How to Make an Awful Conlang - Episode 6 | Creating New Types of Writing Systems
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- เผยแพร่เมื่อ 15 ส.ค. 2021
- in this video i am going to destroy linguistics
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ÐðÞþ
The sacred sequel
@@bruhz_089 ?
The Negative Alphabet: -1 glyphs per phoneme. Have every writing be a list of glyphs by default, and just delete glyphs to convey phonemes
this is actually a really interesting idea
The Negabet, or the Alphative
The word "the" would be "abcdefghijklmnopqrsuvwxyzabcdefgijklmopqrstuvwxyzabcdfghijklmnopqrstuvwxyz", but if you want to take this to it's natural conclusion you could use negative hànzì(chinese characters)
...Thinking about this, how would phonetic boundaries be determined? Would a punctation symbol be needed? Would you need to write using 3D space to accomodate for the extra dimension each "glyph" uses? (WARNING: TOXIC BRAIN-SPILL UP AHEAD!)
More importantly, there's more ways this system could be analyzed. If we go with the naming scheme of "Halfabet", then this system could also be analyzed as some fort of "Fractobet", but (assuming that each phoneme in a Halfabet requires 2 UNIQUE glyphs instead of being just a digraph) highly irregular...
More realistically, how would a non-integer glyphs per phoneme count _really_ be accounted for?
Going off of this video's definition of writing, what _is_ a mark? Yes, it is physical, but does it refer to the removal of matter, or the addition of matter? Is pen and paper writing marking, or not? Is carving into stone marking... or not?
If we interpret negative values as the polar opposite of positive values as intended, then knowing that 0 is the absence of modifying a medium of which to mark, and a positive value implies marking, then that means a negative glyph per phoneme (or glyph per anything for that matter) requires unmarking the medium. In that case, the removal of glyphs is an option, but requires there to be a higher number of positively marked glyphs to begin with, which cancels out the intended negatively marked glyphs.
What writing with -1 glyphs per phoneme would be, then, is the act of not just undoing, but _reversing_ the act of "marking". Unfortunately, as no real-world examples of such exist, no overall word for this term exists, but depending on the medium, we could "build out" stone, or "bleach" the paper. As a result, instead of marking a medium with a glyph, we "anti-mark", in a sense, the medium to communicate our "anti-glyphs". Even though this could be seen as marking by itself, the point is to do the opposite of the intended way of marking on a medium.
Now where this gets really fun is when we consider the potential in combining the two. Imagine a writing system, if you will, where two glyphs are needed to write each phoneme, like the Halfabet, but each glyph-pair consists of a positive "glyph" and a negative "anti-glyph" stacked on top-another. In the space of one glyph, we instead mark 2 glyphs that cancel eachother out. With this system, you have 0 glyphs per phoneme, as implied by the math, but yet the marks and anti-marks are still present on the medium itself, thus not impacting the ability to read. It's not a true "Nullabet", as a true 0 glyph per phoneme writing system could be called, but still qualifies. In fact, other Fractobets could be created, all having 0 glyph per phonemes mathematically while yet having real physical significance on the medium they are written on.
With all that said, I think it's much safer to just say that you can't have negative glyphs per phoneme in the same way that you can't have a tone with negative Hertz; the measurement itself does not work with non-whole numbers, and trying to define non-whole systems of measuring them results in unproductive theorizing. Of course, not all measurements are like this, but when you consider that phonemes are primarily measured in positive units of time relating to human movement, which itself can't be measured negatively, and that glyphs being defined by both physical mediums, in which "negative space" can have multiple, conflicting meanings, and that "marking" itself has inconsistent implications of the change in a physical medium between mediums (removing matter like in stone, adding matter like in pen, graphite, or even dyeing flags, or morphing matter, like in the case of clay tablets, or hand-signing (technically non-permanent), or digital mediums (which are either electro-magnetic or chemical, depending on how you look at it, and not physical)), all of which have conflicting means of marking their respective mediums. Ultimately, nothing about glyphs per phoneme can be negative, either because it can't practically be measured negatively, or has properties to vague to properly define their negative counterparts.
No, having negative phonemes wouldn't work, either... Theoretically, both anti-glyphs and negative phonemes would result in a positive glyph per phoneme value, which I think further demonstrates the point of impractically of trying to allow such. If you want an imaginary and/or complex glyphs per phoneme count in your conlang, be my guest, but good luck defining/writing it.
Betalph
Loqography: Glyph per sentence.
Lopography: Glyph per all possible story.
Lodography: Glyph per dictionary.
Lobography: Glyph per all possible ipa sound combinations.
…huh?
i feel like i just had a logotomy
Lokongkonggraphy:glyph per all possible sound that can alien produce.
Loþography: Glyph per combination of glyphs.
Lobotomy: A form of neurosurgical treatment for psychiatric disorder or neurological disorder.
One glyph per sentence 😳
Idk, if you could limit the amount if sentences to 10,000, it might be very useful.
I thought about it
The gigachad writing The Holy Bible on 15 pages lol
no one glyph per essay
@@amandafournier9255 it's minimalist poetry
This could work for polysynthetic languages
Using “cat” to show “jump” has me twitching in my seat
I used "cat" for "airplane" in the last one :))
What about just transcribing the wave form of spoken language? Nigh incomprehensible, changes drastically from person to person, and can easily encode information other writing systems can't (such as ambient noise in the environment).
It's maybe too broad, but I like how you think, I'm however more on the minimalist side. only using a single symbol to encode for everything.
Let me introduce the humble . it is very much practical, just take your list of phonemes and have each of them be a specific amount of dots arranged in some fashion, then you have it denote the reading direction of the arranged symbols and you can basically encode as much stuff as you want, and it would be horrible to read and write, and you can have it twist and turn instead of having a set reading direction, and reading it in the wrong direction creates another phoneme, and only if you know the reading direction could you understand what was written.
If I were making an awful conlang writing system, I'd have a tonal language with at least four tones and the same character would represent all four tones of a phoneme. Further, the tone represented would change according to the symbol's place in a given word, with compound words sometimes resetting the counter part way and sometimes not, depending on historical usage. Homophones would be encouraged, with the differences in their meanings as subtle as possible, though sometimes completely opposite.
There would be an even number of characters, with one half being the same as the other half, just upside down. Emphasis would be indicated by turning the character on its side, with no clear pattern of usage. The greatest linguistic art form would be creating poem cubes that could be read in any direction, with the form's ultimate expression being a Rubik's style puzzle cube that functions something like the i ching or Magic 8 Ball.
To be particularly awful, the system would be read from left to right but written right to left -- and the left margin would be required to be even. All this utilizing a fixed font with no kerning.
That's enough for now. Thank for the video!
That poem cube idea is pretty cool
Whoah there, calm down satan
That's just Mandarin
This made me think of a really neat but impractical idea of a writing system: Syllabic Glyph-Tone Agreement. (Kinda identical to what you typed, only realized after re-reading your comment.)
Essentially, each glyph in a syllable can represent a different tone, depending on where that glyph is arranged. By arranging each glyph in a certain way, the tone can be figured out by 2 or more glyphs agreeing in tone. Not all glyphs in a syllable grouping will likely be able to agree, and it's likely that multiple glyphs per phoneme would be needed in most cases to accommodate for a high number of tones, but as long as a syllable is properly written, it could be pronounced correctly.
Now the real fun comes with multi-syllabic words, as unless you use a system of grouping each glyph Hangul-style, you have to guess where the syllable boundaries are, and you could end up with glyph combinations that, depending on how you group the syllable boundaries, could result in completely different words. In other words, people can gerrymander their words if they wanted to.
This could be applied in contexts besides tones, too. Perhaps you could have Syllabic Glyph-Stress Agreement, or Syllabic Glyph-Vowel Agreement, the latter of which could have a much greater effect on gerrymandered pronunciation.
Actually, I'm really enjoying this idea, I might make a jokelang out of it. Who knows, perhaps certain grammatical features could be determined by gerryfixes (changing pronunciation based on syllable analysis), or words that are pronounced the same, but have different, equally valid spellings. Perhaps having inconvenient meanings, like "getting a good grade on an assignment" vs "ripping an assignment apart", making the language context-heavy, and maybe the word order could be topic based - with a bunch of articles with inconvenient ambiguous spellings that makes it even more difficult to determine the meaning of a sentence. Actually, no, base it on a Halfabet (I prefer the SGVA, which besides being easier also has additional humour in the Video Card aspect, so Halbjad in my case) in which each glyph regardless of phonetic quality has to agree in X, so that there can be even more ambiguous spellings used, and also allow every combination of glyph to represent some sort of phoneme, so while the glyphs per phoneme is 2, the *digraphs* per phoneme is hilariously large.
This is the second large reply to a comment I've made in a row on this video, I should stop. Either I really like this whole "Glyphs per Phoneme" thing, or I just really like jokelangs... Both.
Classical Korean writing used a bunch of diacritics to show conjugations of Chinese characters so the Locography actually isn't that crazy.
It's common for logographies to have symbols that encode for a variety of morphemes, encode for phonetic information, or fuse seperate graphs. Korean used logographs with diacritics while Japanese used logographs occasionally encode for moras to write particles which eventually turned into the Kana. While this didn't and will never happen you could theoretically fuse the Kana(morpheme with phoneme/syllable/mora) to create a Locography without cheating by using diacritics since those are technically seperate.
Record all signs from all sign languages that you can and randomly assign them to colors. Also pick a few hundred to overlap. To write them you must take paint of all the colors you will be needing and mix them together, with how much paint from each color depending on how irrelevant it is to the discourse. This is effectively unreadable.
You overlooked an interesting potential advantage of logographies. Imagine if the Roman alphabet was not an alphabet, but a logography: you'd be (sort of) able to read the written forms of German, Hungarian, Turkish, Vietnamese, Latin, Malaysian, Polish, Welsh, Swahili, and any other Roman-script-using language. Sure, the writing is pointlessly complicated and arbitrary, but the same could be said of any language that isn't written phonetically.
virgin alphabet vs chad Mouth Movement Instructions
make a writing system where glyphs represent how to move your tongue, lips, and push air in exact sequence
lmfao. Loco-graphy is literally what I call a morphography, and I'm actually using it for one of my most fucked up and intense artlangs
You could actually make a pretty cool semi-featural digraphic system by having one glyph specify the place and another the manner of articulation.
I had the same thought!
This is explicitly how older notations for sign language phonology was done (see Stokoe Notation). There were glyphs for locations, handshapes, movements, orientation and relative locations, with each sign being recorded as a sequence of these glyphs. Sutton SignWrighting (a popular system today) uses a similar idea, but also adds 2-dimensionality to it by allowing relative positioning to be indicated by the relative position of the glyphs withing a hypothetical sign glyph blox. It's an interesting read.
Þis is a certified Connor moment.
Bring back þorn!
Well actually its ,,Ð" 🤓
Ðis
Quadrabet - each letter has 4 possible forms that denote absolutely nothing different and were just arbitrarily assigned to only appear before or after certain other letters “for aesthetic purposes”
"except georgian you're cool" მადლობა ძმაო, ვაფასებ
absolutely, one hundred percent, based and linguist pilled
one of the best complements I've ever gotten
This might be an aweful idea, but I was thinking of having some abugida characters and some alphabet letters in one system.
If you wanna write like "Bal" it's [Abugida character for BA][the letter for L], since there is allways a vowel after B but not allways L.
Iberian already does it
As a fan of the insanely complicated conlang Ithkuil, I noticed you mentioned a feature it uses in its native writing system, that of encoding grammatical case (among many other morphological conjugations) as modifications of the glyphs. So you have to know what cases and other categories are being encoded within the glyphs, and how they are spoken, before you can read anything. And given that there are over 60 cases and other inflectional categories that most natural languages don't have, it's no wonder that nobody is known to be able to speak it.
linguistics destroyed
þank you so much for doing þis video! WE'RE BREAKING LINGUISTICS!!! SINA OLIN NI SEME, JAN OPAMA???
english (and a lot of other languages) technically sort of use a halfabet of the second type, because of the distinction between capital and lowercase letters. it's not quite as ridiculous as it sounds!
Hiragana and Katakana(Kana), upper and lowercase letters(capitalisation) constitute "alternative writing" where a unit of sound or meaning has two ways to write it that communicates information about what is being written, whether it be as simple as "this is a lone word" with the use of Katakana in Japanese to "this is a noun" with the usage of a capital letter for the first letter of the word. In "alternative writing" one of the forms usually evolves from the other as being a separate font(a literal alternative way of writing a symbol) with the extra information it encodes coming after. Katakana was created by a priest by writing hiragana using a simpler and thus easier to write font. Uppercase letters and lowercase letters come from Latin characters making a switch in medium from stone to ink and parchment. This is completely different from evolving a new writing system from a previously existing one or evolving a writing where instead of a font adding non-phonemic/non-morphemic information or removing/adding symbols for example Hirigana(the first Kana) is a writing system that came from Kanji, but instead of being "alternative writing" it functions with it's own unique rules. It's a morabary where it's symbols are overly simplified versions of Kanji that acted as direct stand ins for that mora. What ultimately separated Kana from Kanji is that Kana are unable to encode any form of meaning. They are entirely phonemic while a Kanji graph can encode for a variety of morphemes and occasionally encode for moras.
TtHhEeNn WwEe WwOoUuLlDd BbEe WwRrIiTtIiNnGg LlIiKkEe TtHhIiSs......
OoUuCcHh,, MmYy HhEeAaDd..
Thank you Connor! Now I know to use a logography for my polysynthetic language!
Your locography idea is similar to one I made up earlier, its a combination script using a logography and an abjad. Since my conlang is fairly regularly agglutinitive, the grammer is just tacked on with abjad characters. Its greatly inspired by Japanese obviously, but its not much different from just adding them to the logogram
I'm trying to start getting into Conglangs and I just binged the whole HTMAAC playlist, thanks for putting this out into the world!
Oh, I tried to make a phonemic language with a big role of sign language. It's called "F’akä/22" - f, a, k, ä are normal sounds, ’ is a whistle, / - a click constant, 22 - is a numeral for some movement of hand near face of a speaker. Signs are a key for a meaning. 22 movement means "language", and a different sign will male f’akä/ something different, like f’akä/62 - "f’akä/ people"
I stop developing it bc I tried to make a language for a fictional nation, and this concept doesn't seem to fit them (like, how they will scream, if somebody is far away, if absence of sings will make their text unreadable?)... but as an experiment, it's great
What about a doublebet? For every glyph there are two (or more) possible phonemes and you have to work out what they are based on the context. And obviously the phonemes sharing a glyph can be as different and unrelated as you want.
This man is a marvelous mixture of Xidnaf and Sciencephile the AI
Time to make an antiabugida for ubykh
A writing system where the written language doesn't correspond to any spoken (or signed) language, but is rather a fully featured language in its own right.
A writing system where it's literally just the parse tree of its spoken counterpart.
Love the video ... I've been working on this issue myself. A few thoughts to share ...
Because the coda is not included in the syllabograph, all known syllabary systems (at least that I can think of) are moraic and only represent syllables in non-coda languages, c.f., Cherokee and Japanese.
Although Hangul graphs (glyphs) represent individual phonemes, the representation is syllabic. Thus, as demonstrated repeatedly in the Korean drama "Extraordinary Attorney Woo" (2022), the protagonist's name, 우대우, is considered a palindrome. This suggests that Korean graphs are more akin to the diacritics of an abugida system than the letters of an alphabet.
Here's a novel idea: Use a syllabograph to indicate the mora, and then use a diacritic to indicate the coda (this would be similar to Thai, except that the mora would determined by a syllabary rather than being an aksara).
Some wierd writing system like in the movie Arrival would be quite hard to read
8:13
abessive has the best marker
I have no idea what the abessive case is but I will look it up and put it into my next conlang
this is great!! looking forwards to the next one :D
Hyper-locography: each form of the word has it's own symbol, completely unrelated to all other forms of the word, not the conjugation/inflection abugida you made in this video
Quantum linguistics:
*You never know which sound each phoneme can make, it's random, and you can only verify it when it is spoken. The same word can be pronounced in different ways by the same person each time they use it. There might be a range of possibilities, but it is random within that range.
*Maybe you can have entangled morphemes and a context influencing one morpheme will affect the other one even if both are many words apart. As a result of this, you must know exactly what you will say before you do because a particle or other thing at the end of the sentence might change something that comes before it.
*Maybe there's a non-zero chance that words will move places with no regards to phrasal dependency, the smaller the word and the shorter the distance, the higher the chance. Ex: And I told him cool that I found out a new like band that I (a cool new band that I like).
*...
kinda sad how two of the writing systems shown here are genuine ideas i had for conlangs
I have a awful writing system idea! It would be called a Statogrophy, and it would be a Glyph per Sentence System.
Lol I tried to made an anti abugida a couple of years ago but it ended up like an alfabet but worse.
So, you probably meant phonemes per glyph instead of glyphs per phoneme, but the idea of having many glyphs per phoneme is extremely cursed. One idea that is really cursed and awful: a writing system that usually uses 7/5 phonemes per glyph(as in 7 phonemes corresponds to 5 glyphs, and yes this would mean you would have to read in 5 character packets(almost surely) or have a complicated pattern for how adjacent glyphs interact that means a single character shift can totally change everything), but occasionally when glyphs have a certain marking they are actually 2/3 of a phoneme per glyph.(the awful thing here is that 2/3 and 1.4=7/5 have coprime denominators meaning that the 2/3 glyphs shift everything else out of sync every once in a while to fuck with you).
The anti-abjad, with only the voyels being written, and the consonants having to be guessed from context
Okay the term “loco-graphy” goes unbeknownst hard.
Ok, how about an "alphagida" where sometimes syllables are written as consonant+vowel symbols and sometimes the consonants and vowels are written as distinct characters. Possibly to denote the end of a word, phrase, sentence, or paragraph, though also when syllables are repeated in a word. In the former case, the shift takes the place of punctuation, making the latter case tricky for readers.
Also a "polybary" which is essentially a syllabary, except the symbols can overwrite one another to create two-syllable symbols. Sure, it doesn't sound too bad until you realize that each polybary symbol can be read two ways, depending on which syllable you decode first -- and compound words would have many multiple ways to be read/spoken. (If my math is correct, one polybary symbol would have two readings, a compound using two symbols would have four readings, three symbols would have sixteen possible readings, four would have thirty-two, and so on.)
Could any of this actually work?
I think a polybary would work but holy crap is it evil.
@@ConnorQuimby I thought that was the idea!
7:45 finnish reference was top tier
this is some high quality shit
In Children of time there is a language based on vibration of strings done by spiders I wonder what sort of hell that could create for a human to write out
Here it is: Writing using numerals.
[a] is "1", [i] is "12", [u] is "123", and so on for every phoneme. Excluded are the numerals "5" and "0" for reasons stated later. Each numeral takes up the same amount of space, like Chinese characters. Long vowels and consonants are phonemic and marked by doubling the first and final numerals. [a:] is "111", [i:] is "1122", [u:] is "11233". There are four tones, all marked by the numeral "0". First tone is a "0" at the beginning, second tone is a "0" at the end, third tone is a "0" is both positions, fourth tone is a lack of "0". Finally, there are no spaces. Phoneme boundaries are marked by the numeral "5". There is a form of poetry that involves math. I don't even want to try and think of how it would work but it's there, surely.
How awful would this be
I've just gotten that Ithkuil is using "locography".
Make a “formantary” writing system. Only a few different glyphs for f1, f2, f3 et cetera. A different “word” with the standard hertz value of each formant for each phoneme. It’s also a tally mark numbering system so a formant of 5000 is 5000 dots in a row.
An anti abugida but the vowels are historically logograph that has been jumbled up (preferrably to 3) and the consonant are just radicals that also denotes grammar that is based on the vowel letter, and make a few of them diagraph because of historical spelling, i'll call it "radicalize anti abugida"
I once made a simplified phonetic script of vertical zigzags that could be quickly written in either ink or clay, and could also work well as a tactile writing system, these zigzags represented strings of two to four binary digits so it could also work well as a Morse code, and these digits never appeared three times in a row so it could also work well as a two-tone whistled language. It occurs to me that I may have created a spork, a thing that tries to serve too many different purposes at once.
What if you created a writing system that with different directions based on the different moods? For example, if I’m speaking in the indicative, my writing goes from left to right, but if I switch to the subjunctive, that sentence with go from right to left
What if a writing system had a small inventory of symbols that were grouped together to form words, much like an alphabet, but these symbols didn't represent any sound information, and also had free order within the word?
Base-2 multibyte-width encoded compressed data representing logographic glyphs, each with multiple meanings and no phonemes. The singular glyph (or lack thereof) is drawn from the centre of the page in a spiral pattern. Certain combinations invert the rotation, based on the previous rotations. There are no markings for the central glyph, only pain.
Just a thought wouldn’t the chart be phonemes per glyph? I’m having trouble conceptualizing why logographies have more than 1 glyph per phoneme. They certainly don’t have 2 glyphs per phoneme? However with phonemes per glyph I think you’d have to move Abjads as they are 1 to about 3 phonemes per glyph.
Okay so yeah. I was thinking about this for a solid week after I recorded the audio, and I was planning to record it again. But I remembered two things- one equals one (1 glyph per phoneme = 1 phoneme per glyph) and also that for say, a logography, a phoneme appears in multiple morphemes written in different ways, so it sort of works.
I will be completely honest, I would not be surprised if I screwed this up because as far as I know, I'm the first to develop something like this. I'm probably not but I couldn't find anything so this was basically me just winging it and running it by someone (@Obfuscobble) who has more experience than me.
@@ConnorQuimby yea I think I ended up getting what you meant throughout it by the end so that’s no worries. And it’s definitely a really cool concept! I was trying to find something like it online but didn’t so I think you are the first.
I think what got me thrown off is that 2 glyph per phoneme does not equal 2 phonemes per glyph but that is how I was reading the chart? Usually it’s the first unit that increases or decreases in unidirectional charts like that. Anyways not a big deal I got it by the end of the video.
@@eronpowell6008 That's what was messing me up! I was originally thinking that I screwed it up (like how you thought) and it should be an inverse but after a week or so I figured out the logic I used in my last response.
@@ConnorQuimby Thai and Khmer scripts are fine. There is nothing wrong with them!
@@freedomforassange lole!! very funny
For episode 7, be sure to discuss esoteric number systems like non-integer bases, many of them are extremely awful as they require infinite numerals for any number or have 2 completely different sequences of digits for same number
ok here's an awful idea for a digital age writing system: ANIMATED GLYPHS.
you can extrapolate that concept any way you want, but personally, i'm thinking it would be good for a featural system that depicts the motion of the mouth as it forms each phoneme/syllable/word/etc.
of course, the ideal application of this writing system is for languages with large consonant clusters, such as the salish languages. each glyph could arbitrarily be used to encode the individual consonants within each cluster, random groupings of consonants within the cluster, or to encode the entire cluster as a single unit. for example, the nuxalk word [xɬpʼχʷɬtʰɬpʰɬːskʷʰt͡sʼ] meaning 'he had had in his possession a bunchberry plant' could be spelled any number of ways, anywhere from each phoneme having its own glyph to the whole word being spelled with one glyph.
Best definition of abugida: consonants with customizable skins.
Im confused about how the onset isnt a mora because if the language has consonant clusters then something like /tra/ is longer than /ta/. Also if the coda has consonant clusters is the coda just written with one glyph per coda or one glyph per phoneme in a coda just like an alphabet
I kinda want to make a conlang like Þis now.
As someone who is interested in both quantum physics and linguistics, the fact that someone put the word "quantum" and "linguistics" together sends shiver up my spines.
I cannot describe how much hedonia this collocation stimulated inside my brain. I will not experience such ecstasy again even if graviton were discovered or we finally understand what is on the other side of an event horizon in the future.
What about a logography that was repurposed to be able to write phonetically? The glyph you use could depend on the word and you could use diacritics to mark different forms of the glyph or to remove syllables or something.
I really love Car Slam as an example of linguistic unit tomfoolery. It uses English words as its own, but relexicalized to the nth degree. It's like someone ran an English dictionary through a shredder and then tried to make a new one out of the pulp.
consider the half-syllabary: every two glyphs represents a syllable, but any glyph on its own gives little to no information about what syllables it can form. or the bisyllabary, where each glyph represents two syllables, even if they're in separate words.
what if like, we have some characters that match phonemes, but others that match words, and others that match other stuff.
then we have to use them altogether within the writing.
no, i mean like an alphabet, locography, and etc mixed in one without actually completing either set
I'm already creating locography writing system (before this video) and its sooo fun
One glyph per concept in the language, where the placement of a glyph in a sentence determining if its a verb, noun and whatever else
The Bit Language: Fill a 6 cm by 4 cm rectangle with 0.5 cm cubes. Remove cubes to convey meanings in binary. They are colored in as the following (0 = red, 1 = black)
2^96 possible theoretical words...
Well at least you aren't going to run out of cube combinations anytime soon...
@@MisterHunterRow especially with 6 phonemes
Hangul actually has up to 4 letters per syllable block but one of them is silent unless the next syllable starts with a vowel
I wanna see a locography applied to a polysynthetic language and witness a single glyph with 12 case markers
Animated glyphs. They can't be written on paper (unless it's a flipbook?) but contain intrinsic meaning such as body language, mood of the scribe, or just needless extraneous grammatical nitpicking (labeling all nouns, for example) in the frames per second, or size of the glyph, or the colour(s) involved.
if you ever do end up making a number system, make it mixed radix base 3 + base 7
one glyph per frequency-amplitude combo within 250 miliseconds
1:53 wouldn't it be the opposite? abjad is greater than 1 glyph per phoneme and logography is less than 1 glyph per phoneme
Anti-abjad: Only write vowels, consonans are inferred
Duobet: Use 1/2 glyphs per phoneme (each glyph represents 2 phonemes)
I have a great writing system: A Logography that is completely different for every word form that exists. So e.g. book is one symbol and books is a completely different symbol (and that for any case, gender etc. the language has). And also if you have compound words (e.g. handbook) you don‘t just merge the two together. No. You create a new symbol, with (again) new symbols for every form the word can have.
The concurrence script: transitions of phonemes are depicted.
So simple word like “explode” translates as “ek ks sp pl lo od de”
What about one glyph for all the worlds you have said will say a is saying
7:13 That's technically the Aeguonna Logography of the Mapi language
my writing system: drawing, just draw it out. the different objects i draw on the page are different glyphs conveying the meaning the sentence does.
My personal locography is also a phonography in the same time. :)
you coulda made a lexeme per glyph writing system, that would be terrible but amazing.
What if we abandon the idea of paper being the writing medium? Make a writing system based on knots, like Quipu
Nice! :D
7:17 that's so cursed, imagine Inuktitut written like that
Ep 7 needs to have the japanese counting suffixes.
8:50 As a fan of Danish and quantum mechanics and all the Danish quantum physicists I 100% approve
another idea is to try to make an ithkuil like writing system for something that's not ithkuil
Maybe I missed some useful comment in the ... comments... but the mora paradigm also applies to Ancient Greek. Or maybe you just lumped it into the "few others" category, lol. But I would argue that within the IE family of languages, Ancient Greek is where you will most run into morae as a thing, at least for accent purposes.
i watched all your adds for you
Numerals, huh? How about this. Instead of using "normal" numbers, have your language represent numbers by describing their _prime factorization._ Truly amazing!
for ep7: using skew-n base system
Abugidas = abjads with customizable skins
How did I never make that connection
Fear the empty spaces: Kerning conveys information.
thought about Ithkuil when watching this
You said that logographies are bad, but they're useful in languages that have restrictive phonotactics and many homophones.
i did a halfabet for english once, i call it ihnghghlihsh
You know, an anti-abugida would work as well as an abugida would for a language like Sweden where (if you analyse long and short vowels as different phonemes) there are about as many vowels as consonants. There are 18 consonants and 17 vowels (8 long-short pairs and one loner) in Standard Swedish meaning that you shouldn’t write it with an abugida at all unless you’re a bored linguist 🥴
Since this is a language channel, I'll share this weird thought: when you said "Obfuscobble" at the end, I heard "Office Gobble," which I imagine would be a very different kind of channel.
New writing system: Glyph per frequency.
Glyphs define sine waves and you add them together a-la the Fourier Series to represent the sounds of the speech you want to write down.
Infinite linear combinations of letters. Perfect, we now have the worst possible strategy.
And don’t forget the words that can be proven to exist with the axiom of choice but can’t be defined.