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

“This is one of the reasons why the communications of cephalopods are so difficult to crack: They don’t have a grammar or vocabulary. Everything is either local—learned on the fly over a short life span—or instinctive. Plus, they mix communications between colors, patterns, texture, and gesture. That would be a bit like communicating using speech, Morse code, and sign language at the same time, and having to understand all of them simultaneously in order to make sense of any of them.

“The bigger complication is that they use their primary, mixed method of communication—skin pattern, texture, and coloration, which they employ in a simple way to warn one another off or express a feeling—for a lot of other things as well: camouflage, the confusion of predators, fight-or-flight responses, and so on. And because they are not producing light from their surface, but rather reflecting ambient light from the environment, the colors they are producing shift in different light conditions—so if the cuttlefish were using color to communicate, they may be saying, “Hey, Bob,” in bright light, but it may sound a lot like, “Watch fob,” when a shadow crosses overhead. It would be like humans talking with their mouths full while using a language that has a different grammar indoors and outdoors, and trying to whistle and hide from a bear while carrying on the conversation.”

“Kind of hard,” Evrim said.

“Yeah.” Ha laughed. “Kind of hard. This octopus would have to overcome that. It would need to find a way to communicate that was digital—I mean digital like our number system or our alphabet. If the animal you brought me here to study has done that—has exapted a structure or function to use for communication—then we might have something.”

“We might have something, Ha,” Evrim said. “Let’s watch the video from the submersible. This was what we saw a month ago…”

Chapter 9

We are shaped and limited by our skeletons. Jointed, defined, structured. We create a world of relationships that mirrors that shape: a world of rigid boundaries and binaries. A world of control and response, master and servant. In our world, as in our nervous systems, hierarchy rules.

—Dr. Ha Nguyen, How Oceans Think

9

THE YELLOWFINS CAME DOWN into the hopper from the processing floor above, their heads sliced off, their guts torn out. Some spilled over the side of the hopper before they could be sorted on the rack and slotted into their freezing blocks.

Already the floor of the flash-freezing factory room was slick with their slime. The air was full of the toxin in their stink—a histamine that got into Eiko’s throat and lungs, made it hard to breathe, made him gag and wobble over his task. The Sea Wolf was having a problem in this room with drainage. A puck-shaped maintenance bot labored at a blocked sump. Fish slime and seawater pooled around Eiko’s ankles.