#linguistics in progress here

[szappan]

university.. university leave me alone

[johnbrand]

The Stages of Arabization

With @next-pharaoh

“Jeez, it’s so bright here,” Henry oriented his phone up in front of the sun, hoping to block out a few of the direct rays.

“Well, you are closer to the equator,” his boyfriend, Alex, joked. “Dubai is a bit farther south than Boston.”

Henry rolled his eyes, “What would I do without that intelligence of yours?” 

“Too bad you don’t have your own.” They both laughed at that remark. The pair had started dating in graduate school, with Alex venturing down the path of mathematics and Henry following the racial trends of Sub-Saharan Africa. Everyone joked it should have been the other way around, given Henry’s geeky, pale exterior fit the math nerd stereotype better than Alex’s lanky, darker frame. But Henry loved his studies, so much so that he had been invited to a conference in the United Arab Emirates to talk on them.

Suddenly, Henry received an email notification from one of his sponsors. “Dang, looks like I have to get back to work. Just received an essay to review before the next presentation.”

“How long do you have?”

“Barely 30 minutes.”

“Well forward it to me,” Alex replied. “We can tag team it. I know this isn’t my strong suit but at least I can help cover more ground.”

Henry thought that was a great idea. Without a second thought, he redirected the email and wished his boyfriend goodbye. Alex would send his thoughts over text when he had finished.

“‘The Stages of Arabization’,” Henry recited aloud. He was planning to head inside to read–gingers burnt way too easily in the direct sunlight–but he noticed the writing was pretty short. Barely even a page. Henry was surprised to realize the essay was in Arabic, but he quickly utilized a translator app to resolve the issue.

Stage 1: Islamization  Islam becomes the majority religion or state religion.

Strange formatting, but Henry understood the statement as rather truthful. The historically successful Arabizations of Morocco, Algeria, and Egypt had followed a similar suit. Even some of the countries he had studied had shown signs of this progression.

Stage 2: Linguistic Arabization Islam brings fixation on Arabic language, thus the Arabic language becomes central to the society's identity. Arabic becomes the state language.

Henry found this statement agreeable as well. There was something so methodical about the Arabic language, how it melodically ebbed and flowed in such a way that it twirled through the hearing canals directly into the brain. Anyone who listened to it almost became entranced, as if captured by its beauty and awakened by its fluidity. Henry closed the translator app before continuing on. 

Stage 3: Cultural Arabization Arab cultural practices become common due to Islamization. Own cultural heritage is deemed closer to ages of ignorance and thus gradually forgotten and replaced with Islam.

Henry had followed this trend through his research. Many of the countries he had analyzed over the years had demonized their traditional practices once introduced to Islamic culture. It was like watching a child being given a new toy; the original quickly discarded for one deemed far more superior. These assimilations had even started to appear in Henry’s life. Thobes were the new fashion craze among his fellow researchers, midday prayer rooms had taken over labs, and even the cafeteria had become completely halal.

Stage 4: Ethnic Arabization Planned migration of many Arab tribes and deliberate suppression of the numbers of natives, consequently major demographic shift. Media encourages Arabs to multiply and mix.

This too had arrived in the workplace. Rapidly, it had become obvious that the university was prioritizing hiring Arab and Arab-American employees. Political discourse on abortion had suddenly disappeared, instead dropping birth control from medical insurances and advertising “Reversion Through Fertilization”. Luckily, Hussein had not been influenced much by this change. In fact, he almost felt as if he was somehow a part of it.

Stage 5: Fully Arab State Arabs and the Arabized become elite and majority. Non-Arabized are shunned and pressured to revert until no opposition remains.

Hussein smiled with pride, closing the essay he was sure to give high remarks to. His best friend Ali had a similar response, a text from him glowing with praise about the truth in the writer’s words. The essay was eloquent, thought-provoking, and would become mandatory literature at his lab, and soon throughout the reverting world. It reflected the future, similarly to his own phone screen: masculine, virile Arab men. Hussein felt a divine sense of conformity with Islam, one all were soon destined to see.

[lissomelace]

THE EUROPA CLIPPER LAUNCHED THIS MORNING, AND I AM SO NOT NORMAL ABOUT IT!!!!!

Space is so fucking awesome. We're headed to one of JUPITER'S MOONS!

Every time a launch happens, it makes the latent space enthusiast in the back of my brain jump up and down. It also derailed all my plans for today. I did have plans.

Instead, someone made one comment about how I could now maybe make mission patches on my embroidery machine, and the space thing crossed over with my current hyperfixation (silm) to produce THIS:

Mission patch for the launch of Gil-Estel! A bit messy, but a good place to start!

Design and linguistics details under the cut, because I put WAY too much thought into it and now must talk SOMEONE's ear off about it. Feel free to ignore this bit:

So, to start: Elvish NASA. I chose to call them Vardildi Elengolmo Vilciryamoyë, or VEV. The Followers of Varda, Astronomers and Astronauts. This could very much be totally wrong. Vardildi is Varda+the suffix used in Yavannildi, the followers of Yavanna. Elengolmo comes from the coined word for astronomer, Elengolmë (star-lore), with the -o suffix from nolmo, wise person. Vilciryamoyë takes the vil- from the root of vilya, meaning air, sky. ciryamo is mariner, and yë is the suffix added to the second word meaning 'and'. (I may be very, VERY wrong on this! If anyone has better ideas, I very much welcome input/guidance/constructive criticism)

So I stuck the tengwar for this on either side of the patch. (None of the tengwar is all that legible, though, I'm working on getting that sorted out) Most NASA mission patches don't actually have NASA on them, but I put it on anyway. Here is the tengwar and the start of a logo I made an attempt at (the tehta is supposed to be a shooting star, but that did NOT come through clearly in the embroidery [because it's tiny]):

(Probably going to try to make an elvish NASA patch before too long, honestly)

Most NASA patches (from research I did with great self-restraint here) have the (last) names of the astronauts. Not sure if they also have the name of the craft or if that's generally somewhere else, but I put both--Eärendil Ardamírë (his fathername and mothername) are the tengwar at the bottom of the patch, and Vingilotë is written on the keel of the ship. None of these are legible because they are small, and my machine has limits. It's a work in progress. Also I apologize for the bad lighting in the photo.

NASA patches sometimes also have a mission motto. That's the tengwar across the top of the patch here-- aiya Eärendil elenion ancalima, Hail Eärendil, brightest of stars (a common cry among elves and Frodo [when facing Shelob]).

(I half wanted to do something a bit more funny--maybe something like 'Now I have become Venus,' or 'Do I get to come down?' but this was a bit easier since it comes pre-translated into Quenya and tengwar, and also I have no faith in my Quenya translations that are any longer than a word)

The horizon is flat because Númenor exists, in the middle there between the shore of Middle-Earth and a teensy bit of Valinor and the Enchanted Isles.

The design for the Silmaril is sort of taken from the heraldic device Tolkien designed for the Silmarilli (though it isn't clear), and it is rayed with the six-pointed star from Eärendil's device. (I stuck the moon phases from the same source around the edges as well)

This was really fun, even if it might be the silliest thing I've ever made! It definitely needs some workshopping--i don't mind the black lines framing some sections from the background fabric, but I might try turning all the tengwar into lines of stitches instead-the satin columns really are illegible.

I now need to restrain myself from doing some sort of NASA/Astronaut Earendil AU, because it now sounds kind of fun (I do not have the background knowledge for this)

Sources:

NASA patches here: https://www.shopnasa.com/collections/patches

Quenya translations here: https://www.elfdict.com/

Tengwar transcriptions here: https://www.tecendil.com/

And if you want info on the Europa Clipper mission, here: https://science.nasa.gov/mission/europa-clipper

Embroidery digitization done with Embrilliance Stitchartist 1, embroidery done with a Brother SE630 machine. Thread is Brothread Cotton and YLI cotton bobbin thread, with a little sulky rayon on the Silmaril. Cloth is a black linen from Fabric Wholesale Direct.

[hungwy]

that OP imaginably intended it to mean something like this doesn't really overcome the fact that what they're calling a "4th person pronoun" 1. is not a pronoun (someone else pointed this out but, but to push the point further, see that "chatself" doesn't really check out here like "myself", "yourself", "itself", etc. does) and 2. also not really "4th person" in the way they're describing. i dont think its necessary to analyze it like this. in fact, it might be kind of incoherent? if you are talking to or at someone, you are speaking to them in the 2nd person, that's just the definition. if you are talking about someone and not to them, it's the 3rd person. what's happening in sentences like "chat, how are we feeling today?" or "this game sucks, chat" is that chat is 100% being spoken to and thus involved in the conversational situation. they are not "beyond" the conversation. they are being spoken to directly. so clearly these sentences have 2nd person references, but to capture what kind of behavior this is exactly, realize that "chat" is being used as a term of address. to quote the handbook of pragmatics:

Terms of address are the linguistic forms speakers use to refer to their collocutor(s), in the words of Oyetade (1995: 515) “words or expressions used to designate the person being talked to while talk is in progress”. In English, for example, these are words like you, mom, young man, or Professor Snyder.

"You are my best friend." "Mom, I'm home." "Go to your room, young man." "Professor Snyder, sorry I'm late." "I'm not doing that, chat." "You know what happened, my friends?"

[victoria-writes]

Elvish For Dummies

Pairing: Legolas x Reader (gender neutral)

Summary: Set after the events of LoTR. You live with Legolas in Mirkwood and he teaches you Elvish. Pure fluff.

Word Count: 1039

Notes: Established relationship, reader is human, tried to make the sindarin elvish as accurate as possible so apologies for any mistakes, I’m multilingual so I based this off of my own experience with learning languages 

Read it on AO3 here

Story:

Despite the fellowship having disbanded, each day with Legolas seemed like another adventure. During your perilous journey together, the two of you had grown closer than either of you thought possible. The mere thought of being apart from you pulled at his heartstrings. He could not bear the thought of being separated from his new love. After the one ring was destroyed, the elf invited you to come with him to Mirkwood. Hastily, you agreed, for you too could not wait to start a new life with the elven prince. 

Since reaching Mirkwood, many seasons have passed and you two grow closer by the day. Under his guidance, your archery skills and ability to speak Elvish have improved. He took it upon himself to privately tutor you in the tongue of his people. Legolas still giggles when you fumble certain words on your tongue, but is quick to apologize, never wanting to discourage you. He says you have made remarkable progress and that you possess great linguistic potential. Whether that is true or he is exaggerating with sugar coated words, you cannot tell but it feels good to hear his encouragement either way. 

Most of your days together included walks through the woods and riding horseback, but today was a gloomy rainy day. A day that, Legolas decided, would be a wonderful excuse to help you get back to your studies. It’s not that you did not enjoy Elvish. Oh no! You quite liked hearing him whisper loving words to you as he held your gaze. 

“Meleth nîn, Im tur feel cín emel dring dan sab - My love, I can feel your heartbeat against mine”, he would say as he held you in his arms, his breath dancing upon your skin with each syllable. 

Saying you enjoyed that would be the understatement of the century. Everything in Sindarin sounded like poetry. Even the most mundane sentences were said with purpose and flowered language. Unfortunately for you, that also meant the most basic phrases you had to learn weren’t your typical ones. Instead of “I went to the store”, you had to say “I depart to look for food - Im gwann- na thír an aes”. It seems that most Elvish children learn how to say things like “I can feel it in the earth - Im tur- feel ha in i coe” before they learn “please” and “thank you”. No wonder they all sound prophetic when they speak common. Creepy oracle sounding sentence structure as your first language combined with being thousands of years old will do that. 

“Meleth nîn, you’re drifting off. Shall we return to our lesson or is a break needed?”, Legolas' words break you out of your trance. You look up from your desk, covered in notes, to see him towering above you, eyebrow raised and arms crossed. 

“Apologies, I was merely pondering the linguistic differences between Sindarin and Quenya Elvish”, you quickly come up with the excuse to hide the fact that you were simply not paying attention. 

“Is that so?”, 

“Yes, yes, the distinction between Elvish languages is very interesting to me”.

“This is the third time this lesson you’ve been distracted by those differences”.

“Ah, well…”, you trail off, caught red-handed. 

“Y/N, I will not force you to learn Sindarin if you do not wish it”.

“No, no, no, I want to learn. I promise. It’s all just new to me and takes a moment to sink in. Please, repeat what you said. I’m paying attention”.

Legolas smiles but does not repeat himself. Instead, he moves on to an exercise he is sure will get your attention. 

“We shall review what I have taught you thus far.” 

…

“ Very good, Y/N. Now how would you say ‘the stars shine white’?”

“ I elena mír thilivern” 

“The grass is green?”

“I thár na- calen”        

“Very good pronunciation. You have done well. I believe it is time to learn some new vocabulary”.

You take out a new sheet of paper from your stack, ready to write. 

“You need not write for this portion. Repeat after me.” 

“Okay”. You put your quill down. 

“Meleth nîn.”

“Meleth nîn. I know what that means already. You say it all the time”.

“And what does it mean?”

“My love”, your lips turn upward in a shy smile.  

“Very good. Let us move on then”, he smiles brightly, as if pleasantly surprised despite knowingly fully well that you knew its meaning. 

“I’m ready. Hit me.” 

He suddenly sits down next to you and takes your hands into his own.

“Im mel cin”  

“Im mel cin”  

“Do you know its meaning?”   

“No, should I? I’m sorry.”, your eyes widen as you try to recall whether he had said it before in a previous lesson. 

Legolas throws his head back with laughter. This may be the hardest you’ve ever seen him laugh before… and it’s at you. Great. 

“Apologies. Apologies.”, he manages to get out between giggles, “The look on your face was priceless.” Your face sours at this and Legolas manages to resist a second burst of laughter from it. He thinks you equal parts hilarious and adorable. 

“You would not have known this phrase as I have never spoken it to you before. I do think it is high time for you to learn it”.

“Okay, so what does it mean?”, you scrunch your eyebrows together, ego still a little hurt from being laughed at. 

His grip on your hands tighten but his touch stays gentle as ever. He has always been gentle with you. His gaze holds the same softness. No, even deeper.  The blue of his eyes seem more vibrant and invite you in to look deeper within him. His eyes tell of a love that can never be truly explained in any language. Legolas has always had a staring problem when it comes to you, but this is something different entirely. Your cheeks redden at his seriousness.

“I love you”.

Your eyes widen once more and before you can react, he kisses you. Deeply. Passionately. 

“I love you. I love you. I love you.” he repeats again and again into your lips. 

…

Maybe learning a new language isn’t so bad, if you have the right teacher.

[literaryvein-reblogs]

Writing Notes: Emotions

“Emotion” is a term that came into use in the English language in the 17th and 18th centuries as a translation of the French term “émotion” but did not designate “a category of mental states that might be systematically studied” until the mid-19th century (Dixon 2012: 338; see also Dixon 2003; Solomon 2008).

Many of the things we call emotions today have been the object of theoretical analysis since Ancient Greece, under a variety of language-specific labels such as passion, sentiment, affection, affect, disturbance, movement, perturbation, upheaval, or appetite.

This makes for a long and complicated history, which has progressively led to the development of a variety of shared insights about the nature and function of emotions, but no consensual definition of what emotions are, either in philosophy or in affective science.

3 Traditions in the Study of Emotions

Emotions as: Feelings, Evaluations, and Motivations

Although emotion theories differ on multiple dimensions, they can be usefully sorted into three broad traditions:

The Feeling Tradition - takes the way emotions feel to be their most essential characteristic, and defines emotions as distinctive conscious experiences.

The Evaluative Tradition - regards the way emotions construe the world as primary, and defines emotions as being (or involving) distinctive evaluations of the eliciting circumstances.

The Motivational Tradition - defines emotions as distinctive motivational states.

(Scarantino, 2016)

Each tradition faces the task of articulating a prescriptive definition of emotions that is theoretically fruitful and compatible at least to some degree with ordinary linguistic usage.

And although there are discipline-specific theoretical objectives, there also is a core set of explanatory challenges that tends to be shared across disciplines:

Differentiation: How are emotions different from one another, and from things that are not emotions?

Motivation: Do emotions motivate behavior, and if so, how?

Intentionality: Do emotions have object-directedness, and if so, can they be appropriate or inappropriate to their objects?

Phenomenology: Do emotions always involve subjective experiences, and if so of what kind?

Emotions as Constructions

Constructionists are convinced that emotions are put together on the fly and in flexible ways using building blocks that are not specific to emotions, roughly in the way cooked foods are constructed from ingredients that are not specific to them and could be used according to alternative recipes.

One of the ingredients out of which emotions are built is said to be core affect, which is a:

neurophysiological state that is consciously accessible as a simple, nonreflective feeling that is an integral blend of hedonic (pleasure–displeasure) and arousal (sleepy–activated) values. (Russell 2003: 147)

Psychological constructionists emphasize that we are always in some state of core affect, which is a sort of barometer that informs us of our “relationship” to the flow of events.

The readings of the barometer are feelings, understood as blends of pleasure-displeasure and activation-deactivation.

These readings can be represented as points along a “circumplex structure”, with the vertical axis representing the degree of activation-deactivation and the horizontal axis representing the degree of pleasure-displeasure (Russell 1980).

Despite the great diversity of views on the nature and function of emotions, a broad consensus has emerged on a number of topics. Here is a tentative list of what a plurality of emotion theorists agree about, with brief mention of where the disagreements begin:

ONE. Emotion episodes involve, at least in prototypical cases, a set of evaluative, physiological, phenomenological, expressive, behavioral, and mental components that are diagnostic of emotions and are to some degree correlated with one another.

The degree to which these correlations are instantiated continues to be a central topic of theoretical debate: latent variable models assume that emotions cause the changes in components and expect to find strong correlations, whereas emergent variable models assume that emotions emerge from changes in components caused by something other than emotions and expect to find weak correlations.

TWO. Token episodes of the same folk emotion type (e.g., anger, fear, shame) manifest a great deal of variability with respect to expressive, behavioral, physiological and phenomenological features, as well as intensity, duration, valence, arousal, type and range of intentional objects.

Researchers disagree on whether underlying all this variability there exist measurable bodily patterns of some kind that are still distinctive of different emotions.

THREE. Emotions have intentionality or the ability to represent.

Researchers disagree on whether emotions represent descriptively or imperatively or both, on what exact contents they represent, and on what grounds the emotion-world representation relation. A small minority of researchers, hailing mostly from the enactivist movement, have argued that emotions lack representational qualities.

FOUR. The physical seat of emotions is the brain, but there are no neural circuits that correspond one-to-one with any folk emotion type, and brains are embodied and embedded in environments that are essential to their proper functioning.

Researchers disagree on how exactly the brain implements tokens of different emotion types, and whether emotional phenomena are best understood in terms of emotion-specific or emotion-unspecific neural mechanisms.

FIVE. Emotions typically involve conscious experiences, but such experiences are not strictly necessary for an emotion to be instantiated, in part because some emotion terms refer to dispositions and in part because most theorists consider feelings conceptually distinct from non-dispositional emotions.

A handful of influential researchers such as LeDoux (2017) and Barrett (2017) continue to identify emotions with conscious experiences.

SIX. Evolutionary and socio-cultural considerations must both contribute to our understanding of a great many emotions’ functions. These are both intra-personal functions —e.g., helping organisms coordinate organismic resources to deal with urgent demands—and interpersonal functions —e.g., communicating information useful for the negotiation of social transactions.

Researchers continue to debate whether there is sufficient empirical evidence for basic emotions and other special-purpose emotion mechanisms. Some see the role of evolution as limited to the shaping of general-purpose adaptations, such as core affect and the ability to categorize, which jointly lead to the emergence of emotions.

SEVEN. Emotions are no longer considered structurally opposed to reason.

Researchers continue to debate the circumstances in which emotions manifest various kinds of cognitive and strategic irrationality.

EIGHT. Emotions can be appropriate or inappropriate with respect to their intentional objects.

Researchers debate the grounds of, and distinctions between, different forms of appropriateness (e.g., fittingness, moral appropriateness).

NINE. Emotions typically involve appraisals of the significance of the stimulus situation, ranging between primitive and sophisticated forms of information processing.

Researchers debate what the structure of appraisals is, and whether appraisals cause or constitute emotions or both.

TEN. Emotions typically correlate with changes in motivation to do things.

Some researchers think emotions cause or consist in such changes in motivation, whereas others think that changes in motivation have other causes, or are too unspecific to ground a theory of what emotions are.

The exploration of these insights and the resolution of the disagreements around them is a thriving interdisciplinary project in contemporary emotion theory.

Philosophers and affective scientists will continue to engage in it for years to come, putting their distinctive theoretical skills at the service of projects of common interest.

Source ⚜ More: Writing Notes & References Word Lists: Uncommon Emotions ⚜ Other Words to Use ⚜ Positive Feelings

[room-surprise]

Progress on the Dungeon Meshi cultural and linguistic analysis essay...

We're at 112 pages lads. Here's the chapter titles. The organization and flow is finally starting to really congeal...

(Yes, the elves have 3 damn chapters. Yes, Mithrun has his own chapter lmao)

[xxscarletxrosexx]

A Linguistic Analysis of the Spelling Names "Ania" and "Anya" (and the chapter and languages of Ostania)

This includes spoilers from Short Mission 11, or Chapter 90.1

It's not a secret that Anya's (Ania) name change was officialized along with Loid (Lloyd) and Yor (Yoru/Yolanda) in July 2019. I do recall that our loveable Forger family had different spellings in the early manga releases. Many believed that it was Endo-san's way to cover up the spelling mistake, but I believe that, whether or not the origin and/or intention was a mistake, it paved a beautiful opportunity for a deep dive into linguistics and character analysis on Anya Forger.

First, I'd like to address my thoughts on "ANIA" as the spelling. Here are a few of my impressions on this:

"ANIA" could be perceived as her original spelling because wherever she came from used this spelling.

"ANIA" could just be her limitation as a child when it came to spelling her name.

"ANIA" could be an acronym from her lab that probably served the purpose of her existence.

"ANIA" could be the name of her mother/creator. And she was subjected to share the same name of her creator for "sourcing" purposes.

"ANIA" when applied to numerology number, reinforced her code name which is 007 (which is super meta to me, but probably is a coincidence because we all know 007 was Endo's way of referencing James Bond). S/O to @momentocollector for sharing this!

Second, I'd like to address "ANIA" as an identity for our precious baby girl.

"Ania" is the chosen spelling. This could possibly mean that this is her real name and how it should be spelled (You, as the owner of your name have every right to decide what your name should be, spelled, or pronounced after all).

"Ania" could possibly be an influence of either her mother-tongue language's spelling.

"Ania" could possibly be due to her limitation of spelling. (I don't think she is aware of how her name should be spelled.)

Recall that Yor carved out Anya's name as "Ania" and didn't question it. This could be a reflection of Yor's own lack of familiarity of Ostanian orthography since she is academically limited, and she would have listened to how Anya would have wanted her name to be spelled. Furthermore, this tells me that Yor's absence of questioning reflects that she accepts her daughter no matter who she is, be it "Ania" or "Anya".

Third, I'd like to address "ANYA" as her name's spelling.

"A-N-Y-A" is the spelling that her papa gave her, which tells her that she can now be on the same playing field as her parents. Their names and titles are all "masks" in this masquerade that they call "Forger". So, to little Anya, it means that she finally belongs with someone. Anya has essentially found "her home".

We also know that Franky did do a lot of paperwork and found that "Anya" is the spelling that was written down on her adoption papers. This reinforces that "Anya" is the standard Ostanian orthography of her name.

I perceive Loid as a person replicating the "average Ostanian" (since this is a deep cover mission after all), so to also tell her that her name is spelled a certain way reinforces that she has a new identity as an "Ostanian child". (I find this quite ironically poetic because it's a "fake man" giving a "fake name" to his "fake daughter").

I also see that when Anya's eyes light up, it could also mean that this new identity in her spelling change meant she was finally liberated from her days as a lab experiment and living in an orphanage.

Fourth, I'd like to address spelling etymology.

Since I'm not a Japanese linguist expert, I found @connoisseursdecomfort post to be quite educational when it came to Japanese spelling.

What we learn from the above post is that "Ania" is an acceptable name spelling in "Old Japanese". But as time progressed, the spelling changed to "Anya" which is the modern-day spelling of this name (this may tie into Anya's character lore).

We can track "i" becomes "y" in the evolution of the alphabet from Phoenician (c. 1000 BC) to Archaeic Greek (c. 750 BC). S/O to @rachellysebrook for this link. (Again, what this reinforces is Anya's background with an unidentified mother country/mother tongue language).

Another thing is that Yor Forger did not react to the spelling of "Ania". It could possibly be that she recognized Anya's limitation, given that her daughter already had poor scores since her admission.

We also learned that Yor, a real Ostanian, seems to be limited with Ostanian orthography which is most likely due to her dropping out of school to take care of Yuri (fake Ostanian /j). From her interaction with Anya, off-screen, it appears that Yor seems indifferent to spelling standards of names (Which is nice! She is subtly against society's norm and I love her for that). Had she been aware of the spelling, she would have been the one to ask instead of Loid. (But again, it must be Loid because it's poetic and has a much more meaningful interaction between "Loid" and "Anya").

Fifth, I'd like to address the name's (possible) impact on character purpose in the story.

"Anya" means mother in Hungarian (S/O to @httplovecraft1890. This inspired my thoughts on "Ania" as a name in the lab). Could this possibly be an inspiration or coincidence? It could be a stretch, but perhaps Anya's purpose in the lab is that she's a "mother weapon" for war.

"Ania" means "gracious" and "merciful" according to Google. Which makes me think that the lab scientists went with this name because it would represent her purpose as a weapon of war. Perhaps Ania becomes the "truth serum" and could be seen as the "angel of death" because she knows the war captor's thoughts and inevitably they are executed (a possible headcanon).

Sixth, I'd like to discuss the factors of the mysterious "unidentified language".

Anya did use "oui" in the anime when Loid had adopted her. This automatically made me think her possible origins could be French, but it could also take another step back in the language family: Romance. What makes this work is that we treat "Classical Language" as a dead language based on what we read/saw in the manga/anime like Latin. Anya has an innate potential to be bi-/multilingual.

Bonus: Seventh, I'd like to talk about the languages in this anime (This is a bit of a ramble but since we're talking about linguistics, I thought why not)...

Based on the dialogues spoken in the anime, we can confirm that English exclamatory (Oh my God, Goddammit, Shit, Wow, Elegant, etc.) and the Japanese language are the main components of the Ostanian language. This is reinforced by many characters who have used English expressions (Loid, Yuri, Yor, Anya, Damian, Henderson, etc.)

What does bug me is whether or not "oui", a French exclamatory, should be categorized as part of the Ostanian language or if that should be categorized for Anya's hidden lore. The reason is that when Loid/Twilight heard Anya say "oui" in front of him, he did not question it. (Perhaps he was too tired to process this, or he excused it as something Anya could have seen on TV and is merely mimicking. I really don't think Twilight would be the type to excuse this realization had he not had the aforementioned state of mind). I'm leaning more towards the latter as this is from Anya's mother tongue language.

In conclusion (or tldr;): "Ania" may be her real name, but "Anya" is her new identity as part of the Forgers.

If you read everything, thank you for your time! The linguist in me is so happy that Endo-san is steeping his foot into linguistic territory. As short as this chapter was, it said A LOT to me linguistically and provided more details to the scraps of lore that we know of Anya but it also tells us a bit more about Yor, Loid/Twilight, and Ostania.

[poetic-mac-n-cheese]

Ok I need someone smarter than me to be meta about why John changed Gideon’s name in the way he did. Not that he changed it at all, that one I can understand from his perspective, but specifically why he changed it to something with clear gender markers.

Gideon Nav is perfectly neutral bordering on traditionally masculine, but KirionA gaiA is clearly female. Gaia is literally the feminized version of Gaius according to Latin grammar. In a society of John’s own creation that is apparently past most of our current gender and sexuality norms, how and why would he choose that? Is this another way to show that he’s not as progressive as he thinks he is? Is it about him actually not understanding Gideon at all and forcing her into a weird box? Is there some kind of cultural or linguistic aspect I’m not seeing here? Is it nothing and I’m overthinking? What is going on?

[homunculus-argument]

Linguistic progression and language evolution is genuinely funny sometimes. Like in the 1960s the New Age people started talking about the vibrations in the air emitted by people and things, an aura that they have, something somewhat like the atmosphere, the impression of a person, but totally not the same thing because the vibrations are their own thing, intangible but very real for those who are sensitive to them. And you have to bite your tongue to not tell them that sounds like utter horseshit.

And in the 2020s people post shit online like "yeah me and my friends were supposed to go get pasta at this new place but the vibes were off. They told me I was being ridiculous, this place is fine, but the vibes were bad so I fucked off on my own while they stayed. Two hours later my friend got stabbed in the parking lot."

Survival of the fittest is about fitting into the environment, and words that are most used are the words that are useful. "Vibes" spread and got into common use because it turns out that it really is an useful word. Vibes are a legit thing. Doesn't have anything to do with seeing the colours of peoples' auras, and the extent of your ability to make prophesies and foresee the future is limited to a very rough estimate of how likely you are to get stabbed here. But that is an extremely useful thing to know.

[dedalvs]

I don't think that any of your conlangs are progressive enough to express being trans, but if they were, how would they? What about other gender/sexuality things?

That first clause is quite a thing to say. Languages aren't progressive. Their users may be, but the languages aren't anything. They're just languages. If you mean they're not modern (i.e. a lot of the languages I create are for cultures that are somewhat antiquated compared to our world), this is true, but that doesn't necessarily mean the languages won't have terminology for different gender identities.

There is a major assumption here, though. My understanding (and please do note: I am a cis man; please feel free to correct), cis and trans individuals, as opposed to nonbinary and genderfluid, are similar in that neither have any doubt about what gender they are, identifying with either male or female. So if any language I've created has a word for "man" or "woman", then there's sufficient vocabulary for a trans individual to express their identity that way.

However, there is a terminological difference, and it's both an individual choice and societal preference: Whether to identify as one's chosen gender identity, as trans, or both (e.g. "I am a woman", "I am trans", or "I am a trans woman"—and then preferring to use one of those or all of those, or some other combination of the three). My personal language preference (as a user and language creator) is fewer distinctions are better (why have three third person singular pronouns—or four or twelve—when you can have one?), because it's less to memorize, less work to use, and demands less specificity of the user—and allows the hearer/reader to make fewer assumptions. Unless the situation calls for it (e.g. the gender system hard-coded into Ravkan in Shadow & Bone), I prefer lumping rather than splitting. This is especially useful as I'm often not in charge of the culture I create languages for.

For example, the languages I've created for A Song of Ice and Fire were for cultures created and maintained by George R. R. Martin. Whatever cultural innovations I have made in creating the languages are, at best, pending—that is, true until George R. R. Martin says otherwise, which he is free to do at any time, as it's his world. As a result, I don't feel confident enough to say what life is like for a trans individual in his world, and how that might be reflected in the languages there. There's simply not enough information.

Where I might be in charge of the culture, you do know my preference now (i.e. fewer distinctions), but, as I am not trans, I'd prefer to leave it to the trans community to decide, and then do what I can to support those decisions linguistically (i.e. to make it work within the language). Any term chosen highlights some aspect of the experience while downplaying others. In English, trans, coming from transition, highlights the change from one identity to another. Other ideas for how to come up with a term might be using a root that refers to "true", highlighting the transition to one's true gender expression. Perhaps another root to look for would be "choose", framing it as one's chosen gender expression—IF one wishes to look at it that way.

In many ways, both the term and the experience are highly individual, and it's difficult to come up with a blanket term and say "this is the term". It's especially difficult since this isn't a life experience I share. It feels both disingenuous and a bit icky to come up with a term to describe an experience that is decidedly not my own.

My own preference in this regard is a twofold approach:

Allow trans users of whatever language to figure out what term works for them, and then support them in creating a term that obeys the various language rules (i.e. the phonology is correct, derived words are derived correctly, etc.). Those users, however, will be operating under the same "rules" that I operate under, e.g. the one who's creating the culture has the final say, if they care to weigh in, and so the result may end up not being canon, at which point it's up to the user to decide whether they care or not. (Note: I shouldn't have to explain it here on Tumblr, but, of course, you don't have to care if the creator of the canon says something isn't so, no matter how many billions they have.)

Allow polysemy. There will never be a term that is THE term. It may be an individual's preferred term, but someone else may like another, in which case it should be allowed.

A very important language-specific note (and the same is true of fandom, generally). By agreeing to work within a language, we're essentially agreeing to rules of a game. The rules can always be broken. When rules are broken, the question language users have to answer is if they've been broken so egregiously that they're no longer playing the game, or if it's fine. For example, if you look at fanfic, there's plenty of fanfic with gender-swapped characters, or the same characters in a radically different setting. Some readers may decide they don't want the characters to be gender-swapped. Others may decide that if it's not in the same setting they're not interested. And that's fine! Both the writers and the readers are deciding which rules of the game can be broken while still calling it the same game. This works very, very well so long as no one gets mad at anyone else. If someone says, "I don't enjoy this because it breaks the rules in a way that ruins my enjoyment", that's perfectly fine. If that same person says, "You're not allowed to break the rules in this way", that's not fine.

So hopefully this all makes sense. And, furthermore, when I say I want to support those who wish to create their own terms, I do mean it. If anyone has suggestions or needs help coining a possible word, feel free to message me! But do bear (2) above in mind. I'm not going to say any term is THE term, and have that be the end of it. It'll be one possibility amongst a rainbow of possibilities.

[mostlysignssomeportents]

"Open" "AI" isn’t

Tomorrow (19 Aug), I'm appearing at the San Diego Union-Tribune Festival of Books. I'm on a 2:30PM panel called "Return From Retirement," followed by a signing:

https://www.sandiegouniontribune.com/festivalofbooks

The crybabies who freak out about The Communist Manifesto appearing on university curriculum clearly never read it – chapter one is basically a long hymn to capitalism's flexibility and inventiveness, its ability to change form and adapt itself to everything the world throws at it and come out on top:

https://www.marxists.org/archive/marx/works/1848/communist-manifesto/ch01.htm#007

Today, leftists signal this protean capacity of capital with the -washing suffix: greenwashing, genderwashing, queerwashing, wokewashing – all the ways capital cloaks itself in liberatory, progressive values, while still serving as a force for extraction, exploitation, and political corruption.

A smart capitalist is someone who, sensing the outrage at a world run by 150 old white guys in boardrooms, proposes replacing half of them with women, queers, and people of color. This is a superficial maneuver, sure, but it's an incredibly effective one.

In "Open (For Business): Big Tech, Concentrated Power, and the Political Economy of Open AI," a new working paper, Meredith Whittaker, David Gray Widder and Sarah B Myers document a new kind of -washing: openwashing:

https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4543807

Openwashing is the trick that large "AI" companies use to evade regulation and neutralizing critics, by casting themselves as forces of ethical capitalism, committed to the virtue of openness. No one should be surprised to learn that the products of the "open" wing of an industry whose products are neither "artificial," nor "intelligent," are also not "open." Every word AI huxters say is a lie; including "and," and "the."

So what work does the "open" in "open AI" do? "Open" here is supposed to invoke the "open" in "open source," a movement that emphasizes a software development methodology that promotes code transparency, reusability and extensibility, which are three important virtues.

But "open source" itself is an offshoot of a more foundational movement, the Free Software movement, whose goal is to promote freedom, and whose method is openness. The point of software freedom was technological self-determination, the right of technology users to decide not just what their technology does, but who it does it to and who it does it for:

https://locusmag.com/2022/01/cory-doctorow-science-fiction-is-a-luddite-literature/

The open source split from free software was ostensibly driven by the need to reassure investors and businesspeople so they would join the movement. The "free" in free software is (deliberately) ambiguous, a bit of wordplay that sometimes misleads people into thinking it means "Free as in Beer" when really it means "Free as in Speech" (in Romance languages, these distinctions are captured by translating "free" as "libre" rather than "gratis").

The idea behind open source was to rebrand free software in a less ambiguous – and more instrumental – package that stressed cost-savings and software quality, as well as "ecosystem benefits" from a co-operative form of development that recruited tinkerers, independents, and rivals to contribute to a robust infrastructural commons.

But "open" doesn't merely resolve the linguistic ambiguity of libre vs gratis – it does so by removing the "liberty" from "libre," the "freedom" from "free." "Open" changes the pole-star that movement participants follow as they set their course. Rather than asking "Which course of action makes us more free?" they ask, "Which course of action makes our software better?"

Thus, by dribs and drabs, the freedom leeches out of openness. Today's tech giants have mobilized "open" to create a two-tier system: the largest tech firms enjoy broad freedom themselves – they alone get to decide how their software stack is configured. But for all of us who rely on that (increasingly unavoidable) software stack, all we have is "open": the ability to peer inside that software and see how it works, and perhaps suggest improvements to it:

https://www.youtube.com/watch?v=vBknF2yUZZ8

In the Big Tech internet, it's freedom for them, openness for us. "Openness" – transparency, reusability and extensibility – is valuable, but it shouldn't be mistaken for technological self-determination. As the tech sector becomes ever-more concentrated, the limits of openness become more apparent.

But even by those standards, the openness of "open AI" is thin gruel indeed (that goes triple for the company that calls itself "OpenAI," which is a particularly egregious openwasher).

The paper's authors start by suggesting that the "open" in "open AI" is meant to imply that an "open AI" can be scratch-built by competitors (or even hobbyists), but that this isn't true. Not only is the material that "open AI" companies publish insufficient for reproducing their products, even if those gaps were plugged, the resource burden required to do so is so intense that only the largest companies could do so.

Beyond this, the "open" parts of "open AI" are insufficient for achieving the other claimed benefits of "open AI": they don't promote auditing, or safety, or competition. Indeed, they often cut against these goals.

"Open AI" is a wordgame that exploits the malleability of "open," but also the ambiguity of the term "AI": "a grab bag of approaches, not… a technical term of art, but more … marketing and a signifier of aspirations." Hitching this vague term to "open" creates all kinds of bait-and-switch opportunities.

That's how you get Meta claiming that LLaMa2 is "open source," despite being licensed in a way that is absolutely incompatible with any widely accepted definition of the term:

https://blog.opensource.org/metas-llama-2-license-is-not-open-source/

LLaMa-2 is a particularly egregious openwashing example, but there are plenty of other ways that "open" is misleadingly applied to AI: sometimes it means you can see the source code, sometimes that you can see the training data, and sometimes that you can tune a model, all to different degrees, alone and in combination.

But even the most "open" systems can't be independently replicated, due to raw computing requirements. This isn't the fault of the AI industry – the computational intensity is a fact, not a choice – but when the AI industry claims that "open" will "democratize" AI, they are hiding the ball. People who hear these "democratization" claims (especially policymakers) are thinking about entrepreneurial kids in garages, but unless these kids have access to multi-billion-dollar data centers, they can't be "disruptors" who topple tech giants with cool new ideas. At best, they can hope to pay rent to those giants for access to their compute grids, in order to create products and services at the margin that rely on existing products, rather than displacing them.

The "open" story, with its claims of democratization, is an especially important one in the context of regulation. In Europe, where a variety of AI regulations have been proposed, the AI industry has co-opted the open source movement's hard-won narrative battles about the harms of ill-considered regulation.

For open source (and free software) advocates, many tech regulations aimed at taming large, abusive companies – such as requirements to surveil and control users to extinguish toxic behavior – wreak collateral damage on the free, open, user-centric systems that we see as superior alternatives to Big Tech. This leads to the paradoxical effect of passing regulation to "punish" Big Tech that end up simply shaving an infinitesimal percentage off the giants' profits, while destroying the small co-ops, nonprofits and startups before they can grow to be a viable alternative.

The years-long fight to get regulators to understand this risk has been waged by principled actors working for subsistence nonprofit wages or for free, and now the AI industry is capitalizing on lawmakers' hard-won consideration for collateral damage by claiming to be "open AI" and thus vulnerable to overbroad regulation.

But the "open" projects that lawmakers have been coached to value are precious because they deliver a level playing field, competition, innovation and democratization – all things that "open AI" fails to deliver. The regulations the AI industry is fighting also don't necessarily implicate the speech implications that are core to protecting free software:

https://www.eff.org/deeplinks/2015/04/remembering-case-established-code-speech

Just think about LLaMa-2. You can download it for free, along with the model weights it relies on – but not detailed specs for the data that was used in its training. And the source-code is licensed under a homebrewed license cooked up by Meta's lawyers, a license that only glancingly resembles anything from the Open Source Definition:

https://opensource.org/osd/

Core to Big Tech companies' "open AI" offerings are tools, like Meta's PyTorch and Google's TensorFlow. These tools are indeed "open source," licensed under real OSS terms. But they are designed and maintained by the companies that sponsor them, and optimize for the proprietary back-ends each company offers in its own cloud. When programmers train themselves to develop in these environments, they are gaining expertise in adding value to a monopolist's ecosystem, locking themselves in with their own expertise. This a classic example of software freedom for tech giants and open source for the rest of us.

One way to understand how "open" can produce a lock-in that "free" might prevent is to think of Android: Android is an open platform in the sense that its sourcecode is freely licensed, but the existence of Android doesn't make it any easier to challenge the mobile OS duopoly with a new mobile OS; nor does it make it easier to switch from Android to iOS and vice versa.

Another example: MongoDB, a free/open database tool that was adopted by Amazon, which subsequently forked the codebase and tuning it to work on their proprietary cloud infrastructure.

The value of open tooling as a stickytrap for creating a pool of developers who end up as sharecroppers who are glued to a specific company's closed infrastructure is well-understood and openly acknowledged by "open AI" companies. Zuckerberg boasts about how PyTorch ropes developers into Meta's stack, "when there are opportunities to make integrations with products, [so] it’s much easier to make sure that developers and other folks are compatible with the things that we need in the way that our systems work."

Tooling is a relatively obscure issue, primarily debated by developers. A much broader debate has raged over training data – how it is acquired, labeled, sorted and used. Many of the biggest "open AI" companies are totally opaque when it comes to training data. Google and OpenAI won't even say how many pieces of data went into their models' training – let alone which data they used.

Other "open AI" companies use publicly available datasets like the Pile and CommonCrawl. But you can't replicate their models by shoveling these datasets into an algorithm. Each one has to be groomed – labeled, sorted, de-duplicated, and otherwise filtered. Many "open" models merge these datasets with other, proprietary sets, in varying (and secret) proportions.

Quality filtering and labeling for training data is incredibly expensive and labor-intensive, and involves some of the most exploitative and traumatizing clickwork in the world, as poorly paid workers in the Global South make pennies for reviewing data that includes graphic violence, rape, and gore.

Not only is the product of this "data pipeline" kept a secret by "open" companies, the very nature of the pipeline is likewise cloaked in mystery, in order to obscure the exploitative labor relations it embodies (the joke that "AI" stands for "absent Indians" comes out of the South Asian clickwork industry).

The most common "open" in "open AI" is a model that arrives built and trained, which is "open" in the sense that end-users can "fine-tune" it – usually while running it on the manufacturer's own proprietary cloud hardware, under that company's supervision and surveillance. These tunable models are undocumented blobs, not the rigorously peer-reviewed transparent tools celebrated by the open source movement.

If "open" was a way to transform "free software" from an ethical proposition to an efficient methodology for developing high-quality software; then "open AI" is a way to transform "open source" into a rent-extracting black box.

Some "open AI" has slipped out of the corporate silo. Meta's LLaMa was leaked by early testers, republished on 4chan, and is now in the wild. Some exciting stuff has emerged from this, but despite this work happening outside of Meta's control, it is not without benefits to Meta. As an infamous leaked Google memo explains:

Paradoxically, the one clear winner in all of this is Meta. Because the leaked model was theirs, they have effectively garnered an entire planet's worth of free labor. Since most open source innovation is happening on top of their architecture, there is nothing stopping them from directly incorporating it into their products.

https://www.searchenginejournal.com/leaked-google-memo-admits-defeat-by-open-source-ai/486290/

Thus, "open AI" is best understood as "as free product development" for large, well-capitalized AI companies, conducted by tinkerers who will not be able to escape these giants' proprietary compute silos and opaque training corpuses, and whose work product is guaranteed to be compatible with the giants' own systems.

The instrumental story about the virtues of "open" often invoke auditability: the fact that anyone can look at the source code makes it easier for bugs to be identified. But as open source projects have learned the hard way, the fact that anyone can audit your widely used, high-stakes code doesn't mean that anyone will.

The Heartbleed vulnerability in OpenSSL was a wake-up call for the open source movement – a bug that endangered every secure webserver connection in the world, which had hidden in plain sight for years. The result was an admirable and successful effort to build institutions whose job it is to actually make use of open source transparency to conduct regular, deep, systemic audits.

In other words, "open" is a necessary, but insufficient, precondition for auditing. But when the "open AI" movement touts its "safety" thanks to its "auditability," it fails to describe any steps it is taking to replicate these auditing institutions – how they'll be constituted, funded and directed. The story starts and ends with "transparency" and then makes the unjustifiable leap to "safety," without any intermediate steps about how the one will turn into the other.

It's a Magic Underpants Gnome story, in other words:

Step One: Transparency

Step Two: ??

Step Three: Safety

https://www.youtube.com/watch?v=a5ih_TQWqCA

Meanwhile, OpenAI itself has gone on record as objecting to "burdensome mechanisms like licenses or audits" as an impediment to "innovation" – all the while arguing that these "burdensome mechanisms" should be mandatory for rival offerings that are more advanced than its own. To call this a "transparent ruse" is to do violence to good, hardworking transparent ruses all the world over:

https://openai.com/blog/governance-of-superintelligence

Some "open AI" is much more open than the industry dominating offerings. There's EleutherAI, a donor-supported nonprofit whose model comes with documentation and code, licensed Apache 2.0. There are also some smaller academic offerings: Vicuna (UCSD/CMU/Berkeley); Koala (Berkeley) and Alpaca (Stanford).

These are indeed more open (though Alpaca – which ran on a laptop – had to be withdrawn because it "hallucinated" so profusely). But to the extent that the "open AI" movement invokes (or cares about) these projects, it is in order to brandish them before hostile policymakers and say, "Won't someone please think of the academics?" These are the poster children for proposals like exempting AI from antitrust enforcement, but they're not significant players in the "open AI" industry, nor are they likely to be for so long as the largest companies are running the show:

https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4493900

I'm kickstarting the audiobook for "The Internet Con: How To Seize the Means of Computation," a Big Tech disassembly manual to disenshittify the web and make a new, good internet to succeed the old, good internet. It's a DRM-free book, which means Audible won't carry it, so this crowdfunder is essential. Back now to get the audio, Verso hardcover and ebook:

http://seizethemeansofcomputation.org

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/08/18/openwashing/#you-keep-using-that-word-i-do-not-think-it-means-what-you-think-it-means

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[theside-b]

What more can I say about this show? I’d previously compared the rhythm of First Note of Love with the likes of Unknown and The On1y One, but the more appropriate and direct comparison is with the underrated About Youth. From the music-driven plot, soft approach and wholly interesting characters, both shows have in common this trait of not dwelling into complex or difficult subjects, often choosing the lighter path guided by the romance.

The main difference between them comes in the cast. From all shows of the season, First Note of Love was the biggest target on my radar, the reason: Charles and Michael. Absolute fan-favorite and scene stealer from HIStory: Close to You, and the adorable prodigal son in My Tooth Your Love teaming up with now the focus square on them and joined by two other seasoned actors in Tim Liu and Jame Kasama. Taiwanese actors don’t sit in the same table with their neighbors, and while Charles and Michael are not bringing a bed to their fan meetings or sparking rumors of real-life dating, they really embraced the image of an adorable lovingly couple, going on cute dates and being cheesy (and overly romantic) with each other off-screen, meanwhile Tim and Jame have this very unique international connection with the two even scoring a side episode dedicated to them, and unlike other projects that feature international pairings this show explored and addressed head-on the linguistic barriers.

On the show, one of the biggest pitfalls was deftly avoided: Neil and Sea are on equal footing. Which was quite impressive of them to pull off, because not only they had the age gap between them but we start the series with Xiao Hai being Neil’s biggest fan, so from the get-go they were on uneven ground, but as the show progressed, we had two things happening at once: Xiao Hai realizing that Neil is much more than what and who he idolized and Neil himself becoming a fan (and falling head over heels for Sea). When we reach the midpoint is pretty clear that Xiao Hai has Neil’s heart, and not only that but Neil is also a fan of him, from Sea’s own music to his personality, they adore each other completely, flaws and all. And is actually a nice change of pace seeing a couple who is free to just fall in love without any unnecessary drama happening.

There isn’t a “bride”, or an ex-looking for a second chance, battle of classes, gangsters trying to ruin their lives, an overly dramatic break-up, circumstances that pull them apart, nothing like that at all happens here. Their biggest obstacle is actually themselves, they are so into each other that it becomes a problem, until it isn’t and the romance takes off beautifully. It’s like seeing one of the healthiest relationships unfold right in front of your eyes, a novelty really.

Next to them there is Reese and Orca in one of the most interesting dynamics seen in recent BL dramas. There is history here, but we are not allowed to witness, something did happen, something important and special to both of them. Orca left; Reese let him go. And then he is back, with no intention of leaving again empty-handed, if his going back to Thailand he is going to make sure he has Reese’s heart with him.

Orca joins a very fun trend of the class of’24: the “I have feelings and I going to make them your problem too!” archetype. Invading Reese’s house (which is debatable since he knew the door code), cooking him delicious meals, serenating his paramour, making Reese a hostage at his own home by taking long and luxurious showers and prowling the apartment naked, Orca didn’t let that man breathe for one second. It didn’t hurt them that their first interaction was Orca literally throwing himself at Reese and we along with him finding out that the Taiwanese learned thai just so they could talk — they confessing their love in each other’s mother language was such a sweet touch.

Much like the main couple there was plenty of openings for some juicy drama here (their first kiss happens at a funeral for crying out loud) but the show again choses the lighter route, from Orca hijinks, to Reese’s obvious crush and the cute MosBank cameos (we need a spin-off showing what kind of beef they have with Orca), the only thing stopping them is themselves, Reese actually says that.

That all might seem silly or uneventful, but is refreshing seeing grown-ups acting like grow-ups. Is not a show with wild storylines or bombastic turning points and sudden revelations. They are telling the stories of two couples that simply like each other and want to be together. It’s about them working around their own issues to be good for one another. It’s the reason why, unlike other Taiwanese shows, I firmly believe they are perfect for a stress-free binge watch.

The one major downside is the run-time, from episode one to the finale, it always feels like something good was left off the table due time constraint. The lack of Reese and Orca in the final episode felt criminal (they have a special episode focused on them in Thailand by the way, but is mostly a cute little thing starring Tim and Jame). The episodes clock around the 22/24-minute mark, and that leads me to believe that First Note of Love might have been conceived as a movie that got turned into a series later on, it’s probably the one series that I can clearly see how they would adapt into a feature film with ease.

As I said, there are subtle hints of very dark subjects lurking within the characters. Xiao Hai for example, we see that he grew up all alone, abandoned really, and there is a tense moment his mother reaches out to him, and he avoids her wanting nothing to with her or his family, later he states to Neil that thanks to his love he doesn’t feel alone anymore — the implications are there, but you have to be able to catch them and read as you see fit, the show never makes them all that clear, they could’ve explored more but they chose not to, maybe if they had more time they could have.

I also need to point it out: it’s the best (no question or room for debate) musical BL. All the songs were very good, and you can see they went all out to get them right, the lyrics always reflecting what we were dealing with in the episodes. Charles already had two tracks from HIStory under his belt, and Michael and Jame got training from professional musicians and instructors in how to perform in front of the cameras. This dedication led to some amazing moments and the most believable on-screen musicians in the genre. It also never felt like a full-on musical, but as if we were indeed watching professional stage performances. (Warner Music Taiwan was responsible for the soundtrack and having actual artists like Taiyo [who plays Matt] and Ben Wu providing them songs was a great call).

Another strong asset in the show was the location. The first major TW-BL drama not situated in Taipei, the port city of Kaohsiung served as this near-futuristic backdrop with stylish architecture and romantic scenery — the city is actually Taiwan’s new capital of music with labels HQs and musical festivals, that’s why the show takes place there, and it was refreshing seeing them in a location not all-that explored.

I cannot advocate for this show enough, so is a must-see recommendation from me.

[nukacourier]

Bored and yearning. Here's some Arcade x transmasc headcanons

- Will gladly help you with T shots or T gel. He's always very careful about it every time he helps out

- Reminds you (if pre-op/no-op and binding) to take breaks from wearing your binder and gives you back massages if your back hurts from it

- If post-op and had just gotten top surgery, he'd do basically everything for you. Getting you food, reaching things for you, letting you rest in bed, and even helping you change your bandages. Every time he has to leave your side for something he gives you a quick kiss on the forehead

- If strictly no-op, he'd assure you he's still very attracted to you whether you get surgery or not. He'd probably even be a little envious of you for being more comfortable as yourself than he is, but it never makes him bitter. If anything he admires you

- If post-op and healed, he'd love to lay with you and trace over your scars with his hands. He finds it hot and thinks it makes you more "rugged"

- Thinks you're very awesome just for existing despite troubles you might face. You inspire him to slowly take better care of himself for you

- Constantly researching more efficient ways to medically transition, excitedly tells you about any breakthroughs he makes even if they're small

- Willing to defend you with his LIFE. Will chew out transphobes with both scientific backing and insult them at the same time, also willing to deck someone in the face if they get too ballsy around you (he always acts embarrassed afterwards though. He doesn't like violence but loves you enough to resort to it if needed)

- Learns about transgender/queer history both in pre-war and post-war times and tells you anything about it he thinks you'd find interesting

- Lets you wear his clothes if yours are dirty or damaged. Sometimes even excitedly insists on it because he loves how you look in his clothes

- Lets you use his razor if you need to shave and don't have one. He makes sure to sanitize it after use so you don't have to worry about shared germs

- Writes your new name down on his hand if you pick a new one. Very intent on memorizing it as best he can

- If you use xenopronouns/neopronouns, he loves hearing about it because he thinks it's a fascinating use of linguistics

- Just genuinely thinks you're the coolest guy ever. He'd be happy to have you around and gets depressed when you're away. Probably even talks about you a lot

- Excited at any progress in your transition. Whether it's physical changes or simply seeing you happy to be yourself, it makes him overjoyed to see you happy

[crumblinggothicarchitecture]

While I agree with most of your posts

I think bringing up grammar in song writing is just kinda weird

Like as long as a song isn't as egregiously grammatically incorrect as 'I'll do what I should have did' (thank you deacon blue) it just isn't a relevant criticism?

Even the song writer you respect most probably doesn't write their songs like an essay they can lose marks for. And that's a good thing! Songs would be a lot worse if writers were worrying about these things

It's just such a bizarre thing to bring up- and unfortunately it kinda makes your other points look less valid because it comes across as weird and petty and like you'll drag Swift for anything (Plus obsessions with 'correct' grammar is just rooted in abliesm, classism and racism- so yeah not a good look)

Plus bringing up your literature degree... like you never studied poetry? Which famously plays with grammar and sentence structure? Like that's inherent to the genre and while very little of TTPD is poetic, lyrics are still most similar to poems then they are to essays or journal articles

Sorry you just really hit a nerve here cos it's just such a ridiculous thing to bring up.

Okay, yes people don't write songs like essay's. However, they often still use determinable grammar rules in art.  

You are keying into the difference between prescriptive and descriptive grammar rules. 

The prescriptive rules are ones that you are most likely to find first listed in dictionaries or textbooks. Descriptive grammar rules contend with the dialectal differences and slang. In either case, rules and stipulations or exceptions are noted in various linguistic analysis of the demographic's dialect. Both subgroups of grammar are consistently evolving as the use of the English language changes over time.  

Before I move on, I just want to say that I am well-aware of the deep history surrounding the debates on proper grammar. These debates, of course stem, from sociohistorical issues surrounding class, race, and ableist attitudes. You are correct. However, the academic conversation on grammar and linguistics has advanced dramatically into the subdivision of grammar-practices with respect to dialectal and cultural differences. I judge Taylor Swift's grammar as similar to my own, since she claims to be from my “neck of the woods.” Thus, I feel it is entirely appropriate for me to throw metaphorical tomatoes at her.  

 In the juncture of this difference on prescriptive and descriptive, I want to make that point that people who utilize the difference well often take prescriptive rules and bend them to fit their specific thematic point, thus the lyric forms to its set of descriptive grammar rules. These artists do it with such finesse and precision, unlike Taylor Swift, that it’s nearly awe-inspiring.  

For instance, Kendrick Lamar uses many AAVE typical syntactical structures to make his music personalized art. He won a Pulitzer for it. Take, as an example, the intro to his song “Humble” in which he writes, “Nobody pray for me / It been that day for me” (2017). This is not grammatically correct according to the prescriptive grammar rules laid out in the 1940’s. However, linguistic scholars do not operate on so strict a pendulum anymore. Notice, too, that Lamar is not actually breaking any grammatical rules, only playing with the purpose and form of his syntax, when we take into account the dialectical intention with which he uses “it been” as a poignant use of the past participle form of the verb “to be.” Thus, the simple sentence of “it is” changes into the “it been” as a subjective call first to his cultural dialect and to the thematic gesture of the song. As the phrase “it been” leaves out the helping verb “have” which would put the phrase into present progressive tense should it be present; however, it’s noticeable absence as a stiff detraction from prescriptive grammar rules, focuses Lamar’s thematic point on moving the audience to mediate on the past as it intrudes on the present time. His use of language discrepancy between prescriptive and descriptive rules focuses recognition on his dialectal culture and on his main thematic point as it hinges on making sure to notice where you’ve been in life in order to stay humble and live with authenticity. He is a masterclass on descriptive grammar being used in such a beautifully artistic way that I am damn near in tears for his music.  

Okay, moving onto to your point about poetry not being grammatically correct. You are quite wrong here, because poetry "plays" with syntax but it does not throw the rules out. Much like the example I laid out above, poetry does the same thing wherein it plays with prescriptive grammar in a thoughtful way that often ties into the moral or theme of the work. Poetry centers on a different form of syntactical methodology... yes, you are right. However, the emphasis is still on the necessity of understanding grammar structures like poetic feet, meter, rhyme scheme (etc). It's not a free-for-all. The best poets of the last 6 centuries have been some with the most linguistically precise sentence structure that I've ever read. I can give you examples, but if I do that this answer will become a million words long.  

I am, however, sorry to have struck a nerve or come-off like a know-it-all. I was only expressing my frustration that Taylor Swift is apparently one of the biggest artists in the world and she doesn't even bother to ask a friend if the meaning of her phrases gets lost in excessively languishing grammatical structures. For instance, in her song “Chloe or Sam or Marcus or Whatever” she is stacking so many phrases hinging on coordinating conjunctions that the meaning of the phrase itself loses any poignant message. She writes:

Named Chloe or Sam or Sophia or Marcus And I just watched it happen As the decade would play us for fools And you saw my bones out with somebody new Who seemed like he would've bullied you in school And you just watched it happen (Chloe or Sam or Sophia or Marcus).

In this stanza alone there are 6 coordinating conjunctions stacked together, interspersed with additional prepositional phrases and 2 extra relative clauses. It is the most egregious run-on sentence I have ever seen published before. I've seen better, cleaner prose in the work I've graded from High School freshmen. Not only could she have said it in less words, but the way she is writing it makes it drag on and on. The meaning gets lost, and any emotional impact is shut down because people get lost in the wordiness.

It’s a failure on her part, and it’s clear how just writing a run on sentence with no meaning is so much different than the way that someone like Lamar is masterfully arranging language to fit his purpose.  It's offensive that she gets to make a million-billion dollars off so little effort. 

Sorry, I wrote you an essay, but I am so incredibly passionate about writing. Also, I’ve been listening to Lamar a lot today because of his recent diss track, and it just reminded about how much of a lyrical genius he is. Sorry, I detoured into a rant about how cool he is too. And I need people to understand that I am not critiquing Swift because I need to dunk on someone in order to bolster my own sense of self-worth. I just want better mainstream art, and I want people to have better, stronger art with which to engage.  

I did not mean to hurt your feelings.  You are quite right that obsession with "proper" grammar is bullshit; however, I am not looking for some old fashioned "proper" nonsense. I want people to write like Lamar, with intelligence and passion while he bends the notions of grammar, not like Taylor Swift with obvious run-on obfuscated and stupid phrases.

edit: Also, good writers do actually worry about grammar. It has to do with illocutionary forces behind the phrases. The best among us knows the language inside and out, and that is why they are the best writers.

Edit 2: Also, I've been thinking about this, but what do you think literary and poetry critics do? You say it's bizarre to critique Taylor Swift’s poor grasp of the English language? Of course, I'm critiquing that... she's the one who calls herself a writer. I don't go around checking everyone's grammar, but if you call yourself a "good" writer and a poet, obviously expect people to analyze the words on the page.

[hamsterclaw]

Fic Library: Jimin

Lost and Found by @kimvtae. An idolverse AU featuring Jimin as a problematic idol who gets sent for rehab in America, where he meets reader. Beautiful writing and reformed bad boy Jimin is characterised so well here.

Adonis by @xjoonchildx. Jimin's a hot paramedic who you meet with a little help from the little old lady next door. Funny, cute and written in Ana's incomparable style.

Put it on me by @jimilter features models Jimin and reader on a shoot and it's laugh out loud funny, snappy and smutty. So so good.

La Grande Maison by @softyoongiionly features Jimin x reader and is a mystery/thriller with great scene-setting and beautifully realised friendships.

I know a place by @augustbutwinter has Jimin and a gender-neutral reader in a sweet pining story about unrequited love.

Fall like moondrops by @madbutgloriouspond is a beautiful story set in a just-post-college AU featuring a dancer Jimin who's determined, sweet, and an all-round decent guy. It captures the end-of-summer vibe and apprehension about upcoming change perfectly.

Devil's in the backseat by @ugh-yoongi is a sexy, smutty tale with banter that's sparky and so so funny, featuring Jimin x f! reader in an established relationship.

Headrush (It's too sweet) by the uber-talented @minisugakoobies is a spiky, sexy, fun, headrush featuring stylist reader and idol Jimin.

Neon Seoul by @readyplayerhobi has a noir murder mystery set in a cyberpunk dystopia and features detectives Jimin x reader. The worldbuilding is stellar.

Make an offer by @bangtanintotheroom features an irresistibly sexy Jimin in a sugar daddy/sugar baby AU.

Of stars erased by @fantasybangtan. I'm a sucker for dystopian future AUs, and this is a story that makes me reflect on how lucky I am to be able to read stories like this, for free. Incredible storytelling by a fantastic writer.

An Ghealach by @theharrowing is sexy horror at it's best. A haunting, ambiguous, unreliable-narrator tale featuring linguist Jimin and a mysterious OC.

Like Crazy by @thatlongspringnight is a beautifully realised story about loneliness and seeking solace in transience that features Jimin x f! reader.

Blunt Rotation by @gimmethatagustd is a law school AU featuring pretty boy Jimin and weed girl reader. Funny, chaotic and razor sharp.

Weight by @augustbutwinter features Jimin x f! reader and is set in a semi-historical, royal AU, where nothing is quite as it seems.

Menace by @eoieopda features Jimin x Kim! reader in an irresistible relationship dynamic characterised by brattiness and hate sex and a Jimin who lives up to the title of the story. So so good.

The airport couple: P(ass)enger from hell by @dovechim features frequent traveller Jimin and TSA agent reader and is so good I've reread it time and again. Cracky, hilarious and Jimin is perfectly written as an outrageous little shit.

On the borderline by @jimilter is a friends to lovers AU in progress that's a super fun read - deliciously smutty, angsty and infused with Ash's signature brand of humour.

Red flag by @xjoonchildx has rich boy Jimin x reader in a witty, sparkling smutty caper that's a romp of a read.

Shadows in the graveyard by @minisugakoobies is sexy, kitschy, schlocky horror at it's best featuring reader x Jimin stranded in the woods.