It's Time to Write in the Journal
Page 4
This year, 2007, marks Tapissary’s 30th anniversary. To celebrate, I’ve been making adjustments to the grammar. The journal is my practice sheet where I merge linguistic invention with my daily experiences.
Spoken Tapissary comes in 2 flavors. "Tapisi" sounds like a French Slavic blend, while "Sevens" takes English vocabulary as its base. The celloglyphs (hieroglyphs) are written the same for both the Tapisi and Sevens styles. These two spoken forms can also be written with the Latin alphabet, as seen in the following entries. For the time being, I'm focusing on Sevens.
The formulae you see preceding each phrase below (such as: [≈] + V ) refer to the cyclic grammar. When you see the 'V' form listed, its vocabulary will be paired into couples. In Japanese, most words are paired, such as origin/sun together meaning 'Japan". Similarly, you will see novel pairs as sole/echo, for example, meaning 'earth' in Tapissary. But unlike Japanese, in Tapissary the vocabulary can intermingle. Compare the 2 sentences below. #1 applies the vocabulary straight from the dictionary. In #2, the 'V' forms play off eachother.
Example sentence: "I revere the earth".
1. The inner/stalk reveres the sole/echo.
2. The stalk reveres the inner/echo.
.
.
journal entries
July 25 2007
,
If you have seen other entries in the journal, you may have noticed interspersed clotting of the vocabulary. They are neither accidental nor random phenomena. While the clusters do not paint a literal image such as trees and houses on a landscape with a cloud overhead, they do create another kind of visual mass that is unmistakably shape oriented. The groupings may be conceptual in nature, but they emerge like ships in a sea of otherwise free floating çelloglyphs. Think of this as the language designing its own identity in foreground and background portraiture using linguistic formulae rather than representational sketches. I have chosen one phrase as an example of clustering, from July 23‘s entry. The component parts have been lain out to demonstrate the anatomy of the cluster.
.
.
July 24 2007
.
[=] /\ + /\ I was experimenting how to make a negative image of a text on Photoshop. -- | I know there must be an easier way, + <> but the outcome of the following process produced an interesting effect. + | Under Filter, the neon glow allowed for a gentle reverse. + | Curves and Brightness/Contrast provided the vividness I needed. + | Some of the texts I’m writing in this journal will be incorporated into the giant çelloglyphs for my 2008 exhibit. + /\ I’m working on three of them simultaneously: Aroma, Fortress, and Shadow.
Experiment idremihindiiing how a negative moiimage of a text on Photoshop. Iì know there must be an easier way, but the outcome ythe following process produnduce an interesting effemeect. Under Filter, the neon gloow allowndow for a gentle reverse. Cuuñrve and Briightness/Contrast provindide the vividness I neendeed. Some ythe teñxt Ii’m writing in this journal beje incorporate into se giant çeñlloglyph for my 2008 exhibit. On wkithreeeing of them simultaneously: Aroma, Fortress, and Shadow.
.
.
July 23 2007
[=] /\ + | This photograph has not been altered. + /\ Fortunately, yesterday at sunset, I traveled into the hills at just the right moment. + ∆ A salmon rainbow such as this is the first I’ve ever seen. + ∆ Not only is it salmon colored, but it is also a double rainbow. + /\ Notice the fainter version to the right. -- __ On my photo, the greenish yellows along the interior rim of the arc do not show up well. + | But they were there, + <> for one of the most awesome light shows I’ve ever witnessed. + <> It only lasted a few minutes. +V The rainbow dissolved into gray soon after this shot was taken. + | 10 minutes later a fine drizzle fell from a colorless sky. +V I knew the gentle moisture had belonged to the stream in which the salmon migrated high above.
This idrephootograph astaltereds. Fortunately, yesterday at sunset, into ge vwihindiiñll at just tra right moment. A salmon rainbow such as this iit is tra first I ever seestee. Not only is it salmon colored, but it is also a double rainbow iit. Notice tra fainter thnéxveersion to tra right. On my photo, tra greenish yeèñllows along tr’interior rim ytr’arc shows up themseèlveses well. But theey were there, for one ytra most awesome light shobwooñw ever wistitness. It only landast a few mibiinute. Tra boow dissondolve into a deaf-tiimbre soon after this shot was taken. 10 minute later a fine driizzle fell from a colorless sky. I knew la gentle quenched-moisture belondrong to la shin in which la salmon mindigrate high above.
"V" couplets in above text:
stream = quenched/shin rainbow = deaf/bow gray = poet's timbre.
.
July 22 2004
.
.
.
.
[=] V + | The summer sun was overhead. + /\ I returned to the fortress with my camera. + /\ The afternoon bleached the earth like whole grain flour. + ∆ Dark iron bars of the pillars were the exception. + <> They provided a bold visual axis to the scene. With the camera, + <> I was able to play archeologist in some ancient desert.
Tra summer adresuun was overhead. To ge rtifondoortress with my camera. Tr’afternoon bleach ge vreheandeaarth like whole grain flour. Dark iron bañr yge piñllar theey were g’exception. They provindide a bold visual abaaxis to ge scene. With ge camera, I was able jouer archeobwoologist in some ancient desert.
.
.
.
.
July 21 2004
.
.
[=] <> + /\ I’ve been thinking about my past journal entries. -- <> Last night, I decided to make simplicity my goal. [≠] + /\ Instead of focusing on every detail, I will look for the direct route. A couple of guidelines:
1) + | Keep the sentences simple while retaining the full message.
2) + | Avoid flourishes and preaching.
3) + | Discard any redundancies.
4) -- <> I changed my mind... about flourishes.
About my past journal athe thkiesteeñntrying. Last night, I deceindeid faire sihnwiìmplicity my goal. Instead yevery detail focus on sccemeeing, the direct route for lcemejee. A couple of guideliñne:
1. Keep-youu the señntence simple while retaining the full message.
2. Avoid-youu flouñrish and preaching.
3. Discard-youu any reduñndancy.
4. I chandange my mihnwiìnd... about flouñrish.
.
.
July 20 2007
.
[=] ∆ + ∆ How many steps lead to heaven? + ∆ In the civilization of color, each step has already arrived there. + /\ The blue sky circulates among the yellows, reds, greens, purples, oranges, whites and golds. + V In the shadows there is almost black. + ∆ The palette is perfect and has nothing to prove. + /\ I train my camera on the garden’s detail. [=] /\ +<> The sprinklers turn on without warning and lightly spray my camera. + V Just a few drops to step up my worries.
How many steñp lead to heaven ithe theey? In the civilization ycolor, each step already arristive iit there. Tra blue sky circulate among se mveyeeñllow, reeñd, greeeñn, puuñrple, ooñrange, whiiñte and goonld. In tra peeñntagon there is almost tra crescent-flame. The palette is perfect iit, and has nothing prouver. Train on se gardenin detail my vwicaamera. La spriñnkler turn on without warning and lightly spray my idre camaamera. Just a few gastric-drooñp lastep up my maañrathon.
The V form pairs used in the above text:
'shadow' = crescent/pentagon 'black' = window/flame 'worry' = gastric/marathon
.
.
July 19 2007
[=] /\ + /\ As I round the bend, + /\ an ancient ochre fortress emerges from the hill. [≠] -- __ Perhaps the roof had crumbled from a previous history. [=] + ∆ Like a weathered stone temple of Ancient Egypt, its color turns warm oranges before sunset. + V Iron lace cylinders stand hollow year after year, deprived of their cement skins, pinning the earth in its best retaining effort. + <> Each afternoon, they cast their story with shadow ink upon the stone.
As round g’idre tribeend, an ancient ochre fortress emerge from ge rzehiill. A previous nohiìstory crundrumble from ge norooòf. Like a weathered stone temple yAncient Egypt, its color tuhurn warm ornage iit before sunset. Iron lace smoked cyyñlinder stand hollow year after year, deprived of their cement aarmature, pinning the hickory eecho in its best retaining effort. Each afternoon, cast their stomoory with shadow ink upon ge stone.
The çelloglyph meaning 'stone' represents the right fist hitting against the back of the left hand. That is how you sign 'stone' in American Sign Language of the Deaf. Coincidentally, this is also the çelloglyph meaning 'on'. That word is based on the picture of an object (the circle) resting on a surface (the bar). Today you get two çelloglyphs in one.
The Tapisreal text above was turned on end so I could fit it alongside the picture of the pillar.
< page three........page five >