#metalanguage

[sumerianlanguage]

hiya! i have a new question/request lol (tysm for the last two you've helped with!!! eternally grateful!)

this time im trying to come up with a kind of..."name" (i guess?) for the language itself. unfortunately, all i've really got is inim & anbar as words, but what i'm ultimately aiming for is: "word of this side of heaven" (heaven as in space/stars/etc)

again, any help is appreciated!! i am not the best with linguistics.. even my english is questionable at times, lol.

Hello, and I appreciate it! I can definitely help with this translation - but also have a suggestion for what may sound more "Sumerian" after that.

"Word", as you've got, is inim 𒅗. Anbar 𒀭𒁇 means "side of heaven", as in its edge or external boundary, from an "sky, heaven" and bar "side, outside, boundary". I'm not sure what the best way to convey "this side" would be. Most examples of "the near side" (or similar) that I can find use constructions like case endings, something like inim anbarda "the word with the side of heaven", which doesn't quite seem right; or using a verbal prefix, which requires there to be a verb in the sentence to convey the meaning (as in, "the word approaches the side of heaven"). You could do something with -bi "this one here", as in anbarbi "this side of heaven here, the side of heaven we're talking about", but this seems to me to be too casual for a language name. So for the phrase, I'd probably just go for "word of the side of heaven", which would be inimanbara, written 𒅗𒀭𒁇𒊏.

However, if you're trying to name a language, Sumerian has a formula ready-made for you. Languages in Sumerian begin with eme 𒅴, "tongue", as in Emegir "native tongue, i.e. Sumerian language", and Emeuri "Uri tongue, i.e. Akkadian language". So if you want to say "language of the side of heaven", it'd be Emeanbara, 𒅴𒀭𒁇𒊏 in cuneiform.

[flilisskywalker]

The Armorer: You walk both worlds.

Bo-Katan: Oh.

The Armorer: Animation and live-action.

Bo-Katan: ...

Bo-Katan: What?

[dustedmagazine]

Henry Kaiser — Mahalo Nui (Metalanguage)

John Fahey was 27 years old when he recorded Requia. While parts of it play as a sincere ceremony of remembrance for people who meant something to him, it was nonetheless the work of an ornery young man. That provenance showed, especially on the spectacularly trollish, side-long musique concrete composition, “Requiem For Molly.” Henry Kaiser knows all about Fahey, guitars experimental music, and Requia in particular. He’s recorded a couple albums of his own using that title, and posed for one of them in a visual homage to Fahey’s record. But Kaiser’s also managed to live a longer life than Fahey, very different but no less astounding. He has been able to carry on a career as a boundary-straddling guitarist who gets to play whatever he wants with pretty much whoever he wants and also to work as a research diver with a specialty in under-ice video work.

Several tracks from this projectstarted out as a COVID-era project, when Kaiser included among the regular YouTube videos that he posted from lockdown with shout-outs to recently passed musicians, such as Steffen Basho-Junghans and David Lindley. Over time, the partings tend to proliferate. Kaiser found himself with ten mostly-solo tracks that shared two criteria: they memorialized fellow travelers who adventured with him upon or under the ice, or who made music, films or musical instruments; and they continued Kaiser’s decades-long determination to do more with the guitar than it previously had been able to do. These became Mahalo Nui.

Born in 1951, Kaiser has now lived long enough to know loss in ways that Fahey could not when he recorded Requia in 1967. Across its two sides, Fahey dug deep into sorrow and respect, and also let fly some ill-focused antagonism. You’ll some sorrow on Mahalo Nui, particularly on the sole non-solo performance, a slide guitar trio in honor of David Lindley. But you’ll hear a lot more joy and gratitude; the album’s title translates from Hawaiian as Thank You Very Much. “Hard Time Killin’ Spoonful Requiem For Paul Hostetter” mashes up Derek Bailey and Skip James gestures with more glee than rue; perhaps Kaiser assembled the performances from licks that the late luthier loved? The glistening tones and complex timbres of “Antarctic Requiem For Liz Sutter & Bija Sass,” which is named after two of his fellow Antarctic travelers, evoke a state of drifting wonder and weightless solace.

In 1990, I caught a Kaiser solo concert and came away as impressed with the looming height of his effects rack as I was with his music. He’s never been afraid to indulge the possibilities of technology and technique, and there have certainly been times when they have gotten the better of him. That never happens on Mahalo Nui. The occasions when he foregrounds technical interventions, such as the school of psychedelic blurs on “Mysterious Requiem For Paul Plimley” and the real-time combination of scything slide guitar and MIDI-controlled piano notes on “Some Of The Great Ancestors Inside My Guitar,” pay off real musical dividends. This record makes a strong case for both the technical and emotional aspects of Kaiser’s art. One caveat for those who prefer physical formats; if you go to Kaiser’s Bandcamp page, this title is only offered as a download. However, it is also available as a CD if you’re willing to search a bit.

Bill Meyer

[dykewander]

walking down the streets & the impulsve of documenting every single thing that comes across my way once again takes control of me

[drlinguo]

Source

[museoleum]

🪚🪵 #woodtothewise 🌲 ⁣ A decade ago, artist @yucefmerhi defined a system he called 𝘗𝘦𝘳𝘧𝘦𝘤𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦. It is a sensorial metalanguage that can be applied to any language, making it automatically understandable to anyone. Merhi developed this universal language depicting words, mostly nouns, using the material they refer by definition. For example, he displayed the Chinese word for magnet (cítiě / 磁铁) using and arranging 1000 magnets.⁣ ⁣ For 𝘗𝘦𝘳𝘧𝘦𝘤𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦: 𝘔𝘢𝘺𝘢, the artist researched and reproduced a set of logograms (Mayan glyphs) employing a wide range of materials. He selected elements that for centuries have been part of the Mayan artisanal culture: earth, cocoa, jade, dyes, beads, and wood. Then, he investigated which Mayan symbols designated each element; from there, Merhi created a series of sculptures and installations ranging in size from 11 inches up to 50 feet. To decipher the glyphs represented by Merhi, one must only know that "𝘄𝗵𝗮𝘁 𝘆𝗼𝘂 𝘀𝗲𝗲 𝗶𝘀 𝘄𝗵𝗮𝘁 𝗶𝘁 𝘀𝗮𝘆𝘀".⁣ ⁣ The selection process of logograms was as rigorous as possible, drawing on the expertise of archaeologists, epigraphist, and academic material. The artist also had the collaboration of botanists, historians, farmers, veterinarians, chefs, carvers, artisans, and experts in various fields.⁣ ⁣ To produce 𝘗𝘦𝘳𝘧𝘦𝘤𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦 (𝘞𝘰𝘰𝘥: 𝘛𝘦 #𝟹), the artist carved a piece of wood with the logogram that corresponds to the symbol for ‘wood.’ Merhi had the support of an archaeologist-epigraphist and a local carpenter.⁣ ⁣ Yucef Merhi⁣ 𝘗𝘦𝘳𝘧𝘦𝘤𝘵 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦 (𝘞𝘰𝘰𝘥: 𝘛𝘦 # 𝟹)⁣ 2014⁣ Cedar wood⁣ 17¼ ⨉ 47 ⨉ 1 inches⁣ Courtesy of the artist and The Bonnier Gallery, Miami, FL. @thebonniergallery ___⁣ #yucefmerhi #perfectlanguage #thebonniergallery #te3 #wood #woodcarving #mayanlanguage #maya #mayansymbol #mayanlanguage #venezuelanartist #ancientworld #ancientcivilization #deadlanguage #logogram #metalanguage #te (at The Bonnier Gallery) https://www.instagram.com/p/CNr5w0fnV1R/?igshid=1cay3j2d4sena

[noosphe-re]

Metagraphics or post-writing, encompassing all the means of ideographic, lexical and phonetic notation, supplements the means of expression based on sound by adding a specifically plastic dimension, a visual facet which is irreducible and escapes oral labelling.

Isidore Isou

[noosphe-re]

Broadly, any metalanguage is language or symbols used when language itself is being discussed or examined. In logic and linguistics, a metalanguage is a language used to make statements about statements in another language (the object language). Expressions in a metalanguage are often distinguished from those in an object language by the use of italics, quotation marks, or writing on a separate line. The structure of sentences and phrases in a metalanguage can be described by a metasyntax.

Wikipedia