Mark Changizi

And the humans are the most important stimuli in our lives, which is why colors are so important. Colors are ultimately emotional and evocative because they're about human skin and bodies and emotional health, so forth. And the sounds of music, I hypothesize, and this was, I guess, 15, 20 years ago, are the sounds of humans moving in your midst.

And the humans are the most important stimuli in our lives, which is why colors are so important. Colors are ultimately emotional and evocative because they're about human skin and bodies and emotional health, so forth. And the sounds of music, I hypothesize, and this was, I guess, 15, 20 years ago, are the sounds of humans moving in your midst.

And the humans are the most important stimuli in our lives, which is why colors are so important. Colors are ultimately emotional and evocative because they're about human skin and bodies and emotional health, so forth. And the sounds of music, I hypothesize, and this was, I guess, 15, 20 years ago, are the sounds of humans moving in your midst.

In fact, this has been an old idea, even since the Greeks said music has something to do with movement or some sounds of, but trying to make it rigorous. So working out, okay, what do humans sound like when they move? Well, one of the most basic things is there's a gate. There's the footsteps. Sure. And that's just the beat.

In fact, this has been an old idea, even since the Greeks said music has something to do with movement or some sounds of, but trying to make it rigorous. So working out, okay, what do humans sound like when they move? Well, one of the most basic things is there's a gate. There's the footsteps. Sure. And that's just the beat.

In fact, this has been an old idea, even since the Greeks said music has something to do with movement or some sounds of, but trying to make it rigorous. So working out, okay, what do humans sound like when they move? Well, one of the most basic things is there's a gate. There's the footsteps. Sure. And that's just the beat.

And then, of course, there's loudness modulations, which is the fortissimo down to pianissimo. And there's the scales at which those things change. And you can work out what are the scales at which those things change.

And then, of course, there's loudness modulations, which is the fortissimo down to pianissimo. And there's the scales at which those things change. And you can work out what are the scales at which those things change.

And then, of course, there's loudness modulations, which is the fortissimo down to pianissimo. And there's the scales at which those things change. And you can work out what are the scales at which those things change.

That's right. You wouldn't be able to dance. So it's not like some accidental side effect that you're able to dance to it. No, it's literally designed to be the sounds of a human mover moving evocatively in your midst. And another thing that happens when things move through the world is you actually hear their Doppler shifts. Now, Doppler shifts, you know, right?

That's right. You wouldn't be able to dance. So it's not like some accidental side effect that you're able to dance to it. No, it's literally designed to be the sounds of a human mover moving evocatively in your midst. And another thing that happens when things move through the world is you actually hear their Doppler shifts. Now, Doppler shifts, you know, right?

That's right. You wouldn't be able to dance. So it's not like some accidental side effect that you're able to dance to it. No, it's literally designed to be the sounds of a human mover moving evocatively in your midst. And another thing that happens when things move through the world is you actually hear their Doppler shifts. Now, Doppler shifts, you know, right?

And the faster it is, it's bigger Doppler shifts for faster moving things. Now, even the movements of humans, which are a little bit, they're much smaller kinds of Doppler shifts. But my claim in that book was that the kinds of patterns that you end up with the Doppler shifts, which are exaggerated Doppler shifts as if it's moving faster, still have the fundamental signature of movement.

And the faster it is, it's bigger Doppler shifts for faster moving things. Now, even the movements of humans, which are a little bit, they're much smaller kinds of Doppler shifts. But my claim in that book was that the kinds of patterns that you end up with the Doppler shifts, which are exaggerated Doppler shifts as if it's moving faster, still have the fundamental signature of movement.

And the faster it is, it's bigger Doppler shifts for faster moving things. Now, even the movements of humans, which are a little bit, they're much smaller kinds of Doppler shifts. But my claim in that book was that the kinds of patterns that you end up with the Doppler shifts, which are exaggerated Doppler shifts as if it's moving faster, still have the fundamental signature of movement.

of human movement. And so, for example, if you're moving faster, there's a bigger difference between high pitch and low pitch because of the Doppler shift. But also, if you're moving faster, the tempo of the song is going to be faster. It's going to be a higher, faster tempo, right? Those two, the faster moving things will have a bigger difference between top and bottom.

of human movement. And so, for example, if you're moving faster, there's a bigger difference between high pitch and low pitch because of the Doppler shift. But also, if you're moving faster, the tempo of the song is going to be faster. It's going to be a higher, faster tempo, right? Those two, the faster moving things will have a bigger difference between top and bottom.

of human movement. And so, for example, if you're moving faster, there's a bigger difference between high pitch and low pitch because of the Doppler shift. But also, if you're moving faster, the tempo of the song is going to be faster. It's going to be a higher, faster tempo, right? Those two, the faster moving things will have a bigger difference between top and bottom.

In music, that's called the tessitura, the difference between the top and the bottom. But also, so the prediction here is that Um, faster tempo things correlates with higher, bigger tessitura sort of in real world movement. Is that true in music?

In music, that's called the tessitura, the difference between the top and the bottom. But also, so the prediction here is that Um, faster tempo things correlates with higher, bigger tessitura sort of in real world movement. Is that true in music?