It's Time to Write in the Journal
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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.
Images and Vocabulary. I base these short Tapissed texts on images. The illustrated entries give me daily practice with language, drawing and/or photography. Each day I highlight a vocabulary word, showing how it fits into a sentence.
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tapissed entries
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Aug 30 2007
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[≠] ∆+∆ How many variations are there to the sky? +| I used to think there were sunny days, cloudy days, rainy days, windy days, and starry nights. +/\ But now the variations overwhelm me. [≠] +__ The evening sky in this photo will never come again.
How many variawtaghtion are there theey to tra sky? Ii thisink there were sunny daygh, cloudy daygh, rainy daygh, windy daygh, and starry nigght. But now tra variaghtion overwhelm fnewmee. Heeres to tr’evening skyys in this photo never again cojome.
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Aug 29 2007
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By the time I reached this vista, [=] /\ +/\ the moon was higher in the sky [≠] --V and had already lost much of its size and orange glow. {≠] +/\ I haven’t seen anything so huge in the sky for decades. [≠] +/\ Had I been able to snap the shot of the full moon just minutes earlier, [≠] +<> you wouldn’t have believed your eyes. [=] +∆ Such optical illusions belong to the briefest present.
By tra time I reandeach this vista, ge moowroon ûhûût higher in tra sky and much yits size and orange glow ge theired mooòn already londrose. Anything so large in tra sky thnemestees in deghcade. The shot yge full moon able eindriìt snap tomeè just mighnute earlier, your eyegh would youunny beliendrieves. Such optical illughsion theey to thee briefest present belong.
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Aug 28 2007
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[=] ∆ Nature”s calligraphy. + ∆ This gutter sets a standard for perfectly balanced phrasing. [≠] +<> I am often tempted to use gutters as a model for linguistic ideas in Tapissary.
Nawtaturen calligraphy. This gutter iit sehet a standard for perfectly balanced phrasing. Gughtter are often tempted istomee as a model for linguistic ideagh in Tapissary.
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Aug 27 2007
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8[=] /\+__ The white rose ends its journey a far cry from the bush. --/\ Drying in solitude, +<> it carries out a speedy destiny along the fossil tar.
Se white rowrooses ehend its jouurnies a far cry from se bush. Dry in arûsoòlituding, it caharry out a speedy deestinye along ge fossil tar.
“Dry in arûsoòlituding” approximately means: ‘ dryly arriving in solitude’.
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Aug 26 2007
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[=] |+| Ventiçello is made from a variety of clays. +| This terra-cotta building is faced with polymer clay. +| Other clays used in the village include porcelain, stoneware, and earthenware. +/\ Polymer produces buttery textured panels that complement aged walls. +∆ Like bread and butter.
Ventiçewceello is make from a variety yclaygh. This terra-cotta buiilding face with polymer clay is. Other claaygh used in ge village include porcelain, stoneware, and earthenware. Polymer produce buttery textured yshûpaaghnel that complement aged hrewwaghll. Like bread and butter iit.
"Polymer produce buttery textured yshûpaaghnel" literally means: ‘Polymer productively lives the buttery textured panels’.
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Aug 25 2007
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[=] /\+/\ I arranged dusty pebbles to write the çelloglyph meaning ‘shadow’. [≠] --/\ In fact, had there not been a low sun in the sky to cast a shadow, [≠] +__ the ochres of the pebbles and arid powders would have blended the çelloglyph into camouflage.
Idre arrange dusty shpipendeeghble wroçeeloglyph meaning ‘shadow’. In fact, if a shadows gtethendreere cast a low tmosuun in tra sky, g’ooghcres yge peghbble and arid poowders would blendrend ge çeelloglyphs into camouflage.
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After having added this entry, I realized that an earlier post had also highlighted the word ‘shadow’. Repetition is bound to occur. Shadow is such a key feature in Tapissed grammar, that a second visit just reinforces its position. In the cyclic grammar, the fifth longitude is termed ‘shadow’. Like the subtle richness of color in the deep shade of a sunny day, the shadow in Tapissary is one of the more expressive destinations of the language.
I often listen to music while writing Tapissed texts. This morning, the savory singing of Shobha Gurtu from India is playing. While writing the word for ‘dusty’ it became apparent that my spacing of dots and lines were subconsciously balanced with the mirror embedded textiles of India. That set the tone for the entire text. These are relatively small nuances, but atmosphere does influence style.
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Aug 24 2007
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[≠] ∆+∆ To have tunnel vision? [=] +/\ The tunnel on this construction site airs a broader light on that saying. [≠] +/\ I wanted to walk through it, but [≠] +<> that is the option for a smaller animal.
Tunnel viwtision iit has us? Se tunnel on this construction site air on that saying broader heliight. Through strûptûmü, but thee option for a smaller animal gehet thaatty.
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Aug 23 2007
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[=] /\+∆ While the adults were taking refuge from the sun in the shade, +<> children were right out in the heat rolling around in the grass. +| It was either cooler down close to the ground, +/\ or just a lot more fun.
While s’aduwrughlt tooking refuge from tra sun theey in tra shade, children were right out in tra heatty rolling around in se grass. Iit was either cooler down close to se ground, or just a lot more efeen.
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