English spelling: unity over ease of learning…

Tuesday, March 19th, 2013
the difficulties of English spelling ©CambridgeESOL

the difficulties of English spelling ©CambridgeESOL

A while back I read a blog on cluborlov in which Dimitry Orlov railed against how English spelling often bears so little relation to the way its words sound that, as a consequence, it made learning to read and write the language far harder than it should be. At the time I would have liked to wade in with some opinions of my own, however, the comments on that post soon proliferated and, since I had no time to read them, and to avoid repeating arguments already given, I never contributed anything at all. However, I do feel that some of the points I would have liked to make may be of interest, and so I shall jot them down here now.

It is true that English orthography could be redesigned to more accurately reflect the language as it is currently spoken – and this would make learning to read and write English far easier. However, this approach does beg the question: which form of the spoken language should we thus choose to transcribe phonetically? English exists in many dialects, and a faithful phonetic transcription of one would look entirely different from another. Thus this process would seem to me to produce a wholly unfortunate result: that English speaking communities that are currently united by a common orthography (there are variations between English and American spelling – but these are not so divergent as to provide readers of either form with any barrier to reading the other) would be divided by the new phonetic orthographies.

I would like to take a diversion that I think is illuminating, to consider the orthography of Chinese. My understanding of how this works – and it is something that seems particularly hard to get a clear answer to – is that Chinese characters, albeit that they encode some phonetic information, can be used to write a great variety of dialects of Chinese. Apparently, a newspaper written in Chinese characters can be read with equal ease by readers who would find their spoken dialects mutually unintelligible. It is as if in Europe we were to devise an orthography that would allow the same copy of a book to be read ‘natively’ by a Portuguese, Italian, French, Spanish and Romanian speaker. (My understanding of the breadth of Chinese dialects suggests that we could include in the readers of such a book speakers of German, English and of many other European languages – presumably other Indo-European languages too, such as Farsi). Imagine what an amazing boon this would be for European integration! Of course such an orthography would be far harder to learn, since it would not be derived from the sound of the words, and would thus have to be learned, by rote, one character at a time. This is of course the challenge that Chinese writers and readers have to overcome, so that, from what I’ve read, some 4000 characters must be learned to allow a Chinese newspaper to be read. To people who found alphabetic orthographies a challenge to learn as children, this jump from around 26 characters to 4000 seems an incredible leap in difficulty. Indeed, there have been several attempts to encourage the Chinese to abandon their characters and to resort to the roman or cyrillic alphabets. It amazes me that the proponents of such a changeover were blind to the advantage of a unifying script for such a vast and diverse linguistic community as are the Chinese. Indeed, in a parallel to the parable of the Tower of Babel, they were urging a community who, through their characters, could communicate perfectly, to fragment into mutually unintelligible groups.

In an analogous way, current English orthography unifies the speakers of all its dialects and, for all its difficulties with spelling, it is hardly as onerous a task to learn as is Chinese. But there is another blessing that the present English orthography confers: historical consistency. With the passing of time languages continually evolve, so that a speaker of English from some hundred years back would find some difficulty in making herself understood today. If we go far enough back, it would be as if she was speaking a wholly foreign language. In the past, English orthography did actually attempt to encode the spoken forms with the result that texts from the past can be hard to read today. Once the spelling scheme was fixed, however, all subsequent texts became, and remain, readable to anyone who had mastered the written language. (Incidentally, my understanding is that Chinese literature from even remote times remains as legible today as if it had just been written – so that Chinese characters not only unify dialectical communities across ‘space’, but also across time. Though the simplified character forms adopted by the mainland in the 1950s and 1960s may have somewhat fractured this unity.)

So, though I acknowledge that the idiosyncrasies of English spelling do make learning to read and write the language more difficult, I feel that this is more than compensated for by the way that this allows speakers to be united into a single literary community across both space and time…

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allowing ideas time to form…

Tuesday, February 26th, 2013
shaping clay

shaping clay ©voluntaryarts.org

I have come to understand that expressing an idea too early can limit what it can become: clay, once fired, loses its ability to take on any form.

I was not a patient child. I recall trying to put together a model of a pirate ship when I was perhaps seven years old. It came as a kit of many plastic pieces. I glued these together according to the instructions, but could not bear to wait for one joint to dry before proceeding to the next. The result wobbled in my grip like a shattered and leaking egg. This did not stop me from attempting to paint it in all kinds of garish colours, paint smearing on my hands, fingerprints left on hull and rigging. Needless to say, the ‘finished’ model was a shapeless, sticky mess.

I learned to resist this impatience in making things (perhaps too well! *grin*). However, the desire to ‘see something’ as quickly as possible still lingered, with a belief that what is written or drawn or spoken is somehow better than any ‘notion’ in my head. This desire for ‘realisation’ may have something to do with performance: for it is impossible to show someone else a notion without ‘realising’ it in some way. This is also a process that is drilled into us, by parents, by teachers – and, indeed, the effort, the practicality, the skill, to realise a notion is the act of creation. The realised notion becomes a part of the world that you can perceive and examine as readily as a leaf or a stone. Further, you can compare your creation with the notion from which it sprang, and thus you are able to refine it. This process of iteration is certainly a fruitful part of creating anything. However, the creation is possessed of a reality that the notion that led to it lacks, and real things are ‘attractive’ – exerting a pull on the mind something akin to a magnetic field.

An example of the peril posed by ‘attractors’ are the vowels in the language you speak. Their locations in ‘linguistic space’ are as equally spaced as possible, so that each vowel is as distinct from the others as it can be – thus reducing ambiguity in communication as much as possible. A novel vowel from another language will map onto this ‘linguistic space’. The closer it lies to one of the original vowels, the more it will be attracted towards that – making it hard to hear how it is different, and even harder to voice it. (Thus this pattern of attraction between the vowels of one language and another helps explain the distinct and characteristic accent with which, say, a French person will speak English.)

My experience is that when I ‘realise’ a notion, the resulting creation becomes an attractor so strong that my perception of it displaces the very notion that was its origin. The notion, once fluid, is now fixed, and, rather than being clay that could be reshaped, it becomes merely a stepping stone to other notions – and so perhaps a different path is followed.

So these are the reasons I strive to resist the temptation to ‘realise’ notions until I feel they have had a chance to reach their full form in my mind.

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digital texts: a return to aspects of an oral tradition…?

Monday, November 5th, 2012
storyteller...

storyteller © azmidiske

cuneiform tablet...

cuneiform tablet © designmylife.org

ebook

ebook © ghacks.net

Ebooks are the latest stage of a process that began with the invention of writing. The ability to write thoughts and stories down allowed their distribution across space and time: a storyteller no longer needed to be present for his message to be communicated. These advantages are obvious, but there is also a profound disadvantage: that a text is a fossil of the author’s message, and that, disconnected from its living source, it can no longer adapt.

The printing press made it possible to clone texts that were free from the errors of manual copying, and allowed vastly more examples of a text to exist, thus facilitating wider distribution. The digital text has made it easy to clone a text, and the internet has facilitated the speed and extent of their distribution. Living as we do in a period of transition from paper to digital texts, many of us have qualms about what we may be losing. There is the issue of aesthetics that I address in this post, and there is also an anxiety that comes from the loss of there being a definitive version of a given text.

A digital text compared to that text printed on paper is like a vessel of clay before and after it has been fired; an essential quality of a digital text (of any digital object) is that it remains for ever malleable. This malleability robs us of an important benefit that is conferred by a printing press: that it produces identical and ‘fixed’ versions of a text. It is this aspect of a printed text that has compelled the author to strive for a perfect version of his text; for once it is printed it will have whatever failings he has given it. Apart from the changes that he can make in a new edition – nothing can be added, nothing taken away. That a text cannot be modified once it has been printed has also drawn to the process an entire machinery of publishing: editing to make sure the structure of the text is sound; copyediting to remove any errors. The capital outlay invested in printing a text (at least until recently) further increased the need for a publisher. A natural partnership existed between an author and his publisher because they had a common interest: that the text be as complete as possible.

That a digital text remains malleable after publication, weakens the necessity for this partnership (as instant distribution of digital texts, and the lack of need of capital to print large numbers of texts that then require warehousing, weakens it further). Many authors will still wish that their texts be professionally edited and copyedited – however there is a new option: that this can now occur after the text is published. It is even possible that the readers of the text could be brought in to correct any errors. (I deal with the notion of direct reader correction of digital texts in this post.) On balance, I feel it is likely that an author would wish to retain control of his text. However, he could elect to use some kind of ‘crowd sourcing’ not only to have his text corrected, but perhaps even edited (I discuss my reservations about this latter notion in this post). The limited iterations of a printed text that new editions provide to an author, become limitless with a digital text. An author could choose to change and evolve his text in much the same way that software is now being constantly updated on our computers. Further, whereas some authors have had printed texts supplied with different covers for different markets (and types of readers), the author of a digital text could target any number of different markets with different versions of his text: abridged, simplified, with different endings etc. So, though we may lose the ‘definitive text’ we gain all kinds of other compensations.

There is, it seems to me, a profound consequence to all this. For all the advantages conferred by the invention of writing on the creations of an author, one thing was lost: the ability that the author had to keep his work ‘alive’. When all stories, all arguments, all knowledge had to be conveyed through speech, the only permanence of these lay in the memory of those who had heard them spoken. An oral storyteller could respond to his audience as he was telling them his stories. The next time he told those stories, he could improve them from his experience of how they were received at the previous telling. I am left wondering if, with the advent of digital texts, we have, in a way, come full circle. While still benefitting from most of the advantages conferred by several thousand years of development, every author can also have back something of what was lost from the oral past. Indeed, it may come to be seen that the period during which fixed texts held sway was merely a temporary aberration…

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a New Renaissance II…

Thursday, January 26th, 2012

©2009 www.landcommodities.com

I am returning to flesh out my contention that we are living through a new Renaissance, because I feel it helps me make sense of what I see happening around me, and I hope it may be of use to others out there…

For most of human history, the number of ‘artists’ working at any given time were necessarily few – thus perhaps the excitement with which we unearth any artefact, however basic – and the further back we go, the greater the amazement with which we greet such finds. Rightly so. But how can we compare our time with any previous one? It seems to me obvious that today there are more artists living and working, not only than there have ever been but by several orders of magnitude. Further, these artists have access to more influences, and to vastly more powerful tools, than any of their forebears; so much so that I feel we are now living through a period of creativity unprecedented in human experience.

Consider first how much greater the population is than it has ever been: when I was born in 1961 there were less than 3 billion people on our planet; now there are more than 7 billion! Further, because of spreading education, an ever larger proportion of that population is reaching the threshold where artistic production is possible; because of increasing wealth, larger numbers are able to find the time to engage in creative endeavours; also because of these factors, the audience for such creations is constantly growing.

This New Renaissance is simultaneously fed and over-fed by the ever increasing speed and interconnectivity of our forms of communication. Fed by near-immediate access to all previous and current creative work: over-fed because the feast provided is so rich, that it is hard not to consume it gluttonously – to the point where the urge to create can be choked.

In the past, individual ‘geniuses’ arose as isolated spikes in a largely flat landscape. The rarity of such people was a natural consequence of how modest the population was, how close to the breadline, how ignorant. This ignorance meant that anyone lucky enough to receive an education, shone. Exceedingly slow communication, if not outright isolation, meant that each ‘genius’ fed on a unique diet of influences and so his productions were necessarily unlike those of any other.

The internet ensures that ever few artists are isolated in this sense. (Even those that are will most likely be, by the same token, deprived enough so as not to have the ‘entry fee’ to the creative community). Artists today, increasingly, feed on the same input as each other, and can, at all times, maintain a clear view on what their peers are doing. Thus there is a tendency for creative production to become homogeneous. Nevertheless, the sheer breadth and depth of the creative community (consider how only relatively recently women have been allowed and able to participate) means that, even along the crest of this perpetually breaking wave, peaks do appear, and those in huge numbers. Adding to this is the ever increasing speed with which the feedback loop of influence-creation-influence is spinning.

This seems to me an explanation for the explosion, the tsunami indeed, of creativity that we are experiencing sweeping us forward. In the first Renaissance, on top of the limitations I describe above, the ability to create was further limited by the patronage needed to provide an artist with the means to create. Today, everyone is a patron – the creative community is itself so vast it has perhaps become a source of patronage on its own. Once we find a new compensation model that will allow the universal publishing and distribution machine that is the internet to spread our creative products without restriction, then I expect the New Renaissance to flower brilliantly…

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the view from over here…

Friday, December 2nd, 2011

Raheleh and I in Hamadan with some ordinary Iranians behaving just as normally as people do anywhere...

Just a quick post to comment on the ‘situation’ in Iran. Friends and family keep telling me that I’m “lucky” to have got out of Iran before this business with the British embassy in Tehran blew up. I cannot help but notice how the coverage on the TV here is very similar to that that I saw before I went to Iran. I cannot help further noticing that the comments people are making to me now – about how dangerous Iran is – are the same as they were before I went.

This seems to me curious on various levels. If I hadn’t actually been there I would have concluded – as everyone else seems to be doing – that yes, indeed, Iran is somehow ‘dangerous’… and yet when I was actually there I not only felt that it wasn’t dangerous, but I actually felt noticeably safer there than I would in many parts of the UK. In spite of having reported on this – acting almost as a live reporter for my friends and family – none of what I said seems to have softened people’s attitudes towards Iranians.

I don’t know if what is happening there indicates that something has changed – violently and for the worse – but, from my experiences, this seems to me unlikely. Instead I am left wondering why it is that the view of Iran from here is so completely different, so unrelentingly negative, than it is from over there…..

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