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"language" Tag

Wimble click crumblechaw beloo

Thursday, September 15, 2016


Umberto Eco in his Six Walks in The Fictional Woods is referring to the idea of an optical illusion, for explaining how we are perceiving the fictional novels. Throughout his essay we are being shown, several illustrations with which he is visualizing the concept behind his es- say. Although it is not a children’s book, he is adding the illustration for the means of having a common understanding on the topic he is referring to and the concepts he is presenting.
While in children’s books, unfortunately, the freedom of the child using his fantasy is taken away, by – and thus imposing the fantasy of – one or more grownups, directing them in what they must see and understand as to have a common memory. I will come back on this subject later.
In Eco’s book though it is necessary to have the same understanding of the concept he is proposing. He is pointing his finger, saying “this is what I mean and not other”. Being able to maintain a certain common understanding, while using words, either in speech or writing is very difficult, as De Certeau is pointing it out in The Practice of Everyday Life:

“The readable transforms itself into the memorable: Barthes reads Proust in Stendhal’s text; the viewer reads the landscape of his childhood in the evening news.”



Simply because we have agreed that, say: cup is a cup it does not mean that we are talking about the same subject/object. Each of us are having a specific memory of the word, being related to either the time we have learned it first, space, surrounding, atmosphere, mate- rial, color, size or form, are additions to the experience we are relating the word to.
When we say the word cup we refer to all the cups from everyone’s memory, and to the only one cup we relate to personally, all the cups we have happened to see, and even the ones we do not yet know about.
Here I will make a short parenthesis for coming back to what I have said above, about the common memory of the children, whom have shared the same book in the past. Clearly there are a few objects in each generation (related to time) or cultures (related to place) we can think of, that are bringing a sudden nostalgia. Referring to one of these objects from our common memory, has the power to affirm and acknowledge the ground where one that stands facing the others. Thus sharing a specific memory of a specific object can be decisive for taking or not part of the group.


Once this idea is settled there is no need for other words to explain ourselves. We now can trust each others understanding on a number of other discussions, that we do have similar experiences.
Let’s take the 90’s generation as example. We might have experienced objects as Tamaqotchi, Nokia Querty, Pokemon and Dexter’s laboratory even though we come from all different countries and cultures. Recently I have participated in a some similar talks in a few different settings about Tamaqochi. It seems that somehow the memory of this object, keeps reoccurring. There are exactly a few specific answers to the question: “Oh! And do you remember Tamagotchi?!” that represent the object at it’s best and everyone understand their meaning.With or without the additional -
annoyed : “Oooh! Noooo, please….(it was such a stupid game, it would always die during the class)” .
and the enthusiastic : “Yes Yes! (I actually had a few)!”.
Whether one remembers more the annoyance or the pleasure, in the end both sides know exactly what it all meant or felt like. Thus trough sharing a common reference point they are becoming ‘a group’. They can now feel closer by the fact that they have shared a common/similar experience. Trough sharing a common experience the ‘other’ becomes ‘we’. While the ones that did not share the experience have a harder time to relate to the word and the meaning it carries with it.
This of course is a simplistic example and as such I am here not discussing the importance of sharing the idea of the Tamagotchi persé as an object/name, or as an experience, but replace it with something of a bigger importance – and that is where we, although having developed language to be able to transmit thoughts, can not get over the struggles of truthfully understanding their meaning and in some cases we overlook their importance by not being able to relate to other people’s experiences only trough words.


Cover_shaded download this thesis by Andreea Peterfi
all rights to this thesis are property of the author © 2016



Wednesday, February 24, 2016

text by Celina Yavelow


Guilty_Screen Shot

She changes this thing in the house to annoy the other, and the other is annoyed and changes it back, and she changes this other thing in the house to annoy the other, and the other is annoyed and changes it back, and then she tells all this the way it happens to some others and they think it is funny, but the other hears it and does not think it is funny, but can’t change it back.

The Other, by Lydia Davis


Loaded Language


The fact that language can change a state being is pretty much wow to me. Say the word and there’s a chance something will change: your insides start hurting (“Cunt”), you’re suddenly single again (“I’m breaking up with you”), or forced into a guilty state (“You’re under arrest”). The load in this kind of language is taken literally here, considering the body not only as the agent for speech, but also as physically subject to the force and effect of loaded language — realizing you can actually do things with words, and realizing also, that its authority can be both threatening and empowering.

Complex_Screen Shot

This thesis is titled Where did you hide the gun? because it’s a famous example of a question deliberately loaded by its formulation. It does not ask if there is a gun, but ensues there is, and where did you hide it? According to the question you’re already guilty of the shot — regardless (“POW POW!”). I’ve connected this mechanism to a term in language philosophy and theater studies called performative speech utterance, which is quite a tough shoe to chew, so my theoretical framing is constantly interrupted by metaphoric associations and a fictional narrative, offering a melodramatic illustration of the concepts employed.

And_Screen Shot

Meanwhile, I became completely hooked to the thought that language can be so directive, that we are so easily affected, seduced or tricked by it. I continued my research in a sound piece called Hi, Mary, which was set out to be a subjective audio tour of a small part of the GRA graduation show of 2015, but was mostly exploring this reflex in our body to surrender to a voice and its language. Listen to it here!
Sound file: Hi-Mary

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

650-Celina_Yavelow_LS_05_low_res audiotour at Rietveld graduation show


the thesis
The subject –loaded language– is in itself interesting. But what makes the thesis original and engaging is the way in which she approaches the subject - a mix of various types of material (film, language philosophy, literature, current events, memories) and registers (short story, academic prose, interview, collaged/found text), all capably, impressively intertwined. Yavelow presents the reader with both basic and not-so-basic linguistic concepts, each of which she proceeds to explore through various perspectives.
The writing process is thus integral to the subject matter. The bluntness of certain images (for example guns) and juxtapositions (for example romance with guilt) is largely offset by the assured writing style. A range of literary devices are used to good effect: repetition, sentence fragments, double meanings, omission of conjunctions. An enjoyable, kaleidoscopic read.
[text by Louis Luthï]

Screen shot 2016-05-15 at 3.23.50 PM download this thesis by Celina Yavelow


follow my eyes

Saturday, April 5, 2014






Follow my eyes through Designblog. Screen shot keywords. One image after another. In my collages each tag and image is connected. You can trace back the posts.



Saturday, December 7, 2013

I was browsing through the list of books acquired this year at the Rietveld Library and I came across the title “Khhhhhhh” by Slavs and Tatars.

Interesting title that made no sense to me and therefore made me curios and furthermore choose the book for my exploration and design research.
Now I know that Slavs and Tatars (S&L) is an artist group and this book is a combination of research and study alongside giving a written lecture and investigation through the book which was published in connection with their exhibition on the topic which the book investigates [X].

Before starting the exploration of the book, to be clear about who S&L is, this gives a pretty good hint: “Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective’s work spans several media, disciplines, and a broad spectrum of cultural registers (high and low) focusing on an oft-forgotten sphere of influence between Slavs, Caucasians and Central Asians”.

Looking at the book the first thing one notice is of course the cover – afterwards turning the book around, feeling the weight in your hands and looking at the back.

Khhhhhhh, cover

The cover consists of the K and the H’s from “Khhhhhhh” scattered over a picture of a room that looks like a mosque. The letters are in a sort of bad computer game-like font with a thick white border and a filling of grey/silver’ish screen noise. Strange combination which immediately intrigued me and invited me to open the book and look at the inside.The way the letters are scattered is of course a choice which have been made, like everything else in the book, and the way these letters are scattered is no different. They move up and down in a rhythm that divides the cover into sections. Also the effect of the font adds to the feeling of them moving.

The book is slightly bigger than A4, half a centimeter on each side and has a thicker cover but still not hard, which gives it the feeling of a catalog more than a book-book.

The back of the book is a continuation of the mosque room with a big white print on it of an open mouth with the two sentences:”Mothers Tongues” and “Father Tongues” written under it.

Khhhhhhh, cover and back

By looking at the cover and the back you already get a feeling of what the book might be about. Something with letters and a strange pronunciation of /sound from this “Khhhhhhh” + the mosque, the strange print of the open mouth which almost goes “AAAAAAHHHHH” at you, the inside of the mouth with foreign alphabet symbols and finally the Mother Tongues and Father Tongues indicating, again, language and inheritance of tongues/pronunciation.

Opening the book there is no first page with information about the publisher, designer, year or anything, but on the opposite page there is the table of content written in Russian and English opposite of each other as if there was in a way some kind of comparison between the two languages. Maybe the book is about language? The paper is thicker (115 grams), a bit yellowish and has a really nice smell.

As you can see on the picture, the book has chapters and sub chapters.

Khhhhhhh, content

The following page is a Russian text in fat black lettering and two translations of the same text in English and I think Czech. The text says:” Genghis Khan, me you midnight plantation! Dark blue birch trees, sound in my ear! Zarathuse me, you twilight horizons! Mozarticulate me, dark blue sky!” – by Velimir Khlebnikov. I found it interesting that the two first letters in Velimirs second name are Kh. Also Genghis Khan was the leader of the Khan clan in Mongolia from 1175.
Before moving on to the rest of the book I would like to add a quote to give a shorter and probably more precise introduction to the book that might make more sense than what I’m able to explain: ” the book is;  A reconsideration of pedagogy, progress, and the sacred role of language via the perspective of a single pesky phoneme, [kh].Khhhhhhh explores the thorny issues of knowledge versus wisdom and the immediacy of the oral versus the remoteness of the written word thru a fireside chat around sacred hospitality, Velimir Khlebnikov, and numerology.”

After this starts a long investigation of the phenomenon Kh which I, before reading this book, had no idea was a phenomenon in language and how it undergoes different names and symbols in Semitic, Cyrillic, Turkic and Arabic alphabets. Because of the different languages each page consists of an English text, the translation in Russian, pictures from Slavs and Tatars exhibitions and beautiful drawings of the Kh in different languages and in which direction these symbols are to be drawn.

Khhhhhhh, alphabet Khhhhhhh, pages

The choices which S&T has made for this book helps to pass on the investigation/research feeling and works almost like having a wall with a lot of sticky notes and pictures on it. They make this work without being confusing, which very easily could happen, by dividing the pages into sections. As in the table of content, the pages inside the book are divided so the left, slim column is for the Russian translation, most of the rest of the page has the English text and then you have pictures, illustrations and alphabets/symbols scattered over the rest of the page, with descriptions of each picture under each picture + footnotes. Busy, busy pages! The graphic of the lettering becomes more like a picture on the page than a text. Still everything is framed and kept inside a border of approximately 1,5 cm.

Khhhhhhh, pages

There is a lot of information on each page and the drawings, the texts, the translations and images are placed differently on each page so when you turn the page you have no idea what will come at you. As mentioned before this could give a very confusing experience with the book, but instead of being confusing it just keeps you really interested and curious.

S&L them self says in an interview that with their publications they: “Attempt to resuscitate the sacred character of language, from the devotional act of reading to the ritual of the printed word”, – which might be why the book design is how it is,  jumping up and down and moving on the pages as if it was the spoken language with it’s rhythm, different heights and lows and not the printed word.
It is almost impossible to describe the book with words, especially written words, which funny enough makes so much sense considering what the book is about.

Khhhhhh pageshift

To indicate that the book moves into a different area in Appendix A, the pages changes completely and the background is a big photo.

Khhhhhhh, Appendix A

And the same goes for Appendix B, which is the last chapter.
I would really recommend you to have a look at this book and Hey! ….
It’s super easy because they even have a free pdf version uploaded online and on all their other publications


Rietveld library catalog no: slav 1

Zig Zag Stoel

Sunday, September 29, 2013

Ik zig/zag
een zig zelf
zichzelf zaggende
zag ik zigzaggen.

Ziedaar de zigzagstoel van Gerrit Rietveld. Zag jij hem ook?

Zo zonder leuning, zonder pretentie zeer zeker van zichzelf?
Zig Zag
Een Zizag, ziedaar het woordenboek, is
een bewegende lijn die plotseling van koers verandert.

Zo Spannend, de Z, ik zou hem om willen draaien om zo de Z van alle kanten te bekijken.


Zo, van ziehiertje zie daartje en zo en zo.

Zalig zon zigzag!
Zo zonder aarzeling aanwezig, een bazige Zigzag- Z-stoel.

Zigge zagge
zigge zagge zo
zigge zagge zage zonder
zigge zagge
zie zo

ziedaar zo in de verte
zaagt de zigzag door de lucht
gelijk een bliksemflits

O zigzag, kartonnen design klassieker, zonder ondersteuning zeer zitbaar.

Test, Test, test, test,
Ziedaar iepenhout, bout en messing,

Zigzag in zicht.

Met Zwaluwstaartverbinding verbonden, zo zigzaggend aan elkaar.
Zonder benen, zig zagt zij als een zwevende zwaluw gier!

Zij is zeer zeker zwevend aanwezig maar ruimte neemt zij niet!

Zo is Z een stoel, of is Z een tafel,of is Z een Z
Zoals je wilt!
je wilt!

Stijvolle Z,
Zakelijke Z,
Zinderende Z,

Zwaluwstaart, Deuvel, Lij, Schroeven,
niet piepend iepen hout:
Een Z, een Zwiepende Zig Zaggende Zag ik nooit eerder Zig Zag stoel

Ongetooid, Ongekleurd,
Z, Zomaar Zie ik Z Overal!
Zie hier, Zie daar,
z, Z, Z, Z

Het Zigzagje, zegt Rietveld,
Ik noemde het altijd het Zigzagje,
Zegt Rietveld zachtjes zigzagggend.

Zigzagje, schotje in de ruimte,
Zag jij haar ook, zo met je blote oog?

In Z, om Z, tussen Z,
Zigzaggend zag ik Z in
en om en tussen

Zigge zagge
zigge zagge zo
zigge zagge zage zonder
zigge zagge
zie zo

Een ruimte om op te zitten,
te zagen,
te zwoegen,
te zo evenaren,
Zo nog eentje, Zo dezelfde Z

Ijzeren Z, Fiber Z, Bandijzer Z,
Z, Z, Z, Z, Z.
Oneindige ruimtelijke Z

Zag je Zigzagje?
Gebruik je zintuigen,

Zag je zigzag je echt
Zag je hét

Zag je een zig zelf

zichzelf zaggende


De Zigzagstoel heeft in de geschiedenis van de twintigste-eeuwse vormgeving niet voor eenzelfde doorbraak gezorgd als de rood-blauwe leunstoel1

. De Zigzagstoel wordt in de geschiedenis van de twintigste-eeuwse vormgeving veelvuldig genoemd als voorbeeld van de synthese tussen vorm, functie en constructie die door Gerrit Rietveld werd nagestreefd.
De zigzagstoel omsluit de ruimte niet, maar doorsnijdt haar met vier vlakken: rug, zitting, poot en grondvlak.2

Volgens Rietveld corresponderen de beeldende kunsten, schilderkunst, beeldhouwkunst en architectuur met de drie elementen van het zien: schilderen met kleur, beeldhouwkunst met vorm, architectuur met ruimte. De beeldhouwkunst moest zich concentreren op één zintuig: het oog. Via het oog kan de mens ruimte evenaren, aldus Gerrit Rietveld.

Rietveld citeert dichter Tagore:

Door begrenzing, van het onbegrensde wordt de waarheid werkelijkheid”.

De Zigzagstoel was voor Rietveld een oefenterrein, een middel om nieuwe ideeën, materialen en technieken uit te proberen. De Duitse meubelontwerpers en fabrikanten Heinz (1902) en Bodo Rasch (1903-1995) hadden al eerder een stoel gemaakt met een Z-vorm, de “Geiststuhl”, maar daarin speelde de ruimtelijke werking geen rol, zoals bij Rietveld zijn Zigzagstoel.

Ida van Zijl noemt in Gerrit Rietveld, de doelstelling van Rietveld consistent, “Hij wil een deel van de onbegrensde ruimte afzonderen en op menselijke schaal brengen om die ruimte als werkelijkheid te kunnen beleven. Dat is en blijft de essentie van zijn werk, los van alle experimenten met materialen en technieken en variatie in zijn stijl”.3

Gerrit Rietveld speelde met de begrenzing tussen binnen en buiten. Kleur is voor Rietveld een middel om de begrenzing van ruimte te structureren. Vorm en kleur stimuleren een actieve waarneming die mensen uitnodigt om het werk te leren kennen.

Als literatuurwetenschapper denk ik bij het aanschouwen van de Zigzagstoel direct aan de letter Z, aan poëzie en vooral aan taal. Ik schreef een gedicht. Waarom heeft Gerrit Rietveld voor deze letter gekozen? Wat betekent Zigzag eigenlijk, waar lijkt zij op? Hoe klinkt de Z, de laatste letter van het alfabet als je de Z voortdurend gebruikt. Wat voor ruimte ontstaat er als er een stemhebbende letter Z in een ruimte wordt geplaatst? Is er zo weinig nieuws over de Zigzagstoel geschreven omdat zij niet te vangen is in beeld of taal? Omdat zij zig-zagt? Beweegt? De Z wordt een kunstwerk op zich, soms ontsnapt er kunst, in Rietveld’s woorden. De Z wordt onderdeel van de ruimte, haar voeten raken de grond, maar zij blijft toch ook een object.

Peter Vöge noemt in The Complete Rietveld Furniture de Zigzagstoel conceptueel interessant en niet zozeer interessant als sculptuur. Vöge is van mening dat de Zigzag stoel zo interessant is omdat het een dynamische kwaliteit heeft door de diagonale vorm, “Like a crouching animal about to convert watchful suspense into vigorous action”.

Voor mij is de Zigzagstoel een ruimtelijk beeld dat autonoom wordt als letter, als Z, als bewegende vorm, die je van alle kanten zou willen bekijken. De Zigzagstoel als oneindige letter, want het alfabet begint na de Z weer opnieuw bij de A tot de Z en weer opnieuw. Voor mij is de Zigzagstoel een bliksemflits en een gierzwaluw zonder poten die ongrijpbaar in de lucht blijft hangen, zonder vastigheid.
De Z- Zigzag als kunstwerk, als stoel, als experiment, als overdenking, als trillend geluid, als zin, als gedachtezigzag. Oneindig veel mogelijkheden zitten er in de Z, zie ik, want na het zien van de Zigzagstoel zie ik overal Z, Z,z, z Z.

 salie zigzag stoelen

ZigZag- salie Tekeningen


1,2,3 page 189, Ida van Zijl, Gerrit Rietveld

You Name It!

Tuesday, November 27, 2012


ISCC-NBS-System is a color system that has given colors more efficient names. Inter-Society Color Council (ISCC) and National Bureau of Standards (NBS), an American government agency, first proposed the color system in 1932. Its initial purpose was to name the individual blocks of the Munsell Color System, which classifies colors by hue, value and chroma.



Moreover, just like how Munsell Color System (on which it is based) works, the colors of ISCC-NBS-System are determined under the condition of average daylight and normal viewing. However, instead of naming the colors by symbols, ISCC-NBS-System identifies the colors with the general and understandable terms so that everyone can use it without difficulties and confusion.

ISCC-NBS-System opens up a simpler way to name colors that does not confuse people with symbols and numbers. Actually, it is the most familiar way people name the colors and it is how we were taught to describe the colors. People simply name the colors by the basic colors that they are already familiar with and if more accuracy needed, they add adjectives in front to describe the darkness, brightness and etc. The system was close to what everyone has accustomed to name colors, except it organizes the language.


It's a good example of a diagram of ISCC-NBS-System, unfortunately only in Japanese, but you can still get an idea how it is structured

ISCC-NBS-System’s basic hues are red, orange, yellow, green, blue, violet, purple, pink, brown and olive. These colors have intermediate categories so that the names indicate the combination in colors, for instance, reddish orange and yellowish green. Finally, these categories are subdivided into 267 categories. Appropriate modifiers are added before the hue names: vivid, brilliant, strong, deep, light, dark and pale, although not all hue names have modifiers. As a result, the color should be called something like dark reddish gray.

According to ISCC-NBS-System, the name of the color is decided upon the viewer’s choice. It will be orange if the one sees it as orange even though it is red to the others. The names reflect how the viewers see the colors. The colors may be called differently depends on the viewer’s physical conditions, their educational or cultural backgrounds and any other facts that can limit their judgment. For instance, when I went to buy my school uniform in America, I first learned that khaki was not the color that I used to think of, which was close to dark green. My khaki uniform was light brown instead, what I used to call beige. South Korea and the US have given different names to the one color. The name of khaki was no longer important, what mattered was that I could describe the color.


My school uniform of Notre Dame Academy and its khaki skirt of which I had trouble describing the color

The given names under ISCC-NBS-System’s rules show the one’s characteristics. The decision on naming the color is made personally and objectively so it naturally shows one’s personality and background. I have a problem differentiating violet, purple and pink. They become even more uncertain when the adjectives are added. When the colors get darker or brighter, they lose their vividness and it is hard to decide to call them with specific names. To me, violet is close to dark pink and dark violet is hard to distinguish from dark purple.


Get the Flash Player to see this player.


The short movie that I made shows the color that confuses me the most, which is the mixture of violet, purple and pink, with different color names based on ISCC-NBS-System rules. It is 54 seconds long and shows 18 different names, one by one, every 3 seconds followed by the blinks. It is one loop so the names continuously change. The names describe one particular color, which is the color of the background. The viewers can come up with different colors for those names if the color is not shown because it was my personal decision to choose that color for those names. On the other hand, the color tricks the eyes as if they are different colors because of the blinks, but in fact, the only change in the movie is the text. The text contains all possible combinations among these three colors.


Left, the movie playing in loop, Right, the silk screened color. I have to say that the colors look completely different in picture, on computer screen and when you see them yourself

As a last step, the class, as a group, experienced the silk screen. I tried to print the color in the movie without looking at the color I already chose in the movie. However, the silk screened color turned out to be completely different than the one from the movie. It was much brighter and more vivid than the color on the screen. It was interesting to experience impossibility of duplicating the color and possibility of creating limitless colors with one name because it can be conceived differently depending on who names it.



Wednesday, October 31, 2012

-Slavs and Tatars

Slavs and Tatars was born in 2006, devoted to the polemics and intimacies between the east side of the Berlin wall  and the west side of the Great wall of China,  in easy words ‘’Eurasia’’. The  group explores time relations between  Slavs, Caucasians and Central Asians, groups that belong those lands.

The beforehand mentioned collective has mainly language , architecture, politics, mystical stuff, etc… as the main focuses of their researches, practices and magazines,  but is possibly through the multiplicity of languages  around  Eurasia by which  Slavs and Tatars build connections between disparate subjects as new ideologies ,old histories and  some  places, is by this way that some cultural affinities and geographical identities arise from unexpected  places and  never minded sources . Its is by their great interest in language by which their work take place in the public space, trough institutions or media, to the public sphere.

Slavs and Tatars interest in Eurasia  because its relevant role politically, culturally and spiritually , It  position belonging two continents make  languages there played a big role in a practical, historical and sometimes  sacred way, (they point to some old  an recent mystical protests which are reflected in the changes of affinities and differences until nowadays).


In this edition  Slavs and Tatars seeks for  the changes of language ,across Eurasia ,from a close and personal  perspective, but at the same time understanding it  from a discreet distance. Their phrase  ’’ Times are changing , consequently the scales we use change ‘’ takes a real meaning with the idea of substitution which examines, rethink and self-discover  the role of mysticism in social revolutions, metaphysics of protest. It is under the name of ‘’ Khhhhhhh’’ by which they try to show these changes.

x, ? , ?  or  ? ,  all these belong  [Kh]”  but with almost different graphemes, sounds, roots and roles. We can considerer [kh] as a linguistic totem  who plays different iterations in different  languages across Eurasia, To begin I think is important to understand the phonetics of [kh], it begins in the  vocal tract , in a rasp over the throat ,is at this friction  where [kh] ends and other letters begin.

It is remarkable the role that [Kh] has in different languages, I can describe like an example the Persian word for house— (khaneh)— begins with [kh],  while other persian words also related to ‘’shelter/house ‘’  has the the [kh] like a beginning or beside it, okhraniat (to protect), kholia (care), khibarka (hovel) … khlev (cowshed [Kh] followed by [l], produces an entirely different meaning to a [kh] followed by [r]. Changing the [l] of the Russian  (khlam, junk), into an p [r: junk is sublimated and becomes (khram, shrine).

In some historical points languages get richer. New words brought by foreigners, neologisms forged by common parlance, among many others, It is at this point that [Kh] suffer certain transformations and get the acquisition of new multiple meanings. Certainly some ideas and stories from foreign lands bring new symbols, whose with the time becomes in letters , those  will have an  inherent correspondence between the sound—or shape—of itself (the letter )and its meaning, One example could be the eight letter of the Hebrew ”?” (chet), which in other languages becomes in almost  different symbols and letters, as examplesi can show:   Syriac «, Arabic ?  and Berber ?,  Greek Eta H, Latin H, Cyrillic ?, the remarkable part of this is that these letters are always regarding at some point to their real background, Hebrew ?  (chet),  like in the Hebrew these are positioned in the 8th position of its respective  alphabet.

serpentine (click over serpentine)

At this last point I would like me to show 2 names of interesting importance in the changes of languages across Eurasia, especially in the early 20th century, Velimir Khlebnikov  whose work connects cultural roots and linguistic ramifications, he did experiments with consonants ,nouns, and definitions spelled out in a simplest form, there  are some of its 1920s essays who mark a clear line  between what we considerer old readers and new, his work was classified as hermetic, incomprehensible:

The sun’s rays in the dark eye
of an ox
and on the wing of a blue fly,
like a wedding’s line dance
that streaked past above him.

And Rudolph Steiner, who searched  for a language of thought. He was looking for the process ‘’from the figure to the thought/ form ‘’, and how our bodies will be able to make a real union with one or another kind of being, something similar to this last statement could be turning the reading normal book into a manual and lately into an artist book, according to him it will lead to a ‘’high level of spiritual insight’’.

“Style, however, requires continuity of thought. Anyone setting out to write an essay and to write in style ought already to have his last sentence within the first. He should in fact pay even more attention to the last than to the first. And while he is writing his second sentence, he should have in mind the last but one. Only when he comes to the middle of his essay can he allow himself to concentrate on one sentence alone. If an author has a true feeling for style in prose, he will have the whole essay before him as he writes.”

Grammatical System Investigation (GSI)

Thursday, May 20, 2010

What is perfect? Is it complete, non-existant, precisely accurate, pure, to improve, unattainable? What are these words such as ‘perfect’ about? When it comes to communication, can language in general explain what we are trying to say? What words are chosen to express this meaning? In the historical sense grammatical languages have been developed and evolved. Is there a constant factor to be found in these different languages?

Perfect is a word from the English language. It can be a verb, a noun or an adjective. These are devisions made in the dictionary, where you can trace back words. Some words in it equal other single words, others are described by several words. This is how ‘perfect’ is equaled by several words, but for example ‘couch’ can be equaled by one word, ‘sofa’ (a type of furniture). But by referring to a couch, also the frame of the type of furniture can be aimed. In the theoretical meaning of language, ‘grammar’ is a name for the study, description and explanation for everything that involves the system of a natural language or an artificial language.

Grammar is a term derived from
the Greek word:
(grammatik techn) which means “art of letters”,
(gramma) which means “letter”,
(graphein)which means, “to draw, to write”.

To study language a structure of words and sentences are used that are defined by a set of rules. These rules can function as a sort of pattern to relate to the meaning or the logic in language. This is how a description of the word perfect could have a totally different meaning for any person individually. When a baby is born into the world, it has not learned a specific language yet. It can communicate through sounds. By repeating sounds the baby could learn a grammatical language. Other people can teach it, by using this system of words, that they once learned in the same way. Grammar can also be a way to express the system of a specific language. This can be a formal-mathematical description, a way to describe the language itself or in another language, or a combination of these forms. To translate a formal-mathematical description a formal system can be used. In grammar these systems function as well as in math and logics. They consist of the following elements:

- a finite sequence of symbols that help to formulate formulas
In grammatical sense an alphabet helps to create words. Each alphabet has its own sequence of symbols. In the word p e r f e c t i o n each letter is a symbol and a part of the word or sequence.

- a grammar that prescribes how well formed formulas are formulated.
The words that are put together by the letters of an alphabet according to a defined set of rules. In the following example ‘pre’ has in every word (or formule) the same quality. The rule ‘pre’ is the pattern. It can be recognized like this:

- a sequence of axioma’s or an axioma schedule
This is a proposition that is not proved or demonstrated but self-evident.
In the formal system new expressions are being abstracted from older ones. The older expressions that assumed are called axiom’s, the new expressions are called propositions.
‘pre’ is a Latin (or Greek) prefix that is used in the Latin language as well as in English. The word ‘pre’ is equivalent to the word ‘before’, although in this sense it cannot replace ‘pre’ in the words above.

- a rule that abstracts a proposition from a number of propositions
These propositions are being called premises and the subtracted proposition is called the conclusion.
“Perfect is a word” is a true proposition
“Perfect is a sentence” is a false proposition
“Perfect is cute” is a contingent or random proposition
“Is this perfect?” Is a question, not a proposition

Conclusion: ‘Perfect’ is a word, it is not a sentence. ‘Perfect’ could be called ‘cute’, although it is a random proposition that cannot truly logically define it.

In logics proposition statements are either true or false. In this way it is right to say that ‘perfect’ is a word. This does not apply for, for instance questions, desires or exclamations. If the statements are true or false can be unknown, as long as the question: ‘Is it true?’ can be asked usefully. So is it useful to ask if the proposition ‘Perfect is cute’ is true? ‘Cute’ is a adjective that describes in this context, not an equal meaning, but a subjective meaning to ‘perfect’. Also in different languages this word may have various understandings, although the same type of word is used.

The English language is spoken as a primairy language in Australia, Belize, New-Seeland, Nigeria, The United Kingdom and The United States of America. As a secondary language it is spoken in a much wider range. Almost half of the grammatical English language is originally from Germanic and Roman languages. When Germans invaded Brittain 450 After Christ, they brought their language with them and so the Old English was formed. Then the history of English evolved when colonies were founded in North-America around 1600. The language developed within a different setting. Nowadays the American English changes under the influence of media such as television and the Internet. Emigration, invasions, mass media, and for example wars have caused the absorbtion of external words into existing languages. In this sense finding the origin of words could explain something about the history of the world.

The grammatical history of the word perfection lies in the Latin word ‘perficio’; in English the meaning is ‘to finish’, ‘to bring to an end’. The word perfect (io) in this sence means literally ‘a finishing’ and perfect(us) ‘finished’.


take care of myself

Thursday, April 2, 2009

And again repetition. It’s also ironic, to repeat a search for repetition. But this time it’s different:
this time it’s art;
this time it’s pink;
this time it’s really big;
this time it’s Sophie Calle.
But still it’s repetition

A letter, over and over again, but the same letter. 30 women from different ages, professions, layers read it, interpretate it into what they think is the content. Now suddenly it seems not to be about the same letter anymore, but it is!
Repetition in language apparently is different than repetition in forms and shapes.
Language has a personality to it that by the slightest (miss) interpretation or (miss) understanding, the content seems to change. So now it’s not a repetition of the same letter 30 times, it’s about 30 different letters.
I get confused now, because I seemed to think that our interpretation of forms, prints and products would be more alike for everybody. Because a form is a form and a product is a product. Because we learned a cup is to drink from, we see a cup to drink from.

We also learned the meaning of words, but somewhere through life these meanings seem to form itself into (slightly) different ones.
Our idea about forms and products are also changing through life, but it somehow seems to me that there is more of a conventional thing to it, or al least a less personal one. At least the function. -call-2

keyword: repetition

again and again and once more

Thursday, March 26, 2009

…While thinking about repetition and about the idea that practically anything could become a pattern by repeating it over and over again, I came to think of industrial design.

Where repetition in a pattern becomes this new image that, in a way, is stronger than the pieces apart. Repetition in products doesn’t really make it stronger. It makes the product less original en less valuable.
Unless you only plan on making a few of the same product, than the product suddenly becomes a collectors item or special edition.

Well, this second book was about industrial design…but also about language. Funny how these two subjects work together. Because through industrial design it becomes possible to have the same products all over the world. So for new products, new words have to be invented. A lot of products are called after their function, at least in Dutch they are. But wouldn’t it be an idea, to have international words for these international products? Ikea is already using this concept, so now people all over the world start having their own strange Swedish vocabulary of really silly words. Does that mean that in ten years every person, from Singapore to Munich would know that a LILLÅKER is the thing you rest your mattress on?

I think this book gives a better solution to this language problem, by just learning the different words. 772.9 cat 50

keyword: repetion


Thursday, January 15, 2009

Inup and his class had to form a tribe for one of the design blocks. They had to create their own outfits, according to a social handicap, chosen from real life, exegerated or immagionairy. And then they had to make a costume, a dress, a mask or a body extension to make clear what is disfunctioning. Some people choose mental illnesses as chizophrenia. Some people locked their heads up in boxes. Some people wore peculiar transparent dresses with almost nothing under it. Then they had to write something about their handicap in a book that is going around all the classes where the design teacher comes to turn the group into a tribe. Inup, what was your handicap? I asked. But he finds it hard to talk about it. How did you work as a tribe? How did you communicate with each other? What did the costume made you feel like? He wants to answer. He understands me. His face moves. His eyes are focussed. The answer is so close, but the language is a punishment. His lips are sealed.

Link: Silence?

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