't even know. Do you |
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| 00:10 | have a football game this weekend? cancel that one yet to even have |
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| 00:14 | scheduled. I don't know. It's gonna be, like, follow me |
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| 00:18 | I actually watch football regularly. what we're gonna do today is we're |
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| 00:25 | cover audition and equilibrium, which I constantly refer to his balance, even |
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| 00:30 | it's not balanced just easier for me do that because of bad habits. |
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| 00:34 | on, Ben. What we're gonna is we're gonna look at, |
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| 00:37 | some just some basic general stuff about circuitry in the nervous system. And |
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| 00:42 | we talk about black basic, it's like baseline stuff and what you're looking |
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| 00:48 | , this picture right here is the of how both audition and equilibrium |
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| 00:55 | So if you understand the system, everything else just kind of falls into |
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| 01:00 | . And so what we're looking at what is called a hair cell because |
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| 01:05 | has hairs can see them. They're up, right? That's hair cell |
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| 01:10 | these hair cells or mechanical receptors. is kind of cool because we've already |
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| 01:16 | about chemo receptors. We talked about electromagnetic receptor, you know, light |
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| 01:23 | . All right. Did anyone watch video? I posted it on five |
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| 01:27 | . Yeah. Now you trust It's funny. I mean, you |
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| 01:31 | watch the first five, you 30 seconds and you'll be laughing and |
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| 01:35 | can stop and you'll be done with . But he actually goes through and |
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| 01:39 | everything um about about and it likes . It's funny. Funny, |
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| 01:44 | Alright, on DSO now what we're with dealing mechanic receptors and mechanic |
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| 01:49 | It's kind of strange because you don't of hearing as being part of that |
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| 01:55 | . You think in terms of sound are not turning the sound waves into |
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| 01:59 | . The answer is no, you're detecting the sound waves through vibration through |
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| 02:06 | . That's what you're doing. what about equilibrium? Obviously, the |
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| 02:09 | of my body is going to affect Well, we'll see here. It's |
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| 02:13 | affect fluid in the body, which affect how those hair cells move. |
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| 02:18 | that's what we're looking at Is these cells? So these air mechanic |
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| 02:22 | um, basically, they move in to movement, uh, in the |
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| 02:28 | that's we're either gonna be a which we're gonna see is gonna be |
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| 02:31 | equilibrium and fluid, which is primarily regards to hearing, um, the |
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| 02:39 | Micrografx, which is up here at top kind of shows you what it |
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| 02:42 | like a three dimensional structure. But , what you can see here is |
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| 02:47 | have a, uh, keno psyllium the Siris of stereo cilia that are |
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| 02:51 | attached to each other. Um, then what happens is you're gonna bend |
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| 02:55 | towards or away from the Kino psyllium where you're bending and how much you're |
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| 03:00 | determines the degree of opening channels. once you open the channels, you're |
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| 03:04 | have potassium flowing, um, into cells, and you can see this |
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| 03:08 | of backwards in little cartoon appear that area is called Indo limp. The |
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| 03:12 | we'll see in a couple of slides is very similar to the makeup of |
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| 03:17 | fluid. So there's more potassium So when you open it up, |
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| 03:21 | Russian into the cell instead of rushes , which causes the cell to deep |
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| 03:27 | . All right, so it's a a little different. Um, so |
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| 03:32 | regard to equilibrium. We're gonna be at a specific structure called the Vestibular |
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| 03:36 | . And so this tells us the of our head in space. |
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| 03:40 | And so easy way to think about is we're gonna be working in three |
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| 03:44 | or really two planes and then, , kind of in terms of, |
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| 03:48 | , circular acceleration. So one of two planes got this plane, which |
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| 03:55 | vertical. Wants this plane horizontal. right. And so when you're thinking |
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| 04:00 | equilibrium, I want you think about things, All right? Think about |
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| 04:03 | the dungeon drop. You remember? drop? No. Okay, |
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| 04:07 | you're too young. Uh huh. Alaska role was long gone. All |
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| 04:13 | , then you drop this simple You can go. You can see |
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| 04:15 | Anything. Basically, it's one of towers. You get yourself in a |
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| 04:18 | , it takes you up to the of like, tick, tick, |
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| 04:20 | , tick, tick, tick, , tick, tick, tick, |
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| 04:21 | , gets you top. They buzz a couple times. You think on |
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| 04:25 | third, but you're gonna go. it's sometimes way after that. So |
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| 04:27 | like my my second. Then they you, and you're like I'm gonna |
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| 04:30 | . I'm gonna die. Gonna. then it stopped before you hit the |
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| 04:33 | . And then they do it a of other times, right? That's |
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| 04:35 | dungeon drop. So you're dealing with movement and then in horizontal movement, |
|
| 04:40 | about driving with me. All 0 to 60 in 3.2 seconds. |
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| 04:45 | could do that in a pickup Yeah, teasing. Not a pickup |
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| 04:50 | that be, like, four Alright, but moving in a |
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| 04:54 | Have you ever done that? Where get in the car and you |
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| 04:56 | You feel yourself being pressed back into car into the chair, okay? |
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| 05:01 | maybe you've been in an airplane a bit more obvious. You start speeding |
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| 05:05 | , and then you really confuse yourself pressed back in the seat. So |
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| 05:08 | would be horizontal acceleration. So either two things that you kind of visualized |
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| 05:13 | you do it. And in circular , I've already mentioned the human gyroscope |
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| 05:17 | . So but anything where you're moving an angle, your head moving in |
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| 05:20 | angle would be a way to think that. Alright. So that's what |
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| 05:24 | gonna be dealing with equilibrium. With , we're dealing with the cochlea. |
|
| 05:29 | , again, I'll show you restrictions . This is going to be able |
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| 05:32 | text sounds in our environment, all . And it helps us promote our |
|
| 05:37 | . So how does this work? if we understand this like everything else |
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| 05:42 | into place will be done in 30 minutes. I don't know if |
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| 05:46 | true. We'll find out. Depends I go 3.2 m per second or |
|
| 05:50 | ? All right, so with regard this, you can see here in |
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| 05:54 | little thing, we can see that bending towards the Kilis ilium here. |
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| 05:57 | can see that we're bending away from Tennessee Liam. As I mentioned, |
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| 06:00 | you're doing is you have these channels are associated with the tennis ilium so |
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| 06:04 | they are partially open. So if standing straight up your partially open, |
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| 06:09 | allows for a rate of the polarization take place, right then if you've |
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| 06:14 | towards the Tennessee Liam, you open the channel even further. So the |
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| 06:18 | of the polarization happens faster. You up producing more action potentials when you |
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| 06:23 | away from the Tennessee Liam, You the channel, so the rate of |
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| 06:27 | polarization slows down. I don't know people can hear that my stamping their |
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| 06:33 | that. So that's the general way these hair cells work. So it |
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| 06:37 | matter if you're dealing with equilibrium. doesn't matter if you're dealing with |
|
| 06:43 | Now, I throw this up here you should be familiar with your structures |
|
| 06:49 | the extent of you could identify something a very general sense. I'm not |
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| 06:53 | ask you to identify, for Oh, there's nothing on this |
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| 06:58 | Well, like the cranial nerves or like that. But you should know |
|
| 07:01 | this is called. What's that called there? Called an article or a |
|
| 07:10 | , right? What do you think is for? What does it look |
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| 07:15 | ? It's not sound absorbing. What you think it's for? Catching sounds |
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| 07:20 | . Absorbing sounds would mean. It be like Grab it. I want |
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| 07:24 | to look at your someone Next to is close to you. Look at |
|
| 07:27 | ear. That weird. Look how shaped it is. Come on, |
|
| 07:32 | . Here. Here. See? at that. It is the weirdest |
|
| 07:35 | thing ever. But this is a structure is based on how it collects |
|
| 07:41 | . So all those weird bumps and and turns do that. You could |
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| 07:45 | there's a ear canal. There's the ear. There's a middle ear. |
|
| 07:48 | the inner ear. This slide is your thing. But it was. |
|
| 07:52 | was basically the beginning, the next . So you should be familiar with |
|
| 07:56 | things I talk about. When we about this structure, we're going to |
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| 08:00 | straight into the inner ear. All , so this is where all that |
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| 08:06 | that we're looking at takes place, and audition. All right. And |
|
| 08:10 | the inner ear structurally has two It is called the Boating Labyrinth and |
|
| 08:14 | member Enis Labyrinth. All right, bony labyrinth literally is a bone |
|
| 08:18 | You can see it appear. It's highlighted in green for you. This |
|
| 08:23 | thing, it looks like a little alien that's stuck in your head, |
|
| 08:27 | it's actually found in the bone. the temporal bone of the skull. |
|
| 08:34 | . And in here, this is you're going to see three structures. |
|
| 08:38 | right now, it's easy to point here to see the three structures in |
|
| 08:41 | here. But I'm just going to I'm going to the bottom one. |
|
| 08:44 | this portion right here, that's the Cleo, All right. These structures |
|
| 08:49 | here are collectively referred to the semi canals. And then this in the |
|
| 08:54 | is called the vestibule or vestibule. me. Not vestibule vestibule. |
|
| 08:59 | together these two structures, the semi canals in the vestibular are referred to |
|
| 09:05 | vestibular apparatus. All right, so is down there. It's the swirly |
|
| 09:12 | . What does it look like to ? A snail? Guess what cochlear |
|
| 09:16 | . Snail. Alright. Being snail . All right, so that's where |
|
| 09:20 | comes from. The best job you'll into something. That's why it's called |
|
| 09:23 | best job. You'll in the semi canals were not full circle their part |
|
| 09:27 | there. You got your names. you just love this? I |
|
| 09:30 | I'm telling you it once you start in your head. Wow. Child's |
|
| 09:34 | things for what they look like, they do. It just biology has |
|
| 09:37 | simple. Alright, so I've just a look at that. All |
|
| 09:41 | so the one thing I want to out is so the memory this labyrinth |
|
| 09:45 | inside of the bony labyrinth. And between those two places, we have |
|
| 09:50 | that Caroline is very similar to the fluid. All right. And so |
|
| 09:55 | is the stuff that kind of holds in the place and then inside the |
|
| 09:59 | , this labyrinth, what we have we have Indo lift and that in |
|
| 10:03 | limp is very much like I c all right. It's easier if I |
|
| 10:06 | write that out. I cf so inter cellular food. So it's kind |
|
| 10:12 | flip flopped on us in terms of this thing material has. So this |
|
| 10:17 | nous labyrinth is basically membranes inside the that could create these compartments that allow |
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| 10:22 | thio do. Um um, you , determinar equilibrium and to help us |
|
| 10:27 | hear. So there are structures within other structures. One is called the |
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| 10:33 | duct so that they ducked within the where the structure is that allows us |
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| 10:40 | hear. All right, so we're see there's more structures there. But |
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| 10:43 | thing that we're gonna be focusing on in the cochlear duct. Alright. |
|
| 10:47 | the vestibule. We have two We have the you trickle Mossack. |
|
| 10:51 | all right? So it's these two structures within this larger area that are |
|
| 10:58 | for, uh, that allow us determine linear acceleration. Alright. So |
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| 11:04 | be horizontal and vertical. And then semi circular canals are within those larger |
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| 11:11 | . Semi circular doctor, inside the semicircular canal. And it's here where |
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| 11:15 | gonna be able to deal with uh, angular acceleration. All |
|
| 11:21 | so equilibrium. All right. The structures we're looking at are in the |
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| 11:28 | tube. You'll all right? It's you trickle in the sack. You'll |
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| 11:33 | , that referred to as the Odalis . The reason they're called Odalis organs |
|
| 11:37 | because they are a structure that is a gel like goo. All |
|
| 11:44 | that has a little tiny crystals jammed it. Kind of like your great |
|
| 11:48 | makes that jello with the with the in the grapes in it. Do |
|
| 11:52 | have that aunt now you don't have great aunt never married. Okay, |
|
| 11:59 | sorry. It's It creates a though, doesn't it? Right. |
|
| 12:03 | , you know, I'm talking about ever had a Jell O with the |
|
| 12:05 | in it. Yeah, All That was That was big stuff back |
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| 12:09 | the seventies. Yeah, that's a time ago. All right? |
|
| 12:16 | And so you could imagine if I Jello. You guys played with Jello |
|
| 12:20 | , right? E u like Jell . So when I was in |
|
| 12:23 | you know, we would actually have was in high school. We have |
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| 12:26 | O eating contest. We take Jell , You know, you get it |
|
| 12:29 | , you get that cut out jello the school. It's on a |
|
| 12:31 | You sit there and you can wiggle , you know? Just suck it |
|
| 12:35 | one. You ever do that E man? Okay, let me |
|
| 12:40 | it this way. You ever had Jell O shot? There we |
|
| 12:43 | Now I've got an audience. All , but if you get that jello |
|
| 12:48 | anything in it and you slide it the table, it will slide, |
|
| 12:51 | they'll kind of kind of wiggle for little bit. Right? But if |
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| 12:54 | take Jello with has the fruit and inside and slide across the table, |
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| 12:58 | will wiggle even mawr. Why There's greater mass in it, so |
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| 13:04 | has greater inertia. So once it wiggling, it will wiggle harder. |
|
| 13:09 | that's what the Odalis organs do is basically have these structures, these calcium |
|
| 13:14 | crystals jammed into um so you can in that top picture up there what |
|
| 13:19 | kind of look like There's the hair , all right, the hair cells |
|
| 13:23 | up. So there's your hair and then you have on top of |
|
| 13:27 | , this gel structure, that gel is the macula, all right. |
|
| 13:32 | then macula has embedded in it the carbonate crystals, which we call the |
|
| 13:37 | , hence the painter or the term organs. Now, this is a |
|
| 13:41 | bit more complex side that I have here. But if you look at |
|
| 13:45 | picture here, you can see the arrows pointing in this direction in that |
|
| 13:49 | . This shows you the alignment of hair cells, and that's not so |
|
| 13:52 | . I'm not gonna ask you what the alignment of the hair cells? |
|
| 13:54 | know that the hair cells have kind this unique alignment. You know, |
|
| 13:58 | just kind of for your future, ? It's not that they're all pointing |
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| 14:01 | the same direction. And it's how hair cells been on each side of |
|
| 14:06 | head that determines how your brain is your movement, right? So if |
|
| 14:12 | have hairstyles pointing this way, hairstyles that way and the same thing on |
|
| 14:16 | other side, that means when I , you know, the the hairs |
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| 14:20 | one side of bending this way and other are bending or they're both bending |
|
| 14:24 | way. They're both bending that but it's like opposite directions. And |
|
| 14:28 | your brain interprets all of that stuff comes up to it with the determination |
|
| 14:32 | which way you're moving. So the picture here, what do you do |
|
| 14:35 | organs? Do they look at linear in the horizontal plane and in the |
|
| 14:41 | plane, two organs, you miss actual. Right, so here |
|
| 14:46 | are. Now, here's how we this. All right, the U |
|
| 14:50 | . I've highlighted all high points. have their stereo cilia sitting in the |
|
| 14:54 | position, right? So that means I accelerate in the horizontal plane, |
|
| 15:01 | hair cells bend right? So if if they're in the horizontal plane, |
|
| 15:07 | I'm accelerating, they don't move, they? So those hair cells pointing |
|
| 15:11 | and down in the vertical plane been you move in the horizontal plane? |
|
| 15:15 | that movement is what's detective in the ? The macula. So what happens |
|
| 15:21 | I begin accelerating Because of inertia? macula gets pulled backward because of |
|
| 15:25 | The hair cells been and that's what detecting as movement. That's the you |
|
| 15:31 | . So you trickle horizontal acceleration. sacral is just the opposite. The |
|
| 15:35 | cells are in the horizontal plane. means when I move in the vertical |
|
| 15:39 | up and down, that is when brain recognizes vertical acceleration. Now, |
|
| 15:46 | is the dungeon drop or getting an elevator. You know, when you |
|
| 15:50 | that elevator, you could feel it out from underneath you, or you |
|
| 15:53 | feel it push you up. That's sexual doing its job. I'm gonna |
|
| 15:59 | out here for a second, and need to be very careful. |
|
| 16:03 | This is how I'm gonna test I'm gonna ask you which direction of |
|
| 16:07 | trickle which direction of sexual. But all taken higher order mathematics and you've |
|
| 16:13 | learned about vectors. Right? Member . You may not remember, but |
|
| 16:17 | learning about them at some point, ? If you watch despicable me, |
|
| 16:22 | know about Vector. You don't remember ? Dude, He was a bad |
|
| 16:27 | . He called himself Vector because he crime with both. Come on |
|
| 16:34 | Gotta get watching your movies. Magnitude direction. All vectors have a magnitude |
|
| 16:41 | a strength and a direction. If moving in the horizontal plane, Do |
|
| 16:48 | have a magnitude? At what would magnitude be? Speed Right? |
|
| 16:55 | whichever way, appointing. All So if I'm moving in the horizontal |
|
| 16:59 | Aiken, measure that that that Do I have a vertical component when |
|
| 17:04 | moving horizontally, you see my right? Like what do you |
|
| 17:11 | Zero. That's right. If but it's zero, right? There's |
|
| 17:16 | that factor. You have to So I want you to think if |
|
| 17:21 | am going up a stairway or down slope. Is there a horn horizontal |
|
| 17:26 | ? Yes. Is there a vertical ? Yes. Okay, So when |
|
| 17:33 | tilting my head or moving my head and down, even though we're going |
|
| 17:36 | see that I'm gonna really emphasized circular . Both the Yukon sack. You'll |
|
| 17:42 | a component or having role in looking that sort of acceleration. So when |
|
| 17:47 | coming off that roller coaster and you're down that hill, there's a you |
|
| 17:52 | . There's a sack you'll that that being activated as well as the semi |
|
| 17:56 | canals, which we look at in a moment. Okay, But on |
|
| 18:00 | test, how, um I testing ? Horizontal Keep simple vertical. Keep |
|
| 18:05 | simple. Okay, Okay, So the semi circular canals deal with |
|
| 18:16 | angular acceleration. Now, there are canals there in basically three planes. |
|
| 18:21 | you remember your three planes? Got X axis, your Y axis and |
|
| 18:28 | Z axis so you can imagine your Semicircle canals are like that. |
|
| 18:34 | so what they're doing is they're looking movement in that particular plane. |
|
| 18:38 | how did they do this? structurally, what they have is they |
|
| 18:42 | this long circular canal at the base the canal. They have this wider |
|
| 18:48 | that has a speed bump in Alright. This wider structure is called |
|
| 18:52 | ambulance. That speed bump basically is like the macula. It's a gel |
|
| 18:58 | structure that kind of projects upward and into the fluid so that when the |
|
| 19:03 | moves, it's gonna move the speed . And then projecting into that little |
|
| 19:08 | bump is the little tiny hair Now that speed bump is called a |
|
| 19:13 | Ula. Now here's where we have be careful. We learned about |
|
| 19:17 | We now have an AMP Ula and have a couple of. So you |
|
| 19:20 | to know which one goes to All right, so kind of be |
|
| 19:24 | , right? So the ampule a container Coppola is the speed bump. |
|
| 19:29 | is the gel in the odor lift with all the calcium carbonate in |
|
| 19:32 | So just that's that's the great aunts fact. Now, when you move |
|
| 19:40 | head So when you say I am interested in taking another test, Dr |
|
| 19:45 | and you shake your head back and , what you're doing is you're moving |
|
| 19:49 | when I move my head this direction have two of these structures, |
|
| 19:54 | I have one on the left left side, one on my right |
|
| 19:57 | , right? And so when I my head, the fluid in both |
|
| 20:00 | those travel in the same direction, , because of a nurse, or |
|
| 20:04 | really kind of go in the opposite to kind of sit there in your |
|
| 20:06 | , moves in the fluid go and kind of pushes in that canal, |
|
| 20:12 | those cupolas and bends the couple a the same direction. But because you're |
|
| 20:16 | opposite sides of the head, the is detected in different ways, and |
|
| 20:21 | your brain is told which way your is moving. All right, so |
|
| 20:27 | you're in a roller coaster, I'm gonna use this as an example, |
|
| 20:30 | you have that loop and you go and around the loop them back |
|
| 20:34 | What's your head doing? It's moving a particular plane, and so you're |
|
| 20:38 | causing that fluid. The move and brain is saying, Oh, I |
|
| 20:41 | . I'm turning myself upside down because the movement of the fluid and oh |
|
| 20:45 | , I see that as well. kind of makes sense. So the |
|
| 20:50 | moves causes the couple of the been the couple of bends the hair self |
|
| 20:55 | and that bending of the hair cells either deep polarization towards the keno, |
|
| 20:59 | or hyper polarization away from the Tennessee , and it's the frequency of the |
|
| 21:03 | potential that tells you the speed at you're moving. So when you're sitting |
|
| 21:09 | still are the hair cells bending at ? You're sitting perfectly still right |
|
| 21:17 | Yeah, but she's shaking her No. So your head's moving. |
|
| 21:21 | when you're perfectly still no, you're perfectly still your specially getting action |
|
| 21:28 | that are firing at a very specific . But when you say no |
|
| 21:31 | I don't understand what's going on. all of a sudden you're actually increasing |
|
| 21:36 | decreasing on opposite sides. And so brain says, Oh, I'm twisting |
|
| 21:40 | head this direction. Oh, I'm my head. That direction, see |
|
| 21:44 | , is a double twist. That sense. All right, so that's |
|
| 21:51 | this all works. It's all the of inertia. Coppola is bidding back |
|
| 21:56 | forth, and so here's our This structure is the ampule. |
|
| 21:59 | There's your cup. Ula. I drove done it without trying. |
|
| 22:05 | good with equilibrium. That's equilibrium. a nutshell. Your movement is determined |
|
| 22:10 | the degree of movement of the stereo the penicillin and the stereo cilia, |
|
| 22:15 | in the direction that they're going. , sir. Use since your head |
|
| 22:20 | the side. Yes, because you that weight pulling it down. But |
|
| 22:28 | they're all firing is basically so everyone that. I want to stick your |
|
| 22:31 | to the side, like I don't . Yeah, like this. And |
|
| 22:35 | , do you get the sense that head is to the side? |
|
| 22:40 | right. Your brain is saying your head is tilted, your head |
|
| 22:43 | tilted, your head is tilted. you put your head back up, |
|
| 22:46 | no longer tilted. So that's actually perception is a function of the |
|
| 22:53 | Ilia being bent and basically the structures us that your head is bent. |
|
| 23:01 | the other fun one. You do as a kid. Did you ever |
|
| 23:03 | in the chair? And someone spins around really, really fast and they |
|
| 23:05 | the chair, right? What do eyes do? They're trying to catch |
|
| 23:11 | because your brain is because all that keeps going right? There's basically saying |
|
| 23:16 | . They're trying to figure out what do with itself. Uh huh. |
|
| 23:21 | are cruel to themselves. There's a who wanted to see how well the |
|
| 23:25 | are, the brain adapts, and he wore glasses that created an inverse |
|
| 23:30 | of the world, you know, if you we didn't really talk |
|
| 23:32 | But when you're light into your eyes flipped itself over backwards, writing someone's |
|
| 23:37 | the phobia, it's and it's an upside down in the image. So |
|
| 23:41 | brain has to interpret that so that we're perceiving is what's actually out |
|
| 23:46 | So he wanted to figure this You know, try to understand that |
|
| 23:50 | brain self adapt or is it just end? So he created glasses that |
|
| 23:55 | that image so that the image would the phobia in the proper way that |
|
| 24:00 | should with the way that we think should be. And it took him |
|
| 24:04 | three days before his brain actually But it did all right, So |
|
| 24:10 | you're always walking around like this Brain says, Okay, this is |
|
| 24:14 | life is now. And so when see things this way, that really |
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| 24:17 | this is what the world looks like me. Chemical. So it's adapting |
|
| 24:24 | the signal, right? So it's getting all those those cells firing over |
|
| 24:28 | over again, but says this is normal responsiveness. So it adapts or |
|
| 24:34 | itself. Yes. So he perceived world Normally, Yeah, it was |
|
| 24:41 | longer like trying to walk like You know, I'm walking like Frankenstein |
|
| 24:47 | the first time when he comes off , you know, because, I |
|
| 24:50 | , he still saw probably probably he the world as being upside down |
|
| 24:55 | but it no longer became a That's probably a better way to |
|
| 25:00 | um you guys play video games at ? Yeah. When you sit down |
|
| 25:04 | , like, a first person shooter the first time, and everything is |
|
| 25:07 | around really, really fast, you're like this. Makes me want to |
|
| 25:10 | . You ever noticed that? but it takes, like about |
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| 25:13 | like six minutes before your brain starts in such a way that that speed |
|
| 25:17 | normal. And then when you get , it's like, why doesn't the |
|
| 25:19 | work this fast? Right. so that's it's kind of the same |
|
| 25:24 | . Your brain adapted thing. this is the speed at which I |
|
| 25:28 | to be processing. Yeah, I don't remember. I I suspect |
|
| 25:37 | what it was is that one day was just like, Oh, you |
|
| 25:40 | , I mean, it's probably like when is when is it not |
|
| 25:44 | ? But it's probably more of a of a sudden, everything is always |
|
| 25:49 | , right? But it was kind this, this perception like, |
|
| 25:52 | I'm no longer tripping over every piece furniture that's in my way, |
|
| 25:56 | So I'm only tripping over one versus tripping over everyone who knows. All |
|
| 26:03 | , so let's move on to the ear because we're gonna come back to |
|
| 26:06 | interior because remember, in the interior have cochlear. We said the cochlea |
|
| 26:10 | the structure that is responsible for sound , right. But to get their |
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| 26:16 | ways, have to travel through the ear. So the outer ear is |
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| 26:20 | Pena and the auditory canal. It's the external auditory Metas Media means, |
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| 26:26 | , tunnel in anatomy language. All , so you got the Pena, |
|
| 26:30 | collects the sound, the external auditory , which projects the sound to the |
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| 26:35 | Panic membrane, which you collectively referred as the work locally referred to as |
|
| 26:41 | Your drum, and even said. name Timpani is drum. So that's |
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| 26:45 | Tim panic membrane. The Tim panic is the front of the middle |
|
| 26:51 | Alright. And what you're gonna do you're gonna project to a structure called |
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| 26:55 | Oval Window. Now you'll also see little picture. There's maybe it's |
|
| 26:59 | Yeah, it is showing you the window. We'll get to that in |
|
| 27:01 | a moment. But to get sound the inner ear, you go from |
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| 27:04 | Tim panic membrane to the oval And to get there, what you |
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| 27:08 | to do is you need to make membrane vibrate at the same rate as |
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| 27:13 | Tim panic membrane. All right, the kim panic membrane vibrates as result |
|
| 27:19 | sound hitting it. And so we're deal with hurts here in just a |
|
| 27:22 | and what amplitude and wavelengths have to with All right. But you can |
|
| 27:27 | in our little cartoon up here we three bones Now there they're correct terms |
|
| 27:31 | the malice, the Incas in the peas. But if you wanna be |
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| 27:35 | English speaking, it's hammer, anvil stirrup. All right, so the |
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| 27:40 | hits the anvil, the anvil is to stir up, and the stirrup |
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| 27:43 | the oval window. So when the panic membrane moves, it causes the |
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| 27:47 | to move. And when the hammer , it causes the anvil to |
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| 27:50 | When the animal moves, it causes stir up to move. When the |
|
| 27:52 | moves, it caused causes the oval to move. Now, the whole |
|
| 27:56 | of this structure is to create All right, so this is our |
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| 28:02 | , our internal amplifier. And the we need amplification is because behind the |
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| 28:07 | window is fluid and to get fluid move or sound waves to move through |
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| 28:12 | , um, at the same you need to increase its amplitude. |
|
| 28:18 | . If you've ever tried to talk somebody in your water, did you |
|
| 28:20 | try to do that? Yeah. get high school, you got your |
|
| 28:25 | , you're looking underwater, giving each googly eyes and Ugo and she looked |
|
| 28:30 | little bit back to you right He never did that. Okay, |
|
| 28:34 | guess I love this protective self sheltered . I don't know. Try it |
|
| 28:40 | . It's really hard to talk under , right? So the idea here |
|
| 28:44 | I'm amplifying. And that's what the of these three structures are. All |
|
| 28:48 | now, you ever been to a ? You like concerts like live |
|
| 28:53 | You go in there, you're talking your friend. You get in front |
|
| 28:55 | the Marshall Stack. You know, Marshall Stack is right. That's the |
|
| 29:01 | . Plus all the speakers up on , 30 ft tall. You're |
|
| 29:06 | this is where it's gonna be You don't do that. Now get |
|
| 29:10 | of a stadium where your little tiny . Okay, you get in front |
|
| 29:17 | that thing, band comes out. , what do you do when that |
|
| 29:22 | sound comes along? What's the first you do, right? Career that's |
|
| 29:27 | reflex. Protect the ears. All . You also have muscles in your |
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| 29:33 | that are wrapped and associated with these , the malice, secrets and stay |
|
| 29:38 | . And so they will reflexively contract prevent damage to the structures inside the |
|
| 29:44 | ear. In other words, they're prevent amplification. So now you're at |
|
| 29:49 | concert. First thing you do is your hands on your ears, but |
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| 29:52 | a while, you take your hands . Music sounds just fine. doesn't |
|
| 29:55 | ? Because there's a delayed in terms the reflects. All right, so |
|
| 30:00 | you can hear everything even though you to yell at all your friends, |
|
| 30:03 | ? Don't you like the music, ? Don't you like the music? |
|
| 30:09 | done that? Yeah, yes, got a fun concerts. No, |
|
| 30:22 | . Now, ever had your ears up? All right. Have you |
|
| 30:27 | been on a flight years ago? not the only place. But any |
|
| 30:31 | you notice, what do you You pop your years right? Several |
|
| 30:35 | you can pop itude. Try to that stretch recon, squeeze the nose |
|
| 30:41 | . And if you have crying babies an airplane always take a pacifier or |
|
| 30:48 | they're like two year olds and they're old for the past fire or if |
|
| 30:51 | throw their past fire onto the That's never happened to us right before |
|
| 30:55 | got on the plane lollipops because sucking the same thing and manipulates the station |
|
| 31:05 | station tube attached to the middle ear it goes to the back of the |
|
| 31:09 | . This is where that drainage comes . So if you ever had to |
|
| 31:12 | tubes stuck into your safety and to them open because you always got ear |
|
| 31:16 | . That's what they were doing. really, all it does it equal |
|
| 31:20 | the air that's actually in that space the external environment, right? You |
|
| 31:26 | played with a drum? Alright, you bang on a drum, it |
|
| 31:29 | a nice noise. You put your behind the drum and prevent it from |
|
| 31:33 | . It kind of makes the thud and notice when your ears get all |
|
| 31:37 | up. What it happens, it's , all stuffy like put something over |
|
| 31:41 | . That's what we're trying to Manipulate that. So this opens up |
|
| 31:45 | allows you to equalize the pressure. again, what we're doing is we're |
|
| 31:49 | sound ways from the Pena or the through the external auditory meters to the |
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| 31:55 | . Panic membrane causes the malaise. statements to vibrate causes the oval window |
|
| 32:00 | vibrate. And now what we're doing we're now entering into the cochlea into |
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| 32:04 | inner ear. Alright, so here's cochlea. You can see this is |
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| 32:09 | it looks like. It's that nice snail shell. If you look at |
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| 32:12 | from the side in other words. take a slice that you can |
|
| 32:15 | It really does look like a snail , right? The snail kind of |
|
| 32:20 | around like this goes all the way and comes to a stop. But |
|
| 32:23 | we have in here is we remember, we have this memory is |
|
| 32:26 | , which is basically a membrane that through the center of it. And |
|
| 32:29 | goes all the way up and what does, it creates three different |
|
| 32:33 | One space is actually, or two those spaces are actually continuous with each |
|
| 32:37 | because it goes all the way turns on itself and comes all the |
|
| 32:40 | back down again. But we just it two spaces. And so if |
|
| 32:45 | take a slice search, you can see what that looks like. All |
|
| 32:48 | , so this is that three dimensional , and then we're just gonna take |
|
| 32:52 | look at one of these little but it goes all the way |
|
| 32:55 | all right. And what we have are the three different compartments. All |
|
| 33:00 | . The one on top is called scallop vestibular, or the stimulus |
|
| 33:06 | The one on the bottom is called Tim Panic Duck or the scallop |
|
| 33:10 | The one in the middle is the duct. This is one we're interested |
|
| 33:14 | . You know, the other ones important, but this is the one |
|
| 33:17 | interested in because it contains within it structure that allows us to detect |
|
| 33:24 | Now the oval window opens to the . Vestibular. All right, so |
|
| 33:31 | , we got Pena. We've got external auditory Meet us. We got |
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| 33:34 | tim panic membrane. We got uh, hammer, the anvil, |
|
| 33:40 | syrup. So you know, the , Because stay peas, we have |
|
| 33:44 | oval window, and now you're in scallop, vestibular. And so if |
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| 33:47 | was a straight line, it would keep going, and then it would |
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| 33:50 | on itself and become the scallop So you can imagine it coming back |
|
| 33:56 | the way and then at the end the skeleton, pani is another |
|
| 34:00 | and that's the round window. So we're gonna do is we're gonna move |
|
| 34:04 | . That's in the scallop. Vestibular , right, Because the oval window |
|
| 34:08 | gonna start shaking, and that's gonna all the way back around. It's |
|
| 34:11 | cause around window to shake now. far, has any of this have |
|
| 34:14 | do with sound detection? No, just doing this is like one of |
|
| 34:19 | super mouse traps. You just keep stuff on, right? That's what |
|
| 34:23 | done. So now we have this . And so the floor of the |
|
| 34:28 | of the stimulus is called the vestibular . The roof of the skeleton pani |
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| 34:33 | called the basilar membrane because it's all reference to that cochlear duct. So |
|
| 34:37 | basement or the basil membrane is the of the cochlear duct of a stimulant |
|
| 34:44 | has the or the vestibular membrane serves the roof. So those who are |
|
| 34:49 | and trying to visual this, pretend put one arm out at three |
|
| 34:54 | and put one at one oclock, that's the structure. You can see |
|
| 34:58 | in our little picture here. All , basil er, membrane, vestibular |
|
| 35:04 | , and that defines the cochlear Now the turning point is the helical |
|
| 35:10 | . Who cares what the name is ? We want to focus on this |
|
| 35:14 | right, because this is membrane. membrane. Now, when we go |
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| 35:18 | the cochlear duct, we can now the structure that actually detects that structure |
|
| 35:28 | called the organ of Corti. All , now we have our vestibular |
|
| 35:35 | I'm gonna sit down because it's easier draw that way. Whatever the stimulus |
|
| 35:43 | we have here are Bassler membrane picking in the middle over here in the |
|
| 35:49 | . That's called a textural membrane. is a very stiff structure. It |
|
| 35:53 | out there like look a diving board then attached to it. Underneath it |
|
| 36:00 | Siris of hair cells. I'm gonna there. We're seeing on the |
|
| 36:04 | You can see I'm attached to there then I have one group of hair |
|
| 36:11 | that are not attached. All so what we have is we have |
|
| 36:14 | hair cells, the inner hair Is this row right there? This |
|
| 36:20 | , the row of the inter hair are responsible for responding to the movement |
|
| 36:26 | the fluid inside the cochlear duct. . The outer hair cells, on |
|
| 36:33 | other hand, modulate the flow of fluid inside the cochlear duct. |
|
| 36:41 | They have even gotten a have that moves and then the nerves responsible for |
|
| 36:48 | that information up all joined up together form what is called the vestibular cochlear |
|
| 36:54 | . That's actually the cochlear nerve. it joined up the vestibular nerve and |
|
| 36:57 | of creative vestibular cochlear nerve. So were the structures, and we're gonna |
|
| 37:03 | back. We're gonna try to put all together here, and probably three |
|
| 37:07 | swoops. All right, so I'm pause here for a second and |
|
| 37:11 | Is the an enemy grossly confusing? . Draw a picture of it. |
|
| 37:16 | right. If you're not drawing pictures you're going along, you're putting yourself |
|
| 37:21 | a disadvantage. It's like tying your hand behind your back. So draw |
|
| 37:26 | . Because remember what we said. have the Pena, the auditory Meet |
|
| 37:32 | Tim Panic membrane mallesons escapees over window , vestibular, scallop timpani, round |
|
| 37:39 | . Notice that the cochlear duck is in any of that pathway. The |
|
| 37:43 | duct sits between these two structures because we're gonna do is we're gonna bend |
|
| 37:47 | around each other, and it sits between them. And so we need |
|
| 37:50 | get movement inside the cochlear duct. though it's not part of that long |
|
| 37:54 | of events. The movement of the is going to take place first in |
|
| 38:00 | structures we just name now. What hearing hearing is simply the perception of |
|
| 38:05 | waves. Sound waves are like the that you're more familiar with, not |
|
| 38:08 | horrible, nasty waves that I showed on Tuesday. And did anyone bother |
|
| 38:13 | on Wikipedia to see the the gift . Did you? Is it |
|
| 38:17 | It was just like, What's that ? E can't do it. All |
|
| 38:23 | , Don't watch it. It's All right, Now So what we |
|
| 38:27 | here is like a wave that you're familiar with If I got a rope |
|
| 38:30 | I snapped it, you see that traveling? That's what a sound wave |
|
| 38:33 | like. Alright, the waves are what you see in the ocean, |
|
| 38:36 | they don't come crashing down on It's just the up in the down |
|
| 38:39 | . All right, so we have and intensity. Frequency is measured in |
|
| 38:43 | . That's basically the number of waves pass a given points. That's your |
|
| 38:47 | . And then this is what you think of its pitch. So if |
|
| 38:50 | know high notes are low, notes , then you're familiar with frequency. |
|
| 38:56 | , so Barry. Why versus Freddie ? You guys know very white. |
|
| 39:04 | . No. Can't get enough of love, babe. Come on. |
|
| 39:08 | is the quintessential deepest, deepest baritone rock history. Actually, not your |
|
| 39:16 | . More of a disco. All , Freddie, Mercury, you guys |
|
| 39:22 | familiar with right? Please, please your head. Yes, or I'm |
|
| 39:27 | have to stop this class, give all efs and make you go learn |
|
| 39:32 | rock history, but not your Just pretend. Lie to me. |
|
| 39:38 | ? Okay. All right. intensity refers to how loud something |
|
| 39:48 | So that's the amplitude that measured in . Right? So the louder I |
|
| 39:54 | , the greater the amplitude even though may not change my pitch Whisper be |
|
| 40:00 | But you here I said I could all the terrible things about you Wouldn't |
|
| 40:15 | know, right? Thats amplitude. , So high notes versus low notes |
|
| 40:22 | amplitude is how loud something is. , to create loud noises I have |
|
| 40:27 | use more energy. You notice that if I have more energy, what |
|
| 40:31 | you think? Sand ways. Do travel further? Right? Less |
|
| 40:38 | They travel shorter. That's why whispering a really interesting tool to demonstrate |
|
| 40:45 | You know, it's like the sound only travels a certain distance. The |
|
| 40:48 | . Okay, so let's put it together now in this picture, what |
|
| 40:54 | looking at is you're looking at the . That looks kind of like a |
|
| 40:57 | looking tone, right. What they've is even wound it. Alright, |
|
| 41:02 | the cochlear, remember, is a that kind of goes on. It's |
|
| 41:05 | comes back around and what they've done is they said in the cartoon I'm |
|
| 41:09 | unwind it so that you can see pathway so you can see in our |
|
| 41:13 | cartoon. Here is the scallop vestibular . It goes up, turns on |
|
| 41:19 | at the helicopter MMA and then comes down is now the skeleton. |
|
| 41:23 | So if I create a vibration that vibration is gonna work. It's |
|
| 41:28 | the way around to the other Except for one thing. I |
|
| 41:32 | it is true. That's gonna do . This is a wavelength, all |
|
| 41:36 | ? And so there's a distance that wavelength travels. In fact, if |
|
| 41:40 | watch that five g video, I you, he talks about wavelength significantly |
|
| 41:45 | that's one of the major concerns about g is its wavelength, right, |
|
| 41:50 | it's that 300 gigahertz. You hear gigahertz and you like freak out's |
|
| 41:55 | Oh my goodness, that sounds so because my wife I was only |
|
| 41:57 | five gigahertz. And the truth is he points out that when we |
|
| 42:01 | at electromagnetic radiation, this is the part is that visual lights is in |
|
| 42:05 | terror hertz range, and it's Oh, I have no idea because |
|
| 42:09 | always talk about nanometers right anyway, that wavelength, as you might |
|
| 42:17 | is something that travels up and travels down and travels up. So that |
|
| 42:22 | is gonna hit the roof of the vestibular, and then it's gonna hit |
|
| 42:26 | floor of the scallop vestibular, which call the vestibular membrane. And it's |
|
| 42:30 | do so at a very specific depending upon its Waverly right? So |
|
| 42:34 | wavelength are going to hit some place here right longer. Wavelengths might hit |
|
| 42:43 | way over there in a single right? And so where that way |
|
| 42:49 | down crashing on the vestibular membrane, going to cause the vestibular membrane to |
|
| 42:56 | right, Because it's a force, ? And what you can imagine inside |
|
| 43:02 | cochlear duct, I've got fluid. when I squeeze on something that has |
|
| 43:07 | , what's that Fluid is gonna have do? It's gonna have to move |
|
| 43:10 | . It pushes itself down. So I caused the membrane to bend, |
|
| 43:14 | , they're showing it here, and right, let me point out |
|
| 43:17 | The artist did a very crappy Why did the artist do a crappy |
|
| 43:21 | ? Because they drew little tiny lines over the place before it actually caused |
|
| 43:25 | to been. What you can imagine that that's one wavelength right there. |
|
| 43:31 | right, so recognize artists sucked, right, But that's OK because he |
|
| 43:37 | know his science. So you could it goes up. It comes down |
|
| 43:42 | causes the vestibular membrane to bend. when it does that that causes the |
|
| 43:48 | to be pushed down in that particular of the cochlear duct. And when |
|
| 43:53 | push on the fluid on that that's going to cause the basil er |
|
| 43:57 | to bend at that same point, ? And so that basically, it's |
|
| 44:03 | a shortcut where that energy could And so the purpose of the round |
|
| 44:07 | here backing up again is to allow energy to be absorbed. Do you |
|
| 44:12 | those little stress dolls that you could a long time ago? You can |
|
| 44:17 | find their like rubber, and they their like shaped kind of like a |
|
| 44:20 | of like like Mr Peanut and they a nine mouth and you squeeze them |
|
| 44:24 | . They pop out like that, , though all right, that's what's |
|
| 44:28 | on here is you need to have place for that energy to go |
|
| 44:30 | So it's being dissipated in the round . So doesn't reflect itself back again |
|
| 44:35 | keep recur Shang back and forth, right, So really, what we're |
|
| 44:39 | is we want to focus on where bend is taking place because what you're |
|
| 44:44 | here I am at that particular Here's the vestibular membrane again. Just |
|
| 44:49 | of the three o'clock in the one . Here's the timpani membrane when I |
|
| 44:52 | in the vestibular membrane that causes these to move at the same place right |
|
| 45:02 | , what did we say was in middle between the stimulus membrane and the |
|
| 45:05 | membrane. What was the thing that out the other membrane? Yeah, |
|
| 45:09 | textural membrane. Okay, I'm not talking to you, like 30 seconds |
|
| 45:13 | . I don't make expect you memorize . That membrane is a stiff |
|
| 45:17 | It doesn't move right. So what is as the baser membrane and the |
|
| 45:23 | membrane move, the textural membrane stays same. Okay. And what's happening |
|
| 45:30 | is you're pushing fluid down and around textural membrane. And because of that |
|
| 45:36 | membrane being reflected downward, you're actually of creating a suction into that |
|
| 45:41 | And when pushes upward, it pushes fluid back out again. Now what's |
|
| 45:45 | underneath that textural membrane? Hair right? So it bends one way |
|
| 45:51 | bends the other way as the fluid back and forth. Alright, so |
|
| 45:55 | what's going on here. All here we can see it a little |
|
| 45:59 | more clearly, And so each of steps there's a lot of words on |
|
| 46:02 | slides, and I know that I that purposefully so that when you come |
|
| 46:05 | and look at them, you don't to go back to the book |
|
| 46:07 | Look up the explanation. All but here, what you can see |
|
| 46:11 | kind of the structure. Here's your inner hair cell. This is our |
|
| 46:15 | . So remember we said the outer ourselves are attached to or embedded with |
|
| 46:19 | territorial membrane. And so when the membrane goes down, you stretch out |
|
| 46:25 | outer hair cells and the outer hair don't like that. They have a |
|
| 46:29 | . And I'm called Preston, which think is the funniest thing ever. |
|
| 46:33 | would you name a protein Preston? like naming it Jack. Right. |
|
| 46:38 | , how you doing? Yeah, Preston. It's a protein. I |
|
| 46:42 | know. Sorry if your name pressed the class. We're not making fun |
|
| 46:45 | you were laughing near you? Not you. Okay, so Preston is |
|
| 46:50 | of a protein that doesn't wanna be . And when it gets stretched |
|
| 46:53 | what it says No, no, . And it compresses itself and pulls |
|
| 46:58 | even harder on the textural membrane, really causing the basal membrane to move |
|
| 47:04 | a textural membrane, which creates greater in that particular area. And so |
|
| 47:09 | inner hair cell response to that fluid underlying the tech Torrey a membrane. |
|
| 47:15 | right. Okay. So what big got the baser membrane or the vestibular |
|
| 47:20 | moving Bassler membrane moving pictorial membrane Cause movement of fluid in that particular |
|
| 47:26 | . Still understand how I detect All right, well, remember we |
|
| 47:32 | this is a row. Let me back a couple of slides. 123 |
|
| 47:36 | ? Right. Yeah. What we here are ah, whole bunch of |
|
| 47:44 | cells lined up against each other. . So you can imagine it goes |
|
| 47:49 | entire length of the cochlear ducts and you stimulate in the cochlear duct determines |
|
| 47:58 | frequency of the sound that you're detecting or what we said coming back over |
|
| 48:07 | , we got high frequency notes. have low frequency notes because we got |
|
| 48:12 | cells that go all the way along lane. So depending upon where I |
|
| 48:18 | in that cochlear duct, that's basically you're detecting this frequency. Guys play |
|
| 48:25 | , You know you're pulled piano. anyone ever seen a keyboard? 88 |
|
| 48:30 | long, right? You ever run fingers across him, go don't get |
|
| 48:35 | and higher and higher or lower and and lower, depending on which direction |
|
| 48:38 | go. I haven't played keyboards, I don't know. I just have |
|
| 48:41 | of my house. It's always Have a bigger piano that no one |
|
| 48:46 | . All right, so you notice that's kind of what the cochlear duct |
|
| 48:51 | like. It's basically detecting frequencies. like I'm pressing on a key on |
|
| 48:56 | keyboard to create the frequent or to that particular frequency. So I guess |
|
| 49:06 | are looked at this one. so that's what the frequency and amplitude |
|
| 49:12 | is. Well, really the Alright. So, depending upon where |
|
| 49:16 | can see up in our little cartoon is showing you the stiffness. That's |
|
| 49:21 | it's showing you fatter and fatter and gets thicker and thicker. It shows |
|
| 49:24 | the stiffness because you want to be to respond, uh, with less |
|
| 49:28 | nous of these different ranges. But I'm over at the end nearest the |
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| 49:33 | window, I'm picking up the high notes as I moved further and further |
|
| 49:40 | . I'm getting the Barry White all right. That's all it's saying |
|
| 49:45 | , so where I do it So you noticed? I mean, we |
|
| 49:48 | speak the same language. But if closed our eyes, we could detect |
|
| 49:53 | was talking. I mean by the of their voice. Right, because |
|
| 49:58 | all have a unique timber, and basically tones on top of tones. |
|
| 50:05 | pitch high notes, low notes, determined by where on that, |
|
| 50:13 | in the cochlear duct where you're causing displacement of the membrane. There a |
|
| 50:18 | online. If you have that them okay, good with regard to |
|
| 50:22 | . Amplitude is what What did I ? Well, how loud something |
|
| 50:26 | So if I have a high note quiet and a high note, that's |
|
| 50:33 | . The only difference there is the , so it's gonna hit the exact |
|
| 50:36 | spot. But I'm creating greater, , movement in the cochlea, where |
|
| 50:43 | where that's occurring, right? So can imagine when it's quiet, it's |
|
| 50:47 | like this. Imagine my hands shaking , very little, but when it's |
|
| 50:52 | , it's going up and down more . And so that's why you're getting |
|
| 50:58 | mawr or the sense of loudness. , so that's how we determine how |
|
| 51:03 | encode this stuff. All right the wave will pass all the way |
|
| 51:11 | that goes all the way to the window. So we're looking at the |
|
| 51:16 | wave. The sound wave enters via pena right through the auditory meet us |
|
| 51:21 | panic membrane to vibrate at a specific . That frequency is preserved through the |
|
| 51:27 | staples to the oval window. The window creates a wave at that particular |
|
| 51:33 | that hits, you know, up then down to that vestibular membrane. |
|
| 51:37 | now what we're doing is we're transferring energy into the cochlear duct at a |
|
| 51:42 | location, causing the basil er membrane vibrate at that same location, which |
|
| 51:48 | how we detect the sound. And energy wave then continues back towards the |
|
| 51:53 | window via the skeleton pani, and round window absorbs the energy. So |
|
| 51:57 | get reflected back in and create all of sorts of distortion sound. |
|
| 52:07 | Are we good with the how hearing ? You kind of sort of. |
|
| 52:14 | why can dogs here better than humans higher frequencies? What do you |
|
| 52:22 | If you had to guess, you ears or bigger. What do you |
|
| 52:30 | no longer okay? These air Good. Uh, but really |
|
| 52:34 | It has to do is just how that membrane is tuned. Right? |
|
| 52:38 | one of the things that way said that you know, we has that |
|
| 52:42 | thickness and it gets wider and stuff you can imagine there tuned towards higher |
|
| 52:49 | and less towards the lower frequencies. actually, women, you're tuned higher |
|
| 52:53 | than men are. Why, when cries at night, who gets |
|
| 52:58 | Does Dad get up? Yeah, could care less. You know, |
|
| 53:03 | not because we don't care about the , so we don't hear it |
|
| 53:08 | What do we hear? Bumps in night, right? We're ready to |
|
| 53:13 | up in, you know, Who's ever walking through our home. |
|
| 53:17 | it's either the trade off, less , more crying babies. But, |
|
| 53:22 | know, that's that's how we're There's another difference between the sex. |
|
| 53:29 | means it's always true. No. right, so that's that's basically audition |
|
| 53:35 | equilibrium. Any other questions about this from online? Uh huh. |
|
| 53:47 | sure. Would it be fun on you want to vomit for a little |
|
| 53:52 | , All right. I mean, anyone here been to the eye |
|
| 53:55 | and you have tow wear, You , I mean, put the drops |
|
| 53:58 | your eyes or they put Is it ? Do you feel No, you're |
|
| 54:03 | . Alright? Because your brain is . I don't understand this, but |
|
| 54:07 | a while, it gets used to , so yeah, you can create |
|
| 54:11 | all you want to. It's It's like saying, you know, |
|
| 54:13 | your mom used to tell you don't your eyes like that, they'll stick |
|
| 54:15 | that. They won't stick like Just look funny. And you're pissing |
|
| 54:22 | off. All right, so let's now to kind of a general |
|
| 54:28 | We're gonna kind of back down. walked through these systems. We now |
|
| 54:31 | ah better understanding of some of the senses we've looked at. How touch |
|
| 54:36 | . We kind of have this sense how the sensory system works. So |
|
| 54:40 | do we process this information? We need circuits. All right. |
|
| 54:44 | so what we're doing is we're gonna about stuff we already know about. |
|
| 54:47 | just gonna put some words to All right? So, basically, |
|
| 54:51 | nervous system is a Siris of We have an input. We have |
|
| 54:55 | processing center And then we have an e fair processing center and a |
|
| 55:00 | All right, so we have terms this, right? We have local |
|
| 55:04 | . Local circuits are basically in a region of the brain. Information comes |
|
| 55:07 | , it gets processed and then it's outward. Where's it sent outward? |
|
| 55:11 | know. Don't care. It could to another part of brain for further |
|
| 55:14 | . You go and cause motor movement do all sorts of different things. |
|
| 55:21 | are basically the same thing as a circuits that it's just more finer |
|
| 55:25 | So it's basically creating things and keeping in a very, very tight |
|
| 55:30 | So here is an example of a circuit. Alright, Not very |
|
| 55:36 | You can see here. I've got information coming in going into the spinal |
|
| 55:40 | . Basically, all the information is processed at the level of the spinal |
|
| 55:44 | . Information comes back out. If step on attack, right. I |
|
| 55:50 | through the century reception that I'm stepping attack on attacking my foot. |
|
| 55:55 | I lift my foot up. That all happen at the level of the |
|
| 56:00 | cord. So we have a parent That's the input, the fiber. |
|
| 56:05 | motor neuron is the output. The neurons on the center. Those are |
|
| 56:09 | processing unit. They could be both auditory and inhibitory, depending upon the |
|
| 56:14 | . All right, now, this a simple one. You can actually |
|
| 56:18 | other information that this isn't showing. is an example of the same |
|
| 56:22 | This is just up in the cortex again, you don't need to know |
|
| 56:25 | the different steps, but you can here's input coming in from the |
|
| 56:29 | You could see the output coming down different areas and then you can see |
|
| 56:32 | inter neurons that are located in there are responsible for processing and modulating what's |
|
| 56:39 | on at the level of the So it doesn't matter if you're looking |
|
| 56:43 | the spinal cord. Doesn't matter if looking in the brain, you're gonna |
|
| 56:46 | seeing this sort of arrangement. It's just gonna be unique for the |
|
| 56:51 | that it is. And so when go into a neuroscience class and they |
|
| 56:55 | talking about the six different layers of cortex and you start going Ah, |
|
| 56:59 | , no, no. Just back up for a second. So |
|
| 57:02 | apparently I'm now just looking at the know, the unique discriminations that air |
|
| 57:09 | this structure. Alright, because in different parts of the cortex, you |
|
| 57:13 | these six layers. But they have roles and responsibilities, depending upon where |
|
| 57:17 | are. Visual cortex has subdivisions and sub divisions of each of these |
|
| 57:23 | You know, the motor cortex? so much. Okay, so but |
|
| 57:27 | the same principle being applied over and . And so again, when you're |
|
| 57:32 | , look for similarities first and then out what's different and then focus on |
|
| 57:36 | differences. A reflex is an example one of these things. It's basically |
|
| 57:45 | rapid, pre programmed response in a or gland to some sort of |
|
| 57:50 | And so I'm showing you to physical here. But you can imagine if |
|
| 57:55 | smelled Oh, I don't know. think of something yummy. Uh, |
|
| 58:00 | know, barbecue, cooking being And if that's not your thing, |
|
| 58:05 | of your favorite, uh, cookie baked, you know, or |
|
| 58:10 | right? You get that. You , I'm talking about now. Just |
|
| 58:14 | about it doesn't make your mouth No, Do you not like |
|
| 58:20 | No. I dated a girl and You didn't like food. It was |
|
| 58:23 | saddest thing ever. Food was just . Now she was thin, but |
|
| 58:29 | didn't understand. When you go Thio , it's for enjoyment to wash over |
|
| 58:34 | palate to provide you joy in I'm just teaching you. But it |
|
| 58:42 | true. I'm just teasing. So for those of you whose mouth |
|
| 58:50 | notice, that's just a response. you actually see it? Did you |
|
| 58:53 | it? No. All you have do is think about it and your |
|
| 58:57 | responded to the the virtual stimuli that just provided for you. All |
|
| 59:02 | But you have you all done the test. You know the knee |
|
| 59:08 | Let's see if I can do You don't even need a hammer. |
|
| 59:17 | . No, just too old And I'm wearing jeans, but |
|
| 59:22 | if you, uh no. you guys are so lucky you're at |
|
| 59:28 | . You don't get to watch me on the table like a walrus out |
|
| 59:32 | the water. Mhm. Have to if I can do this right, |
|
| 59:38 | you can usually just get a Just got to hit the pin in |
|
| 59:49 | right spot. I'm trying to fight , too. Into it. Yourself |
|
| 60:00 | home is fun, fun at All right, it's always gonna |
|
| 60:06 | So it's a It's a pre programmed . Every time I hit it, |
|
| 60:09 | gonna do the exact same thing. is showing you the pupil every reflects |
|
| 60:12 | I talked about that last time we about The eye you can actually cover |
|
| 60:15 | , are split the eyes up, lighting one I it actually violates or |
|
| 60:18 | actually constrict. The other one stays his dilated state. All right, |
|
| 60:22 | those were the terms are reflexes. if you don't know what stimulus |
|
| 60:26 | if you don't know what involuntary can't control it, can't stop |
|
| 60:29 | Whatever right? Pre programmed always the in terms of the types of reflexes |
|
| 60:34 | have basic reflexes. You have conditioned . What you're looking at both of |
|
| 60:38 | cases here is a basic reflects. , people a response and the knee |
|
| 60:42 | reflects our basic reflects A condition reflects what you learn active after practice and |
|
| 60:49 | . Yes, sir. That's lost pants every time. Exactly the |
|
| 60:54 | That's the key thing about a Mhm. So you keep banging that |
|
| 61:01 | with that hammer, it's gonna do exact same thing over and over and |
|
| 61:04 | and over and over again. It's joyous right now. Conditioned reflexes, |
|
| 61:10 | little bit different. All right, an example of a condition reflects Gonna |
|
| 61:16 | at somebody and smile at them and they do back. They smile |
|
| 61:20 | right, because, you know, I smile back when I when I |
|
| 61:24 | at you that I'm not gonna come you Actually, the smile is actually |
|
| 61:31 | demonstrate. It's it's a dual It's I am dangerous. I'm baring |
|
| 61:36 | teeth, but I'm not gonna attack because I'm just showing you that I'm |
|
| 61:42 | and they just, you know, and apes. And basically that's what |
|
| 61:46 | do When when unf Amillia groups get , they bare their teeth. But |
|
| 61:52 | don't attack one another basically saying, keep it cool because we don't wanna |
|
| 61:58 | each other. But just let you , if you track me, I'm |
|
| 62:00 | take you back. That's where smile from. Alright, So practicing learned |
|
| 62:06 | , another condition reflects you're most familiar . That's Pavlov and his dog. |
|
| 62:09 | we know about Pablo and his Pavlov had a dog. What do |
|
| 62:13 | do? He fed the dog. like that, the doggy rang a |
|
| 62:19 | . So feed the dog, Feed dog, ring a bell, Feed |
|
| 62:21 | dog, ring a bell, feed dog ring a bell ring. The |
|
| 62:23 | was about dog do. He gets pissed me. Attack half block. |
|
| 62:29 | ? No, he's salivating. You're . That's what most dogs would |
|
| 62:33 | God for me if you bet me ring a bell. If you didn't |
|
| 62:40 | me the food, I would attack like where's my food, right? |
|
| 62:44 | like when the waiter shows up and your meal will be out in just |
|
| 62:48 | moment. Why did you come over talk to me? Should bring me |
|
| 62:52 | food. Okay. Have you seen picture before? Yeah, we |
|
| 62:59 | Right when we were describing peripheral nervous and the central nervous system, and |
|
| 63:03 | see it's the exact same picture. tells us the exact same thing, |
|
| 63:07 | we can kind of use them as global way to understand things so you |
|
| 63:10 | see over there. Here's the spinal arc. There's a receptor. You |
|
| 63:14 | see that the receptors detecting electric Thank you. See most students in |
|
| 63:22 | . Why don't I don't understand. a nail with lightning bolts. |
|
| 63:28 | Alright, so it's detecting pain. . All right. So you can |
|
| 63:32 | we send information up through a parent . That's part of the peripheral nervous |
|
| 63:36 | . It goes into the central nervous and interacts with Interneuron. Where that |
|
| 63:42 | processes that signal. This is what refer to as an integration center or |
|
| 63:47 | a processing center. These air just that we use and what's gonna be |
|
| 63:51 | here is the responsiveness, so notice doesn't send a signal up to the |
|
| 63:55 | . It stays here in the spinal , and we can see now there's |
|
| 63:59 | apparent neuron, a motor neuron or we refer to the parent pathway coming |
|
| 64:04 | out down to the muscle, And so where I got that electric |
|
| 64:09 | , I'm trying to move my elect arm away from the electric nail, |
|
| 64:12 | to avert from the pain. So the response. So the thing that |
|
| 64:18 | the response is what is called the er, it causes the effect. |
|
| 64:23 | where the term comes from. Right we have. It's a lateral pathways |
|
| 64:28 | contra lateral pathways, and it's lateral . On the same time, if |
|
| 64:32 | put my hand on a hot I'm going to use and it's lateral |
|
| 64:36 | to pull my hand away. All , it's not gonna be contra lateral |
|
| 64:40 | if that was contra lateral, I my hand on the stove and I |
|
| 64:43 | my other hand away, which makes one of tense Alright. But contra |
|
| 64:49 | pathways do become important because when I on attack while having its lateral |
|
| 64:54 | if I don't have a contra lateral to put my leg down, I'm |
|
| 64:57 | following my butt. That makes sense that the contra lateral component to a |
|
| 65:03 | that's occurring on the it's a lateral . All right, so the five |
|
| 65:09 | is basically receptor, a parent integration, different pathway effect, or |
|
| 65:14 | that that last step? Now I want to kind of run through a |
|
| 65:17 | of these. We have mono mono, synaptic versus policy, synaptic |
|
| 65:21 | . When you hear mono synaptic, maney synapses Do you have one? |
|
| 65:26 | . Don't glad this stuff to be to you. Alright, Polly. |
|
| 65:30 | means more than one. All And so you imagine a simple |
|
| 65:35 | Mono synaptic. This is showing you stretch reflex, right? So I |
|
| 65:39 | be the knee jerk reflex. For , Hit the knee. I don't |
|
| 65:42 | need an Interneuron. I'm just basically when you hit this, when I |
|
| 65:46 | this tendon, you cause the knee . You flex that muscle and that's |
|
| 65:50 | happens. All right, so it's direct communication between the sensory and motor |
|
| 65:55 | . One synapse there, Polly Synaptic you have more than one synapse over |
|
| 66:00 | the right hand side, you can a very simple Polly synaptic. This |
|
| 66:03 | has. How many synapses? Not complicated question. Just kind of the |
|
| 66:10 | of synapses. So too, Or it three? What's the synapse? |
|
| 66:22 | synapse connection between two cells. How do you have? Three. So |
|
| 66:27 | have to Thanassis. Okay. You , it's learning the terminology and applying |
|
| 66:34 | appropriately. It's not a trick but it feels like one, doesn't |
|
| 66:39 | ? All right, So what you here is you see a synapse between |
|
| 66:43 | A parent neuron and the Interneuron. see a synapse between the Internet and |
|
| 66:47 | parent neuron. So this particular place , is a to synaptic, |
|
| 66:51 | neuron chain. Now, this is be an example of the withdrawal |
|
| 66:55 | If you're done this in the you got your Bunsen burner on and |
|
| 66:58 | decided to burn your hand on I have ever done that. |
|
| 67:01 | So you can say, Oh, put my hand on the fire. |
|
| 67:04 | , I shouldn't be doing that. is a bad thing. I Maybe |
|
| 67:06 | should put my hand. No, don't even think about it. You |
|
| 67:08 | move your hand away. Right? there is a processing this taking |
|
| 67:13 | right? So the Internet on plays role in processing. So what we |
|
| 67:19 | here is we have this stretch reflex the gold you tend to remember. |
|
| 67:22 | promised we talk about it today when said, it's it's coming. So |
|
| 67:27 | reflects is determining the degree of stretch a muscle should be in for whatever |
|
| 67:34 | task happens to be. All so the easy way to think about |
|
| 67:39 | . All right, so if I'm my arms out like so. So |
|
| 67:42 | on guys that work or at I've got my arms at 90 degrees |
|
| 67:46 | my body, right there. And I have someone I say come |
|
| 67:51 | put books into my hand. One at a time. Now I'm talking |
|
| 67:54 | our books, not those English books , like, way 30 ounces, |
|
| 67:58 | know, I'm talking are good. know, £20 textbooks that really men |
|
| 68:02 | women carry with them to class. ? You do that at least digitally |
|
| 68:10 | in your brain. Okay, So I put that what is probably 8 |
|
| 68:14 | £12 textbook that you guys have in hand what's gonna happen with my |
|
| 68:18 | It's gonna go down in it, ? But I don't want to |
|
| 68:21 | And you're standing at my head with gun at my head and says, |
|
| 68:24 | you move your arms, what's gonna , I'm gonna pull the trigger. |
|
| 68:28 | No, no, no. So do I want to do? Is |
|
| 68:30 | want to keep this right here, I don't want to die. So |
|
| 68:33 | that those books come down, I'm creating greater tension. My hands dropped |
|
| 68:40 | out of place. I'm gonna get . No, no, no, |
|
| 68:44 | . I'm gonna bring it right back to the position. In other |
|
| 68:46 | I need to create greater tension because muscle is over stretching from where I |
|
| 68:53 | to be. And that's what the what the stretch reflects does. Now |
|
| 68:58 | structure that does this is what is the muscle spindle. And I didn't |
|
| 69:02 | moving that slide over to explain this you, but you can imagine Here's |
|
| 69:05 | muscle. Feel like a dollar Even , during my muscle embedded inside the |
|
| 69:12 | . This structure that is the muscle fiber. All right, on the |
|
| 69:18 | of the muscle spindle fibers are skeletal . On the inside are other skeletal |
|
| 69:23 | , but they're separated from each One you're detecting the stretch, the |
|
| 69:28 | is, is trying to respond to stretch. And so what we have |
|
| 69:32 | the We have the inter futsal and extra futsal muscle fibers. Alright, |
|
| 69:38 | basically, they're neuron that protecting the of stretch attached to them and if |
|
| 69:42 | over stretching or under stretching, you're make adjustments to the larger structure, |
|
| 69:47 | that you can get that shape of muscle spindle to be the right |
|
| 69:51 | And that's why I try to use example here is basically saying, if |
|
| 69:55 | trying to hold a book right and put the book on it, it |
|
| 69:58 | down and I bring it back up you keep stacking books on it. |
|
| 70:01 | am I gonna do each time it down? But I'm bring it right |
|
| 70:03 | up, as can you picture So that would be an example. |
|
| 70:08 | this is a, uh this is truth of all these complex or these |
|
| 70:13 | types of, uh, reflexes. , when you're dealing with larger structures |
|
| 70:21 | what we're describing here, remember, each muscle that I'm contracting, there's |
|
| 70:26 | be a muscle that is an antagonistic , that I'm relaxing, all |
|
| 70:29 | And it's even more complex than that I don't have just two muscles in |
|
| 70:33 | arm. I got many muscles, they're all there. Um wow. |
|
| 70:38 | would forget the name right now. , don't worry about that. Just |
|
| 70:43 | antagonist IQ versus, um, theater muscle here. All right, So |
|
| 70:49 | is what we refer to the reciprocal so you can see that What would |
|
| 70:53 | a simple A system you can see the blue line. The blue line |
|
| 70:58 | to the purple one. So that be a modest in optic reflects in |
|
| 71:02 | agonist in in that same muscle. in the antagonistic muscle, I now |
|
| 71:07 | a policy synaptic. I have to the other muscle to relax while this |
|
| 71:11 | is contracting, you see, So gonna be what is referred to as |
|
| 71:16 | inhibition. So for every bus I'm , there's gotta be an antagonistic Muslim |
|
| 71:24 | moving on to the Golgi tendon, , tendon stacking those books. At |
|
| 71:30 | point, you're gonna give me some the books that if I keep trying |
|
| 71:33 | maintain me holding it up, my going to tear, Okay. Now |
|
| 71:38 | way muscles work, which will learn our next lecture, is that muscles |
|
| 71:42 | attached to tendons which are attached the muscles contract. They pull on the |
|
| 71:46 | , the tendon stretches, and as stretching, it pulls on the |
|
| 71:51 | So there's a it's not a direct , the bone interaction. There's tendon |
|
| 71:56 | . And so when I pull on tenant it begins to stretch. And |
|
| 71:59 | the Golgi tendon apparatus is embedded in tenant, and it's looking at the |
|
| 72:04 | of stretch in the tendon. If amount of stretching attendant becomes too much |
|
| 72:10 | that structure, then what it It sends a negative signal back to |
|
| 72:15 | muscle and says, You stop What doing basically inhibits the muscle so that |
|
| 72:20 | muscle relaxes and you stop the stretch prevent damage from occurring. So think |
|
| 72:27 | all those, like when you're lifting and stuff. He was like, |
|
| 72:31 | now, part of that's mental. there's a point where if you are |
|
| 72:35 | , put the gun to my head some point, as you keep stacking |
|
| 72:39 | and more weight. Eventually the Golden is gonna just tell the muscle to |
|
| 72:44 | , and then you're going to kill . And then I'll be very |
|
| 72:47 | Well, I won't have any emotion that point, but you get the |
|
| 72:53 | . So that's the gold attendant. one is to moving the hands, |
|
| 72:58 | to maintain the position. The other is relaxing the muscles antagonistic or inhibitory |
|
| 73:05 | flexion reflects. All right, this , um, way that um when |
|
| 73:11 | move something away. So, for , if I step on that tack |
|
| 73:15 | , I'm gonna lift up, So I'm withdrawing. But I'm also |
|
| 73:19 | flex the opposing legs so I don't my but interestingly enough, in self |
|
| 73:24 | , this also occurs when someone grabs arm and pulls you towards them. |
|
| 73:29 | pull away. But what do you with your other hand? You push |
|
| 73:33 | . That's a natural reflex. And is what is the withdrawal flexion |
|
| 73:37 | It's basically a crossed or crosscheck sensor the other way toe. Think about |
|
| 73:42 | . Alright, So withdrawal is and the cross extensive is pressing down |
|
| 73:46 | together it's the withdrawal reflection reflects in brain. You have regions that are |
|
| 73:56 | for creating patterns. These they're called central pattern generators. So they produced |
|
| 74:00 | rhythmic movements walking in the rhythmic Breathing is rhythmic movement. Chewing is |
|
| 74:05 | rhythmic movement, right? You put in your mouth, you stop |
|
| 74:08 | You just don't chew, Chew, , chew chew board on that side |
|
| 74:11 | over the other side. Choo choo . You just It's a rhythmic |
|
| 74:15 | And what it is basically a Siris neuron that create this generated pattern. |
|
| 74:21 | right, so there's pacemaker properties. synaptic interconnections between them. I'm gonna |
|
| 74:26 | you a picture of one not to , but just to demonstrate what this |
|
| 74:30 | of looks like. So this is brain stem and higher cortex, and |
|
| 74:35 | here, you can see, is half center model. You can see |
|
| 74:38 | have two different neurons entering into one's on the extensions ones acting on the |
|
| 74:44 | . You'd think that they both contract the same time, but it's extensions |
|
| 74:48 | and flexors are opposed one another. can't you don't want them to do |
|
| 74:52 | . So there's your network. That's localized networks showing how this would |
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| 74:57 | Basically, they inhibit each other in pattern so that they oppose each other |
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| 75:03 | an opposite fashion. So you end with extension and flexion extension and flexion |
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| 75:07 | and flexion over and over again. what walking is extension and flexion and |
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| 75:12 | leg, then the other leg, the other leg, so on so |
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| 75:15 | . All right, so there's this of excitation and inhibition that basically repeats |
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| 75:23 | last little bit here has to do neural mapping, and I mentioned this |
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| 75:28 | , but I want to Just kind hammered home is that the brain is |
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| 75:31 | , highly organized. It's not a of neuron that have been jammed in |
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| 75:34 | skull case, and hopefully, things all right. In other words, |
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| 75:39 | sensory system is mapped out to match structure that does the detecting. And |
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| 75:45 | there are different ways to map. can see their spatial maps. There's |
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| 75:49 | maps, frequency maps, chemical Visual is incredibly complex, so we |
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| 75:54 | even go into that much detail to it because they have blobs and inter |
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| 75:59 | and things that make no sense to except for people who study the |
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| 76:03 | All right now when you hear the map and I'm gonna show you some |
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| 76:07 | , I want you understand, these not like maps that we would see |
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| 76:11 | we get on our phone, down detail to almost street level. This |
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| 76:16 | more like the maps that people used make in the 16 hundreds of |
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| 76:20 | right? It's kind of this general that kind of says OK. Over |
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| 76:23 | is Africa over here's Europe and over . There be monsters. Okay, |
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| 76:29 | you need to understand. Very, plastic. Very, very fuzzy Things |
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| 76:33 | change depending upon how you use So here's the somatic sensory motor |
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| 76:39 | So this is, uh, the region that's located around that post |
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| 76:45 | gyrus of Mattis centuries in the post gyrus. The, uh, the |
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| 76:52 | central gyrus is where the motor is be located. And I want you |
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| 76:56 | here that map, you can see . There's the motor. There's a |
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| 77:00 | . Does that kind of look like human? It looks like there's very |
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| 77:04 | locations. If you're on a map out, you can see over |
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| 77:08 | Here is where my feet are. here. Here is where my head |
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| 77:11 | . It's just not perfect human, ? If you stood this thing |
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| 77:15 | this person would be upside down, head would be upside down, and |
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| 77:18 | be like, massively large, But you can see there's a map |
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| 77:23 | this. So when you receive information your foot, it's going to this |
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| 77:30 | of the joy Iris, That portion the cortex, when something touched, |
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| 77:36 | your lips. It's going over there it always goes there. What happens |
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| 77:41 | you lose? Um, Dr, we can hear you, she I |
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| 80:53 | hear you. Yeah, it's on microphone microphone. So I don't know |
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| 81:01 | that e can hear it, so just do that. Probably double kill |
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| 81:09 | mike on this side. Um, should my microphone working it is |
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| 81:19 | Okay, so I think it was one thing. All right, so |
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| 81:22 | is, like, two minutes of time. Maybe three, maybe |
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| 81:25 | I don't know Anyway, so you see here that there is a way |
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| 81:30 | the body matches right? You can structurally how there's a map to the |
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| 81:37 | for both The sensory motor area. is also true for the I and |
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| 81:43 | the retina is situated. So if look at the visual cortex, the |
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| 81:47 | cortex maps what you would see if took the I spread out the retina |
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| 81:52 | kind of coded it. Each of axons go to a very specific |
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| 81:56 | Yes, The ear is a little unique now. Yes, The temporal |
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| 82:02 | has that map. It matches up cochlear duct. So you got high |
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| 82:06 | low notes right in the temporal But you also have to know where |
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| 82:09 | sound is coming from. And so way that your brain does this it |
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| 82:14 | on how the sound echoes on is in the by the brain stem. |
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| 82:23 | right, So, for example, is for the vertical plane. Remember |
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| 82:26 | planes up and down, where I , You're here looks really, really |
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| 82:29 | . Funny things are basically reflective so that when sound waves hit, |
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| 82:35 | hit at their at a unique and then they're related to the auditory |
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| 82:40 | at a different delay. So, know, if the sound is coming |
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| 82:45 | or low based upon the type of , it's coming into the ear in |
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| 82:50 | kind of cool right. When it from direction, it's a little bit |
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| 82:56 | , right? And you can think I got two ears, so if |
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| 82:59 | coming from my left is gonna have left here first before his my |
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| 83:02 | Now, if I have a large length right, so basically, |
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| 83:11 | the delay is what I'm looking but at high frequency, in other |
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| 83:15 | , very, very short wavelength. , it's different intensities because they're coming |
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| 83:21 | fast that basically you can't detect them you can with time. You know |
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| 83:26 | time In between them, there's basically this'll ones louder. This one is |
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| 83:31 | , you know, it's coming from right hand side. Last thing I |
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| 83:35 | to mention All right, So the your brain is allowed to do this |
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| 83:41 | this is I like showing because it's show this ingenious engineering of the |
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| 83:46 | That's so what you have is the of the medial superior quality. All |
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| 83:52 | beautiful that Okay, we start And what it is is it has |
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| 83:58 | nuclei where these new neurons are And so the accident that come in |
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| 84:06 | to all the different neuron. And the when the signal from the left |
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| 84:10 | and from the right here come into thing, you have a delay on |
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| 84:15 | far side, right? So sounds the right hand side. It arrives |
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| 84:20 | at that nucleus. The one on left hand side arrived later, but |
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| 84:23 | wired in such a way that when signal comes, it goes to this |
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| 84:27 | and this one and this one this . And when you get the two |
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| 84:30 | coming to the same neuron at the time, it gives you a sense |
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| 84:35 | where that direction is. And that's that signal gets sent back up to |
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| 84:38 | brain, says Ah ha is coming this side and you do it on |
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| 84:42 | sides of the brain. So it's over here, it's saying it's coming |
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| 84:46 | side on the other side that's coming that side. And when those two |
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| 84:49 | are growing, that's when your brain the hot sounds coming from the right |
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| 84:54 | out of the way of the Whatever. Yeah, you hear? |
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| 85:01 | voice is already It's a lot also to do with the yelling in |
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| 85:06 | All right, well, that's where going again. When we come |
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| 85:08 | we're gonna deal with muscle muscle is , easy. Most. If you |
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| 85:13 | this stuff was stuffed mussels easy. we come back on Tuesday, I |
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| 85:16 | you also have a calibration that you to do that right? Double check |
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| 85:21 | syllabus to make sure it might not this week. It might be next |
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| 85:25 | . I can't remember exactly. Double Silva. See if there's a peer |
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| 85:30 | calibration. E e got questions. don't know what was. It was |
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| 85:42 | basically saying it was this side. I said was your brain maps to |
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| 85:47 | shape of your toe, where the comes from the body. And so |
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| 85:51 | you guys were saying you couldn't hear , I was basically saying, If |
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| 85:54 | had something, cut your lips. a very specific location in the brain |
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| 85:59 | that happens. That's all I was . And it it never changes. |
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| 86:04 | has the exact thing. So this what is called the sensory homunculus. |
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| 86:09 | then for the motors, Uh, . It's the same way where the |
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| 86:14 | originate from is something very particular. is called the motor Homunculus and |
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| 86:20 | Let's just means human like so it's it maps to something that looks like |
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| 86:25 | human, that's it and Dr Way the different parts of the cerebral, |
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| 86:34 | as like the mental medulla and the . I'm sorry, the brain |
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| 86:38 | Do we need to know the different nerves that are associated with them? |
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| 86:41 | if we do, what about if do? And again, I can't |
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| 86:46 | if I've written specific question about that I teach, named, declassified, |
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| 86:51 | . I think I don't really acquired . But if if I do, |
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| 86:54 | very general. Like, what is ocular motor nerve do moves the |
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| 86:59 | that sort of thing. I'm not ask you What is it? |
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| 87:04 | You know, what are the somatic and yada, yada yada. So |
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| 87:08 | don't need to know, Like the nerve 11 is for the medulla. |
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| 87:13 | , I mean, but again, you if you If you want to |
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| 87:16 | this simple if you if you need ever know this start obviously one through |
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| 87:20 | right? So the first three, , are are basically the brain. |
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| 87:27 | else is the brain stem and basically in groups of four roughly. So |
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| 87:32 | four, the middle four and then first couple. So but I don't |
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| 87:37 | I'm gonna do that. In I'm almost understand, sir. And |
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| 87:40 | don't do that. What? I say those, I mean, if |
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| 87:43 | if you have to know any of in depth, you do need to |
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| 87:47 | Vegas, right? And wife, it z all of the all of |
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| 87:54 | viscera. Alright, parasympathetic, this is the gray matter. In the |
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| 88:00 | matter, they lie both in the cord as well. The brain Just |
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| 88:04 | spinal cord. Um, uh, people question, I heard Gray matter |
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| 88:08 | spinal cord and brain was like, was the specific part? Is the |
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| 88:12 | matter and white matter both in the cord or just in the brain? |
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| 88:17 | know, it's both. So great is specifically where you're going to see |
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| 88:21 | cell bodies and neurons. And so matter is where you're going to see |
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| 88:25 | acts on grave matters. Were processing place. White matter is where signals |
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| 88:30 | being transmitted. All right, so two points. Okay, that makes |
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| 88:38 | lot of sense. Thank you so . You're welcome. You guys have |
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| 88:40 | great day. You, too. you. You bet. I'm guessing |
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| 88:46 | no more questions. Uh huh. charger. Like a A. |
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| 89:00 | um, you wanted to show me on your laptop. Okay. Just |
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| 89:06 | set yourself up on bond. I'll take a look. So just stay |
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| 89:10 | there. Don't come and take a . Let me just say what I |
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| 89:13 | to save here. Um, I |
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