Mark Changizi

Yeah, so this is what makes it deeply difficult. It also means that literally we're not seeing all of the states that we experience in real life. The glow of youth, when you see glow of youth, you're talking about the glowing of oxygenated blood on the skin. None of that's available.

Right. And it's not just on or off. I mean, different motions will lead to different kinds of gradients on the face. And of course, it's not just the face, the whole body can flush.

Right. And it's not just on or off. I mean, different motions will lead to different kinds of gradients on the face. And of course, it's not just the face, the whole body can flush.

Right. And it's not just on or off. I mean, different motions will lead to different kinds of gradients on the face. And of course, it's not just the face, the whole body can flush.

And the other primates, the rump becomes so exaggerated that they literally, the UK would take some of these, the females when they were having estrus out because it was almost embarrassing for the kids to come and watch. So, you know, it's multidimensional. It's certainly, it's color related, but it's not just red, red, green, but there's actually, you know, where you have more

And the other primates, the rump becomes so exaggerated that they literally, the UK would take some of these, the females when they were having estrus out because it was almost embarrassing for the kids to come and watch. So, you know, it's multidimensional. It's certainly, it's color related, but it's not just red, red, green, but there's actually, you know, where you have more

And the other primates, the rump becomes so exaggerated that they literally, the UK would take some of these, the females when they were having estrus out because it was almost embarrassing for the kids to come and watch. So, you know, it's multidimensional. It's certainly, it's color related, but it's not just red, red, green, but there's actually, you know, where you have more

like if i squeeze my hand and let go you get yellow blue differences um now it's not because when it's squeezed out it's more yellow when there's more blood it's all things equal more blue but if it's oxygenated blood then it's blue and red so it's more purple if it's deoxygenated blood it's it's green and blue and so bluish green so in fact you end up by virtue of concentration variations blue yellow and oxygenation modulations red green you can get any possible hue at all

like if i squeeze my hand and let go you get yellow blue differences um now it's not because when it's squeezed out it's more yellow when there's more blood it's all things equal more blue but if it's oxygenated blood then it's blue and red so it's more purple if it's deoxygenated blood it's it's green and blue and so bluish green so in fact you end up by virtue of concentration variations blue yellow and oxygenation modulations red green you can get any possible hue at all

like if i squeeze my hand and let go you get yellow blue differences um now it's not because when it's squeezed out it's more yellow when there's more blood it's all things equal more blue but if it's oxygenated blood then it's blue and red so it's more purple if it's deoxygenated blood it's it's green and blue and so bluish green so in fact you end up by virtue of concentration variations blue yellow and oxygenation modulations red green you can get any possible hue at all

Which is why if you're a painter and you're trying to actually paint human faces, when we go back and look at their paintings, which I could never do, you're like, oh my God, they're using all the hues. Yeah, right. Because we don't typically consciously notice it. We just look at the skin and we think of it as sort of this matte, you know, like a doll. But in fact-

Which is why if you're a painter and you're trying to actually paint human faces, when we go back and look at their paintings, which I could never do, you're like, oh my God, they're using all the hues. Yeah, right. Because we don't typically consciously notice it. We just look at the skin and we think of it as sort of this matte, you know, like a doll. But in fact-

Which is why if you're a painter and you're trying to actually paint human faces, when we go back and look at their paintings, which I could never do, you're like, oh my God, they're using all the hues. Yeah, right. Because we don't typically consciously notice it. We just look at the skin and we think of it as sort of this matte, you know, like a doll. But in fact-

Yeah, some pink, but of course it's not. And you're really seeing the blood. Skin is not, if you've ever, you know, if you get a bruise, the first thing you notice is that it's, of course, total discoloration. And so you're really seeing a dynamic view into the very state and function and health of the individual. It's completely a highly transparent surface.

Yeah, some pink, but of course it's not. And you're really seeing the blood. Skin is not, if you've ever, you know, if you get a bruise, the first thing you notice is that it's, of course, total discoloration. And so you're really seeing a dynamic view into the very state and function and health of the individual. It's completely a highly transparent surface.

Yeah, some pink, but of course it's not. And you're really seeing the blood. Skin is not, if you've ever, you know, if you get a bruise, the first thing you notice is that it's, of course, total discoloration. And so you're really seeing a dynamic view into the very state and function and health of the individual. It's completely a highly transparent surface.

And we're not consciously aware of it, although we're certainly reading it all the time.

And we're not consciously aware of it, although we're certainly reading it all the time.

And we're not consciously aware of it, although we're certainly reading it all the time.

Is it a theory that- Well, mostly, I don't know whether it's mostly health or mostly emotion. It's certainly emotion, state, and health.