senryu – vaping kittie = chat qui vapote vaping kittie space cadet – your eyes out of whack chat qui vapote cadet de l'espace – tes yeux détraqués gatto svapando cadetto spaziale - gli occhi fuori fase Richard Vallance image cushion at my place = coussin chez moi
By Many Roundelays, a sonnet for Ludwig van Beethoven, and his Symphony no. 6 in F major, “La Pastorale”, III, Allegro, “Sturm” Our Earth, from space, goes spinning, Queen of Spheres, composing clouds in rounds of roundelays, so thrilling them they rain allegro tears all over greening fields by stormed-in bays. As stallions madly wing on lightning hooves, they beat the Seven Seas, and break the calm. They race to hem the hale moon in, that moves their fears to tear us from our smug aplomb. Our prayers are vain! They’ll never acquiesce in any urge to quell our fears of gales, our foibles sins to them, the stallionesque! For who can take to heart their stunning tales? If they run mad, though I may be God’s fool, would poets foam for them where full moons rule? Richard Vallance, © 2013
In the movie, Arrival (2016), which chronicles the arrival on earth of 12 mysterious ships, apparently from outer space, the following statements leap out at us:
1. Unlike all written languages, the writing is semiseriographic. It conveys meaning. It doesn't represent sound. Perhaps they view our form of writing as a wasted opportunity. 2. How heptapods write: ... because unlike speech, a logogram is free of time. Like their ship, their written language has forward or backward direction. Linguists call this non-linear orthography, which raises the question, is this how they think? Imagine you wanted to write a sentence using 2 hands, starting from either side. You would have to know each word you wanted to use as well as much space it would occupy. A heptapod can write a complex sentence in 2 seconds effortlessly. The key to all of this is the phrase a logogram is free of time. Allow me to illustrate. Logograms are also often called ideograms, and that is what I prefer to call them. Another word to describe them is icon. When we examine ancient Linear A and B ideograms and compare them with modern ones, the results are astonishing, to wit: All of the aforementioned examples make it quite clear that ideograms, whether they be as ancient as those in Linear A and Linear B (i.e. about 3,400 years old) or modern ... or for that matter, neolithic or even earlier, all bear a striking resemblance to one another. Take for instance the Linear A ideogram for “scales” and compare it with just one modern one (among so many others), and we see immediately that they are extremely similar. Now take the Linear B ideograms for “man” and “woman” and compare these with the washroom symbols for the same and once again the similarity is almost too good to be true. Then there is the Linear B ideogram for a four-spoke wheel compared with a modern one for an eight-spoke wheel. The number of spokes is not relevant to this discussion, only the fact that the ancient Linear B ideogram for “wheel” is practically identical to the modern one. The implications for the decipherment of ideograms in any language, ancient or modern (let alone Linear A and Linear B) versus those in any modern language are staggering. We can be sure that the ancient ideograms varied little from one language to another, let alone between Minoan and Mycenaean. In fact, the syllabogram TE, which sometimes represents wheat, in Linear A and Linear B is almost identical to the same ideograms in cuneiform! It is patently obvious that since the distinction between the ancient ideograms and their modern equivalents enumerated above is so thin, all of these ideograms (or logograms or icons) are not only time independent (atemporal) and spatially independent (aspatial), they are also language independent. This is a stunning phenomenon. The implications for the further decipherment of Linear A are simply overwhelming. And this is why in the movie, Arrival, the heptapods assert, “There is no time.”
Earth-shattering linguistic data from the Movie, Arrival (2016) Not too long ago, I had the distinct pleasure of watching what is undoubtedly the most intellectually challenging movie of my lifetime. The movie is unique. Nothing even remotely like it has ever before been screened. It chronicles the Arrival of 12 apparent UFOs, but they are actually much more than just that. They are, as I just said, a unique phenomenon. Or more to the point, they were, are always will be just that. What on earth can this mean? The ships, if that is what we want to call them, appear out of thin air, like clouds unfolding into substantial material objects ... or so it would appear. They are approximately the shape of a saucer (as in cup and saucer) but with a top on it. They hang vertically in the atmosphere. But there is no motion in them or around them. They leave no footprint. The air is undisturbed around them. There is no radioactivity. There is no activity. There are 12 ships altogether dispersed around the globe, but in no logical pattern. A famous female linguist, Dr. Louise Banks (played by Amy Adams), is enlisted by the U.S. military to endeavour to unravel the bizarre signals emanating from within. Every 18 hours on the mark the ship opens up at the bottom (or is it on its right side, given that it is perpendicular?) and allows people inside. Artificial gravity and breathable air are created for the humans. A team of about 6 enter the ship and are transported up an immense long black hallway to a dark chamber with a dazzlingly bright screen. There, out of the mist, appear 2 heptapods, octopus-like creatures, but with 7 and not eight tentacles. They stand upright on their 7 tentacles and they walk on them. At first, the humans cannot communicate with them at all. But the ink-like substance the heptapods squirt onto the thick window between them and the humans always resolves itself into circles with distinct patterns, as we see in this composite: Eventually, the humans figure out what the language means, if you can call it that, because the meanings of the circles do not relate in any way to the actions of the heptapods. Our heroine finally discovers what their mission is, to save humankind along with themselves. They tell us... There is no time. And we are to take this literally. I extracted all of the linguistic data I could (which was almost all of it) from the film, and it runs as follows, with phrases and passages I consider of great import italicized. 1. Language is the foundation of which the glue holds civilization together. It is the first weapon that draws people into conflict – vs. - The cornerstone of civilization is not language. It is science. 2. Kangaroo... means “I don't understand.” (Watch the movie to figure this one out!) 3. Apart from being able to see them and hear them, the heptapods leave absolutely no footprint. 4. There is no correlation between what the heptapods say and what they write. 5. Unlike all written languages, the writing is semiseriographic. It conveys meaning. It doesn't represent sound. Perhaps they view our form of writing as a wasted opportunity. 6. How heptapods write: ... because unlike speech, a logogram is free of time. Like their ship, their written language has forward or backward direction. Linguists call this non-linear orthography, which raises the question, is this how they think? Imagine you wanted to write a sentence using 2 hands, starting from either side. You would have to know each word you wanted to use as well as much space it would occupy. A heptapod can write a complex sentence in 2 seconds effortlessly. 7. There is no time. 8. You approach language like a mathematician. 9. When you immerse yourself in a foreign language, you can actually rewire your brain. It is the language you speak that determines how you think. 10. He (the Chinese general) is saying that they are offering us advanced technology. God, are they using a game to converse with... (us). You see the problem. If all I ever gave you was a hammer, everything is a nail. That doesn't say, “Offer weapon”, (It says, “offer tool”). We don't know whether they understand the difference. It (their language) is a weapon and a tool. A culture is messy sometimes. It can be both (Cf. Sanskrit). 11. They (masses 10Ks of circles) cannot be random. 12. We (ourselves and the heptapods) make a tool and we both get something out of it. It's a compromise. Both sides are happy... like a win-win. (zero-sum game). 13. It (their language) seems to be talking about time... everywhere... there are too many gaps; nothing's complete. Then it dawned on me. Stop focusing on the 1s and focus on the 0s. How much of this is data, and how much is negative space?... massive data... 0.08333 recurring. 0.91666667 = 1 of 12. What they're saying here is that this is (a huge paradigm). 10Ks = 1 of 12. Part of a layer adds up to a whole. It (their languages) says that each of the pieces fit together. Many become THERE IS NO TIME. It is a zero-sum-game. Everyone wins. NOTE: there are 12 ships, and the heptapods have 7 tentacles. 7X12 = 84. 8 +4 =12. 14. When our heroine is taken up into the ship in the capsule, these are the messages she reads: 1. Abbott (1 of the 2 heptapods) is death process. 2. Louise has a weapon. 3. Use weapon. 4. We need humanity help. Q. from our heroine, How can you know the future? 5. Louise sees future. 6. Weapon opens time. 15. (her daughter asks in her dream). Why is my name Hannah? Your name is very special. It is a palindrome. It reads the same forward and backward. (Cf. Silver Pin, Ayios Nikolaos Museum and Linear A tablet pendant, Troullous). 16. Our heroine says, * I can read it. I know what it is. It is not a weapon. It is a gift. The weapon (= gift) IS their language. They gave it all to us. * If you learn it, when your REALLY learn it, you begin to perceive the way that they do. SO you can see what’'s to come (in time). It is the same for them. It is non-linear. WAKE UP, MOMMY! Then the heptapods disappear, dissolving into mere clouds, the same way they appeared out of nowhere in clouds, only in the opposite fashion. There is no time. They do not exist in time. The implications of this movie for the further decipherment of Linear A and Linear B (or for any unknown language) are profound, as I shall explain in greater detail in upcoming posts.
If quantum... a sonnet on quantum mechanics & computing and the mind If quantum “God does not play dice with the universe.” - Albert Einstein, The Born-Einstein Letters, 1916-55 ... or does He? If quantum is the boson of the mind, if D-Wave is the wave the future rides, if we are ready not to be purblind, if we can take in bounds prodigious strides, if God is in our molecules (or not), if we are God Himself... or He is we, with what is heaven’s promise fraught? ... or what’s unseen beyond we’ve yet to see? If we’ve overshot the rim of space and time, where were we likely sooner to arrive? ... and is the universe still as sublime as ever? ... or are we now in overdrive? If you are reading this and feel confused, Well, join the club. I also am bemused. Richard Vallance, January 18, 2017
Associative Versus Attributive Supersyllabograms in Mycenaean Linear B: Appendix H Appendix H neatly summarizes the rôle of supersyllabograms in Mycenaean Linear B. Click to ENLARGE: I wish to stress one thing in particular. There is a marked difference in associative supersyllabograms, which account for the greatest number of SSYLS in Mycenaean Linear B, and attributive supersyllabograms, which appear primarily in the textiles and vessels (pottery, amphorae, cups etc.) sectors of the Late Minoan III & Mycenaean economies. Associative supersyllabograms inform of us of some element, usually a land tenure factor, which relates to the ideogram itself, or which circumscribes its environment, especially in the livestock raising sub-sector of the agricultural sector. For instance, the supersyllabogram O, which you see in this Appendix, plus the ideogram for sheep + the number of sheep accounted for in the inventory of any particular tablet, informs us that the sheep are being raised on a lease(d) field, more specifically a usufruct lease field (i.e. a lease field which a farmer tenant cultivates for the use of his own family and village neighbours, with a taxation imposed by the overseer). In other words, the supersyllabogram is associated with the raising of x no. of sheep. The scribe could have simply informed us that x no. of sheep were raised, and left it at that. But he did not. By adding just one syllabogram, in this case a simple vowel = O, he has given us a great deal more information on the raising of the sheep (rams & ewes) on this particular tablet. And he has done all of this without having to resort to writing it all out as text. Since it was critical for the scribes to use as little space as possible on what were (and are) extremely small tablets, the use of supersyllabograms as a substitute for wasteful text is illustrative of just how far the scribes were willing to go to save such invaluable space. They did not do this only occasionally. They did it a great deal of the time, and they always followed the exact same formula in so doing. Not only are syllabograms such as O (on a lease field), KI (on a plot of land) & NE (in their sheep pens) in the field of sheep husbandry associative, they are all what I designate as dependent supersyllabograms, since they are meaningless unless they are immediately adjacent to the ideograms they qualify. No ideogram, no supersyllabogram. Period. To illustrate the radical difference between a Linear B tablet on which a supersyllabogram + an ideogram is used, and another on which the text is spelled out, take a good hard look at this comparison: Click to ENLARGE This comparison between the real tablet from Knossos using only supersyllabograms and ideograms (left) and a putative one using text in full (right) is precisely the reason why so many scribes much preferred the former formulaic approach to inscribing tablets to the latter discursive and space wasting technique. A textual version of this tablet would have been twice as long as the actual tablet. Even if no one nowadays has ever managed to decipher dependent supersyllabograms until now, that cannot conceivably mean that the Linear B scribes did not know what they were, since otherwise, they would never have used them so liberally in the first place. In other words, using SSYLS for no reason at all is tantamount to a reductio ad absurdum. There are thousands of supersyllabograms found on 700 tablets from Knossos. They are there because all of the scribes, as a team or, if you like, as a guild, all understood each and every supersyllabogram to mean one thing and one thing only in its proper context. In other words, supersyllabograms are standardized and always formulaic. This should come as no surprise to anyone familiar with Homer, who also heavily relied on formulaic expressions, though for entirely different reasons. My point is that formulaic language is a key characteristic of ancient Greek texts, right on down from Mycenaean times through to Attic and beyond. We should never overlook this extremely important characteristic of ancient Greek, regardless of period (1450 – 400 BCE). Attributive dependent supersyllabograms always appear inside the ideogram which they qualify, never adjacent to it. They always describe an actual attribute (usually known as an adjectival function) of the ideogram. For instance, the syllabogram PO inside the ideogram for “cloth” is the first syllabogram, i.e. the first syllable of the Mycenaean word ponikiya = “purple”, hence the phrase = “purple cloth”. Likewise the syllabogram TE, when it appears inside the ideogram for “cloth” is the supersyllabogram for the Mycenaean word tetukuwoa, which means “well prepared” or if you like, “well spun”. Hence, the syllabogram TE inside the ideogram for cloth must mean one thing and one thing only, “well-prepared cloth”. I have discovered, identified & classified well over a dozen examples of associative supersyllabograms. Neither type of dependent supersyllabogram, associative or attributive, was ever isolated and tabulated in Mycenaean Linear B until I systematically studied, deciphered and classified scores of them on some 700 tablets from Knossos. Richard