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Peter Watts 218 Blindsight<br />

"Indeed Then what are you so happy about Don't you know<br />

what this means"<br />

Sudden prickling on the back of my neck. I looked around; I<br />

looked up. Jukka Sarasti had appeared in the center of the drum,<br />

eyes gleaming, teeth bared, watching us.<br />

Cunningham followed my gaze, and nodded. "I'd wager it<br />

does..."<br />

There was no way to learn what they'd whispered across that<br />

wall. We could recover the audio easily enough, parse every tick<br />

and tap they'd exchanged, but you can't decipher a code without<br />

some idea of content. We had patterns of sound that could have<br />

meant anything. We had creatures whose grammar and syntax—if<br />

their mode of communication even contained such attributes—<br />

were unknown and perhaps unknowable. We had creatures smart<br />

enough to talk, and smart enough to hide that fact. No matter how<br />

much we wanted to learn, they were obviously unwilling to teach<br />

us.<br />

Not without—how had I put it— negative reinforcement.<br />

It was Jukka Sarasti who made the decision. We did it on his<br />

orders, as we did everything else. But after the word had come<br />

down— after Sarasti had disappeared in the night and Bates had<br />

retreated down the spine and Robert Cunningham had returned to<br />

his studies at the back of the drum—I was the one Susan James<br />

was left with. The first to speak the vile thought aloud, the official<br />

witness to posterity. I was the one she looked at, and looked away<br />

from, her surfaces hard and refractory.<br />

And then she started.<br />

This is how you break down the wall:<br />

Start with two beings. They can be human if you like, but that's<br />

hardly a prerequisite. All that matters is that they know how to talk<br />

among themselves.<br />

*<br />

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