Pareidolia

But I think maybe what we can call it, and I mean this as a joke and not, is it's a form of just pareidolia, right?

What's that?

Pareidolia is where you start seeing faces everywhere.

But I think that...

His his face has become some kind of, again, different signifier that's as recognizable as a face because it was literally a face.

Exactly.

You are referring to the psychological trap of pareidolia.

Pareidolia.

It is a severe cognitive bias, and it is evolutionarily hardwired into our brains.

Human beings are apex pattern matchers.

Artifacts.

Pareidolia.

He tried to laugh, but it came out strangled.

We're exhausted.

We talked earlier about audio pareidolia with EVPs.

Visually, it's the same concept.

Pareidolia is when you look at a cloud and see a bunny rabbit or you see a face in the grill of a car.

Your brain is hardwired to recognize human faces for survival.

But it is exponentially more unsettling when the peridoli is cemented into the floor of your own kitchen, where you make your morning coffee and it keeps coming back even after you literally destroy the floor with a pickaxe.

I'm not entirely sure how to pronounce this.

Pareidolia is the thing where you see faces where there aren't faces.

So, like, people see them in, like... a house or a bin.

Yes.

Yep.

Pareidolia and apophenia.

Let's let's break those down.

Pareidolia is the visual side of this phenomenon.

It is when your brain is handed an ambiguous kind of meaningless object like a cloud or the knots in a piece of wood.

Yeah.

But there's this phenomena of pareidolia, uh, where-

Close.

Pareidolia.

Close?

Yeah.

Ah, I was so close.

Pareidolia.

[laughs]

But on synthetics, the math is just generating a random walk.

When you see a perfect head and shoulders pattern or a pristine order block on Volatility seventy-five, you are experiencing statistical pareidolia.

Pareidolia.

Mm.

Like, um, when you look up at the clouds and see a face-

If there's a, someone gets ill or whatever, like your lead actor or whatever, then there is a bit more leeway to be like, right, okay, we just need to reschedule this location and, you know, we're only going to be shooting for a couple of days and there's less time spent on the project in terms of shooting, I suppose.

I mean, I'm just speaking from my experience, but when we did Pareidolia, which was the last short I did, we shot for four days, I think, spread over three months, I think it was.

Two on location in Roberts Bridge, which is this quaint old village in Sussex.

One day on set in a mortuary, um not a real mortuary it was a mortuary set in um south hall uh the hospital studio shout out to lizzie dyer um and the the the other day was just pickups that we needed to get um without the main actress um so yeah i think there is a lot more freedom there's a I think as a filmmaker now, as we speak presently, I underestimated how ready I was.