Back The Mountain in the Sea Save as PDF
Chapters (58)
  1. Copyright Notice
  2. Dedication
  3. I Qualia
  4. Chapter 1
  5. Chapter 2
  6. Chapter 3
  7. Chapter 4
  8. Chapter 5
  9. Chapter 6
  10. Chapter 7
  11. Chapter 8
  12. Chapter 9
  13. Chapter 10
  14. Chapter 11
  15. Chapter 12
  16. II Umwelt
  17. Chapter 13
  18. Chapter 14
  19. Chapter 15
  20. Chapter 16
  21. Chapter 17
  22. Chapter 18
  23. Chapter 19
  24. Chapter 20
  25. Chapter 21
  26. Chapter 22
  27. Chapter 23
  28. Chapter 24
  29. III Semiosphere
  30. Chapter 25
  31. Chapter 26
  32. Chapter 27
  33. Chapter 28
  34. Chapter 29
  35. Chapter 30
  36. Chapter 31
  37. Chapter 32
  38. Chapter 33
  39. Chapter 34
  40. Chapter 35
  41. Chapter 36
  42. IV Autopoiesis
  43. Chapter 37
  44. Chapter 38
  45. Chapter 39
  46. Chapter 40
  47. Chapter 41
  48. Chapter 42
  49. Chapter 43
  50. Chapter 44
  51. Chapter 45
  52. Chapter 46
  53. Chapter 47
  54. Chapter 48
  55. Epilogue
  56. Acknowledgments
  57. A Note About the Author
  58. Newsletter Sign-up

Movement and pause. Shift, extrapolate, innovate, return. She was lost in it. She knew, without glancing at Evrim or at Altantsetseg, that they were as well. They almost did not register the movement on-screen when the juvenile was joined by another octopus, and then another.

Larger and smaller, the newcomers began to form a crescent around the shape-singing one. The forms on the singer’s skin grew, now—larger and more distinct, inked dark and edged against a pearlite background of flesh, the pallid gaps between the figures longer. Was it moving to a crescendo?

And then came a single form, sharp and clear as a stamp or a tattoo on the skin of the singer. It lingered. Lingered like the drawn-out final note of a symphony:

It was ten seconds, fifteen, before it began to fade, black to gray to a ghost, then nothing—as if worn away by sun or wind.

And then the singer collapsed, shrank, receded into itself. It lost the stiff, elongated posture it had held during its performance. It became, once again, a being of any shape at all. And the crescent of audience closed in, arms reaching, stroking and tangling the arm-ends of the singer. Then moving away, drifting off. Reluctant? A sense of quietude to them.

But as they moved off, Ha saw it on their skins—again and again. Less defined, less articulated—like the echo of a crescendo in the mind of a concertgoer—but here scrawled on the surface. On that cephalopod flesh that is like a window to the mind itself. Minds in the sea. And etched on the mind-skin of each of them, as they drifted away:

A trace.

Chapter 29

What we must look for, to be successful in interspecies communication, are starting points: commonalities of perception where we can begin the difficult work of translation between two fundamentally different ways of being in the world.

We must look for concepts that approach the universal. Concepts such as “shelter,” “safety,” “community,” and even complexities like “cooperation” and “communication,” which would have to exist for any society. When we—if we—determine the signs that represent these concepts, we may find a foothold.

—Dr. Ha Nguyen, How Oceans Think

29

THE LITTLE AUTOSKIFF bounced across the wave chop and moved out into the small inlet. There was hardly a need for the boat: they were traveling no more than a few hundred meters from shore. Ha could have walked in from the beach. But the boat was filled with mesh bags that would have been difficult to carry from shore, and anyway Altantsetseg had insisted on the boat.