How to speak monkey: The language of cotton-top tamarins - Anne Savage

423,402 views ใƒป 2014-06-26

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Tal Dekkers
00:07
Living with her family high above the ground
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ื—ื™ื” ืขื ืžืฉืคื—ืชื” ื’ื‘ื•ื” ืžืขืœ ื”ืื“ืžื”
00:10
in the northern tropical forests of Colombia,
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ื‘ื™ืขืจื•ืช ื”ื˜ืจื•ืคื™ื™ื ื”ืฆืคื•ื ื™ื™ื ืฉืœ ืงื•ืœื•ืžื‘ื™ื”,
00:13
you will find Shakira,
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ืชืžืฆืื• ืืช ืฉืืงื™ืจื”,
00:15
a cotton-top tamarin with a penchant for conversation.
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ื˜ืžืจื™ืŸ ืขื ืื”ื‘ื” ืœืฉื™ื—ื”.
00:19
Say, "Hola!"
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ืชื’ื™ื“ื™, "ื”ื•ืœื”!"
00:22
Though you may not realize it,
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ืœืžืจื•ืช ืฉืื•ืœื™ ืืชื ืœื ื™ื•ื“ืขื™ื ืืช ื–ื”,
00:23
this one pound monkey communicates
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ื”ืงื•ืคื” ื”ื–ื• ื‘ืžืฉืงืœ ื—ืฆื™ ืงื™ืœื•ื’ืจื ืžืชืงืฉืจืช
00:25
in a highly sophisticated language
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ื‘ืฉืคื” ืžืื•ื“ ืžืชื•ื—ื›ืžืช
00:27
of 38 distinct calls
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ืฉืœ 38 ืงืจื™ืื•ืช ืžื•ื‘ื—ื ื•ืช ืฉื•ื ื•ืช
00:30
based on variations of chirps and whistles.
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ืฉืžื‘ื•ืกืกื•ืช ืขืœ ืฉื™ื ื•ื™ื ื‘ืฆื™ื•ืฆื™ื ื•ืฉืจื™ืงื•ืช.
00:35
The response she just gave is
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ื”ืชื’ื•ื‘ื” ืฉื”ื™ื ื ืชื ื” ื›ืจื’ืข
00:37
known as a "B chirp",
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ื™ื“ื•ืขื” "ื›ืฆื™ื•ืฅ B",
00:38
a call often directed at humans.
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ืงืจื™ืื” ืฉืœืจื•ื‘ ืžื•ืคื ืช ื›ืœืคื™ ื‘ื ื™ ืื“ื.
00:41
To appreciate the complexities of Shakira's language,
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ื›ื“ื™ ืœื”ืขืจื™ืš ืืช ื”ืžื•ืจื›ื‘ื•ืช ืฉืœ ื”ืฉืคื” ืฉืœ ืฉืืงื™ืจื”,
00:44
let's learn a few chirps and whistles,
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ื‘ื•ืื• ื ืœืžื“ ื›ืžื” ืฆื™ื•ืฆื™ื ื•ืฉืจื™ืงื•ืช,
00:47
then examine how their combinations
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ื•ืื– ื ื‘ื—ืŸ ืื™ืš ื”ืฉื™ืœื•ื‘ ื‘ื™ื ื”ื
00:49
form grammatically structured sequences.
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ื™ื•ืฆืจ ืžืฉืคื˜ื™ื ืžื•ื‘ื ื™ื ืชื—ื‘ื™ืจื™ืช.
00:52
The chirp Shakira used to greet us
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ื”ืฆื™ื•ืฅ ืฉืฉืืงื™ืจื” ื”ืฉืชืžืฉื” ื‘ื• ื›ื“ื™ ืœื‘ืจืš ืื•ืชื ื•
00:54
comes from a class of calls known as
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ืžื’ื™ืข ืžืžืฉืคื—ื” ืฉืœ ืงืจื™ืื•ืช ืฉื™ื“ื•ืขื•ืช
00:56
single frequency modulated syllables.
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ื›ื”ื‘ืจื•ืช ื‘ืขืœื•ืช ืžื ืขื“ ืฉืœ ืชื“ื™ืจื•ืช ืื—ืช.
01:00
This class is made up of short duration calls, or chirps,
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ื”ืžืฉืคื—ื” ื”ื–ื• ืขืฉื•ื™ื” ืžืงืจื™ืื•ืช ืงืฆืจื•ืช, ืื• ืฆื™ื•ืฆื™ื,
01:04
and long duration calls, like screams and squeals.
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ื•ืงืจื™ืื•ืช ืืจื•ื›ื•ืช, ื›ืžื• ืฆืขืงื•ืช ื•ื™ื‘ื‘ื•ืช.
01:11
Researchers have determined that there are eight
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ื—ื•ืงืจื™ื ืงื‘ืขื• ืฉื™ืฉ ืฉืžื•ื ื”
01:13
different types of chirps categorized by
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ืกื•ื’ื™ื ืฉื•ื ื™ื ืฉืœ ืฆื™ื•ืฆื™ื ืฉืžื—ื•ืœืงื™ื ืขืœ ื™ื“ื™
01:15
stem upsweep, duration, peak frequency, and frequency change.
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ืขืœื™ื•ืช ืžืจื›ื–ื™ื•ืช, ืžืฉืš, ืชื“ื™ืจื•ืช ืžืงืกื™ืžืœื™ืช, ื•ืฉื™ื ื•ื™ ืชื“ื™ืจื•ืช.
01:22
In addition, each chirp has its own unique meaning.
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ื‘ื ื•ืกืฃ, ืœื›ืœ ืฆื™ื•ืฅ ื™ืฉ ืžืฉืžืขื•ืช ื™ื—ื•ื“ื™ืช ืžืฉืœื•.
01:25
For example, Shakira's "C chirp" is used
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ืœื“ื•ื’ืžื”, ืฆื™ื•ืฅ C ืฉืœ ืฉืืงื™ืจื” ืžืฉืžืฉ
01:30
when she is approaching food,
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ื›ืฉื”ื™ื ืžืชืงืจื‘ืช ืœืื•ื›ืœ,
01:32
where as her "D chirp" is only used
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ื‘ืขื•ื“ ืฆื™ื•ืฅ D ืฉืœื” ืžืฉืžืฉ ืจืง
01:36
when she has the food in hand.
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ื›ืฉื™ืฉ ืœื” ืื•ื›ืœ ื‘ื™ื“.
01:39
Single whistles also exhibit a unique intention with each call
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ืฉืจื™ืงื•ืช ื™ื—ื™ื“ื•ืช ืžืคื’ื™ื ื•ืช ื›ื•ื•ื ื” ื™ื—ื•ื“ื™ืช ืขื ื›ืœ ืงืจื™ืื”
01:43
and just as there are eight different chirps,
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ื•ืžืžืฉ ื›ืžื• ืฉื™ืฉ ืฉืžื•ื ื” ืฆื™ื•ืฆื™ื ืฉื•ื ื™ื,
01:45
there are five different whistles.
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ื™ืฉ ื—ืžืฉ ืฉืจื™ืงื•ืช ืฉื•ื ื•ืช.
01:47
Based on frequency modulation,
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ื‘ื”ืชื‘ืกืก ืขืœ ืฉื™ื ื•ื™ ืชื“ื™ืจื•ืช,
01:49
single whistles are subdivided into four categories:
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ืฉืจื™ืงื•ืช ื™ื—ื™ื“ื•ืช ืžื—ื•ืœืงื•ืช ืœืืจื‘ืข ืงื‘ื•ืฆื•ืช:
01:53
squeaks, initially modulated whistles,
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ื—ืจื™ืงื•ืช, ืฉืจื™ืงื•ืช ืขื ืฉื™ื ื•ื™ ื”ืชื—ืœืชื™,
01:59
terminally modulated whistles, and flat whistles.
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ืฉืจื™ืงื•ืช ืขื ืฉื™ื ื•ื™ ื‘ืกื™ื•ื, ื•ืฉืจื™ืงื•ืช ืฉื˜ื•ื—ื•ืช.
02:05
The language's quality of unique intention
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ื”ืื™ื›ื•ืช ืฉืœ ื”ืฉืคื” ืฉืœ ื›ื•ื•ื ื” ื™ื—ื•ื“ื™ืช
02:07
is wonderfully exemplified by the category
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ืžื•ื“ื’ืžืช ื ืคืœื ืขืœ ื™ื“ื™ ื”ืงื‘ื•ืฆื”
02:09
of initially modulated whistles.
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ืฉืœ ืฉืจื™ืงื•ืช ืขื ืฉื™ื ื•ื™ ื”ืชื—ืœืชื™.
02:12
These whistles change based on the proximity
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ื”ืฉืจื™ืงื•ืช ื”ืืœื• ืžืฉืชื ื•ืช ื‘ื”ืชื‘ืกืก ืขืœ ื”ืงืจื‘ื”
02:14
of Shakira to other members of her family.
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ืฉืœ ืฉืืงื™ืจื” ืœื—ื‘ืจื™ื ืื—ืจื™ื ื‘ืžืฉืคื—ื” ืฉืœื”.
02:17
If Shakira is greater than .6 meters from her family,
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ืื ืฉืืงื™ืจื” ืจื—ื•ืงื” ื™ื•ืชืจ ืžื—ืฆื™ ืžื˜ืจ ืžื”ืžืฉืคื—ื” ืฉืœื”,
02:21
she'll sound a large initally modulated whistle.
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ื”ื™ื ืชืฉืžื™ืข ืฉืจื™ืงื” ื’ื“ื•ืœื” ืฉืžืื•ืคื ื ืช ื‘ืชื—ื™ืœืชื”.
02:25
But if she's less than .6 meters from her family,
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ืื‘ืœ ืื ื”ื™ื ื‘ืžืจื—ืง ืฉืœ ืคื—ื•ืช ืžื—ืฆื™ ืžื˜ืจ ืžื”ืžืฉืคื—ื” ืฉืœื”,
02:28
she'll sound a small initially modulated whistle.
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ื”ื™ื ืชืฉืžื™ืข ืฉืจื™ืงื” ืงื˜ื ื” ืฉืžืื•ืคื ื ืช ื‘ืชื—ื™ืœืชื”.
02:33
Now that we've learned a few chirps and whistles,
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ืขื›ืฉื™ื• ืฉืœืžื“ื ื• ื›ืžื” ืฆื™ื•ืฆื™ื ื•ืฉืจื™ืงื•ืช,
02:35
Shakira wants to show off by taking you
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ืฉืืงื™ืจื” ืจื•ืฆื” ืœื”ืฉื•ื•ื™ืฅ ื‘ืœืงื™ื—ืชื›ื
02:37
through a quick day in her life with these calls.
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ืœื™ื•ื ืžื”ื™ืจ ื‘ื—ื™ื™ื” ืขื ื”ืงืจื™ืื•ืช ื”ืืœื•.
02:40
While heading towards a feeding tree for her first meal of the day,
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ื›ืฉื”ื™ื ืžืชืงื“ืžืช ืœืขืฅ ื”ืื›ืœื” ืœืืจื•ื—ื” ื”ืจืืฉื•ื ื” ื‘ื™ื•ื,
02:44
she says, (monkey noise),
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ื”ื™ื ืื•ืžืจืช, (ืงื•ืœื•ืช ืงื•ืคื™ื),
02:46
a call most often used in relaxed investigations.
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ืงืจื™ืื” ืฉืœืจื•ื‘ ื‘ืฉื™ืžื•ืฉ ื‘ื—ืงื™ืจื” ืจื’ื•ืขื”.
02:50
However, suddenly she spots the shadow of a hawk.
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ืขื ื–ืืช, ืคืชืื•ื ื”ื™ื ืžื–ื”ื” ืฆืœ ืฉืœ ื ืฅ.
02:54
"E chirp" for alarm.
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ืฆื™ื•ืฅ E ืœืื–ื”ืจื”.
02:57
This call alerts her family to the presence of this predator,
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ื”ืงืจื™ืื” ื”ื–ื• ืžื–ื”ื™ืจื” ืืช ื”ืžืฉืคื—ื” ืฉืœื” ืœื ื•ื›ื—ื•ืช ืฉืœ ื”ื˜ื•ืจืฃ,
03:00
and Shakira jumps to the safety of an inner branch.
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ื•ืฉืงื™ืจื” ืงื•ืคืฆืช ืœืžื‘ื˜ื—ื™ื ืฉืœ ืขื ืฃ ืคื ื™ืžื™.
03:03
The coast seems clear,
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ื”ืฉื˜ื— ื ืจืื” ืคื ื•ื™,
03:05
so Shakira makes her way towards her dad.
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ืื– ืฉืืงื™ืจื” ื™ื•ืฆืืช ืœื›ื™ื•ื•ืŸ ืื‘ื™ื”.
03:07
Wait, wait. Who is that?
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ืจื’ืข, ืจื’ืข, ืžื™ ื–ื”?
03:09
Ah, it's her younger brother, Carlos.
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ืื–, ื–ื” ื”ืื— ื”ืฆืขื™ืจ ืฉืœื” ืงืจืœื•ืก.
03:12
Cotton-top tamarins often squeal during play wrestling.
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ื˜ืžืจื™ื ื™ื ืžืจื‘ื™ื ืœืฆื•ื•ื— ื‘ื–ืžืŸ ื”ืื‘ืงื•ืช ืžืฉื—ืง.
03:15
Uh-oh. He's playing a little too roughly, and Shakira screams,
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ืื•-ืื•, ื”ื•ื ืžืฉื—ืง ื‘ื›ื•ื— ืจื‘ ืžื“ื™, ื•ืฉืืงื™ืจื” ืฆื•ืจื—ืช,
03:21
alerting her parents to help her.
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ืงื•ืจืืช ืœื”ื•ืจื™ื” ืœืขื–ื•ืจ ืœื”.
03:23
Her dad makes his way towards the ball of rolling fur
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ืื‘ื™ื” ืขื•ืฉื” ืืช ื“ืจื›ื• ืœื›ื™ื•ื•ืŸ ื›ื“ื•ืจ ื”ืคืจื•ื•ื” ื”ืžืชื’ืœื’ืœ
03:26
and her brother stops.
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ื•ืื—ื™ื” ืžืคืกื™ืง.
03:28
Shakira shakes herself
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ืฉืืงื™ืจื” ืžื ืขืจืช ืืช ืขืฆืžื”
03:29
and scratches herself to get the hair on her head
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ื•ืžื’ืจื“ืช ืืช ืขืฆืžื” ื›ื“ื™ ืœื”ื—ื–ื™ืจ ืืช ืฉื™ืขืจ ืจืืฉื”
03:31
back in place.
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ืœืžืงื•ืžื•.
03:33
Then Shakira spots another group of unfamiliar tamarins
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ืื– ืฉืืงื™ืจื” ืžื–ื”ื” ืงื‘ื•ืฆื” ื ื•ืกืคืช ืฉืœ ื˜ืžืจื™ื ื™ื ืœื ืžื•ื›ืจื™ื
03:36
and hears their normal long call.
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ื•ืฉื•ืžืขืช ืืช ื”ืงืจื™ืื” ื”ืืจื•ื›ื” ื”ืจื’ื™ืœื” ืฉืœื”ื.
03:39
She turns to her family. (Monkey noise)
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ื”ื™ื ืคื•ื ื” ืœืžืฉืคื—ื” ืฉืœื”. (ืงื•ืœื•ืช ืงื•ืคื™ื)
03:42
Did you catch that? First there was a chirp, then a whistle.
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ื”ืื ืงืœื˜ืชื ืืช ื–ื”? ืงื•ื“ื ื›ืœ ื”ื™ื” ืฆื™ื•ืฅ, ืื– ืฉืจื™ืงื”.
03:47
This is what's known as a combination vocalization,
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ื–ื” ืžื” ืฉื™ื“ื•ืข ื›ืฉื™ืœื•ื‘ ืฉืœ ืงื•ืœื•ืช,
03:50
a phrase that contains both a chirp and a whistle.
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ื‘ื™ื˜ื•ื™ ืฉืžื›ื™ืœ ื’ื ืฆื™ื•ืฅ ื•ื’ื ืฉืจื™ืงื”.
03:53
These are two calls strung together to convey a message.
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ืืœื” ืฉืชื™ ืงืจื™ืื•ืช ืฉืงืฉื•ืจื•ืช ื™ื—ื“ ื›ื“ื™ ืœื”ืขื‘ื™ืจ ืžืกืจ.
03:57
The combination of these two elements
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ื”ืฉื™ืœื•ื‘ ืฉืœ ืฉื ื™ ื”ืืœืžื ื˜ื™ื ื”ืืœื”
03:59
alerts her family to the presence of another group,
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ืžืชืจื™ืข ืœืžืฉืคื—ืชื” ืขืœ ื”ื ื•ื›ื—ื•ืช ืฉืœ ืงื‘ื•ืฆื” ืื—ืจืช,
04:02
the "F chirp", and the distance they are away,
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ืฆื™ื•ืฅ ื” F, ื•ื”ืžืจื—ืง ื‘ื• ื”ื ื ืžืฆืื™ื,
04:05
the normal long call whistle.
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ืฉืจื™ืงืช ื”ืงืจื™ืื” ื”ืืจื•ื›ื” ื”ืจื’ื™ืœื”.
04:07
In other words, Shakira just said a sentence.
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ื‘ืžื™ืœื™ื ืื—ืจื•ืช, ืฉืืงื™ืจื” ื›ืจื’ืข ืืžืจื” ืžืฉืคื˜.
04:11
Her simple demonstration is just the tip of the iceberg.
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ื”ื”ื“ื’ืžื” ื”ืคืฉื•ื˜ื” ืฉืœื” ื”ื™ื ืจืง ืงืฆื” ื”ืงืจื—ื•ืŸ.
04:14
She's got trills, chatters, multiple whistle calls,
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ื™ืฉ ืœื” ืจื™ื’ื•ืฉื™ื, ืฉื™ื—ื•ืช, ืงืจื™ืื•ืช ืฉืจื™ืงื•ืช ืžืจื•ื‘ื•ืช,
04:18
more combination vocalizations, even twitters.
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ื™ื•ืชืจ ืฉื™ืœื•ื‘ื™ื ืงื•ืœื™ื™ื, ืืคื™ืœื• ืฆื™ื•ืฆื™ื.
04:23
Yet sadly enough, we may not get to hear
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ื•ืขื“ื™ื™ืŸ ืœืžืจื‘ื” ื”ืฆืขืจ, ืื ื—ื ื• ืื•ืœื™ ืœื ื ืฉืžืข
04:26
everything she has to say.
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ื›ืœ ืžื” ืฉื™ืฉ ืœื” ืœื•ืžืจ.
04:28
Mixed in with chirping sonatas from high above
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ื™ื—ื“ ืขื ื”ืกื•ื ื˜ื•ืช ื”ืžืฆื™ื™ืฆื•ืช ืžืœืžืขืœื”
04:31
is the constant thud of a machete chopping trees.
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ื™ืฉ ืจืขื ืงื‘ื•ืข ืฉืœ ืžืฉื˜ื•ืช ืฉื›ื•ืจืชื•ืช ืขืฆื™ื.
04:35
Shakira's habitat in Colombia is being cut down,
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ืื–ื•ืจ ื”ืžื—ื™ื” ืฉืœ ืฉืืงื™ืจื” ื‘ืงื•ืœื•ืžื‘ื™ื” ื ื›ืจืช,
04:37
piece by piece,
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ื—ืœืง ืื—ืจื™ ื—ืœืง,
04:39
and if we don't work to protect
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ื•ืื ืื ื—ื ื• ืœื ื ืขื‘ื•ื“ ื›ื“ื™ ืœื”ื’ืŸ
04:40
the critically endangered cotton-top tamarin,
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ืขืœ ื”ื˜ืžืจื™ื ื™ื ื”ื ืžืฆืื™ื ื‘ืกื›ื ืช ื”ื›ื—ื“ื” ืงืจื™ื˜ื™ืช,
04:43
it will become extinct in our lifetime.
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ื”ื ื™ื›ื—ื“ื• ื‘ื™ืžื™ ื—ื™ื™ื ื•.
04:46
If the chirp from one tamarin to the next
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ืื ื”ืฆื™ื•ืฆื™ื ืžื˜ืžืจื™ืŸ ืื—ื“ ืœืื—ืจ
04:48
has proven to be more than just idle chit chat,
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ื”ื•ื›ื™ื—ื• ืฉื”ื ื™ื•ืชืจ ืžืจืง ืงืฉืงื•ืฉ ืคืฉื•ื˜,
04:51
imagine what else we have left to discover.
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ื“ืžื™ื™ื ื• ืžื” ืขื•ื“ ื ืฉืืจ ืœื’ืœื•ืช.
04:53
Imagine what else Shakira can tell us.
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ื“ืžื™ื™ื ื• ืžื” ืขื•ื“ ืฉืืงื™ืจื” ื™ื›ื•ืœื” ืœื”ื’ื™ื“ ืœื ื•.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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