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yersina · 1 year ago

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a linguist plays chants of sennaar (pt 5)

[pt 1] [pt 2] [pt 3] [pt 4]

the home stretch!!

disclaimer: can't promise that i'll have any insights that a layperson wouldn't have, this is kinda just me thinking through the grammar of the language out loud haha.

this post covers the fifth and last language in chants of sennaar and will contain spoilers for both the language and the endgame! it also assumes you know what the symbols mean already.

i.... to be completely honest with you, i did not enjoy this language 😂 i think the experience of deciphering it got lost in favor of the storyline, which isn't necessarily a bad thing for everyone, but hey, i am the one going through each of these languages like a linguistic bloodhound here lol. because of that, i'm not as familiar with these words as i am with the other languages.

before we get into anything else, and also because i imagine that this will be a shorter post because the game itself tells you what patterns to look for, i do want to say that this language strikes me as being incredibly artificial. which is a good thing! it emulates the digital apocalypse vibe that exile gives. but a language that leans so heavily into being constructed and recombined and modulated so easily really gives me the impression that it was created and not organically developed. the only other irl example that comes to mind at the moment is korean hangeul, which was purposefully created by king sejong and is an alphabet, not a logography. like, this is a language that i would make for fun in high school (which is to say, it gives a kind of overly grammatically strict, awkwardly too regular vibe?).

it's kind of funny that this language is where i'm starting to get reminded of conlangs, especially when, well, everything in this game is a conlang. but if we take each of the radicals in this language as affixes/morphemes when they're being combined into one character, then this actually reminds me of a specific conlang (ithkuil, i think?) where you can convey incredibly complex ideas through very few words.

the language of the anchorites isn't quite this complex, but hopefully the comparison gets my point across?

i’m curious if only certain elements can be combined with each other or if there’s a certain order to them, but it’s hard to tell when there’s such limited evidence in the game. interestingly, i believe the anchorites’ language is the only one in this game that makes a distinction between “die” and “death/dead” by combining the noun with the verb “go”. not sure why the developers suddenly made that decision haha.

this language, like most in the game, is an SVO language, which we can see below:

but i think also they (the developers) were trying to convey more complex sentence structures than their language was designed to communicate??? so then you end up w smth like below:

which, if you translated literally, would actually be “you man i wait”. again, super interesting bc i think an actual, more accurate anchorite sentence should be “i wait you man”. they have a more complex sentence here bc of the predicate (“you’re the one”) and the dative (“for”), but really the sense that they’re trying to go for is “i was awaiting the one [who is you]”. i guess it’s possible that different grammatical cases are treated differently in this language, or that, like english, word order is occasionally variable (even tho that option seems iffy bc we haven’t really seen evidence of it before), but tbh i suspect that really it’s that the developers wrote the dialogue and then brute forced it into the anchorite language haha. no shade! (and also impossible to confirm either way lol) just kinda amusing and also it makes sense when it’s p obvious their focus shifted from the language to the story.

this trend continues throughout all of the anchorite dialogue (imo) and makes it kinda slow and awkward to read if you don’t have all of the characters translated. in my opinion, the way that the language functions in the last part of this game makes it pretty clear that the developers meant for you to rely on the given translations during this potion of the game, especially when the translation mechanic is mostly through the matching terminals in exile, rather than speaking with people.

annoyingly, the anchorites’ language is also the only one in the game that doesn’t have words for the other people/cultures in the game (demonyms), which also doesn’t give much to work off of in terms of cultural context, relationships, etc.

again, i’ve decided not to get into an in-depth orthographic analysis of this particular language bc the game itself introduces you to them. one that i noticed that wasn’t specifically addressed in-game is the similarity between “open” and “key”, which is something that i actually also noted before in the devotees’ language. i’m sure there are others, but i’m also sure you can find them yourself!

all in all, a strange ending to this game. if you’ve made it this far in all of my posts—thanks for hanging around! hope you were able to learn smth new :)

#sina rambles #sina plays chants of sennaar #chants of sennaar #linguistics #language

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deuterosapiens · 11 months ago

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toki pona isn't even my preferred conlang but I'm still very happy to see translations of popular media in conlangs. Aside from adding more resources for a learner to gain insight from, it just shows how much love there is for the language. I will always support language love!

special interest alert: new official toki pona book just came out

#conlangs #toki pona #Now can I get it translated into #Ithkuil

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o-craven-canto · 6 months ago

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Your "worst possible language" reminds of my ideas for prehistoric vampire languages in the "Blindsight" universe. Specifically the "transients don't talk much" thing made me think old vampire languages would be be designed with the philosophy of "optimize for highest possible ratio of transmitted information to phonemes, to accomplish this have a nightmarishly complicated grammar and lots of reliance on 'thick' cultural knowledge to resolve ambiguity."

Interesting! I don't think extremely complicated grammar, per se, would make the language bad -- for example, one of my inspirations was Ithkuil, which is probably the most complicated language in existence; even its own creator isn't fluent in it, and needs hours to translate properly even simple sentences! However, however daunting Ithkuil's morphological tables may be, they're also regular and univocal, so if you somehow manage to commit them to memory, the result will be perfectly clear. The equivalent tables in my Worst Language would re-use the same few affixes for all the different functions more or less at random, leaving the result hopelessly ambiguous. Where on the spectrum your vampire language would fall would depend from how effective cultural context is at taking care of the ambiguity.

Your Blindsight vampire worldbuilding is very well-designed and interesting, so I would be very curious to see some fragment of their language if you've developed it to that point!

(I did also have an idea, for the "rationalist" faction of my Ea setting, to make them dabble into a language optimized not only for information transfer, but also for what they would call "clarity of thought". The grammar, which I've only partially developed, would force the speaker to spell out how confident they are of each statement, how they came to that confidence, what they intend to accomplish with their speech, and its exact scope and relevance. You could still lie in it, of course, but at least you'd be forced to commit to objective falsehood, instead of hiding behind vaguery and implication. I should probably make some posts about it.)

#asks #conlang #worldbuilding

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21st-century-minutiae · 1 month ago

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re: https://www.tumblr.com/21st-century-minutiae/762159320767021056/ithkuil-and-toki-pona-are-two-conlangs

you say "The Toki Pona speaker, is saying something so general and vapid that it corresponds to almost everything. There is no point made, no position declared, no specificity to make this thought different from any other."

but it reads easy to me, is supposed to be "toki! sina pilin seme?" and usually translate as "hi! how are you feeling?" :D

That would fit the meme better, but it doesn't fit my bias against Toki Pona as well.

#period novel details #alternate interpretations

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approximateknowledge · 3 months ago

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i love how the final architecture just has several unrelated aliens of completely different species go on about how fucking clunky and annoying to use human languages are

like "fucking hell this translation sucks out all the nuance what is this shit. wdym you don't have a word for that?!"

including a hiver

hivers were literally a human creation originally!

and even they tend to agree the human language-framework (regardless of specific language, it's mostly instinctive and universal across cultures) is just kinda suboptimal

like human speech apparently just kinda sucks, like yeah sure it *works* but it's not pleasant or practical

idk i just think that's funny

(now im imagining exposing a hiver assembly to ithkuil)

#ak goes insane #the final architecture #linguistics

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cutest-silly-nb · 2 years ago

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conlangs are super neat but i feel like you can learn about conlangs after breathing some fresh clean nitrogen

the last three days have felt like a month for me. i think a major factor of this was that ive been binging all of jan misali's conlang critic videos

#someone translate this into ithkuil pls

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dedalvs · 2 years ago

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Kopikon Presenters: John Quijada

Today we continue with introductions to our Kopikon presenters with John Quijada!

John is a conlanger, musician, artist, and board game designer. John is best known for creating the Ithkuil language. Ithkuil is a philosophical language whose aim is to pack as much information into as small a space as possible as unambiguously as possible. The result is a language that isn't really possible to learn and use on the fly, but produces fascinating, meditative thought experiments in the form of a translation. An infamous regarding Ithkuil being taken up by a group of Russian terrorists was detailed by Joshua Foer in The New Yorker (read "Utopian for Beginners" here).

John will be presenting at 2:30 p.m. in Copley Formal Lounge at Georgetown University, September 23rd, 2023. To register, go here. The full schedule is listed below:

10:00 a.m. Opening remarks by David & Jessie

10:15 a.m. Sally Caves

10:45 a.m. Carl Buck

11:15 a.m. Break (20 minutes)

11:35 a.m. Sylvia Sotomayor

12:00 p.m. David Peterson

12:30 p.m. Lunch (90 minutes)

2:00 p.m. Paul Frommer

2:30 p.m. John Quijada

3:15 p.m. Break (30 minutes)

3:45 p.m. Music (Jillian and Andrew Aversa)

4:15 p.m. Jessie Sams

4:45 p.m. Break (15 minutes)

5:00 p.m. Biblaridion

5:45 p.m. Marc Okrand

6:30 p.m. Closing remarks by David & Jessie

#conlang #language #john quijada #ithkuil #ilaksh #kaduatán

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afactaday · 1 year ago

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#aFactADay2022

#611: some folklore etymologies of the island of Manhattan say its name means "island of many hills", "island where we all became intoxicated" or simply "island". it may also be a descriptive term referring to the whirlpool to the north of the island. the more compelling origin is that it comes from the Munsee Lenape language meaning "the place to gather the (wood to make the) bows (for boats)". many of these translations seem to me a bit like ithkuil - a whole paragraph of description condensed into three short syllables.

firstly, look up ithkuil - its fun.

secondly, look up Munsee Lenape. the Lenape is an indigenous american tribe living in what is now NY state, new jersey and pennsylvania. the northern part, including where manhattan is, speaks Munsee, which is now sadly a critically endangered language. as of 2018 there are only two native speakers. still, thats 2 more than ithkuil!

#afactaday #aFactADay2022 #fact of the day #fotd611 #this post was auto-posted by flanbot

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pazodetrasalba · 2 years ago

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T-tillating

Dear Caroline:

I was intrigued enough by what you were saying about the 't' release to go and check the linked article -it is still available online-. From it it seems that the three demographics who actually indulge in this phenomenon are:

-Gay men

-(some) Jews

-Nerd Girls

Which is rather amusing, as that includes two out of three of my favorite types of people. I have already waxed lyrical about my weakness for nerdy womanhood (even if over here they tend to be very scarce, and the only flavor available is intermixed with SJW). As for the Jews, they are probably the nationality I admire the most for a variety of reasons: the foundational importance of their sacred texts for western civilization, the relentless persecution they had to suffer for centuries and their stoic and 'stick-to-it-ness' loyalty to their customs and traditions, the many great minds they have contributed, totally out of proportion to their number, to the cultural and scientific conversation of mankind and, related to this, the high value that they have always placed as a group on bookishness and learning. This philia of mine has gotten me into no small amount of discussion with intimate friends of mine, as anti-zionism is a staple fare of the European Left.

On a side note, I think I discovered today that dark reference in your required book suggestions for tales about Hades and Persephone. It stems from Rachel Smythe's Lore Olympus, doesn't it? Just been browsing a little bit about it, and suspect that you highly empathize with the protagonist, as she seems to belong to the clade of smart, rational girl-bosses that populate so much of what seem to be your favorite fictional stories.

Back to the t, or rather, to nerdspeak, you are well aware that the ultimate nerd linguistic challenge would be something like casual fluency with either a fictional language (Klingon, Quenya) or a dead one (Latin, Tocharian). Me, I have a soft spot for Ithkuil, and feel that a conlang 'intended to express deeper levels of human cognition more overtly, logically, and precisely than natural languages' should be an instant success with the Rationalist and EA community, if they were to ever find spare time from AI alignment and successful charities verification.

Quote:

The tale of Hamilton’s infantile accomplishments reads like a bad romance, but it is true; at three he was a superior reader of English and was considerably advanced in arithmetic; at four he was a good geographer; at five he read and translated Latin, Greek, and Hebrew, and loved to recite yards of Dryden, Collins, Milton, and Homer - the last in Greek; at eight he added a mastery of Italian and French to his collection and extemporized fluently in Latin, expressing his unaffected delight at the beauty of the Irish scene in Latin hexameters when plain English prose offered too plebeian a vent for nobly exalted sentiments; and finally, before he was ten he had laid a firm foundation for his extraordinary scholarship in oriental languages by beginning Arabic and Sanskrit.

E.T. Bell, Men of Mathematics

#caroline ellison #language #nerdlife

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capybara-on-the-ezh · 2 years ago

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i've been thinking a lot about this over the past few days. the pona in toki pona doesn't mean that it's the best language, perfect, or objectively good--it means that it's a language that the speaker personally thinks is good. i've seen pona and ike described as not only including simple and complex, but including anything that you personally think is good or bad. however, since most toki pona speakers enjoy minimalism, most toki pona speakers will think that simplicity is good and complexity is bad. i don't think this was jan Sonja's intention, but it's an interesting interpretation. just because something is pona doesn't mean its opposite is nessecarily ike--you can simultaneously enjoy both toki pona and ithkuil or lojban, although they are often positioned as opposites. it's also important to note the context in which toki pona was created--jan Sonja initially created it to help her with depression. i've found that toki pona is a very helpful tool to work through my own thoughts and emotions. it makes you explore the meaning of what you're talking about, rather than hiding behind complex words whose meanings you don't fully understand. however, emotions are complex! in my opinion, toki pona should be used to understand your emotions in simpler terms, but not to box them in. for example, you might be emotional about a big change in your life, but rather than simply calling that "pilin ike", you can explore the nuances of what you're really feeling, why you're feeling the way you are, and if there are any positive elements to your emotion. i agree that saying that if you can't explain something in toki pona, you don't understand it well enough is a problem. no english word, phrase. or idea can be translated perfectly into toki pona! however, the act of trying to use toki pona's very few words to describe your idea can help you understand it better. sorry that this was very long, it's just a summary of my thoughts about the issue!

Hello hello! I saw you said something about Toki Pona being built on a poisonous philosophy and I was wondering if you could explain what you mean? You don't have to of course but I don't know anything about Toki Pona and the tag caught my interest. Have a nice day!

Okay so some context, both for you since you say you don't know anything about it and for my followers:

Toki Pona is a constructed language. It was originally designed to have a grand total of 120 words, and while the current word-count depends how you count them and who you ask, it's still below 150, the most common count of "essential" ones being 137. The creator, Sonja Lang, describes it as "an attempt to understand the meaning of life in 120 words".

As you can probably imagine, having only 137 words means each word has to do a lot of work — has to carry a lot of possible meanings. There are only five colour words (black, white, red, yellow, and bluegreen). There are only five number words (none/zero, one, two, many, all/infinite/manymany), and some of them also carry meanings that in English are not numbers (for example, the word for none or zero is also the word for not, and the word for all is also the word for life). One word means all kinds of grains, and also bread. You get the idea. This is, explicitly, not ambiguity but a declaration that each of these words represents a single underlying concept that can be translated into English in multiple ways. It's a claim that "life" and "everything" and "all of them" are in some way the same concept, and therefore get one word. Put a pin in that; we'll come back to it later.

Unfortunately, the underlying philosophy of Toki Pona is, as the word-count might suggest, minimalism. Minimalism as an ideology for life already had some serious issues in my book, notably in that the common version of it that leads to empty white rooms with one or two objects as "accents" is classist as all get out. It also encourages disposability culture, which ties into that — to live a "minimalist" life in that sense you have to (for example) not keep a jar of pens on your desk, because you can buy a disposable one when you need it so you shouldn't clutter your space with them when you don't. But that's just an association, not what can be poisonous about Toki Pona.

The name "Toki Pona" literally translates to "the language of good", but also "simple speech". The word "pona" represents all facets of goodness and simplicity. In Toki Pona, "simple" and "good" and indeed "useful" and "peace" are the same concept. "Okay," you might ask, "what's so bad about that?" I'll tell you what's so bad about it: in the same way, their antitheses are declared to be the same concept. Complexity (and all the shades of meaning it can give the world, all the understanding we can derive from it) is declared to be ontologically not just bad, but the same thing as badness. Specifically, that word — "ike" — is defined in the translation dictionary as "bad, negative; non-essential, irrelevant".

This attitude, in my experience, results in Toki Pona enthusiasts being very convinced that Toki Pona is inherently correct, and that anything that's difficult to express in that language wasn't worth expressing anyway. It's a combination of intellectual elitism with anti-intellectualism. The former manifests as an attitude that anyone who can't express what they want to say in a way the Toki Pona speaker deems "simple" (usually meaning "easily translated to Toki Pona") is somehow inadequate, and the latter as the idea that any concept not easily translated must not be worth dealing with.

This was kinda rambly but I hope it gave you a general idea of why, while I find it interesting as an experiment and an intellectual exercise, I despise Toki Pona as a philosophy.

#toki pona

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lichenthrope9 · 4 years ago

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Artist’s statement: Ys, or, Borrowed from the Sea

A shortcut to mushrooms

My interest in alternate worlds was piqued when I first read The Hobbit, and the first two volumes of Lord of the Rings, The Fellowship of the Ring. The maps, the histories, the biographical information and allusions to genealogies, the languages and cultures and very real, lived-in countries, the sense of geography in that the story took place as much between points of interest as it did within points of interest, simulating the time it took to travel between cities – all of these factors hooked me as much as the story had. It is from the world of Middle Earth and the history and accidents of its construction that I derived much of my inspiration for this project.

However, as we must with all our favorite creators, I returned to the Lord of the Rings with a more critical eye years later. After coming out as transgender, going through a long health crisis, beginning to critique my own whiteness, and reading a lot more about philosophy and social science theories, I had more tools and lenses through which to critique the premises on which Tolkien wrote the darling of English fantasy literature.

It seemed Middle Earth was a project born out of Tolkien’s devout Catholicism, and the cosmology of Middle Earth heavily reflected Tolkien’s own interpretation of Catholic teachings. There were angels and fallen angels, and a battle between them on the physical world that took it off track from the plans of the all-knowing Eru Ilúvatar (Tolkien‘s analogy for the Father). This would all be well and good in theory, if Tolkien hadn‘t taken a step further and made ”Good“ and ”Evil“ sentient races, created by individual angels with certain aesthetics and moral philosophies in mind that would irrevocably be tied to the bloodline of each of these races. This already has problematic implications for Tolkien‘s racial frame, but to make matters worse, he based certain fantasy races on certain groups of humans on Earth.

So, with these pitfalls in mind, I put my initial worldbuilding efforts not into creating languages and cultures, but rather creating a planet that they could live on, that could feasibly exist in our galaxy. I didn‘t include magic in its formation, I didn‘t use a mythic structure at first. I didn‘t even know if I wanted to populate my world until I had an entire solar system. I knew things like the luminosity, age, and mass of the star, the distance between the star and planet, the length of the year and day, the axial tilt of the habitable planet, how all of that would affect the seasons and climate, and how far away the moon was and what it would look like from sea level on my planet. I knew how deep the oceans were and I even had some speculative biology plotted out for how life would come to be on this planet. My idea was, I wanted to make a hard scifi world (within reason – I‘m not Andy Weir) and then drape a cloak of high fantasy on it, almost a bit more like Dune by Frank Herbert than Lord of the Rings.

My readiness to populate my planet with peoples and histories neatly coincided with the beginning of my Purchase career. I was no geologist, geographer, meteorologist or astronomer. Though I was certainly interested in how ores were distributed in my planet‘s crust, how coastlines and climates developed, and how the sky would appear from the surface from my world, the central focus had always been and would always be how these things would all affect my fictional societies and their growth. What would it be like to grow up on a world where the moon appears so much larger than the sun? A world where the solar year is just a bit over 639 Earth days? Would it be possible, given different historical circumstances, to achieve a Type 1 or 2 Kardashev civilization? How would such a civilization come about politically?

Worldbuilding as anthropological exploration

After learning of my passion for worldbuilding, a professor suggested I take a look at the 2015 presidential address to the AAA by Monica Heller, called ”Dr. Esperanto, or Anthropology as Alternative Worlds.“ In it, Heller outlines the history of perhaps the most famous constructed international auxiliary language, Esperanto, and maps its positionalities, along with those of its creator, L. L. Zamenhof, within the scope of highly anthropological inquiry. Zamenhof was situated at the precipice of many different identities; he was a Jew from Bialystok, a multilingual city which in his lifetime lived under Russian and Polish-Russian rule. His interest in creating an international auxiliary language was one of diplomacy and peacemaking in the years preceding World War I, a time where international tensions and the influences of global industrialization and capitalism were all growing ever stronger and more binding. Esperanto‘s goals have since changed slightly; on a sticker on the back of a Paris street sign in 2013, it was hailed as ”La langue internationale équitable,” marking Esperanto as the “equitable” opponent to the specifically capitalist problem of income inequality. One can only conclude that not only the language itself, but also the act of its creation by Zamenhof, was a highly political project. Heller then touches upon other forms of constructed language, ones whose purposes lie in artistic expression and exploration such as Dothraki and Sindarin. The article taught me that “the act of transportation [to an alternative world] might have unexpected consequences. But the whole endeavor will be transformative, teaching us things we would never have learned otherwise” (Heller 2015: 21).

Since finishing this article, I have embarked on a journey to ground my project in social theory. My goal began as less utopic and more experimental. It was not yet apparent to me how my politics would manifest in the work, but I still wanted to play the game: with a number of minor changes to a habitable world from Earth, and a number of restrictions in how I depict the cultures, can I keep my civilizations alive and, more importantly, ”breathing“ (that is, relatably and realistically complex enough to feel lived-in), until they reach Kardashev Type 2 status? (That is, until they can technologically harness as much energy from their home star for use as they like.) What would stories look like set in this universe, perhaps stories set in the same star system but separated by hundreds or thousands of years? And how do I responsibly depict these people without falling prey to the same ideological traps that Tolkien and Herbert did?

This new phase of my project also coincided with my renewed interest in the works of Ursula K. Le Guin and the Nickelodeon show Avatar: The Last Airbender. A:tLA stood out as a shining example of how to write a complex, colonially-charged political history between societies without directly making any one society analogous to Western Europe or Euro-American whiteness. I devoured Le Guin‘s The Left Hand of Darkness, which taught me that even tiny changes to human cultural frameworks (such as, what if there were no gender as such, and what if everybody on a planet were asexual except for a predictable period of sexual arousal and attraction?) can have vast implications for that society‘s history (Le Guin theorized that on such a planet, there would be no concept of war); and The Author of the Acacia Seeds and Other Extracts from the Journal of the Association of Therolinguistics (Le Guin‘s own term for the supposed study of animal language) which taught me that the lenses of imagination can be focused just as strongly on our nearest neighbors in the dirt as they can be on the distant stars.

I therefore decided to take a hybridized Tolkien / Le Guin – ian approach to writing the stories. I committed to ”translating“ every character‘s pronouns into the English feminine, and only gendering them at all as feminine when necessary. I also committed to writing a world history where no one ethnic group was directly analogous to Euro-American whiteness, à la AtLA. I would of course need to loosely base groups located in geoclimatic zones on similarly-located groups on Earth, or else have altogether too much work to do (deciding how much of the culture‘s development might be affected by the geography and climate; deciding on a model of anthropology on which to base my analysis of each culture, be it structural, evolutionist, structural-functional, etc.; building each cultural good, artifact, and practice in relation to every other; conducting a simulated ethnography of each of my major ethnic groups).

So, I decided to base some of my cultures on recent ethnographies and archaeological studies of geoclimatically analogous Earth ethnicities. The first of these was a master‘s thesis by Meghan Walley, ”Examining precontact Inuit gender complexity and its discursive potential for LGBTQ2S+ and decolonization movements.“ In it, Walley complicates the gendered narratives of pre-contact Inuit history by critically analyzing remains and gender-specific tool usage, and conducting interviews with living queer Inuit and their families. Walley found that Inuit-specific definitions of Two-spirit gender and sexual nonconformity had existed since long before contact with Europeans, and that queer archaeological practices were necessary if the living traditions of extant Two-spirit and queer Inuit were to be given their appropriate ontological priority over colonial narratives. I decided to use this thesis as a springboard for reading more current histories of the Inuit and other people of the far North, to embark on my project of constructing plausible cultures for the people living near my planet‘s South Pole.

The magic of semiotics

Then: a type of breakthough. Last summer I found myself reading book after book, including Tao Te Ching, the foundational text for Taoism, and How Forests Think: Toward an Anthropology Beyond the Human, Eduardo Kohn‘s posthuman ethnography of a Runa group located near Ávila in Ecuador. In it, Kohn tries to apply the semiotic theories of Charles Sanders Peirce to human groups living in rainforest settings to construct and analyze a broader, more current, postcolonial cosmology for this Runa group and its implications for other groups’ cosmologies. It was my first encounter with Peircean semiotics. Oddly, How Forests Think referred in passing to the very chapter of Tao Te Ching that had resonated with me strongest: Chapter 11, in which Laozi talks about constitutive absence, the anti-structures that permeate structure and make structure functional (the examples he gives include the empty hub of a wheel, the space inside a clay pot, and the emptiness enclosed by a room’s four walls). Kohn applies this anti-structure model to the semiotic, saying that Peirce’s types of signs can only signify when they represent things that are not present. A child buzzing their lips to imitate an airplane will only remind you of an airplane if you forget the differences between the child’s imitation and the sound it is meant to represent.

From How Forests Think and Tao Te Ching, I derived six major tenets that I would literally incorporate into my text’s lore as an ancient religion. But more than that, it got me thinking about how language and signification was a type of magic, in many ways. So, I re-incorporated magic into my story. I based the initial rules of my magic system on the postulate that this universe was not ours, in fact, but had grown out of a knowable Universal Field that could be at least partially described with a type of grammar. This Syntaxelium (designated as such both to distance it from concepts like Chomsky’s Universal Grammar and innateness hypothesis, and also to connect it more closely to ideas of networking and fungal semiosis) could be harnessed in languages that contained its features to “negotiate” with the universe. That is, if you speak a language that uses a lot of features of the Syntaxelium in a short amount of time, you are “persuading” the universe to change some of its rules, at least for enough time to grant you a wish. I decided to make this language too complex to be conservative; that is, it would evolve and diverge very quickly from any one set of rules as people used it and streamlined it. There was a constructed language I knew of that might serve perfectly: the language Ithkuil, completed by John Quijada in 2011 and so complex that nobody, not even Quijada himself, is yet fluent in it as of this writing.

Ithkuil is a philosophical-engineered language whose design goals are to be as semantically condensed and specific as possible. There is a single “formant,” or word, in Ithkuil that can be translated as “...being hard to believe, after allegedly trying to go back to repeatedly inspiring fear using rag-tag groups of suspicious-looking clowns, despite resistance” (the word itself is /qhûl-lyai’svukšei’arpîptó’ks). Quijada has offered that Ithkuil is too complex to be a natural spoken language – rather, that it is a useful tool to think about how quickly and reliably information can be condensed into linguistic frameworks. Its philosophy of meaning is (as the author himself admits) relatively Enlightenment-based – that is, there is a one-to-one correspondence of conceptual representation to some Platonic prototype of what an Ithkuil formant might mean, which is not exactly in line with the language’s design goals – but Quijada here threw up his hands: “A more careful and rigourous construction for Ithkuil’s lexico-semantics, given the author’s stated design goals…would not assume such a theory of meaning, but would rather incorporate more recent findings of cognitive science and cognitive linguistics to reflect embodied meaning and metaphor-based conceptualization. However, pursuing such a foundation for the lexico-semantics of the language would, in the author’s opinion, be extremely time-consuming (on the order of many additional years, perhaps decades, to construct)” (2011: 270-271).

I found this thoughtfully constructed masterpiece of a language perfect for my purposes and set about creating daughter languages that may have evolved from its natural use in my world. I imagined that a group of priests of the Moon Queen had created Ithkuil in-world as an attempt to access the power of the Syntaxelium and communicate with the Goddesses. These priests partially succeeded, in that their new language granted them magical powers. They did not become all-powerful, however. These new Wizard-Queens attempted to conquer the world with their magic, and largely succeeded – but once they had spread out, Ithkuil almost immediately diverged into daughter languages due to its complexity, each of these languages preserving different features of the Syntaxelium. After a few generations, the language with the most expansionist, imperial-minded speakers would conquer the world once again and spread their language into every corner of the globe. The language would diverge again, and the cycle of colonization and genocide would continue until a group of marginalized people led a revolution against their contemporary empire and broke the chain.

The politics of translation

But, at this point I was too invested in this project to continue in my experimental, non-utopic design philosophy. I needed to introduce my polemic into the work, or else it might carry messages contrary to my values (it may regardless, but at least I can try and make my intent as clear as possible). I needed my writing to reflect a strong opposition to, or at least complication of, Enlightenment ideals. I would also paint a picture of the post-revolutionary society I dreamed for my characters, which meant I needed to refine my anarchist sensibilities with a deep dive into ethics and anarchist theory.

I decided to illustrate the conflicts between more Enlightenment, classical logic-based arguments and more post-Enlightenment, posthuman arguments in a contest between two translators trying to render the same text into English. I therefore refined the six tenets of my constructed religion, translated them into Ithkuil, then rendered them back into English in two competing and slightly different ways:

1. tʼal-lrëikțatf orêtfiáss arkʼarț

[tʼal.lɾəɪkθatf ɔˌɾeːtfɪ.ˈas.s ˌaɾkʼˈaɾθ]

similarity.p1s3.IFL-MLT.N-MNF-HAB-EPI thought.p2s1.FML-MLT.N-v2ss/9-GEN source.p1s1.FML-AGG.N

“It is known: some reminder is the source of any thought.” – Eloquences

“So it is that all thought’s source is a likeness.” – Violet

2. okleomdh âkláʼdh tʼal-lriočʰaț atvufq oráʼtf

[ɔklɛ.ɔmð ˌakˈlăð tʼal.lɾɪ.ɔt͡ʃʰaθ atvʊfq ˌɔˈɾătf]

river.p2s1.IFL-COH.N.PRX-ASI river.p3s1.FML-N.PRX-MED organize.p3s3.IFL-DYN-HAB-EPI.N self.p1s1.IFL-MLT.A-IND thought.p2s1.FML-MLT.N-MED

“It is known: as a current from the channel, so selfhood organizes itself out of any thought.” – Eloquences

“So it is that as the whirlpool from the stream, selfhood knits itself from strands of thought.” – Violet

3. ôcneoț îcnêț atvațoaxiarň tʼal-lrëigadhoaqʼ

[ot͡snɛɔθ iːt͡sneːθ atvaθɔ.axɪ.aɾŋ tʼal.lɾəɪgaðɔ.aqʼ]

spore.p3s3.IFL-N-ASI fungus.p2s3.IFL-N-GEN self.p1s1-IFL-N-v2x/2-v2rň/9 component.p1s3.IFL.MNF-HAB-EPI-N-v2q’/2

“It is known: as the fruiting body of the fungus, the crucial, tiny self is the visible component.” – Eloquences

“So it is: the smallest self is the most crucial visible component, as the spore of the fungus.” – Violet

4. tʼal-lreijjaçoak ekraxiuk amvouț tʼal-lrükrațíukiss

[tʼal-lɾɛ.ɪʒ.ʒaçɔ.ak ɛkɾaxɪ.ʊk amvɔ.ʊθ tʼal.ˌlɾuːkraˈθɪ.ʊkɪs.s]

motion-in-situ.p1s3.IFL-v2k/2-ASO.N.PRX-DYN.EPI.HAB tool.p1s2.IFL-ASO.N-v2k/1 center.p11.IFL-N.NAV tool.p1s2.IFL-N-v2k/1-v2ss/1-MNF.HAB.EPI-framed

“It is known: a good wheel spins right about the hub, where there is no wheel.” – Eloquences

“So all wheels spin ever toward their wheel-less centers.” – Violet

5. öpatf uizát tʼal-lripšasúemzeoj ékëuʼady tʼal-lreisásiull

[øpatf ʊ.ˌɪˈzaθ tʼal.ˌlɾɪpʃaˈsʊ.ɛmzɛ.ɔʒ ˈɛkəʊ̆ʔadʲ tʼal.ˌlɾɛ.ɪˈsasɪ.ʊl.l]

carrier.p22.IFL-MLT.N mind.p1s1.FML-N-MNF happen.p1s1.FML.DYN.HAB.EPI-PRX-framed-v3mz/9-v2j/6 path.p1s2.FML-A.PRX.PRV-ABL-framed deviate.p1s3.IFL-DYN.HAB.EPI-framed-v2ll/1

“It is known: a ‘thing’ is a self which acts automatically as expected, and never deviates from its predetermined path.” – Eloquences

“So inanimate is the self which obeys only habit, and never strays from destiny.” – Violet

6. tʼal-lriokápps oratfiáss âkțîʼatf

[tʼal.ˌlɾɪ.ɔˈkap.ps ɔɾatfɪ.ˈas.s ɑkθiːʔatf]

path-oriented translative motion.p3s3.FML-A.TRM-DYN.HAB.EPI thought.p2s1.FML-N.MLT-v2ss/9 similarity.p1s3.IFL-ALL-MLT.N

“It is known: finishes, arrives, any and all thought at a type of reminder.” – Eloquences

“So the destination of a thought is a likeness.” – Violet

As I mentioned, these six tenets were adapted from the Tao Te Ching as interpreted through Charles Sanders Peirce’s semiotic philosophy. They have to do with the origins and ecologies of the self, the necessity and inevitability of communication, and the structure of thought. Why did I create two different translations of the same text in-world? I wanted to show how political of a project translation can be. For example, the less rigorous Violet Text translates the epistemic-habitual modal affixes of the main verbs as “so it is,” whereas Eloquences uses “it is known;” I did this because though they might not seem such different phrases, “so it is” distances the knowledge from a knower – it poses the knowledge as an immutable state of reality, rather than an interpretation derived by an observer. As I learned from readings of Victor Turner, Antonin Artaud and Roland Barthes, such mythologizations are processes of naturalizing the events of a narrative until they lose their historicity, and seem to follow simply from common sense. Mythology transmutes history into a string of isolated, politically vacuous events that could never have happened any other way.

Further examples of the differences between these hermeneutic exercises are in the translation of “similarity.p1s3” in Tenets 1 and 6. Eloquences renders this as “reminder;” the Violet Text, as “likeness.” Why is “reminder” any more nuanced? Why might “likeness” lead the reader astray? To me, “likeness” implies literal similarity; a sort of facsimile relationship between an “original” and “copy.” I took these tenets from Kohn and Peirce directly: Kohn says that all thought begins and ends with an “icon.” “…[A]ll semiosis ultimately relies on the transformation of more complex signs into icons” (Peirce CP 2.278 cited in Kohn 2013: 51). By an icon, Kohn and Peirce mean a type of sign that stands in representationally for another in a very literal sense, like an onomatopoeic sound-image or a drawing of a smiley face. These icons aren’t supposed to be technical, detailed imitations, but rather empty stand-ins to quickly communicate a desired connotation. Therefore, a “reminder” suffices as a translation of “similarity.p1s3,” because the relationship between the sign and the referent is not always one of literal similarity.

The limitations of magic

Or, other magics that do just as much

If we take from Mauss that magic is highly grammatical, that it follows closely to linguistic processes, then my equally linguistic magic system’s limitations must lie in the exclusive capabilities of non-linguistic systems, or perhaps even non-semiotic systems. We must turn to the affect theorists. Is the magical self truly nothing more than a set of interpretants, signaling to each other through eternity? What would the implications of this be for free will and the power of the individual vs. the community? This takes me to my current readings of Deleuze & Guattari’s A Thousand Plateaus: Capitalism & Schizophrenia, translated by Brian Massumi, and Massumi’s own Movement, Affect, Sensation: Parables for the Virtual. These books challenge the idea that the self can be reduced to its linguistic processes, and posit that the “emptiness” at the hub of Laozi’s wheel, the constitutive absence at the heart of these semiotics, can actually be filled with direction, with velocity – a sort of perpetual growth into excess meaning that’s difficult to pin down in definition or interpretation.

Massumi takes from Bergson that any space, including the political geography upon which poststructuralism maps identities in their “positionalities,” is formed retrospectively from the completion or frustration of dynamic, unmediated processes of movement and sensation in the body. For Massumi, there is an incorporeal element of The Body – its movement through spacetime – that is ontologically privileged before the formation of The Discursive Subject. “Another way of putting it is that positionality is an emergent quality of movement,” says Massumi (2002: 8).

Emergence is another effect that I address in my Tenets; Tenet 2 deals with selfhood as an emergent property of interacting thoughts, as per Kohn and Peirce. Peirce’s semiotic often grapples with the problem of continuity vs. description, creating almost a Heisenberg paradox of its own wherein a thought can only be described precisely as a positional snapshot, or as a “nondecomposable…dynamic unity” (Massumi 2002: 6). Peirce formulated his three types of signs as emergent properties of each other; indices are emergent properties of the relationships between icons, and symbols are emergent from analogous interactions between indices, or indices and icons. So selfhood, language, and magic all organize themselves from the simplest signs, which is why Peirce and Kohn say all thought begins and ends with an icon. It seems there are parallels within these genealogies of thought, between the Deleuzian affect theorist Massumi and the semiotic of Peirce as it applies to posthumanism. Can the analogy be drawn further to say that if space is an emergent property of movement as selfhood is of thought, then movement and affect is its own kind of non-semiotic magic that must have an effect on spacetime?

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