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From YouTube: David Schneider - Interview With a Neuroscientist
Description
Matt talks to a specialist in audition in the brain. Topics include motor projections, songbirds and songs, spatial aspects of sound, how your brain cancels the sounds you make as you move.
A
B
A
B
Why
do
I
study
the
brain
I'm
really
motivated
to
understand
how
we
as
individuals
we
as
people,
but
also
animals,
which
is
the
things
we
actually
study?
Most
of
us
at
least
how
we
perform?
How
we
get
around
in
this
world
that
we
live
in
and
how
we
learn
enough
about
the
world
so
that
we
can
interact
with
it,
move
through
it
and
and
perform
all
of
the.
What
I
think
are
really
amazing,
behaviors
that
we
do
all
the
time.
So
things
like
me
talking
right
now,
there's
a
pretty
spectacular
behavior
that
I'm
doing
right.
B
B
To
the
rest
of
the
world
out
there
yeah
and
that
whole
motor
plan,
that's
controlling
my
speech
right
now
is
controlled
by
my
brain
yeah,
but
it
goes
above
and
beyond
that
is
that
I'm
actually
controlling
with
my
brain,
not
just
speech
but
the
so
so
the
social
interaction
that
speech
is
allowing
us
to
have
right
now,
yeah.
So
for
me,
I
study
the
brain,
because
it's
it's
the
root
of
what
allows
us
to
all
these
amazing
things
like
talk,
walk
and
have
social
interaction.
A
B
That's
true:
that's
I
mean
if
you
wanted
s,
why
am
I
motivated
to
study
the
brain?
That's
exactly
what
it
is.
I
think
that
you
know
I
got
started
in
studying
the
brain
by
studying
songbirds
yeah,
who
are
birds
that
communicate
verbally
with
one
another
or
vocally
I
should
say
with
one
another,
much
like
you
and
I
communicate
verbally,
and
they
do
it
to
transmit
social
information,
and
so
for
me,
really
at
the
very
beginning
of
what
I
got
interested
in
neuroscience.
A
B
It
is
that
that's
that's
what
got
me
hooked
in
the
first
place,
and
so,
although
the
day
to
day
science,
that
I
don't
do
is
not
looking
at
that
big
picture.
I
kind
of
one
of
the
philosophies
that
I
have
in
science
is
that
we
should
always
be
thinking
big
about
how
we're
gonna
fit
the
experiments
that
we
do
into
the
interneural
science
as
a
whole.
But
we
we
execute
small
well.
B
A
A
A
A
B
A
A
B
A
B
B
B
But
the
the
really
kind
of
starting
from
scratch
and
learning
from
your
parent
or
from
a
tutor
right
how
to
vocalize
right
is
something
that's
extremely
rare
in
the
animal
world.
Yeah
and
so
songbirds
have
become
a
model
for
studying
the
neurobiological
basis
of
how
an
organism
can
listen
to
a
tutor
and
learn
how
to
reproduce
a
complex
vocalization
that
that
their
tutor
produced
right.
But.
B
That's
right,
so
they
have
vocalizations
that
are
innate,
that
they're,
that,
even
in
the
absence
of
any
tutor
that
they'll
they'll
produce,
we
have
alarm
calls.
They
have
all
sorts
of
calls
that
they
make
the
the
chicks
have
beggin
calls
that
tell
their
tell
their
parents
that
it's
time
to
eat
yeah
like.
B
B
And
you
know
it's
interesting,
because
birds
are
often
prey
for
other
animals
out
in
the
wild.
It's
interesting
that
birds
would
have
evolved
to
learn
and
sing
these
loud
elaborate
songs,
because
what
are
you
doing?
You're
advertising
yourself
to
the
Predators
out
there
that
might
want
to
eat
you.
It.
B
A
A
B
A
B
Yeah,
exactly
exactly
I
think
birds,
there's
a
lot
of
ways
in
which
birds
really
woo
one
another
yeah
and
song
is
one
of
them,
and
building
physical
structure
like
in
the
animal
world
is
filled
with
this
yeah
songs.
I
mean
it's,
so
it's
building
physical
structures,
it's
singing,
but
also
the
the
elaborations
of
the
plumage,
the
dancing.
B
A
B
Spectral
temporal
complexity
to
that.
If
you
would
look
at
like
a
visualization
of
a
song
for
something
usual,
we
call
a
sonogram
which
shows
kind
of
the
frequency
contents
of
a
song
as
they're
bearing
over
time.
And
if
you
were
to
show
that
on
top
of
or
next
to
a
sonogram,
a
human
speech,
you
would
see
that
they
both
kind
of
have
these
same
kind
of
characteristic
signatures
of
their
company.
A
B
The
meter
timbre
of
totally
the
rate
at
which
individual
they
say,
birds,
sing,
syllables
or
notes
that
are
come
out
at
a
rate,
that's
roughly
similar
to
the
rate
at
which
I'm
spitting
out
words,
and
so
so
it's
also
one
thing:
that's
that's
nice
about
song.
Is
that
it's,
this
really
complex
behavior,
the.
B
A
B
Bird
will
sing
the
exact
same
song
over
and
over
and
over
again
and
if
you're,
a
neuroscientist.
What
you
often
want
to
be
able
to
do
is
to
study
the
brain,
but
not
just
study
it.
You
know
you
want
to
maybe
monitor
what
the
brain
is
doing,
but
you
want
the
animal
to
do
the
same
thing
over
and
over
and
over
again
you
can
monitor
different
parts
of
the
brain,
but
we
would
call
this
a
behavior
clamp
experiment.
B
B
A
B
A
B
Don't
sing
themselves,
they
just
listen
right
and
they
can
do
that.
Maybe
they'll
do
that
for
a
month
or
so,
then
you
can
take
the
data
way
and
the
burden
ever
hears
his
dad
again,
but
he's
formed
a
memory
in
his
head
of
what
his
dad
has
sung
and
then
over
the
course
of
the
next
month.
He's
gonna
start
practicing
and
at
first
he's
gonna
be
really
bad.
He's
gonna,
just
babble,
something
really
terrible.
Yeah.
A
B
A
B
B
Have
children
you
know
that
they
start
by
they
listen
to
us
and
then
they
start
repeating
words.
And
then,
if
they
repeat
words,
we
don't
want
them
to
repeat,
but
luckily
at
first
they
often
don't
quite
sound
right.
But
we
know
what
they're
saying,
but
then
eventually
they
get
better
and
better
and
they
start
to
really
have
this
amazing
verbal
capacity.
So
so.
B
A
B
Is
one
of
that
is
it
is
a
motor
action.
It's
a
motor
behavior
that
a
bird
makes,
but
birds
make
lots
of
other
motor
behaviors
right
before
why
they
walk.
Basically,
they
do
other
vocalizations
mm-hmm.
They
eat
they.
They
do
tons
of
things,
but
they
have
these
nuclei
in
their
brain
that
are
dedicated
to
doing
song
and
song.
Only
right,
if
you
remove
these
nuclei
from
the
birds
brain,
if
you
lesion
them,
they
can't
sing.
B
They
can
do
everything
else
that
they've
ever
done,
and
so
that's
really
neat,
because
it
gives
you
the
capacity
now
to
study
the
bird
brain
and
to
know
exactly
what
parts
of
the
brain
you
want
to
study
and
to
know
that
if
you,
if
you're,
studying
those
parts
of
the
brain
that
what
those
neurons
are
doing
in
that
part
of
the
brain
are
dedicated
to
this
one
single
behavior,
its
isolation,
its
isolation,
it's
it's
a
way,
it's
a
level
of
isolation
that
we
don't
have
in
other
organisms
that
we
typically
study
right.
That
makes
sense.
B
So
that's
another
advantage
that
we
have
from
studying
the
songbird.
One
of
the
disadvantages
is
that
the
organization
of
the
songbird
brain
it
doesn't
have
a
clear
structure
that
reminiscent
of
the
human
brain,
for
example,
which
is
this,
has
a
neocortex
on
the
top,
which
is
the
where
we
think
is
kind
of
the
root
of
all
of
the
complex
behaviors
that
we
have.
B
The
songbird
also
has
a
telencephalon,
which
we
think
kind
of
has
the
same
origin
developmentally
as
the
neocortex,
but
it's
organized
in
a
very
different
way,
rather
than
having
a
neocortex,
which
is
this
layered
structure.
With
these
six
layers,
yeah,
the
bird
brain
has
these
nuclei,
which
are
these
kind
of
maybe
like
egg-shaped
clusters
of
neurons
that
are
distributed
throughout
the
brain
that
are
involved
in
controlling
song,
both
at
the
motor
end
of
things,
as
well
as
listening
to
songs
on
the
hearing
side
of
things.
B
So
it's
different
it's
different
nuclei,
although
there
are
nuclei
that
seemed
to
have
responses
to
both.
So
there
are
there.
Are
these
really
interesting
things?
This
is
going
to
be
total
caveat
here
or
a
total.
A
non
sequitur
here
about
there's
these
mirror
neurons
mirror
neurons
are
neurons
that
are
active
when
the
bird
is
engaging
in
a
behavior
like
singing
yeah.
A
B
They're
also
active
if
the
bird
is
observing.
Somebody
else
do
the
exact
same
behavior,
yes
and
there's
a
lot
of
kind
of
theories
out
there
for
what
mirror
neurons
are
for.
But
one
of
the
ideas
is
that
those
are
the
neurons
that
are
allow
us
to
learn
in
the
first
place,
because
you
can
represent
both
the
observation
of
somebody
else,
making
an
action
mm-hmm
and
that
can
directly
translate
into
our
ability
to
make
that
same
action.
Yeah.
B
B
A
B
That's
what
so
I
think
that
that's
it
I
think
that
footsteps
are
are
one
of
these
sounds
that
I
think
we
all
we
all
make
all
the
time,
but
most
of
the
time
we're
unaware
that
we're
making
them
yeah
and
sometimes
we
become
really
aware
of
them
so
sometimes,
for
instance,
we're
on
a
carpeted
floor
right
now,
but
there's
hardwood
out
here
and
I
think
if
we
were
to
walk
out
there.
The
first
few
steps
I
made
on
hardwood
and.
A
B
Notice,
because
the
sounds
would
be
loud
relative
to
the
muffled
sounds
that
I'm
making
on
carpet,
but
if
I
were
to
walk
down
the
hall
on
hardwood
floors,
I
would
stop
noticing
my
the
sound
of
my
own
footsteps
right
and
it's
not
really
informing
you.
It's
not
really
informing
you.
So
footsteps
are
an
example
of
a
category
of
sounds
that
are
self
generated.
B
B
B
A
B
B
B
A
B
A
B
A
B
Case
of
ignoring
your
own
footsteps,
we
think
that
they
route
a
copy
of
that
motor
signal
to
the
hearing
centers
of
the
brain
or
the
auditory
cortex
in
particular,
so
the
auditory
cortex,
so
motor
systems
are
over
here
in
the
auditory.
Cortex
is
located
within
this.
This
groove
right
here,
the
Sylvian
fissure
it's
in
the
temporal
lobe
in
the
temporal
lobe,
and
so
it's
actually
the
primary
auditory
cortex
is
actually
deep
into
that
that
fissure.
That
goes
really.
A
B
So
if
we
actually
so
it's
kind
of
sitting
right
at-
let's
see,
let's
take
the
cerebellum,
it
always
falls
apart.
Let's
put
the
cerebellum
on
this
plate
over
here
and
yes,
so
the
auditory
cortex
is
kind
of.
If
we
could
open
that
up,
so
it's
yeah
it's
in
there
and
and
it
also
kind
of
extends
out
to
the
to
the
edge
over
here
as
well
kind
of
secondary
regions
of
the
auditory
cortex.
It's.
B
So,
okay,
so
the
idea
is
I
make
an
action.
The
motor
cortex
sends
an
efference
copy
of
that
signal
over
to
the
auditory,
cortex
mm-hm
and
the
auditory
cortex
can
then
use
that
if
it
decides
to
to
to
to
cancel
out
the
sounds
of
that
are
going
to
be
generated
by
the
movement
that
I
just
executed.
But.
A
B
That's
right,
so
the
idea
is
the
motor
command
is
simply
sending
over
to
the
auditory
cortex
the
movement
that
I'm
making
it's
the
auditory
cortex
is
job
to
to
to
recognize
and
keep
effectively
keep
a
tally:
yeah,
okay,
okay.
The
last
time
I
made
that
movement.
Here's
the
sound
that
accompanied
it
and
the
time
before.
Here's
the
sound
that
accompany.
B
A
B
The
idea
being
that
I'm
gonna
make
a
movement
and
there's
gonna
be
sounds
like
in
my
ear,
but
those
aren't
all
gonna
be
generated
by
mere
movement.
Sometimes
you're
gonna
be
talking
something
that
sometimes
it's
going
to
be
a
there's
going
to
be
a
fire
alarm
elephant
like
emotional
time
Ella.
But
the
idea
is
that
at
the
core
of
that
is
there's
one
component,
that's
constant
across
that
which
is
the
sound
that
the
footsteps
make
yeah
if
you
average
over
enough
of
those,
the
other
stuff
gets
washed
out
and
what's
left
is
just
the
footstep.
B
B
A
B
Doing
it
or
whether
I'm
doing
it,
but
there's
actually
been
experiments
in
humans
and
in
animal
models,
to
show
that,
when
a
sound
is
generated
by
a
person's
own
action.
Even
if
it's
just
like
pushing
on
a
little
button
that
great
sound
that
those
sounds
are
perceived
to
be
quieter
than
if
that
sound
was
generated
by
somebody
else.
Right
so,
which.
B
Really
is
I
think
that's
what
you
want.
So
the
idea
is
like
you
know,
let's
think
evolutionarily
I'm
a
key
I'm
walking
not
in
a
key
but
I'm
walking
through
a
forest
right
and
I'm,
stepping
on
twigs
and
I'm,
cracking
sticks
and
stepping
on
leaves,
but
I
don't
really
want
to
notice.
Those
sounds,
but
what
I
really
want
to
notice
is,
if
that
same
sound
happens
at
a
time
when
I'm,
not
stepping
yeah.
B
So
an
interesting
thing
about,
if
ignoring
ignoring
your
own
footsteps,
is
that
you
have
to
know
what
your
footstep
sounds
like,
but
you
can't
be
constantly
ignoring
that
sound
right.
You
have
to
be
ignoring
it
really
at
the
precise
time
when
you
expect
it
to
happen,
and
then,
when
you're
not
in-between
your
steps,
you
want
to
be
open
to
it.
B
A
blurry
filter
very
precise,
exactly
who
knew
so
I
this
is.
This
is
effectively
what
I
study
in
my
work,
but
I'll
say
that
you
know
I,
don't
study
because
I
care
fundamentally
about
how
the
brain
ignores
our
own
footsteps
right.
I!
Think
that
the
capacity
to
New
York
to
ignore
your
own
footsteps
is
representative
of
what
I
think
is
some
very
core
computations
that
the
brain
has
to
perform
for
other,
maybe
even
more
useful
things
that
the
brain
does.
B
So,
if
you
can
ignore
your
own
footsteps,
it
tells
you
it
tells
you
that
you've
been
able
to
segregate
in
your
brain.
The
sounds
that
your
own
body
made
versus
sounds
that
are
coming
from
the
environment.
So
you
know
everything
we
hear
has
to
come
in
through
these
two
little
holes
that
are
like
pencil-sized
right,
right,
pencil,
diameter
size,
and
so
they
all
get
funneled
together,
whether
it's
the
sounds
I'm
making
or
the
sounds,
you
were
making
yeah
and
they
all
get
funneled
together.
A
A
A
B
A
B
Motor
cortex
isn't
just
sending
signals
into
the
auditory
cortex.
It's
the
I
think.
The
idea
of
motor
projections
is
the
idea
that
the
motor
systems
in
our
brain
are
sending
projections
they're
broadcasting
them
pretty
widely
too,
not
just
to
our
hearing
centers,
but
also
to
the
other
sensory
modalities
that
we
have,
for
the
same
reason
that
it's
broadcasting
to
the
auditory,
clear
large
part
I
mean
I.
That's
one
of
the
reasons
why
it's
being
so.
A
B
Right
so
I
think
it's
I
think
it's
I,
think
it's
pretty
straightforward
and
hearing
that
a
lot
of
my
movements
make
sounds
and
I
want
to
be
able
to
anticipate
them,
but
there's
a
lot
of
other
movements
that
I
make
that
have
sensory
consequences
that
aren't
acoustic.
So
you
know,
as
I
put
my
hand
on
the
chair
here.
Some.
B
Things
are
happening
in
the
world,
so
these
motor
signals
can
tell
us
what
how
the
world
is
about
to
change,
given
the
actions
that
I'm
taking
in
the
world
right
now
right
and
regardless
of
whether
it's
hearing
or
vision
or
somatic
sensation,
it
really
behooves
us
to
be
able
to
have
that
information.
So.
B
B
A
B
A
B
Forward
model
is
the
information
coming
from
the
motor
cortex
back
to
the
sensory
cortex,
but
then
there's
also
sensory
cortical
information
being
sent
to
the
motor
cortex.
And
you
know
one
of
the
ideas
for,
like
let's
say,
sensory
information
being
sent
to
the
motor
cortex
and
hearing,
for
example,
is
the
capacity
to
hear
a
tune
on
the
piano
and
then
to
be
able
to
sit
down
and
immediately
play
it
for.
B
B
Play
by
ear-
and
there
are
animals
that
have
this
ability-
you
know
we
can
talk
about
birds
again
right.
There
are
birds
that
can
hear
a
sound
and
reproduce
after
a
single
observation
right,
and
so
they
really
have
this
capacity.
To
that,
it's
one
would
imagine,
is,
is
being
done
through
these
projections
from
hearing
centers
directly
to
the
motor
centers
interesting.
A
B
Know
I
think
that's
like
that's
a
great.
There
have
been
experiments
to
look
at
the
the
density
of
the
connectivity
between
motor
and
auditory
errors
in
professional
musicians
versus
amateur
musicians,
sure
and
using
rather
coarse
non-invasive
strategies
like
a
MRI
and
there's.
There
is
a
lot
of
evidence
that
the
pathways
you
know
you
don't
know
directionality
where's
the
information
flowing.
When
you
look
at
these,
you
know
they
go
away
from
motored
auditory
auditory
motor
yeah,
but
the
the
the
bundles,
the
the
projections
seem
to
be
denser
in
professional
musicians
and
not
and
I
I'm.
B
B
A
B
Like
it's
totally
true
and
I
think
in
some
ways
you
know
just
to
circle
back
for
a
second
to
the
songbird
conversation
that
we
had
earlier,
where
I
talked
about
one
of
the
benefits
of
the
songbird
being
that
you
have
this
distinct
regions
of
the
brain
that
are
involved
in
this
one
behavior
yeah,
and
that
that
is
a
really
amazing
aspect
of
the
songbird
for
neuroscientists.
But
in
some
ways
you
have
to
ask
whether
that's
a
very
special
case,
because
it
seems
like
in
most
other
brains
where
responsibilities
are
more
distributed.
B
B
Absolutely
I
would
say
so
that
these
are
animals
that
are
trying
to
be
adaptable
to
their
environment.
Right,
and
you
know
you
wouldn't
necessarily
want
to
have
a
highly
specialized
structure.
But
if,
if
evolution
has
pushed
the
songbirds
such
that
song
is
a
strong
indicator
of
fitness
mm-hmm,
then
it
does
make
sense
that.
A
A
Think
about
sound
and
space
and
time
very
often
sure
cool.
So
the
idea
of
sound
representing
space
there's
two
ways
that
I
can
think
about
this.
First,
you
can
close
your
eyes
and
you
can
think.
Oh
I
hear
something
over
that
direction.
All
right
here,
something
that
direction
and
I
can
hear
things
behind
me.
Yeah.
You.
A
Even
if
they're
being
quiet
so
that's
one
location
in
space,
but
then
there's
other
ways
that
you
might
be
able
to
encode
space
using
sound
that
I'd
like
you
to
talk
about.
Well,
what
are
those
others?
What
are
those
other
ways
so
I
used
to
play
with
synthesizers
a
lot
okay.
So
when
you
talk
about
sound
scapes,
you
know
when
you've
got
this
array
of
knobs
every
one
is
a
dimension
of
a
sound
that.
B
A
B
Think
the
idea,
so
there
are
some
interesting
aspects
about
thinking
of
objects
in
the
auditory
domain,
as
opposed
to
in
the
physical
domain
like
by
Phil's
coffee,
Phil's
coffee
cup.
Here
they
did
not
endorse
the
show
no,
but
if
they
would
like
to
so,
you
know
it
can
be
static.
I
can
take
a
snapshot
of
this
object.
It's
complex.
It
has
some
structure
to.
It,
has
some
components
to
it,
but.
A
B
A
B
Auditory
objects
they're
a
little
bit
different
yeah
the
sound
of
my
voice,
a
word
being
spoken,
a
Chinese
combo
auditory
objects.
By
definition,
their
identity
must
be
uncovered
by
following
them
over
time.
You
have
to
integrate
over
turn
because
it's
a
wave
because
it's
a
weight
right
because
at
a
static
auditory
object
is
DC
and
DC
causes.
No,
you
know
it's
nothing
right.
You
heard
it
has
to
evolve
over
time
all
right
and
for
a
complex
for
most
objects,
most
auditory
objects.
B
The
way
we
think
about
an
auditory
object
is
it
has
some
complexity,
and
that
complexity
is
what
defines
in
a
complexity
evolves
over
time
and
that
unfolding
over
time
could
be
short
on
the
order
of
tens
of
milliseconds
or
hundreds
of
milliseconds.
Sometimes
it's
you
know.
If
you
want
it,
it
could
be
a
tone.
B
Or
exactly
yeah,
and
what's
interesting
about
that,
is
that
the
scale
of
time
over
which
you
have
to
listen
to
a
sound
in
order
to
get
its
identity
often
is
longer
than
the
duration
with
which
individual
neurons
in
the
auditory
system
are
firing.
So
that
tells
you
that,
in
order
to
for
your
auditory
system
to
recognize
an
auditory
object,
it
requires
that
you
integrate
over
neurons
that
have
actually
stopped
firing.
B
B
A
B
You
have
to
have
time
in
a
way
that,
if,
for
visual
imagery
time
is
critical
for
things
like
watching
a
movie,
but
you
could
have
a
painting
which
is
static
in
time
and
already
has
complexity
sure,
but
you
cannot
have
that.
So
that's
one
of
the
reasons
why
I
think
it's
complex,
so
you
have
spacial
dimensions
and
hearing
I
can
tell
where
a
sound
is
coming
from
in
the
environment
mm-hmm
and
to
do
that.
I
won't
go
into
this
too
deep.
B
Unless
you
want
me
to
we
use
cues,
and
we
already
mentioned
earlier
that
you
know
we
all
the
sounds
get
funneled
into
our
ears,
but
we're
lucky
enough
to
have
two
of
them,
and
so
what
that
means
is
that
a
sound
coming
from
the
left
is
gonna
hit
my
left
ear
before
it's
gonna
hit
my
right
ear
right
and
our
brain
can
take
advantage
of
that
subtle
timing,
difference
to
calculate
the
location
of
the
sound
as
being
on
the
Left
right.
There's
also
subtle
differences
in
the
intensity
of
the
sound,
because.
A
B
B
Timing,
differences
in
interaural
level,
differences
that
we
can
use
to
compute
sounds
on
the
azimuth.
We
call
the
this
left-right.
You
know
where
it
is
along
left-right
as
the
azimuth
right
and
we
can
also
compute
elevation
and
we
compute
elevation
in
a
more
interesting
way,
which
is
that
we
use
the
spectral
cues
or
the
the
how
the
frequency
components,
change.
I
think
this
also
involves
prediction
and
expectation
in
a
lot
of
ways.
B
The
sound
they're
also
there
too,
and
it's
interesting
to
think
that
we
all
have
different
shaped
ears,
so
we
all
have
a
slightly
different
transfer
function
that
we're
applying
for
sounds
in
the
world
and
they
all
seem
to
work.
I
know
it's
like
when
you're
stoned
in
your
dorm
room
you're,
like
is
my
blue,
like
you
like.
Maybe
my
voice
is
not
like
your
voice
because.
B
Well,
that's
when
you
get
to
the
other
dimensions
here
to
where
I
think
you
know
in
some
ways,
I
think
you
could
imagine
that
that
the
other
dimensions
that
matter
a
lot
in
sound
are
pitch
and
timing.
There's
some
timing
dimensions
that
are
not
just
time:
no
tempo,
for
example,
which
evolves
over
time,
but
it's
kind
of
a
separate
dimension.
B
A
A
B
A
A
A
B
There
is
this
cross
modality
binding
that
you
know
I'm
aware
that
you're
there
in
my
vision
and
my
addition,
or
acting
together
to
bind
this
into
it
into
a
single
into
a
single
object
right
and
if
you
you
know,
if
all
of
the
sudden
your
lips
kept
moving
and
your
voice
was
the
same,
but
the
words
you
were
saying,
didn't
jibe
with
what
your
lips
were
doing
I
would
get
terribly
confused,
but
you're
gonna
do
right.
Now,
that's
what
I
just
did
exactly
perfect.
A
A
B
B
It
gives
us
a
theoretical
framework
in
which
we
can
devise
experiments,
which
is
what
I
do
and
to
to
come
up
with
experiments
that
allow
us
to
to
both
test
that
as
a
theoretical
framework,
but
also
to
explain
our
results
in
more
nuanced
theoretical
framework
right.
But
it
also
gives
us
that
gives
us
the
chance
to
interaction
with
with
folks
here
at
new
Mendte
who
are
working
on
building
computational
models
with
the
same
things
in
mind
and
I.
B
Think
that
that's
to
me
one
of
the
most
important
things
we
can
do
in
neurosciences
to
have
experimentalists
who
are
who
are
getting
their
hands
dirty
and
brains,
and
recording
neural
activity
and
monitoring
neural
activity
and
in
perturbing
neural
activity
to
interact
with
people
who
are
thinking
at
a
much
more
computational
level
about
how
the
brain
ought
to
be
performing
things
and
to
keep
those
bridges
going
is
is
really
exciting.
Well,.