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After yesterday's buckle shinin', another new American word for me to learn was 'bobtail'.
Bobtailing is when a semi-truck is traveling without an attached trailer. This can occur when a semi-truck is in the process of picking up a trailer (and has no trailer to deliver) or is returning from delivery (and has no trailer to pick up). Bobtails are a common sight on Texas highways.
Once again, James McMurtry's lyrics are spot on. Unfortunately if you follow the song to the end, there is a sad ending.
"She's been green breaking horses when she's home from the road,
Waiting on dispatch to find her a load.
She leased all but the trap, ponies can't graze a thing,
Another bobtail of coastal ought to last them 'til spring.
Randy says not to worry, he'll feed while she's gone.
She's got the Freightliner idling half up on his lawn.
He don't like her driving when the northers come blue
But if the horses went hungry Lord knows what she'd do"
jukebox # 505
Here is a rather good solo live version of the same song.
Located on the campus of the prestigious Syracuse University in Syracuse, New York.
The Hall of Languages was designed by Horatio Nelson White and built in 1871-73. It is made of Onondaga limestone and features three large towers or cupolas. It was the first building constructed on the Syracuse University campus and the building originally housed the entire university.
Where The Vale of Onondaga Meets The Eastern Sky, Proudly Stands Our Alma Mater, On Her Hilltop High, Flag We Love! Orange! Float for Aye, Old Syracuse. O'er Thee, Loyal Be Thy Sons & Daughters, To Thy Memory
(top left) Sai Emrys
Unstoppable Conlanging Force
California
Sai Emrys was the driving force behind the establishment of the Language Creation Society and the Language Creation Conferences, the teacher of two classes on language creation at the University of California, Berkeley, and the founder of the LiveJournal Conlangs community. Sai is very active in other online conlanging communities as well, with his first post to CONLANG-L in October 2004 and 805 posts to the Zompist Bulletin Board since March 2005. Sai received his B.A. in Cognitive Science from UC Berkeley in 2006, and can converse in English, Russian, Spanish, French, American Sign Language, and Japanese. His own long-term conlanging project (the creation of a new kind of nonlinear, fully 2- or 3-dimensional writing system) can be found online at saizai.livejournal.com/657391.html. Former jobs have included database design, systems administration, tutoring, programming, and massage therapy. He is interested in such things as “wordplay, massage, empathy, music, good food, computers, neuroscience, linguistics, meditation, hiking, energy work, and (of course) in seeing how far the boundaries of language creation can be pushed - with an eye towards effecting cognitive change and empowerment.” His current goal is to obtain a Ph.D. in cognitive neuroscience and to do research to understand empathy and mirror neurons. He is currently the President of the Language Creation Society (www.conlang.org), and the photo shows him presiding over the 2007 Language Creation
Conference, UC Berkeley, CA. He is currently working on two books — A Hacker's Guide to Meditation: A dogma-free recipe book and Language Creation 101, a textbook that uses conlanging to teach linguistics — and one research project, motostudy.com, a longitudinal study of motorcyclist behavior and outcomes.
(Top right) John Quijada
Creator of Ithkuil and Ilaksh
California
John Quijada was born in 1959 in Los Angeles, CA. An encounter with a Russian language book at age 11 kick-started his lifelong interest in languages, and exposure to both Tolkien and the Kobaian language of Christian Vander's avant-garde group Magma got him started on conlanging around age 14. While studying linguistics at university, the grammar of non-Indo-European languages started him off on constructing a language that would "combine the best and most efficient features" of the world's languages into one. Over time, this language evolved into a philosophical language that attempts to convey complex levels of cognition heretofore unexpressed in any human language, while at the same time being as concise as possible in the physical length of sentences (à la Robert Heinlein's conception of "Speedtalk" but in an actually workable manner). John's work is influenced by the writings of the cognitive linguists George Lakoff, Len Talmy, Ron Langacker, and Gilles Fauconnier. In 2004, after 25 years of work, John introduced Ithkuil to the world via the Internet. Ithkuil has proven to be one of the more frequently discussed (if not spoken!) conlangs on the web. The language was soon featured in a Russian-language science magazine which unexpectedly garnered legions of fans asking for an easier-to-pronounce version to try to learn. A new variant of the language, Ilaksh, was introduced in 2007 for the benefit of these fans. At present, John is working on expanding the Ithkuil/Ilaksh lexicon. Information on Ithkuil and Ilaksh can be found at home.inreach.com/sl2120/Ithkuil.
Besides linguistics and conlanging, John's many hobbies and interests include European travel, music (especially classical and world music), science, philosophy, amateur astronomy, amateur protozoology, eclectic literature, "art-house" cinema, sci-fi, art, camping, hiking, Portuguese cooking, and wine tasting. He has written a novel (currently being revised) with his identical twin brother Paul that explores the philosophical implications of quantum physics and cognitve science. John lives in Northern California with his wife Carol and cat Stormy. He speaks five languages (none of which are his conlangs!)
(Photo and biography courtesy of John Quijada exclusively for this exhibit.)
(The Babel Text in Ithkuil accompanies the photo and bio)
(Middle right) Douglas Ball
Creator of Skerre
California
Doug Ball is currently a Ph.D. student in Linguistics at Stanford University, but his involvement in creating languages dates back to his teenage years. Inspired by a three-week intensive course in Latin, Doug was bitten by the conlanging bug at age 13. His creation, Skerre, is a teenager itself now, being around 14 years old, and has gone through a number of variations: the original Latin-like form, a Turkish-like variety, a Polynesian-like version, and its present verb-initial form akin to languages of the Polynesian Rim. Doug, while a freshman at the University of Rochester, was also part of an independent study taught by Dr. Sarah Higley (a.k.a. Sally Caves) where he wrote a grammar and text for Skerre. Returning to Doug's younger days, his place in the conlanger's pantheon is assured by a project he undertook while at Isaac Newton Middle School in Littleton, Colorado. He was part of a group that wrote a play which was then translated by Doug into Skerre. In Doug's own words, "the play told the story of the power struggle and transfer of an amulet, the Kâthor Välenî. It was performed for the entire eighth grade and most of the seventh grade in three separate performances on May 19, 1995. 'Subtitles' were provided in the form of a written version of the script projected on overheads to the side of the stage."
(Photo courtesy of Doug Ball. Quotes taken from an email to Don Boozer.)
The Babel Text in Skerre
1.Ta tari tar, e’ik a yat i sires ta yiket i tahin.
2.Kiyes kaquaqueyi-ti so kiyen, eyetin-ti a yotar ques to ekesise a Sinar ya tir ir enahir-ti sata.
3.Eyik-ti ya kari-te, “Katik saa kihanin-wo a hok i tsesi-sikenat.” Ir eresa-ti.
4.Eyan, eyik-ti, “Katik saa kikenatin-wo a aran ni tates to sik tsiquos ena sakir kat rokerinsa a sise-we sas kikehaana-wo ya yiket i hasin i tahin.”
5.Enowor a Tsan-Taran wisor ki’ok ya aran ni tates to ekenatin tsa saasakar i tanko-riyos.
6.Eyik a Tsan-Taran, “Ok, ik ta teken a yat i sires ir sik-ti ak a tir, ir waha, koni-ti ronati ta koser to royok-ti ya tar.
7.Ronotsaa-ha sata ir rohiran-ha a sires-te wisor koni-ti kisik aket a kari-te.”
8.Eyan, ehaanaasa tsa Tsan-Taran ya yiket i hasin i tahin ir eriitowetiite ta sikenat i aran ni tates.
9.So sores tir, ekesise a Wawel ya wisa, wisor ehiran sata tsa Tsan-Taran a sires i yiket i tahin ir ehaanaasa ya yiket i hasin tahin.
Translated by Doug Ball
(tsketar.tripod.com/skerre/Tower_of_Babel.html)
(Middle left) Sonja Elen Kisa
Creator of Toki Pona
Canada
Especially for this exhibit, Sonja Elen Kisa described herself as "a 29-year-old Queer Acadian (French-Canadian) woman currently living in Toronto, Canada. She designed the minimal language Toki Pona in 2001 after a period of depression, as she sought to simplify her life and find the true meaning behind things. She is currently studying to become a speech-language pathologist." Kisa was the subject of an article in The Globe and Mail, a major Toronto newspaper, in July 2007. According to that source, around 100 people speak Toki Pona fluently, mostly in chat rooms and blogs. Even more interesting are the facts that a "Colorado programmer is developing an apocalyptic computer game with Toki Pona as the spoken language [and an] Israeli-German singer and member of the Stuttgart Chamber Choir is including it in a concert of musical pieces composed in constructed languages, alongside Esperanto and Star Trek's Klingon." An example of the language is the proverb "Nasin ante li pona tawa jan ante: Different ways are good for different people (i.e. different strokes for different folks)."
The Babel Text in Toki Pona
1.ma ali li jo e toki wan en sama.
2.jan ali li kama tan nasin pi kama suno, li kama lon ma Sinale, li awen lon ni.
3.jan li toki e ni: "o kama! mi mute o pali e kiwen tomo, o seli e ona."
4.jan mute li toki e ni: "o kama! mi mute o pali e ma tomo e tomo palisa suli. lawa pi tomo palisa li lon sewi kon.
5.o nimi pi mi mute li kama suli! mi wile ala e ni: mi mute li kan ala. mi mute li lon ma ali."
6.jan sewi Jawe li kama anpa, li lukin e ma tomo e tomo palisa pi jan lili mute.
7.jan sewi Jawe li toki e ni: "jan ni li jo e ma wan, li jo e toki sama, li pali e tomo palisa. tenpo ni la ona mute li ken pali mute ike. mi wile tawa anpa, mi pakala e toki pi jan mute ni. o jan li sona ala e toki pi jan ante."
8.jan sewi Jawe li pali e ni: jan ali li poki ala jan, li lon ma mute, li ken ala pali e ma tomo.
9.nimi pi ma tomo ni li Pape tan ni: jan sewi Jawe li pakala e toki pi jan ali. tan ma tomo Pape la jan sewi Jawe li tawa e jan tawa ma mute.
(www.omniglot.com/babel/tokipona.htm)
(Bottom right) Language Creation Conference
The first Language Creation Conference (LCC1) took place April 23, 2006, at the University of California Berkeley. Coordinated by Sai Emrys, this conference was the first of its kind and brought together constructed language enthusiasts from across the United States. LCC2 took place on July 7-8, 2007, also in Berkeley. That conference drew speakers from as far away as Florida, Ohio, and Canada, and an audience even larger than LCC I. The Language Creation Conferences are a major activity of the Language Creation Society based in California. LCC3 is tentatively scheduled for October 2008 at Brown University, Providence, RI. For information (including videos of presentations from LCC I), check out the Language Creation Society's web site at www.conlang.org.
The photo was taken on July 8, 2007, during LCC2 and, unfortunately, does not include a dozen or so people who could only attend the first day. Those pictured include: Back row: Arika Okrent, Lila Sadkin, [unknown], Richard Futrell, Greg Shuflin, Sai Emrys (holding the Conlang Flag); 2nd row: Doug Ball, James Gang, Cindy Morris, Alex Fink, Kelly Drinkwater, Sylvia Sotomayor; Standing: George Baker, [unknown], John Quijada, Don Boozer, Jeff Burke, Clint Hutchison, John Clifford, [unknown], Vladimir Vysotsky; Kneeling: David Peterson, Peter Ara Guekguezian, Jim Henry.
(Photo courtesy of Don Boozer. Those attendees mentioned elsewhere in this exhibit have been highlighted in blue.)
(Bottom left) CONLANG-L
The oldest and most active online listserv devoted to conlanging is the CONLANG-L (usually simply referred to as CONLANG). The list had its beginnings in informal email conversations among a group of language enthusiasts initiated by John Ross of Boston University (BU) in the early 1990s. The first listserv was set up subsequently at BU, moving to a server at the University of Copenhagen, Denmark, in 1993. Increased traffic necessitated another move and CONLANG found its current home at Brown University (Providence, RI) in 1997. You can subscribe to CONLANG or read the archived messages by going to the official site at listserv.brown.edu/archives/conlang.html. CONLANG is a very active list with 6,610 messages posted in 2007 with topics covering critiques of each other's conlangs, construction of Unicode fonts for neographies, strategies for expanding awareness of the art/craft of conlanging, and much more.
FILE MÍDIA ARTE | FILE MEDIA ART
Aaron Oldenburg – Baptize – Estados Unidos | United States
Alan Bigelow – Saving the alphabet - Estados Unidos | United States
Alan Bigelow – My summer vacation - Estados Unidos | United States
Alan Bigelow – Brainstrips - Estados Unidos | United States
Alice Bradshaw – Static - Reino Unido | United Kingdom
Alix Poscharsky - Arthur N. Ghell - Reino Unido | United Kingdom
Annette Weintraub - One Text, Many Stories [URBAN MEMORY LOSS: a Nightmare of Change in which Time is Inscribed in Space or How a Text Became a Story] - Estados Unidos | United States
Apokalipso: Rafael Gomes, Áthila Benites, Sávio Oliveira, Leandro Caro, Natanael Andrade, Fernando Gavronski & Fernanda Ferreiro – Senmorta – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Leonardo Domingues – A sorte – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Marcio Vieira – Mundo mudo - Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Filippe Lyra & William Paiva – Voltage - Brasil | Brazil
boredomresearch: Vicky Isley & Paul Smith – Lost Calls of Cloud Mountain Whirligigs (View 2, Right & Left) - Reino Unido | United Kingdom
Brad Todd - film noir – Canadá | Canada
Bruno M. Rocha, Camilo S. Lima, Caroline V. Costa & Daniela Bissoli - WIRESCAPES_simulação transversa de uma condição de metrópole - Brasil | Brazil
Calin Man - Have a Nice Click - Romênia | Romania
Caterina Davinio - The First Poetry Space Shuttle Landing on Second Life – Itália | Italy
Céline TROUILLET - Song No. 9 – França | France
Céline TROUILLET - Song No. 11 – França | France
Chris Coleman - The Magnitude of the Continental Divides – Estados Unidos | United States
Christin Bolewski - Shan-Shui-Hua – Alemanha | Germany
Coletivo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Repensando a Obra de arte repensada, Eu Tu Ele, Nós, Vós, Eles ou Labirinto Flutuante – Brasil | Brazil
Daito Manabe & Motoi ishibashi - Pa++ern – Brasil | Brazil
Danilo Guimarãres - (L) anos de Brasília! – Brasil | Brazil
David Clark, Marina Roy & Graham Meisner - Sign After The X - Canadá | Canada
Eric Schockmel - Occupation: Movement I (Syscape#4) - Reino Unido | United Kingdom
Fernanda Antoun - Um, Dois! Um, Dois! - Brasil | Brazil
Fundamental Research Lab: Robert B. Lisek – NEST – Polônia | Polony
Gabriela Golder – RESCATE – Argentina | Argentina
hint.fm: Fernanda Viegas & Martin Wattenberg – Fleshmap - Estados Unidos | United States
Hyun Ju Song - NOTHING IS FINISHED - Alemanha | Germany
Ivan Henriques – ReLandscaping - Holanda - Netherlands
Jason Nelson - Evidence of Everything Exploding - Austrália | Australia
Jonathan Monaghan - French Penguin - Estados Unidos | United States
Juliana Yamashita - Metro Tracks - Brasil | Brazil
Kevin Evensen – Danses - Estados Unidos | United States
Kika Nicolela – Flickering - Brasil | Brazil
Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard & Kristian Haarløv - Radiant Copenhagen - Dinamarca | Denmark
lemeh42 - Inner Klänge – Itália | Italy
Leonardo Uehara - An interactive sound tale - Brasil | Brazil
Martin John Callanan - I wanted to see all the news from today - Reino Unido | United Kingdom
Maya Watanabe – ABRASIS – França | France
Michael Takeo Magruder - Data_plex (economy) - Reino Unido | United Kingdom
Michael Takeo Magruder - Data_sea - Reino Unido | United Kingdom
Michele Barker & Anna Munster - Duchenne's Smile - Austrália | Australia
Miriam Thyes - Global Vulva - Alemanha | Germany
mitumBACK: Coelestine Engels, Markus Hafner & Christof Berthold – mitumBACK - Áustria | Austria
moddr: Gordan Savicic, Walter Langelaar & Danja Vassiliev - Web 2.0 Suicidemachine - Holanda - Netherlands
Não se Cale!: Amanda Miyuki de Sá, Danilo Polo Cain, Douglas Ferreira Neto, Fábio Henrique Alves Will, Patrícia Hitomi Nakazone, Talles Marques Duarte - NÃO SE CALE: A VIOLÊNCIA CONTRA A MULHER A PARTIR DAS PROPOSTAS FOTOGRÁFICAS DE BARBARA KRUGER – Brasil | Brazil
Nicholas Knouf – MAICgregator - Estados Unidos | United States
Nicole Kenney & KS Rives - Before I die I want to - Estados Unidos | United States
Nicole Stenger – DYNASTY - França | France
Osvaldo Cibils - 300x300artsport - Itália | Italy
Owen Eric Wood – Holobomo - Canadá | Canada
Owen Eric Wood – Parallel - Canadá | Canada
OZCAN TURKMEN - ENTROPIC POETRY - Turquia | Turkey
Pipol - TV Cronópios - Brasil | Brazil
Rachelmauricio – towtom - Brasil | Brazil
Rachelmauricio – TexET - Brasil | Brazil
Rachelmauricio - NO_HAHAB - Brasil | Brazil
Regina Pinto – AlphaAlpha - Brasil | Brazil
Regina Pinto - DAVID DANIEL'S 200+ HUMANS BEINGÈD HYMN TO HUMANITY - Brasil | Brazil
rgb3000 - superfreedraw.com - Alemanha | Germany
Richard O'Sullivan – Monitor - Reino Unido | United Kingdom
Richard O'Sullivan - Broken Windows - Reino Unido | United Kingdom
Roderick Coover – Canyonlands - Estados Unidos | United States
Roderick Coover - SOMETHING THAT HAPPENED ONLY ONCE - Estados Unidos | United States
Rosa Menkman - Glitch Studies Manifesto - Holanda - Netherlands
Rui Filipe Antunes - Senhora da Graça - Reino Unido | United Kingdom
Sally Grizell Larson – Axiom - Reino Unido | United Kingdom
Sergio Sotomayor - Madera (Wood) - Espanha | Spain
Silvia Laurentiz - Poesias Digitais: Projeto Percorrendo Escrituras - Brasil | Brazil
Spot - Dreams In High Fidelity II - Estados Unidos | United States
Stanza – Sondcities - Reino Unido | United Kingdom
Stuart Pound - Dance 0-19 - Reino Unido | United Kingdom
Stuart Pound - She's not there - Reino Unido | United Kingdom
Stuart Pound - Bus Stop version 2010 - Reino Unido | United Kingdom
Stuart Pound - Not you again! - Reino Unido | United Kingdom
Stuart Pound - Oh no, not you again! - Reino Unido | United Kingdom
Stuart Pound - Sticky Pixels - Reino Unido | United Kingdom
Susanne Berkenheger - The Last Days of Second Life - Alemanha | Germany
Tchello d'Barros - "Convergências" | "Convergences" - Brasil | Brazil
Tim Webster - Wonderlands: Machu Picchu - Austrália | Australia
Tina Velho - Tão longe...tão perto - Brasil | Brazil
Trace Sanderson aka Lainy Voom & Tamara Russel aka Gala Charron - Virtual Build Archive (VBA) - Reino Unido e Estados Unidos | United Kingdom and United States
Tuvalu Vizualization Project: Hidenori Watanave, Makiko Suzuki & Shuichi Endou - Tuvalu Vizualization Project - Japão | Japan
UBERMORGEN.COM - SUPERENCHANCED GENERATOR - Áustria | Austria
UBERMORGEN.COM - UGI - UNIVERSAL HEALTH - Áustria | Austria
VJ Eletro-I-MAN - Projeto Representa Corisco - Espanha | Spain
Wilton Azevedo, Rita Varlesi & Savana Pace – Atame: a Angústia do Precário - Brasil | Brazil
ZAO – hearts - Brasil | Brazil
HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS
++CAYCE POLLARD coletivodeartecomputacional; Nicolau Centola e Fabrizio Poltronieri - A Night in São Paulo - Brasil | Brazil
4propri8 - Junglow Drift - Brasil | Brazil
all your gardening needs – Arranco - Brasil | Brazil
Basavizi: André Damião Bandeira, Fernando Visockis & Sérgio Saad - HID - Human Improvisation Delight - Brasil | Brazil
Berger Rond - Stairs of Unsteady - Canadá | Canada
Carlos Dohrn - x → y - Brasil | Brazil
Carol Robinson – BILLOWS - França | France
Claudio Parodi - The Mother of All Feedback - Itália | Italy
Daniel Gazana - MISTÉRIO MUDO - Brasil | Brazil
Daniel Gazana - RE-CONNECT - Brasil | Brazil
Daniel Gazana - THE KINGDOM OF THE STEEL PORTAL - Brasil | Brazil
Danilo Rossetti - Metropolis parte 1 - Brasil | Brazil
Debashis Sinha - The Bell Garden - Canadá | Canada
Edilson Cardoso - Hâhnio - Ruídos para Filmes de Horror B - Brasil | Brazil
Eduardo Patrício - Electric Talk M.M.S. - Brasil | Brazil
Edwin Lo - Auditory Scenes: The other side of Tides in Limbo - China | China
Emanuele Battisti - Electrode - Study on Pink Noise N.1 - Itália | Italy
Felipe Kirst Adami - Piano Harm - Brasil | Brazil
Franklin Valverde – Sonóricos - Brasil | Brazil
Graeme Truslove - Divergent Dialogues - Reino Unido | United Kingdom
Graeme Truslove – Concrètisations - Reino Unido | United Kingdom
Graeme Truslove – Portals - Reino Unido | United Kingdom
Graeme Truslove – Elements - Reino Unido | United Kingdom
Gustavo Alfaix - (en)treses - Brasil | Brazil
John Young – Lamentations - Reino Unido | United Kingdom
Kunkuni Mix Project: Rosa Apablaza & Federico Duret - Posible Objetivo Patera - Holanda | Netherlands
Minusbaby - Subversive Motives in Chip Music or The 8bitpeople's party - Estados Unidos | United States
Ocp – Rejects - Portugal | Portugal
Panayiotis KOKORAS - Contruct Synthesis - Grécia | Greece
PAULO GUICHENEY - rec on struction - Brasil | Brazil
Philip Mantione - Dialtone and Strings - Estados Unidos | United States
Regina Porto - Metrópolis São Paulo - Brasil | Brazil
Rohan De Livera – Haiku - Sri Lanka | Sri Lanka
Secret Axis Sonic Collective: Vanderlei Lucentini, Kojiro Umezaki, Yann Novak, Manrico Montero, Terjen Paulsen, Adam Tindale, Scott Smalwood, Zbgniew Karkowski & Hangchul Ki - Secret Axis - Brasil | Brazil
SIMPLE.NORMAL: CLEBER GAZANA – CONSTRUCT - Brasil | Brazil
Sol Rezza - 25 segundos de vida - México | Mexico
The Tiny Orchestra - THE LANGUAGE OF WAITING - Canadá | Canada
Túlio Falcão - Túlio Falcão apresenta: a música de Enrorlando di Falcus - Brasil | Brazil
Vanessa Rossetto - Dogs in English Porcelain - Estados Unidos | United States
Victor Valentim – Estralactides - Brasil | Brazil
HIPERSÔNICA SCREENING – HYPERSONICA SCREENING
Daniel Gazana - MAN-MACHINE-TIME - Brasil | Brazil
Eduardo Raccah – EY - Alemanha | Germany
Fernando Velázquez - SP, automata landscape - Brasil | Brazil
Jaap: Harriet Payer Anderss, Jorge Esquivelzeta - Sound of this City - México | Mexico
Pink Twins - Defenestrator - Finlândia | Finland
Roberto Doati – Sindrome scamosciata - Itália | Italy
Rodrigo F. Cadiz - ID-FUSIONES - Chile | Chile
Sandra Crisp – Oceanics - Reino Unido | United Kingdom
Soundsthatmatter – skinstryment - Brasil | Brazil
Soundsthatmatter – bwavssh - Brasil | Brazil
Soundsthatmatter – soundstrain - Brasil | Brazil
FILE MAQUINEMA | FILE MACHINIMA
Andrzej Kozlowski aka CapKosmaty - Apocalypsis Ex Machinima - Polônia | Poland
Annie Ok - My life as an avatar (03-10) - Estados Unidos | United States
Annie Ok - My life as an avatar (04-08) - Estados Unidos | United States
Annie Ok - My life as an avatar (06-08) - Estados Unidos | United States
Basile Vignes aka Tutsy Navarathna - To Each one his own Dreams - Índia | India
Basile Vignes aka Tutsy Navarathna - Vegetal Planet - Índia | India
Berardo Carboni aka Finally Outlander – Volavola - Itália | Italy
Bernard Capitaine aka Iono Allen - The story of Susa Bubble - França | France
Chantal Gerads aka Chantal Harvey - A Woman´s Trial - Holanda | Netherlands
Corndog & Oil Tiger Machinima Team - War of Internet Addiction - China | China
Daniel Wasiluk aka Surgee - The Demise - Polônia | Poland
Egils Mednis aka Demoplay - The Ship - Letônia | Latvia
Elise Carlson aka Lyric Lundquist - Cradle and Trap - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Cyberspace is Vast - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Sideways Time - Estados Unidos | United States
Elizabeth Pickrd aka Liz Solo - The Death of an avatar - Canadá | Canada
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions – Clockwork - Estados Unidos | United States
Iain Friar aka IceAxe – Clockwork - Reino Unido | United Kingdom
Iain Friar aka IceAxe – Embers - Reino Unido | United Kingdom
J. Joshua Diltz - Six Days - Estados Unidos | United States
James Thorpe aka Blackace - Daddy is Home - Reino Unido | United Kingdom
Les Riches Douaniers: Gilles Richard & Fabrice Zoll - Chevauchée Nocturne - França | France
Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Kamikaze - França | France
Luca Lisci aka Voom – Prometheus - Itália | Italy
Luca Lisci aka Voom - The Blue Planet - Itália | Italy
Luca Lisci aka Voom - Valentina 'Riflesso' - Itália | Italy
Mark Capell aka Hardy Capo - Control Point - Reino Unido | United Kingdom
Miguel Moreira aka Hadj Ling - The Black Chant - Portugal | Portugal
Pineapple Pictures: Kate Fosk & Michael Joyce – Voices - Reino Unido | United Kingdom
Piotr Kopik - Big Psomm 2 - Polônia | Poland
Rob Wright aka Robbie Dingo - Watch the world(s) - Reino Unido | United Kingdom
Sam Goldwater aka Lorka - The Monad - Reino Unido | United Kingdom
Simone Schleu aka Sisch - Saving Grace - Alemanha | Germany
Simone Schleu aka Sisch – Transient - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Erlköning - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Handschuh - Alemanha | Germany
Tobias Lundmark aka Dopefish & Malu05 - Among Fables and Men - Suécia | Sweden
Tom Jantol - Brief Encounter - Croácia | Croatia
Tom Jantol - Wizard of OS: The Fish Incident - Croácia | Croatia
Tony Bannan aka Ammo Previz - Folie à Deux - Austrália | Australia
Trace Sanderson aka Lainy Voom – Fall - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Postcard - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Push - Reino Unido | United Kingdom
Van Aerden & Nicolas Bonne – Metabup - França | France
Van Aerden & Nicolas Bonne - Transbup (Trailer) - França | France
Vivian Kendall aka Osprey Therian - Alazi Sautereau - Estados Unidos | United States
Vivian Kendall aka Osprey Therian - Virtual Reality in the Future - Estados Unidos | United States
Zachariah Scott - Jill´s song - Estados Unidos | United States
GAMES
Alexandre Machado | 44 Bico Largo - Robo Sucata - Brasil | Brazil
Behold Studios | Buraco de Bala - Luna - Magnetoware Adventures - Brasil | Brazil
Eddy Boxerman & Dave Burke – Osmos - Canadá | Canada
Elias Holmlid, Dmitri Kurteanu, Guy Lima Jr. & Stefan Mikaelsson – Continuity - Suécia | Sweden
Erik Svedäng - Blueberry Garden - Suécia | Sweden
Florian Faller & Adrian Stutz – Feist - Suíça | Switzerland
Grupo Yellow Jam: Luciano José Firmino Júnior, Luiz José Barbosa de Moura Souza, Rafael Valle Barradas & Heloise Dantas Oliveira - Last Hope - Brasil | Brazil
Guilherme Bischoff, Francesco Sciamarella, Cauê Madeira & Evandro Valente | Kidguru Studios – Lumaki - Brasil | Brazil
Jairo Margatho | Overplay - Night Life - Brasil | Brazil
Joannie Wu & Lee Byron – Fireflies - Estados Unidos | United States
Kokoromi & Polytron - super HYPERCUBE - Canada | Canadá
Leonardo Arantes | Isis Interactive Graphics - Freestyle Challenge - Brasil | Brazil
Luiz Gerosa | Interama - Esther Art Gallery - Brasil | Brazil
Paulo Biagioni – Mutualismo - Brasil | Brazil
Philip Mangione - Chameleon Puzzle Runners - Brasil | Brazil
Q-Games - PixelJunk Eden - Japão | Japan
Rafael Fernandes | TecToy Digital - Vovó a solta - Brasil | Brazil
Rob Jagnow – Cogs - Estados Unidos | United States
Steph Thirion – Eliss - Portugal | Portugal
Tales of Tales – Vanitas - Belgica | Belgium
Tiago Fernandes | TecToy Digital - Dragon vs Heroes - Brasil | Brazil
Tiger Style Games - Spider: The Secret of Bryce Manor - Estados Unidos | United States
Tyler Glaiel – Closure - Estados Unidos | United States
Petri Purho - Crayon Physics Deluxe - Finlândia | Finland
INSTALAÇÕES | INSTALLATIONS
Andrew Hieronymi - Virtual Ground - Estados Unidos | United States
Corby & Baily, Jonathan Mackenzie - Southern Ocean Studies # 1.0 - Reino Unido | United Kingdom
Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – SuperFluidity - França | France
Ernesto Klar - Luzes relacionais (Relational Lights) - Estados Unidos e Venezuela | United States and Venezuela
Guto Nóbrega – Breathing - Brasil | Brazil
Jarbas Jácome – Vitalino - Brasil | Brazil
Jeraman & Filipe Calegario - Marvim Gainsbug - Brasil | Brazil
Jonas Bohatsch - v+ - Áustria | Austria
Jörg Piringer - abcdefghijklmnopqrstuvwxyz for iPhone - Áustria | Austria
Jorge Luis Crowe - 2x (Power of two) - Argentina | Argentina
José Luis de Vicente, Irma Vilà & Bestiario - Atlas of Electromagnetic Space - Espanha | Spain
Keiko Takahashi & Shinji Sasada - Diorama Table - Japão | Japan
LEMUR: League of Electronic Musical Urban Robots & Eric Singer - LEMUR GuitarBot II - Estados Unidos | United States
Luo, He-Lin & Chen, I- Chun - Light Calligraphy - Taiwan (R.O.C.) | Taiwan (R.O.C.)
Markus Decker, Dietmar Offenhuber & Ushi Reiter - From Dust Till Dawn - Áustria | Austria
MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Mediaflow - Alemanha | Germany
Muk - disc.o - Áustria | Austria
Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla - Hi! A real human interface - Espanha | Spain
Myrto Karanika & Jeremy Keenan – Strings - Reino Unido | United Kingdom
Pierre Proske - Frame Seductions - França e Austrália | France and Australia
Rachel Zuanon & Geraldo Lima – BioBodyGame - Brasil | Brazil
Raquel Kogan – Reler - Brasil | Brazil
Ricardo Barreto, Maria Hsu & AMUDI: Núcleo de Arte e Tecnologia da Escola Politécnica de Engenharia da USP: Breno Flesch Franco, Daniel Augusto Azevedo Moori, Erica Usui, Guilherme Wang de Farias Barros, João Flesch Fortes, Leandro Molon e Nadia Sumie Nobre Ota – feelMe - Brasil | Brazil
Ricardo Brazileiro – METROBANG - Brasil | Brazil
Rob Seward - Death Death Death - Estados Unidos | United States
Robert Mathy - Light Frequency Fingertips - Áustria | Austria
Sebastian Schmieg - Roy Block - Alemanha | Germany
SWAMP: Douglas Easterly, Matt Kenyon & Tiago Rorke – Tardigotchi - Nova Zelândia | New Zealand
Yacine Sebti - Jump! - Bélgica e Marrocos | Belgium and Morocco
PERFORMANCE
27/07
Minusbaby (Richard Alexander Caraballo) - Subversive Motives in Chip Music, or The 8bitpeoples' Party - Estados Unidos | United States
Celia Eid, Sébastien Béranger & Amilcar Zani – Dislocations - Brasil | Brazil
28/07
Jaime E Oliver LR - Silent Percussion Project - Peru | Peru
Panetone - Short lived like a butterfly - Brasil | Brazil
29/07
HEARTCHAMBERORCHESTRA - TERMINALBEACH: Erich Berger [Áustria e Finlândia | Austria and Finland] & Peter Votava [Áustria e Alemanha | Austria and Germany]
30/07
MooM: Dino Vicente & Bill Meirelles - Câmara Secreta - Brasil | Brazil
Ricardo Carioba - dáblio (w) - Brasil | Brazil
DOCUMENTA
27/07
Gustavo Godinho & Vladimir Cunha - Brega S/A- Brasil | Brazil
Claudio Mojope - Talk o Meu Coração ZunZunZunTV - Brasil | Brazil
28/07
Andreas Johnsen & Rasmus Poulsen - Man Ooman (Man Woman) - Dinamarca | Denmark
Fenton Bayle & Randy Barbato - Party Monster: The Shockumentary - Estados Unidos | United States
29/07
João Wainer & Roberto T. Oliveira – PIXO - Brasil | Brazil
Otávio Donasci - 30 Anos de Vídeocriaturas - Brasil | Brazil
30/07
Andreas Johnsen - Good Copy Bad Copy - Dinamarca | Denmark
Robert Baca & Joshua Rizzo - Welcome to Macintosh - Estados Unidos | United States
This tells Spanish and Chinese speakers that we have materials for Spanish and Chinese speaking voters.
The map of modern dialects of Basque language
Western (Biscayan)
Central (Gipuzkoan)
Upper Navarrese
Lower Navarrese–Lapurdian
Souletin (Zuberoan)
other Basque areas ca 1850 (Bonaparte)
www.eyeqido.com/2015/10/14/the-modern-dialects-of-basque-...
PRESIDIO OF MONTEREY, California -- The 2017 Language Day celebration was held by the Defense Language Institute Foreign Language Center at the Presidio of Monterey, May 12. Language Day is open to the public and attended by schools throughout the region to promote an understanding of diverse customs and cultures from around the world. Approximately 5,000 people attended the annual event featuring cultural displays, activities and international ethnic cuisine served by local vendors on Presidio’s Soldier Field.
The event featured a Vietnam War veterans recognition ceremony. Vietnam War lapel pins authorized by Congress were individually presented by POM Garrison Commander Col. Lawrence Brown and Garrison Command Sgt. Maj. Roberto Marshall to approximately 75 Vietnam War veterans in attendance.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
language |ˈla ng gwij|
noun
1 the method of human communication, either spoken or written, consisting of the use of words in a structured and conventional way
• any nonverbal method of expression or communication
Above shot is a Sarawak State Legislative Assembly or in Malay language 'Dewan Undangan Negeri (DUN)'. This nine-storey high building is the venue for future Sarawak's new state legislative assembly sittings.The distinctive "payung" (umbrella) roof of the new DUN complex is an iconic landmark for Sarawak.
The architecture of the new complex combines unique elements of Sarawak's heritage with state-of-the-art intelligent building automation systems, multimedia communication facilities, and environmentally-friendly features. The new complex development covers and area measuring 172 acres near The Astana (Governor's Residence) on the banks of Sarawak River in Petra Jaya, Kuching. The new chamber can hold up to 108 members, each with their own office. It also has 142 seats for civil servants, 86 in the VIP gallery and 106 in the public gallery. Its architecture and design have meticulously taken into account the future needs of elected representatives.
The building is fully equipped with high-tech information and communication technology. This new DUN complex, perched on the promontory on the pristine bank of the Sarawak River and nestled between the Astana and Fort Margherita, has been described as one of the most beautiful buildings in Southeast Asia.
It is also a depiction of the state’s struggles and achievements over the years after gaining independence through the formation of Malaysia and as a multi-racial society. Reinforced by nine gigantic pillars and numerous arches, the building reflects the sovereignty of the people’s power as well as the support of all the races in the state.
The Dewan Undangan Negeri (State Legislative Assembly) is the legislature of Malaysian states. There are 13 Dewan Undangan Negeri (DUN) in the country, corresponding with the 13 states in Malaysia. The DUN is composed of the head of states (Sultan, Yang di-Pertua Negeri, Raja, or Yang di-Pertuan Besar), a Speaker, and elected members of the DUN. Members of the DUN comprises single-member elected representatives from state electorates (State Assembly Districts) during state elections. Members are elected through the first-past-the-post system. (For those elected in 2008, see State Seats Representatives, 12th Malaysian General Election.)
The DUNs have powers to enact state laws as allowed by the Constitution of Malaysia. The party forming the majority in the DUN will form the state government, and the leader of the majority party will become chief minister. After the March 2008 general election, the Barisan Nasional coalition were the majority party in eight states, while the opposition won five states. In February 2009, BN regained Perak after 3 Pakatan Rakyat assembly members defected.
The DUNs are unicameral, unlike the bicameral Parliament of Malaysia.
The complex is located near Sarawak River in Kuching, Sarawak, Malaysia. It is located next to The Astana, which is the official residence of the Yang di-Pertua Negeri (Governor) of Sarawak.
The building was officially opened by the Yang di-Pertuan Agong (King) of Malaysia, Tuanku Mizan Zainal Abidin on 27 July 2009.
-source wikipedia-
credit : Etika Shadura
Once I spoke the language of the flowers,
Once I understood each word the caterpillar said,
Once I smiled in secret at the gossip of the starlings,
And shared a conversation with the housefly
in my bed.
Once I heard and answered all the questions
of the crickets,
And joined the crying of each falling dying
flake of snow,
Once I spoke the language of the flowers. . . .
How did it go?
How did it go?
Shel Silverstein
La Solana, Engolasters, E-E, Andorra city, the center, Andorra, Pyrenees - (c) Lutz Meyer
More Engolasters & Escaldes-Engordany E-E: Follow the group links at right side.
.......
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Body language can be so revealing sometimes.... don't you think?
I wonder if he had lost his faith and hope and was about to leave the place, or if on the contrary he was there trying to find some...
14th Street, between 8th and 9th Avenues,
New York
Taken with a 3G iPhone
Language... has created the word "loneliness" to express the pain of being alone. And it has created the word "solitude" to express the glory of being alone.
I just love the folded arms of doubt on the Ban-Garda (Female Police Officer in Irish Language) to the left .
If I print this again I must 'burn' in around the neck and cleavage of the lady being interviewed more to bring out detail.
Taken with Nikon F75: 50mm f/1.4D lens. Y44 Filter. Fomapan 200 film Developed in Xtol Stock @21C for 6'30'' at 5'' Agitation/30''
Scan from 5''x7'' Print on Ilford MGIV Pearl
Me encantaría morderte, deshacerte con mis labios, beso a beso. Saborear a cada instante, cada hueco, cada recoveco que dibujan los vértices de las esquinas de tus huesos...
Minna Sundberg’s illustration maps the relationships between Indo-European and Uralic languages. The creator of the webcomic Stand Still. Stay Silent, put the illustration together to show why some of the characters in her comic were able to understand each other despite speaking different languages. She wanted to show how closely related Swedish, Danish, Norwegian, Icelandic were to each other, and how Finnish came from distinct linguistic roots.
You can read the comic here: sssscomic.com/index.php?id=home
Collective 52 Photo Project "2016"
Week 25 - Sign Language
A photo from the archives,
'Ferme de Sainte-Colombe'
old sign on the wall of an abandoned farmhouse ...
Translating Genesis 11: 1-9 is a common translation exercise used by conlangers to “test drive” their conlangs. This is known as the “Babel Text” since it recounts the story of the Tower of Babel and the creation of the world’s numerous languages, an appropriate text for conlangers. The concept of using these verses for comparisons across conlangs was initiated by Jeffrey Henning, creator of the Langmaker web site (http://www.langmaker.com) and one of the pivotal figures in modern conlanging. For detailed information on any one translation, you are encouraged to take a look at the accompanying source web site. And now, for a sampling of Babel Texts...
9.B. Text:
For comparison, here is the Babel Text in English from the New International Version:
1.Now the whole world had one language and a common speech.
2.As men moved eastward, they found a plain in Shinar and settled there.
3.They said to each other, "Come, let's make bricks and bake them thoroughly." They used brick instead of stone, and tar for mortar.
4.Then they said, "Come, let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves and not be scattered over the face of the whole earth."
5.But the LORD came down to see the city and the tower that the men were building.
6.The LORD said, "If as one people speaking the same language they have begun to do this, then nothing they plan to do will be impossible for them.
7.Come, let us go down and confuse their language so they will not understand each other."
8.So the LORD scattered them from there over all the earth, and they stopped building the city.
9.That is why it was called Babel -- because there the LORD confused the language of the whole world. From there the LORD scattered them over the face of the whole earth.
9.C. Text:
The Babel Text in Sen:esepera
In honor of Jeffrey Henning, we begin with one of his personal creations: his attempt at reforming Esperanto.
1.O tutan tera eseti codo unin lingifa, o codo unin parola.
2.O tina ocasi, caim:tempo hu foiagi delo orienta, demo hu terofi pelatan loca eno loca codo Sinara [Shinar]; o hu domi dem:loca.
3.O hu paroli unin alo omin:una, "Feni, imu posete cusi berica, o pele beruli hu." O hu hafi berica contero setona, o cota hafi hu contero unigi berica.
4.O hu paroli, "Feni, imu posete conseteri imu ureba, o tura, caim:unon supera ebele atingi alo paradisa; o imu posete cusi imu enoma, ro imu ebele pere:emeti foran supero:eno fisaga codo tutan tera."
5.O Dia feni im:supere o fidi ureba o tura, caimo dimin:homa codo homa conseteri.
6.O Dia paroli, "Fidi, homa eseti unin, o hu hafi tutan unin lingifa; o tino hu comenci o fari: o ene hu ebele inhibici delo an:obica, caimo hu ebele emagi o fari.
7.Feni, imu posete iri im:supere, o dem:loca sangi hun lingifa, demo hu im:ebele compereni unin omin:unan parola."
8.Dia posete pere:emeti hu foron pano fisaga codo tutan tera: o hu cesige conseteri ureba.
9.Hun enoma eseti Babela [Babel]; cuso Dia dem:loca sangi lingifa codo tutan tera: o delo dem:loca Dia pere:emeti hu foran supero:eno fisaga codo tutan tera.
Translated by Jeffrey Henning
(http://www.langmaker.com/babel/senesper.htm)
9.D. Text:
The Babel Text in Lojban
Lojban began development in 1987 by the Logical Language Group. Derived from the much older Loglan, it is specifically designed to be culturally neutral, logic-based, grammatically unambiguous, and easily learned. More information can be found at www.lojban.org.
1..i piro le munje cu se bangu pada gi'e selkau le ka tavla fo makau
2..i ca le nu litru fa'a le stuna kei lei remna cu penmi lo foldi la cinar .i co'a xabju fy
3..i ry simsku lu .e'u mi'o loi kitybli cu zbasu gi'e mo'u seltokygau li'u .i ry pilno loi kitybli pe seba'i loi rokci .i loi tarla peseba'i loi rokpu'o
4..i ry cusku lu .e'u mi'o zmadu lo tcadu .e lo galdi'u poi le cpana be ke'a cu lamji le tsani .ija'ebo mi'o misno gi'enai pulce fi le terdi sefta li'u
5..i ku'i le nolcei cu dzikla tezu'e le nu catlu le tcadu .e le galdi'u poi lei remna ke'a ca'o zmadu
6..i le nolcei cu cusku lu za'a lei remna noi se bangu pa da cu ba'oco'a zmadu ti .ija'o no selpla ba nalselka'e ry
7..i .ai mi dzikla gi'e fi'urgau le bangu ry ja'e le nu na simjmi li'u
8..i le nolcei fairgau ry piro le terdi .i ry de'a zmadu le tcadu
9..i ki'u la'e di'u ty se cmene zo babel .i ki'u le nu bu'u ty le nolcei pu fi'urgau le bangu be le munje .i fe'eco'a ty le nolcei fairgau ry le pirosi'e terdi sefta
(http://www.omniglot.com/babel/lojban.htm)
9.E. Text:
The Babel Text in Elasin
Elasin, created as the language of a fictional race of beings, was intended to give the flavor of a cross between Zulu and Finnish.
1.Huana! Yevopa (Yeneva votelor pali) fathieneth avute vesotham dofa li mabienen sotheram thoshi.
2.Uitukieneth vuanana maku'ii hadarova mi'iamem Shinaroth li panamiene parshoth ka.
3.Vasieneth. Ti Fana. Sathitudison mosuanoram li kathitudison pivani ti. Sathitiene avu mosuanorsa hau kivashersa le'i ratemsa hau molesa le'i.
4.Vasieneth. Ti Fana. Sathitudisoth maram hapamef ludanu'ii kalathem shasta sathitudisoth manalam ebas ko. Hau kanitudiso lafonesa le ti.
5.Palakieta somara uhanin panamesh. Fanieta shasta faruthuditu tashemun avu marami hapamemi ko.
6.Vasieta takaleba. Ti Shemath. Iene vuanana dofa li mabuaneth vesotham dofa. Uatu sathitu ka uamuineth nekuare shipa dofani. Faruthudito shado avunash aben.
7.Fana. Shibaludisoth nivesotham ko hau wevakudinen le ko ti.
8.Kanitietan somara uhanin li sathitievinen avu nimarami nihapamemi.
9.Mabietoth mar manalam Shibalu'in kashko shibalietan parshoth ka somara uhanin vesotharam uhanin ko.
Translated by Don Boozer
(http://www.geocities.com/donaldboozer/elasin_trans.html)
9.F.1. Image: zhyler_babel.jpg
9.F.2. Text:
The Babel Text in Zhyler
“Zhyler is an SOV language with fifty-seven noun cases (in honor of the ketchup co.), all suffixing, and a robust vowel harmony system. In addition, there are seventeen noun classes, à la Swahili, which do much of the derivational footwork.” ~ David J. Peterson
(transliteration)
1.al erwi ymM ergajajan las MlDaja.
2.kedemiT dZarm2sleraz, urDar MlDaz Sinaraja Dejler, ras vMnase eZZanlar.
3.kaja n2nzerler, "zin! rymSuj kenlymeje, ame dZimMSSMja." ame rymSuj tSurjujkMjat mekler, ame kenelwi solwMxMja mekler.
4.ame n2nlerkaja, "zin! majaS tajdZar, enedwizM dZ2f deJdZeje ulbolarnam valzamaja, ras l2Za majaS ZenDer levzemeje, volanaz meJjaf ketSlerjes noGenzerneswimej."
5.ame ziliryf meSkajaja valdZajalara tajdZa, ulbolnamuf mataljatSot valar.
6.ame n2nler, "mat! al MlDa, je al erwi laskaS bel, ame ledZer edZZaNkaja. je manarDawMxMja r2zDe kajas Zarreznezze.
7.zin! tSot zixM erwixMf SirkMjar matkMNwMriz, vazamaja, ame erwixMjMr vMnase ugdazamaj.
8.ame meJjaf ketSlerjes vMnaseT noGenzerkajalar, ras kaja tajdZar valzMklar.
9.ras "babelet" Zennesler, tSot meJjaf erwijes vMnase ugdalar, ame meJjaf ketSlerjes vMnaseT noGenzerkajalar.
Translated by David J. Peterson
(http://dedalvs.free.fr/zhyler/babel.html)
9.G. Text:
The Babel Text in Alurhsa
Alurhsa is the creation of Anthony Harris of Vermont and is only a small part of his imaginary world. For much more on the language and culture of Aluria, visit Anthony's site at alurhsa.org.
1.Ná, ttòsnë zh'óñen ñeveláynû dwi sùlën hályen, ddá vìgeláynû dwi sùlë ¿óv ñevóznáyëná.
2.Ddá vëzhelû, shthálázályën ghel máçisáç, dyárán ghílâ ddeksánthán tye tirá Shínár, ddá geveláynun vá.
3.Ddá dívelùnyun áyáshénÿ, ráyv, ersháyá vóçón, ddá túgròsháyá dyárán. Ddá vóçón kúweláynun kólf senéfón ddá móllán kólf jóttem.
4.Ddá dívelun, ká, vreleksáyá íthlánán vùn tárháyá, teyá beren yáqánô Kálrÿíszán, ddá ersháyá kìvá ólvínÿ fárshán eleván, spé ághálsárrenelyá ás ttòsnënÿ zh'óñenyánÿ.
5.Ddá qíëdelû Áxván pólef sperrâ zh'íthlánán vùn zhë tárháyá ten vrelekseláyná káyár bóyená.
6.Ddá dívelû Áxván, ráyv, lhôñ dwensá zhë ¿áms ddá xónyá dwi sùlën hályen, ddá úmázhën fakályónyá. Kólfe ñeyësán dyáráç feñené ten ïnáqánónyá kályâ.
7.Ká, ándzáláyá ddá vezénáyá dyárs-hályen pólef el ñe vùzùnùnyá ñevësán áyáshéyá.
8.Eref dyárán ághálsárrelô Áxván ghel váç ás ttòsnënÿ zh'óñenyánÿ, ddá lepelun vreleksâ zh'íthlánán.
9.Ddá eref zhë shthevá sódlô Bábel, kálÿ vá vezénelû Áxván hályen ttòsná zh'óñenyá, ddá ghel váç ághálsárrelû Áxván dyárán ás ttòsnënÿ zh'óñenyánÿ.
Translated by Anthony Harris
(http://alurhsa.org/)
9.H. Text:
The Babel Text in Kimva
Kimva was part of the ConlangEvolutionExperiment (http://talideon.com/concultures/wiki/?doc=ConlangEvolutionExperiment).
1.shes gu mitp fok yi kimva ka fi loffaloffa.
2.shes liyley gÿif fontshixka, nashumva i mitsa, kalepfing kasinrasing, ka napische.
3.liyley fish, kalinzrak, gÿidachighng pekxutpekxut ka tugngoxorzeko gÿidapevma. nafok pekxutpekxut, ka natugngona ngu ngindu, ka mwech, ka natugngofa ngu lunggo.
4.nafish, gÿidafing i kex kayifok, ka i xaxsulofsa kafafok sich kakusxasing, ka gÿidachighng ngu kagÿifok, ka xiy ufefpagÿi gu kamitpfing.
5.ka YEF kom fombmogÿika fingghiche ka fesombi kex ka xaxsulofsa, liyley fingna.
6.ka YEF fish, desombi, na-s yi pum, ka gu nafok yi kimva, ngong xiÿghey nasek, yu vakepchina, ka nafuvmviy, nahumikxekxa.
7.kom fombmogÿika ayidafinghiche ka ayidapoy kimva kenofak, kumash nahumwitpu vaf kalimvok.
8.va-s muy YEF fepfeno kamitpfing gu, ka nachimving kex.
9.vaxkup kefofak nga si pabwu, kumash kangugÿising YEF poy kimva kenofak, ka YEF fepfeno fombjika gu kamitpfing.
Translated by Alex Fink
(http://talideon.com/concultures/wiki/?doc=kimva)
[ADDENDUM: From an email from Alex Fink to Don Boozer on the misattribution of this Babel Text: "I've spotted a misattribution, in the case of Babel texts. Kimva is not in fact my creation, but that of Pete Bleackley. I presume the misattribution came about because of the "Descendents" listing on talideon.com/concultures/wiki/?doc=kimva attributing the daughter language kimwa lilyeho to me; the attribution proper to kimva itself is the line saying "PeteBleackley" below that." Please check out the web source for this Babel Text for further information - DB]
9.I. Text:
The Babel Text in Itlani
Itlani is the creation of James E. Hopkins who speaks and writes the language fluently. James holds a B.A. in French and a Master's degree in Philosophy and has a wide range of interests including writing, dancing, poetry, and linguistics. His recently self-published book, Eden's Day, includes poetry in English and Itlani.
1.Shukhrám tá kúlit untár mú sholóva véy mú eypotóva lafiyáva.
2.Véy brinkiyáva ú mashrá tá pirénay dzevyáven, brenduóva díni tá skáan Shinár zhanyáven, véy izá paleyáven.
3.Véy marruvyáven, "Kadimyátay, shevedzovó korunyáti véy vutóva iküirunchyáti." Véy tá shevedzovó résh chendjeynúey lafiyáven véy tá khalmasóva résh indisíey lafiyáven.
4.Véy ruvyáren, "Kadimyátay, mogése shatardjaóva sitagyáti, véy kitsanóva, tá móyto kiína díni tá fridádjan onyázha: komshayóva mogése vataranyáti reshú véyla tá vísan tá kúlit untára rá-kreyifyáti.
5.Rúzay Uramún stinatyávad reshú tá shatardjaóva véy tá kitsanóva shunyátad, kiinovó tá peshsuú sitagávit onyáven.
6.Véy Uramún ruvyávad, "Tá ebón mú onyára khaá véy shéy vút mú sholóva lafiyáren, véy iíd onyára idá kiinóva korúnya mabugyáren; tsórni rahá kiinóva harvolyázhen vútay inutebyízha."
7.Kadimyátay, stinatyáti véy izá vútit sholóva ubikeyyáti, reshú tá eypotóva mutatamág dayáten rá.
8.Chalí, Uramún vutóva izáay véyla tá vísan tá kúlit untára kreyafyávad, véy tá shatardjaóva sitágya spranichyáven.
9.Idakín Babél mishtaratyíra, vár izá Uramún tá sholóva tá kúlit untára ubikeyyávad; véy izáay Uramún vutóva véyla tá vísan tá untára kreyafyávad.
Translated by James E. Hopkins
(http://www.langmaker.com/db/Itlani_Babel_Text)
9.J. Text
The Babel Text in Interlingua
Interlingua is an international auxiliary language (like Esperanto) that began development in 1924 by the International Auxiliary Language Association (IALA) and was published in 1951. Alice Vanderbilt Morris was the primary founder and funder of the project which was headed by Alexander Gode and William E. Collinson. Interlingua was sometimes referred to as “Standard Average European” by Dr. Gode.
1.Nunc le tote mundo habeva un lingua e un parola comun.
2.Como homines moveva se al est, illes trovava un plana in Shinar e establiva se illac.
3.Illes deciva a le un, "Veni, lassa nos facer briccas e cocer los minutosemente." Illes usava bricca in vice de petra, e catran pro mortero.
4.Tun illes deciva, "Veni, lassa nos construer nos un citate, con un turre que arriva a le celoes, a fin que nos pote facer un nomine pro nos e non esser dispersate trans le facie del tote mundo."
5.Ma le Senior veniva a basso vidar le citate e le turre que le homines construeva.
6.Le Senior deciva, "Si como un gente que parla le mesme lingua illes ha comenciate facer isto, tun nil que illes plana facer essera impossibile pro illes.
7.Veni, lassa nos descender e confunde lor lingua dunque illes non comprendera a le un."
8.Assi le Senior dispersava les de illac trans tote le mundo, e illes cessava construente le citate.
9.Que es proque il esseva appellate Babel -- proque illac le Senior confundeva le lingua del tote mundo. De illac le Senior dispersava les trans le facie del tote mundo.
Submitted to Langmaker by Dan Dawes
(http://www.langmaker.com/babel/interlingua.htm)
9.K. Text
The Babel Text in Talossan
Talossan was created by R. Ben Madison to be the official language of his micronation Talossa (which is entirely surrounded by the city of Milwaukee, WI). Madison has said “The Talossan language was created not as an amorphous conlang project for the world. It is not Esperanto. It was created for one purpose and one purpose only: to give a linguistic identity to the Kingdom of Talossa." For more information on Talossa and its language and culture, check out the official site at www.kingdomoftalossa.net.
1.És toct i tzarâ tigñhova viens glheþ és 'n parlançeu común.
2.Quând që os voiatxevent da l'est, os trovevent 'n azaçhár în Shinar, és os loc þavitevent.
3.Si zireva à sieu amíc, "Vetz! Láßetz që noi ládariçadrent ládarâs és lor baqadrent cumplätsmînt." És las ládarâs füvent els cräpsilor për lor, és la cretâ füt la muôltâ për lor.
4.És os zirevent, "Vetz! Láßetz që noi fraicadrent për üns 'n cità és 'n turmeu cün ça moláirâ în el çéu, és láßetz që noi façadrent 'n nôminâ për noi, da cráintschâ që noi estadrent spaperseschti sür la façâ da toct la tzarâ."
5.És Iáhave descendeva për vidarë la cità és el turmeu që els vürs tigñhovent fraichescù.
6.És Iáhave zireva, "Eiceâ, véiçi viens naziun, qi tent viens glhetg, és os en tienent auspicat. Nun niþil serà catxantat da lhor që os cunceptarhent à façarë.
7.Vetz! Láßetz që noi descendradent és loc cunfundadrent lor glhetg, svo að si non auscultarha el glhetg da sieu amic."
8.Aglhôrc Iáhave lor spaperseva dalà sür la façâ da toct la tzarâ, és os ceßevent à fraicar la cità.
9.Për aceastâ raziun a isch nominadâ Babel, cáir Iáhave loc cunfundeva el glhetg da toct la tzarâ, és c'è dalà që Iáhave lor spaperseva sür la façâ da toct la tzarâ.
Translated by C.M. Siervicül
(http://www.langmaker.com/db/Talossan_Babel_Text)
9.L. Text:
The Babel Text in Tepa
Tepa, created by Dirk Elzinga, is an attempt at "constructing" a plausible, vanished Native American language. Traces of the Tepa, Dirk says, vanished with the creation of Lake Powell.
1.huisi leqa sukuuqu, huisi tepa.
2.hukahekahee metapu sinaa kenipa eaqa kitile. hukate yu.
3.huyakkee, hawananpaqana.
4.huhawaqakkassa hanima etiqe ukaiqu kupine. huwaweletii pewalilkatta metasewe.
5.husahu qamana epite hanimaa akasa tukua.
6.huyakee qamana, hasua! isi tukua huisi leqa nequ. huqanani humuqappulpa eqana eamine.
7.wasahu huhawanulu leqane numuhuyu eteppa.
8.hulika metasewe tukua qamana huapupa ekasa hanimaa.
9.huten papele, anulu yu leqa tukua qamana elika yule metasewe.
Translated by Dirk Elzinga
(http://www.langmaker.com/featured/tepababel.htm)
9.M. Text:
The Babel Text in Konya
Konya is an international auxiliary language created by Larry Sulky designed to be easily learned.
1.posen-wi xoxe yo, telaxi tote tenu sile tokun-moti mune.
2.lawa, suki xoxe xon-ken-yu faisi ye tufu xon-xemapi lun-yo Xinarya ye kepu son-wi.
3.lawa, kusi toku tun-yo failen-sefi kayu "min-min-wi tepu fetu ketaten-peti ye sexen-kusu fine xon-wi" wo. lawa, kusi lilu lone ketaten-peti lono peti ye tauli lono petin-tauli.
4.lawa, kusi toku kayu "min-min-wi tepu fetu xiti wa ten-yo kaipasi, yo lelen-toxu saili wo, leso min-min-wi tepu lan-kenu suki tote ye tepu lan-pefu nin-ye tun-yo telaxi tote" wo.
5.naye, Sailin-punin-ya xain-yu saili leso sinu xiti ye kaipasa, yo suki fetu son-wi.
6.lawa, Sailin-punin-ya toku kayu "suki tote wa sukin-seti, yo toku lilo tokun-moti mune wo, taye kusi kaimu fuxu fetun-wi tise, ye taye fetun-wi tole, yo kusi sepu wo, pan-male wa nolo kusi" wo.
7.kayu min-wi sepu ken-yu telaxi ye pan-fun-pimen-yu tokun-moti yu kusi leso kusi pimen-lolu nin-ye failen-sefi wo.
8.taye Sailin-punin-ya pefu kusi xain-yo lun-tisen-wi tun-yo tote yu telaxi ye kusi kailu fetu xiti.
9.taye noli nemu xiti tuso Bebalya xemo Sailin-punin-ya pan-fun-pimen-yu lun-yo lun-tisen-wi tokun-moti yu telaxi tote. lawa, Sailin-punin-ya pefu kusi xain-yo lun-tisen-wi tun-yo telaxi tote.
Translated by Larry Sulky
(http://ca.geocities.com/handydad/konya/konya-babel.html)
9.N. Text:
Babel Text in Kēlen
Kēlen is the language of the Kēleni, inhabitants of Sylvia Sotomayor's conworld Tērjemar. The language is an attempt at constructing a language with no verbs, thus violating one of Greenberg's Universals. The conlang was the topic of Sylvia's talk at the second Language Creation Conference.
1.ielte la anmārwi pa antaxōni ān tēna;
2.il ñatta jarēþa rūānnie il ñatta jamāes japōññe sū jekiēn xīnār il aþ ñatta āke jamāramma;
3.ē teteñ ien hēja ñanna jacālmi jajūti nā aþ ōrra ñatta ancālmi to ankīþi aþ ōrra ñatta ancērri to anhērmi;
4.ē teteñ ien hēja ñanna jamāonre pa jakōnōr ja ñi jōl rā anīstīli; ē teteñ ien hēja ñanna lewēra tō tūaþ wā ñi ñēim makkepōlien rā anmārwi āñ pēxa;
5.il aþ ñi rā āke ā λi ārōn tō sema mo sarōña jamāonre pa jakōnōr ja ñatta ōrra;
6.il tamma ien ē ñi mēli mānīki ī la sāim antaxōni ān tēna ī la jāo jānne jakāe ja ñatta;
7.il tamma ien rēha ñatta janahan ja ñi jaþēŋŋe cēja lā;
8.il tamma ien ē ñi liēn rā āke tā aþ ñalla anwaxāon tō tūaþ ñi anxiēna ankewōra nīkamma sāim cī;
9.ē ñamma jāo ā λi ārōn ī ñamma sāim makkepōlien rā anmārwi āñ pēxa ī ñamma jamāonre anlāīke ankewōra; tō jāo sete sawēra λi waxāon tō ōrra ñamma anwaxāon antaxōni tēna sū āke ā λi ārōn;
Translated by Sylvia Sotomayor
(The Kēlen Babel Text can be accessed by typing cache:www.terjemar.net/babeltext.php into the Google search box.)
9.O. Text:
The Babel Text in Wasabi
Wasabi was a collaborative conlang venture undertaken by a class taught by David J. Peterson that examined the creation of pidgins. For a detailed look at the development of Wasabi, check out dedalvs.free.fr/wasabi.html.
1.Yasa ukali saya anu alima nala.
2.Si lamu amasu sami ala si siya numa niki isana kunayu si Shinar, aki wima isu.
3.Yasa alima anu si ika, "Wani kana nusika puma samapu aki si kusasi." Puma yumu nusika puma, alasa ukali yumu liwika.
4.Aki alima: "Niki! Wani pila amasu wima kunayu wa pika kunayu, ikala nali, wani ana wani amasu sami, unu lusa yumu wani unu liwika si yasa ukali."
5.Sika si nali niki ukali yata amasu wima kunayu wa pika kunayu malika sika pila.
6.Sika si nali alima: "Yata! Anu liwika kunayu yasa wa anu alima nala, ya aki pila wa unu yumu numa.
7.Niki! Wani niki si ukali, wani sunati nala, si yumu aki unu kisa ika sami alima.
8.Sika si nali unu liwika aki si yasa ukali, aki numa unatu si amasu wima kunayu.
9.Si ya yumu aki tasi ana Babel, yumu isu sika si nali sunati nala si yasa ukali, si isu sika si nali unu liwika aki si yasa ukali.
Translated by Mari Bandoma, Deise Benítez, Allison Buckley, Pablo Cabrera, Marc Callado, Patrick Chan, Charles Chang, Sarah Choi, Lizzy Ghedi-Ehrlich, Julie Gutiérrez, Norma Guzmán, Helen Khlystova, Jason Lin, Tom Nosewicz, Miriam Ochoa, David J. Peterson, Chris Ramiro, Michael Rivera, Adam Simpson, Amy Soong.
(http://www.langmaker.com/db/Bbl_wasabi.htm)
I found this in an old encyclopedia from Goodwill. I'm working on an art theme with this, it's getting there.
Moccasins (word probably derived from the Algonquin language term for shoe or footwear) are traditional to Indigenous peoples across the North American continent. They are typically made from leather or beautiful soft deer hide. In the American West they are often elaborately hand-beaded as an important part of dance regalia such as is worn at powwows. They are so beautiful and so varied - often with matching knee-high leggings - that they make a photographic subject unto themselves.
In the northern Rockies and Plains, male dancers may also wear an anklet of metal bells, adding to the wonderful cacophony of the powwow. Very old style anklets might be encircled with deer hooves to create a rhythmic clacking sound as the dancers moved.
Some traditional women's dresses are festooned with metal "jingles" on their dresses as their contribution to the glorious noise. The jingles were originally constructed from tin can lids rolled into a cone shape.
48th Annual American Indian Council Powwow, Montana State University, Bozeman Montana USA
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
(Top)Meet the Conlangers: The World-wide Community of Language Creators
8.A. Text: Introductory paragraph
Conlanging transcends national boundaries and enjoys a global community of enthusiasts. A “census” of the Zompist Bulletin Board reveals members from the USA, Finland, France, New Zealand, Germany, UK, Hungary, Scandinavia, and South America. Conlanging is also multigenerational with ages of language creators and enthusiasts ranging from teens to senior citizens. Take a look at the attendees of the Language Creation Conference in this exhibit case. So, without further ado, may we introduce...
(Top left) David J. Peterson
Conlanger Extraordinaire
California
One of the most active conlangers on the web is David J. Peterson. He wrote the "Conlanger's Manifesto," was one of the speakers at both Language Creation Conferences so far (2006 and 2007), has been a vocal member of the CONLANG listserv for well over five years, has one of the finest web sites (http://dedalvs.free.fr) on the Internet devoted to conlanging (and his other various pursuits), and was President of the Society of Linguistics Undergraduates (SLUG) at UC Berkeley. In addition to creating languages like Kamakawi, Zhyler, Wasabi, Megdevi, and many others, David also created SLIPA (Sign Language International Phonetic Alphabet), a detailed system for representing all possible gestures in any signed language which can also be used to create a constructed sign language. Currently, David is also a member of the Board of Directors, as well as Treasurer and Secretary of the Language Creation Society (http://www.conlang.org) and is a contributor to The Speculative Grammarian (http://specgram.com), an online journal of linguistics humor.
David is a University of California (UC), Berkeley, alumnus (where he majored in English and linguistics); his Master's degree in Linguistics is from UC San Diego. David is currently adjunct professor of English at Fullerton College in California: the "Writing Guide" section of his web site is humorous as well as highly informative. He was also engaged last year to a fellow UCSD graduate, Erin McPherson. In his 2-man band, Number 6, David plays guitar, bass, and ukulele, and he sings. David is a devoted Mac user when it comes to computers: "I very use a Mac (try to make sense of that one, Chomsky!)."
Several Babel Texts translated by David are included throughout this exhibit, as well as the "Conlanger's Manifesto," (Exhibit Case #2) and his Amazon.com review of Describing Morphosyntax (Exhibit Case #3).
The Babel Text in Kamakawi (transliteration)
1.Ka peka i ape kalaka oi oalala poi.
2.Kau imawawakaiu upea a ie ku neva'a i ava ae peka Tinala pe, ku hepale ae pe.
3.Ku hekala i ika ti, "He'ea, he lama ue i timitiú u kava i uamo." Kae timitiú i leya ka iele i i'iele poupea.
4.Ku hekala poiu ti, "He paki ue i paleumi oi penute i ue a kopu ono o penute iu kawi, au atau ue, heoku u kawakawa'u heva e ave o peka."
5.Ka kau Takepolilao ele mata ie paleumi oie penute kau paki mali tiemi i.
6.Ke hekala poiu ti, "He! Ape peka, a ape kalaka i upea uila, au hepaka upea i iko. Oku li'u eleumi au takepo'u upea i hoa liwi'u upea a.
7.Ima! He kau ei e mimile ie kalaka o upea pe, aupe kala upea ioku ika.
8.Ke kawakawa Takepolilao i upeape heva e ave o peka, kau pu'uke upea ie paleumi.
9.Ape tomi'u amo ti "Imimile", ale mimile Takepolilao ie kalaka o inotu uila pe, e kawakawa i upeape heva e ave o peka.
Translated by David J. Peterson
(http://dedalvs.free.fr/kamakawi/babel.html)
(Top right) Mark Rosenfelder
"The Zompist"
Illinois
Mark Rosenfelder, a.k.a. “The Zompist” or “The Zomp”, has been creating languages and worlds since he was in grade school. One of The Zomp’s major gifts to the conlanging community is his Language Construction Kit (http://www.zompist.com/kit.html), often the first stop for beginning conlangers. The Kit provides a step-by-step approach to creating one’s own language compiled from resources gathered by Mark while attempting to learn linguistics on his own. Topics as diverse as what sounds to use in a conlang to how to construct language families and dialects are covered. The Zompist Bulletin Board, one of the Internet’s main forums for conlangers and con-worlders, is yet another of Mark’s contributions and is available at www.spinnoff.com/zbb.
Mark’s monumental online work, Virtual Verduria (http://www.zompist.com/virtuver.htm), began as a Dungeons & Dragons setting in his college days. It is the result of over twenty years of tinkering with concepts as diverse as language, history, chemistry, biology, and mythology. Virtual Verduria provides myriad details of Mark’s fantasy world of Almea, from the creation of its planetary system to the evolution of its indigenous inhabitants, and includes comprehensive maps, native stories, and myths of the various nations. There are a dozen individual languages or language families with grammars, vocabulary, and text samples. Mark has succinctly explained how he does all this by saying, “I have no kids and I don’t watch TV.”
Although The Zomp’s day job may be as a programmer, he has assured himself a spot in the Pantheon of Conlangers with his selfless activities in support of the art.
(Photo courtesy of Mark Rosenfelder)
(Bottom left) The Official Conlang Flag
The idea of a “conlang flag” was proposed by David J. Peterson on the CONLANG listserv in a message on Aug. 29, 2004. The next day, Adrian Morgan responded by saying: “Right, it's time to take this seriously,” and a rough sketch was submitted. Discussion on the topic was brisk, over twenty designs and revisions were submitted, and the results were announced on September 23, 2004. The basic layout was suggested by Leland Paul, but the winning flag’s final design was created by Christian Thalmann. Paul’s posting provides some of the symbolism: “Against a purple sky, signifying creativity, an orange sun rises, orange signifying energy, imagination, and communication. It sheds its light over a dark, not-yet-seen world. Silhouetted against the sun is the Tower of Babel, proclaiming the noble nature of the linguistic diversity.” The Tower of Babel also brings to mind the ubiquitous Babel Text often used as a translation exercise. The Conlang Flag has been displayed prominently at the Language Creation Conferences and can be seen on numerous conlangers’ web pages.
(Bottom Middle) Andrew Smith
Creator of Brithenig
New Zealand
Born in Invercargill, New Zealand, in 1965, Andrew currently lives in Dunedin, New Zealand. He is an Archives Assistant for the Presbyterian Church of Aotearoa New Zealand Archives. His native language is English, and, although he speaks several languages, Andrew admits that none are to "conversational level." Brithenig is the result of Andrew's attempt to create an alternative Romance language akin to French and Spanish: namely what would have happened to Latin if it had become established in the Celtic areas of Britain and evolved accordingly. "The earliest known record of Brithenig dates back to 1997," Andrew states. "It was inspired earlier by a reference to a Celtic-influenced romance language I discovered in a book on Celtic languages in 1990, my last year of study at the University of Otago. It would take me another four years before I returned to Dunedin to re-read the reference and create the language. The rest is history. Ill Bethisad is legacy." Ill Bethisad is the imaginary country where Bethisad is spoken. The extensive site dedicated to the imaginary nation and language can be found at www.bethisad.com. With maps, history, grammars, and more, Andrew's site rivals that of Mark Rosenfelder's Virtual Verduria.
Andrew continues: "As well as Brithenig I keep a journal in a conlang based on Old English. In recent years I have started on an eclectic language based on my collection of Teach Yourself Language books. I have about 40 of them. They are getting harder to find."
"Apart from creating languages I have created imaginary worlds, attempted writing, been involved in Mediaeval Re-enactment, work out at the gym for cardio, and practise religion. I have never travelled outside my country. I collect books, CDs, RSS-feeds, and occasionally hats."
(Photo courtesy of Andrew Smith. Quotes taken from an email to Don Boozer.)
The Babel Text in Brithenig
1.Hures il munn inter hav yn linghedig e yn cant commyn.
2.Sig il pobol summoden di'l est, ysses ligavan yn luin in Sennar e lâs'ysteblivan.
3.Ysses digevan il yn a'l altr, "Gwenitz, gwans a fager brics e cogher les interevent." Ysses ysavan brics in log di bedr, e arill per chelcin.
4.Afos ysses digevan, "Gwenitz, gwans a eddifigar per nos yn giwdad, cun yn tyr che tang a'ls cels, sig nos fagians yn novn per nos e no scians ysparied pas syss la fag di la der inter."
5.Mais il Tiern gweniv a vas a widder la giwdad e'l tyr che'l pobol eddifig.
6.Il Tiern digev, "Ec'h, altresi yn pobol che barol il linghedig medissiv, ysses yst han gyvnidiad a fager. Hures ys lâ no haverai negarad ren a les che ysses provassen a fager.
7.Gwenitz, gwans a vas a ystyrddir sew linghedig di les sig ysses no c'hompruinnessen ren di'l yn a'l altr."
8.Sig il Tiern yspariav di lâ syss tud la der, e ysses calvavan a eddifigar la giwdad.
9.Ho es perc'he sa afell Babel -- perc'he lâ il Tiern ystyrddiv il linghedig di'l munn inter. Di lâ il Tiern les yspariav syss la fag di la der inter.
Translated by Andrew Smith
(http://hobbit.griffler.co.nz/babeltext.html)
(Bottom right) Dr. Sarah L. Higley
a.k.a. Sally Caves
Academic Conlanger
New York
Earning her Ph.D. from the University of California, Berkeley, Dr. Sarah L. Higley is currently Associate Professor of English at the University of Rochester and a teacher of medieval languages and literature. She is also known by her alias, Sally Caves, which is the name you'll see on her website (http://www.frontiernet.net/~scaves/teonaht.html) outlining her conlang Teonaht. According to her site, Sally began documenting her language creation in 1962 at the age of nine. Dr. Higley goes on to say that in "the Fall of 2000, she co-taught an independent study with linguistics Professor Jeffrey Runner, wherein then freshman (and linguistics major) Douglas Ball was allowed to develop grammar and text for his invented language Skerre." Sally was a presenter at the first Language Creation Conference, has been interviewed by her local NPR radio station about conlanging, wrote an article entitled "Audience, Uglossia, and CONLANG" for M/C Journal (available online at journal.media-culture.org.au/0003/languages.php), and, in December 2007, published the definitive study of St. Hildegard of Bingen and her Lingua Ignota entitled Hildegard of Bingen's Unknown Language: An Edition, Translation, and Discussion. (For more information on St. Hildegard, see Exhibit Case #4). Dr. Higley is also a member of the Board of Directors of the Language Creation Society (http://www.conlang.org).
The Babel Text in Teonaht
1.Send tand potom takrem tefye uõnim kalalya, uõnim mongwyf.
2.Send seawim il plevvysta elai renek, he twe esteratwe armmandy; rilua-il twe nrinarem celil hea Hsinnarid, send eldwav hovar endõ.
3.Send euab ouarje eldwa jane: "Mantets! Nittaopra uents, uo ad õ potemaht flehhtyzmats." Send nittaopra eldwav uen to mimmivua uo nerik to cicya.
4.Send eldwav ebra: "Mantets! Tesa-ilz lirifel-jo hadhhamats ta mehuen aid kempa ar Erahenahil, send rõ tyr aittearmats, ta vera listsõ hyny il takrem ro ssosyarem.
5.Send Le Hrel elo hsommante sa lõ kerem il tesa liriffel-jo hadhhama-uarrel ihhain le plevvysta.
6.Send Le Hrel elo ebra, "Keyts, il plevvysta somad, uo uõnim kalalya twavhha; aibba estwa mippa: to vokraikarem, send vawem dihhai twav kare deytwav dal ai sebrarem esai lis.
7."Hsobmmantets; send twe kalalya vilvviglats ta vera pre-twav twe mongav rin euab ouarjo."
8.Le Hrel ad hyny il takrem elo toaaiba sossya, send il tesa eldwa beg hadha.
9.Evvaiba Bavel li'aittear ilid lirifel, uanner Le Hrel il uõm kalalya ilid potom takrem elo vilvvigla, send il plevvystan eldwa hovvandy sossyab.
Translation by Sally Caves
(http://www.frontiernet.net/~scaves/babel.html)
I shot this photo to express the importance of the language and to express the "the process of the communication" in a visual way. I have spent a week to think for the idea, here is the outcome.
What you can tell from a person’s body language ➡ www.shape-able.com/10-proven-ways-to-be-more-attractive-t...
Some times no matter what you do, how far you go out of your way, no matter how far you bend over backwards for others, it is never enough... First pic Ive been able to photograph of myself in awhile, thanks to my sister for the borrowed camera! One of the more difficult pictures/poses I have attempted to do of myself...
"We have to cease to think if we refuse to do it in the prison-house of language; for we cannot reach further than the doubt which asks whether the limit we see is really a limit" - badly quoting Nietzsche
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center’s most colorful day of the year came May 8 as the Presidio opened its doors and welcomed a crowd estimated at more than 5,000 during its 31st hosting of Language Day. Attendees were treated to a diversity of songs, skits, dances, classroom demonstrations as well as food and wares that represented the cultures of 23 languages studied here at the military’s preeminent language training facility. Also in attendance were 54 combat veterans of the Vietnam War, honored guests during a “Welcome Home” ceremony led by Col. Paul Fellinger, Presidio of Monterey garrison commander, and Dan Presser, Military and Veterans Affairs Advisory Committee member, in commemoration of the war’s 50th anniversary.
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PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
The young teenage boy in this remarkably lifelike portrait looks calmly at the viewer, his head in three-quarter view. He is dressed in a white Roman tunic with a narrow purple clavus (a vertical stripe) over the right shoulder. A mantle is draped over the left shoulder. The boy wears his dark brown hair short, with locks brushed to both sides of the forehead. The inscription in dark purple pigment below the neckline of the tunic is in Greek, which was the common language of the eastern Mediterranean at the time. Scholars do not completely agree on the inscription's translation. The boy's name ("Eutyches, freedman of Kasanios") seems indisputable; then follows either "son of Herakleides Evandros" or "Herakleides, son of Evandros." It is also unclear whether the "I signed" at the end of the inscription refers to the painter of the portrait or to the manumission (act of freeing a slave) that would have been witnessed by Herakleides or Evandros. An artist's signature would be unique in mummy portraits.
Paintings of this type, often called Faiyum portraits (though not all of them come from the Faiyum oasis), are typical products of the multicultural, multiethnic society of Roman Egypt. Most of them are painted in the elaborate encaustic technique, in which pigments were mixed with hot or cold beeswax and other ingredients, such as egg, resin, and linseed oil. This versatile medium allowed artists to create images that in many ways are akin to oil paintings. The boy's head, for instance, stands out from the light olive-colored background, creating an impression of real depth. His face is modeled with flowing brushstrokes and a subtle blend of light and dark colors. Shadows on the left side of the face, neck, and garment and bright shiny spots on the forehead and below the right eye indicate a strong source of light on the boy's right. Most arresting are the dark brown eyes with black pupils reflecting the light with bright spots. This manner of painting, which is very different from the traditional Egyptian style but was well known in Graeco-Roman Egypt, originated in Classical Greece in the fifth and fourth centuries BCE.
Although the painting technique on Faiyum portrait panels is Greek, their use is entirely Egyptian. When a person died, the portrait panel was placed over the face of the mummy with parts of the outermost wrapping holding it in place. This implies Egyptian beliefs about the afterlife. After having been ruled for three hundred years by a Greek (Macedonian) dynasty and a century or more by Roman administrators, Roman Egypt was an extremely diverse civilization. The population consisted of Roman citizens and citizens of Greek cities such as Alexandria (both of these groups made up of peoples of many different ethnicities) and native Egyptians. The subjects of the mummy portraits clearly were dressed and coiffed like Romans, and many of them bore Greek names or names that were Greek versions of Egyptian names. However, they and their families found consolation in the ancient Egyptian beliefs about the afterlife.
Romano-Egyptian, ca. 100-150, Egypt. Encaustic on wood.
Met Museum, New York (18.9.2)