Que magnifico ensayoeste de Gabriel Zaid sobre la palabra civil. Que meticulosa recopilacion de tantas hebras de significado. Que claridad y que erudicion—de la buena.
Históricamente, civil ha servido para distinguir una nueva realidad por oposición a otra, de la cual emerge. Según lo que adjetive, puede significar: no astronómico, no de la corona, no eclesial, no en especie, no estatal, no exterior, no familiar, no militar, no natural, no noble, no penal, no religioso, no salvaje.
Not, of course, that it needs any. But if you insist on one, what better answer than to let metaphor defend itself?
Some people (me among them) are often accused of Mixing Metapors. This is supposed to be a bad thing. I’ll admit it can be a bit confusing, but I really think it’s our only hope. The more different views you have of something—and the more different the views are—the more hope you have of understanding what the thing is really like. Of perceiving some aspect of its reality that isn’t apparent in any of the individual views.
The best metaphor I know of to explain this is the phenomenon of binocular visionWP, or stereo sound.WP We have two eyes and two ears, even though each one of them works fine alone. The other one isn’t just a spare, though, because using them in parallel provides information about what is being perceived that isn’t carried in either of the separate images. We perceive depth in visual or aural signals precisely to the degree we use separate, different signals and succeed in integrating them into a single percept.
This beautiful excerpt from John M. Lawler’s great essay on the use of metaphors in understanding and explaining computers, Metaphors We Compute By. Required interface design reading.
Espanhol llano es espanhol escrito sin acentos, ñ(que se suele sustituir por nh, nn o simplemente n), dieresis o signos de puntuacion iniciales(¿¡).
Perfectamente inteligible para hablantes del dialecto ortografico dominante, el espanhol llano entra en auge a la par que el teclado, cuya dificultad intrinseca para escribir caracteres especiales se vuelve el argumento original a su favor. Hoy en dia las razones para usarlo son enormemente variadas.
(A more detailed explanation to follow, it’s just that I had to get this out—too much brain crackELZR already and this idea had been within for way too long.)
Which is in itself quite wonderful news (artificial languages need all the help they can get), but the Globe and Mail article is also one of the best introductions to the language I’ve seen, so do check it out—web version or print scan—if you’re interested in Toki Pona(and if you speak Spanish, don’t forget to check out my Spanish manual on it).
A 16-line hack to make the JS DOM API a tad more humane.
...absolutely amazing. I’ve yet to find a smaller and yet more astounding example of how you can encapsulate functionality within JavaScript and create brand new APIs on the fly.
Web pages are written in HTMLWP but as they have become more and more complex, they now tend to be written, clientside, through JavascriptWP, which can manipulate and insert HTML. Google Images, for instance, uses Javascript to write the HTML that displays your image results.
Yes, it’s roundabout, but it’s due to the nature of the languages: Javascript does stuff, HTML displays stuff. When you want the browser to do things (instead of merely displaying dumbly what it receives) and when these things themselves involve a lot of displaying, you end up writing HTML through Javascript.
It’s a little like writing French through English (André went to Marie and said: ”Bonjour! Ça va, ma chérie?”) and just as frustrating, particularly because you sometimes have to narrate whole scenes in French (pidgin tends to be painfully verbose) and your English self is left completely in the dark—so you end up naming things in both French and English and it gets as ugly as you can imagine.
HyperScript is a bizarre and quixotic attempt to write French in English; that is, HTML in Javascript. Basically, you do what went on in the Norman conquest of EnglandWP: you anglicize as many French words as you can; that is, you turn into Javascript as many HTML words as you can.
The lark itself takes gratefully (and rather surpisingly) only 16 paltry lines of Javascript code (highlighting thanks to Mark “Tarquin” Wilton-Jones.):
functioneach(a, f) { for(vari=0, l=a.length; i<l; i++) f(a[i]) }; each('a big blockquote br b center code div em form h1 h2 h3 h4 h5 h6 hr img iframe input i li ol option pre p script select small span strong style sub sup table tbody td textarea tr ul u'.split(''), function(label){ window[label]=function(){ vartag=document.createElement(label); each(arguments, function(arg){ if(arg.nodeType) tag.appendChild(arg); elseif(typeofarg=='string' ||typeofarg=='number') tag.innerHTML+=arg; elsefor(varattrinarg){ if(attr=='style') for(varstyinarg[attr]) tag[attr][sty]=arg[attr][sty]; elsetag[attr]=arg[attr];
};
}); returntag;
};
});
and you can play with it right here, right now:
Test Area:
The translation between HTML and Hyperscript is straightforward, where you would have written
anglo latin; the origin of latin america as a word; my high school wasn’t bilingual, it was English with Spanish as a second language; I always say math and language are the same ability because they’re the same thing, math is just specialized talk about numbers; but then zoology is just talk about animals…; the difference is that math is, in a farly unparalleled way, advanced through language itself (as opposed to, say, zoology, which, advances chiefly through observation); the way forward in language is through logic; logic is syntax; understanding is synthesizing and paraphrasing; {an algorithm just like flooding to create a machine that understood, as previously defined—one wouldn’t even need to define what a word is}; Wikipedia syntax highlighting!
Remember that wacky koanELZR about reading processors(“what is to reading what a word-processor is to writing?”) and how it led to the idea of a text spacer (illustrated at length in this example)?
Well, I just found out about Live Ink by Walker Reading Technologies(via KurzweilAI.net’s newsletter, though it was slashdotted earlier) and realized people have been toying with the idea for over a decade now. Live Ink is clumsy marketese for what they also elegantly and precisely describe as visual-syntactic text formatting and these guys have not only coded it and are now marketing it, but they have already done some interesting homework, carrying on a year-long experiment where it allegedly improved reading proficiency. They offer a 30-day trial program implementing the technology called ClipRead(screencast) and though the interface is positively abysmal (why, god, why, must bad interfaces happen to good people?), it’s still very much worth downloading to play with.
Here below is a (fitting) paragraph from Charlie Stross’s Accelerando for comparison.
Amber scans the README quickly. Corporate instruments are strong magic, according to Daddy, and this one is exotic by any standards—a limited company established in Yemen, contorted by the intersection between shari’a and the global legislatosaurus. Understanding it isn’t easy, even with a personal net full of subsapient agents that have full access to whole libraries of international trade law – the bottleneck is comprehension. Amber finds the documents highly puzzling. It’s not the fact that half of them are written in Arabic that bothers her—that’s what her grammar engine is for – or even that they’re full of S-expressions and semidigestible chunks of LISP: But the company seems to assert that it exists for the sole purpose of owning chattel slaves.
I like how they limited the spacing to linebreaks and indents; it’s a good starting constraint—it simplifies the task enormously and the results are still quite good. Highlighting the verb is also a clever touch—the nuance with the biggest syntactic payoff. Overall, while the simple flaws do stand out (because we’re such effortlessly gifted syntactic parsers), what surprises me is how decently it works, how the formatted text feels more accessible than the monolithic paragraph. At several points—interestingly, at some of the most usefully formatted parts—the algorithm at work seems oddly straightforward: nestedly indent and linebreak prepositions. Ahh… I’m itching to write some regex hack… Probably will write one in a couple of days, together with some handcrafted spacing of the above paragraph, just to see what we’re aiming at.
According to VentureBeat, meanwhile, the company is poised to taking the world any minute now. I doubt it. But they have given spacing (visual-syntactic text formatting) a broad hearing and there’s now a flurry of attention on it and, probably, on the broader idea of reading processors. There are bound to be some intriguing reinterpretations and extrapolations in the coming months.
Mi kredas je la Bono. Kaj, male al multaj homoj, mi kredas, ke Bono tute ne simetrias kun Malbono, sed ege superas ĝin. Malbone konstruita domo disfalas. Bone konstruita rezistas al la atakoj, eĉ plej teruraj, de naturaj fortoj.
I believe in Good. And, as opposed to many people, I believe that Good is not at all symmetric to Evil, but surpasses it by far. A badly build house falls down. A well built one resits the attacks, even the most terrible, of natural forces.
I’ve treasured this quote since I read it and the crucial semantic confusion—good as in righteous; good as in quality, as in utility—that lies at its heart, the one that English’s irregularity obscures, has never failed to cheer me up. For it’s a confusion I happily share.
Most people don’t even know about it but right at the bottom of the left sidebar of every pedia there’s an in other languages section that turns out to be one of Wikipedia’s pearls.
It is wonderful for translating somewhat obscure nouns that you’d rarely find in a bilingual dictionary, like
Jaron Lanier’s answer to the 2007 Edge question, What are you optimistic about?, is, predictably enough, post-symbolic communication. But the more I hear about it, the more I’m overwhelmed by the grandeur and sheer magic of the vision. As beautiful a dream as I’ve ever seen.
One extravagant idea is that the nature of communication itself might transform in the future as much as it did when language appeared. This is not easy to imagine, but here’s one approach to thinking about it: I’ve been fascinated by the potential for “Post-symbolic Communication” for many years. This new style of interpersonal connection could become possible once large numbers of people become virtuosos at improvising what goes on in Virtual Reality.
We are virtuosos at spoken language. Adults speak with what seems like no effort at all, even though everyday chats might be the most complicated phenomena ever observed. I see no reason why new virtuosities in communication could not appear in the future, though it’s hard to specify a timeframe.
Suppose you’re enjoying an advanced future implementation of Virtual Reality and you can cause spontaneously designed things to appear and act and
interact with the ease of sentences pouring forth during an ordinary conversation today.
Why bother? It’s a reasonable hunch. Words have done so much for people—so alternatives to them with overlapping but distinct functions ought to lead to new ways of thinking and connecting.
An alternative to abstraction might arise—the possibility of expression through a fluid and capable concreteness. Instead of the word “house” you could conjure up a particular house. How do you even know it’s a house without using the word? Instead of falling back on whatever the word “house” means, you might toss around a virtual bucket that turns out to be very large on the inside- and contains a multitude of house prototypes. In one sense this “fuzzy” collection is more precise than the word, in another, less so.It is different.
If all this sounds a little too fantastic or obscure, here’s another approach to the same idea using more familiar reference points. Imagine a means of expression that is a cross between the three great new art forms of the 20th century: jazz improvisation, computer programming, and cinema.Suppose you could improvise anything that could be seen in a movie with the speed and facility of a jazz improviser. What would that mean for the sense of connection between you and someone you love?
The most valuable optimisms are Infinite Games, and imagining that new innovations as profound as language will come about in the future of human interaction is an example of one.
RSS
email
