WEBVTT - From the Vault: The Whistling, Part 2

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<v Speaker 1>Hey, you welcome to Stuff to Blow your Mind. My

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<v Speaker 1>name is Robert Lamb.

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<v Speaker 2>And I'm Joe McCormick, and it's Saturday. Time to go

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<v Speaker 2>into the vault for an older episode of the show.

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<v Speaker 2>This one originally aired August fourth, twenty twenty two, and

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<v Speaker 2>it is part two of our series on whistling.

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<v Speaker 3>Enjoy Welcome to Stuff to Blow Your Mind, a production

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<v Speaker 3>of iHeartRadio.

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<v Speaker 1>Hey you welcome to Stuff to Blow your Mind. My

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<v Speaker 1>name is Robert Lamb.

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<v Speaker 2>And I'm Joe McCormick, and we're back with part two

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<v Speaker 2>of our series on whistling. In the last episode, we

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<v Speaker 2>talked a bit about how whistling works physically, what happens

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<v Speaker 2>when you're creating a sort of resonator cavity within the mouth.

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<v Speaker 2>We also talked about the whistle speech of the Mastaco

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<v Speaker 2>languages and in Mexico, and I wanted to start off

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<v Speaker 2>today's episode by talking about some other examples of whistled

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<v Speaker 2>languages and some of the common characteristics between them, because,

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<v Speaker 2>of course, the Mezteko whistle speech is not the only

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<v Speaker 2>example of a whistled language that carries information. In fact,

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<v Speaker 2>I was looking at a paper by an author named

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<v Speaker 2>Julian Meyer called Environmental and Linguistic Typology of Whistled Languages

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<v Speaker 2>in the Annual Review of Linguistics twenty twenty one. So

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<v Speaker 2>it's a very recent paper. And according to Meyer, there

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<v Speaker 2>are reports of more than eighty languages around the world

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<v Speaker 2>that contain a whistled lexicon, and about half of those

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<v Speaker 2>have been confirmed by formal studies and published recordings. So

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<v Speaker 2>really solid documentation of at least forty or so whistled

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<v Speaker 2>languages around the world. And so I think it's worth

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<v Speaker 2>mentioning a few more examples of these in describing how

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<v Speaker 2>they work and seeing what we can compare in contrast

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<v Speaker 2>with them. So one example I was reading about was

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<v Speaker 2>in a really interesting twenty seventeen article in BBC Travel

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<v Speaker 2>by Elliott Stein, and the story here goes like this.

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<v Speaker 2>In Greece, there is a remote mountain village called Antia,

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<v Speaker 2>which is found on the southern eastern coast of the

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<v Speaker 2>Greek island of Evia in the Aegean Sea. And within

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<v Speaker 2>this village there has long been a whistle based language

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<v Speaker 2>called Spheria, which allows speakers to communicate across great distances,

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<v Speaker 2>and it seems to have been passed down from parents

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<v Speaker 2>to children among the shepherds and the farmers of the

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<v Speaker 2>village for literally thousands of years, for more than two

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<v Speaker 2>thousand years to read from Stein here quote. But in

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<v Speaker 2>the last few decades, Antia's population has dwindled from two

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<v Speaker 2>hundred and fifty to thirty seven, and as older whistlers

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<v Speaker 2>lose their teeth, many can no longer sound Spheria's sharp notes.

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<v Speaker 2>Today there are only six people left on the planet

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<v Speaker 2>who can still speak this unspoken language. Now this was

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<v Speaker 2>five years ago as of this recording, so I don't

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<v Speaker 2>know how that number six has changed since then. There

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<v Speaker 2>are descriptions of some efforts to try to teach it

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<v Speaker 2>to more people, but of course, whenever you're talking about

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<v Speaker 2>a language with that few speakers, it's certainly extremely endangered.

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<v Speaker 2>In fact, this is considered one of the most endangered

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<v Speaker 2>languages in the world. Now. Apparently the existence of this

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<v Speaker 2>language Spheria here was not documented anywhere in the outside

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<v Speaker 2>world until the year nineteen sixty nine, when a plane

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<v Speaker 2>crashed in the mountains nearby, and there was a rescue

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<v Speaker 2>team that was attempting to locate the pilot and they

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<v Speaker 2>reported hearing strange, melodious whistling echoing through the hillsides, and

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<v Speaker 2>this led to investigation and brought the language to the

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<v Speaker 2>attention of the media and two academics. So a big

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<v Speaker 2>question here is where does a language like this come from.

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<v Speaker 2>Linguists do seem to agree that it dates back to

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<v Speaker 2>ancient times. It's been around for a long time, but

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<v Speaker 2>exactly how it was created is less certain, and apparently

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<v Speaker 2>local legends abound. So one story I came across this

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<v Speaker 2>was described in some detail in a documentary piece on

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<v Speaker 2>PBS News Hour that was about Spherea, and it claimed

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<v Speaker 2>that the language was invented about two five hundred years ago,

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<v Speaker 2>not by Greeks, but by Persians after they were defeated

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<v Speaker 2>at the Battle of Salamis. So Salamis was a battle

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<v Speaker 2>in four ADBCE during the Persian invasion of Greece under

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<v Speaker 2>zerk Sees the Great, and so Salamis was It was

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<v Speaker 2>a naval battle where the coalition of Greek city states

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<v Speaker 2>was able to fight off and defeat the larger Persian

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<v Speaker 2>allied fleet. And I think this is widely considered the battle,

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<v Speaker 2>or one of the battles that turned the tide of

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<v Speaker 2>the war in favor of the Greek defenders and pushed

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<v Speaker 2>back the Persian invasion. But anyway, the legend about the

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<v Speaker 2>whistle speech goes that the Persian survivors of the battle

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<v Speaker 2>I guess they were, you know, their ship was sank

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<v Speaker 2>or defeated in some way, and they managed to swim

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<v Speaker 2>to shore on the island of Evia, where they had

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<v Speaker 2>to survive hiding in the mountains inhabited by hostile native Greeks.

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<v Speaker 2>And one way they avoided detection was by coming up

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<v Speaker 2>with a way of speaking in whistles that would sound

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<v Speaker 2>just like the birds, so they could communicate with each other,

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<v Speaker 2>but their speech would not be intelligible and in many

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<v Speaker 2>ways would probably not even be detected. Oh wow, but

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<v Speaker 2>that story has a kind of legendary quality. I'm not

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<v Speaker 2>sure how much there is behind that, but it's a

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<v Speaker 2>great story nonetheless, and steinsit some other local legends as well.

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<v Speaker 2>Some residents believe it was invented during the Busante Empire

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<v Speaker 2>by locals who wanted a secret way to communicate that

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<v Speaker 2>would elude the understanding of pirates and people from hostile

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<v Speaker 2>nearby villages. And so a common theme here seems to

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<v Speaker 2>be the idea that somehow this language was created to

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<v Speaker 2>be a secret way of communicating, to allow the locals

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<v Speaker 2>to communicate across distance and understand each other without other

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<v Speaker 2>people detecting or understanding what they were saying. Now, the

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<v Speaker 2>author of this BBC travel piece describes visiting the village

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<v Speaker 2>and spending time with the handful of people there who

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<v Speaker 2>still use the whistle language, and they apparently use it

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<v Speaker 2>in many of the same scenarios described in that paper

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<v Speaker 2>on the Mastako whistle speech that I've talked about in

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<v Speaker 2>the last episode. A big scenario of use seems to

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<v Speaker 2>be communicating across great distance on the mountain side and

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<v Speaker 2>sort of greeting or summoning people from far away. And

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<v Speaker 2>Stein cites a Greek linguist named Dimitra Hengen who studies

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<v Speaker 2>Sphere and she says that Spheria is in some sense

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<v Speaker 2>a whistled version of spoken Greek, where specific whistled tones

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<v Speaker 2>correspond to specific phonetic syllables or letters, and you can

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<v Speaker 2>build words out of them. Now, again, this is another

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<v Speaker 2>way that it's similar to the Mezateeko example, because in

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<v Speaker 2>both cases the whistled language is not like an totally independent,

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<v Speaker 2>unique language. Instead, it is in some way adapting and

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<v Speaker 2>existing spoken language to whistles.

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<v Speaker 1>And of course that would lean us more towards the

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<v Speaker 1>Greek origin story as opposed to the Persian one.

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<v Speaker 2>Yeah, I thought about that, but I don't know if

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<v Speaker 2>it actually informs that one way or another, But yeah,

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<v Speaker 2>I had the same intuition at least. So one of

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<v Speaker 2>the most remarkable things about Spheria, again similar to the

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<v Speaker 2>Mezteko whistle speech example, is that it is intelligible at

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<v Speaker 2>a great distance. You can understand messages in Spheria update

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<v Speaker 2>to about four kilometers away on this mountainous terrain, which

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<v Speaker 2>Hingen says is about ten times farther than you can

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<v Speaker 2>usually understand speech, loud speech or shouting. And I saw

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<v Speaker 2>that number of the ten times distance multiplier mentioned in

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<v Speaker 2>other sources, such as a Cambridge University press paper that

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<v Speaker 2>I looked at. But there's a great part in this

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<v Speaker 2>article where Stein quotes a local shop owner named Maria

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<v Speaker 2>Cathalis who tells a story about some of the social

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<v Speaker 2>opportunities offered by the whistle speech. And so her story

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<v Speaker 2>goes like this quote. One night, a man was in

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<v Speaker 2>the mountains with his sheep when it started snowing, he

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<v Speaker 2>knew that somewhere deep in the mountains there was a

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<v Speaker 2>beautiful girl from Antia with her goats. So he found

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<v Speaker 2>a cave, built a fire, and whistled to her to

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<v Speaker 2>come keep warm. She did, and that's how my parents

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<v Speaker 2>fell in love.

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<v Speaker 1>Well, that is a better ending than something like this.

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<v Speaker 1>And the descendants of Persian soldiers slaughtered him in the woods,

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<v Speaker 1>so I will say that much.

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<v Speaker 2>Yeah, and then the Greeks finally came for revenge.

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<v Speaker 1>Yeah. I continue to just tell a lot of questions

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<v Speaker 1>about the Persian origin theory. It just seems like it

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<v Speaker 1>seems I could be missing something major here, but it

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<v Speaker 1>seems like it begs more questions than it answers.

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<v Speaker 2>Well. Yeah, as I said, it sounds more like legend

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<v Speaker 2>to me than like an strongly evidence based explanation.

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<v Speaker 1>Yeah, when I agree, away from being a full blown

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<v Speaker 1>ghost story.

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<v Speaker 2>But so I've described two examples here of whistled language

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<v Speaker 2>in detail, and as I mentioned before, there are many

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<v Speaker 2>others around the globe. There are something like eighty ish

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<v Speaker 2>that have been reported somewhere around forty of them are

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<v Speaker 2>very well documented. So an obvious question to ask is

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<v Speaker 2>what do these languages have in common? What causes a

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<v Speaker 2>whistled language to arise? So I was looking at a

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<v Speaker 2>few sources here. One of them is that paper in

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<v Speaker 2>the Annual Review of Linguistics by Julian Meyer already mentioned.

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<v Speaker 2>Another is an article in Smithsonian Magazine from twenty twenty

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<v Speaker 2>one by Bob Holmes which cites that paper and summarizes

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<v Speaker 2>some other research in this area, for example, focusing on

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<v Speaker 2>a whistled variant of Spanish that is used in the

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<v Speaker 2>Canary Islands, on the mountainous islands of Lagomera and eliero

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<v Speaker 2>In that are both in the Canary Islands. And that

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<v Speaker 2>paper by Julian Meyer tries to gather together all of

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<v Speaker 2>these languages and say, okay, are there common topographical or

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<v Speaker 2>sort of geographical features that these languages tend to have

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<v Speaker 2>in common? And he finds yes, indeed there are. Almost

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<v Speaker 2>all of the whistled languages occur in two different types

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<v Speaker 2>of environments, either in mountainous terrains or rugged mountains, or

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<v Speaker 2>in dense vegetation like dense forest or dense savannah. So

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<v Speaker 2>why would it be those two places mountains or in

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<v Speaker 2>dense vegetation. Well, to focus on mountains first, Maya writes,

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<v Speaker 2>that in mountainous terrain, settlements and the people living in

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<v Speaker 2>the mountainous terrain tend to be much more scattered across

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<v Speaker 2>larger distances that are more difficult to traverse quickly than

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<v Speaker 2>people in other types of topographical settings. So Maya writes

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<v Speaker 2>quote in Eliero and Lakomera in the Canary Islands, in

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<v Speaker 2>the region around Kushkoi in Turkey, in the High Altus,

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<v Speaker 2>or in the Pyrenees near the village of Os two points,

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<v Speaker 2>only five hundred meters apart can easily represent an hour

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<v Speaker 2>in walking time. Thus, whistled forms of languages serve as

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<v Speaker 2>soon as the spoken forms become ineffective. Between forty and

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<v Speaker 2>one hundred meters. Depending on terrain, whistles can be heard

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<v Speaker 2>up to seven kilometers away in some vas okay. So

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<v Speaker 2>the idea here is that in mountainous terrain you have

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<v Speaker 2>the problem of people are often situated farther apart from

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<v Speaker 2>each other, and those distances to cross are difficult to cross.

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<v Speaker 2>They take a long time. So if you need to

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<v Speaker 2>communicate actually coming to be close enough together that you

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<v Speaker 2>could understand each other by shouting, that's a long that's

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<v Speaker 2>a big time investment. So it's actually worth your time

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<v Speaker 2>to learn a whistle speech that will carry better across

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<v Speaker 2>longer distances and save you all of that climbing and

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<v Speaker 2>walking time. Now, what about the forests or the dense vegetation. Well, here,

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<v Speaker 2>Meyer writes quote the vegetation in dense tropical forests and

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<v Speaker 2>savannahs restricts visual contact and limits the propagation of sound.

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<v Speaker 2>In such contexts, Whistled speech frequencies are also well shielded

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<v Speaker 2>against acoustic energy loss due to reverberation, which is particularly

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<v Speaker 2>important in densely vegetated environments because the whistled frequencies belong

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<v Speaker 2>to the most favorable frequency window, ranging from one to

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<v Speaker 2>three killihertz, within which reverberation in forests varies less with distance.

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<v Speaker 2>In dense vegetation, whistled language facilitates the coordination of individuals

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<v Speaker 2>during group movements, especially during hunting and fishing. Whistling also

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<v Speaker 2>allows human dialogue to go undetected by animals, blending in

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<v Speaker 2>with natural sounds, since many animal species also use whistling.

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<v Speaker 2>Other advantages are that whistles are easy to locate and

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<v Speaker 2>difficult for strangers to recognize, especially other tribes, even those

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<v Speaker 2>that speak different dialects of the same language. Whistled communications

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<v Speaker 2>are used for distances from about ten meters up to

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<v Speaker 2>five hundred meters, depending on the density of vegetation. Okay,

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<v Speaker 2>so there are a lot of advantages in the forest

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<v Speaker 2>or thick savanna. So the idea is that, of course

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<v Speaker 2>whistling speech allows you to communicate kate without being able

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<v Speaker 2>to see each other. Sitelines are limited by the vegetation itself,

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<v Speaker 2>but also whistling just carries better in the forest. It

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<v Speaker 2>propagates better through the forest without being drowned out by

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<v Speaker 2>the sort of the reverberation effects of having all that

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<v Speaker 2>foliage there. And it also seems to pierce through ambient

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<v Speaker 2>sound much better. And Holmes also summarizes some of these

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<v Speaker 2>advantages of whistling in the Smithsonian paper, saying that if

0:14:32.200 --> 0:14:34.960
<v Speaker 2>you're good at whistling, and you've been practicing this all

0:14:34.960 --> 0:14:37.400
<v Speaker 2>your life, sometimes you can reach one hundred and twenty

0:14:37.440 --> 0:14:41.360
<v Speaker 2>decibels with a whistle, which is loud. That's like he

0:14:41.480 --> 0:14:43.920
<v Speaker 2>compares it to a car horn. It says it's actually

0:14:43.960 --> 0:14:48.040
<v Speaker 2>louder than a car horn, and that whistles pack almost

0:14:48.080 --> 0:14:52.640
<v Speaker 2>all of that energy into the perfect frequency range. The

0:14:52.680 --> 0:14:56.400
<v Speaker 2>most piercing frequency range, which Holmes says is between one

0:14:56.440 --> 0:14:59.240
<v Speaker 2>to four killer hertz. Meyer said between one to three

0:14:59.320 --> 0:15:03.640
<v Speaker 2>killer hertz, roughly the same space which Holmes says is

0:15:03.720 --> 0:15:07.760
<v Speaker 2>above the pitch of most ambient noise. And this is

0:15:07.800 --> 0:15:11.960
<v Speaker 2>interesting because I was thinking about, why do we keep

0:15:12.320 --> 0:15:16.920
<v Speaker 2>noticing that whistling sounds, the ones made by humans are

0:15:16.960 --> 0:15:20.640
<v Speaker 2>similar to bird song. Well, one thing that occurs to

0:15:20.640 --> 0:15:24.480
<v Speaker 2>me here is that bird song is probably shaped by

0:15:24.560 --> 0:15:28.560
<v Speaker 2>natural selection to propagate through vegetation and to cut through

0:15:28.640 --> 0:15:32.280
<v Speaker 2>ambient noise from the environment so as to be clear,

0:15:32.320 --> 0:15:34.240
<v Speaker 2>you know, to be clear and audible at a distance

0:15:34.280 --> 0:15:37.760
<v Speaker 2>where maybe a potential mate could hear it. So whistle

0:15:37.760 --> 0:15:42.120
<v Speaker 2>speech probably sounds like bird song, having similar frequency ranges

0:15:42.160 --> 0:15:45.840
<v Speaker 2>because similar forces are shaping them. In the case of birds,

0:15:45.840 --> 0:15:48.560
<v Speaker 2>it would be evolution, and in the case of humans,

0:15:48.840 --> 0:15:52.400
<v Speaker 2>it would be people intentionally selecting whatever noise they are

0:15:52.440 --> 0:15:56.000
<v Speaker 2>able to make with their bodies that is the clearest

0:15:56.160 --> 0:16:00.400
<v Speaker 2>at the longest distance, cutting through ambient noise, and losing

0:16:00.440 --> 0:16:04.000
<v Speaker 2>the least energy to reverberation in the forest. And that

0:16:04.120 --> 0:16:06.520
<v Speaker 2>just happens to be the whistle that sounds like a bird.

0:16:07.120 --> 0:16:10.200
<v Speaker 1>Yeah, yeah, this is interesting to think think about on

0:16:10.200 --> 0:16:14.400
<v Speaker 1>one hand, I'm a quiet whistler. My whistler, my whistle

0:16:14.440 --> 0:16:17.120
<v Speaker 1>is not very loud, and therefore it can be a

0:16:17.120 --> 0:16:19.880
<v Speaker 1>little surprising when I encounter someone who has a very

0:16:19.920 --> 0:16:23.080
<v Speaker 1>loud whistle, and you're reminded just how loud a whistle

0:16:23.160 --> 0:16:26.360
<v Speaker 1>can be. So that's important to factor into all of this.

0:16:26.600 --> 0:16:29.920
<v Speaker 1>And another connection that came up in some of the

0:16:29.920 --> 0:16:34.120
<v Speaker 1>research I was doing was that you end up encountering

0:16:34.120 --> 0:16:39.680
<v Speaker 1>this whole realm of of non linguistic sounds that humans

0:16:39.800 --> 0:16:43.360
<v Speaker 1>can make that can be used to communicate ideas or

0:16:43.400 --> 0:16:47.240
<v Speaker 1>to gain attention, et cetera. And you also see things

0:16:47.240 --> 0:16:53.080
<v Speaker 1>like yodling thrown in there. Yodling also an art form,

0:16:53.120 --> 0:16:55.960
<v Speaker 1>if you will, or a performance or to a sound

0:16:56.240 --> 0:16:59.560
<v Speaker 1>that developed that also had to do with communicating or

0:16:59.600 --> 0:17:03.840
<v Speaker 1>calling animals, or communicating with other herdsmen across across long

0:17:03.880 --> 0:17:05.000
<v Speaker 1>distances in the wild.

0:17:05.359 --> 0:17:08.320
<v Speaker 2>When you're trying to speak normal phonemes like we're using

0:17:08.320 --> 0:17:11.600
<v Speaker 2>in words here, I think a lot of that information

0:17:11.680 --> 0:17:14.280
<v Speaker 2>probably easily gets lost at a distance, Like you might

0:17:14.320 --> 0:17:17.080
<v Speaker 2>be able to hear that somebody is shouting, but you

0:17:17.080 --> 0:17:19.879
<v Speaker 2>can't hear the difference between consonants or they making a

0:17:19.960 --> 0:17:22.600
<v Speaker 2>T sound or a K sound like I don't know.

0:17:22.640 --> 0:17:26.480
<v Speaker 2>At a distance, that kind of all disappears. But if

0:17:26.560 --> 0:17:31.560
<v Speaker 2>you're judging more on sequences of pitches, yeah, then suddenly

0:17:31.760 --> 0:17:34.440
<v Speaker 2>the confusion created by distance is reduced.

0:17:34.920 --> 0:17:38.720
<v Speaker 1>Yeah. Yeah, just just yelling doesn't necessarily cut it, right,

0:17:38.800 --> 0:17:41.760
<v Speaker 1>because if you can't, if your particular words are not

0:17:41.800 --> 0:17:43.920
<v Speaker 1>going to be overheard, then you might end up having

0:17:43.960 --> 0:17:46.600
<v Speaker 1>to do something like just some sort of rhythmic barking.

0:17:46.640 --> 0:17:48.960
<v Speaker 1>And if you're doing some sort of rhythmic barking, well

0:17:49.000 --> 0:17:52.920
<v Speaker 1>why not further develop that and get somewhere, get to

0:17:52.960 --> 0:17:56.120
<v Speaker 1>somewhere where it is yodling, or you shift over into

0:17:56.119 --> 0:17:59.040
<v Speaker 1>a whistling, and that develops into some sort of a

0:17:59.080 --> 0:18:02.239
<v Speaker 1>whistling language. So yeah, it's just the more you look

0:18:02.280 --> 0:18:03.920
<v Speaker 1>at it, the more sense it makes for this kind

0:18:03.960 --> 0:18:04.920
<v Speaker 1>of purpose.

0:18:11.400 --> 0:18:14.040
<v Speaker 2>Now, another thing going on with whistled languages is that

0:18:14.920 --> 0:18:17.360
<v Speaker 2>most of them, perhaps all of them, but I'm not

0:18:17.480 --> 0:18:19.280
<v Speaker 2>sure about that. So I'm going to say at least

0:18:19.320 --> 0:18:23.239
<v Speaker 2>the vast majority of whistled languages appear to be not

0:18:23.680 --> 0:18:28.639
<v Speaker 2>wholly independent languages of their own, but whistled versions of

0:18:28.880 --> 0:18:32.800
<v Speaker 2>spoken languages. So this was true of all the examples

0:18:32.800 --> 0:18:36.000
<v Speaker 2>I've talked about before. You know, the Mazteko whistle speech

0:18:36.200 --> 0:18:40.520
<v Speaker 2>was a whistled variant of the tonal Mesteko language. Spherea

0:18:40.560 --> 0:18:43.639
<v Speaker 2>appears to be a whistled system for encoding spoken Greek.

0:18:44.200 --> 0:18:47.160
<v Speaker 2>The whistle speech system of the Canary Islands, called Silbo,

0:18:47.400 --> 0:18:51.159
<v Speaker 2>is a whistled version of Spanish, and so forth, and

0:18:51.440 --> 0:18:54.920
<v Speaker 2>for this reason, one of the main differences in whistled

0:18:54.960 --> 0:18:59.160
<v Speaker 2>languages appears to be whether they are encoding a tonal

0:18:59.320 --> 0:19:03.560
<v Speaker 2>language or a non tonal language, and based on that distinction,

0:19:03.800 --> 0:19:07.760
<v Speaker 2>the encoding process is different. Tonal languages tend to be

0:19:07.880 --> 0:19:10.560
<v Speaker 2>whistled in a way that preserves the tones of the

0:19:10.600 --> 0:19:13.520
<v Speaker 2>spoken words, and in the last episode we talked about

0:19:14.119 --> 0:19:17.679
<v Speaker 2>tonal languages. Tonal languages where you know the syllables of

0:19:17.720 --> 0:19:21.479
<v Speaker 2>the words also carry information based on the tone you

0:19:21.640 --> 0:19:25.439
<v Speaker 2>use when speaking them, So say, like a high pitched

0:19:25.600 --> 0:19:29.119
<v Speaker 2>version of the syllable ma means something different than a

0:19:29.160 --> 0:19:32.560
<v Speaker 2>lower pitched version of the syllable MA, or an upgliding

0:19:32.640 --> 0:19:35.159
<v Speaker 2>tone on that syllable, and so forth, like the tone

0:19:35.160 --> 0:19:38.600
<v Speaker 2>of the syllable actually makes a difference. Non tonal languages

0:19:38.600 --> 0:19:42.120
<v Speaker 2>are not like so in English, we don't encode much

0:19:42.160 --> 0:19:45.240
<v Speaker 2>information into the tones of syllables. It's just like, what

0:19:45.400 --> 0:19:46.840
<v Speaker 2>are the vowels and consonants.

0:19:47.359 --> 0:19:52.880
<v Speaker 1>Yeah, the tone can contain some information, but not nearly

0:19:52.960 --> 0:19:56.480
<v Speaker 1>to the extent that you find in true tonal languages. Right.

0:19:56.560 --> 0:20:00.679
<v Speaker 2>No, it's not lexical information, more like maybe sort of

0:20:01.400 --> 0:20:04.520
<v Speaker 2>contextual mood information or inflection.

0:20:04.880 --> 0:20:07.919
<v Speaker 1>Right, Like the difference between saying I would like you

0:20:08.000 --> 0:20:10.280
<v Speaker 1>to walk the dog and I would like you to

0:20:10.400 --> 0:20:13.800
<v Speaker 1>walk the dog. Well, that implies that maybe something the

0:20:13.840 --> 0:20:17.080
<v Speaker 1>last time the dog was walked it was not it

0:20:17.119 --> 0:20:19.960
<v Speaker 1>was not good enough it was or maybe you ran

0:20:20.080 --> 0:20:22.119
<v Speaker 1>the dog, you know, like that sort of thing. But

0:20:22.440 --> 0:20:27.080
<v Speaker 1>it doesn't change the actual yeah information contained in the

0:20:27.119 --> 0:20:27.960
<v Speaker 1>word no.

0:20:28.000 --> 0:20:31.440
<v Speaker 2>It's more like about the implied information about the attitude

0:20:31.480 --> 0:20:32.320
<v Speaker 2>of the speaker or.

0:20:32.280 --> 0:20:34.480
<v Speaker 1>Something, yeah, or I need you to walk the dog.

0:20:34.880 --> 0:20:37.440
<v Speaker 1>It applies maybe you didn't walk the actual dog, maybe

0:20:37.480 --> 0:20:40.280
<v Speaker 1>you took some other creature or item from the house

0:20:40.359 --> 0:20:41.680
<v Speaker 1>with you on the walk instead.

0:20:42.080 --> 0:20:44.640
<v Speaker 2>Okay, so you got a tonal language and you want

0:20:44.680 --> 0:20:48.159
<v Speaker 2>to make a whistled version of that. In most cases,

0:20:48.160 --> 0:20:51.640
<v Speaker 2>it seems like you preserve the tones of the spoken words.

0:20:52.240 --> 0:20:56.399
<v Speaker 2>Non tonal languages that have whistled speech tend to involve

0:20:56.440 --> 0:21:00.960
<v Speaker 2>a sort of approximation of consonants and vowels, and the

0:21:01.280 --> 0:21:04.960
<v Speaker 2>Holmes article I mentioned quotes this scholar, Julian Meyer, explaining

0:21:05.000 --> 0:21:10.560
<v Speaker 2>that we already use subtle differences in frequencies to distinguish

0:21:10.720 --> 0:21:17.040
<v Speaker 2>between spoken phonemes, like the differences between certain vowels and consonants.

0:21:17.240 --> 0:21:20.720
<v Speaker 2>So think about the vowels E and O. A long

0:21:20.920 --> 0:21:24.240
<v Speaker 2>E vowel sound has a higher pitch than a long

0:21:24.359 --> 0:21:26.600
<v Speaker 2>oh vowel sound, and if you say them back to back,

0:21:26.640 --> 0:21:30.040
<v Speaker 2>you can listen to the descending melody of those vowel

0:21:30.040 --> 0:21:34.359
<v Speaker 2>sounds EO, EO, And in fact, though it's harder to

0:21:34.359 --> 0:21:37.360
<v Speaker 2>hear it first, the same is sort of true of consonants,

0:21:37.400 --> 0:21:41.399
<v Speaker 2>Like a T sound contains more high frequencies than a

0:21:41.520 --> 0:21:45.320
<v Speaker 2>K sound, and these differences can to some extent be

0:21:45.520 --> 0:21:50.560
<v Speaker 2>reproduced in whistles. And so the discussion of this in

0:21:50.600 --> 0:21:54.960
<v Speaker 2>the article got me thinking about, even without having an

0:21:55.040 --> 0:21:58.320
<v Speaker 2>established version of a language like this, and without any training,

0:21:59.040 --> 0:22:02.800
<v Speaker 2>can you sort of attempt to whistle English phrases and

0:22:02.880 --> 0:22:06.880
<v Speaker 2>have people understand what you're saying. In some cases you can,

0:22:06.960 --> 0:22:09.159
<v Speaker 2>and I actually tried this out with my wife Rachel

0:22:09.200 --> 0:22:12.800
<v Speaker 2>before we recorded here. This was a kind of weird exercise,

0:22:12.840 --> 0:22:15.000
<v Speaker 2>but I was like, hey, can you tell what I'm

0:22:15.040 --> 0:22:21.800
<v Speaker 2>saying here? And so I tried things like which she

0:22:22.119 --> 0:22:24.520
<v Speaker 2>took a minute on but decided I was saying hello,

0:22:24.640 --> 0:22:26.840
<v Speaker 2>nice to meet you, which is what I was trying

0:22:26.880 --> 0:22:31.480
<v Speaker 2>to say, so that one worked a few other phrases

0:22:31.520 --> 0:22:34.720
<v Speaker 2>I tried did not work as well, but the ones

0:22:34.760 --> 0:22:39.120
<v Speaker 2>that really seemed to work immediately were the ones where

0:22:39.119 --> 0:22:43.200
<v Speaker 2>it was phrases she had heard me say before, especially

0:22:43.200 --> 0:22:46.760
<v Speaker 2>when I tried to whistle, common phrases that we use

0:22:46.880 --> 0:22:53.880
<v Speaker 2>with our dog, so immediately she heard as all buddy.

0:22:55.320 --> 0:22:57.760
<v Speaker 2>And I think this ties into something we've talked about

0:22:57.760 --> 0:23:02.040
<v Speaker 2>on the show before, the exactg CD musicality that humans

0:23:02.119 --> 0:23:05.240
<v Speaker 2>tend to use when speaking to babies and pets. For

0:23:05.280 --> 0:23:09.280
<v Speaker 2>some reason, there may be evolutionary reasons for this, that

0:23:10.080 --> 0:23:13.200
<v Speaker 2>when we speak to cute things that need our care

0:23:13.240 --> 0:23:16.960
<v Speaker 2>and attention, you know, babies or pets, says kind of

0:23:17.400 --> 0:23:19.400
<v Speaker 2>it might be creepy to think about them this way,

0:23:19.480 --> 0:23:24.080
<v Speaker 2>but to some extent, kind of psychologically surrogate babies that

0:23:24.160 --> 0:23:29.159
<v Speaker 2>we speak with an exaggerated musicality, or tonal variation that

0:23:29.200 --> 0:23:32.400
<v Speaker 2>we don't use when speaking to adults, and that stereotyped

0:23:32.400 --> 0:23:37.080
<v Speaker 2>phrases within this kind of highly musical speech are much

0:23:37.119 --> 0:23:40.000
<v Speaker 2>easier to recognize when you try to whistle them instead

0:23:40.040 --> 0:23:41.159
<v Speaker 2>of say them phonetically.

0:23:41.680 --> 0:23:45.000
<v Speaker 1>So are you going to keep whistling? Was it a

0:23:45.040 --> 0:23:45.880
<v Speaker 1>big enough success?

0:23:46.200 --> 0:23:50.960
<v Speaker 2>Oh? No, I think that would be a horrible idea. Also, strangely,

0:23:51.240 --> 0:23:53.920
<v Speaker 2>the dog did not seem to get it. So when

0:23:53.920 --> 0:23:57.000
<v Speaker 2>I whistled all buddy Rachel could tell what I was saying,

0:23:57.119 --> 0:23:59.560
<v Speaker 2>but Charlie did not seem affected.

0:24:00.160 --> 0:24:05.000
<v Speaker 1>I tried whistling to my cat whilst researching information for

0:24:05.080 --> 0:24:08.600
<v Speaker 1>these episodes, and yes, you didn't care. And my wife

0:24:08.640 --> 0:24:11.639
<v Speaker 1>was like, like, you can't speak to a cat in whistles.

0:24:11.720 --> 0:24:14.240
<v Speaker 1>You have to use the kissie sound. That's what they understand.

0:24:14.280 --> 0:24:16.520
<v Speaker 1>That's what that's the language they speak.

0:24:16.760 --> 0:24:17.400
<v Speaker 2>It is known.

0:24:17.920 --> 0:24:21.040
<v Speaker 1>But the kissie sound clicks, I mean, these are all

0:24:21.160 --> 0:24:24.240
<v Speaker 1>these are not too far removed from whistling. Some of

0:24:23.920 --> 0:24:26.320
<v Speaker 1>these type of sounds will come up again later on.

0:24:26.840 --> 0:24:29.680
<v Speaker 2>Indeed. Now, one of the most interesting lines of thought

0:24:29.720 --> 0:24:33.920
<v Speaker 2>emerging from all this is that some experts think that

0:24:34.240 --> 0:24:38.639
<v Speaker 2>studying whistled languages might help us understand the origin of

0:24:38.880 --> 0:24:43.240
<v Speaker 2>human language as a whole, because again, some linguists think

0:24:43.720 --> 0:24:47.760
<v Speaker 2>that these whistled languages could be similar to the first

0:24:47.880 --> 0:24:51.320
<v Speaker 2>languages that probably emerged in human evolution. Now why on

0:24:51.359 --> 0:24:54.400
<v Speaker 2>earth would that be? Well, a couple of thoughts here. One,

0:24:54.440 --> 0:24:57.320
<v Speaker 2>I just want to read a passage from the Holmes

0:24:57.400 --> 0:25:01.919
<v Speaker 2>article in Smithsonian quote. One of the big challenges of

0:25:02.040 --> 0:25:05.520
<v Speaker 2>language is the need to control the vocal cords to

0:25:05.680 --> 0:25:09.199
<v Speaker 2>make the full range of speech sounds. None of our

0:25:09.240 --> 0:25:13.359
<v Speaker 2>closest relatives, the great apes, have developed such control, but

0:25:13.560 --> 0:25:18.600
<v Speaker 2>whistling maybe an easier first step. Indeed, a few orangutans

0:25:18.680 --> 0:25:22.919
<v Speaker 2>in zoos have been observed to imitate zoo employees whistling

0:25:23.080 --> 0:25:27.520
<v Speaker 2>as they work. When scientists tested one ape under controlled conditions,

0:25:27.560 --> 0:25:32.800
<v Speaker 2>the animal was indeed able to mimic sequences of several whistles. Okay,

0:25:32.800 --> 0:25:35.200
<v Speaker 2>so that's one line of evidence. Seems that our closest

0:25:35.240 --> 0:25:40.520
<v Speaker 2>biological relatives are better able to imitate and reproduce sequences

0:25:40.560 --> 0:25:43.960
<v Speaker 2>of whistled tones than they are to imitate and reproduce

0:25:44.840 --> 0:25:48.840
<v Speaker 2>vocal phonemes like we make with speech. But there's another similarity.

0:25:49.280 --> 0:25:54.400
<v Speaker 2>What is whistled speech especially good for it's communicating across distance,

0:25:54.480 --> 0:25:57.560
<v Speaker 2>and as I mentioned earlier, especially in the densely vegetated

0:25:57.640 --> 0:26:02.800
<v Speaker 2>contexts for hunting and fishing. And in these cases some

0:26:03.359 --> 0:26:06.520
<v Speaker 2>but not all, of course, but some whistle languages tend

0:26:06.520 --> 0:26:10.600
<v Speaker 2>to rely more on kind of formulaic sentences like you know,

0:26:10.760 --> 0:26:14.359
<v Speaker 2>go that way, go toward it, et cetera, than on

0:26:14.560 --> 0:26:18.919
<v Speaker 2>like full lexical representation, which is also commonly thought to

0:26:18.960 --> 0:26:25.000
<v Speaker 2>be how languages first emerged. That there were probably stereotyped signals,

0:26:25.040 --> 0:26:27.960
<v Speaker 2>you know, a sort of more limited range of signals

0:26:27.960 --> 0:26:31.520
<v Speaker 2>and ideas that you could express with sound that carried

0:26:31.560 --> 0:26:35.680
<v Speaker 2>common meanings. Before there was like a complete and endlessly

0:26:35.760 --> 0:26:40.800
<v Speaker 2>variable lexicon where you could make a sentence meaning anything. However,

0:26:41.200 --> 0:26:43.000
<v Speaker 2>I think it's important to point out that even if

0:26:43.040 --> 0:26:47.960
<v Speaker 2>it's true that these whistled languages might have some things

0:26:48.000 --> 0:26:51.040
<v Speaker 2>in common with the earliest proto languages, that does not

0:26:51.160 --> 0:26:55.280
<v Speaker 2>mean that today's whistled languages are descended from any hypothetical

0:26:55.320 --> 0:26:59.440
<v Speaker 2>whistled proto languages, Because if there were whistled proto languages,

0:26:59.480 --> 0:27:02.560
<v Speaker 2>they long go turned into speech and then you know,

0:27:02.640 --> 0:27:05.600
<v Speaker 2>many thousands of years past, and then that speech in

0:27:05.680 --> 0:27:09.040
<v Speaker 2>some cases transformed back into a whistled very end.

0:27:09.440 --> 0:27:12.959
<v Speaker 1>Yeah, So sort of imagining like just the basic sounds

0:27:12.960 --> 0:27:15.720
<v Speaker 1>one could make and how one might draw from that

0:27:15.800 --> 0:27:20.120
<v Speaker 1>palette to communicate things. Some of those sounds become encoded.

0:27:21.040 --> 0:27:22.800
<v Speaker 1>Many of those sounds, if not all, those sounds, then

0:27:22.880 --> 0:27:28.240
<v Speaker 1>evolve into more complicated forms. But then we never completely forget,

0:27:28.280 --> 0:27:34.240
<v Speaker 1>we never completely abandon these other modes of auditory communication.

0:27:35.000 --> 0:27:38.320
<v Speaker 1>The palette remains there for us to dip back into. Yeah.

0:27:38.440 --> 0:27:42.000
<v Speaker 2>Yeah. So one last common feature of these whistled languages

0:27:42.240 --> 0:27:45.320
<v Speaker 2>is that in basically all cases, with maybe a couple

0:27:45.400 --> 0:27:49.240
<v Speaker 2>of exceptions, their use is declining. Most of them are disappearing,

0:27:49.520 --> 0:27:53.640
<v Speaker 2>and so we might wonder why. Well, several causes are

0:27:53.680 --> 0:27:58.159
<v Speaker 2>cited in the Holmes article. One is strangely roads. You

0:27:58.240 --> 0:28:01.640
<v Speaker 2>tend to find whistle speech only in places that are

0:28:01.880 --> 0:28:06.000
<v Speaker 2>very remote, and that apparently the presence of well paved

0:28:06.160 --> 0:28:09.760
<v Speaker 2>roads tends to cause whistle speech to fall into disuse.

0:28:09.840 --> 0:28:11.920
<v Speaker 2>Now you can imagine that could be for a couple

0:28:11.960 --> 0:28:15.359
<v Speaker 2>of reasons. One could be well paved roads to a

0:28:15.440 --> 0:28:18.800
<v Speaker 2>place increase the connection of that place to the rest

0:28:18.840 --> 0:28:22.400
<v Speaker 2>of the world. So just sort of in the same way,

0:28:22.440 --> 0:28:25.119
<v Speaker 2>that sort of connection to global culture would cause the

0:28:25.640 --> 0:28:28.760
<v Speaker 2>would tend to cause the disuse of all types of

0:28:28.800 --> 0:28:31.520
<v Speaker 2>local customs, and so the whistle speech would just be

0:28:31.520 --> 0:28:33.399
<v Speaker 2>one of them. But another reason I could think of

0:28:34.680 --> 0:28:37.040
<v Speaker 2>is that, like we were saying earlier, a lot of

0:28:37.080 --> 0:28:40.520
<v Speaker 2>the use for whistle speech tends to be communicating across

0:28:40.600 --> 0:28:44.920
<v Speaker 2>distances that are difficult or time consuming to traverse. And

0:28:45.200 --> 0:28:47.480
<v Speaker 2>if you make it easier to get from place to

0:28:47.560 --> 0:28:51.040
<v Speaker 2>place in a shorter amount of time, there's probably just

0:28:51.200 --> 0:28:54.000
<v Speaker 2>less incentive to whistle across great distances.

0:28:54.600 --> 0:28:57.760
<v Speaker 1>Yeah. Yeah, I also imagine that it's quite useful in

0:28:57.840 --> 0:29:02.000
<v Speaker 1>communicating with the not yet seen. So if you're having

0:29:02.040 --> 0:29:05.840
<v Speaker 1>to travel traverse a distance and there are no roads involved,

0:29:05.840 --> 0:29:09.160
<v Speaker 1>there's no reasonably fast travel, there's going to come a

0:29:09.200 --> 0:29:12.120
<v Speaker 1>point where you're approaching somebody and maybe you can't even

0:29:12.120 --> 0:29:14.240
<v Speaker 1>see them yet, and it might be nice to just

0:29:14.280 --> 0:29:18.240
<v Speaker 1>sort of check in with them to like, and the

0:29:18.280 --> 0:29:21.680
<v Speaker 1>mere fact that they can speak the whistle language gives

0:29:21.680 --> 0:29:25.280
<v Speaker 1>you a certain amount of information on top of anything

0:29:25.320 --> 0:29:27.600
<v Speaker 1>they provide then via the whistling.

0:29:28.000 --> 0:29:32.160
<v Speaker 2>Yeah. Another hypothesized explanation for the decline of whistle speech,

0:29:32.280 --> 0:29:35.880
<v Speaker 2>especially in places maybe like Brazil and Central Africa densely

0:29:35.960 --> 0:29:40.480
<v Speaker 2>vegetated areas. Is that deforestation seems to be playing a

0:29:40.560 --> 0:29:45.280
<v Speaker 2>role in eliminating it, but mainly by eliminating one of

0:29:45.280 --> 0:29:48.640
<v Speaker 2>the types of environmental pressure that tends to motivate its

0:29:48.720 --> 0:29:51.080
<v Speaker 2>use in the first place, which is the need to

0:29:51.280 --> 0:29:57.000
<v Speaker 2>coordinate hunting and other survival subsistence activities within thick forest.

0:29:57.520 --> 0:30:01.520
<v Speaker 2>Remember the motivations, the sort of iioacoustic motivations we talked

0:30:01.560 --> 0:30:05.160
<v Speaker 2>about earlier. But despite these pressures, these languages don't have

0:30:05.200 --> 0:30:07.280
<v Speaker 2>to disappear. I was reading about that there are efforts

0:30:07.280 --> 0:30:12.240
<v Speaker 2>in some places to to like set aside special attention

0:30:12.440 --> 0:30:15.040
<v Speaker 2>and care to preserve them. I believe in the Canary

0:30:15.080 --> 0:30:19.000
<v Speaker 2>Islands the whistle speech is like is to some extent

0:30:19.080 --> 0:30:22.560
<v Speaker 2>being taught in schools to help preserve it. And obviously

0:30:22.600 --> 0:30:26.240
<v Speaker 2>that could be could be instituted in other areas as well.

0:30:26.680 --> 0:30:28.520
<v Speaker 1>Yeah, that's that's great. I mean, it's wonderful that there

0:30:28.560 --> 0:30:30.600
<v Speaker 1>are these these efforts to keep it alive, because of course,

0:30:30.640 --> 0:30:35.720
<v Speaker 1>once once a language is no longer properly spoken, it

0:30:35.760 --> 0:30:38.920
<v Speaker 1>becomes so much harder to bring it back. Not to

0:30:38.920 --> 0:30:42.280
<v Speaker 1>say that it can't be, but you know, but clearly,

0:30:42.320 --> 0:30:46.920
<v Speaker 1>like holding on to languages. Keeping them alive are important

0:30:46.960 --> 0:30:49.680
<v Speaker 1>even and even when they are not, you know, the

0:30:50.080 --> 0:30:59.680
<v Speaker 1>traditional spoken languages, but they are these whistling tongues.

0:31:00.240 --> 0:31:02.840
<v Speaker 2>However, despite all this talk we've been using about how

0:31:02.960 --> 0:31:08.960
<v Speaker 2>whistles can be used just like speech, to encode mundane information,

0:31:09.120 --> 0:31:13.600
<v Speaker 2>to just transmit information between people, there's another way of

0:31:13.680 --> 0:31:16.440
<v Speaker 2>understanding whistling, one that goes I think way back and

0:31:16.600 --> 0:31:20.360
<v Speaker 2>you know it has been around since ancient times, that

0:31:20.480 --> 0:31:24.160
<v Speaker 2>whistling is also it has a kind of power, and

0:31:24.200 --> 0:31:27.480
<v Speaker 2>that whistling is different than normal speech, and that in

0:31:27.560 --> 0:31:30.400
<v Speaker 2>many ways it may be kind of divine or may

0:31:30.440 --> 0:31:33.040
<v Speaker 2>have a may bring in magical danger with it.

0:31:34.000 --> 0:31:36.920
<v Speaker 1>Yeah, this, if you've listened to everything we've discussed so far,

0:31:37.280 --> 0:31:39.560
<v Speaker 1>you might you might be inclined to think, well, whistling

0:31:39.680 --> 0:31:42.760
<v Speaker 1>sometimes we do it, sometimes it's useful, but that's it.

0:31:43.120 --> 0:31:46.720
<v Speaker 1>We never have any additional values added to it. It's

0:31:46.760 --> 0:31:52.760
<v Speaker 1>never infernal or celestial, it's never vulgar or anything of

0:31:52.760 --> 0:31:55.040
<v Speaker 1>that nature. But of course this is this is far

0:31:55.160 --> 0:32:00.000
<v Speaker 1>from from the truth. There's this deep well across pretty

0:32:00.120 --> 0:32:02.600
<v Speaker 1>much every culture here we can look to where whistling

0:32:02.680 --> 0:32:07.080
<v Speaker 1>has some sort of added meaning. It takes on various

0:32:08.120 --> 0:32:11.760
<v Speaker 1>supernatural tones, and some of these will we'll get into

0:32:11.800 --> 0:32:15.480
<v Speaker 1>more in the next episode. But I wanted to dive

0:32:15.520 --> 0:32:17.680
<v Speaker 1>in sort of almost really just go right to the

0:32:17.720 --> 0:32:21.920
<v Speaker 1>deep end and dive into this subject of transcendental whistling,

0:32:22.280 --> 0:32:25.840
<v Speaker 1>particularly Chinese transcendental whiz whistling. But this is a topic

0:32:25.880 --> 0:32:30.680
<v Speaker 1>that also has connections to some other areas, So this

0:32:30.720 --> 0:32:32.880
<v Speaker 1>should this should be a fun journey we'll take and

0:32:32.920 --> 0:32:36.560
<v Speaker 1>then again come back in later and discuss some more

0:32:36.600 --> 0:32:41.160
<v Speaker 1>examples of whistling and Chinese culture from a broader standpoint,

0:32:41.400 --> 0:32:45.880
<v Speaker 1>as well as a great number of whistling related superstitions

0:32:45.880 --> 0:32:48.400
<v Speaker 1>that involve everything from you know, ghosts and monsters to

0:32:48.560 --> 0:32:50.760
<v Speaker 1>more sort of societal pressures.

0:32:51.200 --> 0:32:51.840
<v Speaker 2>Take me there.

0:32:52.040 --> 0:32:53.840
<v Speaker 1>Yeah, this markes us to the topic of cheng shao,

0:32:54.040 --> 0:32:57.800
<v Speaker 1>which I believe translates to something like lengthy always or

0:32:57.840 --> 0:33:02.000
<v Speaker 1>forever whistling. It's an ancient Dallas practice that involves the

0:33:02.080 --> 0:33:05.040
<v Speaker 1>use of long, drown drawn out whistling as a means

0:33:05.080 --> 0:33:10.040
<v Speaker 1>of cultivating and balancing one's vital force or chi. And

0:33:10.280 --> 0:33:13.680
<v Speaker 1>I think that just that that one nugget of information there,

0:33:13.880 --> 0:33:16.840
<v Speaker 1>like I feel like that kind of balance as well

0:33:16.960 --> 0:33:20.080
<v Speaker 1>with sort of a broader experience of whistling. There is

0:33:20.080 --> 0:33:25.200
<v Speaker 1>something about whistling that certainly takes you out of out

0:33:25.240 --> 0:33:27.160
<v Speaker 1>of your thoughts and kind of puts you in the now,

0:33:27.960 --> 0:33:29.680
<v Speaker 1>even if you're just if you were to say, sit

0:33:29.720 --> 0:33:32.160
<v Speaker 1>there and focus on whistling a single tone and sort

0:33:32.160 --> 0:33:34.680
<v Speaker 1>of concentrate on it without even you know, bursting into

0:33:34.720 --> 0:33:35.480
<v Speaker 1>song and so.

0:33:35.400 --> 0:33:38.040
<v Speaker 2>Forth, yes, I would agree with that. And I guess

0:33:38.720 --> 0:33:40.800
<v Speaker 2>one of the first things that comes to my mind

0:33:40.920 --> 0:33:44.920
<v Speaker 2>is that whistling seems very similar to breath. And of

0:33:44.920 --> 0:33:49.360
<v Speaker 2>course many sort of traditional meditation practices involve manipulation of

0:33:49.400 --> 0:33:51.680
<v Speaker 2>breath in one way or another that seems to have

0:33:51.760 --> 0:33:55.560
<v Speaker 2>some kind of power of focusing in the mind in

0:33:55.600 --> 0:33:58.240
<v Speaker 2>a certain way or unfocusing the mind if you want

0:33:59.040 --> 0:34:01.440
<v Speaker 2>that that can. Control of breath is like that, And

0:34:01.480 --> 0:34:04.680
<v Speaker 2>I guess in a way though, speech is also control

0:34:04.720 --> 0:34:06.840
<v Speaker 2>of breath. So I'm not sure why it's that different,

0:34:06.920 --> 0:34:10.440
<v Speaker 2>but it seems a different kind of control of breath

0:34:10.480 --> 0:34:14.759
<v Speaker 2>that's more akin to the slow, steady breathing exercises that

0:34:14.760 --> 0:34:17.360
<v Speaker 2>you would be more likely to find in a meditative practice.

0:34:17.760 --> 0:34:20.400
<v Speaker 1>Yeah, sometimes this whole sort of suite of ideas is

0:34:20.440 --> 0:34:24.320
<v Speaker 1>sometimes referred to as like breath magic, and yeah, I

0:34:24.320 --> 0:34:26.120
<v Speaker 1>think you could. You could throw whistling in there, but

0:34:26.160 --> 0:34:28.640
<v Speaker 1>also some of the various sounds that are made in

0:34:28.719 --> 0:34:33.960
<v Speaker 1>meditative breathing practices, such as ohm, such as there are

0:34:33.960 --> 0:34:37.799
<v Speaker 1>also various meditation practices where the exhale takes on more

0:34:37.800 --> 0:34:41.879
<v Speaker 1>of the form of an animal noise like a roaring, etc.

0:34:43.280 --> 0:34:45.960
<v Speaker 1>But yeah, in this case, yeah, we definitely are talking

0:34:45.960 --> 0:34:50.840
<v Speaker 1>about some form of breath magic and the chang shao.

0:34:51.200 --> 0:34:54.640
<v Speaker 1>It frequently pops up in Chinese literature, with one classic

0:34:54.719 --> 0:34:59.640
<v Speaker 1>example being Rhapsody on Whistling by Ching goong Si, who

0:35:00.000 --> 0:35:03.520
<v Speaker 1>lived two thirty one through two seventy three. It's too

0:35:03.560 --> 0:35:05.320
<v Speaker 1>long of a work to read here in full, but

0:35:05.760 --> 0:35:09.960
<v Speaker 1>key passages about whistling as a practice of the secluded

0:35:10.000 --> 0:35:13.319
<v Speaker 1>gentleman are as follows. I'm going to skip over many

0:35:13.360 --> 0:35:15.480
<v Speaker 1>lines here, so this is not a full experience of

0:35:15.520 --> 0:35:20.240
<v Speaker 1>the translated text. Distancing himself from the exquisite in the common,

0:35:20.320 --> 0:35:24.600
<v Speaker 1>he abandons his personal concerns. Then, filled with noble emotion,

0:35:25.160 --> 0:35:28.719
<v Speaker 1>he gives a long drawn whistle. He sends forth marvelous

0:35:28.760 --> 0:35:33.360
<v Speaker 1>tones from his red lips, and stimulates mournful sounds from

0:35:33.400 --> 0:35:37.840
<v Speaker 1>his gleaming teeth. The sound rises and falls, rolling in

0:35:37.880 --> 0:35:41.719
<v Speaker 1>his throat. The breath rushes out and is repressed, then

0:35:41.840 --> 0:35:46.200
<v Speaker 1>flies up like sparks. The whistle floats like a wandering

0:35:46.320 --> 0:35:50.960
<v Speaker 1>cloud in the Grand Empyrean, And I'm told, hey, this

0:35:51.120 --> 0:35:55.480
<v Speaker 1>is the transcendental void and gathers a great wind for

0:35:55.560 --> 0:35:58.799
<v Speaker 1>a myriad miles. When the song is finished and the

0:35:58.800 --> 0:36:02.160
<v Speaker 1>echoes die out, it'll leaves behind a pleasure that lingers

0:36:02.200 --> 0:36:05.320
<v Speaker 1>on in the mind. Indeed, whistling is the most perfect

0:36:05.400 --> 0:36:09.600
<v Speaker 1>natural music which cannot be imitated by strings or woodwinds.

0:36:10.120 --> 0:36:13.600
<v Speaker 1>For every category, he has a song to each thing

0:36:13.719 --> 0:36:16.280
<v Speaker 1>he perceives, He tunes a melody.

0:36:16.800 --> 0:36:20.000
<v Speaker 2>Oh that's great. That gives me chills, dude.

0:36:19.840 --> 0:36:23.960
<v Speaker 1>Yeah, yeah. So this is the copy of the text

0:36:24.000 --> 0:36:26.840
<v Speaker 1>I was looking at is in nineteen ninety four's The

0:36:26.920 --> 0:36:32.480
<v Speaker 1>Columbia Anthology of Traditional Chinese Literature, and snologist Victor H.

0:36:32.600 --> 0:36:36.680
<v Speaker 1>Meyer provides some additional details on what is being described here.

0:36:37.120 --> 0:36:41.040
<v Speaker 1>So he describes the Chinese transcendental whistling as being quote,

0:36:41.200 --> 0:36:45.319
<v Speaker 1>a kind of nonverbal language with affinities to the spiritual

0:36:45.400 --> 0:36:48.960
<v Speaker 1>aspect of meditation. So it's a tool of the individual

0:36:49.040 --> 0:36:53.320
<v Speaker 1>for self cultivation in search of enlightenment, and is mentioned

0:36:53.520 --> 0:36:57.919
<v Speaker 1>in appendices to the Classic of Changes or the e Ching.

0:36:58.400 --> 0:37:01.200
<v Speaker 2>Okay, so we actually, I think we did an episode

0:37:01.200 --> 0:37:03.759
<v Speaker 2>on the eaching a long time ago. We did, Yeah,

0:37:03.760 --> 0:37:05.839
<v Speaker 2>it was like three or four years ago. Now maybe

0:37:06.840 --> 0:37:09.880
<v Speaker 2>I think it was pre pandemic. So the mind controls

0:37:09.920 --> 0:37:13.440
<v Speaker 2>the breath, and with his breath he whistles. And with

0:37:13.560 --> 0:37:17.239
<v Speaker 2>his whistle, well, here's another quote from there. Quote from

0:37:17.280 --> 0:37:20.640
<v Speaker 2>any given point of view, each object or situation fits

0:37:20.680 --> 0:37:24.319
<v Speaker 2>into a category for which there is a corresponding hexagram.

0:37:24.800 --> 0:37:28.759
<v Speaker 2>Each hexagram consists of yin and yang lines, which may

0:37:28.800 --> 0:37:32.719
<v Speaker 2>be interpreted as patterns of sound. These are the songs.

0:37:33.160 --> 0:37:37.759
<v Speaker 2>So whenever the whistler perceives something, he immediately transposes it

0:37:37.880 --> 0:37:41.400
<v Speaker 2>into a melody. With his control of the vital breath,

0:37:41.760 --> 0:37:46.640
<v Speaker 2>he can manipulate these sounds and thereby control any phenomena.

0:37:47.000 --> 0:37:50.360
<v Speaker 2>So I'm trying to remember the eaching, of course contains

0:37:50.440 --> 0:37:53.080
<v Speaker 2>the hexagrams. But I'm trying to remember the significance of

0:37:53.120 --> 0:37:58.799
<v Speaker 2>the hexagrams beyond the divination purpose of the eaching. Do

0:37:58.840 --> 0:37:59.840
<v Speaker 2>you recall more than I do?

0:38:00.719 --> 0:38:02.480
<v Speaker 1>Well? I think the main thing to keep in mind

0:38:02.600 --> 0:38:06.560
<v Speaker 1>is that these different these hexagrams come together and they

0:38:06.600 --> 0:38:09.759
<v Speaker 1>mean things, and then they mean things in particular sequences.

0:38:10.600 --> 0:38:13.000
<v Speaker 1>And so I think for our purposes here we might

0:38:13.040 --> 0:38:17.279
<v Speaker 1>think of these as being sort of an encoding of reality.

0:38:17.800 --> 0:38:22.920
<v Speaker 1>And then the whistle here, the Chinese transcendental whistling, can

0:38:22.960 --> 0:38:25.320
<v Speaker 1>be used as a way first of sort of meeting

0:38:25.600 --> 0:38:30.520
<v Speaker 1>the coded reality, but then also controlling the encoded reality.

0:38:31.000 --> 0:38:34.160
<v Speaker 1>And it is said that the whistle alone can quote

0:38:34.480 --> 0:38:38.759
<v Speaker 1>turn the pure yang hexagram inside out to form the

0:38:38.800 --> 0:38:42.760
<v Speaker 1>pure yin hexagram. So we're getting into the vital energies

0:38:42.760 --> 0:38:45.400
<v Speaker 1>of the universe here. And the idea here is that

0:38:45.440 --> 0:38:47.880
<v Speaker 1>if someone is an expert in this, if they know

0:38:47.920 --> 0:38:50.360
<v Speaker 1>what they're doing, then not only are they sort of

0:38:50.840 --> 0:38:54.600
<v Speaker 1>confronting reality with the whistle, but then they're able to

0:38:54.719 --> 0:38:58.960
<v Speaker 1>change things and flip things, alter the universal energy involved

0:38:58.960 --> 0:39:00.480
<v Speaker 1>in a given situation.

0:39:00.960 --> 0:39:03.440
<v Speaker 2>Okay, I see. So it's a kind of a meaning

0:39:03.600 --> 0:39:07.279
<v Speaker 2>magic in the same way that language itself sometimes is used,

0:39:07.360 --> 0:39:11.600
<v Speaker 2>you know, the traditions that ascribe sort of magical power

0:39:11.640 --> 0:39:18.080
<v Speaker 2>to certain words or symbols signifying words. But it's just

0:39:18.400 --> 0:39:21.360
<v Speaker 2>not the same as the language. It's like an alternate

0:39:21.480 --> 0:39:22.840
<v Speaker 2>version of meaning. Magic.

0:39:23.640 --> 0:39:26.560
<v Speaker 1>Yeah, and I have to to stress you idea this

0:39:26.640 --> 0:39:29.839
<v Speaker 1>is we're talking about those kind of lofty dallist practice here,

0:39:29.920 --> 0:39:33.680
<v Speaker 1>so you know, we're only sort of loosely describing it.

0:39:33.800 --> 0:39:36.880
<v Speaker 1>But I believe this is the gist of it, and

0:39:37.120 --> 0:39:39.160
<v Speaker 1>this is the way of looking at it that is

0:39:39.280 --> 0:39:41.440
<v Speaker 1>useful to move forward, and again we'll come back to

0:39:41.719 --> 0:39:44.040
<v Speaker 1>perhaps in the next episode, we'll get back into some

0:39:44.080 --> 0:39:49.160
<v Speaker 1>other traditional Chinese ideas concerning whistling in general, and some

0:39:49.239 --> 0:39:51.759
<v Speaker 1>of these ideas will sort of flow back into this

0:39:51.880 --> 0:39:55.000
<v Speaker 1>topic of transcendental whistling. Now. One of the things that

0:39:55.040 --> 0:39:58.680
<v Speaker 1>I've found really interesting about this, this idea of using sound,

0:39:58.880 --> 0:40:02.480
<v Speaker 1>using the whistle, and then sort of changing something about reality,

0:40:02.880 --> 0:40:06.120
<v Speaker 1>is that and ultimately the idea of breath, the breath

0:40:06.160 --> 0:40:09.600
<v Speaker 1>becoming sound, and sound not only describing but transforming something.

0:40:11.000 --> 0:40:15.320
<v Speaker 1>I this stirred something in my memory. So and I

0:40:15.360 --> 0:40:18.160
<v Speaker 1>think another part was the e ching connection, because I

0:40:18.200 --> 0:40:21.880
<v Speaker 1>was reminded of something that Terence McKenna discussed in his

0:40:21.920 --> 0:40:26.080
<v Speaker 1>book True Hallucinations, a concept that his brother Dennis I

0:40:26.120 --> 0:40:31.920
<v Speaker 1>think largely contemplated called the psycho audible warp phenomenon. And

0:40:32.080 --> 0:40:33.839
<v Speaker 1>this is going to also get you know, we're going

0:40:33.880 --> 0:40:40.640
<v Speaker 1>from from from from Dallas transcendental practices here into the

0:40:40.880 --> 0:40:43.880
<v Speaker 1>work of Terrence McKenna and his brother Dennis. So you know,

0:40:44.000 --> 0:40:47.319
<v Speaker 1>this is another sort of lofty idea, but it has

0:40:47.360 --> 0:40:51.000
<v Speaker 1>to do as I've read. It has to do with

0:40:51.120 --> 0:40:55.840
<v Speaker 1>the triptamine metabolism and the electro spin resonance of the

0:40:55.880 --> 0:40:59.960
<v Speaker 1>psilocybin molecule. And I don't pretend to understand it entirely,

0:41:00.440 --> 0:41:02.560
<v Speaker 1>but it does seem to boil down to a sort

0:41:02.600 --> 0:41:07.600
<v Speaker 1>of voice sound based manipulation of reality while one is

0:41:07.600 --> 0:41:09.360
<v Speaker 1>within an altered state of mind.

0:41:09.840 --> 0:41:13.040
<v Speaker 2>Uh okay, So I when you're talking about McKenna, you

0:41:13.040 --> 0:41:16.080
<v Speaker 2>never know exactly It's it's hard to tell exactly how

0:41:16.200 --> 0:41:20.800
<v Speaker 2>magical he's claiming something. Are they talking about literally actually

0:41:20.920 --> 0:41:25.640
<v Speaker 2>changing external physical reality by the use of sounds and

0:41:26.320 --> 0:41:27.680
<v Speaker 2>hallucinations in the mind.

0:41:30.719 --> 0:41:34.960
<v Speaker 1>That's hard to say, right. I mean it's when with

0:41:35.040 --> 0:41:36.360
<v Speaker 1>a lot of this kind of stuff, one gets the

0:41:36.360 --> 0:41:39.319
<v Speaker 1>idea of it's like the chasing of some sort of

0:41:38.800 --> 0:41:41.759
<v Speaker 1>a of an idea that it's all about sort of

0:41:42.160 --> 0:41:45.200
<v Speaker 1>you know, the ideas coming together things that they've read

0:41:45.280 --> 0:41:51.040
<v Speaker 1>and taking on new forms within the psychedelic experience. So Yeah,

0:41:51.080 --> 0:41:55.080
<v Speaker 1>it's it's hard to say, but I was curious on

0:41:55.200 --> 0:41:57.760
<v Speaker 1>reading somebody else's take on all this, so I found

0:41:58.480 --> 0:42:01.600
<v Speaker 1>a paper titled The Weird Nowaturalism of the Brothers McKenna

0:42:01.680 --> 0:42:05.160
<v Speaker 1>by Eric Davis for the International Journal for the Study

0:42:05.200 --> 0:42:08.759
<v Speaker 1>of New Religions, published in twenty sixteen, and this is

0:42:09.160 --> 0:42:11.040
<v Speaker 1>an excerpt. This is one of the things that Davis

0:42:11.040 --> 0:42:14.640
<v Speaker 1>says here. Davis writes, quote, Dennis believed that a psycho

0:42:14.719 --> 0:42:17.719
<v Speaker 1>fluid could be generated through the vocal effect. He had

0:42:17.760 --> 0:42:23.000
<v Speaker 1>discovered a psychoaudible warp phenomenon that generated quote, a specific

0:42:23.239 --> 0:42:26.480
<v Speaker 1>kind of energy field that can rupture three dimensional space.

0:42:27.120 --> 0:42:30.759
<v Speaker 1>According to this wild theory, the buzz that Dennis heard

0:42:30.760 --> 0:42:34.360
<v Speaker 1>in his head was caused by the electron spin resonance

0:42:34.440 --> 0:42:40.520
<v Speaker 1>or ESR of the metabolizing psilocybin alkaloids inserting themselves into

0:42:40.520 --> 0:42:44.560
<v Speaker 1>the base pairs of his neuronal DNA. This sound was

0:42:44.640 --> 0:42:47.800
<v Speaker 1>picked up and amplified through the antenna created through the

0:42:47.920 --> 0:42:52.760
<v Speaker 1>similarly resonating harmine alkaloids let loose from the ayahuasca vine

0:42:52.760 --> 0:42:56.560
<v Speaker 1>that they nibbled. By imitating this sound with his voice,

0:42:56.640 --> 0:43:01.520
<v Speaker 1>its harmonic frequencies would be canceled out calling the harmine

0:43:01.640 --> 0:43:06.840
<v Speaker 1>silicybine DNA complex to drop into a stable, super conducting

0:43:07.160 --> 0:43:10.400
<v Speaker 1>hyperdimensional state with apocalyptic results.

0:43:10.800 --> 0:43:13.880
<v Speaker 2>Okay, okay, I don't want to be unkind, but this

0:43:14.000 --> 0:43:16.160
<v Speaker 2>reads to me as another one of these cases of

0:43:16.360 --> 0:43:21.600
<v Speaker 2>somebody who's kind of a psychonaut having a profound, very

0:43:21.640 --> 0:43:26.680
<v Speaker 2>personally meaningful, ineffable experience on a psychedelic and then trying

0:43:26.719 --> 0:43:31.440
<v Speaker 2>desperately to sort of literally externalize that experience and say, no,

0:43:31.600 --> 0:43:36.000
<v Speaker 2>it has some kind of literal, causative physical reality to it.

0:43:36.719 --> 0:43:39.160
<v Speaker 1>Yeah, and they're they're I think that's that's fair. And

0:43:39.160 --> 0:43:41.320
<v Speaker 1>then they're also of course, again you go into a

0:43:41.320 --> 0:43:45.040
<v Speaker 1>psychedelic experience bringing all of these other pre existing ideas,

0:43:45.480 --> 0:43:48.560
<v Speaker 1>and certainly they seem to be tapping into some alchemical

0:43:48.960 --> 0:43:52.280
<v Speaker 1>concepts as well. Davis says that it's difficult to really

0:43:52.280 --> 0:43:55.520
<v Speaker 1>figure out what Dennis is getting at here, but there

0:43:55.560 --> 0:43:58.440
<v Speaker 1>are a lot of comparisons to the alchemical concept of

0:43:58.480 --> 0:44:02.320
<v Speaker 1>the Philosopher's Stone and the creation of this. I believe

0:44:02.400 --> 0:44:06.400
<v Speaker 1>that the quote from Dennis's quote, the ultimate technological artifact

0:44:07.080 --> 0:44:09.759
<v Speaker 1>that would hold a great deal of power over reality,

0:44:10.000 --> 0:44:15.680
<v Speaker 1>this getting into the apocalyptic results. So so yeah, there's

0:44:15.719 --> 0:44:19.600
<v Speaker 1>more than a little alchemy tied up into this concept. Now,

0:44:19.640 --> 0:44:22.759
<v Speaker 1>the idea of the psychedelic experience and all of this

0:44:22.960 --> 0:44:27.120
<v Speaker 1>is interesting, and elsewhere mckinna does connect all of this

0:44:27.200 --> 0:44:30.680
<v Speaker 1>to whistling in a more well, I guess, grounded manner.

0:44:31.200 --> 0:44:32.719
<v Speaker 1>So this is a quote I believe this is from

0:44:32.760 --> 0:44:37.400
<v Speaker 1>one of mckinna's many talks. He says, quote, ayahuasca is

0:44:37.440 --> 0:44:40.800
<v Speaker 1>different by sound, by song, by whistling, and its ability

0:44:40.800 --> 0:44:44.680
<v Speaker 1>to transform sound, including vocal sound, into the visual spectrum

0:44:45.000 --> 0:44:48.960
<v Speaker 1>indicates that some kind of information processing membrane or boundary

0:44:49.080 --> 0:44:52.560
<v Speaker 1>is being overcome by the pharmacology of this stuff, and

0:44:52.680 --> 0:44:57.600
<v Speaker 1>things normally experienced as acoustically experienced become visibly beheld and

0:44:57.640 --> 0:45:01.680
<v Speaker 1>it's quite spectacular. Unquote. This would definitely be I think

0:45:01.680 --> 0:45:06.319
<v Speaker 1>an example of Terrence speaking about something with a little

0:45:06.360 --> 0:45:08.920
<v Speaker 1>more of the science hat on as opposed to the

0:45:08.920 --> 0:45:10.359
<v Speaker 1>psychonat hat right.

0:45:10.400 --> 0:45:13.520
<v Speaker 2>I mean, I think there he's describing the phenomenology of

0:45:13.840 --> 0:45:17.480
<v Speaker 2>a drug induced synesthesia, the idea that when under the

0:45:17.520 --> 0:45:21.920
<v Speaker 2>influence of some psychedelics, you can the perception of one

0:45:22.160 --> 0:45:27.480
<v Speaker 2>normal piece of sense information can bleed over into another. So,

0:45:27.840 --> 0:45:31.360
<v Speaker 2>for example, people on certain psychedelics often report being able

0:45:31.400 --> 0:45:34.640
<v Speaker 2>to hear colors or see sounds and so forth.

0:45:35.120 --> 0:45:37.480
<v Speaker 1>Yeah, now now getting into what Terrence is talking about

0:45:37.520 --> 0:45:42.920
<v Speaker 1>here concerning ayahuasca. Ayahuasca, for anyone unfamiliar, is a psychoactive

0:45:42.960 --> 0:45:46.880
<v Speaker 1>brew used for ceremonial purposes among various indigenous peoples of

0:45:46.880 --> 0:45:50.240
<v Speaker 1>the Amazon Basin. Taking it can result in an altered

0:45:50.280 --> 0:45:54.160
<v Speaker 1>state of consciousness, complete with hallucinations. And for a little

0:45:54.200 --> 0:45:56.080
<v Speaker 1>more about whistling and all of this, I turned to

0:45:56.160 --> 0:45:58.839
<v Speaker 1>a paper. This is a nineteen seventy one paper by

0:45:58.880 --> 0:46:02.799
<v Speaker 1>Fred Katz and Mariline Dobken de Rios published in the

0:46:02.880 --> 0:46:06.799
<v Speaker 1>Journal of American Folklore. Again, this is in nineteen seventy one,

0:46:07.200 --> 0:46:10.439
<v Speaker 1>and it's titled Hallucinogenic Music, An Analysis of the Role

0:46:10.440 --> 0:46:15.600
<v Speaker 1>of Whistling in Peruvian Ayahuasca healing sessions, and in it

0:46:15.719 --> 0:46:18.840
<v Speaker 1>the author's point out that drug induced states and music

0:46:19.040 --> 0:46:21.360
<v Speaker 1>tend to go hand in hand in traditions around the

0:46:21.400 --> 0:46:26.640
<v Speaker 1>world that involves psychoactive substances. They're talking about religious traditions here,

0:46:26.680 --> 0:46:30.040
<v Speaker 1>but I think this also carries on into modern psychedelic

0:46:30.080 --> 0:46:33.720
<v Speaker 1>culture as well. Only ancient societies they didn't have Steve

0:46:33.800 --> 0:46:36.359
<v Speaker 1>Roach albums to listen to. They couldn't just play something

0:46:36.360 --> 0:46:39.600
<v Speaker 1>on their iPhone. They had their traditional musical instruments. They

0:46:39.600 --> 0:46:42.440
<v Speaker 1>had their voices, they had their songs, and they had

0:46:42.480 --> 0:46:43.200
<v Speaker 1>their whistles.

0:46:43.440 --> 0:46:46.120
<v Speaker 2>Yeah. I think it is totally not an accident that

0:46:46.280 --> 0:46:50.360
<v Speaker 2>psychedelic drugs are widely associated with music in the twentieth century.

0:46:50.520 --> 0:46:52.920
<v Speaker 2>I don't think that's a coincidence because I don't know,

0:46:53.120 --> 0:46:56.280
<v Speaker 2>because The Grateful Dead was a band instead of visual

0:46:56.400 --> 0:46:58.799
<v Speaker 2>artists or filmmakers or something. I mean, I think that

0:46:58.840 --> 0:47:02.960
<v Speaker 2>there is sort of an inherent connection between psychedelics and music,

0:47:03.080 --> 0:47:06.759
<v Speaker 2>that the altered state of consciousness, for some reason, is

0:47:06.840 --> 0:47:11.920
<v Speaker 2>very well complemented by music. I don't know. The patterns

0:47:11.960 --> 0:47:14.880
<v Speaker 2>created by music tend to be very pleasing to people

0:47:15.040 --> 0:47:19.160
<v Speaker 2>in altered states of consciousness. And it's sort of a

0:47:19.200 --> 0:47:22.080
<v Speaker 2>feedback loop too, right, that there's this idea that people

0:47:22.080 --> 0:47:25.520
<v Speaker 2>on psychedelics often enjoy listening to music but also want

0:47:25.520 --> 0:47:26.440
<v Speaker 2>to create music.

0:47:26.800 --> 0:47:30.719
<v Speaker 1>Yeah, I mean, the psychedelic experience can change the way

0:47:30.760 --> 0:47:33.560
<v Speaker 1>the music is heard, the way it's interpreted, and so forth.

0:47:33.880 --> 0:47:35.720
<v Speaker 1>And they get into this a little bit in the paper.

0:47:36.080 --> 0:47:40.000
<v Speaker 1>They describe the use of whistling incantations with these ayahuasca

0:47:40.120 --> 0:47:44.120
<v Speaker 1>ceremonies which are thought to allow one to evoke the

0:47:45.080 --> 0:47:47.919
<v Speaker 1>spirit of the vine for healing purposes. And they point

0:47:47.960 --> 0:47:50.720
<v Speaker 1>out that on one hand, the uses of sacred music

0:47:50.760 --> 0:47:52.920
<v Speaker 1>and a sit in these sorts of situations, this is

0:47:52.920 --> 0:47:54.920
<v Speaker 1>not all that different from the use of sa Gregorian

0:47:55.040 --> 0:47:58.520
<v Speaker 1>chant in medieval Christianity. You know, we also do we can't,

0:47:58.840 --> 0:48:00.960
<v Speaker 1>we can't go into a scenario like this and forget

0:48:01.000 --> 0:48:05.160
<v Speaker 1>that music on its own is already this powerful thing

0:48:05.360 --> 0:48:09.879
<v Speaker 1>that alters thought, you know, and can make minds work

0:48:09.920 --> 0:48:13.239
<v Speaker 1>in unison with each other. But we do have the

0:48:13.280 --> 0:48:18.120
<v Speaker 1>added psychedelic factor here to take into account. And this

0:48:18.200 --> 0:48:20.680
<v Speaker 1>is where it gets perhaps a little more interesting with

0:48:20.719 --> 0:48:24.600
<v Speaker 1>the ayahuasca scenario. They write quote such phenomena as the

0:48:24.680 --> 0:48:28.600
<v Speaker 1>slowing down or changing of time. Perception must be related

0:48:28.600 --> 0:48:31.560
<v Speaker 1>to how music is perceived by the individual under the

0:48:31.600 --> 0:48:37.239
<v Speaker 1>effects of powerful alkaloids harmine and harmaline present in the

0:48:37.280 --> 0:48:42.560
<v Speaker 1>ayahuasca potion. The number of metronomic markings listed earlier the

0:48:42.560 --> 0:48:45.960
<v Speaker 1>paper includes some sheet music notations of the whistling may

0:48:46.000 --> 0:48:49.680
<v Speaker 1>not indeed be perceived as they would in an ordinary state.

0:48:50.120 --> 0:48:52.719
<v Speaker 1>So that's we're thinking about the idea of music that

0:48:52.880 --> 0:48:57.239
<v Speaker 1>is not only not only is it interesting when it

0:48:57.320 --> 0:49:01.080
<v Speaker 1>is heard during this particular altered state of consciousness, but

0:49:01.200 --> 0:49:03.759
<v Speaker 1>it is created to be heard in this altered state

0:49:03.800 --> 0:49:04.520
<v Speaker 1>of consciousness.

0:49:05.280 --> 0:49:07.799
<v Speaker 2>Yeah, well, I would say that that there are other

0:49:07.880 --> 0:49:12.200
<v Speaker 2>parallels to modern popular music there. What would you say

0:49:12.280 --> 0:49:16.239
<v Speaker 2>about genres of music that are most often associated with

0:49:16.280 --> 0:49:19.719
<v Speaker 2>psychedelic experiences. I would say they tend to be more

0:49:19.800 --> 0:49:23.800
<v Speaker 2>sort of meandering and repetitive. And I think that's because

0:49:24.280 --> 0:49:27.440
<v Speaker 2>you know, like jam bands and stuff, or or stone

0:49:27.480 --> 0:49:29.640
<v Speaker 2>or metal or any of those things, that they tend

0:49:29.640 --> 0:49:33.600
<v Speaker 2>to create these patterns that repeat a lot and are

0:49:33.800 --> 0:49:37.120
<v Speaker 2>are less tight and focus than say a normal two

0:49:37.160 --> 0:49:40.960
<v Speaker 2>and a half minute pop song, And that clearly has

0:49:41.000 --> 0:49:44.440
<v Speaker 2>something to do again with the phenomenology of the psychedelic experience,

0:49:44.480 --> 0:49:46.799
<v Speaker 2>that there's something about like sort of getting into a

0:49:46.840 --> 0:49:49.560
<v Speaker 2>state of mind and lingering there and maybe changes in

0:49:49.600 --> 0:49:52.760
<v Speaker 2>the perception of time and patterns and stuff.

0:49:53.120 --> 0:49:55.520
<v Speaker 1>Yeah, that's a good point about the repetition, because you

0:49:55.560 --> 0:49:58.920
<v Speaker 1>think you can think of various rather different genres of

0:49:58.960 --> 0:50:03.399
<v Speaker 1>popular music today that have strong connections to psychedelic drug

0:50:03.440 --> 0:50:07.600
<v Speaker 1>culture things. Is different to say cy trance and say

0:50:07.640 --> 0:50:10.560
<v Speaker 1>doom metal. You know, you wouldn't mistake one for the other.

0:50:10.680 --> 0:50:14.960
<v Speaker 1>But when you get into like long uses of repetition,

0:50:15.239 --> 0:50:16.560
<v Speaker 1>there are similarities there.

0:50:16.760 --> 0:50:20.359
<v Speaker 2>But so okay, that's music specifically and why certain kinds

0:50:20.360 --> 0:50:23.319
<v Speaker 2>of music might traditionally be associated with these ceremonies that

0:50:23.400 --> 0:50:27.759
<v Speaker 2>involve psychedelics. But like, what about the specific characteristics of

0:50:27.840 --> 0:50:29.280
<v Speaker 2>whistling would come in.

0:50:29.800 --> 0:50:33.120
<v Speaker 1>Right, So to bring us back to this ayahuasca scenario,

0:50:33.200 --> 0:50:36.640
<v Speaker 1>you have someone taking the ayahuasca beginning to have this experience,

0:50:36.680 --> 0:50:39.680
<v Speaker 1>and they're being guided by a shaman. The shaman is

0:50:39.840 --> 0:50:44.400
<v Speaker 1>using whistling as part of their guidance. So the authors

0:50:44.520 --> 0:50:46.640
<v Speaker 1>point out in the seventy one paper, the music seems

0:50:46.680 --> 0:50:49.600
<v Speaker 1>to have an effect on the visuals that the individual

0:50:49.880 --> 0:50:53.680
<v Speaker 1>under the influence of ayahuasca reports, and that the shaman

0:50:53.800 --> 0:50:57.200
<v Speaker 1>leading the ceremony and guiding the individual through the experience

0:50:57.520 --> 0:51:00.879
<v Speaker 1>will alter their use of melodies as needed, such as

0:51:01.520 --> 0:51:05.960
<v Speaker 1>one example being in response to the patient the individual

0:51:06.080 --> 0:51:10.800
<v Speaker 1>taking that has taken the drug experiencing nausea or vomiting.

0:51:11.280 --> 0:51:14.280
<v Speaker 1>Different melodies are said to evoke different sorts of visions,

0:51:14.719 --> 0:51:17.360
<v Speaker 1>and the music, the whistling is said to help push

0:51:17.400 --> 0:51:22.360
<v Speaker 1>the individual past the nausea, past the vomiting, past initial

0:51:22.400 --> 0:51:26.640
<v Speaker 1>anxiety that is a part of the experience, and into

0:51:26.680 --> 0:51:29.359
<v Speaker 1>the desired alternate state that is often said to sort

0:51:29.360 --> 0:51:33.239
<v Speaker 1>of exist beyond the nausea, beyond the vomiting, beyond the

0:51:33.280 --> 0:51:37.200
<v Speaker 1>initial like physical reaction to the substances.

0:51:37.640 --> 0:51:42.839
<v Speaker 2>I wonder if the specific potency of whistling there and

0:51:42.880 --> 0:51:45.680
<v Speaker 2>not just any type of singing or drumming or anything

0:51:45.719 --> 0:51:49.080
<v Speaker 2>like that. It might have something to do with the

0:51:49.160 --> 0:51:52.720
<v Speaker 2>specific bioacoustic properties of whistling that we talked about earlier,

0:51:52.800 --> 0:51:57.480
<v Speaker 2>like the ability of whistling to cut through other ambient

0:51:57.640 --> 0:52:01.080
<v Speaker 2>sounds and to use a music engineer term, to cut

0:52:01.120 --> 0:52:04.560
<v Speaker 2>through the mix in a way that many other types

0:52:04.680 --> 0:52:08.800
<v Speaker 2>of naturally produced music wouldn't, say, you know, singing or

0:52:08.880 --> 0:52:09.920
<v Speaker 2>drumming or whatever.

0:52:10.280 --> 0:52:12.680
<v Speaker 1>Yeah, yeah, because you can imagine this scenario where the

0:52:12.680 --> 0:52:14.839
<v Speaker 1>shaman is having to cut through probably quite a bit.

0:52:14.880 --> 0:52:17.680
<v Speaker 1>I mean, obviously this is not something that this experience

0:52:17.760 --> 0:52:20.600
<v Speaker 1>is likely not taking place in an urban environment, but

0:52:21.040 --> 0:52:25.040
<v Speaker 1>there may be the sounds of nature outside of the

0:52:25.160 --> 0:52:28.480
<v Speaker 1>enclosure that one is having this experience in. There may

0:52:28.520 --> 0:52:34.319
<v Speaker 1>be other sounds within the enclosure, and of course there

0:52:34.360 --> 0:52:37.319
<v Speaker 1>is the physical experience that's going on that would be

0:52:37.360 --> 0:52:40.400
<v Speaker 1>quite distracting. And here is the shaman with this whistle,

0:52:40.520 --> 0:52:43.759
<v Speaker 1>this music that is cutting through all that, or.

0:52:43.719 --> 0:52:45.360
<v Speaker 2>To cut through hallucinated sounds.

0:52:45.640 --> 0:52:48.480
<v Speaker 1>That's true. Yeah, I thought there's one more quote from

0:52:48.520 --> 0:52:51.000
<v Speaker 1>the paper here I thought was key quote. It is

0:52:51.040 --> 0:52:55.920
<v Speaker 1>possible that the patient's augmented suggestibility encounters in the presence

0:52:55.920 --> 0:52:59.240
<v Speaker 1>of the healer a creative source and origin of music

0:52:59.480 --> 0:53:04.960
<v Speaker 1>which deviates anxiety, tranquilizes, and causes a turning inward by

0:53:05.000 --> 0:53:10.280
<v Speaker 1>the musical evocation of particular visions. And so that turning

0:53:10.320 --> 0:53:14.400
<v Speaker 1>inward reminds me once more of those descriptions of Chinese

0:53:14.520 --> 0:53:19.400
<v Speaker 1>transcendental whistling and the inward journey there, So in a way,

0:53:19.440 --> 0:53:21.840
<v Speaker 1>I kind of feel like it comes full circle there.

0:53:23.160 --> 0:53:27.520
<v Speaker 1>So this is all I think. It accounts for a

0:53:27.560 --> 0:53:33.520
<v Speaker 1>handful of probably extreme examples of whistling that is not

0:53:33.719 --> 0:53:38.480
<v Speaker 1>mundane whistling that takes on this heightened meaning. Be that

0:53:38.520 --> 0:53:43.520
<v Speaker 1>heightened meaning reliant upon some sort of psychoactive property, or

0:53:43.600 --> 0:53:47.200
<v Speaker 1>merely just some sort of an intense thought process and

0:53:47.320 --> 0:53:48.360
<v Speaker 1>meditation ritual.

0:53:48.800 --> 0:53:50.920
<v Speaker 2>Yeah, So I was just looking back at those lines

0:53:50.960 --> 0:53:54.000
<v Speaker 2>you quoted from the Rhapsody on whistling. The translation of it.

0:53:55.320 --> 0:53:57.759
<v Speaker 2>And so I'm thinking about that with reference to the

0:53:57.760 --> 0:54:01.160
<v Speaker 2>psychedelic experience, which you know, in many cases I think

0:54:01.239 --> 0:54:04.879
<v Speaker 2>is thought to be largely associative. That a big characteristic

0:54:04.960 --> 0:54:10.680
<v Speaker 2>of the religious psychedelic experience is maybe forming associations between

0:54:10.800 --> 0:54:13.400
<v Speaker 2>things in the mind where the cause of that association

0:54:13.600 --> 0:54:17.680
<v Speaker 2>is not obvious or is not literal. And to that point,

0:54:17.719 --> 0:54:19.760
<v Speaker 2>I think of the line in the Rhapsody that says,

0:54:20.160 --> 0:54:24.279
<v Speaker 2>for every category he has a song to everything he perceives.

0:54:24.320 --> 0:54:27.360
<v Speaker 2>He tunes a melody the idea that there are certain

0:54:27.800 --> 0:54:33.520
<v Speaker 2>whistles or sequences of whistles, maybe like tunes connected to ideas,

0:54:33.560 --> 0:54:37.120
<v Speaker 2>even though there's no way that that tune that you

0:54:37.239 --> 0:54:41.880
<v Speaker 2>just whistled actually means a leopard, or actually means a house,

0:54:42.040 --> 0:54:45.720
<v Speaker 2>or means a tree, But for some reason in your mind,

0:54:45.800 --> 0:54:48.200
<v Speaker 2>suddenly it does. And in fact, the same thing is

0:54:48.200 --> 0:54:50.360
<v Speaker 2>true of language. That's you know, one of the weird

0:54:50.440 --> 0:54:53.240
<v Speaker 2>fundamental features of language, when you stop to think about it,

0:54:53.280 --> 0:54:55.640
<v Speaker 2>is that the word tree has nothing to do with

0:54:55.719 --> 0:54:58.879
<v Speaker 2>the tree, that the association that you make between them

0:54:58.960 --> 0:55:02.880
<v Speaker 2>is purely a learn association, that it's not to be

0:55:03.040 --> 0:55:05.920
<v Speaker 2>found anywhere in nature. The same would be true of

0:55:05.960 --> 0:55:09.319
<v Speaker 2>the melody, yet for some reason in your mind, you

0:55:09.400 --> 0:55:12.520
<v Speaker 2>kind of create a language that suddenly that melody means

0:55:12.640 --> 0:55:13.400
<v Speaker 2>the concept.

0:55:13.760 --> 0:55:16.360
<v Speaker 1>Yeah, so I think on one hand, these examples are

0:55:16.400 --> 0:55:18.799
<v Speaker 1>are the extreme, but they also do get to some

0:55:18.880 --> 0:55:21.440
<v Speaker 1>of the core realities of whistling that we've been discussing

0:55:21.440 --> 0:55:25.960
<v Speaker 1>all along. So yeah, this has been a fascinating journey

0:55:26.000 --> 0:55:27.799
<v Speaker 1>thus far, and we're not done yet. We have so

0:55:27.920 --> 0:55:31.560
<v Speaker 1>much more to discuss. In the next episode, we're going

0:55:31.600 --> 0:55:35.719
<v Speaker 1>to get into whistling and antiquity. Basic questions like did

0:55:35.760 --> 0:55:39.160
<v Speaker 1>the ancient Romans whistle? Well, it's a more complicated question

0:55:39.239 --> 0:55:41.600
<v Speaker 1>than you might think, as well as.

0:55:41.560 --> 0:55:43.000
<v Speaker 2>What happens when God whistled?

0:55:43.200 --> 0:55:46.439
<v Speaker 1>Oh God, the whistling, the whistling and the divine Yes

0:55:46.520 --> 0:55:49.160
<v Speaker 1>that that also, that was the whole question that took

0:55:49.239 --> 0:55:51.479
<v Speaker 1>me off guard. But that'll be fun to discuss as well.

0:55:52.200 --> 0:55:53.840
<v Speaker 2>Also, I think we want to talk some about the

0:55:53.840 --> 0:55:56.360
<v Speaker 2>psychology of whistling. They might further inform some of the

0:55:56.360 --> 0:55:57.600
<v Speaker 2>discussions we've had today.

0:55:58.000 --> 0:56:00.520
<v Speaker 1>Yeah, all right, well, we were We hope that you're

0:56:00.600 --> 0:56:03.480
<v Speaker 1>enjoying this journey as much as we are, and of

0:56:03.480 --> 0:56:06.560
<v Speaker 1>course we'd love to hear from everybody because whistling is

0:56:06.560 --> 0:56:10.880
<v Speaker 1>something that all or most of you are somewhat familiar

0:56:10.880 --> 0:56:13.520
<v Speaker 1>with it, You're can have particular connections to it in general,

0:56:13.719 --> 0:56:16.520
<v Speaker 1>or specific connections even to some of the traditions that

0:56:16.560 --> 0:56:19.120
<v Speaker 1>we've discussed here. We'd love to hear from you, so

0:56:19.160 --> 0:56:23.120
<v Speaker 1>definitely write in about your whistle and the whistling of others.

0:56:23.600 --> 0:56:26.879
<v Speaker 1>In the meantime. New episodes of Stuff to Blow Your Mind.

0:56:26.920 --> 0:56:30.120
<v Speaker 1>The core episodes published on Tuesdays and Thursdays. On Wednesdays

0:56:30.120 --> 0:56:32.560
<v Speaker 1>we do a short form artifact or monster fact. On

0:56:32.600 --> 0:56:34.800
<v Speaker 1>Mondays we do listener mail. On Fridays, we set aside

0:56:34.840 --> 0:56:37.880
<v Speaker 1>most serious concerns and just talk about a strange film.

0:56:38.160 --> 0:56:40.879
<v Speaker 2>Huge thanks as always to our excellent audio producer Seth

0:56:40.960 --> 0:56:43.439
<v Speaker 2>Nicholas Johnson. If you would like to get in touch

0:56:43.480 --> 0:56:45.680
<v Speaker 2>with us with feedback on this episode or any other,

0:56:45.800 --> 0:56:48.319
<v Speaker 2>to suggest topic for the future, or just to say hello,

0:56:48.440 --> 0:56:51.080
<v Speaker 2>you can email us at contact at stuff to Blow

0:56:51.120 --> 0:56:59.320
<v Speaker 2>your Mind dot com.

0:57:00.040 --> 0:57:02.799
<v Speaker 3>Doft to Blow Your Mind is production of iHeartRadio. For

0:57:02.880 --> 0:57:06.719
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0:57:06.800 --> 0:57:22.040
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