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Welcome to our Tomorrow's World
Christmas fair, complete with

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sideshows, replete with magic,
mystery and scientific illusion.

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And to probe our mysteries, we have
once again a group of hard-eyed

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professional experts waiting
and panting

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and ready to start on our magical
mystery tour, and our first guide

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will be the impresario of the
changing face,

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the charming Miss Judith Hann,

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and she has her own speciality
in transformation scenes.

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And then, to mystify us all with his
anamorphic art, and I bet you don't

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know what that means, Mr William
Woollard, an old friend of audience.

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And now come over here,

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television's first
mathemagician whom we have

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lured from his beautiful country
seat at Ludlow and he,

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Mr Michael Holt, is going
to baffle us with every conceivable

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kind of mystery,
so you'd better keep an eye on him.

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Then, lured from the halls
of academia,

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which means he's very clever,
Dr Stuart Anstis,

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and anyone who's brave enough to
participate in his experiments

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will be, literally, electrified,

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and finally, to get us under way
with his ghoulie ghosties,

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Michael Rodd to prove beyond
peradventure that now you see it,

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now you don't.

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Never a truer word. Who wants to
meet a ghost? Follow me, then.

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Right across the fairground,
over here.

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Leave some room for me in the
middle or the spell won't work.

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Now, we need a little ghostly gloom.

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Young William here is looking
into the mirror, but he's not

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thinking about himself. He's
thinking about the lovely Susan.

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Now, in all the best stories,
Susan would be his girlfriend.

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Are you William's girlfriend?
No. That's a pity,

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because we could use this magic
mirror to show Susan and William

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what their children might look like
if they decided to get married.

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Shall we do it anyway? Yes.

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We've got to do some magic words
and it goes like this -

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mirror, mirror, on the table, show
me their children if you're able.

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Ready? All together.

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ALL: Mirror, mirror, on the table,

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show me their children
if you're able.

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Very, very weird and there it was,
Pepper's ghost

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named after the Victorian gentleman
Mr Pepper

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who invented the technique.
He was the original.

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It's all done with mirrors, man,

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and his work was used by such
magicians as the Great Masculine

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to make people appear and disappear,

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and indeed Mr Pepper himself
had great fun doing what we've

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just done, showing Victorian
couples what their children

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might look like if they got married.
Now, this is how it works.

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William isn't looking into a mirror
at all. He's looking through a plain

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piece of glass and on the other side
is Susan, and when the light is

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shining brightly on Susan, William
can see Susan through the glass.

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But if Susan's light goes out
and William's light comes on,

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what Williams sees is his own,
much brighter, reflection

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in the pane of glass.

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But what is really interesting
is what happens

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when we put both lights on at the
same time.

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A strange blend of faces emerges
called Pepper's ghost.

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You changed your mind about getting
married, perhaps?

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Right, over here, everybody.
Come on. Enough of Pepper's ghost.

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Come and look at yourselves in these
mirrors over here. Over here.

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There's nothing mystical or marital
about these like Michael's mirrors.

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They're just plain
distorting mirrors.

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And if you stand in front of them,
you can change.

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See, this one gives you legs
ten-feet long.

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If you hold your hands up, you get
great long, sort of, claws.

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This one makes you into a dwarf
and this one,

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this one gives you a strange mouth.
See that, Karen?

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Now, what they can't do is to make
you look anything like you really
are, but here

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we've got mirrors that can
make things clearer than

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they really are. If you come over
here, we can see.

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Stand round the front there,
round the front, everybody.

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Enough of those mirrors.

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What do you think that is, anybody?
Any idea?

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Worms? Lipstick marks, perhaps?
No?

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Red slugs.

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Well, if I put it down here

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and put this cylindrical mirror over
that circle, what have we got?

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Yes, the ten of hearts and hearts
are trumps today.

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Let's try this one.
Go round the front again.

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What do you think that is?
Yes? Mountains?

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Valley? Moon? A face, you say.

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Let's see. Shall we put it down?

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Get that, Jackie, and put it over
the circle and what have we got?

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A witch in a green coat.

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OK, over to here, and this idea
of hidden art that can only be

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revealed in a particular way has
fascinated artists for centuries.

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Here's another example of it. Any
idea what that is? Swamps? Swamps.

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A road? Just a series of lines.

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But look at that, Jackie,
from one side.

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Look on the edge. Can you, Jonathan,
you have a look? Along the edge.

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That's right, there are four faces.
Upside down. Indeed.

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It's an idea that's also fascinated
scientists, of course,

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they call it making transformations.

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We remember the astronomer
Copernicus,

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because he made an enormous
transformation

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thinking of the stars and the
planets, imagining himself to be

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standing not on the Earth,
but on the sun,

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but let's get back
to these pictures.

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Yes. Dougal. Florence.

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A trumpeter. Let's see. Yes,
it's a monkey blowing a trumpet.

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And one final go over here. What
about this view of the Earth from...

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That's the moon. Is it?
Put the mirror on.

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Come on, Jackie, put the mirror on.

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It's a pink tiger, isn't it? Yes.
Something you don't want to catch

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by the tail. Right,
finished mirrors,

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over to Judith who's got
a competition. Follow me.

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First of all,
something really easy.

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Can anyone tell me
what this is? A face.

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A face, that's right,
it is a face, yes.

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Now, a scientist called
Gerald Fisher has discovered how

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to turn a face like that
into something else.

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Not another face,
something really different.

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Now, I want you to listen to what
you've got to do.

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I'm going to walk behind these
statues and take these things off

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and when you see the face
changing into something else,

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and when you're sure you know
what it is, I want you to run over

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and sit on the chair
underneath the statute.

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If there's somebody there, just sit
on top of him, pile yourselves up.

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Right. Are you ready to go? Yes.

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No, you wait over there
and just watch.

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Anybody can see? No?

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Number two.

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Onto number three.

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Ah, John's seen a change.

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On to number four.

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Five. Can you all see it now?

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And number six. Two left.
Jackie's just coming on there.

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Now, as you can see, they've all
seen the change at a different time.

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John was the first one.
Jackie here was the last.

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We don't see it at the same time.

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To some people it changes into
a girl much earlier

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and if any of the men watching
at home found that the face

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became a girl much earlier,
down at that end, it's tempting to

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read into that something your wives
might not approve of!

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Haha! Well, I don't know about that,
Judith,

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but certainly, wild horses wouldn't
get me to confess how soon I saw it.

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Come with me and see what we have
over here.

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We had a very quick look at
Mr Michael Holt, the mathemagician,

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but now watch closely and see what
he has to show you.

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Thank you, Raymond.

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Now, would somebody like to
try on a waistcoat and...

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Oh, here you are.
Would you try on this waistcoat?

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We've met, haven't we? It's Sanjay,
yes? Right.

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And here is the coat.
Your arm out, that's it.

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In with that arm
and in with that arm.

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Now, here is a challenge which you
might like to try at home

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and that is to see if you can take
the waistcoat off without

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taking the jacket off, without
taking your arms out of the sleeve.

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Off you go.
See if you can try, come on.

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HE CHUCKLES

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No? Do you give up?

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Well, look, shall I show you?

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Shall I show you how to do it?
I can't do it. You can't do it.

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Well, very well tried, anyway.
Very well tried. Would you sit down?

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That's it.
APPLAUSE

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Give him a good hand.
That's terrific.

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Now I'll show you how it's done.
MUSIC PLAYS

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You see, you undo the waistcoat
like this

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and we've got the right
kind of music for this.

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And you take this arm here

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and you put it through
the waistcoat like that, you see?

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And then you feed the waistcoat
all the way through, but I'm going

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to turn round so as you can see

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what's happening at the back,
like that.

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And you just feed the coat through,
making sure you haven't got

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anything in the pockets.

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If you've got an awful lot
in the pockets,

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you're never going to do this.

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And then you get the waistcoat
right over onto the side

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and you just slip the elbow through,
like that.

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Now, we've now got the waistcoat
entirely on this

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side of the jacket, you see.
Here it is. All here.

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Now, all I have to do is put
the waistcoat right down

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the sleeve here.
That's it, it's going down.

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And then try and get
it down right past the elbow.

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Put my hand up the sleeve here to
pull the waistcoat down, like this.

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And here we are.

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And I pull it out. Oh, Christmas!

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Ah! There we are.
Thank you very much.

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And there you are.

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Now, I would like somebody to help
me bring out these three dice here.

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Could I have you, you, Mark.
And could I have you, Sue, isn't it?

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Out you come.
Will you bring the dice out here?

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I'm not going to watch what you do
while you turn them.

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Turn them round.
Michael is going to see fair play.

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And then would you stack them up
into a tower? Have you done that?

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Nice big tower, that's it.
Yes, nice big tower.

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What do you want us to do now?

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Can I just turn around and show you
what I want you to do next.

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What I'm going to do,
can I move around here.

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What I want you to do is to look
at the bottom face, then

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look at the hidden faces in there,
the two,

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and the two hidden faces in there,
add them all up, that face,

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that one and that one and the bottom
one, add them up

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but don't tell me what the
total is

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and I am going to try and find out.
All right? You know what to do?

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I'm going to turn my back
and I won't watch what you do.

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Let everybody see.

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I don't think your maths
is very good!

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THEY WHISPER AND CONFER

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Right, are we agreed?

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00:11:12,660 --> 00:11:14,940
We had a little bit of trouble
making sure

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we had the right total, are we all
agreed that that is the total?

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We are. I'll now hide it.

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Sit down, then and we'll see if
the mathemagician...

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Can I turn around?
You can.

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Right, thank you very much.
Here are the dice.

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And I've got to look at them
and I will try and read your mind.

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I know it's like the key
of a door less one. It's 20.

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Is that right?
Yes! There you are.

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Now, you want to know how that's
done? I'll tell you.

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It's absurdly simple.

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You see, I know that the opposite
faces of a dice add up to seven.

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Four and three. Add up to seven.

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And so do all the other faces.

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So all I have to do is add up
the faces on three dice making 21

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and then I take away what
is on the top dice,

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the top face of the top dice
and it is as simple as that.

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Now, see if you can work out
the next trick.

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Now look, this is an ordinary
gyroscope top

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and if I pull this string,
with a bit of luck

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we will be able to spin it up
like that.

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Take it in your hand. Now turn
it about. Does that feel funny?

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What does it feel? Does it feel
as if it wants to move itself?

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Feels kind of alive, does it?
If you turn it like that?

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Very strange things, gyroscopes.

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They don't like being moved,
do they?

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Right... Now, here we've got
a disc of paper

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and if I spin that up very fast

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that is now being a gyroscope, too.

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But not a stiff gyroscope
like the metal top.

231
00:12:57,700 --> 00:13:01,100
Watch what happens when I turn
this.

232
00:13:03,100 --> 00:13:05,220
Isn't that extraordinary?

233
00:13:05,220 --> 00:13:08,020
You see how it's all distorted?

234
00:13:08,020 --> 00:13:11,900
Now that may give you some idea
of the problems which face

235
00:13:11,900 --> 00:13:16,460
engineers when they have to make
things spin very fast

236
00:13:16,460 --> 00:13:19,580
and these things then start
to behave like gyroscopes.

237
00:13:19,580 --> 00:13:20,900
Suppose, for instance,

238
00:13:20,900 --> 00:13:24,620
that disc of paper was the spinning
rotors of a helicopter.

239
00:13:24,620 --> 00:13:26,860
Well, none of us would want
to go for a ride

240
00:13:26,860 --> 00:13:29,300
in a wobbly helicopter like that,
would we?

241
00:13:29,300 --> 00:13:33,380
What have we got here?
A circle with an ordinary pendulum.

242
00:13:33,380 --> 00:13:37,500
If I flick it, it swings backwards
and forwards, doesn't it?

243
00:13:37,500 --> 00:13:40,180
If I turn this motor on...

244
00:13:40,180 --> 00:13:42,540
it jumps about all over the place.

245
00:13:42,540 --> 00:13:44,220
If I turn the motor off,

246
00:13:44,220 --> 00:13:45,820
and hold it up here,

247
00:13:45,820 --> 00:13:48,620
what would you expect to happen
if I turned the motor on now?

248
00:13:48,620 --> 00:13:50,180
What would happen?

249
00:13:50,180 --> 00:13:53,660
It would go around, would it?
Shall we try it? Shall we?

250
00:13:53,660 --> 00:13:56,900
Hold it up, turn the motor on.
And it doesn't go around.

251
00:13:58,540 --> 00:14:03,300
If I flick it slightly, it becomes
a very stable upside-down pendulum.

252
00:14:04,740 --> 00:14:07,540
That's remarkable,
we can explain that mathematically,

253
00:14:07,540 --> 00:14:10,140
but no-one has yet been able
to explain that physically.

254
00:14:10,140 --> 00:14:13,460
There's no physical,
watertight explanation.

255
00:14:13,460 --> 00:14:16,140
Let's leave those noisy
pendulums alone

256
00:14:16,140 --> 00:14:18,380
and try two other pendulums,
these swings.

257
00:14:18,380 --> 00:14:22,460
If you stand over there,
we have Susan and Sue on the swings.

258
00:14:22,460 --> 00:14:25,900
They are going to sit right still
without swinging at all

259
00:14:25,900 --> 00:14:29,340
themselves,
I'm going to swing one of them

260
00:14:29,340 --> 00:14:32,460
and let's see what happens
to Susan over there.

261
00:14:32,460 --> 00:14:35,820
Don't move, either of you.
I'll just swing Sue here.

262
00:14:35,820 --> 00:14:40,460
They're connected by that loose
strap up ahead. What happens?

263
00:14:42,300 --> 00:14:47,540
Sue starts slowing down
and Susan speeds up. Mind your head.

264
00:14:50,780 --> 00:14:54,740
And then Susan starts slowing down
and Sue speeds up again.

265
00:14:58,740 --> 00:15:00,380
Susan has now stopped.

266
00:15:00,380 --> 00:15:04,420
And now Sue is slowing down
and off goes Susan again.

267
00:15:04,420 --> 00:15:08,580
Great idea for having in a park.
Stop. End of swings.

268
00:15:08,580 --> 00:15:11,740
Let's go across to Raymond.. Off
you get, kids. There we go.

269
00:15:11,740 --> 00:15:14,180
Raymond has another stall
going over here.

270
00:15:14,180 --> 00:15:16,620
Look what's coming now.

271
00:15:16,620 --> 00:15:21,300
Now, the trouble with these
mechanical toys,

272
00:15:21,300 --> 00:15:24,820
although they're very charming,
is that they run into things.

273
00:15:24,820 --> 00:15:26,460
And when they run into things,

274
00:15:26,460 --> 00:15:29,940
they get stopped and it always
happens under the piano,

275
00:15:29,940 --> 00:15:32,780
or behind a cupboard,
or something awkward like that.

276
00:15:32,780 --> 00:15:38,500
So let's put this little pussycat in
a cage and then see how he makes out.

277
00:15:38,500 --> 00:15:41,260
Let's start him up
before we put him in.

278
00:15:43,780 --> 00:15:47,060
This is the most difficult part
of all.

279
00:15:47,060 --> 00:15:49,260
Right, now...

280
00:15:49,260 --> 00:15:51,180
In it goes. Now...

281
00:15:53,380 --> 00:15:55,100
See? You can't stop him!

282
00:15:59,980 --> 00:16:05,860
Do you see? What he does
is he climbs up the wall

283
00:16:05,860 --> 00:16:11,180
of the ball
and manages to keep going.

284
00:16:11,180 --> 00:16:17,420
And that has all to do with something
called feedback control.

285
00:16:17,420 --> 00:16:21,620
It's a very simple example of it,
but without feedback control,

286
00:16:21,620 --> 00:16:24,420
there would be no television,
no space flight,

287
00:16:24,420 --> 00:16:26,380
and indeed, no living creatures,

288
00:16:26,380 --> 00:16:31,660
because robbed of feedback control,
none of us could even exist.

289
00:16:31,660 --> 00:16:35,220
To learn more about it,
over to Dr Stuart Anstis.

290
00:16:35,220 --> 00:16:39,300
Here's a nice piece of feedback.
Tucked away inside this little box

291
00:16:39,300 --> 00:16:40,820
is an electronic eye,

292
00:16:40,820 --> 00:16:43,940
looking through this large, square
lens at this picture tube.

293
00:16:43,940 --> 00:16:46,820
But it's not only looking
at the television tube,

294
00:16:46,820 --> 00:16:49,860
it's also controlling the picture on
its face in a most remarkable way.

295
00:16:49,860 --> 00:16:53,180
Unfortunately, at the moment, the eye
is confused by all the studio lights

296
00:16:53,180 --> 00:16:55,420
and so let's get, Stuart,
first of all,

297
00:16:55,420 --> 00:16:57,620
to cover the eye up with
a black cloth,

298
00:16:57,620 --> 00:17:00,620
so it can only see the screen,
and if we get the gallery to take the

299
00:17:00,620 --> 00:17:04,180
studio lights down, we might be able
to conjure up some electronic magic.

300
00:17:04,180 --> 00:17:06,820
Right. Now, can everybody see that
line on the screen?

301
00:17:06,820 --> 00:17:09,980
That white flashing line?
Yes, of course you can.

302
00:17:09,980 --> 00:17:12,300
Now, so can the electronic eye,
but more than us.

303
00:17:12,300 --> 00:17:14,140
It's rather cleverer than our eyes.

304
00:17:14,140 --> 00:17:17,300
It can not only see the line,
it can actually tell the line where

305
00:17:17,300 --> 00:17:19,620
to go,
so that it can go on seeing it.

306
00:17:19,620 --> 00:17:22,100
So if I try to cover up that
line with my hand,

307
00:17:22,100 --> 00:17:25,260
then the line won't allow me
to do that.

308
00:17:25,260 --> 00:17:27,780
The eye will control it
to stop it happening.

309
00:17:27,780 --> 00:17:30,180
So you see,
I get an outline of my hand.

310
00:17:30,180 --> 00:17:33,540
Even if I open my fingers
and close them like scissors,

311
00:17:33,540 --> 00:17:36,180
there the line very cleverly
follows the outline.

312
00:17:36,180 --> 00:17:39,620
It never gets concealed.
Now, have a go at that, William.

313
00:17:39,620 --> 00:17:42,060
That's a very nice name you've got.

314
00:17:42,060 --> 00:17:45,500
Put your hand in gently.
Open the fingers, very gently.

315
00:17:45,500 --> 00:17:47,020
And close them again.

316
00:17:47,020 --> 00:17:49,740
You see? The line still
follows your hand, take it out.

317
00:17:49,740 --> 00:17:52,620
In you go again.
Open the fingers, close them.

318
00:17:52,620 --> 00:17:55,580
Take this shape, this cut out
of a face we've got, push it in cos

319
00:17:55,580 --> 00:17:59,940
that line always wants to run away.
It's frightened of reflected light.

320
00:17:59,940 --> 00:18:04,260
In goes the face. And there we can
see the outline of that cut-out face.

321
00:18:04,260 --> 00:18:06,780
Now, can you hear anything
else happening?

322
00:18:06,780 --> 00:18:09,500
BUZZING
As that face goes in?

323
00:18:09,500 --> 00:18:11,180
TONE CHANGES

324
00:18:11,180 --> 00:18:13,820
What can you hear?
A noise. A noise, yes.

325
00:18:13,820 --> 00:18:16,500
Now, that noise depends upon
the shape of that line.

326
00:18:16,500 --> 00:18:18,940
Stuart's keeping it on the screen
for us. There it is.

327
00:18:18,940 --> 00:18:21,820
Now, have you ever heard
the sound of your own face?

328
00:18:21,820 --> 00:18:24,540
You haven't, have you?
No, neither have I.

329
00:18:24,540 --> 00:18:27,180
But if we're very careful,
you might be able to achieve that.

330
00:18:27,180 --> 00:18:29,340
Kneel down... See,
the line's frightened,

331
00:18:29,340 --> 00:18:31,420
it runs away as soon as you
go near it.

332
00:18:31,420 --> 00:18:34,860
Now, if you put your head
carefully between the electronic eye

333
00:18:34,860 --> 00:18:37,900
and the line, the screen,
there's your face.

334
00:18:37,900 --> 00:18:40,580
Stick your tongue out. And again.

335
00:18:40,580 --> 00:18:42,340
Stick your tongue out.

336
00:18:42,340 --> 00:18:44,780
That's your face,
I can see your tongue out.

337
00:18:44,780 --> 00:18:47,660
Now, that, for the very first time,
live on television,

338
00:18:47,660 --> 00:18:51,380
the sound of William's face
with his tongue out.

339
00:18:51,380 --> 00:18:55,380
This feedback business works
the other way round, as well.

340
00:18:55,380 --> 00:18:59,020
Not only do we need the right
information to enable us

341
00:18:59,020 --> 00:19:01,140
to do whatever we do normally,

342
00:19:01,140 --> 00:19:03,860
if we feed ourselves the wrong
information,

343
00:19:03,860 --> 00:19:05,540
we can make life impossible,

344
00:19:05,540 --> 00:19:08,540
we might even find we were unable
to stand up, for instance.

345
00:19:08,540 --> 00:19:10,340
Now, how are we going to prove that?

346
00:19:10,340 --> 00:19:14,660
Well, here in the studio, we've got
a room with a trolley in the middle

347
00:19:14,660 --> 00:19:18,940
of it and the trolley is on wheels,
but this is no ordinary room.

348
00:19:18,940 --> 00:19:22,420
The walls of this room are not
connected to the floor.

349
00:19:22,420 --> 00:19:25,660
And with the help of the strong
arm of Stuart Anstis, I can show

350
00:19:25,660 --> 00:19:30,380
you that we can move the walls
without moving the floor.

351
00:19:30,380 --> 00:19:34,700
In other words, this room behaves
in a way that our mind will find

352
00:19:34,700 --> 00:19:36,940
difficult to cope with.

353
00:19:36,940 --> 00:19:39,660
Right, Stuart,
let's see who's had a heavy tea.

354
00:19:39,660 --> 00:19:42,500
Come on, Martin.
Try an experiment and we see

355
00:19:42,500 --> 00:19:45,340
if we can make you behave
in a strange fashion.

356
00:19:45,340 --> 00:19:50,020
Stand in the trolley, on the rubber.
Now, face the other way.

357
00:19:50,020 --> 00:19:51,940
That's right, turn yourself round.

358
00:19:51,940 --> 00:19:56,380
And look up perhaps at one of those
pictures. Lovely. Now then...

359
00:19:56,380 --> 00:19:59,580
You tell me
what you think is happening.

360
00:20:02,260 --> 00:20:05,820
I don't want you to sway.
Stand still, whatever happens.

361
00:20:08,700 --> 00:20:10,940
You're swaying, aren't you?

362
00:20:10,940 --> 00:20:13,380
Now, what do you think it is
that's moving?

363
00:20:13,380 --> 00:20:16,220
The floor? The floor!

364
00:20:16,220 --> 00:20:19,300
Well, turn round and have a look
and see what is happening.

365
00:20:19,300 --> 00:20:22,260
The floor isn't moving,
is it? What is?

366
00:20:22,260 --> 00:20:23,620
The wall. That's right.

367
00:20:23,620 --> 00:20:25,820
So now you know what's going on,
turn round and see

368
00:20:25,820 --> 00:20:27,940
if you can stand still again.

369
00:20:27,940 --> 00:20:30,220
Look up at the wall,
hands by your side.

370
00:20:32,580 --> 00:20:34,860
Do you think he's standing still?

371
00:20:34,860 --> 00:20:38,180
He's not, is he? It's jolly
difficult. Well done, Martin.

372
00:20:38,180 --> 00:20:40,660
Even when you knew what was
happening,

373
00:20:40,660 --> 00:20:43,580
you found it impossible to stand
still and I can hardly blame you.

374
00:20:43,580 --> 00:20:47,340
Come on, Helen.
We'll try something else with you.

375
00:20:47,340 --> 00:20:49,260
Have you had a heavy tea?

376
00:20:49,260 --> 00:20:51,740
You have? Oh, dear.
We might have a problem here.

377
00:20:51,740 --> 00:20:53,660
Step up, then.

378
00:20:53,660 --> 00:20:56,260
Hands by side.
Don't touch the rails.

379
00:20:56,260 --> 00:20:58,820
Now, Stuart's made a few
adjustments.

380
00:20:58,820 --> 00:21:01,260
You see if you can tell me
what's happening.

381
00:21:05,500 --> 00:21:09,260
You tell me if you think
she's going to fall over.

382
00:21:09,260 --> 00:21:11,060
She's not doing very well, is she?

383
00:21:11,060 --> 00:21:13,580
What do you think is happening,
Helen?

384
00:21:16,540 --> 00:21:19,940
It's very confusing, isn't it?
Let's try something else.

385
00:21:19,940 --> 00:21:22,620
If I told you I was moving,
would you believe me?

386
00:21:25,260 --> 00:21:27,740
Really and truly?

387
00:21:27,740 --> 00:21:32,100
Yet everybody else can see I'm
the one that's standing still.

388
00:21:32,100 --> 00:21:34,740
You're the one that's moving!

389
00:21:34,740 --> 00:21:36,380
Feels funny, doesn't it?

390
00:21:36,380 --> 00:21:39,060
Yes, they did it to me
on Tomorrow's World not so long ago.

391
00:21:39,060 --> 00:21:40,380
Thank you very much.

392
00:21:40,380 --> 00:21:42,540
Have you ever wondered
why your ears are where

393
00:21:42,540 --> 00:21:44,260
they are on the side of your head?

394
00:21:44,260 --> 00:21:46,820
You haven't?
It's something I ponder every day.

395
00:21:46,820 --> 00:21:49,820
But not all living creatures do
have ears where ours are.

396
00:21:49,820 --> 00:21:53,140
Some, like the cricket, for example,
have theirs on their legs.

397
00:21:53,140 --> 00:21:56,260
Well, that, for the time being,
is what we've done to Sophie here.

398
00:21:56,260 --> 00:21:59,700
Now, with her, we can find out what
the cricket's world would sound like

399
00:21:59,700 --> 00:22:03,260
or what our world would sound like
if we had our ears around our ankles.

400
00:22:03,260 --> 00:22:06,380
If Sophie will jump,
if Stuart will hold her satchel,

401
00:22:06,380 --> 00:22:09,380
jump a little bit, Sophie.
Hear that sound?

402
00:22:09,380 --> 00:22:10,780
It's quite deafening!

403
00:22:10,780 --> 00:22:12,940
Right, back you go on the target,
Sophie,

404
00:22:12,940 --> 00:22:15,900
and Stuart will help you put
your ears where they should be.

405
00:22:15,900 --> 00:22:17,700
Meanwhile, over here, we've got

406
00:22:17,700 --> 00:22:20,540
William with ears in an even
stranger place, on his hands.

407
00:22:20,540 --> 00:22:22,300
How does that feel, William...

408
00:22:22,300 --> 00:22:24,220
Matthew!
..to have your ears on your hands?

409
00:22:24,220 --> 00:22:26,740
Not very different.
Not very strange.

410
00:22:26,740 --> 00:22:29,580
Wave your arms around,
so we can hear what it feels like.

411
00:22:29,580 --> 00:22:31,100
Move one past me as I speak.

412
00:22:31,100 --> 00:22:33,740
Move one past my face as
I go on speaking.

413
00:22:33,740 --> 00:22:36,300
VOLUME FLUCTUATES
Can you hear my voice dying away

414
00:22:36,300 --> 00:22:38,620
and building up again? Yes.
You can? Right.

415
00:22:38,620 --> 00:22:41,700
Now, all of you, how would
you like best to have your ears?

416
00:22:41,700 --> 00:22:45,500
On your hands, like Matthew here,
or where the rest of us are?

417
00:22:45,500 --> 00:22:48,380
Come with me, Matthew. On your ears.

418
00:22:48,380 --> 00:22:51,940
Where would you like to have
your ears? Where they are.

419
00:22:51,940 --> 00:22:55,260
I just want a trial to see.
Are you ready, Sophie? Right.

420
00:22:55,260 --> 00:22:57,580
All these boxes are empty,
except for two.

421
00:22:57,580 --> 00:22:59,580
They've got something
ticking in them.

422
00:22:59,580 --> 00:23:00,980
What you're going to have to do

423
00:23:00,980 --> 00:23:03,420
when I say go is to
run down the side of the table, as

424
00:23:03,420 --> 00:23:06,220
fast as you can, try and find a box
that's got something ticking in it.

425
00:23:06,220 --> 00:23:08,060
Now, be very quiet, everybody,

426
00:23:08,060 --> 00:23:10,780
cos we've never done this experiment
before. Excuse me, Stuart.

427
00:23:10,780 --> 00:23:12,980
And we're not quite sure
it's going to work.

428
00:23:12,980 --> 00:23:16,140
Right, when I say go, off you go.
Find the ticking thing.

429
00:23:16,140 --> 00:23:17,780
Listen with your ears, Sophie.

430
00:23:17,780 --> 00:23:20,140
Listen with your ears.

431
00:23:20,140 --> 00:23:23,260
LOUD TICKING
Any luck?

432
00:23:23,260 --> 00:23:26,340
BOX RATTLES
She's right! She's right!

433
00:23:26,340 --> 00:23:30,100
So it seems better, doesn't it,
to have your ears up here?

434
00:23:30,100 --> 00:23:32,580
Just before we make sure,
let's run another test.

435
00:23:32,580 --> 00:23:35,860
Matthew, you go back to your target.
Sophie, go back to Stuart.

436
00:23:35,860 --> 00:23:37,580
You've got to close your eyes,

437
00:23:37,580 --> 00:23:39,540
mustn't open your eyes
during this one,

438
00:23:39,540 --> 00:23:41,420
so you can't see where you're going,

439
00:23:41,420 --> 00:23:45,020
and they're going to spin you round,
so you don't know where you are.

440
00:23:45,020 --> 00:23:46,820
Blow a trumpet.

441
00:23:46,820 --> 00:23:50,740
Everybody? John? You have a go.
Stand on this target.

442
00:23:50,740 --> 00:23:53,540
When I say blow, you blow
your trumpet and these two are going

443
00:23:53,540 --> 00:23:56,380
to try and find their way to you
with their ears.

444
00:23:56,380 --> 00:23:58,060
Now, Matthew, it would be better

445
00:23:58,060 --> 00:24:01,940
if you hold your arms out sideways,
like a bird, give you a better sound.

446
00:24:01,940 --> 00:24:04,900
Right, are you ready? Right, blow.

447
00:24:04,900 --> 00:24:06,940
BLOWS TRUMPET

448
00:24:06,940 --> 00:24:09,420
Now, we've crossed over
Matthew's ears.

449
00:24:09,420 --> 00:24:12,260
We've connected his left hand
to his right ear

450
00:24:12,260 --> 00:24:14,500
and his right hand to his left ear.

451
00:24:14,500 --> 00:24:17,140
But he still seems to be
doing very well.

452
00:24:19,180 --> 00:24:22,820
Judith is stopping him
bump into things.

453
00:24:22,820 --> 00:24:24,780
Oh, a dead heat!

454
00:24:24,780 --> 00:24:28,100
Open your eyes.
Absolutely dead heat. Well done!

455
00:24:28,100 --> 00:24:31,460
Well, I think you deserve to have the
things you found in those boxes.

456
00:24:31,460 --> 00:24:34,740
Those things that were ticking.
Let's open it and see what they were.

457
00:24:34,740 --> 00:24:36,180
Shall I open it for you?

458
00:24:37,740 --> 00:24:40,500
Right,
here's a Christmas riddle for you.

459
00:24:40,500 --> 00:24:45,340
What musical instrument starts life
encased in a mixture of horse

460
00:24:45,340 --> 00:24:47,380
hair and cow dung

461
00:24:47,380 --> 00:24:52,260
and ends up being played by someone
standing 30 or 40 feet away?

462
00:24:52,260 --> 00:24:54,300
Who knows?

463
00:24:54,300 --> 00:24:57,740
Yes, of course. A church bell.

464
00:24:57,740 --> 00:25:03,140
This one weighs 500 weight, but guess
how much Big Ben weighs. Any guesses?

465
00:25:03,140 --> 00:25:08,940
13 tonnes, 1,000 weights,
three-quarters and 15 pounds,

466
00:25:08,940 --> 00:25:10,900
so that's a pretty big bell.

467
00:25:10,900 --> 00:25:15,420
But you know, to the scientist,
a bell is a machine for transforming

468
00:25:15,420 --> 00:25:20,140
the energy of something moving
into the energy of musical sound.

469
00:25:20,140 --> 00:25:23,100
One large lump of metal,
the clapper,

470
00:25:23,100 --> 00:25:26,980
hitting another large lump of metal,
the bell.

471
00:25:26,980 --> 00:25:32,620
And actually, what that makes
is a most unmusical crash.

472
00:25:32,620 --> 00:25:35,900
Just listen.
BIG BEN SOUNDS

473
00:25:35,900 --> 00:25:40,620
Now did anyone hear an unmusical
crash? Be honest.

474
00:25:40,620 --> 00:25:44,300
No, you didn't, did you?
Not one of you.

475
00:25:44,300 --> 00:25:49,500
It doesn't sound noisy.
It sounds beautiful and musical.

476
00:25:49,500 --> 00:25:53,220
Because our brains are
so quickly overwhelmed by the sheer

477
00:25:53,220 --> 00:25:57,900
music that the bell makes
that we miss the awful noise.

478
00:25:57,900 --> 00:26:01,220
So now, let's play
a recording of the bell backwards,

479
00:26:01,220 --> 00:26:03,740
so that the crash comes at the end,

480
00:26:03,740 --> 00:26:06,220
instead of the beginning, and

481
00:26:06,220 --> 00:26:08,140
then let's listen and see if we can

482
00:26:08,140 --> 00:26:10,180
hear this crash I'm talking about.

483
00:26:10,180 --> 00:26:13,220
Listen.
BELL SOUNDS BACKWARDS

484
00:26:13,220 --> 00:26:15,420
Did you hear it?

485
00:26:15,420 --> 00:26:19,980
And what the body of the bell is
designed to do is to soak up

486
00:26:19,980 --> 00:26:22,900
the energy of the crash
as quickly as possible

487
00:26:22,900 --> 00:26:28,620
and channel all that energy
into beautiful musical notes.

488
00:26:28,620 --> 00:26:33,140
Now, we're going to play you
a recording of Big Ben a little

489
00:26:33,140 --> 00:26:38,580
bit at a time and we'll show you
the sound on this screen, too.

490
00:26:38,580 --> 00:26:40,060
Look. Watch.

491
00:26:40,060 --> 00:26:42,180
THUMP

492
00:26:42,180 --> 00:26:44,460
Do you see? Just like an explosion.
THUMP

493
00:26:44,460 --> 00:26:50,420
That's that tremendous impact of that
huge clapper hitting that huge bell.

494
00:26:50,420 --> 00:26:56,780
Now, by modern electronic means, you
can in fact find 30 or 40 notes in a

495
00:26:56,780 --> 00:27:02,100
big bell like this and I can show you
what I mean by ringing the individual

496
00:27:02,100 --> 00:27:06,420
notes in this bell,
not with a great big clapper,

497
00:27:06,420 --> 00:27:10,980
but by a tiny electronic
vibrator here.

498
00:27:12,740 --> 00:27:15,500
LOW NOTE HUMS

499
00:27:15,500 --> 00:27:17,100
Can you hear that?

500
00:27:17,100 --> 00:27:18,860
Now that's the low note.

501
00:27:18,860 --> 00:27:23,020
Now, let's increase
the frequency of the vibrator and see

502
00:27:23,020 --> 00:27:24,380
if we can get the next...

503
00:27:27,020 --> 00:27:29,780
NOTE GETS HIGHER

504
00:27:29,780 --> 00:27:34,180
See? That's an octave above.
Another pure musical note.

505
00:27:34,180 --> 00:27:36,820
Now we can get some harmonics.
MULTIPLE NOTES HUM

506
00:27:36,820 --> 00:27:39,980
See, I'm using this little vibrator

507
00:27:39,980 --> 00:27:43,140
instead of the big hammer
and picking out the individual

508
00:27:43,140 --> 00:27:46,020
notes of this bell,
which has already been tuned.

509
00:27:46,020 --> 00:27:48,700
MORE NOTES HUM
Listen to that.

510
00:27:48,700 --> 00:27:51,820
Do you think we can find any more?
Let's try. Yes!

511
00:27:51,820 --> 00:27:54,940
HIGH NOTE HUMS
There's a high note.

512
00:27:54,940 --> 00:27:58,100
MORE NOTES HUM
That's a lovely note.

513
00:27:58,100 --> 00:28:00,260
HIGHER NOTES SOUND

514
00:28:00,260 --> 00:28:03,620
Now, of course,
we can hear them all at once, the old

515
00:28:03,620 --> 00:28:07,180
fashioned way,
by striking the bell and now,

516
00:28:07,180 --> 00:28:12,340
we shall hear all those individual
notes as one beautiful chord.

517
00:28:12,340 --> 00:28:13,460
Listen.

518
00:28:13,460 --> 00:28:16,220
BELL HUMS
You can hear the individual notes.

519
00:28:16,220 --> 00:28:17,500
But of course, you don't

520
00:28:17,500 --> 00:28:23,060
need a great big piece of metal like
that to produce such beautiful music.

521
00:28:23,060 --> 00:28:24,740
Ring out, wild bells!

522
00:28:25,940 --> 00:28:30,620
THEY PLAY GOOD KING WENCESLAS

523
00:28:30,620 --> 00:28:33,140
Come on, let's all join in, come on.

524
00:28:33,140 --> 00:28:36,100
Let's all stand around.
Come in, let's have the whole cast.

525
00:28:36,100 --> 00:28:39,100
Yes, thank you, William,
bringing in the music.

526
00:28:39,100 --> 00:28:41,380
Michael, the other Michael.

527
00:28:41,380 --> 00:28:43,060
Stuart, right.

528
00:28:43,060 --> 00:28:44,740
Have you all got your music?

529
00:28:44,740 --> 00:28:48,540
What better note on which to
end our programme.

530
00:28:48,540 --> 00:28:54,180
On behalf of all of us in the studio,
a magical Christmas to you all.

531
00:28:54,180 --> 00:28:56,700
Right, ready?

532
00:28:56,700 --> 00:28:58,940
One, two!

533
00:28:58,940 --> 00:29:02,100
# Good King Wenceslas last looked out

534
00:29:02,100 --> 00:29:05,340
# On the feast of Stephen

535
00:29:05,340 --> 00:29:09,260
# When the snow lay round about

536
00:29:09,260 --> 00:29:12,860
# Deep and crisp and even

537
00:29:12,860 --> 00:29:16,860
# Brightly shone the moon that night

538
00:29:16,860 --> 00:29:20,380
# Though the frost was cruel

539
00:29:20,380 --> 00:29:23,620
# When a poor man came in sight

540
00:29:23,620 --> 00:29:29,580
# Gathering winter fuel. #