WEBVTT - The Whistling, Part 1

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. Hey are you welcome to Stuff to Blow

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<v Speaker 1>Your Mind? My name is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and today we're going to be kicking off a multi

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<v Speaker 1>part series about whistling. This is one of those topics

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<v Speaker 1>I hope in in classic Stuff to Blow Your Mind fashion,

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<v Speaker 1>we will be able to really surprise you how much

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<v Speaker 1>weird and interesting stuff there is to learn about whistling

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<v Speaker 1>around the world. That's right, I mean we will. We

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<v Speaker 1>will make it weird. We will be weird in episode one,

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<v Speaker 1>so strap in. Yeah. So. One of the first things

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<v Speaker 1>that I wanted to talk about, and I think this

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<v Speaker 1>is something we'll have to revisit in multiple parts of

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<v Speaker 1>this series is the idea of whistled languages. Much to

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<v Speaker 1>my surprise after reading about this subject, there are multiple

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<v Speaker 1>examples from around the globe of whistled languages, or at

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<v Speaker 1>least whistled alternate versions of an existing spoken language and two.

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<v Speaker 1>So to kick us off, I wanted to talk about

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<v Speaker 1>one particular example of a whistled language. I was reading

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<v Speaker 1>about this in a classic linguistics paper from nineteen forty

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<v Speaker 1>eight by George M. Cowen called Maso Teco Whistle Speech.

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<v Speaker 1>This was published in the journal Language in nineteen forty eight. Uh.

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<v Speaker 1>It's by this scholar named George M. Cowan who lived

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<v Speaker 1>nineteen sixteen through seventeen. He was an expert on linguistics.

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<v Speaker 1>He was associated with the Summer Institute of Linguistics, and

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<v Speaker 1>apparently this paper is one of his most important contributions

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<v Speaker 1>to the field. So it's an article documenting this fascinating

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<v Speaker 1>type of communication practiced by the Mazo tech people living

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<v Speaker 1>in Wahaca, Mexico. So what we're talking about here is

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<v Speaker 1>an alternate form of the maze Teco language that is

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<v Speaker 1>based entirely on whistles. Cowen writes that as of the

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<v Speaker 1>nineteen forty Mexican Census, there were approximately sixty thou people

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<v Speaker 1>in the Mazatec tribe, and almost fifty six thousand of

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<v Speaker 1>them were mono lingual speakers of of the ma Azotecan languages.

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<v Speaker 1>The Mazotecan languages are part of what Cowen here calls

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<v Speaker 1>the Popa Loca Mezteco language family, so part of a

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<v Speaker 1>broader association of languages found in this area. So Cowen

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<v Speaker 1>spent several winters in the nineteen forties living among speakers

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<v Speaker 1>of the Mezoteken languages to document uh these languages and

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<v Speaker 1>eventually the whistle speech. And I want to begin by

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<v Speaker 1>reading an anecdote that he just observed during his time there. Quote.

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<v Speaker 1>Eusebio Martinez was observed one day standing in front of

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<v Speaker 1>his hut whistling to a man a considerable distance away.

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<v Speaker 1>The man was passing on the trail below, going to

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<v Speaker 1>market to sell a load of corn leaves, which he

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<v Speaker 1>was carrying. The man answered Eusebio's whist with a whistle.

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<v Speaker 1>The interchange was repeated several times with different whistles. Finally,

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<v Speaker 1>the man turned around, retraced his steps a short way,

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<v Speaker 1>and came up the footpath to U. CBO's hut. Without

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<v Speaker 1>saying a word, he dumped his load on the ground. U.

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<v Speaker 1>Sabio looked the load over, went into his hut, returned

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<v Speaker 1>with some money, and paid the man his price. The

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<v Speaker 1>man turned and left. Not a word had been spoken.

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<v Speaker 1>They had talked, bargained over the price, and come to

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<v Speaker 1>an agreement satisfactory to both parties, using only whistles as

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<v Speaker 1>a medium of communication. And this is not an isolated incident. Uh.

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<v Speaker 1>The author here writes that the Mazotec people frequently hold

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<v Speaker 1>entire conversations and express an extremely broad and versatile set

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<v Speaker 1>of ideas, all using whistles. As he puts it, quote,

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<v Speaker 1>the Maso Teco is frequently conversed by whistling to one another.

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<v Speaker 1>The whistles are not merely signals with limited semantic value,

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<v Speaker 1>arrived at by common agreement, but are parallel to spoken

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<v Speaker 1>conversations as a means of communication. And so to to

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<v Speaker 1>try to uh elucidate that a little bit, what this

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<v Speaker 1>means is that the whistle speech is not a code

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<v Speaker 1>like you may have heard, you may have seen in movies,

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<v Speaker 1>I don't know, like like soldiers crawling around and they

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<v Speaker 1>sort of like whistle codes at each other, And you

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<v Speaker 1>get the idea that maybe they've agreed on a handful

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<v Speaker 1>of whistled signals in advance, like you know that one

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<v Speaker 1>whistle means a stop, another one means go forward, And

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<v Speaker 1>but there's probably a very limited array of those whistles,

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<v Speaker 1>and you had to work on agreeing to them beforehand,

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<v Speaker 1>right right. Also in contrast to how the sort of

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<v Speaker 1>every day and in our world you will encounter. You know,

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<v Speaker 1>a handful of uses of whistles that have sort of

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<v Speaker 1>agreed upon meaning sort of a whistle that is an

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<v Speaker 1>attention grabber, and a whistle that might be a little

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<v Speaker 1>more scandalous, and then a whistle that is it seems

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<v Speaker 1>to say say whoa, uh, like that's a big truck

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<v Speaker 1>h something of that nature. But but it's not really,

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<v Speaker 1>it's nothing at all like a robust language of whistles.

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<v Speaker 1>It's just a few basic whistle signals that seem to

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<v Speaker 1>be commonly used. Yeah, that's right, I would say, Like

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<v Speaker 1>in the standard American English speaking context, there are a

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<v Speaker 1>few sort of significant whistles. You you basically know what

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<v Speaker 1>they mean when you hear them, but there's only a

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<v Speaker 1>handful of them, and you certainly can't make sentences out

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<v Speaker 1>of them. Exactly the opposite is true of the Mazo

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<v Speaker 1>Teco whistle speech. Uh. This is a a full equivalent

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<v Speaker 1>to the standard spoken Meso Teco language. The whistles can

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<v Speaker 1>be recorded and translated by anybody familiar with the whistle speech,

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<v Speaker 1>producing the same specific translations with a couple of uh,

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<v Speaker 1>certain kinds of ambiguities. I'll get into that later. So

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<v Speaker 1>it's not a kind of loose suggestive code. It's not

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<v Speaker 1>something that's to be agreed on ahead of time. It's

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<v Speaker 1>just an equivalent of a spoken language with all the

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<v Speaker 1>freedom of degrees of expression and lexical richness found in

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<v Speaker 1>the spoken language. And I thought this was just amazing.

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<v Speaker 1>So I guess I want to explore a few more

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<v Speaker 1>things that the Cowen documents that he observed about the

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<v Speaker 1>whistle speech during his time in Wahaka in the nineteen forties.

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<v Speaker 1>So he says also that um the mesa teco people

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<v Speaker 1>use the whistle signals when communicating with animals. For example,

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<v Speaker 1>there's a sort of slow up gliding whistle to keep

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<v Speaker 1>burrows moving when on the trail, or whistles to call

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<v Speaker 1>out to dogs. But these whistles don't have a translatable

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<v Speaker 1>language equivalent. So there is whistling that is language. But

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<v Speaker 1>then there's also a whole set of like whistle sounds

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<v Speaker 1>that are useful day to day but are not words. Yeah,

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<v Speaker 1>they just they want to be translated. They'd be like hey, yeah,

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<v Speaker 1>or keep walking, keep going another thing. Not everybody whistles,

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<v Speaker 1>and not everybody who whistles whistles the same amount. Cowen

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<v Speaker 1>writes that while everyone seems to have listening fluency with

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<v Speaker 1>the whistled speech, generally only men whistle, and especially men

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<v Speaker 1>between the ages of boyhood and middle age. So he

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<v Speaker 1>says old men rarely whistle conversationally. It seems to fade

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<v Speaker 1>out over the lifespan, and women and girls understand what

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<v Speaker 1>is whistled by the men and boys, but usually do

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<v Speaker 1>not whistle themselves. So he talks about observing a bunch

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<v Speaker 1>of interactions where like a boy would whistle something to

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<v Speaker 1>a girl his age, and the girl would reply with

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<v Speaker 1>spoken language, so she understands the whistles, but she doesn't

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<v Speaker 1>use them herself. He even talks about one specific example

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<v Speaker 1>of like a boy teasing a girl and he didn't

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<v Speaker 1>realize what was happening because he he just observed the

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<v Speaker 1>boy whistling. He didn't realize it was speech, and suddenly

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<v Speaker 1>the girl lashed out and hit the boy with the

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<v Speaker 1>broom because of what he'd been saying to her, except

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<v Speaker 1>he hadn't been using the spoken language. Interesting, Okay, so

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<v Speaker 1>the former we have perhaps a physical reason for the limit,

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<v Speaker 1>but possibly cultural, and then the second one seems to

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<v Speaker 1>be definitely cultural. Yeah, I don't know if there's a

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<v Speaker 1>if there's like a biological limitation on on older men

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<v Speaker 1>whistling either, I mean, it seems like this is probably

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<v Speaker 1>all cultural convention. Yeah. I think with older men, based

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<v Speaker 1>on what I've been reading, it would be it would

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<v Speaker 1>be kind of a case to case situation. You certainly

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<v Speaker 1>have older gentlemen who are profound whistlers, but there are

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<v Speaker 1>there's certainly cases even in younger people where if there

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<v Speaker 1>changes to one's mouth uh, due to injury, due to

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<v Speaker 1>just changes in dental health, then that could impact one's

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<v Speaker 1>ability to whistle. Well. So a big question here would

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<v Speaker 1>be why. I mean, this is an interesting and beautiful

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<v Speaker 1>thing about this language that it has the you know,

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<v Speaker 1>the spoken language and then it's whistled twin. But like,

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<v Speaker 1>what would cause a whistled version of a language to

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<v Speaker 1>develop like this? And I think one good way to

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<v Speaker 1>get some insight into that is to look at what

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<v Speaker 1>are the common occasions for people to use the whistled

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<v Speaker 1>version of their language instead of the spoken version. And

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<v Speaker 1>one of the big answers here is pretty clear. The

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<v Speaker 1>author here says that the most frequent use of the

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<v Speaker 1>whistle speech was observed when the speakers were at a

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<v Speaker 1>distance from each other, he writes quote. Men scattered widely

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<v Speaker 1>over a mountain side, each working in his own plot

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<v Speaker 1>of ground, will often talk to one another with whistles.

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<v Speaker 1>Travelers on the trails will keep in touch with one

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<v Speaker 1>another by whistling, though separated by considerable distance. When wishing

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<v Speaker 1>to call or get the attention of someone, even though

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<v Speaker 1>he be within easy speaking distance, the masa tecos will

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<v Speaker 1>often whistle his name. The village shoemaker often calls passers

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<v Speaker 1>by into his shop with a whistle to chat with

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<v Speaker 1>him while he works. A man may come to a

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<v Speaker 1>friend's hut on a visit. While approaching, or when he

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<v Speaker 1>has actually arrived at the door of the hut, he

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<v Speaker 1>will frequently whistle rather than call his friend's name. If

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<v Speaker 1>the friend is home, he may respond from within with

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<v Speaker 1>a whistle, then come out to greet his visitor, or

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<v Speaker 1>he may remain inside and whistle to his visitor to

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<v Speaker 1>come in. Fascinating Okay, so communicating at a distance seems

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<v Speaker 1>to be a big one, or also initiating communication at

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<v Speaker 1>the start of an encounter, which I think it's interesting

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<v Speaker 1>that even when we're not at a distance, we often

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<v Speaker 1>use language that we employ at a distance. Like to

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<v Speaker 1>get somebody in a spoken language. To get somebody's attention

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<v Speaker 1>from far away, what do you do? You yell hey

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<v Speaker 1>at them? But also what do you do when you

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<v Speaker 1>walk up and and see somebody you know, your two

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<v Speaker 1>feet away from them? You say, oh hey? And there

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<v Speaker 1>might be some sort of a wave or something in

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<v Speaker 1>there as well, And I could I can imagine, I

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<v Speaker 1>don't know if it so sure, I can imagine where

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<v Speaker 1>if whistling could maybe take the place of some of

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<v Speaker 1>the otherwise necessary waving or gesticulating that would be required

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<v Speaker 1>to get somebody's attention and say, hey here, I am,

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<v Speaker 1>there you are, let's converse right, So okay, So you've

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<v Speaker 1>got communicating at a distance, you've got initiating communication at

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<v Speaker 1>the start of a of a meeting, and then along

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<v Speaker 1>the same lines. Uh. He writes here that the whistle

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<v Speaker 1>is sometimes used as a warning, such as when someone

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<v Speaker 1>unknown is seen approaching on the trail, you kind of

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<v Speaker 1>whistle to let all of your friends nearby know that

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<v Speaker 1>something's up, you know, to get their attention. Though again

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<v Speaker 1>he says the most common occasion is talking at a distance,

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<v Speaker 1>and he writes that in these cases, men working in

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<v Speaker 1>the field seem to be able to communicate easily with

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<v Speaker 1>people a full quarter of a mile away, like on

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<v Speaker 1>the opposite mountain side using the whistle speech. But also

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<v Speaker 1>and I found I found this next part really interesting.

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<v Speaker 1>Count says that sometimes, especially boys will hold a whistle

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<v Speaker 1>conversation if they're trying to talk while older people are

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<v Speaker 1>also nearby carrying on a spoken conversation or even singing together.

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<v Speaker 1>And he calls these sort of simultaneous whistled conversations subdued

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<v Speaker 1>whistles and says that they're that they're quite audible, and

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<v Speaker 1>yet they are able to happen simultaneous lee without seeming

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<v Speaker 1>too much interfere with the spoken conversation of the adults.

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<v Speaker 1>And I don't know that one seems really interesting to me.

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<v Speaker 1>I mean, it reminds me of of being a kid

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<v Speaker 1>and wanting to talk to other kids while they're I

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<v Speaker 1>don't know, while you're in class or something, when you're

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<v Speaker 1>not supposed to be doing that. Uh, And and there

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<v Speaker 1>there's just an obvious sort of clash between two sets

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<v Speaker 1>of spoken words going on at the same time. And

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<v Speaker 1>this gets the ire of the adults, not only because

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<v Speaker 1>you're not paying attention, but because you're distracting others. Yet

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<v Speaker 1>somehow I could imagine that. Yeah, maybe having like a

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<v Speaker 1>different form of the language. If you're speaking your language

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<v Speaker 1>based on whistles instead of with the normal of phonetic syllables,

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<v Speaker 1>that could allow a kind of simultaneity without so much conflict. Yeah,

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<v Speaker 1>a way to speak while the adults are speaking without

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<v Speaker 1>interfering with what they're doing. Now, the example of of

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<v Speaker 1>using the whistles to communicate saying, in the case of

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<v Speaker 1>a path, uh, you're in the woods, someone's coming. That

0:13:01.200 --> 0:13:04.280
<v Speaker 1>reminds me that I And I'm making an assumption here,

0:13:04.320 --> 0:13:08.680
<v Speaker 1>But if one were to say, hey, Carl, there's somebody

0:13:08.679 --> 0:13:12.280
<v Speaker 1>coming and call out, well, not only are communicating to Carl,

0:13:12.280 --> 0:13:16.439
<v Speaker 1>but you're communing communicating something about yourself. I wonder if

0:13:16.559 --> 0:13:20.960
<v Speaker 1>whistling language in specific scenarios like this allow you to

0:13:21.080 --> 0:13:25.280
<v Speaker 1>communicate without tipping your hand at all regarding like who

0:13:25.320 --> 0:13:28.000
<v Speaker 1>you are, like what your age is, what your gender is,

0:13:28.480 --> 0:13:31.440
<v Speaker 1>et cetera. Oh huh, that I didn't think about that.

0:13:31.440 --> 0:13:34.240
<v Speaker 1>That's interesting. Um. Well, another thing I would say along

0:13:34.240 --> 0:13:38.120
<v Speaker 1>those same lines is, again I haven't done experiments to

0:13:38.160 --> 0:13:40.199
<v Speaker 1>confirm this, but I would just say, as a baseline,

0:13:40.280 --> 0:13:44.439
<v Speaker 1>I might assume that whistling can more easily blend in

0:13:44.480 --> 0:13:48.000
<v Speaker 1>with nature than than spoken language. That like you hear

0:13:48.000 --> 0:13:51.280
<v Speaker 1>spoken language, you instantly know a person is nearby you

0:13:51.320 --> 0:13:53.079
<v Speaker 1>hear a little whistle. I don't know that could be

0:13:53.160 --> 0:13:55.880
<v Speaker 1>a bird or something like that if you're not tuned

0:13:55.920 --> 0:13:59.000
<v Speaker 1>into it as a linguistic signal. And I think that's

0:13:59.000 --> 0:14:02.200
<v Speaker 1>where and that's certainly where my assumption come comes into play,

0:14:02.240 --> 0:14:05.480
<v Speaker 1>is that I'm not sure what it would be like

0:14:05.880 --> 0:14:08.400
<v Speaker 1>for someone who who has lived in the world of

0:14:08.400 --> 0:14:10.920
<v Speaker 1>this kind of whistling. If you're used to it, then

0:14:10.920 --> 0:14:14.200
<v Speaker 1>maybe you just you have heightened susceptibility to recognizing it

0:14:14.280 --> 0:14:17.080
<v Speaker 1>and and telling the difference between it in the natural world.

0:14:17.320 --> 0:14:20.280
<v Speaker 1>And likewise, perhaps if you're used to it, you can

0:14:20.320 --> 0:14:23.760
<v Speaker 1>definitely tell the difference between a man's whistling a boy's

0:14:23.760 --> 0:14:32.240
<v Speaker 1>whistle than well. So to round out the things that

0:14:32.720 --> 0:14:35.920
<v Speaker 1>the Cowen talks about in this article, he says, um uh,

0:14:36.120 --> 0:14:38.840
<v Speaker 1>that there are no lexical limitations on the whistle speech.

0:14:39.200 --> 0:14:42.040
<v Speaker 1>Sort of already got to this, but basically anything you

0:14:42.040 --> 0:14:44.840
<v Speaker 1>can express in spoken language you can express in the whistles.

0:14:45.600 --> 0:14:50.040
<v Speaker 1>Um However, there are some ambiguities caused by the whistle speech,

0:14:50.560 --> 0:14:55.200
<v Speaker 1>and this is because of the basic phonetic features of it.

0:14:55.600 --> 0:15:00.360
<v Speaker 1>So the massive Taken languages are tonal languages. This would

0:15:00.400 --> 0:15:03.880
<v Speaker 1>mean they're similar to like Mandarin, where you can have

0:15:04.280 --> 0:15:07.840
<v Speaker 1>a syllable and you can have maybe four different versions

0:15:07.880 --> 0:15:10.800
<v Speaker 1>of that syllable, and in English they would all be

0:15:10.880 --> 0:15:14.000
<v Speaker 1>the same syllable to us, Like maybe the classic example

0:15:14.040 --> 0:15:17.640
<v Speaker 1>in Mandarin is four different ways of saying ma, but

0:15:17.840 --> 0:15:21.320
<v Speaker 1>pronounced in each case with a different tone, So you

0:15:21.360 --> 0:15:23.560
<v Speaker 1>would you know, and if you're trying to write them

0:15:23.560 --> 0:15:26.000
<v Speaker 1>out phonetically in English, they would all be m A.

0:15:26.600 --> 0:15:29.320
<v Speaker 1>But one might be a kind of gliding up tone

0:15:29.440 --> 0:15:32.800
<v Speaker 1>and one is a falling tone and so forth. Yeah, well,

0:15:32.840 --> 0:15:35.160
<v Speaker 1>them as a taken languages are like this too. They

0:15:35.200 --> 0:15:39.240
<v Speaker 1>have tones in the speech, and the tones are what

0:15:39.440 --> 0:15:43.240
<v Speaker 1>eventually becomes the whistle speech. The whistle speech is based

0:15:43.320 --> 0:15:47.680
<v Speaker 1>on the tonal features of the spoken language. But if

0:15:47.760 --> 0:15:51.040
<v Speaker 1>you have, say, two different phrases that in the spoken

0:15:51.120 --> 0:15:55.160
<v Speaker 1>language have the exact same sequences of tones, these can

0:15:55.240 --> 0:15:57.880
<v Speaker 1>of course cause ambiguity in the whistle speech, and that

0:15:57.920 --> 0:15:59.880
<v Speaker 1>has to be resolved. You might have to say, what

0:16:00.280 --> 0:16:03.080
<v Speaker 1>do you mean? Uh. Colin writes that one of the

0:16:03.080 --> 0:16:05.800
<v Speaker 1>most common sources of ambiguity and whistled speech is just

0:16:05.920 --> 0:16:08.120
<v Speaker 1>proper names, because there are a lot of proper names

0:16:08.120 --> 0:16:11.160
<v Speaker 1>that have the same sequence of tones. But despite this

0:16:11.280 --> 0:16:14.400
<v Speaker 1>limitation that you know, you you don't have spoken syllables,

0:16:14.440 --> 0:16:18.480
<v Speaker 1>you're just turning the language entirely into sequences of tones. Uh.

0:16:18.880 --> 0:16:20.960
<v Speaker 1>You can communicate a lot, and most of the time

0:16:20.960 --> 0:16:24.000
<v Speaker 1>people understand each other just fine. Another thing I thought

0:16:24.040 --> 0:16:26.440
<v Speaker 1>was interesting is that he says there don't appear to

0:16:26.440 --> 0:16:31.240
<v Speaker 1>be any limitations on whistled speech mingling with spoken language.

0:16:31.320 --> 0:16:33.520
<v Speaker 1>Like it's not like you go into one mode and

0:16:33.520 --> 0:16:35.720
<v Speaker 1>then you're supposed to stay there and back and forth,

0:16:35.720 --> 0:16:38.520
<v Speaker 1>and like he says that a conversation might start at

0:16:38.520 --> 0:16:41.640
<v Speaker 1>a distance as whistles as whistles, and then switch to

0:16:41.720 --> 0:16:44.000
<v Speaker 1>normal speech when the parties get closer to each other,

0:16:44.640 --> 0:16:46.240
<v Speaker 1>or you might just go back and forth. You might

0:16:46.240 --> 0:16:52.400
<v Speaker 1>be speaking and then suddenly whistling, and then and so forth. Interesting. This, um, this,

0:16:52.400 --> 0:16:55.440
<v Speaker 1>this is not not a perfect comparison, but I and

0:16:55.520 --> 0:16:58.440
<v Speaker 1>I can't help but think of the astro mac droids

0:16:58.480 --> 0:17:02.120
<v Speaker 1>and star Wars. You know, how they speak with the

0:17:02.240 --> 0:17:07.320
<v Speaker 1>kind of whistling UM language uh and and generally when

0:17:07.320 --> 0:17:11.080
<v Speaker 1>they're talking to somebody like Luke Skywalker or whoever, Luke

0:17:11.200 --> 0:17:14.760
<v Speaker 1>understands the astro Mec language and then speaks back in

0:17:14.840 --> 0:17:19.040
<v Speaker 1>English and UH or whatever we're calling English UM in

0:17:19.080 --> 0:17:22.919
<v Speaker 1>the Star Wars universe. And at times when I'm watching this,

0:17:22.960 --> 0:17:25.440
<v Speaker 1>I'm always I'll stop and I'll think. And of course

0:17:25.440 --> 0:17:26.720
<v Speaker 1>i'm you know, caught up in the flow of it,

0:17:26.760 --> 0:17:29.960
<v Speaker 1>so it ultimately doesn't matter. But if I'm over analyzing it,

0:17:30.080 --> 0:17:32.320
<v Speaker 1>I'm I'm thinking about the fact that they're they're speaking

0:17:32.320 --> 0:17:35.680
<v Speaker 1>in two different languages to each other and there doesn't

0:17:35.680 --> 0:17:38.199
<v Speaker 1>seem to be any problem. But an example like this

0:17:38.280 --> 0:17:40.800
<v Speaker 1>from the real world makes me think, well, no, this

0:17:40.920 --> 0:17:44.200
<v Speaker 1>is entirely believable. You have both parties know the language,

0:17:44.240 --> 0:17:46.680
<v Speaker 1>but the astro Mec of course can only speak one

0:17:46.680 --> 0:17:49.960
<v Speaker 1>of those languages, and Luke Skywalker can also only speak

0:17:49.960 --> 0:17:53.480
<v Speaker 1>one of those languages, but both can understand. Yeah, that's interesting.

0:17:53.480 --> 0:17:56.360
<v Speaker 1>I have often thought about that too, about the how

0:17:56.400 --> 0:18:00.200
<v Speaker 1>exactly the R two D two communication goes on um

0:18:00.400 --> 0:18:02.240
<v Speaker 1>a boat. But I just wanted to say also that

0:18:02.280 --> 0:18:04.639
<v Speaker 1>like um, this isn't something of the past that the

0:18:04.640 --> 0:18:07.719
<v Speaker 1>Massa teco whistle speech is still in use today, certainly

0:18:07.760 --> 0:18:10.959
<v Speaker 1>by people in Wahaka and maybe elsewhere as well. If

0:18:11.000 --> 0:18:12.520
<v Speaker 1>you want to hear what it sounds like, I would

0:18:12.560 --> 0:18:15.959
<v Speaker 1>highly recommend looking up videos. There are videos you can

0:18:16.000 --> 0:18:19.679
<v Speaker 1>find online of native speakers demonstrating the Messa teco whistle

0:18:19.720 --> 0:18:23.720
<v Speaker 1>speech and it's it's it's totally worth looking up. Absolutely yeah,

0:18:23.720 --> 0:18:27.440
<v Speaker 1>it's it's. It's quite beautiful. But as I alluded to earlier,

0:18:27.800 --> 0:18:29.719
<v Speaker 1>this is not the only case in the world. This

0:18:29.760 --> 0:18:32.320
<v Speaker 1>is just one example I picked. There are other examples

0:18:32.320 --> 0:18:34.040
<v Speaker 1>and I might get into them in in part two

0:18:34.119 --> 0:18:39.000
<v Speaker 1>of this series of whistled languages popping up, especially it

0:18:39.119 --> 0:18:43.280
<v Speaker 1>seems in in mountainous and forested regions around the world.

0:18:43.640 --> 0:18:45.320
<v Speaker 1>And there's a paper I want to talk about in

0:18:45.359 --> 0:18:48.000
<v Speaker 1>the next part of the series about what are some

0:18:48.040 --> 0:18:51.199
<v Speaker 1>of the common features that may cause whistled versions of

0:18:51.280 --> 0:18:54.679
<v Speaker 1>languages to arise. It's very interesting to think about, like

0:18:54.760 --> 0:18:59.600
<v Speaker 1>what are the pressures and environmental characteristics that tend to

0:18:59.680 --> 0:19:05.600
<v Speaker 1>give rise to certain characteristics of language. Absolutely now in

0:19:05.880 --> 0:19:10.399
<v Speaker 1>discussing whistling here uh. When we first started looking into

0:19:10.440 --> 0:19:15.080
<v Speaker 1>this topic, I was thinking, well, what is whistling and

0:19:15.440 --> 0:19:17.560
<v Speaker 1>I at first I was thinking, well, this has to

0:19:17.560 --> 0:19:20.120
<v Speaker 1>be one of those questions that shouldn't be too complicated, right,

0:19:20.720 --> 0:19:23.080
<v Speaker 1>in part because for many of us, a whistle is

0:19:23.200 --> 0:19:25.520
<v Speaker 1>literally as close as our own breath. We can produce

0:19:25.520 --> 0:19:28.679
<v Speaker 1>a whistle without giving it too much thought, and we

0:19:28.720 --> 0:19:32.480
<v Speaker 1>can generally pick out the sound of whistling rather easily.

0:19:32.520 --> 0:19:35.639
<v Speaker 1>Maybe not, you know, as as quickly as we were

0:19:35.640 --> 0:19:37.960
<v Speaker 1>discussing in our previous example compared to other things. But

0:19:38.320 --> 0:19:40.440
<v Speaker 1>here it for a second, and you'll say, yeah, yeah,

0:19:40.480 --> 0:19:42.679
<v Speaker 1>somebody's whistling, and then maybe you can pick out the tune.

0:19:43.359 --> 0:19:45.800
<v Speaker 1>But yeah, we know it when we hear it, and

0:19:45.840 --> 0:19:48.760
<v Speaker 1>we know it when we produce it. So I honestly

0:19:48.800 --> 0:19:51.680
<v Speaker 1>expected to kind of springboard past the basic what is

0:19:51.720 --> 0:19:54.320
<v Speaker 1>a whistle question here and so get more into some

0:19:54.400 --> 0:19:58.639
<v Speaker 1>of the meteor stuff. But then I read this definition

0:19:58.640 --> 0:20:01.840
<v Speaker 1>of whistling from the paper The Physiology of Oral Whistling

0:20:02.080 --> 0:20:04.399
<v Speaker 1>by A. Zola at All, published in the Journal of

0:20:04.400 --> 0:20:11.239
<v Speaker 1>Applied Physiology. Quote. Experimental models support the hypothesis that the

0:20:11.320 --> 0:20:15.640
<v Speaker 1>sound in human whistling is generated by a helm Holtz resonator,

0:20:15.960 --> 0:20:19.720
<v Speaker 1>suggesting that the oral cavity acts as a resonant chamber

0:20:20.000 --> 0:20:24.119
<v Speaker 1>bounded by two orifices, posteriorly by raising the tongue to

0:20:24.160 --> 0:20:28.119
<v Speaker 1>the hard palate and anteriorly by pursed lips. So I

0:20:28.160 --> 0:20:31.200
<v Speaker 1>don't know about you, but when I heard that that

0:20:31.280 --> 0:20:34.639
<v Speaker 1>instantly it made me realize, Okay, it's a little more

0:20:34.680 --> 0:20:39.080
<v Speaker 1>complicated than I had perhaps realized at first. And uh,

0:20:39.160 --> 0:20:41.359
<v Speaker 1>I I don't think I had actually heard of a

0:20:41.400 --> 0:20:44.040
<v Speaker 1>helm Holtz resonator before, and when I heard that, I

0:20:44.119 --> 0:20:47.080
<v Speaker 1>instantly thought of like the Holtzman effect in Dune. But

0:20:47.160 --> 0:20:50.440
<v Speaker 1>this has nothing to do with personal shields and suspensers. Well, yeah,

0:20:50.640 --> 0:20:53.159
<v Speaker 1>I think that's interesting too, that it's like not a

0:20:53.200 --> 0:20:58.480
<v Speaker 1>fully settled question how exactly the physics of of whistling work.

0:20:58.560 --> 0:21:00.200
<v Speaker 1>But I do think it's clear and you can sort

0:21:00.200 --> 0:21:03.960
<v Speaker 1>of test this in your own body. Uh. That part

0:21:04.000 --> 0:21:07.720
<v Speaker 1>of what's happening with whistling is you are relocating the

0:21:07.760 --> 0:21:13.600
<v Speaker 1>primary resonating chamber that's producing the vibrations the sound when

0:21:13.680 --> 0:21:16.359
<v Speaker 1>you whistle, as opposed to when you produce regular speech.

0:21:16.440 --> 0:21:19.400
<v Speaker 1>Because if you just feel it in your body while

0:21:19.440 --> 0:21:22.240
<v Speaker 1>you're talking, you can kind of feel least I can

0:21:22.680 --> 0:21:25.560
<v Speaker 1>that the vibrations sort of seemed to be coming from

0:21:25.600 --> 0:21:27.920
<v Speaker 1>the throat. It's also sort of happening in the mouth

0:21:27.960 --> 0:21:31.280
<v Speaker 1>a little bit um. But then when you whistle, at

0:21:31.320 --> 0:21:34.280
<v Speaker 1>least what I feel is I feel the vibration beginning

0:21:34.400 --> 0:21:38.959
<v Speaker 1>in my mouth. Yeah. I would certainly advise everyone as

0:21:39.000 --> 0:21:40.840
<v Speaker 1>you're whistling, and you may be whistling right now, to

0:21:40.920 --> 0:21:43.239
<v Speaker 1>sort of test this out, like, really focus in on

0:21:43.280 --> 0:21:46.720
<v Speaker 1>how it feels, Focus on how you feel the air

0:21:46.840 --> 0:21:52.719
<v Speaker 1>flowing through your mouth. You'll find these lateral air passages

0:21:52.800 --> 0:21:55.720
<v Speaker 1>between cheek and molars. Uh. And it's it's really quite

0:21:55.800 --> 0:21:57.919
<v Speaker 1>quite fascinating because again, it's easy to just take this

0:21:58.000 --> 0:22:00.919
<v Speaker 1>for granted, it's not something for most of us. Is

0:22:00.920 --> 0:22:02.840
<v Speaker 1>certainly after after a point, you don't really have to

0:22:02.840 --> 0:22:04.800
<v Speaker 1>think about it. You don't have to have to look

0:22:04.920 --> 0:22:07.199
<v Speaker 1>up and read instructions for how to do it. You

0:22:07.320 --> 0:22:10.840
<v Speaker 1>just your mouth assumes the form necessary to create the whistle,

0:22:11.160 --> 0:22:14.439
<v Speaker 1>and you whistle as a total sidetrack. I'm sorry, but

0:22:14.600 --> 0:22:17.400
<v Speaker 1>I I found the title of that paper, The Physiology

0:22:17.400 --> 0:22:20.960
<v Speaker 1>of Oral Whistling, very funny because it immediately made me think,

0:22:20.960 --> 0:22:25.240
<v Speaker 1>are there other types of whistle? Is there ocular whistling? Well? There,

0:22:26.080 --> 0:22:27.520
<v Speaker 1>I mean, I guess there may be some sort of

0:22:27.640 --> 0:22:30.720
<v Speaker 1>nasal variety. I mean, I'm instantly reminded of the various

0:22:30.800 --> 0:22:34.800
<v Speaker 1>nasal flutes that exist in different cultures. So, uh, the

0:22:34.880 --> 0:22:37.119
<v Speaker 1>airflow from the mouth is not the only way that

0:22:37.200 --> 0:22:40.440
<v Speaker 1>we have to produce a sound. So um. But yeah,

0:22:40.840 --> 0:22:44.600
<v Speaker 1>when you say whistling, you tend to think oral whistling. Now,

0:22:44.640 --> 0:22:47.920
<v Speaker 1>I want to come back to the Helmholtz resonator here.

0:22:48.480 --> 0:22:52.280
<v Speaker 1>So this is named for important German physicist and physician

0:22:52.520 --> 0:22:56.800
<v Speaker 1>Herman von Helmholtz, who lived eighteen twenty one through If

0:22:56.840 --> 0:23:00.480
<v Speaker 1>you if you're studying anything about sound and sound generation,

0:23:00.840 --> 0:23:05.080
<v Speaker 1>you'll generally find out find something about von Helmholtz. For instance,

0:23:05.520 --> 0:23:10.600
<v Speaker 1>after we had started this particular topic, I was in Asheville,

0:23:10.800 --> 0:23:13.600
<v Speaker 1>North Carolina, and I went to the mog Museum there,

0:23:13.600 --> 0:23:16.879
<v Speaker 1>the synthesizer Museum, and Helmholtz his name comes up in

0:23:16.920 --> 0:23:19.040
<v Speaker 1>some of the materials there because it's just it's hard

0:23:19.080 --> 0:23:21.520
<v Speaker 1>to avoid him when you get into the science of sound.

0:23:21.960 --> 0:23:24.920
<v Speaker 1>So the helm Holtz resonator is a kind of spherical

0:23:25.040 --> 0:23:28.520
<v Speaker 1>chamber with an aperture at the top or at one

0:23:28.640 --> 0:23:32.760
<v Speaker 1>end called the nipple, and tapering there for insertion into

0:23:32.760 --> 0:23:36.000
<v Speaker 1>the ear, and then has another larger aperture on the

0:23:36.000 --> 0:23:41.080
<v Speaker 1>other end of this sphere. So each Helmholtz resonator has

0:23:41.119 --> 0:23:44.840
<v Speaker 1>a known fixed volume size and therefore is made to

0:23:44.880 --> 0:23:48.040
<v Speaker 1>pick up on a particular tone there there there's no

0:23:48.119 --> 0:23:51.080
<v Speaker 1>mechanical parts in this. It's essentially it's kind of like

0:23:51.440 --> 0:23:55.480
<v Speaker 1>a very finely engineered seashell. Pick one up. You place

0:23:55.560 --> 0:23:57.520
<v Speaker 1>the nipple in your ear, and you can pick out

0:23:57.520 --> 0:24:00.760
<v Speaker 1>a particular frequency, and you generally will have a selection

0:24:00.840 --> 0:24:04.800
<v Speaker 1>of these to analyze complex sounds. Joe, for your benefit,

0:24:04.840 --> 0:24:09.080
<v Speaker 1>I included a photo here of various helm Holtz resonators,

0:24:09.320 --> 0:24:11.040
<v Speaker 1>and if you do a Google search out there of

0:24:11.119 --> 0:24:14.840
<v Speaker 1>helm Halt resonators, you'll see selections like this. They're often

0:24:14.840 --> 0:24:17.280
<v Speaker 1>made out of some sort of metal. You know. I

0:24:17.320 --> 0:24:21.480
<v Speaker 1>think of myself as an adventurous secret of of experiences.

0:24:21.480 --> 0:24:23.840
<v Speaker 1>But somehow I don't want to put the big ones

0:24:23.880 --> 0:24:27.399
<v Speaker 1>of these in my ear. That just I would fear

0:24:27.520 --> 0:24:31.080
<v Speaker 1>I would fear oral injury. Well, the nipples the same

0:24:31.119 --> 0:24:33.880
<v Speaker 1>size on all of them. Okay, nipple that is inserted

0:24:33.920 --> 0:24:37.080
<v Speaker 1>into your ear. I guess I'm just I guess what

0:24:37.160 --> 0:24:39.600
<v Speaker 1>I mean is I'm afraid it looks like it would

0:24:39.640 --> 0:24:42.280
<v Speaker 1>suddenly produce an incredibly loud sound. But I guess the

0:24:42.320 --> 0:24:45.320
<v Speaker 1>size of the resonator cavity is not actually about the volume,

0:24:45.400 --> 0:24:48.280
<v Speaker 1>but about the pitch. So these resonators, they have various

0:24:48.320 --> 0:24:52.200
<v Speaker 1>applications in engineering, architecture, and music. But when it comes

0:24:52.200 --> 0:24:55.439
<v Speaker 1>to studying and describing the mechanisms of human whistling, something

0:24:55.560 --> 0:24:59.399
<v Speaker 1>that the aforementioned authors say isn't done enough, and again

0:24:59.440 --> 0:25:02.399
<v Speaker 1>it is not made fully understood. The Helmholtz resonator is

0:25:02.440 --> 0:25:04.960
<v Speaker 1>apparently a good model of what seems to be going

0:25:05.000 --> 0:25:08.320
<v Speaker 1>on inside of our head, inside of our you know,

0:25:08.359 --> 0:25:12.000
<v Speaker 1>our head and face when we whistle. And Joe I

0:25:12.000 --> 0:25:15.480
<v Speaker 1>included an illustration from that paper that I thought was

0:25:15.480 --> 0:25:19.280
<v Speaker 1>was very useful. This kind of takes uh the airflow,

0:25:19.359 --> 0:25:23.120
<v Speaker 1>those lateral air passages were described, describing the as well

0:25:23.160 --> 0:25:26.679
<v Speaker 1>as the central resonance chamber, and illustrates those inside of

0:25:26.720 --> 0:25:29.800
<v Speaker 1>this This drawing of of of of a human female

0:25:29.840 --> 0:25:33.679
<v Speaker 1>who is supposedly whistling, and it makes whistling look like

0:25:33.760 --> 0:25:38.240
<v Speaker 1>some sort of strange organ inside the mouth. Yeah, it

0:25:38.320 --> 0:25:40.800
<v Speaker 1>looks like, well, you've got your regular liver down below,

0:25:40.840 --> 0:25:42.879
<v Speaker 1>and then you've got your whistling liver, and that's up

0:25:42.920 --> 0:25:47.239
<v Speaker 1>somewhere underneath the nose. Right now, going back to that

0:25:47.359 --> 0:25:49.800
<v Speaker 1>paper by A. Zola at All, I want to read

0:25:49.800 --> 0:25:53.000
<v Speaker 1>this quick quote that sums a lot of this up quote.

0:25:53.040 --> 0:25:56.080
<v Speaker 1>The results of this study indicate that the acoustic mechanism

0:25:56.119 --> 0:25:59.920
<v Speaker 1>in human pursed lip whistling follows a Helmholtz resonator model.

0:26:00.280 --> 0:26:04.000
<v Speaker 1>The oral cavity acts as the resonant chamber, and the

0:26:04.040 --> 0:26:07.440
<v Speaker 1>anterior posterior movements of the tongue play a major role

0:26:07.480 --> 0:26:11.120
<v Speaker 1>in changing the volume and thus the whistle frequency produced

0:26:11.440 --> 0:26:14.760
<v Speaker 1>for their studies, performed with high resolution measurements may help

0:26:15.160 --> 0:26:19.560
<v Speaker 1>elucidate the contribution of changes to other parameters of the

0:26:19.560 --> 0:26:22.879
<v Speaker 1>Helmholtz equation. Okay, so this is sort of in line

0:26:22.960 --> 0:26:26.840
<v Speaker 1>with what I was at least guessing based on the

0:26:26.840 --> 0:26:29.680
<v Speaker 1>feelings inside my head. When I whistle, it feels like

0:26:30.280 --> 0:26:33.199
<v Speaker 1>the vibrations are coming from the mouth when I whistle.

0:26:33.240 --> 0:26:36.080
<v Speaker 1>And here they're saying that, yes, when you whistle, the

0:26:36.240 --> 0:26:39.480
<v Speaker 1>oral cavity is what's acting as the resonant chamber. It's

0:26:39.520 --> 0:26:43.480
<v Speaker 1>sort of acting as a Helmholtz resonator, right, And it

0:26:43.560 --> 0:26:45.680
<v Speaker 1>is stressing though that, Yeah, there's a lot going on here.

0:26:45.800 --> 0:26:48.280
<v Speaker 1>And even though it may feel pretty natural for most

0:26:48.320 --> 0:26:49.919
<v Speaker 1>of us to whistle, we don't have to again put

0:26:49.960 --> 0:26:52.479
<v Speaker 1>a lot of thought into it. Uh though though if

0:26:52.520 --> 0:26:55.200
<v Speaker 1>you may be overthinking it now and finding yourself having

0:26:55.240 --> 0:26:58.359
<v Speaker 1>to to think more about doing it, but uh, you

0:26:58.440 --> 0:27:01.840
<v Speaker 1>still have to have the proper preusit prerequisites in place. Uh.

0:27:01.880 --> 0:27:04.120
<v Speaker 1>Some people lack the ability to whistle for a few

0:27:04.119 --> 0:27:07.000
<v Speaker 1>different reasons. It's also something that does have to be

0:27:07.080 --> 0:27:12.040
<v Speaker 1>initially learned and can get really good with practice. So uh,

0:27:12.359 --> 0:27:13.919
<v Speaker 1>it's like it's one of those scenarios like when you

0:27:13.960 --> 0:27:17.320
<v Speaker 1>hear somebody do it really well. Uh, it has an

0:27:17.400 --> 0:27:21.280
<v Speaker 1>almost otherworldly beauty to it. Uh. Some of those uh

0:27:21.320 --> 0:27:24.120
<v Speaker 1>examples earlier in the whistling speech definitely have this quality

0:27:24.160 --> 0:27:27.320
<v Speaker 1>to them. But also I think of whistling used in

0:27:27.480 --> 0:27:30.000
<v Speaker 1>music sometimes I think of the whistling of say, Leon

0:27:30.040 --> 0:27:34.680
<v Speaker 1>Redbone whistle during some of his performance so amazing whistler.

0:27:34.800 --> 0:27:37.520
<v Speaker 1>My whistle is nothing like that, um And and a

0:27:37.600 --> 0:27:39.920
<v Speaker 1>large part of that just may simply be practiced. I

0:27:39.920 --> 0:27:43.120
<v Speaker 1>I have not applied the hours of whistling that Leon

0:27:43.160 --> 0:27:46.960
<v Speaker 1>Redbone applied during his lifetime to achieve that that level

0:27:46.960 --> 0:27:55.760
<v Speaker 1>of art. Thank so off, Mike, we were talking about

0:27:55.760 --> 0:28:01.840
<v Speaker 1>our favorite examples of music that features whistling. One example

0:28:01.880 --> 0:28:04.880
<v Speaker 1>that immediately comes to my mind is there's a there's

0:28:04.920 --> 0:28:09.280
<v Speaker 1>a great Bolivian folk song called Orando ce Foe and

0:28:09.400 --> 0:28:13.359
<v Speaker 1>the band, the experimental rock band Sun City Girls do

0:28:13.560 --> 0:28:16.320
<v Speaker 1>a cover of that song. I think their cover is

0:28:16.359 --> 0:28:18.840
<v Speaker 1>called the Shining Path, and there's a part usually before

0:28:18.840 --> 0:28:22.159
<v Speaker 1>the lyrics come in that I think on earlier recordings

0:28:22.160 --> 0:28:24.479
<v Speaker 1>of this song is done on a flute, but they

0:28:24.520 --> 0:28:28.359
<v Speaker 1>whistle this part, and the whistling is just intense. It

0:28:28.480 --> 0:28:31.520
<v Speaker 1>sounds very much the comparison a lot of people seem

0:28:31.600 --> 0:28:33.160
<v Speaker 1>to make. I think Seth said the same thing when

0:28:33.200 --> 0:28:35.280
<v Speaker 1>we played it for him earlier, is that it feels

0:28:35.280 --> 0:28:38.760
<v Speaker 1>like Ennio Morricone feels like a kind of a very dramatic,

0:28:38.960 --> 0:28:44.760
<v Speaker 1>dangerous Western scene. Yeah. Yeah, yeah, there's something about the

0:28:44.360 --> 0:28:48.200
<v Speaker 1>the West cinematically that that makes me think of whistling,

0:28:48.240 --> 0:28:49.960
<v Speaker 1>And a big part of it is, you know, probably

0:28:50.120 --> 0:28:54.680
<v Speaker 1>uh Morricone scores, but also the score by Carter Burwell

0:28:55.120 --> 0:28:59.680
<v Speaker 1>for um A Raising Arizona, the Colin Brothers film, So good,

0:29:00.080 --> 0:29:04.320
<v Speaker 1>fabulous score that includes a lot of like yodeling and banjo,

0:29:04.560 --> 0:29:08.280
<v Speaker 1>but also whistling, really powerful, like pure whistling that sounds

0:29:08.280 --> 0:29:10.920
<v Speaker 1>like it's from just it's from straight from heaven. But

0:29:10.960 --> 0:29:13.760
<v Speaker 1>the other one Seth reminded, uh, reminded me of was

0:29:13.840 --> 0:29:16.840
<v Speaker 1>the Peter Bjorn and John song that was popular. I

0:29:16.880 --> 0:29:20.320
<v Speaker 1>think that was like really big my last year in college.

0:29:20.320 --> 0:29:22.560
<v Speaker 1>It was like two thousand eight or so. Yeah, yeah,

0:29:22.640 --> 0:29:25.400
<v Speaker 1>that's a great example. Another one that I think Seth

0:29:25.400 --> 0:29:27.479
<v Speaker 1>and I both thought of at the same time was

0:29:27.960 --> 0:29:29.920
<v Speaker 1>Otis Redding sitting on the dock of the bay. That

0:29:30.040 --> 0:29:32.320
<v Speaker 1>is a wonderful whistling part in it. Well, you know,

0:29:32.360 --> 0:29:34.360
<v Speaker 1>I was trying to think, based on all these examples

0:29:34.400 --> 0:29:37.200
<v Speaker 1>we just brought up, whether there are sort of common

0:29:37.240 --> 0:29:41.400
<v Speaker 1>connotations to whistling in music. But I guess not really

0:29:41.440 --> 0:29:44.120
<v Speaker 1>because in some of these examples we've talked about, the

0:29:44.120 --> 0:29:48.680
<v Speaker 1>whistling feels very very happy and languid. It's a relaxed

0:29:48.760 --> 0:29:50.360
<v Speaker 1>kind of sound. I think of sitting on the dock

0:29:50.440 --> 0:29:53.479
<v Speaker 1>of the bay, whereas in uh, in the first example

0:29:53.520 --> 0:29:57.440
<v Speaker 1>I mentioned, it's it's a fiery, intense, you know, uh,

0:29:57.760 --> 0:30:01.960
<v Speaker 1>danger rising from from the canyon kind of sound. Yeah. Yeah,

0:30:02.640 --> 0:30:04.800
<v Speaker 1>I'm glancing at a list right now, and oh this

0:30:04.840 --> 0:30:07.760
<v Speaker 1>is a big one. Winds of Change by the Scorpions.

0:30:09.440 --> 0:30:12.200
<v Speaker 1>That's some that's some powerful whistling in there. Feel it,

0:30:12.320 --> 0:30:15.400
<v Speaker 1>Feel it in your bones. Golden Years by David Bowie.

0:30:15.520 --> 0:30:19.240
<v Speaker 1>That's another good one. Games Without Frontiers by Peter Gabriel.

0:30:19.480 --> 0:30:21.840
<v Speaker 1>Oh I know that one. Yeah, Yeah, that's a great one.

0:30:22.240 --> 0:30:25.920
<v Speaker 1>War Without Tears. Yeah. Yeah. They're a bunch of them.

0:30:25.920 --> 0:30:27.880
<v Speaker 1>And I'm not going to go through this whole list,

0:30:27.920 --> 0:30:29.720
<v Speaker 1>but I'd love to hear from folks out there if

0:30:29.760 --> 0:30:36.040
<v Speaker 1>you have particularly favored examples of songs with whistling in them,

0:30:36.200 --> 0:30:39.520
<v Speaker 1>or or favorite whistling performers. Oh like, here's another great one.

0:30:39.560 --> 0:30:42.120
<v Speaker 1>Always Look on the bright Side of Life from Monty

0:30:42.120 --> 0:30:46.120
<v Speaker 1>Python's The Life of Brian. Great stuff. There's walk Like

0:30:46.200 --> 0:30:49.320
<v Speaker 1>in Egyptian by the Bengals. I did not remember the

0:30:49.320 --> 0:30:53.640
<v Speaker 1>whistling in that. Yeah, don't worry, be happy. Bobby McFerrin. Oh,

0:30:53.720 --> 0:30:55.640
<v Speaker 1>I don't know if I remember the I remember this song,

0:30:55.720 --> 0:30:57.680
<v Speaker 1>but I don't remember whistling Me and Julio down by

0:30:57.720 --> 0:31:04.160
<v Speaker 1>the schoolyard Paul Simon. Oh yeah, uh uh, I shouldn't

0:31:04.160 --> 0:31:08.360
<v Speaker 1>do that too much. Love is a Battlefield Pat Benatar,

0:31:08.720 --> 0:31:12.160
<v Speaker 1>great song. Uh, I don't remember the whistling, you know,

0:31:12.560 --> 0:31:15.000
<v Speaker 1>coming back to the idea of whistled language is part

0:31:15.040 --> 0:31:18.200
<v Speaker 1>of me, thinks, Oh, man, I it would be difficult

0:31:18.240 --> 0:31:19.920
<v Speaker 1>for me living in a culture like that because I

0:31:19.920 --> 0:31:22.120
<v Speaker 1>feel like I don't whistle very well. But then again,

0:31:22.200 --> 0:31:24.360
<v Speaker 1>I guess it's a it's a skill that you develop

0:31:24.440 --> 0:31:27.880
<v Speaker 1>with practice, like other language skills, and that unless you

0:31:28.120 --> 0:31:32.000
<v Speaker 1>have some kind of like anatomical reason that's interfering with

0:31:32.040 --> 0:31:34.800
<v Speaker 1>your ability to whistle. And imagine it's largely a function

0:31:34.840 --> 0:31:37.360
<v Speaker 1>of how much you do it, how much you you

0:31:37.360 --> 0:31:39.920
<v Speaker 1>practice it, and how much you learned at an early age.

0:31:39.960 --> 0:31:42.080
<v Speaker 1>But but yes, I am one of those who I

0:31:42.120 --> 0:31:45.480
<v Speaker 1>don't whistle great. Uh Yeah, my whistling is it's okay

0:31:45.520 --> 0:31:48.880
<v Speaker 1>for my own purposes, but it is not a performance

0:31:48.960 --> 0:31:52.440
<v Speaker 1>level whistle. So I will catch myself occasionally whistling a

0:31:52.440 --> 0:31:57.440
<v Speaker 1>particular tune. But I'm also just as just as inclined

0:31:57.480 --> 0:32:00.760
<v Speaker 1>to maybe sing a little bit from a particular song,

0:32:00.960 --> 0:32:04.120
<v Speaker 1>or to hum a little bit, uh did to use

0:32:04.120 --> 0:32:08.680
<v Speaker 1>those more or less in tandem. But pure whistling. Yeah,

0:32:08.720 --> 0:32:13.400
<v Speaker 1>I've never really applied myself to it, uh, because because

0:32:13.400 --> 0:32:15.240
<v Speaker 1>I felt like my whistling, yeah, it's good enough for me,

0:32:15.480 --> 0:32:17.920
<v Speaker 1>not so much for anybody else I'm around. I did

0:32:17.960 --> 0:32:20.600
<v Speaker 1>get into a habit a while back of when I

0:32:20.640 --> 0:32:22.760
<v Speaker 1>would be singing a song and I would start getting

0:32:22.840 --> 0:32:24.880
<v Speaker 1>up to the high notes that I couldn't sing, I

0:32:24.920 --> 0:32:28.800
<v Speaker 1>would just switch to whistling them. Yeah, as we were

0:32:28.800 --> 0:32:30.920
<v Speaker 1>researching this, I was, of course, like a lot of

0:32:30.920 --> 0:32:33.840
<v Speaker 1>you out there listening to the episode, I was a

0:32:33.840 --> 0:32:36.200
<v Speaker 1>little I was hyper conscious of my own whistling, so

0:32:36.280 --> 0:32:38.040
<v Speaker 1>I was I was trying it out, and I and

0:32:38.040 --> 0:32:40.440
<v Speaker 1>I decided, well, what if I tried to whistle better,

0:32:40.640 --> 0:32:42.680
<v Speaker 1>or you know, what have I? What have I sort

0:32:42.720 --> 0:32:46.520
<v Speaker 1>of really concentrate on it and try and see what

0:32:46.600 --> 0:32:48.960
<v Speaker 1>happens when I change the shape of my mouth a

0:32:49.040 --> 0:32:51.720
<v Speaker 1>little bit. And I was feeling that. I found that

0:32:51.760 --> 0:32:56.280
<v Speaker 1>I was able to make a stronger whistle, but it

0:32:56.360 --> 0:32:59.480
<v Speaker 1>was also I felt it straining, uh, like muscles in

0:32:59.480 --> 0:33:02.880
<v Speaker 1>my face and in my head that I maybe don't

0:33:02.920 --> 0:33:05.240
<v Speaker 1>strain that much when I do my default whistle. And

0:33:05.240 --> 0:33:06.760
<v Speaker 1>then I was able to go back to my default

0:33:06.800 --> 0:33:10.240
<v Speaker 1>whistle and it felt more natural. So I kind of

0:33:10.240 --> 0:33:12.720
<v Speaker 1>took that as an indicators like, Okay, this is this

0:33:12.760 --> 0:33:15.240
<v Speaker 1>is kind of a gateway to better whistling. If I

0:33:15.280 --> 0:33:19.600
<v Speaker 1>wanted to actually pursue this probably, but I'm not going

0:33:19.640 --> 0:33:22.640
<v Speaker 1>to do that. Oh well, uh, this makes me think

0:33:22.680 --> 0:33:25.360
<v Speaker 1>of how Actually, to some degree, the same thing is

0:33:25.360 --> 0:33:27.880
<v Speaker 1>true about spoken language. Like I find at least if

0:33:27.960 --> 0:33:31.640
<v Speaker 1>I think too hard about what my body is doing

0:33:31.720 --> 0:33:35.240
<v Speaker 1>while I'm producing words with my mouth, suddenly they become

0:33:35.280 --> 0:33:37.880
<v Speaker 1>a lot harder to produce. Like if I'm thinking about

0:33:37.920 --> 0:33:41.120
<v Speaker 1>my lungs and my larynx and my mouth. Uh, the

0:33:41.240 --> 0:33:44.800
<v Speaker 1>syllables become kind of strange. You get that. Actually, I

0:33:44.840 --> 0:33:47.880
<v Speaker 1>would say it's a feeling kind of similar to semantic satiation,

0:33:48.000 --> 0:33:50.960
<v Speaker 1>where when you say a word too many times in

0:33:51.000 --> 0:33:53.680
<v Speaker 1>a row, you start like the words starts to feel

0:33:53.720 --> 0:33:56.959
<v Speaker 1>strange and it loses its association with the with the

0:33:57.760 --> 0:34:01.120
<v Speaker 1>with the meaning that it signifies. Uh. In a way,

0:34:01.120 --> 0:34:03.880
<v Speaker 1>it's kind of like if you're riding a bicycle and

0:34:04.160 --> 0:34:07.280
<v Speaker 1>you suddenly start thinking really hard about how you were

0:34:07.360 --> 0:34:10.560
<v Speaker 1>riding the bicycle, how this is being retained, and maybe

0:34:10.600 --> 0:34:12.800
<v Speaker 1>don't do that, Maybe just just just ride the bicycle,

0:34:12.880 --> 0:34:16.040
<v Speaker 1>think about something else, because everything is in motion, it's

0:34:16.080 --> 0:34:20.440
<v Speaker 1>it's working. Just don't don't second guess it. But as

0:34:20.480 --> 0:34:23.040
<v Speaker 1>we were saying, though, it's by second guessing it that

0:34:23.120 --> 0:34:26.680
<v Speaker 1>we are able to potentially improve it as well. Um,

0:34:26.920 --> 0:34:28.719
<v Speaker 1>we can certainly fall into a habit of whistling a

0:34:28.719 --> 0:34:31.920
<v Speaker 1>certain way. Uh, and then there are conceivably ways to

0:34:31.960 --> 0:34:34.879
<v Speaker 1>improve upon that whistle. But uh, you've got to want

0:34:34.920 --> 0:34:36.640
<v Speaker 1>to do that or have some reason to do that.

0:34:37.560 --> 0:34:40.120
<v Speaker 1>And certainly communication would be a big one. If you're

0:34:40.160 --> 0:34:42.880
<v Speaker 1>engaging in some sort of whistling communication with people, then

0:34:42.920 --> 0:34:45.279
<v Speaker 1>there's going to be sort of a whistling standard. I

0:34:45.280 --> 0:34:48.200
<v Speaker 1>imagine you're gonna you're gonna hear other people use it,

0:34:48.239 --> 0:34:51.800
<v Speaker 1>and there is going to be a positive social pressure

0:34:52.200 --> 0:34:55.239
<v Speaker 1>to improving your whistle to match the whistles of those

0:34:55.280 --> 0:34:59.160
<v Speaker 1>around your right. Well, maybe we need to call part

0:34:59.280 --> 0:35:02.759
<v Speaker 1>one of Whistling series here, but we've got so much

0:35:02.760 --> 0:35:05.400
<v Speaker 1>more interesting stuff to talk about in subsequent parts. We're

0:35:05.400 --> 0:35:08.759
<v Speaker 1>going to talk about religious uses of whistling. We're going

0:35:08.800 --> 0:35:14.080
<v Speaker 1>to talk about whistling superstition, whistling psychology, whistling technology. That

0:35:14.160 --> 0:35:16.680
<v Speaker 1>there are a lot of monsters in this closet. All right,

0:35:16.719 --> 0:35:18.560
<v Speaker 1>we'll join us for that when we come back, and

0:35:18.600 --> 0:35:21.880
<v Speaker 1>certainly go ahead and send in your messages regarding your

0:35:21.880 --> 0:35:24.759
<v Speaker 1>own experience with whistling. We would love to hear from

0:35:24.800 --> 0:35:28.319
<v Speaker 1>you as a reminder. Stuff to Blow your minds Core

0:35:28.400 --> 0:35:30.879
<v Speaker 1>episodes published Tuesdays and Thursdays and the Stuff to Blow

0:35:30.880 --> 0:35:33.520
<v Speaker 1>your Mind podcast feed on Wednesday's. We do a short

0:35:33.560 --> 0:35:36.879
<v Speaker 1>form artifact or monster fact on Monday to listen to mail.

0:35:36.960 --> 0:35:38.839
<v Speaker 1>On Fridays, we do Weird How Cinema. That's our time

0:35:38.880 --> 0:35:41.640
<v Speaker 1>to set aside most serious concerns and just talk about

0:35:41.640 --> 0:35:44.720
<v Speaker 1>a weird film. If you want to converse with other

0:35:45.239 --> 0:35:47.799
<v Speaker 1>Stuff to Blow your Mind listeners, while there are a

0:35:47.800 --> 0:35:49.839
<v Speaker 1>couple of places you can go on Facebook, you can

0:35:49.840 --> 0:35:53.920
<v Speaker 1>go to the discussion module and you can also go

0:35:54.040 --> 0:35:56.360
<v Speaker 1>to the Discord. If you're a Discord user, go to

0:35:56.400 --> 0:35:59.359
<v Speaker 1>the discord email us and we'll send you the link

0:35:59.400 --> 0:36:00.759
<v Speaker 1>you need. Did you goin that? But there are a

0:36:00.760 --> 0:36:02.680
<v Speaker 1>lot of cool discussions going on there and they're doing

0:36:02.680 --> 0:36:04.880
<v Speaker 1>a book club there. I need to mention that again

0:36:05.360 --> 0:36:08.640
<v Speaker 1>some of the listeners have decided to read um Burder

0:36:08.640 --> 0:36:10.560
<v Speaker 1>Echo is the name of the Rose. So if you're

0:36:10.600 --> 0:36:13.239
<v Speaker 1>interested in that email, let's get the link. We'll send

0:36:13.239 --> 0:36:15.319
<v Speaker 1>you to the right place and you can join up

0:36:15.360 --> 0:36:18.360
<v Speaker 1>with them. Huge thanks as always to our excellent audio

0:36:18.480 --> 0:36:21.279
<v Speaker 1>producer Seth Nicholas Johnson. If you would like to get

0:36:21.280 --> 0:36:23.640
<v Speaker 1>in touch with us with feedback on this episode or

0:36:23.640 --> 0:36:25.960
<v Speaker 1>any other, to suggest a topic for the future, or

0:36:26.040 --> 0:36:28.680
<v Speaker 1>just to say hello, you can email us at contact

0:36:28.960 --> 0:36:39.120
<v Speaker 1>at stuff to Blow your Mind dot com. Stuff to

0:36:39.120 --> 0:36:41.640
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