There are some ideas that I feel very hard to
fish out of the thalassic depths. Some ideas I have feel either so massive or I
just can’t capture them with words, but there’s always the first awkward
attempt. One of these aground ideas is… the chunks of the same body that are exposed
independently but in the end are revealed to be all connected…
This is what is happening lately since I got so
interested in languages. Not only idioms and alphabets, but all forms of
expression and communication. And this new interest is but connected to all my
subjects of interest so far, especially those of the cognitive psychology and
symbolism and mythology and philosophy and science. It seems these subjects are
just a way for me to understand the undercurrent that is my own interest that
makes me seek those areas.
And as I’ve been interested in languages and
creation, I’ve been giving a try to compose a language. Not necessarily an
idiom like we more easily associate with the idea, but actually something
different from it just so I can understand a little more about our actual
languages and the way we think.
So I decided to create one particular language
for me. And I’ve got one, which is my language of quintessences. A little part
of my thinking works with assimilation of quintessences, and the intuitiveness
of quintessential language seems to increase during trances. As great as
trances are, anything that increases along with the height of trances I value
immensely.
All names I’ve brought here are quintessences.
From all capitalized ideas to gems in specific, which have been one of the ways
I’ve managed to translate the
quintessences crests from this emotional language into written/spoken language
like English and Portuguese, by using rocks, minerals and chemical elements to
represent them. Although they are words, I believe particular symbols in this
sort of pictorial alphabet I’m conceiving in my mind can be even more
efficient.
But more than that, I have those gems that are
words as components of sentences that are mindscapes. For instance, peridot
would be leaf-like symbols, chrysoberyl an overarch glyph, turquoise a
droplet-shaped letter, and they can be brought together to shape a simple
mindscape phrase. As a written language of symbols and glyphs, together they
could become a beautiful ornament like one of those arab engravings (and a nice
tattoo).
However, this can go too complex as I keep
trying to add details, because as a language I feel it’s vital to be an actual
record of a message completely by itself. So if I write down as a mindscape
sentence, I have to be able to read the sentence and decode its symbols so I
can understand what is meant with all those squiggly lines. I’m thinking
already about prefixes and suffixes to indicate the nature of the gem. If it’s
a sound, image or smell, those go first. Suffixes can define more precisely the
element. For instance, there’s the sensorial indication of, say, vision, then
peridot as a leafy glyph and after it the indication it’s a tree. Accent marks
can define its size, height, weight, etc.
As I’m looking towards having it similar to the
way quintessences work, they shouldn’t as much be sequential, but more
instantaneous, so a sentence would be quite an image with symbols creating its
message. The reading skill for this would be too demanding, as it would require
an instantaneous absorption of all elements as possible, and that just wouldn’t
work. It would have to be a work of composition though, creating focal points
and guiding the eyes of the reader. But then, it would still have to retain so
linearity.
My first attempt to represent mindscapes in
written language have one main drawback. Those don’t seem to express and
transfer much of the essence of the composition. The letters and symbols are
just showing these would be the elements present in the scene. It would be more
like a checklist rather than something poetic or artistic as languages are.
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