Words, Symbols, Icons, Pictograms
Shortlist of interesting spaces
Mondegreen
Sonorisms I
What you're trying to swim
Let the meaning choose the word
An affection for words
z-z-z
No words to describe
If there is no term for something, it might be thought that the commodity is of small importance. But it is just as likely that this something is of such importance that it is taken for granted, and thus any conveniences, like words, for discussing it are unnecessary.
Good morning, Vincent
Perhaps I shall name the cat that scratches at my broken window Van Gogh.
Or Vincent.
One does not name a piece of tape, however.
There is the piece of tape, scratching at my window. There is Vincent, scratching at my window.Good morning, Vincent.
As if a word were no more than coordinates
The New Oxford American dictionary, by the way, is not like singularly bad. Google’s dictionary, the modern Merriam-Webster, the dictionary at dictionary.com: they’re all like this. They’re all a chore to read. There’s no play, no delight in the language. The definitions are these desiccated little husks of technocratic meaningese, as if a word were no more than its coordinates in semantic space.
A soft and fitful luster
Who decided that the American public couldn’t handle “a soft and fitful luster”? I can’t help but think something has been lost. “A soft sparkle from a wet or oily surface” doesn’t just sound worse, it actually describes the phenomenon with less precision. In particular it misses the shimmeriness, the micro movement and action, “the fitful luster,” of, for example, an eye full of tears — which is by the way far more intense and interesting an image than “a wet sidewalk.”
It’s as if someone decided that dictionaries these days had to sound like they were written by a Xerox machine, not a person, certainly not a person with a poet’s ear, a man capable of high and mighty English, who set out to write the secular American equivalent of the King James Bible and pulled it off.
Big things and little things
It is hardly possible that human beings could have decided logically that they needed to develop language in order to communicate with each other before they had experienced pleasurable interactive communal activities like singing and dancing. Aesthetic curiosity has been central to both genetic and cultural evolution.
All big things grow from little things, but new little things will be destroyed by their environment unless they are cherished for reasons more like love than purpose.
Vibrations in the air
Words are not just vibrations in the air, they work more powerfully than that, and on more powerful objects.
Le ☀️ est caché par les ☁️
Reference and Is-ness
There are at least two aspects to what we have traditionally called the meaning of a word. One aspect is reference, and the other is something I will call ‘inherent meaning’ following Ullman (1963). Inherent meaning is ‘Is-ness’ meaning. Inherent meaning is a word’s identity, and reference merely its resumé, where it has gone and what it has done, an itemization of its contexts. ‘Is-ness’ is unifying. Each word has a single pronunciation, a single inherent meaning. But reference is divisive. It makes what was one thing – the word – appear to be many things – its senses. It is inherent meaning which gives all those multifarious senses the power of being a single word.
It flows out and fills
This deeper meaning of a word isn’t confined to what we think of as a dictionary definition. Rather it flows out and fills all the space available to it. Although a basic sense does affect the dynamics of a word, it has no power over its essence. Like the captain of a ship, it can control the crew’s actions, but not their minds. Each word has an aspect of meaning which lies deeper than any of its senses, and it is fundamentally on this meaning that all the senses depend.
The demand of a new word
Why are these phonosemantic classes enough, and we need neither more nor less? Why are these consonants enough, and we need neither more nor less? What determines the need for a new word? How is this demand ‘felt’ by a language? How did the metabolic pathways of American English recognize that ‘jerk’ and ‘twerp’ and ‘punk’ and ‘nitwit’ and ‘dork’ and ‘ass’ and ‘goon’ and ‘twit’ and ‘dodo’ and ‘bum’ and ‘nerd’ and ‘dunce’ and ‘turd’ and ‘boob’ and ‘chump’ and ‘bitch’ and ‘bastard’ and ‘prude’ and so on and so forth simply were not equal to the task? We had to add ‘turkey’ and ‘squirrel’ as well?
Numeric anagrams
"Eleven plus two" is an anagram of "twelve plus one".
— Craig Sharp
/
Twelve + One = Eleven + Two
I love the beauty of this numeric/anagram equation for 13— Linda Vanderkolk
Safety cut rope axe man
In the first nuclear reactor, constructed by Enrico Fermi in 1942 under the bleachers of the University of Chicago football stadium, the control rods were held up by a manila rope. A man with an axe was told to cut the rope if the reactor got out of hand. This "safety cut rope axe man" is supposedly the origin of the term SCRAM for an emergency shutdown procedure.
He had but to speak
He had but to speak aloud the words that came into his head, and those around him would fall in line.
Fish and water
How does one speak about something that is both fish and water, means as well as end?
Perilous to be sure
It would not be clear where the boundary of sanctioned speech lay until an attempt had been made to cross it and that attempt had failed. Such efforts Wittgenstein regarded with benevolence. He treated them as reconnaissance expeditions, perilous to be sure, but well worth the effort expended on them.
The word invents itself
Posits certain neologisms as arising from their own cultural necessity—his words, I believe. Yes, he said. When the kind of experience that you're getting a man-sized taste of becomes possible, the word invents itself.
Words and Images
An Essay by René MagritteBook from the Ground: From Point to Point
A Novel by Bing Xu- z-z-z
There Is No Word
A Poem by Tony Hoaglandwhat I already am thinking about
is my gratitude for language—
how it will stretch just so much and no farther;how there are some holes it will not cover up;
how it will move, if not inside, then
around the circumference of almost anything—how, over the years, it has given me
back all the hours and days, all the
plodding love and faith, all themisunderstandings and secrets
I have willingly poured into it.A few things that could be poetry
An Article by Wesley Aptekar-Cassels- The right combination of street signs, viewed from a artful vantage point
- Words on bit of packaging, torn to reveal and conceal as needed
- The output of a command line tool, perhaps unexpectedly
- Overheard words, drifting along, liberated from their initial context
- A form, at first appearing bureaucratic, revealing humanity on deeper reflection
- An idea, if you consider it divine enough
A brief foray into vectorial semantics
An Article by James SomersOne of the best (and easiest) ways to start making sense of a document is to highlight its “important” words, or the words that appear within that document more often than chance would predict. That’s the idea behind Amazon.com’s “Statistically Improbable Phrases”:
Amazon.com’s Statistically Improbable Phrases, or “SIPs”, are the most distinctive phrases in the text of books in the Search Inside!™ program. To identify SIPs, our computers scan the text of all books in the Search Inside! program. If they find a phrase that occurs a large number of times in a particular book relative to all Search Inside! books, that phrase is a SIP in that book.
Four years of noting down my favourite words
An Article by Matt WebbI like words, and I note down ones that catch my eye as we cross paths.
Sometimes I read over the list, random access style, just to remind myself of forgotten thoughts. Each word is a bookmark into a little cascade of concepts in my brain.
So because I’d like to keep these words somewhere I can find them in the future, I’m putting them here.
Storm Doris Mimecom Cloudbleed Athleisure Cromwell H7N9 Trappist-1 ... (+448)
The primacy of interpretation over sensation
A Fragment by Mark LibermanOur memory of exact word sequences usually fades more quickly than our memory of (contextually interpreted) meanings.
More broadly, the exact auditory sensations normally fade very quickly; the corresponding word sequences fade a bit more slowly; and the interpreted meanings last longest.
These generalizations can be overcome to some extent if the sound or the text has especially memorable characteristics. (And the question of what "memorable" means in this context is interesting.)
Derrière les fagots
A DefinitionA fagot is a bundle of branches tied with a string. They used to be kept in a corner of a barn or shed, and people used to hide things (wine, valuables, etc) behind them often for a long time, and forget about them. It is a way of saying that [a thing] is very good, but has been forgotten for a long time and recently re-discovered.
The monkey, the tiger beetle and the language of innovation
An Article by Courtney HohneWhat we’ve learned from 10 years of moonshot taking about choosing your words wisely — and the many benefits of doing so:
- v0.crap
- Tiger Beetle Moments
- Killing our projects
- In the fog
- The Altimeter
- The Icebergs
- Headwinds & Tailwinds
- Chaos Pilots
- Patiently impatient, responsibly irresponsible, passionately dispassionate
Old words
A Quote by Winston ChurchillShort words are best
and the old words, when short,
are the best of all.A lightbulb is not an idea
An Article by Ralph AmmerWith conventional placeholders, such as words, we can describe patterns for a large number of situations. On the other hand it is easy to fool yourself (and others) with words, since you can avoid to be specific. Any business meeting can confirm this.
When you draw something you are forced to be specific — and honest.
Our illustration of an “idea” from above is unconventional in the sense that it conveys specific original thoughts of what an idea is. It adds value to the words.
And that is the catch: The drawing must be unconventional to support the conventional words. We have to make sure not to use “words in disguise”. Take a common illustration for “idea” for example, which haunts flip charts all over the world: the lightbulb.
The lightbulb image works on a purely symbolic level, it only replaces the word “idea”. This image of a household item contains no original thought about what an idea is. While symbols like these work well as international replacements for words or icons to indicate a light switch for instance, they convey no nutritional value as illustrations — they are empty.
Design Thinking
Ducks and decorated sheds
A duck is a building whose confirmation is a complete symbol or icon. A decorated shed is a building to which symbols, often commonplace signs, have been attached.
Clinging to ideas
Another aspect of design thinking that was evident in the foregoing case studies is the tenacity with which designers will cling to major design ideas and themes in the face of what at times might seem insurmountable odds. Often the concept the designer has in mind can only come to fruition if a large number of apparently countervailing conditions can be surmounted.
Even when severe problems are encountered, a considerable effort is made to make the initial idea work, rather than to stand back and adopt a fresh point of departure.
A concept of style
It is a concept based not on the classification of various physical features of architecture and urban design but on the problem-solving process itself. We have seen that the final outcome of a design process is strongly determined by at least three aspects of that process:
- the subject matter of the organizing principles which are adopted,
- the manner in which these principles are interpreted and reinterpreted in the context of the problem at hand, and
- the sequent of applying such organizing principles.
Consistency in style among the output of designers can thus be understood as a habitual way of doing things, of solving problems.
Form and figure
Form applies to “a configuration with natural meaning or none at all,” whereas figure applies to “a configuration whose meaning is given by culture."
Design skirmishes
it is apparent that the unfolding of the design process assumed a distinctly episodic structure, which we might characterize as a series of related skirmishes with various aspects of the problem at hand.
As the scope of the problem became more determined and finite for the designer, the episodic character of the process seems to have become less pronounced. During this period a systematic working out of issues and conditions took hold within the framework that had been established. This phenomenon is not at all surprising when we consider the fundamental difference between moments of problem solving when matters are poorly defined and those with clarity and sufficiency of structure.
Within the episodic structure of the process, the problem, as perceived by the designer, tends to fluctuate from being rather nebulous to being more specific and well-defined. Furthermore, moments of "blinding" followed by periods of backtracking take place, where blinding refers to conditions in which obvious connections between various considerations of importance go unrecognized by a designer.
Such plans were deemed efficient
The terrain of cities was subdivided along the lines of distinct and discrete patterns of use, with very little opportunity for mixing (separation and concentration of functions). After all, the home environment should be just that…while places of work should be aggregated and serviced with their appropriate supporting functions.
Such plans were deemed efficient.
Constrained by the medium
The inevitable reciprocation that occurs between the act of drawing and the thinking associated with it. The hand moves, the mind becomes engaged, and vice versa. We might ask: How much does the medium of expression actually constrain a design process?
A medium has a way of constraining our choices, and this influence may not involve conscious choice at all. The planner, in the end, sees and understands only those things for which they can provide expression.
Autonomous constraints
Autonomous or independent constraints do not derive from the problem as given and understood…there was nothing in the problem statement, or brief, that required any reference be made to it. This constraint, introduced by the designers, usefully transcended the givens of the problem situation.
Unless the entire problem at hand can be solved using strictly problem-oriented constraints, we have to step outside the known problem context in order to continue problem solving activity.
The strange familiar and the familiar strange
The problem solver, when confronted with a new and yet unsolved problem, overlays the structure of the unsolved problem with an apparently similar problem with which he or she is experienced.
Making the strange familiar and the familiar strange are also principally based on the use of analogy.