The Information: A History, a Theory, a Flood. James Gleick
fitting that history attached Morse’s name to his code, more than to his device.
He had at hand a technology that seemed to allow only crude pulses, bursts of current on and off, an electrical circuit closing and opening. How could he convey language through the clicking of an electromagnet? His first idea was to send numbers, a digit at a time, with dots and pauses. The sequence ••• •• ••••• would mean 325. Every English word would be assigned a number, and the telegraphists at each end of the line would look them up in a special dictionary. Morse set about creating this dictionary himself, wasting many hours inscribing it on large folios.2 He claimed the idea in his first telegraph patent, in 1840:
The dictionary or vocabulary consists of words alphabetically arranged and regularly numbered, beginning with the letters of the alphabet, so that each word in the language has its telegraphic number, and is designated at pleasure, through the signs of numerals.
Seeking efficiency, he weighed the costs and possibilities across several intersecting planes. There was the cost of transmission itself: the wires would be expensive and would convey only so many pulses per minute. Numbers would be relatively easy to transmit. But then there was the extra cost in time and difficulty for the telegraphists. The idea of code books—lookup tables—still had possibilities, and it echoed into the future, arising again in other technologies. Eventually it worked for Chinese telegraphy. But Morse realized that it would be hopelessly cumbersome for operators to page through a dictionary for every word.
His protégé Alfred Vail, meanwhile, was developing a simple lever key by which an operator could rapidly close and open the electric circuit. Vail and Morse turned to the idea of a coded alphabet, using signs as surrogates for the letters and thus spelling out every word. Somehow the bare signs would have to stand in for all the words of the spoken or written language. They had to map the entire language onto a single dimension of pulses. At first they conceived of a system built on two elements: the clicks (now called dots) and the spaces in between. Then, as they fiddled with the prototype keypad, they came up with a third sign: the line or dash, “when the circuit was closed a longer time than was necessary to make a dot.” (The code became known as the dot-and-dash alphabet, but the unmentioned space remained just as important; Morse code was not a binary language.3) That humans could learn this new language was, at first, wondrous. They would have to master the coding system and then perform a continuous act of double translation: language to signs; mind to fingers. One witness was amazed at how the telegraphists internalized these skills:
The clerks who attend at the recording instrument become so expert in their curious hieroglyphics, that they do not need to look at the printed record to know what the message under reception is; the recording instrument has for them an intelligible articulate language. They understand its speech. They can close their eyes and listen to the strange clicking that is going on close to their ear whilst the printing is in progress, and at once say what it all means.
In the name of speed, Morse and Vail had realized that they could save strokes by reserving the shorter sequences of dots and dashes for the most common letters. But which letters would be used most often? Little was known about the alphabet’s statistics. In search of data on the letters’ relative frequencies, Vail was inspired to visit the local newspaper office in Morristown, New Jersey, and look over the type cases. He found a stock of twelve thousand E’s, nine thousand T’s, and only two hundred Z’s. He and Morse rearranged the alphabet accordingly. They had originally used dash-dash-dot to represent T, the second most common letter; now they promoted T to a single dash, thus saving telegraph operators uncountable billions of key taps in the world to come. Long afterward, information theorists calculated that they had come within 15 percent of an optimal arrangement for telegraphing English text.
No such science, no such pragmatism informed the language of the drums. Yet there had been a problem to solve, just as there was in the design of a code for telegraphers: how to map an entire language onto a one-dimensional stream of the barest sounds. This design problem was solved collectively by generations of drummers in a centuries-long process of social evolution. By the early twentieth century the analogy to the telegraph was apparent to Europeans studying Africa. “Only a few days ago I read in the Times,” Captain Robert Sutherland Rattray reported to the Royal African Society in London, “how a resident in one part of Africa heard of the death—in another and far remote part of the continent—of a European baby, and how this news was carried by means of drums, which were used, it was stated, ‘on the Morse principle’—it is always ‘the Morse principle.’ ”
But the obvious analogy led people astray. They failed to decipher the code of the drums because, in effect, there was no code. Morse had boot-strapped his system from a middle symbolic layer, the written alphabet, intermediate between speech and his final code. His dots and dashes had no direct connection to sound; they represented letters, which formed written words, which represented the spoken words in turn. The drummers could not build on an intermediate code—they could not abstract through a layer of symbols—because the African languages, like all but a few dozen of the six thousand languages spoken in the modern world, lacked an alphabet. The drums metamorphosed speech.
It fell to John F. Carrington to explain. An English missionary, born in 1914 in Northamptonshire, Carrington left for Africa at the age of twenty-four and Africa became his lifetime home. The drums caught his attention early, as he traveled from the Baptist Missionary Society station in Yakusu, on the Upper Congo River, through the villages of the Bambole forest. One day he made an impromptu trip to the small town of Yaongama and was surprised to find a teacher, medical assistant, and church members already assembled for his arrival. They had heard the drums, they explained. Eventually he realized that the drums conveyed not just announcements and warnings but prayers, poetry, and even jokes. The drummers were not signaling but talking: they spoke a special, adapted language.
Eventually Carrington himself learned to drum. He drummed mainly in Kele, a language of the Bantu family in what is now eastern Zaire. “He is not really a European, despite the color of his skin,” a Lokele villager said of Carrington. “He used to be from our village, one of us. After he died, the spirits made a mistake and sent him off far away to a village of whites to enter into the body of a little baby who was born of a white woman instead of one of ours. But because he belongs to us, he could not forget where he came from and so he came back.” The villager added generously, “If he is a bit awkward on the drums, this is because of the poor education that the whites gave him.” Carrington’s life in Africa spanned four decades. He became an accomplished botanist, anthropologist, and above all linguist, authoritative on the structure of African language families: thousands of dialects and several hundred distinct languages. He noticed how loquacious a good drummer had to be. He finally published his discoveries about drums in 1949, in a slim volume titled The Talking Drums of Africa.
In solving the enigma of the drums, Carrington found the key in a central fact about the relevant African languages. They are tonal languages, in which meaning is determined as much by rising or falling pitch contours as by distinctions between consonants or vowels. This feature is missing from most Indo-European languages, including English, which uses tone only in limited, syntactical ways: for example, to distinguish questions (“you are happy
Three different Kele words are transliterated by Europeans as lisaka. The words are distinguished only by their speech-tones. Thus lisaka with three low syllables is a puddle; lisaka, the last syllable rising (not