Here we don’t speak, here we whistle: designing a language support system for the Silbo Gomero
MATOS, Sónia / PhD / Edinburgh College of Art / United Kingdom
Language / Intangible cultural heritage / Didactic materials / tion not only valorises the linguistic form but has also supported Vernacular and embodied knowledge local educational efforts.
This paper presents the design of a didactic application for a Here lies what will be the main thrust of this contribution: how whistled form of language known as the Silbo Gomero (Island might didactic materials be designed that will support the wealth of La Gomera, Canarian Archipelago). After fifty years of almost of skills so that they can be transmitted from one generation to total extinction this form of communication has been revived. As the other. Such interest is intimately tied to a close study of the a response to this transformation, the need to develop didactic Gomeran educational community, one that has shown a concern materials is presented as one of the main challenges encoun- for expanding the Silbo’s educational resources and learning tered by the community. methodologies (Brito et al. 2005). However, and considering that the learning of the Silbo Gomero has shifted from a form of apprenticeship characteristic of non-literate societies to being 1. Introduction subject of contemporary educational paradigms, understanding A hundred kilometres off the coast of Morocco and the Western the wealth of such skills becomes more pertinent than ever. Sahara one can find the small island of La Gomera, the home to a whistled form of language known as the Silbo Gomero. Even though the historic origins of this linguistic form are difficult to 2. What is a Whistled Form of Language? trace, most islanders attribute this practice to the Guanches, a pre-Hispanic people who were the original inhabitants of this Atlantic region until the XVth century, period during which they were largely driven to the brink of extinction by the Spanish colo- nization (Crosby 1986: 80-82). Despite the apparent total isola- tion of this ethnic group until this time, this linguistic form has much in common with other whistled languages that span the globe1. These places have nothing in common except particular geographical features: all characterised by being either moun- tainous or densely forested (Meyer 2005). This geographical diversity tends to suggest that whistled languages are sophis- ticated linguistic techniques largely used as telecommunica- tion systems (Busnel & Classe 1976: 13-31) and bearing a cor-
relation with their local spoken languages (Meyer 2005; Trujillo Figure 1. Students whistling (video still from the documentary ‘Aqui no se Habla, 1978, 2006). Aqui se Silba’ by Sónia Matos).
According to bioacoustician Julien Meyer (2005), who docu- Professor Ramón Trujillo, one of the most prominent figures in mented the regions, what distinguishes the Silbo Gomero from the phonetic and phonological study of the Silbo Gomero, has other whistled forms of language across the globe is its active presented this linguistic form not as ‘natural language’ – at least place within everyday life. The Silbo, as most Gomerans call it, not in the orthodox sense – but rather as an independent pho- has slowly, since the 1950’s, shifted from the fields where it was nological system2. One “(...) that contains a reduced number of once used by peasant islanders into the classroom, something phonic-schemes that are used to produce different sonorous which contributes to safeguarding its position within Gomeran substances (...)” (Trujillo 2006: 15). And even though this lin- culture. This shift is tied to a continual disappearance of agri- guistic form might resemble the local spoken Castilian Spanish cultural life, processes of immigration and the introduction of it is not a direct imitation of this linguistic code (Ibid.). Here, it is tourism as the main means of economic sustenance. In fact, the important to understand that this complex system of telecom- attempts that have been made to safeguard this intangible cul- tural form have led to recent recognition of the Silbo Gomero as a 2 A phonological system corresponds to the collection of phonemes used by a given language. Each phoneme corresponds to the smallest segmental unit of significant part of world heritage (UNESCO 2009). Such recogni- sound, a linguistic convention that attempts universally to represent, through a collection of graphical signs, the ‘distinctive sounds’ of each human language. As 1 Especially in Mexico, Greece, Turkey, Papua New Guinea, Vietnam, Guyana, an example, in the English language one can identify phonemes such /c/ for ‘car’ China, Nepal and Senegal (Meyer 2005). or /k/ for ‘kettle’. (IPA 1999: 27-28)
MATOS, Sónia 2012. Here we don’t speak, here we whistle: designing a language support system for the Silbo Gomero. In Farias, Priscila Lena; Calvera, Anna; Braga, Marcos da Costa & Schincariol, Zuleica (Eds.). Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. São Paulo: Blucher, 2012. ISBN 978-85-212-0692-7. DOI 10.5151/design-icdhs-046 Here we don’t speak, here we whistle: designing a language spport system for the Silbo Gomero
munication would not be possible without refiguring the body by means of a modification of the linguistic medium. Instead of re- 3. Moving Towards and Ecological Approach lying on the lips, the whistled form relies on the interior oral cav- Revealing some of the paradoxes behind the phonological study ity: the tongue must be elevated against the palate or teeth and of the Silbo Gomero (Trujillo 1978, 2006), and its reliance on pho- supported with one or two fingers, or even not supported at all, nological data and spectrographic modes of analyses4, appears according to the desired intensity (Trujillo 1978, Meyer 2005). as a crucial ground for discussion. Particularly, when attempting The process clearly disturbs the local Castilian Spanish without to understand the sorts of skills and the embodied knowledge disturbing its semantics – for this reason it is frequently called that inform the wealth of this linguistic form. Here, the concern a surrogate of the language spoken in the island (Trujillo 1978, shifts from safeguarding the Silbo Gomero as such to establish- 2006). ing a body of research to tackle the wealth of skills that inform local knowledge systems. This concern can be summarised by The limitation of the whistling apparatus is considered to be the the following question: what is really transmitted from one gen- main constraint, which explains why a whistler can only produce eration to the next? Is it simply a surrogate form of language or ‘differences in tonal frequency’ and this limits a vowel to being a complex and embodied auditory culture? While acknowledging ‘grave’ or ‘acute’. While the spoken vowel relies on a different set the Silbo Gomero as surrogate model of speech the researcher of physical resonators the whistled vowel is shaped by and de- will clearly demarcate the code as it is rendered through a spec- pends upon one resonator, the mouth (Ibid.). trographic measuring apparatus. While acknowledging this whistled form of language as situated and embodied phenom- One of the authors to disagree with this separation between ena that stretches the perceptual fabric beyond the delimitation ‘acute’ and ‘grave’ vowels is Annie Rialland (2005). In fact, Profes- of a verbal code, the researcher is drawn to its ecological sig- sor Trujillo writes that, within the Silbo Gomero we can only find nificance. However, and in order to extend this phonological ap- “(...) two ‘whistled vowels’ or groups of frequencies; two blocks proach, one has to extend the unit of analyses and integrate an that behave as they would in ordinary language (...) where func- embodied account of this performative ecology, where whistler tional confusion is impossible from a phonological (...) properties and environment cannot be easily detached from one another. that are always distinctive and those that are not consistently distinctive (depending on the context, the situation or what the This approach is supported by recent contributions made by whistler knows) cannot be considered (...). Obviously, these lat- Julien Meyer (2005). This bioacoustic study has provided an ter properties, which Annie Rialland sometimes calls ‘optional’ insightful resource for the development of an ecological ap- (...) do not form part of the structure of the whistled language be- proach to the study of whistled languages and their surrounding cause they depend on external factors” (Trujillo 2006: 15). Here, environment. This move from an informational to an ecological a paradox seems to emerge. When attending Silbo classes or be- stance, where both subject and environment become key ele- ing in the fields recording withMaestro Isidro Ortiz and Maestro ments, will ultimately reinforce the acknowledgement that the Lino Rodriguez3, I found that whistled languages are in fact highly relation that whistlers establish with the surrounding environ- ‘dependent’ on what a ‘phonological stage’ would call ‘external fac- ment is intrinsic to both performative and learning processes5. tors’. In fact, here, it is important to understand that both Maestro Such an ecological approach has been concurrently supported Isidro and Maestro Lino are able to whistle and perceive at least by work in the field of neuroscience, particularly when it has pur- two further groups of vowels within the grave/acute separation. sued the idea – largely based on fMRI brain scans of local whis- tlers – that the performance and intelligibility of this linguistic In considering the ‘phonological stage’, the ‘acute’ and ‘grave’ form involves recognition of complex pitch and melodic lines, vowels should be completed by the addition of two other groups where linguistic areas of the brain, largely conceived as speech of consonants, the ‘acute/grave continuant’ and the ‘acute/grave dependent, show an incredible adaptability to non-verbal audi- interrupted’. Here, the“(...) whistled consonants are nothing more tory signals (Carreiras et al. 2005). This reemphasizes Meyer’s than intonation curves, transitions or interruptions in the ‘whis- idea that: “At the level of the ear, the received whistle is only the tled line’ of what we have called whistled vowels” (Trujillo 2006: visible part of a linguistic and acoustic iceberg of which the im- 201). The vocalic lines – between 1000 and 3000 Hz – are al- mersed part is the brain of the actors in the dialogue” (translated tered with the ‘help’ of the whistled consonants. In these terms, from the original thesis written in the French language, p.236). an acute consonant will always point the following vowel to a higher frequency; the opposite will happen when it is preceded However, and as some have argued, cognition as embodied and by a grave consonant. All of the above ‘consonantal intonations’, whether continuant or interrupted, correspond to spoken Span- 4 Spectrographic analysis makes use of an oscilloscope (or scope) “(…) a ish, except for /s/ (that cannot easily be whistled) while “(...) a powerful instrument used to display the voltage in a circuit as time passes. continuant is transposed into an interrupted (...)” (Ibdi.: 205). Scopes are available as analog scope and as a digital storage oscilloscope (DSO)” (Diffenderfer 2004: 19). 3 Maestro is the Spanish word for teacher. Maestro Isidro and Maestro Lino are 5 This conclusion provided by Meyer’s bioacoustic study is indebted to an earlier two teachers who currently teach the Silbo Gomero in the different schools of the study of whistled forms of language proposed by André Classe and René-Guy island. Busnel (1976).
Design Frontiers: Territiories, Concepts, Technologies 244 MATOS, Sónia
interactive phenomena6 cannot be easily localized in the brain of the research component presented in the previous sections. or even in the simple adaptation to environmental constraints Hence, the ‘El Laberinto del Sonido’ presents a first-person ex- (Meyer 2005, Trujillo 1978, 2006), because it is performative. perience in which the creation and exploration of an immersive, In fact, my personal experience, when recording in the fields auditory space. In order to explore linguistic and ‘audile’8 (Sterne with both Maestro Isidro Mendonza and Maestro Lino Rodriguez, 2003: 96) spaces, the application is divided into distinct nodes provided valuable information of the perceptual ambiguities that are visually accessible to those of the user/s in a grid-like that arise from the environment and the whistlers embodied shape (see images bellow). Within this grid, the user/s are able performance within it. Here, it is important to account not only to create record sounds or to move and reconfigurate existing for the ways one reconfigures the verbal apparatus but also for ones. Each is accessible for direct sound recording or to import the ways in which the sonic qualities of the surrounding envi- sounds created elsewhere in the computational medium. ronment play a role in performance while enriching the subject’s auditory perceptual capacities. To take this further, while the Silbo might provide a surrogate means of communication to the verbal Castilian Spanish spoken in the island it also supersedes the logics of speech.
While placing all presented contributions into play, a working hy- pothesis is brought to light, one that ecologically situates what phonological studies will identify as ‘universal linguistic proper- ties’ (vowels and consonants) (Trujillo 2006: 319). At this point
it is important to proceed with care. This body of work does not Figure 2 and 3. Students interacting with the application ‘El Laberinto del Sonido’ in the neglect the fact that that the Silbo Gomero shares the same or- school CEIP El Retamal, Island of La Gomera, April 2009 (photograph by Sónia Matos) ganizational principles with spoken language – that would be na- ïve. However, it is important to understand that the description To this feature, and as part of the developed design proposal, en- of such ‘universal properties’ conceals a particular disciplinary gineer Theo Burt added a binaural sound generator or algorithm methodology, one that separates what generative linguistics that allows the development of a binaural sound� field. This fea- would qualify as the ‘faculty of language in the narrow sense’ ture is further enhanced by the possibility of directly manipu- – “(...) the abstract linguistic computational system alone, inde- lating distinct reverb presets while ‘painting’ each preselected pendent of other systems with which it interacts, and interfaces” reverb onto the grid of the narrative space. (Chomsky et al. 2002: 1571) from the ‘faculty of language-broad sense’, where “(...) an internal computational system combined To further continue, the application offers the possibility of with at least two other organism-internal systems, which we switching between a dual visual/auditory and an isolated audi- call ‘sensory-motor’ and ‘conceptual-intentional” (Ibid.: 1570). tory mode. The possibility of ‘hiding’ the visual interface allows One might posit for a moment, in the particular case of whistled children to focus on the recorded and inserted ‘sounds objects’�. forms of language, a form of linguistic competence that inter- Finally, this process demands a shift from an understanding of weaves both ‘faculties’. In this sense, whistled forms of language sound as object to an understating of its ‘effects’ (Augoyard & are as much forms of auditory cognitive apprenticeship as they Torgue 2005). While accessing the application through sonic are of purely generative linguistic competence. means, moving through the space and engaging in different schemes of interaction, the listener is experiencing the ‘effects’ of sound. Once clear and identifiable ‘objects’, they are now spa- 4. The Sound Labyrinth tially and temporally entangled and no longer appear as easily A continuing engagement with the Silbo’s auditory epistemic discernable and identifiable units, at least without demanding ecology has become the key underlying component in the de- larger degrees of active or ‘selective forms of listening’ (Truax sign of didactic materials, thus taking the potential to reenact 2001: 18). this linguistic form beyond the preservation of a surrogate code while recreating the ancient body of knowledge. This instigated As proposed in ‘Sonic Experience: a Guide to Everyday Sounds’ the development of the application ‘El Laberinto del Sonido’ (The (2005) five groups of ‘effects’ were considered: the ‘elementary Sound Labyrinth). Developed in collaboration with computer effects that concern the sound material itself’ (Ibid.: 17). In the engineer Theo Burt7, this application was designed for the the case of the Silbo Gomero’s auditory ecology this category is as- schools of the island and for children ranging 6 to 9 years of age. sociated with the reverberation and echo that one can sense The initial design stage was developed through a close reading when performing in the barrancos of the island. The ‘composi- tion effect concerns complex sound arrangements’ (Ibid.: 17). 6 Such an ecological or embodied reading of cognition is indebted to an ‘enactive theory of perception’ as proposed by Francisco Varela, Eleanor Rosch and Evan This effect refers to sounds that might occur at the same time or Thompson (1995) and the ecological and active reading of cognition as proposed by Alva Noë (2004) and James J. Gibson (1966). 8 The term ‘audile’ appears in Jonathan Sterne’s ‘The Audible Past: Cultural Origins 7 For more information regarding Theo Burt’s work please visit: http://www. of Sound Reproduction’ (2003) and refers to a person who’s understanding of the theoburt.com/ world is predominantly based on auditory stimulation (p.96).
Design Frontiers: Territiories, Concepts, Technologies 245 Here we don’t speak, here we whistle: designing a language spport system for the Silbo Gomero
sounds that have a complex temporal development; this phenom- References ena is visible when performing the Silbo out in the fields where (IPA) International Phonetic Association. 1999. The Phonemic Principle. various sounds may be heard simultaneously. The ‘mnemo-per- In Handbook of the International Phonetic Association: a Guide to the ceptive effects’ concern the way listeners ‘memorize sounds, a Use of the International Phonetic Alphabet: 27-28. Cambridge: Cam- feature that also influences the ways in which a listener searches bridge University Press. for sounds in the environment and the sounds that are culturally valorized over others’ (Ibid.: 17). And the ‘psychomotor effects’ (UNESCO) United Nations Educational, Scientific and Cultural Organiza- that concern ‘the actions or schemes developed by listeners tion. 2004. The Plurality of Literacy and its Implication for Policies and when interacting with particular sounds’ (Ibid.: 17). The phe- Programs: United Nations Educational, Scientific and Cultural Organiza- nomenon qualifies the ways in which the receiver of a whistled tion.
At this stage of design development, it was important to take into Blauert, J. 1997. Spatial Hearing. Cambridge, Mass. London, England: account the fact that these ‘effects’ are central to the ecological The MIT Press. development of the whistler’s body of knowledge as presented above. In this stage it was also pertinent to understand these ‘ef- Brito, U., Darias, E., Mendonza, I., Pallás, A., Parra, R., Pérez, M. and Tru- fects’ as entangled phenomena that provide distinct schemes of jillo, R. 2005. El Silbo Gomero. Materiales Didácticos. Consejeria de Edu- interaction and therefore cannot be reenacted in isolation. This cación, Cultura Y Deportes Del Gobierno de Canarias, Dirección General feature reemphasized the potential afforded by computational de Ordenación e Innovación Educativa. mediums, one that would shift some of the visually informed di- dactic materials as suggested in first didactic publication regard- Busnel, R.G. and Classe, A. 1976. Whistled Languages, 13. Berlin, Heidel- ing the Silbo Gomero (Brito et al. 2005) to a medium with vaster berg, New York: Springer-Verlag. interactive and sonic potentials. Carreiras, M., Corina, D., Lopez, J., and Rivero, F. 2005. Linguistic Per- ception: Neural Processing of a Whistled Language. Nature 433: 31- 32. 5. Some Final Remarks It is important to finalize this contribution by emphasizing that Chomsky, N.; Fitch, T. and Hauser, M. 2002. The Faculty of Language: the mobilized ecological direction does not necessarily offer What Is It, Who Has It, and How Did It Evolve? Science 298: 1569 - 1579. a ‘remedy’ in the safeguard and effective teaching of the Silbo Gomero in the space of the classroom. My point has rather been Crosby, A. 1986. The Fortunate Islands. In Ecological Imperialism: Bio- a shift in perspective when designing didactic materials for this logical Expansion of Europe 900-1900: 71-103. Cambridge University unique form of language, one that attempts to move beyond its Press. surrogacy to speech. In this sense, this body of research has at- tempted to mobilize a cultural reading of the Silbo Gomero while Diffenderfer, R. 2004. Electronic Devices: Systems and Applications. offering an ecological framework that is both rooted in local forms Cengage Learning. of embodied ‘audile’ knowledge while mingling with contempo- rary technological platforms and the challenges they carry. Final- Gibson, J. J. 1966. The Senses Considered as Perceptual Systems Bos- ly instigating future directions that traverse the community. And ton: Houghton Mifflin. while an older generation of whistlers might see in this whistled form of language the transmission of a culture of the past, I hope Kubovy, M. & van Valkenburg, D. 2004. From Gibson’s Fire to Gestalts: that the work developed so far might actually enhance the fact A Bridge-Building Theory of Perceptual Objecthood. In: Neuhoff, J. (Ed.) that they contribute towards the preparation of an ‘audile’ culture Ecological Psychoacoustics: 113-147. Elsevier Academic Press. for the future. Matos, S. 2011. Here We Don’t Speak, Here We Whistle: Mobilising a Acknowledgment Cultural Reading of Cognition Sound and Ecology in the Design of a The work here presented was made possible through the continu- Language Support System for the Silbo Gomero. Unpublished doctoral ous support of numerous people such as: Isidro Ortiz Mendonza, thesis. London: Goldsmiths College, University of London. Lino Rodriguez, the children of CEIP El Retamal, Esther Padilla, Ja- net Placencia Moreno, Marisa Blanco Perés, Pilar Mesa Fuentes, Meyer, J. 2005. Description Typologique et Intelligibilité des Langues Ana Luz, Montse Cano, doctoral supervisors Dr. Matthew Fuller, Dr. Sifflées, Approche Linguistique et Bioacoustique. Unpublished thesis. Olga Goriunova, Dr. Luciana Parisi, and musician Florian Hecker. Universite Lumiere Lyon 2.
Design Frontiers: Territiories, Concepts, Technologies 246 MATOS, Sónia
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About the author Sónia Matos (1978, Azores Islands) is a researcher and lecturer whose work primarily explores the interface between design and ethnography. She has recently completed her doctorate in cul- tural studies at Goldsmiths College, University of London and is currently lecturing at the School of Design, Edinburgh College of Art, University of Edinburgh and a Research Affiliate at the MIT Program in Art, Culture and Technology, Massachusetts Institute of Technology.
Design Frontiers: Territiories, Concepts, Technologies 247