In his evocative science fiction novel Babel-17, author Samuel R. Delany has the protagonist, cosmic poetess and semanticist Rydra Wong, discerning various parts of the strange, synesthetic, song-like language, an erstwhile “menacing hum clogging up Alliance space communications” known as Babel-17, as she describes the room in which it overpowers her thought:
“She didn’t ‘look at the room’. She ‘something at the something’.
The first something was a tiny vocable that implied an immediate, but passive, perception that could be aural or olfactory as well as visual. The second something was three equally tiny phonemes that blended at different musical pitches: one, an indicator that fixed the size of the chamber at roughly twenty-five feet long and cubical, the second identifying the color and probable substance of the walls – some blue metal – while the third was a placeholder for particles that should denote the room’s function when she discovered it, and a sort of grammatical tag by which she could refer to the whole experience with only the one symbol for as long as she needed. All four sounds took less time on her tongue and in her mind than one clumsy diphthong in ‘room’. Babel-17, she had felt it before with other languages, the opening, the widening, the mind forced to sudden growth. But this was like the sudden focusing of a lens blurry for years” (1963, p. 90).
Do we strive to derive deeper meaning from our words? Perhaps not unlike patterns of written music, linguist Benjamin Whorf sought profound denotation in the symbolic “root signs” of Hebrew letters to prefigure the phoneme, the basic sound unit of language (Rogers, 2021). Does the flowing calligraphy of Arabic text, with its interlinked characters, speak more generally to language’s melodic origins and the widening of communication capable, beyond its overt symbology? As nineteenth-century parapsychologist Edmund Gurney suggests, some subjectivity of interpretation in turn enables a widening of appreciation, as with music, and demands that we be less biased in our preferences, as
“wide tolerance to such variety is not so much charitable as scientific; it being a matter of simple observation that, under similar conditions of love and knowledge of the art, persons may present remarkable differences as to the specimens which they respectively find exceptionally impressive” (1881, p. 39).
If a definition of language can be broadened to include the sounds and song of nature to which we often find ourselves drawn, what insights might we glean about our own social ensembles from this perspective? Soundscape ecologist Bernie Krause realized that discerning individual animal songs did not accurately represent them, as their acoustic habitats are marked rather by a deep intermingling of different sounds and signals, an ebb and flow from quiet moments to anthem-like choruses (July 2020). Can such music be an indicator of population health? From a community’s biophany, we listen to the “density and diversity and expression of the ways in which these sounds are communicated” and which allow us to compare its health over time (Interview with Bernie Krause, CBC Radio, January 14, 2022).
Computer scientists Janice Glasgow and Dimitris Papadias observe that perceptual mental imagery, regardless of sensory input, has both spatial and non-spatial characteristics. For example, objects and motion are spatial, while color is non-spatial (1998). What is the nature of sound under this distinction? According to music critic Paul Grabbe, it has both attributes, as displayed in impressionist composer DeBussy’s symphonic sketches of “La Mer”: “The Play of Waves pictures the sea now thoroughly awakened by the wind – its waves endlessly racing each other and tossing wet spray high in the air where it scatters in a thousand flakes of iridescent color” (1940, p. 75).
DeBussy, C. (1903) La Mer, Nocturnes – Prelude A L’Apres-Midi D’Un Faune, [Youtube audio] retrieved January 2022 from https://www.youtube.com/watch?v=3o8uUP0lS9c
Delany, S. R. (1966) Babel-17. New York, United States: Ace Books, Inc.
Fischer, T. (July 2020), Everything Is Wrong: Bernie Krause’s Concept of ‘Biophony’, in The MIT Press Reader. Cambridge, United States: The MIT Press, retrieved January 2022 from https://thereader.mitpress.mit.edu/everything-is-wrong-bernie-krauses-concept-of-biophony/
Glasgow, J., & Papadias, D. (1998), Computational Imagery, in Thagard, P. (Ed.) Mind Readings: Introductory Selections on Cognitive Science (pp. 157-205). Cambridge, United States: The MIT Press
Grabbe, P. (1940) The Story of One Hundred Symphonic Favorites. New York, United States: Grosset & Dunlap
Gurney, E. (January 1881), The Power of Sound, in The Musical Times and Singing Class Circular, Vol. 22, No. 455, pp. 38-39, retrieved January 2022 from https://ia800708.us.archive.org/view_archive.php?archive=/22/items/crossref-pre-1909-scholarly-works/10.2307%252F3356039.zip&file=10.2307%252F3356593.pdf
Krause, B., & Armstrong, P., (January 14, 2022), Human-made Climate Change is Affecting the Sound of our Ecosystems, says Ecologist, on Day 6, CBC Radio, retrieved January 23, 2022 from https://www.cbc.ca/radio/day6/human-made-climate-change-is-affecting-the-sound-of-our-ecosystems-says-ecologist-1.6314501
Rogers, A. (2021) Full Spectrum: How the Science of Color Made Us Modern. New York, United States: Houghton Mifflin Harcourt Publishing Company