WEBVTT - The Whistling, Part 2

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<v Speaker 1>My Welcome to Stuff to Blow Your Mind production of

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<v Speaker 1>My Heart Radio. Hey you welcome to Stuff to Blow

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<v Speaker 1>your Mind. My name is Robert Lamb, and I'm Joe McCormick,

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<v Speaker 1>and we're back with part two of our series on whistling.

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<v Speaker 1>In the last episode, we talked a bit about how

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<v Speaker 1>whistling works physically, what happens when you're creating a sort

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<v Speaker 1>of resonator cavity within the mouth. We also talked about

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<v Speaker 1>the whistle speech of the Maze Taco languages in Wahaka

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<v Speaker 1>in Mexico, and I wanted to start off today's episode

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<v Speaker 1>by talking about some other examples of whistled languages and

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<v Speaker 1>some of the common characteristics between them, because, of course,

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<v Speaker 1>the Maze Teco whistle speech is not the only example

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<v Speaker 1>of a whistled language that carries information. In fact, I

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<v Speaker 1>was looking at a paper by an author named Julian

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<v Speaker 1>Meyer called Environmental and Linguistic Typology of Whistled Languages in

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<v Speaker 1>the Annual Review of Linguistics. It's a very recent paper,

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<v Speaker 1>uh And according to Meyer, there are reports of more

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<v Speaker 1>than eighty languages around the world that contain a whistled lexicon,

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<v Speaker 1>and about half of those have been confirmed by formal

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<v Speaker 1>studies and published recordings, so really solid documentation of at

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<v Speaker 1>least forty or so whistled languages around the world, And

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<v Speaker 1>so I think it's worth mentioning a few more examples

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<v Speaker 1>of these and describing how they work and seeing what

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<v Speaker 1>we can compare and contrast with them. So one example

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<v Speaker 1>I was reading about was in a really interesting article

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<v Speaker 1>in BBC Travel by Elliott Stein, and the story here

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<v Speaker 1>goes like this. In Greece, there is a remote mountain

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<v Speaker 1>village called Antia, which is found on the southern an

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<v Speaker 1>eastern coast of the Greek island of Evia in the

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<v Speaker 1>Aegean c And within this village there has long been

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<v Speaker 1>a whistle based language called Sphyria, which allows speakers to

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<v Speaker 1>communicate across great distances, and it seems to have been

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<v Speaker 1>passed down from parents to children among the shepherds and

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<v Speaker 1>the farmers of the village for literally thousands of years,

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<v Speaker 1>for more than two thousand years to read from Stein

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<v Speaker 1>here quote. But in the last few decades, antias population

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<v Speaker 1>has dwindled from two hundred and fifty to thirty seven,

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<v Speaker 1>and as older whistlers lose their teeth, many can no

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<v Speaker 1>longer sound sphery as Sharp notes today there are only

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<v Speaker 1>six people left on the planet who can still speak

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<v Speaker 1>this unspoken language. Now this was five years ago as

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<v Speaker 1>of this recording, so I don't know how that number

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<v Speaker 1>six has changed since then. There there are descriptions of

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<v Speaker 1>some efforts to try to teach it to more people. Um,

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<v Speaker 1>but of whenever you're talking about a language with that

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<v Speaker 1>few speakers, it it's certainly extremely endangered. In fact, this

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<v Speaker 1>is considered one of the most endangered languages in the world. Now.

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<v Speaker 1>Apparently the existence of this language sphery A here was

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<v Speaker 1>not documented anywhere in the outside world until the year

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<v Speaker 1>nineteen sixty nine, when a plane crashed in the mountains

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<v Speaker 1>nearby and there was a rescue team that was attempting

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<v Speaker 1>to locate the pilot and they reported hearing strange, melodious

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<v Speaker 1>whistling echoing through the hillsides. And this led to investigation

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<v Speaker 1>and brought the language to the attention of the media

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<v Speaker 1>and to academics. Uh So, a big question here is

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<v Speaker 1>where does a language like this come from. Linguists do

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<v Speaker 1>seem to agree that it dates back to ancient times.

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<v Speaker 1>It's been around for a long time, but exactly how

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<v Speaker 1>it was created is less certain, uh and apparently local

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<v Speaker 1>legends abound. So one story I came across this was

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<v Speaker 1>described in in some detail in a documentary piece on

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<v Speaker 1>PBS News Hour that was about Sphyria, and it claimed

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<v Speaker 1>that the language was invented about two thousand five years ago,

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<v Speaker 1>not by Greeks, but by Persians after they were defeated

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<v Speaker 1>at the Battle of Salamis. So Salamus was a battle

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<v Speaker 1>in four a d b c. During the Persian invasion

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<v Speaker 1>of Greece under zerk Sees the Great, and so Salamus

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<v Speaker 1>was a It was a naval battle where the coalition

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<v Speaker 1>of Greek city states was able to fight off and

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<v Speaker 1>defeat the larger Persian allied fleet. And I think this

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<v Speaker 1>is widely considered the battle, or one of the battles

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<v Speaker 1>that turned the tide of the war in favor of

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<v Speaker 1>the Greek defenders and pushed back the Persian invasion. But anyway,

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<v Speaker 1>the legend about the whistle speech goes that the Persian

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<v Speaker 1>survivors of the battle I guess they were, you know,

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<v Speaker 1>their their ship was sank or defeated in some way

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<v Speaker 1>and they managed to swim to shore on the island

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<v Speaker 1>of Evia, where they had to survive hiding in the

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<v Speaker 1>mountains inhabited by hostile native Greeks, and one way they

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<v Speaker 1>avoided detection was by coming up with a way of

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<v Speaker 1>speaking in whistles that would sound just like the birds,

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<v Speaker 1>so they could they could communicate with each other, but

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<v Speaker 1>their speech would not be intelligible and in many ways

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<v Speaker 1>would probably not even be detected. But that that story

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<v Speaker 1>has a kind of legendary quality. I'm not sure how

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<v Speaker 1>much there is behind that so, but but it's a

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<v Speaker 1>great story nonetheless, and and steinsite some other local legends

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<v Speaker 1>as well. Some residents believe it was invented during the

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<v Speaker 1>Byzantine Empire by locals who wanted a secret way to

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<v Speaker 1>communicate that would elude the understanding of pirates and people

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<v Speaker 1>from hostile nearby villages. And so a common theme here

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<v Speaker 1>seems to be the idea that somehow this language was

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<v Speaker 1>created to be a secret way of communicating, to allow

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<v Speaker 1>the locals to communicate across distance and understand each other

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<v Speaker 1>without other people detecting or understanding what they were saying. Now,

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<v Speaker 1>the author of this BBC Travel piece describes visiting the

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<v Speaker 1>village and spending time with with the handful of people

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<v Speaker 1>there who still use the whistle language, and they apparently

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<v Speaker 1>use it in many of the same scenarios described in

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<v Speaker 1>that paper on the Massa Teco whistle speech that I

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<v Speaker 1>talked about in the last episode, A big scenario of

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<v Speaker 1>you seems to be communicating across great distance on the

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<v Speaker 1>mountain side and sort of greeting or summoning people from

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<v Speaker 1>far away. And Stein cites a Greek linguist named Demitra

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<v Speaker 1>Hanggen who studies Spheria, and she says that Sphoria is

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<v Speaker 1>in some sense a whistled version of spoken Greek, where

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<v Speaker 1>specific whistled tones correspond to specific phonetic syllables or letters,

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<v Speaker 1>and you can build words out of them. Now, again,

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<v Speaker 1>this is another way that it's similar to the Massa

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<v Speaker 1>Teco example, because in both cases the wistled language is

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<v Speaker 1>not like an uh totally independent, unique language. Instead, it

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<v Speaker 1>is in some way adapting an existing spoken language two 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. Yeah,

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<v Speaker 1>I thought about that, but I don't know if it

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<v Speaker 1>actually informs that one way or another. But yeah, I

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<v Speaker 1>had the same intuition at least. So one of the

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<v Speaker 1>most remarkable things about Sphyria, again similar to the mesa

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<v Speaker 1>Teco whistle speech example, is that it is intelligible at

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<v Speaker 1>a great distance. You can understand messages in Sphyria up

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<v Speaker 1>to about four kilometers away on this mountainous terrain, which

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<v Speaker 1>Hangen says is about ten times farther than you can

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<v Speaker 1>usually understand speech, loud speech or shouting. And I saw

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<v Speaker 1>that number of the ten times distance multiplier mentioned in

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<v Speaker 1>other sources, such as a Cambridge University press paper that

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<v Speaker 1>I looked at. But there's a great part in this

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<v Speaker 1>article where Stein quotes a local shop owner named Maria Kafalas,

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<v Speaker 1>who tells a story about some of the like the

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<v Speaker 1>social opportunities offered by the whistle speech. And so her

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<v Speaker 1>story goes like this quote. One night a man was

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<v Speaker 1>in the mountains with his sheep when it started snowing.

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<v Speaker 1>He knew that somewhere deep in the mountains there was

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<v Speaker 1>a beautiful girl from Antia with her goats. So he

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<v Speaker 1>found a cave, built a fire and whistled to her

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<v Speaker 1>to come keep warm. She did, and that's how my

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<v Speaker 1>parents fell in love. Well, that is a better ending

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<v Speaker 1>than something like and then the descendants of of of

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<v Speaker 1>Persian soldiers slaughtered him in the woods, so I will

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<v Speaker 1>say that much. Yeah, and then the Greeks finally came

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<v Speaker 1>for revenge. Yeah. I continue to just have a lot

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<v Speaker 1>of questions about the Persian origin theory. It just seems

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<v Speaker 1>like it seems and I could I could be missing

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<v Speaker 1>something major here, but it seems like it begs more

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<v Speaker 1>questions than it answers. Well. Yeah, as as I said,

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<v Speaker 1>it sounds more like legend to me than like an

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<v Speaker 1>strongly evidence based explanation. I agree, away from being a

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<v Speaker 1>full blown ghost story. But but so I've described two

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<v Speaker 1>examples here of whistled language in detail, and as I

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<v Speaker 1>mentioned before, there are many others around the globe. There

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<v Speaker 1>are something like eighty ish that have been reported somewhere

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<v Speaker 1>around forty of them are very well documented. So an

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<v Speaker 1>obvious question to ask is what do these languages have

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<v Speaker 1>in common? What causes a whistled language to arise? So

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<v Speaker 1>I was looking at a few sources here. One of

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<v Speaker 1>them is that paper in the Annual Review of Linguistics

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<v Speaker 1>by Julian Meyer already mentioned. Another is a an article

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<v Speaker 1>in Smithsonian magazine from one by Bob Holmes, which cites

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<v Speaker 1>that paper and summarizes some other research in this area,

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<v Speaker 1>for example, focusing on a whistled variant of Spanish that

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<v Speaker 1>is used in the Canary Islands, on the mountainous islands

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<v Speaker 1>of Lagomera and Elierro in uh they're both in the

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<v Speaker 1>Canary Islands. And that paper by Julian Meyer tries to

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<v Speaker 1>gather together all of these languages and say, okay, are

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<v Speaker 1>there common topic, graphical or or sort of geographical features

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<v Speaker 1>that these languages tend to have in common? And he

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<v Speaker 1>finds yes, indeed there are almost all of the whistled

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<v Speaker 1>languages occur in two different types of environments, either in

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<v Speaker 1>mountainous terrains rugged mountains, or in dense vegetation like dense

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<v Speaker 1>forest or dense savannah. So why would it be those

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<v Speaker 1>two places, mountains or in dense vegetation. Well, to focus

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<v Speaker 1>on mountains first, Myer writes that in mountainous terrain, settlements

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<v Speaker 1>and the people living in the mountainous terrain tend to

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<v Speaker 1>be much more scattered across larger distances that are more

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<v Speaker 1>difficult to travel verse quickly than people in other types

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<v Speaker 1>of topographical settings. So uh here, so Meyer writes quote

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<v Speaker 1>in Aliero and Lagomera, in the Canary Islands, in the

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<v Speaker 1>region around kush Koy in Turkey, in the High Altars,

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<v Speaker 1>or in the Pyrenees near the village of Os two points,

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<v Speaker 1>only five dred meters apart can easily represent an hour

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<v Speaker 1>in walking time. Thus, whistled forms of languages serve as

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<v Speaker 1>soon as the spoken forms become ineffective between forty and

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<v Speaker 1>a hundred meters. Depending on terrain, whistles can be heard

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<v Speaker 1>up to seven kilometers away in some valleys. Okay, So

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<v Speaker 1>the idea here is that in mountainous terrain you have

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<v Speaker 1>the problem of people are often situated farther apart from

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<v Speaker 1>each other, and those distances to cross are difficult to cross.

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<v Speaker 1>They take a long time. So if you need to

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<v Speaker 1>communicate actually coming to be close enough together that you

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<v Speaker 1>could understand each other by shouting, would that's along? That's

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<v Speaker 1>a big time investment. So it's actually worth your time

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<v Speaker 1>to learn a whistle speech that will carry better across

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<v Speaker 1>longer distances and save you all of that climbing and

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<v Speaker 1>walking time. Now, what about the forests or the dense vegetation. Well,

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<v Speaker 1>here Myer writes quote the vegetation in dense tropical forests

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<v Speaker 1>and savannah's restricts visual contact and limits the propagation of sound.

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<v Speaker 1>In such contexts, Whistled speech frequencies are also well shielded

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<v Speaker 1>against acoustic energy loss due to reverberation, which is particularly

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<v Speaker 1>important in densely vegetated environments because the whistled frequencies belong

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<v Speaker 1>to the most favorable frequency window, ranging from one to

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<v Speaker 1>three kiloherts, within which reverberation in forests varies less with distance.

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<v Speaker 1>In dense vegetation, whistled language facilitates the coordination of individuals

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<v Speaker 1>during group movements, especially during hunting and fishing. Whistling all

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<v Speaker 1>so allows human dialogue to go undetected by animals, blending

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<v Speaker 1>in with natural sounds, since many animal species also use whistling.

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<v Speaker 1>Other advantages are that whistles are easy to locate and

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<v Speaker 1>difficult for strangers to recognize, especially other tribes, even those

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<v Speaker 1>that speak different dialects of the same language. Whistled communications

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<v Speaker 1>are used for distances from about ten ms up to

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<v Speaker 1>five hundred meters, depending on the density of vegetation. Okay,

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<v Speaker 1>so there are a lot of advantages in the forest

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<v Speaker 1>or thick savannah. So the idea is that, of course

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<v Speaker 1>whistling speech allows you to communicate without being able to

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<v Speaker 1>see each other. Sidelines are limited by the by the

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<v Speaker 1>vegetation itself. But also whistling just carries better in the forest.

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<v Speaker 1>It it propagates better through the forest without being drowned

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<v Speaker 1>out by the sort of the the reverberation effects of

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<v Speaker 1>having all that foliage there. Uh. And it also seems

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<v Speaker 1>to pierce through and and sound much better. And Holmes

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<v Speaker 1>also summarizes uh some of these advantages of whistling in

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<v Speaker 1>in the Smithsonian paper, saying that if you're good at whistling,

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<v Speaker 1>and you've been practicing this all your life, sometimes you

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<v Speaker 1>can reach a hundred and twenty decibels with a whistle,

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<v Speaker 1>which is loud. That's like uh. He compares it to

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<v Speaker 1>a car horn and says it's actually louder than a

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<v Speaker 1>car horn. Um, and that whistles pack almost all of

0:14:26.520 --> 0:14:31.600
<v Speaker 1>that energy into the perfect frequency range, the most piercing

0:14:31.640 --> 0:14:34.760
<v Speaker 1>frequency range, which Holmes says is between one to four

0:14:34.880 --> 0:14:37.880
<v Speaker 1>killer hurts. Meyer said between one to three killer hurts.

0:14:37.880 --> 0:14:41.400
<v Speaker 1>But it's roughly the same space um, which Holmes says

0:14:41.520 --> 0:14:45.600
<v Speaker 1>is above the pitch of most ambient noise. And this

0:14:45.680 --> 0:14:49.360
<v Speaker 1>is interesting because I was thinking about, um, why do

0:14:49.440 --> 0:14:53.760
<v Speaker 1>we keep noticing that whistling sounds, the ones made by

0:14:53.880 --> 0:14:58.080
<v Speaker 1>humans are similar to birds song. Well, one thing that

0:14:58.080 --> 0:15:01.600
<v Speaker 1>occurs to me here is that Earth's song is probably

0:15:01.760 --> 0:15:05.960
<v Speaker 1>shaped by natural selection to propagate through vegetation and to

0:15:06.040 --> 0:15:09.720
<v Speaker 1>cut through ambient noise from the environment so so as

0:15:09.720 --> 0:15:11.600
<v Speaker 1>to be clear, you know, to be clear and audible

0:15:11.600 --> 0:15:14.360
<v Speaker 1>at a distance where maybe a potential mate could hear it.

0:15:14.960 --> 0:15:18.960
<v Speaker 1>So whistle speech probably sounds like birds song, having similar

0:15:19.000 --> 0:15:22.880
<v Speaker 1>frequency ranges because similar forces are shaping them. In the

0:15:22.920 --> 0:15:25.600
<v Speaker 1>case of birds, it would be evolution, and in the

0:15:25.640 --> 0:15:29.520
<v Speaker 1>case of humans, it would be people intentionally selecting whatever

0:15:29.600 --> 0:15:32.600
<v Speaker 1>noise they are able to make with their bodies that

0:15:32.840 --> 0:15:37.080
<v Speaker 1>is the clearest at the longest distance, cutting through ambient noise,

0:15:37.160 --> 0:15:41.680
<v Speaker 1>and and losing the least energy to reverberation in the forest.

0:15:41.760 --> 0:15:43.960
<v Speaker 1>And that just happens to be the whistle that sounds

0:15:43.960 --> 0:15:47.000
<v Speaker 1>like a bird. Yeah, yeah, this this is interesting to

0:15:47.040 --> 0:15:51.240
<v Speaker 1>think think about it. On one hand, I'm a quiet whistler.

0:15:51.280 --> 0:15:54.160
<v Speaker 1>My whistler, my whistle was not very loud, and therefore

0:15:54.520 --> 0:15:57.040
<v Speaker 1>it can be a little surprising when I encounter someone

0:15:57.040 --> 0:15:59.680
<v Speaker 1>who has a very loud whistle, and you reminded just

0:15:59.720 --> 0:16:03.120
<v Speaker 1>how loud and whistle can be. So that's important to

0:16:03.280 --> 0:16:06.680
<v Speaker 1>factor into all of this. And uh. And another connection

0:16:06.800 --> 0:16:08.560
<v Speaker 1>that came up in some of the research I was

0:16:08.600 --> 0:16:12.520
<v Speaker 1>doing was that you you end up encountering this whole

0:16:12.600 --> 0:16:18.200
<v Speaker 1>realm of of non linguistic sounds that humans can make

0:16:19.000 --> 0:16:21.760
<v Speaker 1>that can be used to communicate ideas or to to

0:16:22.280 --> 0:16:25.280
<v Speaker 1>gain attention, etcetera. And you you also see things like

0:16:25.360 --> 0:16:31.040
<v Speaker 1>yodeling thrown in there. Yodeling um also an art form

0:16:31.080 --> 0:16:34.440
<v Speaker 1>if you will, or a performance are to sound that

0:16:34.680 --> 0:16:37.920
<v Speaker 1>developed that also had to do with communicating or calling

0:16:37.960 --> 0:16:41.800
<v Speaker 1>animals or or communicating with other herdsmen across across long

0:16:41.840 --> 0:16:44.880
<v Speaker 1>distances in the wild. When you're trying to speak normal

0:16:44.960 --> 0:16:48.600
<v Speaker 1>phonemes like we're using in words here, I think a

0:16:48.640 --> 0:16:51.720
<v Speaker 1>lot of that information probably easily gets lost to the distance.

0:16:51.800 --> 0:16:54.440
<v Speaker 1>Like you might be able to hear that somebody is shouting,

0:16:54.760 --> 0:16:57.400
<v Speaker 1>but you can't hear the difference between consonants. Are they

0:16:57.520 --> 0:17:00.080
<v Speaker 1>making a T sound or a case sound like I

0:17:00.280 --> 0:17:03.200
<v Speaker 1>don't know at a distance that that kind of all disappears.

0:17:03.640 --> 0:17:07.440
<v Speaker 1>But if you're if you're judging more on sequences of pitches,

0:17:08.480 --> 0:17:13.600
<v Speaker 1>then suddenly the confusion created by distance is reduced. Yeah. Yeah,

0:17:13.840 --> 0:17:17.199
<v Speaker 1>just just yelling doesn't necessarily cut it, right, because if

0:17:17.200 --> 0:17:19.920
<v Speaker 1>you can't, if you're particular words are not going to

0:17:19.960 --> 0:17:22.119
<v Speaker 1>be overheard, then you might end up having to do

0:17:22.240 --> 0:17:24.800
<v Speaker 1>something like just some sort of rhythmic barking. And if

0:17:24.800 --> 0:17:27.240
<v Speaker 1>you're doing some sort of rhythmic barking, well why not

0:17:27.520 --> 0:17:31.200
<v Speaker 1>further develop that and get somewhere and get to somewhere

0:17:31.240 --> 0:17:34.199
<v Speaker 1>where it is yodeling or you shift over into a

0:17:34.240 --> 0:17:37.040
<v Speaker 1>whistling uh, and that develops into some sort of a

0:17:37.040 --> 0:17:40.199
<v Speaker 1>whistling language. So yeah, it's just the more you look

0:17:40.240 --> 0:17:41.880
<v Speaker 1>at it, the more since it makes for this kind

0:17:41.920 --> 0:17:51.040
<v Speaker 1>of purpose than Now, another thing going on with whistled

0:17:51.080 --> 0:17:54.840
<v Speaker 1>languages is that, um, most of them, perhaps all of them,

0:17:54.840 --> 0:17:56.600
<v Speaker 1>but I'm not sure about that. So I'm going to

0:17:56.640 --> 0:18:00.520
<v Speaker 1>say at least the vast majority of whistled languages appear

0:18:00.640 --> 0:18:04.919
<v Speaker 1>to be not wholly independent languages of their own, but

0:18:05.119 --> 0:18:09.639
<v Speaker 1>whistled versions of spoken languages. So this was true of

0:18:09.960 --> 0:18:12.639
<v Speaker 1>all the examples I've talked about before. You know, the

0:18:12.680 --> 0:18:15.720
<v Speaker 1>maze Teco whistle speech was a whistled variant of the

0:18:15.760 --> 0:18:19.800
<v Speaker 1>tonal meze Teco language. Spherria appears to be a whistled

0:18:19.840 --> 0:18:23.440
<v Speaker 1>system for encoding spoken Greek. The whistle speech system of

0:18:23.480 --> 0:18:26.840
<v Speaker 1>the Canary Islands, called sill Bo, is a whistled version

0:18:26.880 --> 0:18:31.160
<v Speaker 1>of Spanish, and so forth, and for this reason, one

0:18:31.160 --> 0:18:34.800
<v Speaker 1>of the main differences in whistled languages appears to be

0:18:34.920 --> 0:18:38.560
<v Speaker 1>whether they are encoding a tonal language or a non

0:18:38.640 --> 0:18:43.240
<v Speaker 1>tonal language, and based on that distinction, the encoding process

0:18:43.359 --> 0:18:46.480
<v Speaker 1>is different. Tonal languages tend to be whistled in a

0:18:46.520 --> 0:18:49.720
<v Speaker 1>way that preserves the tones of the spoken words, and

0:18:49.920 --> 0:18:53.240
<v Speaker 1>in the last episode we talked about tonal languages. Tonal

0:18:53.320 --> 0:18:56.560
<v Speaker 1>languages where you know the syllables of the words, also

0:18:57.119 --> 0:19:00.880
<v Speaker 1>carry information based on the tone you use when speaking them.

0:19:01.240 --> 0:19:04.480
<v Speaker 1>So say like a high, high pitched version of the

0:19:04.520 --> 0:19:08.200
<v Speaker 1>syllable MA means something different than a lower pitched version

0:19:08.240 --> 0:19:11.040
<v Speaker 1>of the syllable MA, or an up gliding tone on

0:19:11.119 --> 0:19:13.320
<v Speaker 1>that syllable, and so forth, like the tone of the

0:19:13.320 --> 0:19:16.719
<v Speaker 1>syllable actually makes a difference. Uh, non tonal languages are

0:19:16.760 --> 0:19:19.840
<v Speaker 1>not like so in in English, we we don't encode

0:19:19.880 --> 0:19:23.080
<v Speaker 1>much information into the tones of syllables. It's just like,

0:19:23.160 --> 0:19:27.840
<v Speaker 1>what are the vowels and consonants. Yeah, the tone can

0:19:28.680 --> 0:19:31.520
<v Speaker 1>contain some information, but not nearly to the to the

0:19:31.600 --> 0:19:34.560
<v Speaker 1>extent that you find in true tonal languages. Right. No,

0:19:34.720 --> 0:19:38.520
<v Speaker 1>it's not not lexical information, more like, uh, maybe sort

0:19:38.560 --> 0:19:44.399
<v Speaker 1>of contextual mood information or inflection. Like the difference between

0:19:44.440 --> 0:19:47.280
<v Speaker 1>saying I would like you to walk the dog and

0:19:47.520 --> 0:19:49.879
<v Speaker 1>I would like you to walk the dog. Well, that

0:19:49.960 --> 0:19:52.679
<v Speaker 1>implies that maybe something the last time the dog was

0:19:52.680 --> 0:19:56.119
<v Speaker 1>walked it was not it was not good enough, or

0:19:56.119 --> 0:19:58.719
<v Speaker 1>it was or maybe you ran the dog, you know,

0:19:58.800 --> 0:20:01.240
<v Speaker 1>like that, that sort of thing. But it doesn't change

0:20:01.280 --> 0:20:05.840
<v Speaker 1>the actual yeah, uh information contained in the word. No,

0:20:06.000 --> 0:20:09.400
<v Speaker 1>it's more like about the implied information about the attitude

0:20:09.440 --> 0:20:12.440
<v Speaker 1>of the speakers, or I need you to walk the dog.

0:20:13.760 --> 0:20:15.800
<v Speaker 1>Maybe you didn't walk the actual dog. Maybe you took

0:20:15.920 --> 0:20:18.560
<v Speaker 1>some other creature or item from the house with you

0:20:18.640 --> 0:20:21.480
<v Speaker 1>on the walk instead. Okay, so you've got a tonal

0:20:21.600 --> 0:20:23.879
<v Speaker 1>language and you want to make a whistled version of

0:20:23.920 --> 0:20:27.480
<v Speaker 1>that you In most cases, it seems like you preserve

0:20:27.600 --> 0:20:31.560
<v Speaker 1>the tones of the spoken words. Non tonal languages that

0:20:31.720 --> 0:20:35.960
<v Speaker 1>have whistled speech tend to involve a sort of approximation

0:20:36.000 --> 0:20:40.399
<v Speaker 1>of consonants and vowels, and the Homes article I mentioned

0:20:40.480 --> 0:20:44.520
<v Speaker 1>quotes the scholar Julian Meyer explaining that we already use

0:20:44.840 --> 0:20:50.719
<v Speaker 1>subtle differences in frequencies to distinguish between spoken phonemes, like

0:20:51.480 --> 0:20:55.560
<v Speaker 1>the differences between certain vowels and consonants. Uh So, think

0:20:55.560 --> 0:20:59.639
<v Speaker 1>about the vowels E and O. A long E vowel

0:20:59.680 --> 0:21:03.280
<v Speaker 1>sound has a higher pitch than along O vowel sound,

0:21:03.359 --> 0:21:04.920
<v Speaker 1>and if you say them back to back, you can

0:21:04.960 --> 0:21:09.400
<v Speaker 1>listen to the descending melody of those vowel sounds EO

0:21:09.440 --> 0:21:12.520
<v Speaker 1>E O, And in fact, though it's harder to hear

0:21:12.560 --> 0:21:15.320
<v Speaker 1>at first, the same is sort of true of consonants,

0:21:15.359 --> 0:21:19.320
<v Speaker 1>like a T sound contains more high frequencies than a

0:21:19.480 --> 0:21:23.280
<v Speaker 1>K sound, and these differences can to some extent be

0:21:23.480 --> 0:21:28.439
<v Speaker 1>reproduced in whistles and uh So, the discussion of this

0:21:28.480 --> 0:21:32.680
<v Speaker 1>in the article got me thinking about, even without having

0:21:32.760 --> 0:21:35.520
<v Speaker 1>an established version of a language like this, and without

0:21:35.600 --> 0:21:40.080
<v Speaker 1>any training, can you sort of attempt to whistle English

0:21:40.119 --> 0:21:43.960
<v Speaker 1>phrases and have people understand what you're saying. In some

0:21:44.000 --> 0:21:46.320
<v Speaker 1>cases you can. And I actually tried this out with

0:21:46.359 --> 0:21:49.440
<v Speaker 1>my wife Rachel before we recorded here, I, Uh, this

0:21:49.480 --> 0:21:52.160
<v Speaker 1>was a kind of weird exercise, but I was like, hey,

0:21:52.200 --> 0:21:54.479
<v Speaker 1>can you tell what I'm saying here? And so I

0:21:54.520 --> 0:22:00.800
<v Speaker 1>tried things like um, which she took a minute on

0:22:00.920 --> 0:22:03.440
<v Speaker 1>but decided I was saying hello, nice to meet you,

0:22:03.560 --> 0:22:06.880
<v Speaker 1>which is what I was trying to say. Uh, So

0:22:07.040 --> 0:22:10.240
<v Speaker 1>that one worked a few other phrases I tried did

0:22:10.280 --> 0:22:13.760
<v Speaker 1>not work as well, But the ones that really seemed

0:22:13.800 --> 0:22:18.000
<v Speaker 1>to work immediately were the ones where it was phrases

0:22:18.080 --> 0:22:21.720
<v Speaker 1>she had heard me say before, especially when I tried

0:22:21.760 --> 0:22:25.639
<v Speaker 1>to whistle, common phrases that we use with our dog,

0:22:26.200 --> 0:22:33.520
<v Speaker 1>so um immediately she heard as all buddy um. And

0:22:33.720 --> 0:22:35.800
<v Speaker 1>I think this ties into something we've talked about on

0:22:35.840 --> 0:22:40.439
<v Speaker 1>the show before, the exaggerated musicality that humans tend to

0:22:40.560 --> 0:22:44.480
<v Speaker 1>use when speaking to babies and pets for some reason. Uh,

0:22:44.560 --> 0:22:48.280
<v Speaker 1>there may be evolutionary reasons for this, that we when

0:22:48.280 --> 0:22:51.840
<v Speaker 1>we speak to cute things that need our care and attention,

0:22:52.080 --> 0:22:55.840
<v Speaker 1>you know, babies or pets as kind of it might

0:22:55.840 --> 0:22:57.719
<v Speaker 1>be creepy to think about them this way, but in

0:22:57.800 --> 0:23:01.840
<v Speaker 1>to some extent kind of psychologically sir at babies, um,

0:23:01.880 --> 0:23:06.320
<v Speaker 1>that we we speak with an exaggerated musicality or tonal

0:23:06.440 --> 0:23:09.399
<v Speaker 1>variation that we don't use when speaking to adults, and

0:23:09.440 --> 0:23:13.880
<v Speaker 1>that stereotyped phrases within this kind of highly musical speech

0:23:14.480 --> 0:23:17.280
<v Speaker 1>are much easier to recognize when you try to whistle

0:23:17.359 --> 0:23:20.800
<v Speaker 1>them instead of say them phonetically. So are you gonna

0:23:20.840 --> 0:23:23.160
<v Speaker 1>keep whistling? Have you? Was it? Was it a big

0:23:23.240 --> 0:23:25.480
<v Speaker 1>enough success? Oh? No, I think that would be a

0:23:25.480 --> 0:23:30.560
<v Speaker 1>horrible idea. Also, strangely, the dog did not seem to

0:23:30.560 --> 0:23:33.800
<v Speaker 1>get it. So when when I whistled all buddy Rachel

0:23:33.800 --> 0:23:36.160
<v Speaker 1>could tell what I was saying, but but Charlie did

0:23:36.160 --> 0:23:41.280
<v Speaker 1>not seem affected. I tried whistling to my cat whilst

0:23:41.320 --> 0:23:45.080
<v Speaker 1>researching information for for these episodes, and yes, you didn't care.

0:23:45.640 --> 0:23:48.080
<v Speaker 1>And my wife was like, like you, you can't speak

0:23:48.080 --> 0:23:50.480
<v Speaker 1>to a cat and whistles. You have to use the

0:23:50.520 --> 0:23:53.440
<v Speaker 1>kissy sound. That's what they understand. That's what that's the

0:23:53.520 --> 0:23:57.960
<v Speaker 1>language they speak. It is known. But the kissy sound clicks,

0:23:58.080 --> 0:23:59.959
<v Speaker 1>I mean, these are all these are not too far

0:24:00.000 --> 0:24:02.760
<v Speaker 1>are removed from whistling. Some of these these types of

0:24:02.760 --> 0:24:06.080
<v Speaker 1>sounds will come up again later on. Indeed. Now, one

0:24:06.119 --> 0:24:08.600
<v Speaker 1>of the most interesting lines of thought emerging from all

0:24:08.640 --> 0:24:13.919
<v Speaker 1>this is that some experts think that studying whistled languages

0:24:14.119 --> 0:24:17.760
<v Speaker 1>might help us understand the origin of human language as

0:24:17.760 --> 0:24:23.000
<v Speaker 1>a whole, because again, some linguists think that these whistled

0:24:23.040 --> 0:24:27.160
<v Speaker 1>languages could be similar to the first languages that probably

0:24:27.240 --> 0:24:31.000
<v Speaker 1>emerged in human evolution. Now why on earth would that be? Well,

0:24:31.040 --> 0:24:32.960
<v Speaker 1>a couple of thoughts here. One. I just want to

0:24:33.480 --> 0:24:37.199
<v Speaker 1>rate a passage from the Holmes article in Smithsonian quote.

0:24:37.840 --> 0:24:40.720
<v Speaker 1>One of the big challenges for of language is the

0:24:40.840 --> 0:24:44.399
<v Speaker 1>need to control the vocal chords to make the full

0:24:44.520 --> 0:24:48.399
<v Speaker 1>range of speech sounds. None of our closest relatives, the

0:24:48.400 --> 0:24:52.840
<v Speaker 1>great apes, have developed such control, but whistling maybe an

0:24:52.840 --> 0:24:57.480
<v Speaker 1>easier first step. Indeed, a few orangutans and zoos have

0:24:57.600 --> 0:25:01.840
<v Speaker 1>been observed to imitate zoo employee is whistling as they work.

0:25:02.520 --> 0:25:06.000
<v Speaker 1>When scientists tested one ape under controlled conditions, the animal

0:25:06.160 --> 0:25:10.760
<v Speaker 1>was indeed able to mimic sequences of several whistles. Okay,

0:25:10.800 --> 0:25:13.160
<v Speaker 1>so that's one line of evidence. Seems that our closest

0:25:13.200 --> 0:25:18.440
<v Speaker 1>biological relatives are better able to imitate and reproduce sequences

0:25:18.520 --> 0:25:21.919
<v Speaker 1>of whistled tones than they are to imitate and reproduce

0:25:22.800 --> 0:25:26.800
<v Speaker 1>vocal phonemes like we make with speech. But There's another similarity.

0:25:27.280 --> 0:25:32.400
<v Speaker 1>What is whistled speech especially good for it's communicating across distance,

0:25:32.480 --> 0:25:35.480
<v Speaker 1>and as I mentioned earlier, especially in the densely vegetated

0:25:35.600 --> 0:25:40.920
<v Speaker 1>contexts for hunting and fishing. And in these cases some

0:25:41.320 --> 0:25:44.440
<v Speaker 1>but not all, of course, but some whistled languages tend

0:25:44.480 --> 0:25:48.520
<v Speaker 1>to rely more on kind of formulaic sentences like you know,

0:25:48.720 --> 0:25:52.359
<v Speaker 1>go that way, go toward it, etcetera, than than on

0:25:52.520 --> 0:25:56.879
<v Speaker 1>like full lexical representation, which is also commonly thought to

0:25:56.920 --> 0:26:02.920
<v Speaker 1>be how languages first emerged. That there were probably stereotyped signals,

0:26:03.000 --> 0:26:05.920
<v Speaker 1>you know, a sort of more limited range of signals

0:26:05.920 --> 0:26:09.520
<v Speaker 1>and ideas that you could express with sound that carried

0:26:09.560 --> 0:26:13.600
<v Speaker 1>common meanings, before there was like a complete and endlessly

0:26:13.760 --> 0:26:18.760
<v Speaker 1>variable lexicon where you could make a sentence meaning anything. However,

0:26:19.160 --> 0:26:21.000
<v Speaker 1>I think it's important to point out that even if

0:26:21.000 --> 0:26:25.919
<v Speaker 1>it's true that these whistled languages might have some things

0:26:25.960 --> 0:26:29.000
<v Speaker 1>in common with the earliest proto languages, that does not

0:26:29.119 --> 0:26:33.240
<v Speaker 1>mean that today's whistled languages are descended from any hypothetical

0:26:33.280 --> 0:26:37.440
<v Speaker 1>whistled proto languages, Because if there were whistled proto languages,

0:26:37.480 --> 0:26:40.560
<v Speaker 1>they long ago turned into speech, and then you know,

0:26:40.600 --> 0:26:43.560
<v Speaker 1>many thousands of years passed, and then that speech in

0:26:43.640 --> 0:26:48.160
<v Speaker 1>some cases transformed back into a whistled variant. Yeah so, so,

0:26:48.160 --> 0:26:51.359
<v Speaker 1>sort of imagining like just the basic sounds one could

0:26:51.400 --> 0:26:54.359
<v Speaker 1>make and how one might draw from that palette to

0:26:54.800 --> 0:26:59.320
<v Speaker 1>communicate things. Some of those sounds become encoded, many of

0:26:59.359 --> 0:27:01.520
<v Speaker 1>those sounds of at all those things. They evolve into

0:27:01.520 --> 0:27:06.159
<v Speaker 1>more complicated forms. But then we we never completely forget,

0:27:06.240 --> 0:27:10.399
<v Speaker 1>we never completely abandon these other modes of of of

0:27:10.520 --> 0:27:14.600
<v Speaker 1>auditory communication, that the palette remains there for us to

0:27:14.920 --> 0:27:18.479
<v Speaker 1>dip back into. Yeah. Yeah so. One last common feature

0:27:18.640 --> 0:27:22.000
<v Speaker 1>of these whistled languages is that in basically all cases,

0:27:22.600 --> 0:27:25.679
<v Speaker 1>with maybe a couple of exceptions, their uses declining. Most

0:27:25.760 --> 0:27:30.520
<v Speaker 1>of them are disappearing, And so we might wonder why, well, uh,

0:27:30.640 --> 0:27:33.680
<v Speaker 1>several causes are cited in in the homes article. One

0:27:33.960 --> 0:27:38.480
<v Speaker 1>is strangely roads, you tend to find whistle speech only

0:27:38.520 --> 0:27:42.440
<v Speaker 1>in places that are very remote, uh, And that apparently

0:27:42.440 --> 0:27:46.199
<v Speaker 1>the presence of well paved roads tends to cause whistle

0:27:46.240 --> 0:27:49.199
<v Speaker 1>speech to fall into disuse. Now you can imagine that

0:27:49.200 --> 0:27:50.959
<v Speaker 1>could be for a couple of reasons. One could be

0:27:51.600 --> 0:27:55.600
<v Speaker 1>well paved roads to a place increase the connection of

0:27:55.640 --> 0:27:57.760
<v Speaker 1>that place to the rest of the world, So just

0:27:57.800 --> 0:28:00.879
<v Speaker 1>sort of uh in the same way that sort of

0:28:00.920 --> 0:28:04.159
<v Speaker 1>connection to global culture would cause the would tend to

0:28:04.200 --> 0:28:08.160
<v Speaker 1>cause the disuse of all types of local customs, and

0:28:08.200 --> 0:28:09.920
<v Speaker 1>so the whistle speech would just be one of them.

0:28:09.920 --> 0:28:13.080
<v Speaker 1>But another reason I could think of is that, like

0:28:13.119 --> 0:28:15.639
<v Speaker 1>we were saying earlier, a lot of the use for

0:28:15.720 --> 0:28:19.600
<v Speaker 1>whistle speech tends to be communicating across distances that are

0:28:19.680 --> 0:28:23.680
<v Speaker 1>difficult or time consuming to traverse. And if you make

0:28:23.720 --> 0:28:26.040
<v Speaker 1>it easier to get from place to place in a

0:28:26.080 --> 0:28:29.000
<v Speaker 1>shorter amount a shorter amount of time, there's probably just

0:28:29.160 --> 0:28:33.240
<v Speaker 1>less incentive to whistle across great distances. Yeah. Yeah, I

0:28:33.280 --> 0:28:36.679
<v Speaker 1>also imagine that it's it's quite useful in communicating with

0:28:36.760 --> 0:28:39.960
<v Speaker 1>the not yet seen. So if you're if you're having

0:28:40.000 --> 0:28:43.800
<v Speaker 1>to travel traverse a distance and there are no roads involved,

0:28:43.800 --> 0:28:47.120
<v Speaker 1>there's no reasonably fast travel, there's going to come a

0:28:47.160 --> 0:28:50.040
<v Speaker 1>point where you're approaching somebody and maybe you can't even

0:28:50.080 --> 0:28:52.160
<v Speaker 1>see them yet, and it might be nice to just

0:28:52.200 --> 0:28:55.880
<v Speaker 1>sort of check in with them, uh into like and

0:28:55.880 --> 0:28:58.040
<v Speaker 1>and the mere fact that they can they can speak

0:28:58.080 --> 0:29:01.080
<v Speaker 1>the whistle language like gives you an amount of information

0:29:02.120 --> 0:29:06.400
<v Speaker 1>on top of anything they provided in via the whistling. Yeah.

0:29:06.800 --> 0:29:10.680
<v Speaker 1>Another hypothesized explanation for the decline of whistle speech, especially

0:29:10.720 --> 0:29:15.120
<v Speaker 1>in places maybe like Brazil and Central Africa densely vegetated areas,

0:29:15.920 --> 0:29:19.040
<v Speaker 1>is that deforestation seems to be playing a role in

0:29:19.200 --> 0:29:23.760
<v Speaker 1>eliminating it, but mainly by eliminating one of the types

0:29:23.840 --> 0:29:26.920
<v Speaker 1>of environmental pressure that tends to motivate its use in

0:29:26.960 --> 0:29:30.720
<v Speaker 1>the first place, which is the need to coordinate um

0:29:30.840 --> 0:29:35.840
<v Speaker 1>hunting and other survival subsistence activities within thick forest. Remember

0:29:35.880 --> 0:29:40.200
<v Speaker 1>the motivations, the sort of bioacoustic motivations we talked about earlier.

0:29:40.440 --> 0:29:43.720
<v Speaker 1>But despite these pressures, these languages don't have to disappear.

0:29:43.720 --> 0:29:45.560
<v Speaker 1>I was reading about that there are efforts in some

0:29:45.600 --> 0:29:50.479
<v Speaker 1>places to UH, to like set aside special attention and

0:29:50.560 --> 0:29:53.520
<v Speaker 1>care to preserve them. I believe in the Canary Islands

0:29:53.920 --> 0:29:57.320
<v Speaker 1>the whistle speech is like is to some extent being

0:29:57.360 --> 0:30:00.520
<v Speaker 1>taught in schools to to help preserve it. And obviously

0:30:00.600 --> 0:30:03.800
<v Speaker 1>that could be uh could be instituted in other areas

0:30:03.800 --> 0:30:06.320
<v Speaker 1>as well. Yeah, that's that's great. I mean, it's wonderful

0:30:06.320 --> 0:30:07.960
<v Speaker 1>that there are these these efforts to keep it alive

0:30:08.000 --> 0:30:11.680
<v Speaker 1>because of course, once once a language is no longer

0:30:12.440 --> 0:30:16.120
<v Speaker 1>properly spoken. It becomes so much harder to bring it back.

0:30:16.640 --> 0:30:19.400
<v Speaker 1>Not to say that it can't be, but you know,

0:30:19.480 --> 0:30:23.640
<v Speaker 1>but but clearly, like holding onto languages, keeping them alive

0:30:24.200 --> 0:30:27.280
<v Speaker 1>are important even and even when they are not, uh,

0:30:27.320 --> 0:30:30.600
<v Speaker 1>you know, the traditional spoken languages, but they are these

0:30:30.600 --> 0:30:39.960
<v Speaker 1>whistling tongues than However, despite all this talk we've been

0:30:40.040 --> 0:30:44.320
<v Speaker 1>using about how whistles can be used just like speech

0:30:44.480 --> 0:30:49.920
<v Speaker 1>to encode mundane information, to just transmit information between people,

0:30:50.800 --> 0:30:53.480
<v Speaker 1>there's another way of understanding whistling. One that goes I

0:30:53.480 --> 0:30:56.080
<v Speaker 1>think way back and you know it's been around, uh

0:30:56.680 --> 0:31:00.800
<v Speaker 1>since ancient times, that whistling is also it has a

0:31:00.880 --> 0:31:04.760
<v Speaker 1>kind of power, and that whistling is different than normal speech,

0:31:05.000 --> 0:31:07.239
<v Speaker 1>and that in many ways it may be kind of

0:31:07.280 --> 0:31:10.520
<v Speaker 1>divine or may have a may bring a magical danger

0:31:10.680 --> 0:31:14.080
<v Speaker 1>with it. Yeah. This, if you've listened to everything we've

0:31:14.120 --> 0:31:16.920
<v Speaker 1>discussed so far, you might you might be inclined to think, well,

0:31:17.040 --> 0:31:20.640
<v Speaker 1>whistling sometimes we do it, sometimes it's useful, but that's it.

0:31:21.120 --> 0:31:24.680
<v Speaker 1>We never have any additional values added to it. It's

0:31:24.720 --> 0:31:30.280
<v Speaker 1>never infernal or celestial, it's never vulgar or or or

0:31:30.280 --> 0:31:32.720
<v Speaker 1>anything of that nature. But of course this is this

0:31:32.800 --> 0:31:35.480
<v Speaker 1>is far from from the truth. Uh, there's this deep

0:31:35.600 --> 0:31:39.520
<v Speaker 1>well across pretty much every culture here we can look

0:31:39.560 --> 0:31:43.760
<v Speaker 1>to where whistling has some sort of added meaning. It

0:31:43.800 --> 0:31:48.800
<v Speaker 1>takes on various supernatural tones, and some of these will

0:31:48.960 --> 0:31:52.640
<v Speaker 1>will get into more in the next episode. But I

0:31:52.680 --> 0:31:55.240
<v Speaker 1>wanted to dive in sort of almost really just go

0:31:55.360 --> 0:31:58.200
<v Speaker 1>right to the deep end and dive into this subject

0:31:58.520 --> 0:32:03.240
<v Speaker 1>of transcendental whistling, particularly Chinese transcendental is whistling. But this

0:32:03.320 --> 0:32:07.320
<v Speaker 1>is a topic that also has connections to some other areas.

0:32:07.400 --> 0:32:10.320
<v Speaker 1>So uh, this should this should be a fun journey

0:32:10.360 --> 0:32:12.920
<v Speaker 1>will take and then again come back in later and

0:32:12.960 --> 0:32:16.640
<v Speaker 1>discuss uh some more examples of whistling and Chinese culture

0:32:17.000 --> 0:32:21.520
<v Speaker 1>um from a broader standpoint, as well as a great

0:32:21.600 --> 0:32:25.160
<v Speaker 1>number of whistling related superstitions that involve everything from you know,

0:32:25.200 --> 0:32:30.240
<v Speaker 1>ghosts and monsters to more sort of societal pressures. Yeah,

0:32:30.240 --> 0:32:32.240
<v Speaker 1>this brings us to the topic of chin chow, which

0:32:32.240 --> 0:32:36.800
<v Speaker 1>I believe translates to something like lengthy always or forever whistling.

0:32:37.280 --> 0:32:41.240
<v Speaker 1>It's an ancient Daoist practice that involves the use of long, drowned,

0:32:41.360 --> 0:32:44.680
<v Speaker 1>drawn out whistling as a means of cultivating and balancing

0:32:44.880 --> 0:32:49.280
<v Speaker 1>one's vital force or chi And I think that just that,

0:32:49.280 --> 0:32:52.600
<v Speaker 1>that that one nugget of information there, Like, I feel

0:32:52.600 --> 0:32:55.800
<v Speaker 1>like that kind of balance as well with sort of

0:32:55.840 --> 0:32:59.240
<v Speaker 1>a broader experience with whistling. There is something about whistling

0:32:59.320 --> 0:33:03.800
<v Speaker 1>that certainly takes you out of um, out of your thoughts,

0:33:03.800 --> 0:33:06.239
<v Speaker 1>and kind of puts you in the now, even if

0:33:06.280 --> 0:33:07.920
<v Speaker 1>you're just if you were to say, set there and

0:33:07.960 --> 0:33:10.840
<v Speaker 1>focus on whistling a single tone and sort of concentrate

0:33:10.880 --> 0:33:14.520
<v Speaker 1>on it without even bursting into song and so forth, yes,

0:33:14.560 --> 0:33:16.920
<v Speaker 1>I would agree with that. And I guess one of

0:33:16.960 --> 0:33:19.120
<v Speaker 1>the first things that comes to my mind is that

0:33:19.840 --> 0:33:23.400
<v Speaker 1>whistling seems very similar to breath. And of course many

0:33:23.720 --> 0:33:27.800
<v Speaker 1>sort of traditional meditation practices involved manipulation of breath in

0:33:27.840 --> 0:33:30.280
<v Speaker 1>one way or another. That seems to have some kind

0:33:30.320 --> 0:33:33.640
<v Speaker 1>of um power of focusing in the mind in a

0:33:33.680 --> 0:33:37.280
<v Speaker 1>certain way, or unfocusing the mind if you want that.

0:33:37.640 --> 0:33:39.880
<v Speaker 1>The control of breath is like that. And I guess

0:33:39.960 --> 0:33:43.120
<v Speaker 1>in a way, though um speech is also control of breath,

0:33:43.160 --> 0:33:45.640
<v Speaker 1>So I'm not sure why it's that different, but it

0:33:45.640 --> 0:33:48.640
<v Speaker 1>it seems a different kind of control of breath that's

0:33:48.680 --> 0:33:52.800
<v Speaker 1>more akin to the slow, steady breathing exercises that you

0:33:52.840 --> 0:33:55.960
<v Speaker 1>would be more likely to find in a meditative practice. Yeah.

0:33:56.000 --> 0:33:58.680
<v Speaker 1>Sometimes this whole sort of suite of ideas that sometimes

0:33:58.760 --> 0:34:02.240
<v Speaker 1>referred to as as like breath magic. Uh and and yeah,

0:34:02.240 --> 0:34:03.960
<v Speaker 1>I think you could you could throw whistling in there.

0:34:04.000 --> 0:34:06.400
<v Speaker 1>But also some of the various sounds that are made

0:34:06.480 --> 0:34:11.080
<v Speaker 1>in meditative breathing practices, such as home uh, such as

0:34:11.719 --> 0:34:15.200
<v Speaker 1>there are also various meditation practices where the exhale takes

0:34:15.239 --> 0:34:17.279
<v Speaker 1>on more of the form of a of a of

0:34:17.280 --> 0:34:22.080
<v Speaker 1>an animal noise like a roaring, etcetera. But but yeah,

0:34:22.080 --> 0:34:24.400
<v Speaker 1>in this case, yeah, we definitely are talking about some

0:34:24.760 --> 0:34:28.720
<v Speaker 1>form of of breath magic and that the chang shao.

0:34:29.200 --> 0:34:32.600
<v Speaker 1>It frequently pops up in Chinese literature, with one classic

0:34:32.680 --> 0:34:37.640
<v Speaker 1>example being Rhapsody on Whistling by Ching Gong Psi, who

0:34:37.960 --> 0:34:41.520
<v Speaker 1>lived to thirty one through two seventy three. It's too

0:34:41.560 --> 0:34:43.319
<v Speaker 1>long of a work to read here in full, but

0:34:43.520 --> 0:34:46.640
<v Speaker 1>but key passages about whistling as a practice of the

0:34:47.080 --> 0:34:50.440
<v Speaker 1>uh secluded gentleman are as follows. I'm going to skip

0:34:50.760 --> 0:34:52.839
<v Speaker 1>over many lines here, so this is not a full

0:34:52.840 --> 0:34:57.640
<v Speaker 1>experience of the translated text. Distancing himself from the exquisite

0:34:57.640 --> 0:35:01.080
<v Speaker 1>in the common, he abandons his personal concer earns. Then,

0:35:01.280 --> 0:35:04.880
<v Speaker 1>filled with noble emotion, he gives a long drawn whistle.

0:35:05.280 --> 0:35:08.600
<v Speaker 1>He sends forth marvelous tones from his red lips and

0:35:08.719 --> 0:35:14.080
<v Speaker 1>stimulates mournful sounds from his gleaming teeth. The sound rises

0:35:14.120 --> 0:35:17.919
<v Speaker 1>and falls, rolling in his throat. The breath rushes out

0:35:18.200 --> 0:35:22.720
<v Speaker 1>and is repressed, then flies up like sparks. The whistle

0:35:22.800 --> 0:35:27.200
<v Speaker 1>floats like a wandering cloud in the grand imperiod. H

0:35:27.239 --> 0:35:31.600
<v Speaker 1>And I'm told, okay, this is the transcendental void, and

0:35:31.680 --> 0:35:35.480
<v Speaker 1>gathers a great wind for a myriad miles. When the

0:35:35.520 --> 0:35:38.280
<v Speaker 1>song is finished and the echoes die out, it leaves

0:35:38.320 --> 0:35:41.400
<v Speaker 1>behind a pleasure that lingers on in the mind. Indeed,

0:35:41.400 --> 0:35:45.160
<v Speaker 1>whistling is the most perfect natural music, which cannot be

0:35:45.239 --> 0:35:49.879
<v Speaker 1>imitated by strings or woodwinds. For every category, he has

0:35:49.920 --> 0:35:54.240
<v Speaker 1>a song to each thing he perceives. He tunes a melody.

0:35:54.760 --> 0:35:58.800
<v Speaker 1>Oh that's great. That that gives me chills, dude, Yeah, yeah,

0:35:58.840 --> 0:36:02.040
<v Speaker 1>So this this is the copy of the text I

0:36:02.120 --> 0:36:06.719
<v Speaker 1>was looking at is in the Colombia Anthology of Traditional

0:36:06.800 --> 0:36:12.080
<v Speaker 1>Chinese Literature, and sinologist Victor H. Mayor provides some additional

0:36:12.160 --> 0:36:15.800
<v Speaker 1>details on what is being described here. So he describes

0:36:15.920 --> 0:36:19.680
<v Speaker 1>the Chinese transcendental whistling as being quote, a kind of

0:36:19.800 --> 0:36:24.640
<v Speaker 1>nonverbal language with affinities to the spiritual aspect of meditation.

0:36:25.080 --> 0:36:28.160
<v Speaker 1>So it's a tool of the individual for self cultivation

0:36:28.560 --> 0:36:33.319
<v Speaker 1>in search of enlightenment, and is mentioned in appendices to

0:36:33.480 --> 0:36:37.360
<v Speaker 1>the Classic of Changes or the ea Ching. Okay, so

0:36:37.480 --> 0:36:39.400
<v Speaker 1>we actually, I think we did an episode on the

0:36:39.400 --> 0:36:42.560
<v Speaker 1>eaching a long time ago. We did like three or

0:36:42.560 --> 0:36:45.239
<v Speaker 1>four years ago, now maybe, so, yeah, I think it

0:36:45.280 --> 0:36:49.080
<v Speaker 1>was pretty pandemic. So the mind controls the breath, and

0:36:49.160 --> 0:36:52.719
<v Speaker 1>with his breath he whistles, and with his whistle, well,

0:36:52.800 --> 0:36:55.800
<v Speaker 1>here here's another quote from mayor quote from any given

0:36:55.880 --> 0:36:59.560
<v Speaker 1>point of view, each object or situation fits into a category.

0:36:59.640 --> 0:37:04.280
<v Speaker 1>For we, there is a corresponding hexagram. Each hexagram consists

0:37:04.280 --> 0:37:07.759
<v Speaker 1>of yin and yang lines, which may be interpreted as

0:37:07.800 --> 0:37:11.840
<v Speaker 1>patterns of sound. These are the songs. So whenever the

0:37:11.840 --> 0:37:17.320
<v Speaker 1>whistler perceives something, he immediately transposes it into a melody.

0:37:17.320 --> 0:37:20.879
<v Speaker 1>With his control of the vital breath, he can manipulate

0:37:20.960 --> 0:37:25.479
<v Speaker 1>these sounds and thereby control any phenomena. So I'm trying

0:37:25.480 --> 0:37:29.160
<v Speaker 1>to remember the the eaching, of course contains the hexagrams,

0:37:29.160 --> 0:37:31.839
<v Speaker 1>but I'm trying to remember the significance of the hexagrams

0:37:31.920 --> 0:37:36.759
<v Speaker 1>beyond the divination purpose of the eaching. Um do do

0:37:36.760 --> 0:37:39.279
<v Speaker 1>you recall more than I do? Here? Well? I think

0:37:39.320 --> 0:37:41.080
<v Speaker 1>the main thing to keep in mind is that these

0:37:41.120 --> 0:37:45.160
<v Speaker 1>different heck, these hexagrams come together and they mean things,

0:37:45.360 --> 0:37:49.040
<v Speaker 1>and then they mean things in particular sequences. And so

0:37:49.239 --> 0:37:51.319
<v Speaker 1>I think for our purposes here we might think of

0:37:51.360 --> 0:37:55.960
<v Speaker 1>these as being sort of un encoding of reality. And

0:37:56.000 --> 0:38:00.879
<v Speaker 1>then the whistle here, the the Chinese transcendental whistling, can

0:38:00.920 --> 0:38:03.280
<v Speaker 1>be used as a way first of sort of meeting

0:38:03.560 --> 0:38:08.880
<v Speaker 1>the coded reality, but then also controlling the encoded reality.

0:38:09.000 --> 0:38:11.759
<v Speaker 1>And it is said that the whistle alone can can

0:38:11.840 --> 0:38:16.520
<v Speaker 1>quote turn the pure Yang hexagram inside out to form

0:38:16.600 --> 0:38:19.759
<v Speaker 1>the pure Yen hexagram. So we're getting into like the

0:38:19.880 --> 0:38:23.080
<v Speaker 1>vital energies of the universe here. And the idea here

0:38:23.160 --> 0:38:25.400
<v Speaker 1>is that if if someone is is an expert in this,

0:38:25.480 --> 0:38:27.759
<v Speaker 1>if they know what they're doing, then not only are

0:38:27.800 --> 0:38:31.560
<v Speaker 1>they sort of confronting reality with the whistle, but then

0:38:31.600 --> 0:38:34.520
<v Speaker 1>they are they're able to change things and flip things,

0:38:34.800 --> 0:38:39.280
<v Speaker 1>alter the universal energy involved in a given situation. Okay,

0:38:39.320 --> 0:38:41.960
<v Speaker 1>I see. So it's a kind of a meaning magic

0:38:42.080 --> 0:38:45.319
<v Speaker 1>in the same way that language itself sometimes is used to,

0:38:45.320 --> 0:38:49.560
<v Speaker 1>you know, the traditions that ascribe sort of magical power

0:38:49.600 --> 0:38:54.200
<v Speaker 1>to certain words or um or or symbols signifying words.

0:38:54.719 --> 0:38:58.399
<v Speaker 1>But it's just not the same as the language. It's

0:38:58.440 --> 0:39:02.360
<v Speaker 1>like an alternate version of meaning magic. Yeah. And and

0:39:02.400 --> 0:39:04.560
<v Speaker 1>I and I have to to stress you idea this

0:39:04.600 --> 0:39:07.839
<v Speaker 1>is we're talking about those kind of lofty dallast practice here.

0:39:07.920 --> 0:39:10.760
<v Speaker 1>So um, you know, we're we're only sort of loosely

0:39:10.840 --> 0:39:13.720
<v Speaker 1>describing it. But but I believe this is the gist

0:39:13.800 --> 0:39:16.400
<v Speaker 1>of it. Uh. And this is the way of looking

0:39:16.400 --> 0:39:18.680
<v Speaker 1>at it that is useful to move forward, and again

0:39:18.760 --> 0:39:21.239
<v Speaker 1>we'll come back to perhaps in the next episode, we'll

0:39:21.239 --> 0:39:25.200
<v Speaker 1>get back into some other uh traditional Chinese ideas concerning

0:39:25.239 --> 0:39:28.279
<v Speaker 1>whistling in general, and some of these ideas will sort

0:39:28.320 --> 0:39:32.279
<v Speaker 1>of flow back into this topic of transcendental whistling. Now.

0:39:32.360 --> 0:39:34.680
<v Speaker 1>One of the things that I found really interesting about this,

0:39:34.680 --> 0:39:38.279
<v Speaker 1>this idea of using sound, using the whistle and then

0:39:38.320 --> 0:39:42.080
<v Speaker 1>sort of changing something about reality, is that uh. And

0:39:42.360 --> 0:39:45.000
<v Speaker 1>ultimately the idea of breath, the breath becoming sound, and

0:39:45.040 --> 0:39:50.399
<v Speaker 1>sound not only describing but transforming something. Um, I this

0:39:50.520 --> 0:39:53.319
<v Speaker 1>stirred something in my memory. So and uh and I

0:39:53.320 --> 0:39:56.200
<v Speaker 1>think another part was the eaching connection because I was

0:39:56.239 --> 0:40:00.120
<v Speaker 1>reminded of something that Terence McKenna discussed in his of

0:40:00.200 --> 0:40:04.239
<v Speaker 1>True Hallucinations, a concept that his brother Dennis I think

0:40:04.440 --> 0:40:10.160
<v Speaker 1>largely contemplated called the psycho audible warp phenomenon. And this

0:40:10.239 --> 0:40:12.760
<v Speaker 1>is gonna also get you know, we're going from from

0:40:13.440 --> 0:40:18.120
<v Speaker 1>from from Dallas to uh uh transcendental practices here into

0:40:18.560 --> 0:40:21.600
<v Speaker 1>the work of Terence McKenna and his brother Dennis. So um,

0:40:21.640 --> 0:40:24.680
<v Speaker 1>you know this is another sort of lofty idea, but

0:40:24.960 --> 0:40:28.600
<v Speaker 1>it has to do as I've read. It has to

0:40:28.600 --> 0:40:32.280
<v Speaker 1>do with the trip tomine metabolism and the electro spin

0:40:32.680 --> 0:40:36.800
<v Speaker 1>resonance of the psilocybin molecule. And I don't pretend to

0:40:36.880 --> 0:40:39.960
<v Speaker 1>understand it entirely, but it does seem to boil down

0:40:39.960 --> 0:40:44.000
<v Speaker 1>to a sort of voice sound based manipulation of reality

0:40:44.520 --> 0:40:48.560
<v Speaker 1>while one is within an altered state of mind. Okay,

0:40:48.600 --> 0:40:51.359
<v Speaker 1>So I, when you're talking about mckennay, you never know

0:40:51.480 --> 0:40:55.120
<v Speaker 1>exactly It's it's hard to tell exactly how magical he's

0:40:55.160 --> 0:40:59.880
<v Speaker 1>claiming something. Are they talking about literally actually changing external

0:41:00.000 --> 0:41:03.840
<v Speaker 1>physical reality by the use of of UH sounds and

0:41:03.840 --> 0:41:09.719
<v Speaker 1>and and hallucinations in the mind. Um, it's it's hard

0:41:09.760 --> 0:41:13.200
<v Speaker 1>to say, right, I mean, it's when with a lot

0:41:13.239 --> 0:41:14.680
<v Speaker 1>of this kind of stuff one gets the idea of

0:41:14.719 --> 0:41:17.560
<v Speaker 1>it's like the chasing of some sort of of an

0:41:17.600 --> 0:41:20.440
<v Speaker 1>idea that it's all about, sort of, you know, the

0:41:20.600 --> 0:41:24.240
<v Speaker 1>ideas coming together things that they've read and and taking

0:41:24.239 --> 0:41:29.279
<v Speaker 1>on new forms within the psychedelic experience. So yeah, it's

0:41:29.360 --> 0:41:33.040
<v Speaker 1>it's it's hard to say, But I was curious on

0:41:33.160 --> 0:41:35.760
<v Speaker 1>reading somebody else's take on all this, so I found

0:41:36.480 --> 0:41:39.600
<v Speaker 1>a paper titled The Weird Naturalism of the Brothers McKenna

0:41:39.640 --> 0:41:43.120
<v Speaker 1>by Eric Davis for the International Journal for the Study

0:41:43.160 --> 0:41:46.239
<v Speaker 1>of New Religions, published in two thousand and sixteen. And

0:41:46.440 --> 0:41:48.480
<v Speaker 1>this is an expert This is one of the things

0:41:48.520 --> 0:41:51.920
<v Speaker 1>that Davis says here. Davis writes, quote, Dennis believed that

0:41:51.960 --> 0:41:55.360
<v Speaker 1>a psycho fluid could be generated through the vocal effect.

0:41:55.440 --> 0:41:59.600
<v Speaker 1>He had discovered a psycho audible warp phenomenon that generated

0:42:00.160 --> 0:42:03.480
<v Speaker 1>a specific kind of energy field that can rupture three

0:42:03.480 --> 0:42:07.880
<v Speaker 1>dimensional space. Of course, had this wild theory. The buzz

0:42:07.920 --> 0:42:10.560
<v Speaker 1>that Dennis hurt in his head was caused by the

0:42:10.600 --> 0:42:15.520
<v Speaker 1>electron spin resonance or es R of the metabolizing psilocybin

0:42:15.800 --> 0:42:21.000
<v Speaker 1>alkaloids inserting themselves into the base pairs of his neuronal DNA.

0:42:21.800 --> 0:42:24.799
<v Speaker 1>This sound was picked up and amplified through the antenna

0:42:25.040 --> 0:42:29.560
<v Speaker 1>created through this Similarly, resonating harmine alkaloids let loose from

0:42:29.560 --> 0:42:33.400
<v Speaker 1>the ayahuasca vine that they nippled. By imitating this sound

0:42:33.719 --> 0:42:37.439
<v Speaker 1>with his voice, it's harmonic frequencies would be canceled out,

0:42:37.880 --> 0:42:43.640
<v Speaker 1>calling the harmine psilocybine DNA complex to drop into a stable,

0:42:43.920 --> 0:42:50.600
<v Speaker 1>superconducting hyperdimensional state with apocalyptic results. Okay, okay, I don't

0:42:50.600 --> 0:42:52.759
<v Speaker 1>want to be unkind, but this reads to me as

0:42:52.800 --> 0:42:55.239
<v Speaker 1>another one of these cases of somebody who's kind of

0:42:55.239 --> 0:43:00.840
<v Speaker 1>a psychonaut having a a profound, very person only meaningful,

0:43:01.080 --> 0:43:05.400
<v Speaker 1>ineffable experience on a psychedelic and then trying desperately to

0:43:05.560 --> 0:43:09.640
<v Speaker 1>sort of literally externalize that experience and say, no, it

0:43:09.760 --> 0:43:15.000
<v Speaker 1>has some kind of literal, causative physical reality to it. Yeah,

0:43:15.080 --> 0:43:17.319
<v Speaker 1>and they're there. I think that's that's fair. And then

0:43:17.320 --> 0:43:19.840
<v Speaker 1>they're also of course again, you go into a psychedelic

0:43:19.840 --> 0:43:23.640
<v Speaker 1>experience bringing all of these other pre existing ideas and

0:43:23.680 --> 0:43:27.480
<v Speaker 1>certainly they seem to be tapping into some alchemical concepts

0:43:27.520 --> 0:43:30.600
<v Speaker 1>as well. Davis says that it's difficult to really figure

0:43:30.600 --> 0:43:33.680
<v Speaker 1>out what Dennis is getting at here, but there are

0:43:33.680 --> 0:43:36.520
<v Speaker 1>a lot of comparisons to the alchemical concept of the

0:43:36.520 --> 0:43:40.560
<v Speaker 1>Philosopher's Stone and the creation of this belief that the

0:43:40.880 --> 0:43:45.399
<v Speaker 1>quote from Dennis's quote, the ultimate technological artifact that would

0:43:45.600 --> 0:43:48.400
<v Speaker 1>hold a great deal of power over reality. That's getting

0:43:48.400 --> 0:43:52.920
<v Speaker 1>into the apocalyptic results. Uh so, uh so, yeah, yeah,

0:43:52.960 --> 0:43:55.440
<v Speaker 1>there's there's there's more than a little alchemy tied up

0:43:55.440 --> 0:43:59.880
<v Speaker 1>into this concept. Now, the idea of the psychedelic ex

0:44:00.000 --> 0:44:02.759
<v Speaker 1>arians and all of this is interesting and and elsewhere

0:44:03.200 --> 0:44:06.160
<v Speaker 1>mckinna does connect all of this to whistling in a

0:44:06.280 --> 0:44:09.640
<v Speaker 1>more well, I guess, grounded manner. So this is a

0:44:09.719 --> 0:44:13.400
<v Speaker 1>quote I believe this is from one of mckinna's many talks.

0:44:13.440 --> 0:44:16.920
<v Speaker 1>He says, quote, Ayahuasca is different by sound, by song,

0:44:17.000 --> 0:44:21.200
<v Speaker 1>by whistling, and its ability to transform sound, including vocal sound,

0:44:21.239 --> 0:44:24.880
<v Speaker 1>into the visual spectrum indicates that some kind of information

0:44:25.000 --> 0:44:29.440
<v Speaker 1>processing membrane or boundary is being overcome by the pharmacology

0:44:29.480 --> 0:44:34.080
<v Speaker 1>of this stuff and things normally experienced as acoustically experienced

0:44:34.120 --> 0:44:38.080
<v Speaker 1>become visibly beheld, and it's quite spectacular unquote. And this

0:44:38.080 --> 0:44:40.880
<v Speaker 1>would definitely be I think an example of tarrance of

0:44:41.000 --> 0:44:44.520
<v Speaker 1>Terence speaking about something uh with a little more of

0:44:44.560 --> 0:44:48.319
<v Speaker 1>the science hat on as opposed to the psychonod hat right.

0:44:48.360 --> 0:44:51.520
<v Speaker 1>I mean, I think there he's describing the phenomenology of

0:44:52.120 --> 0:44:55.880
<v Speaker 1>drug induced synesthesia, the idea that when under the influence

0:44:55.880 --> 0:45:00.480
<v Speaker 1>of some psychedelics, you can the perception of one normal

0:45:00.840 --> 0:45:05.399
<v Speaker 1>uh piece of sense information can can bleed over into another. So,

0:45:05.800 --> 0:45:09.320
<v Speaker 1>for example, people on certain psychedelics often report being able

0:45:09.360 --> 0:45:13.319
<v Speaker 1>to like hear colors or see sounds and so forth. Yeah,

0:45:13.400 --> 0:45:15.920
<v Speaker 1>now now getting into what Terrence is talking about here

0:45:15.920 --> 0:45:20.880
<v Speaker 1>concerning ayahuasca. Um Aahuasca, for anyone unfamiliar, is a psychoactive

0:45:20.920 --> 0:45:24.840
<v Speaker 1>brew used for ceremonial purposes among various indigenous peoples of

0:45:24.840 --> 0:45:28.200
<v Speaker 1>the Amazon Basin. Taking it can result in an altered

0:45:28.239 --> 0:45:32.160
<v Speaker 1>state of consciousness, complete with hallucinations. And for a little

0:45:32.160 --> 0:45:34.080
<v Speaker 1>more about whistling and all of this, I turned to

0:45:34.120 --> 0:45:38.000
<v Speaker 1>a paper. This is a paper by Fred Katz and

0:45:38.080 --> 0:45:41.200
<v Speaker 1>Maryline dobb Ken at De Rios published in the Journal

0:45:41.320 --> 0:45:45.480
<v Speaker 1>of American Folklore. Again, it's the ninety one and it's

0:45:45.480 --> 0:45:49.040
<v Speaker 1>titled Hallucinogenic Music, An Analysis of the role of Whistling

0:45:49.320 --> 0:45:54.120
<v Speaker 1>in Peruvian ayahuasca healing sessions and in at the author's

0:45:54.160 --> 0:45:57.279
<v Speaker 1>point out that drug induced states and music tend to

0:45:57.280 --> 0:46:00.400
<v Speaker 1>go hand in hand, and traditions around the world that

0:46:00.480 --> 0:46:04.719
<v Speaker 1>involves psychoactive substances. They're talking about religious traditions here, But

0:46:04.760 --> 0:46:08.040
<v Speaker 1>I think this this also carries on into modern psychedelic

0:46:08.080 --> 0:46:11.680
<v Speaker 1>culture as well. Only ancient societies they didn't have Steve

0:46:11.760 --> 0:46:14.319
<v Speaker 1>Roach albums to listen to. They couldn't just play something

0:46:14.320 --> 0:46:17.560
<v Speaker 1>on their iPhone. They had their traditional musical instruments, they

0:46:17.560 --> 0:46:20.440
<v Speaker 1>had their voices, they had their songs, and they had

0:46:20.440 --> 0:46:23.239
<v Speaker 1>their whistles. Yeah, I think it is totally not an

0:46:23.280 --> 0:46:27.360
<v Speaker 1>accident that psychedelic drugs are widely associated with music in

0:46:27.400 --> 0:46:30.480
<v Speaker 1>the twentieth century. I don't think that's a coincidence because

0:46:30.480 --> 0:46:32.720
<v Speaker 1>I don't know, because The Grateful Dead was a band

0:46:32.880 --> 0:46:36.239
<v Speaker 1>instead of visual artists or filmmakers or something. I mean,

0:46:36.360 --> 0:46:39.040
<v Speaker 1>I think that there is sort of an inherent connection

0:46:39.080 --> 0:46:43.160
<v Speaker 1>between psychedelics and music, that the altered state of consciousness

0:46:43.760 --> 0:46:48.000
<v Speaker 1>for some reason is very well complimented by music. We

0:46:48.200 --> 0:46:50.880
<v Speaker 1>you know, I don't know. The patterns created by music

0:46:50.920 --> 0:46:54.240
<v Speaker 1>tend to be very pleasing to people in in altered

0:46:54.320 --> 0:46:57.160
<v Speaker 1>states of consciousness and uh, and it's sort of a

0:46:57.160 --> 0:46:59.719
<v Speaker 1>feedback loop to right that there's there's this idea that

0:46:59.719 --> 0:47:03.279
<v Speaker 1>people on psychedelics often enjoy listening to music but also

0:47:03.320 --> 0:47:07.200
<v Speaker 1>want to create music. Yeah, I mean, the psychedelic experience

0:47:07.239 --> 0:47:09.920
<v Speaker 1>can change the way the music is heard, the way

0:47:09.920 --> 0:47:12.600
<v Speaker 1>it's interpreted, and so forth. And they get into this

0:47:12.640 --> 0:47:14.839
<v Speaker 1>a little bit in the paper. They describe the use

0:47:14.880 --> 0:47:20.200
<v Speaker 1>of whistling incantations with these ayahuasca ceremonies, which are thought

0:47:20.239 --> 0:47:24.240
<v Speaker 1>to allow one to evoke the spirit of the vine

0:47:24.320 --> 0:47:26.880
<v Speaker 1>for healing purposes. And they point out that on one hand,

0:47:27.239 --> 0:47:29.480
<v Speaker 1>the uses of sacred music and a sit in these

0:47:29.520 --> 0:47:31.719
<v Speaker 1>sorts of situations, this is not all that different from

0:47:31.760 --> 0:47:34.680
<v Speaker 1>the use of say Gregorian chant and med evil Christianity.

0:47:34.920 --> 0:47:37.200
<v Speaker 1>You know, we we also do we can't we can't

0:47:37.239 --> 0:47:39.720
<v Speaker 1>go into a scenario like this and forget that music

0:47:40.360 --> 0:47:43.880
<v Speaker 1>on its own is already this powerful thing that that

0:47:44.000 --> 0:47:47.520
<v Speaker 1>alters thought, um, you know, and can can make minds

0:47:47.600 --> 0:47:51.080
<v Speaker 1>work in unison with each other. But we do have

0:47:51.160 --> 0:47:54.680
<v Speaker 1>the added psychedelic factor here to take into account, um

0:47:54.800 --> 0:47:57.120
<v Speaker 1>and uh and and this is where where it gets

0:47:57.280 --> 0:48:00.600
<v Speaker 1>perhaps a little more interesting with the ayahuasca scenario. They

0:48:00.640 --> 0:48:04.240
<v Speaker 1>write quote such phenomena as the slowing down or changing

0:48:04.280 --> 0:48:07.480
<v Speaker 1>of time. Perception must be related to how music is

0:48:07.520 --> 0:48:12.240
<v Speaker 1>perceived by the individual under the effects of powerful alkaloids

0:48:12.400 --> 0:48:17.240
<v Speaker 1>harmone and harmline present in the ayahuasca potion. The number

0:48:17.680 --> 0:48:21.640
<v Speaker 1>of metronomic markings listed earlier the paper includes some sheet

0:48:21.719 --> 0:48:25.640
<v Speaker 1>music notations of the whistling may not indeed be perceived

0:48:25.760 --> 0:48:28.640
<v Speaker 1>as they would in an ordinary state. So that's worth

0:48:28.640 --> 0:48:31.279
<v Speaker 1>thinking about the idea of of music that is is

0:48:31.320 --> 0:48:35.200
<v Speaker 1>not only not not only is it interesting when it

0:48:35.320 --> 0:48:39.040
<v Speaker 1>is heard during this particular altered state of consciousness, but

0:48:39.160 --> 0:48:41.759
<v Speaker 1>it is created to be heard in this altered state

0:48:41.760 --> 0:48:45.439
<v Speaker 1>of consciousness. Yeah, well, I would say that that there

0:48:45.440 --> 0:48:49.120
<v Speaker 1>are other parallels to modern popular music there. Um, what

0:48:49.520 --> 0:48:53.080
<v Speaker 1>would you say about genres of music that are most

0:48:53.120 --> 0:48:56.839
<v Speaker 1>often associated with the psychedelic experiences. I would say they

0:48:56.880 --> 0:49:00.600
<v Speaker 1>tend to be more sort of meandering and repetitive. And

0:49:00.640 --> 0:49:03.759
<v Speaker 1>I think that's because you know, like jam bands and

0:49:03.800 --> 0:49:06.759
<v Speaker 1>stuff for or stoner metal or any of those things,

0:49:06.840 --> 0:49:10.280
<v Speaker 1>that they tend to create these um patterns that repeat

0:49:10.320 --> 0:49:14.000
<v Speaker 1>a lot and are are less tight and focused than

0:49:14.080 --> 0:49:17.239
<v Speaker 1>say a normal two and a half minute pop song. Uh,

0:49:17.280 --> 0:49:19.920
<v Speaker 1>and that has that clearly has something to do again

0:49:19.960 --> 0:49:23.000
<v Speaker 1>with the phenomenology of the psychedelic experience, that there's something

0:49:23.000 --> 0:49:25.520
<v Speaker 1>about like sort of getting into a state of mind

0:49:25.600 --> 0:49:28.760
<v Speaker 1>and lingering there and maybe changes in the perception of

0:49:29.000 --> 0:49:31.840
<v Speaker 1>time and patterns and stuff. Yeah, that's a that's a

0:49:31.840 --> 0:49:34.080
<v Speaker 1>good point about the repetition because you think you can

0:49:34.120 --> 0:49:37.600
<v Speaker 1>think of various, right or different genres of popular music

0:49:37.640 --> 0:49:42.640
<v Speaker 1>today that have strong connections to like psychedelic drug culture things.

0:49:42.719 --> 0:49:46.799
<v Speaker 1>Is different to say citrants and say doom metal. You know,

0:49:47.080 --> 0:49:49.360
<v Speaker 1>you wouldn't mistake one for the other. But when you

0:49:49.400 --> 0:49:53.520
<v Speaker 1>get into like long h uses of repetition, there are

0:49:53.560 --> 0:49:57.439
<v Speaker 1>similarities there. But so, okay, that's music specifically and why

0:49:57.760 --> 0:50:00.320
<v Speaker 1>certain kinds of music might traditionally be a so seated

0:50:00.360 --> 0:50:03.719
<v Speaker 1>with these ceremonies that involves psychedelics. But like, what what

0:50:03.760 --> 0:50:08.000
<v Speaker 1>about the specific characteristics of whistling would come in right,

0:50:08.080 --> 0:50:11.239
<v Speaker 1>So to bring us back to this ayahuasca scenario, you

0:50:11.320 --> 0:50:14.640
<v Speaker 1>have someone taking the ayahuasca beginning to have this experience

0:50:14.640 --> 0:50:17.640
<v Speaker 1>and they're being guided by a shaman the shaman is

0:50:17.800 --> 0:50:22.360
<v Speaker 1>using whistling as part of their guidance. So the authors

0:50:22.520 --> 0:50:24.600
<v Speaker 1>point out in the seventy one paper, the music seems

0:50:24.640 --> 0:50:27.520
<v Speaker 1>to have an effect on the visuals that the individual

0:50:27.840 --> 0:50:31.600
<v Speaker 1>under the influence of ayahuasca reports, and that the shaman

0:50:31.800 --> 0:50:35.200
<v Speaker 1>leading the ceremony and guiding the individual through the experience

0:50:35.440 --> 0:50:38.839
<v Speaker 1>will alter their use of melodies as needed, such as

0:50:39.480 --> 0:50:43.360
<v Speaker 1>one example being in response to the patient UH, the

0:50:43.400 --> 0:50:47.960
<v Speaker 1>individual taking that has taken the drug, experiencing nausea or

0:50:48.080 --> 0:50:51.520
<v Speaker 1>or vomiting. Different melodies are said to evoke different sorts

0:50:51.560 --> 0:50:54.719
<v Speaker 1>of visions, and the music the whistling is said to

0:50:54.760 --> 0:50:59.080
<v Speaker 1>help push the individual past the naza nasea, past the vomiting,

0:50:59.120 --> 0:51:02.640
<v Speaker 1>past and initial anxiety that is a part of the UH,

0:51:02.760 --> 0:51:06.319
<v Speaker 1>the the experience, and into the desired alternate state that

0:51:06.400 --> 0:51:09.800
<v Speaker 1>is often said to sort of exist beyond the nausea,

0:51:09.920 --> 0:51:14.200
<v Speaker 1>beyond the vomiting, beyond the initial like physical reaction to

0:51:14.320 --> 0:51:20.319
<v Speaker 1>the substances. I wonder if the specific potency of whistling

0:51:20.400 --> 0:51:23.120
<v Speaker 1>there and not just any type of singing or drumming

0:51:23.200 --> 0:51:26.440
<v Speaker 1>or anything like that. UH. It might have something to

0:51:26.480 --> 0:51:29.799
<v Speaker 1>do with the specific bioacoustic properties of whistling that we

0:51:29.800 --> 0:51:33.840
<v Speaker 1>talked about earlier, like the ability of whistling to cut

0:51:34.000 --> 0:51:38.399
<v Speaker 1>through other ambient sounds and to use a music engineer's term,

0:51:38.480 --> 0:51:41.440
<v Speaker 1>to cut through the mix uh in a way that

0:51:41.480 --> 0:51:45.960
<v Speaker 1>many other types of of naturally produced music wouldn't, say,

0:51:46.040 --> 0:51:49.239
<v Speaker 1>you know, singing or drumming or whatever. Yeah. Yeah, because

0:51:49.239 --> 0:51:51.319
<v Speaker 1>you can imagine this scenario where the shaman is is

0:51:51.320 --> 0:51:53.080
<v Speaker 1>having to cut through probably quite a bit. I mean,

0:51:53.080 --> 0:51:56.120
<v Speaker 1>obviously this is not something that this experience is likely

0:51:56.160 --> 0:51:59.400
<v Speaker 1>not taking place in an urban environment. But there there

0:51:59.440 --> 0:52:02.520
<v Speaker 1>may be the sound sounds of of nature outside of

0:52:02.680 --> 0:52:06.279
<v Speaker 1>the enclosure that one is having this experience in. There

0:52:06.320 --> 0:52:10.920
<v Speaker 1>may be other you know, sounds within the uh, the enclosure,

0:52:11.600 --> 0:52:14.319
<v Speaker 1>and of course there is the physical experience that's going

0:52:14.360 --> 0:52:16.960
<v Speaker 1>on that coul that would be quite distracting. And here

0:52:17.000 --> 0:52:19.759
<v Speaker 1>is the shaman with this whistle, this music that is

0:52:19.800 --> 0:52:23.280
<v Speaker 1>cutting through all that, or to cut through hallucinated sounds.

0:52:23.640 --> 0:52:26.440
<v Speaker 1>That's true. Yeah, I thought there's one more quote from

0:52:26.480 --> 0:52:28.960
<v Speaker 1>the paper here I thought was key quote. It is

0:52:29.000 --> 0:52:33.880
<v Speaker 1>possible that the patients augmented suggestibility encounters in the presence

0:52:33.920 --> 0:52:37.200
<v Speaker 1>of the healer a creative source and origin of music

0:52:37.520 --> 0:52:42.920
<v Speaker 1>which alleviates anxiety, tranquilizes and causes a turning inward by

0:52:42.920 --> 0:52:48.240
<v Speaker 1>the musical evocation of particular visions. And so that turning

0:52:48.280 --> 0:52:52.440
<v Speaker 1>inward reminds me once more of those descriptions of Chinese

0:52:52.480 --> 0:52:57.160
<v Speaker 1>transcendental whistling and the inward journey there so, and in

0:52:57.160 --> 0:52:58.759
<v Speaker 1>a way, I kind of feel like it comes comes

0:52:58.800 --> 0:53:03.279
<v Speaker 1>full circle there um. So you know. So, so this

0:53:03.360 --> 0:53:06.600
<v Speaker 1>is all I think it accounts for a handful of

0:53:06.600 --> 0:53:11.480
<v Speaker 1>of probably um extreme examples of whistling that is not

0:53:11.680 --> 0:53:16.200
<v Speaker 1>mundane whistling that takes on this heightened meaning. Be be

0:53:16.320 --> 0:53:21.280
<v Speaker 1>that heightened meaning reliant upon some sort of uh, psychoactive property,

0:53:21.400 --> 0:53:25.000
<v Speaker 1>or merely just some sort of an intense thought process

0:53:25.040 --> 0:53:28.239
<v Speaker 1>and meditation ritual. Yeah. So I was just looking back

0:53:28.239 --> 0:53:30.680
<v Speaker 1>at those lines you quoted from the Rhapsody on whistling,

0:53:30.719 --> 0:53:34.760
<v Speaker 1>the translation of it um, and so I'm thinking about

0:53:34.760 --> 0:53:37.840
<v Speaker 1>that with reference to the psychedelic experience, which you know,

0:53:37.920 --> 0:53:39.759
<v Speaker 1>in many cases, I think it is thought to be

0:53:40.360 --> 0:53:45.359
<v Speaker 1>largely associative. That a big characteristic of the religious psychedelic experiences,

0:53:45.719 --> 0:53:50.040
<v Speaker 1>maybe um, forming associations between things in the mind where

0:53:50.080 --> 0:53:52.840
<v Speaker 1>the cause of that association is not obvious or is

0:53:52.880 --> 0:53:56.160
<v Speaker 1>not literal. And to that point, I think of the

0:53:56.239 --> 0:53:59.279
<v Speaker 1>line in the Rhapsody that says, for every category he

0:53:59.320 --> 0:54:02.880
<v Speaker 1>has a song to everything he perceives. He tunes a

0:54:02.960 --> 0:54:07.040
<v Speaker 1>melody the idea that there are certain whistles or or

0:54:07.160 --> 0:54:11.480
<v Speaker 1>or sequences of whistles, maybe like tunes connected to ideas,

0:54:11.520 --> 0:54:14.960
<v Speaker 1>even though there there's no way that that tune that

0:54:15.000 --> 0:54:19.279
<v Speaker 1>you just whistled actually means a leopard, or actually means

0:54:19.280 --> 0:54:23.080
<v Speaker 1>a house, or means a tree, But for some reason

0:54:23.120 --> 0:54:25.640
<v Speaker 1>in your mind, suddenly it does. And in fact, the

0:54:25.640 --> 0:54:27.640
<v Speaker 1>same thing is true of language. That's you know, one

0:54:27.680 --> 0:54:30.239
<v Speaker 1>of the weird fundamental features of language, when you stop

0:54:30.280 --> 0:54:32.719
<v Speaker 1>to think about it, is that the word tree has

0:54:32.800 --> 0:54:35.799
<v Speaker 1>nothing to do with the tree, that the association that

0:54:35.840 --> 0:54:38.960
<v Speaker 1>you make between them is is purely a learned association.

0:54:39.320 --> 0:54:42.920
<v Speaker 1>That it's not to be found anywhere in nature. The

0:54:42.960 --> 0:54:45.200
<v Speaker 1>same would be true of the melody. Yet for some

0:54:45.280 --> 0:54:48.640
<v Speaker 1>reason in your mind you kind of create a language

0:54:48.640 --> 0:54:52.319
<v Speaker 1>that suddenly that melody means the concept. Yeah. So I

0:54:52.320 --> 0:54:55.000
<v Speaker 1>think on one hand these examples are are the extreme,

0:54:55.040 --> 0:54:57.600
<v Speaker 1>but they also do get to some of the core

0:54:57.600 --> 0:55:02.120
<v Speaker 1>realities of whistling that we've been discussing all along. Uh so, so, yeah,

0:55:02.160 --> 0:55:04.319
<v Speaker 1>this is this has been a fascinating journey thus far,

0:55:04.400 --> 0:55:06.359
<v Speaker 1>and we're not done yet. We have so much more

0:55:06.480 --> 0:55:09.759
<v Speaker 1>to discuss. In the next episode, we're going to get

0:55:09.800 --> 0:55:13.799
<v Speaker 1>into whistling and antiquity, uh basic questions like did the

0:55:13.840 --> 0:55:17.120
<v Speaker 1>ancient Romans whistle? Well, it's it's a more complicated question

0:55:17.160 --> 0:55:20.160
<v Speaker 1>than you might think, as well as what happens when

0:55:20.200 --> 0:55:23.640
<v Speaker 1>God whistle? Oh God, the whistling, the whistling and the

0:55:23.680 --> 0:55:26.840
<v Speaker 1>divine Yes, that's that also, that was the whole question

0:55:26.840 --> 0:55:28.600
<v Speaker 1>that took me off guard. But that'll be fun to

0:55:28.600 --> 0:55:31.319
<v Speaker 1>discuss as well. Also, I think we want to talk

0:55:31.360 --> 0:55:33.920
<v Speaker 1>something about the psychology of whistling that might further inform

0:55:34.040 --> 0:55:37.239
<v Speaker 1>some of the discussions we've had today. Yeah, all right,

0:55:37.280 --> 0:55:39.399
<v Speaker 1>well we were We hope that you're enjoying this, uh,

0:55:39.440 --> 0:55:41.640
<v Speaker 1>this journey as much as we are. And of course

0:55:41.640 --> 0:55:44.880
<v Speaker 1>we'd love to hear from everybody, because whistling is something

0:55:44.880 --> 0:55:48.160
<v Speaker 1>that that all or or most of you are are

0:55:48.200 --> 0:55:50.759
<v Speaker 1>somewhat familiar with, or you're gonna have particular connections to

0:55:50.800 --> 0:55:53.759
<v Speaker 1>it in general or specific connections even to some of

0:55:53.800 --> 0:55:56.640
<v Speaker 1>the traditions that we've discussed here. We'd love to hear

0:55:56.680 --> 0:55:59.560
<v Speaker 1>from you, so definitely right in about your whistle and

0:55:59.600 --> 0:56:03.840
<v Speaker 1>the whistling of others. In the meantime, new episodes of

0:56:03.840 --> 0:56:06.279
<v Speaker 1>Stuff to Blow Your Mind, the core episodes published on

0:56:06.320 --> 0:56:08.919
<v Speaker 1>Tuesdays and Thursdays. On Wednesday's we do a short form

0:56:08.960 --> 0:56:11.600
<v Speaker 1>artifact or monster fact. On Monday's we do listener mail.

0:56:11.640 --> 0:56:14.560
<v Speaker 1>On Fridays, we set aside most serious concerns and just

0:56:14.600 --> 0:56:17.239
<v Speaker 1>talk about a strange film. Huge thanks as always to

0:56:17.280 --> 0:56:20.600
<v Speaker 1>our excellent audio producer Seth Nicholas Johnson. If you would

0:56:20.600 --> 0:56:22.560
<v Speaker 1>like to get in touch with us with feedback on

0:56:22.600 --> 0:56:25.360
<v Speaker 1>this episode or any other, to suggest topic for the future,

0:56:25.440 --> 0:56:27.480
<v Speaker 1>or just to say hello, you can email us at

0:56:27.600 --> 0:56:38.120
<v Speaker 1>contact at stuff to blow your Mind dot com. Stuff

0:56:38.160 --> 0:56:40.360
<v Speaker 1>to Blow Your Mind is production of I Heart Radio.

0:56:40.719 --> 0:56:43.040
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0:56:45.840 --> 0:57:03.040
<v Speaker 1>favorite shows by Bliss has a time back by a

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